Scoop

Scoop (pronounced skoop)

(1) A ladle or ladle-like utensil, especially a small, deep-sided shovel with a short, horizontal handle, for taking up flour, sugar etc.

(2) A utensil composed of a palm-sized hollow hemisphere attached to a horizontal handle, for dishing out ice cream or other soft foods.

(3) A hemispherical portion of food as dished out by such a utensil.

(4) The bucket of a dredge, steam shovel etc.

(5) In medicine, a spoon-like surgical apparatus for removing substances or foreign objects from the body; a special spinal board used by emergency department staff that divides laterally (ie literally “scooping up” patients).

(6) A hollow or hollowed-out place.

(7) The act of ladling, dipping, dredging etc.

(8) The quantity held in a ladle, dipper, shovel, bucket etc.

(9) In journalism, a news item, report, or story revealed in one paper, magazine, newscast etc before any other outlet; in informal use, news, information, or details, especially as obtained from experience or an immediate source.

(10) A gathering to oneself, indicated usually by a sweeping motions of the hands or arms.

(11) In informal use, a big haul of something.

(12) In television & film production, a single-lens large floodlight shaped like a flour scoop and fitted with a reflector.

(13) To win a prize, award, or large amount of money.

(14) In bat & ball sports, to hit the ball on its underside so that it rises into the air.

(15) In hydrological management, a part of a drain used to direct flow.

(16) In air-induction management (to the engines in cars, boats, aircraft etc), a device which captures external the air-flow and directs it for purposes of cooling or combustion.

(17) In Scots English, the peak of a cap.

(18) In pinball, a hole on the playfield that catches a ball, but eventually returns it to play in one way or another.

(19) In surfboard design, the raised end of a board.

(20) In music (often as “scoop up”), to begin a vocal note slightly below the target pitch and then to slide up to the target pitch, prevalent particularly in country & western music.

1300–1350: From the Middle English scope & schoupe, from the Middle Dutch scoep, scuep, schope & schoepe (bucket for bailing water) and the Middle Dutch schoppe, scoppe & schuppe (a scoop, shovel (the modern Dutch being schop (spade)), from the Proto-Germanic skuppǭ & skuppijǭ, from the primitive Indo-European kep & skep- (to cut, to scrape, to hack).  It was cognate with the Old Frisian skuppe (shovel), the Middle Low German schōpe (scoop, shovel), the German Low German Schüppe & Schüpp (shovel), the German Schüppe & Schippe (shovel, spade) and related to the Dutch schoep (vessel for baling).  The mid-fourteenth century Middle English verb scōpen (to bail out, draw out with a scoop) was from the noun and was from the Middle Low German schüppen (to draw water), from the Middle Dutch schoppen, from the Proto-Germanic skuppon (source also of the Old Saxon skeppian, the Dutch scheppen, the Old High German scaphan and the German schöpfen (to scoop, ladle out), from the primitive Indo-European root skeubh- (source also of the Old English sceofl (shovel) and the Old Saxon skufla.

Sherman L Kelly's (1869–1952) ice-cream scoop (the dipper; 1935) was a masterpiece of modern industrial design and thought sufficiently aesthetically pleasing to be a permanent exhibit in New York's Museum of Modern Art (MoMA).  Its most clever feature was the fluid encased in the handle; being made from cast aluminum, the heat from the user's hands was transferred to the cup, obviating the need for the moving parts sometimes used to separate the ice-cream for dishing out.  The dipper is like the pencil, one of those designs which really can't be improved.  In the industry, the technical term for the small but annoyingly intrusive globule of ice cream which appears at the base of a scoop is “skirt”.  Some manufacturers of ice cream scoops (the advertising folk also like “scooper”) promote their product's ability to avoid “over-serving & wasteful skirt”.

The meaning “hand-shovel with a short handle and a deep, hollow receptacle” dates from the late fifteenth century while the extended sense of “an instrument for gouging out a piece” emerged by 1706 while the colloquial use to mean “a big haul” was from 1893.  The journalistic sense of “the securing and publication of exclusive information in advance of a rival” was an invention of US English, first used in 1874 in the newspaper business, echoing the earlier commercial verbal slang which imparted the sense of “appropriate so as to exclude competitors”, the use recorded in 1850 but thought to be considerably older.  The meaning "remove soft or loose material with a concave instrument" dates from the early seventeenth century while sense of “action of scooping” was from 1742; that of “amount in a scoop” being from 1832.  The noun scooper (one who scoops) was first used in the 1660s and the word was adopted early in the nineteenth century to describe “a tool for scooping, especially one used by wood-engravers”, the form the agent noun from the verb scoop.  Scoop is a noun & verb, scooper & scoopful are nouns and scooped & scooping are verbs; the noun plural is scoops.

XPLR//Create’s fluid dynamics tests comparing the relative efficiency of ducts (left) & scoops (right).

In air-induction management (to the engines in cars, boats, aircraft etc), a scoop is a device which captures external the air-flow and directs it for purposes of cooling or combustion.  An air scoop differs from an air duct in that a scoop stands proud of a structure's surface allowing air to be "rammed" into its ducting while a duct is an aperture integrated into the structure, "sucking" air in from the low pressure zone created by its geometry.  For a given size of aperture, a scoop can achieve an airflow up to twice that of a duct but that doesn't of necessity mean as scoop is always preferable, the choice depending on the application.  In situations where optimal aerodynamic efficiency is desired, a duct may be chosen because scoops can increase frontal area and almost always, regardless of placement, leave a wake of turbulent air, further increasing drag.  It's thus one of those trade-offs with which engineers are familiar: If a scoop is used then sufficient air is available for purposes of cooling & combustion but at the cost of aerodynamic efficiency while if a duct is fitted, drag is reduced but the internal air-flow might be inadequate.

NACA Ducts: 1969 Ford Shelby Mustang GT500 (left), 1971 Ford Mustang Mach 1 351 (centre) & 1972 Ford Falcon GTHO Phase IV (Right).

When Ford introduced NACA ducts on the 1971 Mustangs (subsequently adopted by Ford Australia in 1973 for the XB Falcon), whether in error or to take advantage of the public’s greater “brand-awareness” of the National Aeronautics & Space Administration (NASA), they were promoted as “NASA ducts”.  In fairness, the two institutions were related, NASA created in 1958 after the National Advisory Committee for Aeronautics (NACA) was dissolved, the process essentially a name change although much had changed since the NACA’s formation in 1915, the annual budget then US$5000 and the dozen committee members unpaid.  The NACA duct was one of many innovations the institution provided to commercial and military aviation and in the post-war years race cars began to appear with them, positioned variously to channel air to radiators, brakes and fuel induction systems as required.

Scoops: 1969 Ford Mustang Boss 429 (left), 1969 Ford Mustang Mach 1 428 CobraJet (with shaker scoop) (centre) & 1974 Pontiac Trans Am 455 SD (with rearward-facing scoop) (right).

From those pragmatic purposes, the ducts migrated to road cars where often they were hardly a necessity and, in some cases, merely decorative, no plumbing sitting behind what was actually a fake aperture.  Scoops appeared too, some appearing extravagantly large but there were applications where the volume of air required was so high that a NACA duct which would provide for the flow simply couldn’t be fashioned.  That said, on road cars, there were always suspicions that some scoops might be fashionably rather than functionally large, the lines drawn in the styling and not the engineering office.  There was innovation in scoops too, some rearward facing to take advantage of the inherently cool, low pressure air which accumulated in the cowl area at the base of the windscreen although the best remembered scoops are probably the “shakers”, assemblies protruding through a hole in the hood (bonnet) and attached directly to the air-cleaner which sat atop the carburetor, an arrangement which shook as the engine vibrated.  By such things, men are much amused.

The inaugural meeting of the National Advisory Committee for Aeronautics (NACA), 23 April 1915.

A New York Post scoop, 29 June 2007.  This was the Murdoch press's biggest scoop since the publication in 1983 of the "Hitler Diaries".  The "diaries" turned out to be forgeries; the picture of Lindsay Lohan resting in a Cadillac was genuine.

Japanese gold-lined sugar scuttle & sugar scoop with laurel leaf detailing (circa 1970s, left) and William IV sterling silver sugar bowl (1832) by John Fry II, London, England (right).  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  A lump of sugar is handled with a pair of “sugar tongs” (another of those cases in which the nominally plural “pair” is correct when describing a singular object because the first “pairs of tongs” literally were “two tongs” manipulated in unison.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.  Among antique dealers, all are often bundled for sale with a “tea tray” although in many instances, such agglomerations are a case of “mix & match”. 

Jaguar E-Type: S1 with covered headlight light (left), S1.25 with early "sugar scoop" (centre) and S2 with later "sugar scoop" (right). 

After the Jaguar E-type's (1961-1974; sometimes known in the US as XK-E or XKE) lovely headlight covers were legislated to extinction by the newly created US DOT (Department of Transportation, established by an act of Congress on 15 October 1966 and beginning operation on 1 April 1967), the replacement (uncovered) apparatus came to be called the “sugar scoop”, a term earlier used for the Volkswagens & Porsche sold in North America US market which had to be fitted with sealed-beam headlights because of protectionist rules designed for the benefit of US manufacturers.  The use of “sugar scoop” for the E-Type was appropriate because the visual link with the utensil was much more obvious than on the Volkswagens & Porsches.

A US market 1977 Porsche 911 (1964-1989), fitted with the front bumper assembly of a later 911 (964 (1989-1994)):  The original “sugar scoops” are seen on the left and the replacement Hella H4 lights are to the right (in RoW (rest of the world) cars both H2 & H4 units were fitted).  Conceptually identical, a sugar scoop (centre) is similar in form to some smaller "coal scuttles", differing only in scale. 

Toggle

Toggle (pronounced tog-uhl)

(1) A pin, bolt or rod placed transversely through a chain, an eye or loop in a rope etc, as to bind it temporarily to another chain or rope similarly treated.

(2) In various types of machinery, a toggle joint, or a device having one.

(3) An ornamental, rod-shaped button for inserting into a large buttonhole, loop or frog, used especially on sports clothes.

(4) In theatre, a wooden batten across the width of a flat, for strengthening the frame (Also called the toggle rail).

(5) In engineering and construction, a metal device for fastening a toggle rail to a frame (also called a toggle iron.); a horizontal piece of wood that is placed on a door, flat, or other wooden structure, but is not on one of the edges of the structure; an appliance for transmitting force at right angles to its direction.

(6) To furnish with a toggle or to bind or fasten with a toggle.

(7) In informal use, to turn, twist, or manipulate a toggle switch; dial or turn the switch of a device (often in the form “to toggle between” alternate states).

(8) A type of switch widely used in motor vehicles until outlawed by safety legislation in the 1960s.

(9) In admiralty jargon, a wooden or metal pin, short rod, crosspiece or similar, fixed transversely in the eye of a rope or chain to be secured to any other loop, ring, or bight.

In computer operating systems and applications, an expression indicating a switch of view, contest, feed, option et al.

(11) In sky-diving, a loop of webbing or a dowel affixed to the end of the steering & brake lines of a parachute providing a means of control.

(12) In whaling, as toggling harpoon, a pre-modern (believed to date from circa 5300 BC) harvesting tool used to impale a whale when thrown.

1769: In the sense of a "pin passed through the eye of a rope, strap, or bolt to hold it in place" it’s of unknown origin but etymologists agree it’s of nautical origin (though not necessarily from the Royal Navy) thus the speculation that it’s a frequentative form of “tug” or “to tug” (in the sense of “to pull”), the evolution influenced by regional (or class-defined) pronunciations similar to tog.  The wall fastener was first sold in 1934 although the toggle bolt had been in use since 1994.  The term “toggle switch” was first used in 1938 although such devices had long been in use in the electrical industry and they were widely used in motor vehicles until outlawed by safety legislation in the 1960s.  In computing, toggle was first documented in 1979 when it referred to a keyboard combination which alternates the function between on & off (in the sense of switching between functions or states as opposed to on & off in the conventional sense).  The verb toggle dated from 1836 in the sense of “make secure with a toggle” and was a direct development from the noun.  In computing, the toggle function (“to toggle back and forth between different actions") was first described in 1982 when documenting the embryonic implementations of multi-tasking (then TSRs (terminate & stay resident programs).  Toggle is a noun, verb & adjective, toggled & toggling are verbs, toggler, toggery and (the rare) togglability are nouns and togglable (the alternative spelling is toggleable) is an adjective; the noun plural is toggles.  Use of the mysterious togglability (the quality of being togglable) seems to be restricted to computer operating systems to distinguish between that which can be switched between and that which is a stand-alone function which must be loaded & terminated.

The Jaguar E-Type (XKE) and the toggle switches

1964 Jaguar E-Type roadster

Jaguar’s E-Type (XKE), launched at the now defunct Geneva Motor Show in 1961, was one of the more seductive shapes ever rendered in metal.  Enzo Ferrari (1898-1988) was at the show and part of E-Type folklore is he called it “the most beautiful car in the world”.  Whether those words ever passed his lips isn’t certain because the sources vary slightly in detail and il Commendatore apparently never confirmed or denied the sentiment but it’s easy to believe and many to this day agree.  If just looking at the thing was something visceral then driving one was more than usually tactile and more than sixty years on, the appeal remains, even if some aspects in the early models (such as the seats which looked welcoming but frankly were uncomfortable and the rather agricultural (no synchromesh on first gear) Moss gearbox) were a little too tactile.

1961 Jaguar E-Type OTS (Open Two Seater, now usually called a "roadster") with toggle switches.  Ergonomically, the layout was not wholly successful but was an ascetic delight and the toggle switches are thought more sexy than the later rockers.  There are two different patterns for the aluminium panel and the one used on the very early cars is much prized; it has never been available as a re-production.  In 1963, as a running change (the factory bulletin indicating it was done to reduce glare) the panel used a black vinyl covering.

Another feature of the early (1961-1967) cars admired both for their appearance and pleasure of operation touch was the centrally-located array of toggle switches which controlled functions such as lighting and windscreen wipers.  Even by the slight standards of the 1960s, ergonomically the arrangement wasn’t ideal but, sitting under the gauges, it was an elegant and impressive look the factory would retain across the range for more than a decade, the E-type using the layout until production ended in 1974 (and it endured on the low-volume Daimler DS420 limousine until 1992).  However, while the layout survived, the toggle switches did not, the protruding sharpness judged dangerous by the NHSB (the National Highway Safety Bureau (which in 1970 became the National Highway Traffic Safety Administration (NHTSA) under the newly established US DOT (Department of Transportation, established by an act of Congress on 15 October 1966 and beginning operation on 1 April 1967) which, since the publication of Ralph Nader’s (b 1934) Unsafe at any Speed (1965) had begun to write legislation which stipulated standards for automobile safety, this in parallel with the growing body of law designed to reduce emissions.

1973 Jaguar E-Type roadster with rocker switches.  On the roadsters, the far-right switch was un-labeled because it was functional only on the coupés where it activated the rear-window demister.  On the XJ sedans (which used the same switch assembly), it swapped the flow between the twin fuel tanks.  When the S2 XJ was released in 1973, the whole dashboard was revised, greatly improving the ergonomics but lacking the visual appeal.  

In 1968, the new wave of legislation came mostly from the US DOT so applied almost exclusively to vehicles sold in the US but such was the importance of that market it made little sense for Jaguar to continue to produce a separate line for with toggle switches for sale in the rest of the word (RoW) so the decision was taken to standardize on the flatter, more rounded rocker switches.  At much the same time, other changes were made to ensure the E-Type on sale in 1968 would conform also to all the other new rules, the most obvious being the banning of the lovely covered headlights which necessitated their replacement with higher-mounted units in a scalloped housing.  In view of the extent of the changes required, it was decided to designate the updated cars as the “Series 2” (S2) E-Type.  Despite the perceptions of some, now fuelled by internet posts and re-posts, by 1967, Jaguar, while not a mass-production operation along the lines of a computerized Detroit assembly line, had long since ceased to be a cottage industry and as a change was made in a model’s specification, except for specified batches, that was applied to all production after a certain date.  Despite the factory’s records documenting this, urban myths continue to circulate, stimulated by “unicorns” such as the handful of 3.8 litre Mark 2 sedans built after 1967 when the line was rationalized (as the 240 & 340) and restricted to the 2.4 & 3.4 litre XK-Six; those 3.8s were “special orders” and not ad-hoc aberrations from the line.  However, nothing in the era has resulted in as much misinformation as the specification of what came (unofficially) to be called the Series 1.25 & 1.5 E-Types, the most common myth being that before S2 production proper began, some cars left the factory with a sometimes unpredictable mix of S1 & S2 parts, this haphazardness accounted for by the expedient of “using up stock”.  In the industry, (even in computerized Detroit) the practice was not unknown but there’s now no doubt it never applied to the 1967 E-Types.  What notably attracts speculation is the phenomenon of “overlap”: a Jaguar might be found to include some “later” or “earlier” features than the build date would indicate should be fitted.  It's part of the charm of the breed and is thought to be the result of the recorded “build date” reflecting when a car passed the final quality control checks so one with an earlier chassis number could be returned for rectification, thus picking up what appears to be an “out-of-sequence” date.  

The pure lines of the S1 E-Type (top) were diluted, front and rear, by the need to comply with US safety legislation, the later S2's head & taillights more clunky.  The collector market slang for the later headlight treatment is "sugar scoop".

The process by which S1 evolved into S2 was transitional which is why the designations S1.25 & 1.5 became accepted; not used by the factory, they’re said to have been “invented” by JCNA (Jaguar Clubs of North America), the S1.25 run beginning on 11 January 1967 after production resumed following the Christmas holiday while the first 1.5s were built that August.  Although much is made in the collector community of the defining differences between the “pure” S1 and the “transitional” S1.25 & S1.5, that “purity” is nuanced because like many others, the E-Type was subject to constant product development with changes appearing from time to time.  Early in the model run, there were some obvious changes such as (1) the modification to the “flat floors” to provide more leg-room, (2) the integration of the bonnet (hood) louvers into the pressing, (3) the external bonnet (really a “clamshell”) release being replaced by an internal mechanism, (4) internal trim changes including the dashboard materials, the console and seats, (5) the replacement of the Moss gearbox with an all-synchromesh unit and (6) the 4.2 litre engine replacing the original 3.8.  Beyond those well-known landmarks, between 1965 and early 1967 there was also a wealth of barely detectable (except to experts of which there are quite a few) cosmetic changes and mechanical updates including: (1) the glass windshield washer bottle replaced with plastic container (March 1965), (2) the addition of an alternator shield (October 1965), (3) an enclosed brake and clutch pedal box (October 1965), (4) a hazard waring (4-way) flasher added to US market cars (November 1965), (5) sun-visors added to roadsters (February 1966), (6) instrument lighting changed from blue to green (March 1966), (7) the rubber boot at the base of the gear lever being replaced by a black Ambla gaiter; there were also detail changes to the gearbox cover and prop shift tunnel finisher (October 1966), (8) the material used for the under-dash panels was changed from Rexine-skinned aluminum to fiberboard (October 1966) and (8) a Girling clutch master cylinder replaced the Dunlop unit (December 1966).

Jaguar E-Type: S1 with covered headlight light (left), S1.25 with early "sugar scoop" (centre) and S2 with later "sugar scoop" (right). 

After the headlight covers were legislated to extinction, the replacement apparatus on the E-Types came to be called “sugar scoops”, a term earlier used for the Volkswagens & Porsches sold in North America US market which had to be fitted with sealed-beam headlights because of protectionist rules designed for the benefit of US manufacturers.  The use of “sugar scoop” for the E-Type was appropriate because the visual link with the original utensil (which, in technical terms, is a "specialized spoon") was much more obvious than the more subtle hint seen on Volkswagens & Porsches.

A US market 1977 Porsche 911 (1964-1989), fitted with the front bumper assembly of a later 911 (964 (1989-1994)):  The original “sugar scoops” are seen on the left and the replacement Hella H4 lights are to the right (in RoW cars both H2 & H4 units were fitted).  The sugar scoop (centre) is Japanese, circa 1970s.  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.

Despite that myriad of modifications, all E-Types up to those informally dubbed 1.25 are labelled S1 but the running changes can be of significance to restorers if the object is to emulate exactly the state in which a vehicle rolled off the production line; in events such as a concours d'elegance, judges can deduct points for even minor variations.  Things became more distinct when on 11 January 1967 the first E-Type destined for the US market was built without the covered headlights and this marked the beginning of the run of what would come to be known as the 1.25 although it wouldn’t be until June-July that year the open headlights became a universal fitting on all E-Types.  Between August-October 1967, the 1.5 began to evolve and that included the twin Zenith-Stromberg carburetors replacing the triple SUs, the substitution of ribbed camshaft covers, a higher mounting of the headlights (to meet minimum height requirements) and the adoption of rocker switches.  At this point, the teardrop tail lights remained, the most obvious external marker of the S2 being the chunky light below the rear bumper bar although, in the usual manner, updates continued, such as twin cooling fans (a good idea) and 1000-odd (the so-called "R2" run of cars, almost all of which are registered as 1971 models although some left the factory in 1970) E-Types gained a pair of "leaper" badges on the flanks, just behind the front wheel arches.  Unlike the centrally mounted steel leapers used on the saloons, the badge used on the flanks required two part numbers, one each for the left & right.  It seemed a pointless addition and just more clutter, just as they were on the Series 1 (1968-1973) & Series 2 (1973-1979) XJs.

1971 S2 Jaguar E-Type (centre) from the "R2" run of 1000-odd with the leaper badges on the flanks.

So much did the clutter created by bigger bumpers, protuberant headlight assemblies, badges and side-marker lights detract from the lovely, sleek lines of the Series 1 cars, bolting a luggage rack to the boot (trunk) probably seemed no longer the disfigurement it would once have been.  The left-hand (left) and right-hand (right) badges, being directional, were different part numbers (BD35865 & BD35866 respectively) and those used on E-Types were silver on black.  There were also variants used on the XJs which were gold on black and some had the leaping feline at a slight slope, both matters of note for those wishing to restore to the challenging "factory original" standard.  

So it can be hard to follow without a flow chart but, because of some overlaps in the production process, the S1-to-S1.25-to-S1.5 transition wasn’t entirely lineal but none of this is mysterious because Jaguar’s Factory Service Bulletins (JFSB) have documented these “inconsistencies” (which were completely normal industrial practice).  For example, there were a certain 32 specific US market vehicles fitted with the headlight covers which were built with serial numbers later than the first of the open headlight cars.  Not all E-Types built for the US market in 1967 thus had the open headlights and a not insignificant number of those 1.25 spec vehicles have been retro-fitted with the covers.  Such is the appeal of the covered headlights that although the E-Type market is monitored by the originality police (the “matching numbers” crowd which have an extraordinary knowledge of things like “correct” hose clamps or screw heads), there seems to be much untypical forgiveness for “back-dating” headlights to the sleeker look and they're not unknown even on the later, and much different, S3 V12 cars.

The lure of the headlight covers: 1973 E-Type with headlight covers subsequently added (left) and with the original "sugar scoops" (left).  These are US market cars with the additional "dagmars" appended to the bumperettes.  Even by 1973, thin whitewall tyres were still a popular option on US Jaguars although the wide whitewalls often fitted in the early 1960s had fallen from favor. 

While the loss of the toggle switches, teardrop taillights and headlight covers was a cause of some lament, some other changes also induce pangs of regret.  The switch from three to two carburetors was necessitated by the emission control regulations; the claimed horsepower dropped from 265 to 246 and while not many took the original rating too seriously, there was a drop in performance, especially in the upper speed ranges.  One often less noticed change mandated by the DOT was the replacement of the “eared” knock-off hubs for the wire wheels (the E-Types only ever using a two-eared version although third-party items with three ears are available) with a more “pedestrian friendly” type which, bewilderingly, are now referred to as the “non-eared”, “curly”, “octagonal”, “smooth”, “federal” “safety” and “continental” knock offs.  Take your pick.  Buyers could also take their pick of whether their “improved” wire wheels (now incorporating a forged centre hub) were painted in matte silver or chromed although the JFSB did caution that because of the altered configuration of the spokes, the wheels were not interchangeable with the earlier type except as a complete set (ie five per car).  Available from 1 January 1968 (the effective date for many of DOT’s new rules), this was Jaguar’s last update of the wire wheels which, in a variety of forms, the company had been using since being founded in 1922 as the Swallow Sidecar Company.  Never offered on the biggest and heaviest of the post-war cars (the Mark VII, VIII, IX and X/420G) or the new XJ range, they were last used on the “overlap” Daimler saloons (250 & Sovereign) in 1969 although they remained an option for the E-Type until the last was built in 1974.  Although a handful of small-scale producers continued to offer wire wheels, their final appearance on the option lists of the UK industry’s volume models came in 1980 when the last MGB was built.

Norway’s Motorhistorisk Klubb Drammen (Historic Car Club of Drammen) from Buskerud county reported on an exhibition hosted on 2 July 2014 by the Norsk motorhistorisk museu (Norwegian Motor Historic Museum) in the village of Brund, the event honoring Lindsay Lohan’s birthday.  The S2 Jaguar E-Type was recently restored but it would require a detailed examination to determine the degree to which (note the triple carburetors) it remains in its original specification.  Given the location this may have been a RoW car but there’s a lively two-way trans-Atlantic trade in E-Types (many now restored in Poland) so it may originally have been sold in the US or Canada.

The “Shaguar” used in the three Austin Powers movies (1997, 1999 & 2002) was a 1967 S1.5 E-Type which thus featured the combination of teardrop taillights, "sugar scoop" headlights, rocker switches and twin Zenith-Stromberg carburetors.  Because it's right-hand drive (RHD), it was probably built for the home market.  At Mecum Auctions in January 2025, the Shaguar achieved US$1 million, many times the typical sale value of a S1.5 E-Type in the same condition.

Cellar

Cellar (pronounced sel-er)

(1) A room or set of rooms, for the storage of food, fuel etc, wholly or partly underground and usually beneath a building.

(2) As “wine cellar”, an underground room in wine is stored (now often built above ground but still referred to as “wine cellar”); as “cellar”, a stock of bottled wines.

(3) As “cellar dweller(s)”, in the slang of competitive sport, a reference to teams in the lowliest reaches of the points ladder.

(4) As a verb, to store something (usually wine) in a cellar.

(5) As “salt cellar”, (1) a historical term for a small dish used for holding salt to be dispensed by a spoon & (2) an alternative (if historically misleading) term for what tends in modern use (initially especially in North America but later more generally) to be called a “salt shaker”.

1175–1225: From the Middle English celer and the Old French celier (“salt box” which survives in Modern French as cellier) from the Anglo-French & Latin cellārium (pantry; storeroom (literally group of cells”)), the construct being cell(a) + -ārium, the later re-spelling adopted to reflect the Latin form.  The fifteenth century English saler is from the Old French salier (salière in Modern French), from the Latin salarius (relating to salt) from the Latin sal (salt).  The Latin salarium was a noun use of the adjective meaning "pertaining to salt," again derived from the Latin sal (salt) from the primitive Indo-European sal- (salt).  The sense "room under a house or other building, mostly underground and used for storage" gradually emerged in late Middle and early Modern English, cellar-door attested by 1640s.  The somewhat clumsy noun cellarer (the person, usually in a monastery, responsible for providing food and drink) appears to have gone extinct by the late eighteenth century.

Of cellars, jugs, pots, mills & all that

Lindsay Lohan with milk jug, preparing a Pilk.  A Pilk is a mix of Pepsi Cola and milk, one of a class of beverages created by the Pepsi Corporation called Dirty Sodas which includes the Naughty & Ice, the Chocolate Extreme, the Cherry on Top, the Snow Fl(oat) and the Nutty Cracker.  All are intended to be served with cookies (biscuits).

In English, to describe the containers in which small quantities of stuff (as opposed to bulk-storage such as a bin) was stored, a variety of terms evolved.  Ground pepper is stored in a pepper pot which is shaken; whole or cracked peppercorns being stored in a pepper mill (often now called a pepper grinder) which is ground.  Ground salt is stored in a salt cellar and should be dispensed with a spoon whereas if shaken from a container it's best called a salt shaker; salt crystals are stored in a salt mill (often now called a salt grinder) which is ground.  Sometimes, the pepper pot and salt cellar are kept in a receptacle called a condiment caddy.  Ink, if used by directly dipping in a nib or quill end, is kept in an inkwell; if bought from a shop, it is sold in an ink pot, the latter more recent and, with the decline of writing with ink, now more prevalent.  Gravy is served in a gravy boat.  A ramekin is a small bowl used for preparing and serving individual portions of a variety of dishes, including crème brûlée, soup, molten cakes, moin moin, cheese or egg dishes, poi, macaroni and cheese, lasagna, potted shrimps, ice cream, soufflé, baked cocottes, crumbles, chakra póngal, or scallops, or used to serve side garnishes and condiments alongside an entrée.  Biscuits are kept in a biscuit barrel.  Tea is kept in a tea caddy, milk is served from a milk jug and sugar is taken from a sugar bowl with tongs if in lumps and if in crystals, is taken with a spoon or sprinkled from a caster or, more rarely, a sifter. Liquid condiments such as olive oil and balsamic vinegar are served from a cruet.  Soups and stews are served in a tureen and dispensed with a ladle.

Japanese gold-lined sugar scuttle & sugar scoop with laurel leaf detailing (circa 1970s, left) and William IV Sterling Silver Sugar Bowl, John Fry II, London, England, 1832 (right).  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.

The word ladle is the subject of one of the more curious definitional disputes in English.  A ladle is thought by most reasonable folk to be a specialized spoon but there are pedants of gastronomy who insist that while ladles have a spoon-shaped bowl, the angle of the handle (which can be so acute as to be perpendicular to the bowl) means they are so different to every other spoon that they can be used only for ladling, not spooning.  The etymological evidence offered is that the Middle English ladel is from the Old English hlædel, derived from the Proto-Germanic hlaþaną (to load), derived from several primitive Indo-European sources which meant “to put”, “lay out”, to spread” and, the Old English hlædel (a glossing of the Latin antlia (pump for drawing water)) is from hladan (to load; to draw up water).  It’s less a technical point than a social class signifier known probably only to etymologist and the more snobby maîtres d'hôtel.

Saliera (salt cellar) circa 1542 by Benvenuto Cellini (1500-1571), Kunsthistorisches Museum, Wien.

In addition to the works he completed, Italian sculptor and goldsmith Benvenuto Cellini remembered for his vividly written autobiography, a few of the more extravagant tales suggesting some unreliability of memory but the four murders to which he confesses are undisputed and well-documented.  Convinced of his own greatness, which he did not seek to conceal from his readers, his virtues and vices he seems to suggest were the essential qualities of his genius and for an abundance of one he should be forgiven the excesses of the other.  Friends in high places seemed to agree.  Thanks repeatedly to the interventions of well-placed men of influence, including many cardinals and more than one pope, he was able either to escape punishment or secure pardons and early release from the imprisonment imposed for many of his crimes which, as well as the murders, included sodomy of both young men and women, one of whom in Paris filed a complaint accusing him of using her "after the Italian fashion".

A mannerist masterpiece, the memorable Saliera (salt cellar) is some 10" (250 mm) high and 13" (330 mm) wide, sculpted by hand from rolled gold, resting on a base of ebony into which are installed ivory bearings to permit it to be rolled between guests, around the table.  It represents the gods of the earth and sea, their legs intertwined and thought to suggest “those lengthier branches of the sea which run up into the continents”.  A small boat in which to store the salt floats next to the sea god while a temple for peppercorns sits next to the earth goddess, the figures on the base noting the winds and times of day.  When Cellini presented the piece he made no mention of the names of the figures and only later would they be identified as Neptune and Tellus.

Sandbag

Sandbag (pronounced sand-bag)

(1) A bag filled with sand, used in water-proofing, fortification, as ballast etc.

(2) Such a bag used as a weapon.

(3) Violently to set upon or attack from or as if from ambush (archaic).

(4) To coerce or intimidate, to make threats (archaic).

(5) Sometimes by metaphor, by virtue of added weight, to reduce performance in competitive sport; a form of cheating.

(6) To conceal or misrepresent one's true position, potential, or intent in order to gain an advantage.

(7) In commerce, to obstruct an unwelcome takeover bid by prolonging talks in the hope an acceptable bidder will appear.

1580-1590: A compound of the nouns sand + bag.  Sand was from the Middle English sand, from the Old English sand, from the Proto-Germanic samdaz.  In other European languages there was the West Frisian sân, Dutch zand, German Sand, Danish, Swedish and Norwegian sand, thought all related to the primitive sámh₂dhos.  Bag was from the Middle English bagge, borrowed from the Old Norse baggi (bag, pack, satchel, bundle), from the primitive bhak and thought related are the Welsh baich (load, bundle) and the Ancient Greek βάσταγμα (bástagma) (load)).  In Latin there was sabulum, and in Ancient Greek ἄμαθος (ámathos) from sem (to pour).  English root is hinted at by The Old English dialectal samel (sand bottom), the Old Irish to-ess-sem (to pour out), the Latin sentina (bilge water), the Lithuanian sémti (to scoop) and the Ancient Greek ἀμάω (amáō) (to gather) & ἄμη (ámē) (water bucket)).  The verb was first noted in 1860 with the simple meaning “provide someone with sandbags".  The meaning "pretend weakness" apparently first used in 1950s motor racing appears not to have been in common use until the 1970s, with most sources linking use to the poker-playing sense of "refrain from raising at the first opportunity in hopes of raising more steeply later", a use first documented in 1940.  The idea of the sandbag as a weapon (used by a sandbagger) dates from 1882 with the resultant “sandbagged” emerging in 1887.

Sandbagging

Lindsay Lohan in Chief Sandbagger tank top.

Sandbagging is a form of cheating, usually in sport but also in commerce.  It involves deliberately under-performing at certain stages to maximise the benefits gained when later performing to full-potential.  The metaphor is based on the notion of being impeded by the extra weight of carrying a sandbag, analogous with the old “lead in the saddle” from horse racing when unscrupulous owners would add to a well-priced mount’s weight if they were betting on a longer-odds starter.  In motor racing, sandbagging described drivers who, in handicapped events, deliberately recorded slow times in qualifying to gain a more advantageous starting position or a less onerous handicap in the event proper.  The authorities responded with penalties or disqualification if race-day performance improved on the qualifying mark by more than a defined measure.  Literal sandbagging proved useful as a stabilizing device in many of the big-engine machines during the (1964-1974) US muscle car era during which some of the things generated close up to five-hundred horsepower, delivered to the road through primitive drive systems with over sixty percent of their weight sitting over the front wheels.  On street, strip and track, two or more bags of sand in the trunk (boot) greatly improved traction and balance.  A specialised need for the bag in the boot is in the stunt car business for those times when there’s a need to have a vehicle fly through the air, landing safely on four wheels at the end of descent.  To do that, object will fly best if its weight-distribution is a close as possible to 50-50 but, most cars being front-heavy, there’s a tendency to nosedive, the traditional fix being sandbags in the boot.  Cement is sometimes used instead of sand and the need for such tricks is diminishing with advances in CGI.

Before sandbagging: A tendency to nosedive.

The CBS comedy TV series The Dukes of Hazzard was aired between 1979-1985.  The show did feature actors and plot lines (analysts have suggested there were either five or six plots and these, with tweaks and variations on the themes, were recycled in all the 147 episodes shot) but for many the most memorable character was the 1969 Dodge Charger.  Introduced as a 1968 model, it replaced its rather slab-sided predecessor which, after an encouraging debut in 1966, had suffered a precipitous drop in sales the next season.  The re-styling for 1968 transformed not only the appearance but also its popularity and sales more than quadrupled even though some of the extravagant interior appointments (the eye-catching electroluminescent instrument lighting and the four bucket seats with a full-length centre console) which two years earlier had attracted such interest were no longer offered.  The sleek new lines however more than made up for the cost-cutting although belying the wind-cheating appearance, the shape wasn’t that aerodynamically efficient, something the corporation would twice seek to rectify in the quest for success on the circuits.  The first attempt was relatively modest and proved inadequate but the second worked so for the one season it was used the sanctioning body outlawed the entire concept.  Known as the first of the "aero cars", it was the most radical a manufacturer had ever attempted.  It still is.

After sandbagging: Perfect weight distribution.

In the course of production, over 300 Dodge Chargers were used in the series, the rate of attrition as one might expect from the number of car-jumping stunts involved.  Early in the show’s life, when 1968-1969 (the 1968 cars were easily modified to appear as next year’s model for filming purposes) Dodge Chargers were just cheap used cars and readily available, the supply-line of replacements wasn’t a significant part of the budget but by the early 1980s, the cars were becoming scarce and increasingly expensive, something at least partly attributable to the impact of the TV series.  There was in the early 1980s also a sudden drop in the cost of gas as the (somewhat misleadingly named) “oil glut” depressed the price of oil and gas-guzzlers like the Chargers, with their satisfying, if rather primitive characteristics, enjoyed a renaissance.  In response, the producers responded with the tricks used in the pre CGI (computer-generated imagery) era, re-using old footage and staging some of the more distant scenes with scale models.  The viewers seemed not to mind.

Perfect weight distribution: Jessica Simpson (b 1980) in promotional shot for The Dukes of Hazzard (2005), said to be among the worst films ever made.  The viewers seemed not to mind.

Joe Biden, sandbagged in Colorado.

In June 2023, Joe Biden (b 1942; US president since 2021) told reporters he'd "been sandbagged" after tripping over “a sandbag” after handing out diplomas on a stage at the US Air Force (USAF) Academy’s Falcon Stadium in Colorado Springs, Colorado.  The footage of the event was all from one camera angle and on that no sandbag was evident but some quickly observed even if there wasn’t really a sandbag, the president clearly believes there was one and under some theories of cognition, that means the same thing.  The eighty year old president was quickly picked up by an air force officer and two members of the Secret Service, the White House later issuing a statement saying he was “fine after the fall” and USAF sources confirmed “two small black sandbags were used to support the teleprompter”.

Joe Biden has suffered repeated difficulties in trying to board Air Force One using the red-carpeted stairs, once infamously tripping over three times during one ascent (left).  He now uses the "baby stairs" in the nose.  Note the Secret Service officer at the bottom of the stairs: he is the "designated catcher".

So sandbags have been added to the checklist his Secret Service detail goes through before he’s allowed to make any public appearances.  Apparently surfaces on which the president will walk (or stumble or shuffle depending on the time of day) have to be as free from obstacles and obstructions as is possible and not be at all slippery.  A roll-up mat is now part of the inventory carried in the presidential motorcade, un-rolled whenever surfaces appear “potentially challenging”.  Anything other than sitting down is obvious fraught with danger and it’s not clear if he’ll again be allowed to ride a bike after tumbling to the ground when his feet somehow got “tangled in the pedals”.  His difficulties with stairs have been well documented and it’s of note he now uses only a rarely used forward exit when boarding or alighting from Air Force One.  Even that doesn’t guarantee he won’t trip up but from these stairs it’s a shorter fall to the tarmac so there’s that.