Sonoramic

Sonoramic (pronounced sonn-o-ram-ick)

A form of enhanced induction for internal combustion engines; sometimes called cross-ram or long-ram induction.  The form SonoRamic was also used.

1959:  A compound word constructed by engineers (apparently with no contribution from the marketing department), the construct being the Latin sonō (make a noise, sound) + the English ram + -ic.  Sonō was from the primitive Indo-European swenhe (to sound, resound) which was cognate with the Sanskrit स्वनति (svanati) (to sound, resound).  The more productive Latin derivative was Latin sonus (sound, a noise) from the primitive Indo-European swon-o, again from the root swenhe.  Ram was from the Old English ramm (in the sense of "battering ram", from the Old High German ram, thought probably related to the Old Norse rammr (strong) and the Old Church Slavonic ramenu (impetuous, violent).  The suffix -ic was from the Middle English -ik, from the Old French -ique, from the Latin -icus, from the primitive Indo-European -kos & -ḱos, formed with the i-stem suffix -i- and the adjectival suffix -kos & -ḱos.  The form existed also in the Ancient Greek as -ικός (-ikós), in Sanskrit as -इक (-ika) and the Old Church Slavonic as -ъкъ (-ŭkŭ); A doublet of -y.  In European languages, adding -kos to noun stems carried the meaning "characteristic of, like, typical, pertaining to" while on adjectival stems it acted emphatically; in English it's always been used to form adjectives from nouns with the meaning “of or pertaining to”.  A precise technical use exists in physical chemistry where it's used to denote certain chemical compounds in which a specified chemical element has a higher oxidation number than in the equivalent compound whose name ends in the suffix -ous; (eg sulphuric acid (H₂SO₄) has more oxygen atoms per molecule than sulphurous acid (H₂SO₃).  The engineers were influenced in their coining of sonoramic by the debut three years earlier of the sonogram (thereby creating sonogramic), a form of diagnostic imaging used in medicine.  Sonoramic is a noun; the noun plural is Sonoramics.  There are no standard derived forms but there are owners who might have coined the informal adverb sonoramically to describe the way their machine does its stuff.

Fluid dynamics and resonant conditions

1960 Chrysler 300F with long-ram Sonoramic 413 cid (6.8 litre) wedge V8.

All else being equal, increasing the volume of the fuel-air mixture (energy input) flowing through an internal combustion engine (ICE) increases power and torque (energy output).  One way to increase the throughput is to use an external device such as a supercharger or turbocharger but it can be achieved also by creating resonance in the induction system, this done by designing a passage which uses the physics of fluid dynamics to increase pressure in specific spaces.  Obviously uninvolved in the engineering, Chrysler’s marketing people claimed in 1960 the Sonoramic was new technology but for many years the principle had been used in racing engines, the mathematical equations determining acoustics & resonance having been published by German physicist and physician Hermann Ludwig Ferdinand von Helmholtz (1821–1894) in a scientific paper published in 1863.  Indeed, the concept had before been used on road cars but always in a discrete manner; what Chrysler did in 1959 with their elongated tubular "ram-runners" was make a dramatic fashion statement in designer colors.

Representation of fluid dynamics under specific resonant conditions.

Essentially, the Sonoramic is an implementation of Sir Isaac Newton's (1642–1727) first law of motion, more commonly known as the law of inertia: “An object at rest tends to stay at rest and an object in motion tends to stay in motion” and it’s the second part which Sonoramic exploited.  During the intake cycle of an engine, the fuel-air mix flows through the intake manifold, past the intake valve, and into the cylinder, then the intake valve shuts.  At that point, the law of inertia comes into play: Because the air was in motion, it wants to stay in motion but can’t because the valve is shut so it piles up against the valve with something of a concertina effect.  With one piece of air piling up on the next, the air becomes compressed and, being under pressure, this stuff has to go somewhere so it turns around and flows back through the intake manifold in the form of a pressure wave.  This pressure wave bounces back and forth in the runner and if it arrives back at the intake valve when the valve opens, it’s drawn into the engine.  This bouncing pressure wave of air and the proper arrival time at the intake valve creates a low-pressure form of supercharging but for this to be achieved all variables have to be aligned so the pressure wave arrives at the intake valve at the right time.  This combination of synchronized events is known as the "resonant conditions".

Long (lower) and short-tube (upper) Sonoramic intake manifolds.

Most of the Sonoramics produced were "long-tubes" with a tuned internal-length of 30 inches (760mm), generating prodigious quantities of mid-range torque, optimized for overtaking under highway conditions.  These characteristics were ideal for road cars but also built were a small number of the so-called "short-tube" Sonoramics, a somewhat misleading term because both shared the same external dimensions.  The critical difference was the short-tube units had only a 15 inch (380mm) length of the internal passages resonance-tuned and this, at the expense of mid-range torque, produced much more power high in the rev-range making them more suitable for competition.  Used by Chrysler to set a number of speed records, these were the most charismatic of the breed and a handful were built with manual gearboxes.  At auction, in November 2010, the sole 1960 Chrysler 300F short-tube Sonoramic convertible with the Pont-a-Mousson 4-speed gearbox, sold for US$437,250.

Sonoramic in silver, one of the "long tube" versions tuned for mid-range torque.

The first four generations of Chrysler's 300 letter series had used increasingly larger versions of the Hemi V8 and the 1958 300D with a 392 cubic inch (6.4 litre) version even was (briefly and abortively) offered the novelty of a very expensive fuel-injection system.  The Hemi, heavy and expensive to produce, was in 1959’s 300E replaced by the larger capacity, wedge-head 413 (6.7) which matched it for power but lacked the mystique, something substantially restored in 1960 when the 300F debuted with the sexy Sonoramic.  Ram Induction today is common, although contemporary designs, integrated with fuel-injection systems, are not as photogenic as the original Sonoramics.  As well as raw aluminium, the tubes were available in the designer colors of the time, red, gold and blue and opinion is divided about which look is the coolest but, impressionistically, red ones seem to be the most photographed.  That is likely a function of the red having been produced in the greatest volume (followed by the silver) while the gold (used on the expensive Chrysler 300s) was comparatively rare.  The blue units seem never to have been fitted to standard production cars and because the look can be re-created with high-temperature paint, collectors suspect there are now more blue tubes than were ever produced by the factory.

1958 Chevrolet Corvette “Fuelie” with fuel-injected 283 cubic inch (4.6 litre) V8.  The Rochester mechanical fuel injection worked better than the Sonoramic but didn’t look as good.  In 1958 the fuel-injected Corvette was Corvette was available with 250 (Code 579) or 290 (Code 579D) horsepower (HP), the more powerful almost twice as popular, selling 1007 compared with 504.

Engineers and other real nerds tend to use terms like “short ram” & “long ram” for the induction system but because of the attraction of the word, most today seem to prefer “Sonoramic”.  Within the corporation, Dodge used “D-500 Ram Induction” and Plymouth called it “SonoRamic Commando” but when installed on the letter-series Chrysler 300s, both “Ram Induction” & “Ram Injection” appeared, the latter apparently exclusive to print advertising (which at the time tended to be more in magazines (not necessarily specialist automotive publications), the agency’s tactic to engage in a bit of what would later be called “ambush marketing” by piggy-backing on the image created by General Motors’ successful promotion of the mechanical “fuel-injection” system their Rochester division was producing for Chevrolet and Pontiac.  These days, such an approach might be labelled “deceptive and misleading conduct” but if folk in the early 1960s weren’t more forgiving, they were less litigious.

1958 Plymouth advertising.

The Sonoramic's plumbing couldn’t match what fuel-injection achieved but as the acceleration tests and high-speed runs confirmed, it did what it said on the tin and was considerably cheaper than the intricate mechanical mechanism.  However, there were drawbacks to the simplicity because unlike most of Detroit’s other implementations of dual four-barrel carburettor (“dual-quad” to the nerds) the Sonoramics ran permanently with all eight throats feeding the engine, each unit attached to the opposite bank of cylinders.  On systems where the carburettors were more closely placed (in-line or side-by-side), the usual practice was to use just one except when needed, the same principle as the “demand superchargers” used during the inter-war years by Mercedes-Benz in which the blower was engaged only when the upper gears were in use and the throttle was pushed wide open, high in the rev-range.  What that meant was the dual quad cars delivered fuel economy which was “poor” rather than the “atrocious” delivered by the Sonoramics but both appealed to a demographic which accepted that for everything one does there’s a price to be paid and gas (petrol) then was cheap although not quite as cheap and its expression in pre-inflation dollars & cents make it appear to twenty-first century eyes.

Sonoramic in red, one of the rare "short tube" versions tuned for top-end power.

Anyway, when filling up, owners of Sonoramics had the consolation of being able to open the hood and gaze lovingly at their sensuous tubes, a construction visually more accomplished than Rochester’s business-like hardware.   Unfortunately the affection didn’t always extend to the behaviour when starting a Sonoramic on a winter morning, the combined 120 inches (3 metres) of cold aluminum far from ideal at maintaining the fuel-air mix in the required aerosol.  Until the metal was warm, fuel was prone to condensing, creating what was soon known as the dreaded “puddling effect” and in colder places some owners improvised “heated inlet manifolds”, the most simple approach being a pair of incandescent light bulbs rigged above the tubes for 30 minutes prior to starting, one instance where the inherent inefficiency of the old technology (where much energy was lost as heat rather than light) proved useful.  Others gave up and had the system exchanged for a prosaic single four-barrel carburetor, an echo of Chrysler’s miserable experience in 1958 when 35 cars were built with Bendix “Electrojector” fuel injection.  Unfortunately, the on-board analogue computer (which which had performed reliably in testing) proved fragile in real-world conditions (shades of MG's experience with the MGA Twin-Cam) and all but one of the cars was returned to dealerships in response to a corporate recall to be converted to the standard dual-quad apparatus.  It would be decades before advances in solid-state technology made electronic fuel-injection a viable mass-market product.

One of the Sonoramic’s relations: 1993 Mercedes-Benz 600 SEC (C140).   

Despite the impression probably gained by the few souls who now trouble themselves to see what lies under a hood (bonnet), long-tube induction is common but now usually concealed beneath enveloping plastic moldings (sometimes fashioned from real or fake carbon fibre as the price tag rises).  The manufacturers have sound reasons for doing that but the expanse of flat, black plastic is an uninspiring sight compared with things like the 6.0 litre (365 cubic inch) Mercedes-Benz V12 (M120).  The C140 & W140 were among the last of the old-style Mercedes-Benz of admirable engineering & build quality but even in some of them the troublesome tentacles of new concerns intruded, manifested by sometimes fragile electronics and wiring with coatings which biodegraded prematurely.  In 1993, because of model proliferation, the factory changed the naming convention so in that year there were some "one off" badges including the early V12 R129 roadsters appearing as "600 SL" (later to be SL 600) and the sequence of the C140 was especially unusual in that it was the last of the “SECs” and the first of the “CLs”, its mid-life spent as an “S”, the confusing alpha-numeric trajectory of the C140 600 being:

1992 600 SEC (Not sold in North America)

1993 600 SEC (Global)

1994-1995 S 600 (Global)

1996-1997 S 600 (North America) & CL 600 (RoW (rest of the world))

1998 CL 600 (Global)

1999 CL 600 (North America only)

Republic P-47 Thunderbolt test-bed with XI-2200 V16 (1945).

Chrysler’s interest in ram tuning was an out-growth of the desire to exploit the findings of research undertaken during the war developing very high-performance piston engines for fighter aircraft.  This had culminated in the XI-2220, a 2,220 cubic inch (36.4 litre) V16 aero-engine which, rated at 2450 HP, was tested in a Republic P-47 Thunderbolt (1947-1945), an appropriate platform given the P-47 was then the biggest, heaviest single-engined fighter ever to enter service (among piston-engined aircraft, it still is).  Although the indications were that close to 4000 HP was achievable (at least for short durations under the EWR (emergency war rating protocol), with the advent of the jet engine the days of the big piston-engined fighters were nearly done so the V16 project was cancelled, a fate suffered also by the other outstanding big aero-engine of that last generation: the Napier-Sabre H24.

XI-2220, V16 aircraft engine (1944-1945).

The lessons learned however would be applied on the ground instead of in the skies because although big capacity piston engines had mostly been rendered obsolete for fighter aircraft, a few generations of some a bit smaller were about to start roaming American roads.  The cars and their engines would be like nothing before seen in mass-produced, affordable cars, Chrysler adopting for their new 331 cubic inch (5.4 litre) V8 in 1951 the V16’s hemispherical combustion chambers, a feature it would use for most of that decade and the next and such was the aura of the name it’s used still, even if things inside are now a bit less hemispherical.

Chrysler A-311 V8 experimental engine.

The new Hemi V8 had obvious performance potential and the engineers experimented with the tuned-length induction system used on the V16 before the aero-engine's final supercharger/turbocharger combination was adopted.  So successful was the ram-tuned V8 (named A-311) attempts were made to contest the 1952 Indianapolis 500 but the race’s sanctioning body understood the implications the remarkable new powerplant would have on their carefully-curated ecosystem of owners and sponsors so declared it didn’t comply with the rules (even tweaking them a bit to ensure it never would).

The Ramcharger Club’s 1949 Plymouth Business Coupe with “ram-charging” intake manifold (a concept soon to be marketed as “SonoRamic”) and “eight-into-eight megaphone exhaust” apparatus, circa 1958.

The research however continued and, although it’s not clear to what extent their efforts received factory-support, in the late 1950s some of Chrysler's young engineers formed the drag racing-focused Ramchargers Club using, somewhat improbably, a 1949 Plymouth business coupe fitted with a particularly extravagant implementation of the technology, a surrealistically tall intake manifold, a device built for dynamometer testing and never intended for a moving vehicle.  They dubbed the Plymouth "High & Mighty".  Bizarre it may have looked but the cartoon-like Plymouth achieved results which vindicated the approach and a less obtrusive version of the system was made available on certain Plymouths, Dodges and Chryslers, the highest evolution of Sonoramic offered on the 300 letter series cars until 1964.

Lindsay Lohan enjoying the effects of fluid dynamics.

Not content with applying the science of fluid dynamics only to the induction system, the Ramchargers used it also for the exhaust headers.  Rather than additional power, the commendably juvenile quest was for noise, the exaggerated, trumpet-like tubes using the megaphone principle which increases volume by raising acoustic impedance.  The desired result was achieved and although there's no record of anyone with a decibel-meter taking a reading, the old Plymouth was said to be spectacularly loud; megaphone exhausts subsequently were banned.    

Chrysler Slant Six with Hyper Pak.

Chrysler didn’t restrict the ram induction idea to the big-block V8s, using it also on the short-lived (1960-1962) Hyper Pak performance option for the both 170 cubic inch (2.8 litre, 1959-1969) and 225 cubic inch (3.7 litre, 1987-2000) versions of their Slant Six, the engineers taking advantage of the space afforded by the angled block to permit the curvaceous intake runners nearly to fill the engine bay.  The Hyper Pak wasn't seen in showrooms but was available as an over-the-counter kit (literally a cardboard box containing all necessary parts) from Dodge & Plymouth spare parts departments and its life was limited because it became a victim of its own success.  Although less suitable for street use because it turned the mild-mannered straight-six into something at its best at full throttle, in the race events for which it was eligible it proved unbeatable, dominating the competition for two years, compelling the sanctioning body cancel the series.  Success isn't always rewarded.

Although it was the longer lived 225 version which gained the Slant Six its stellar reputation for durability and the ease with which additional power could be extracted, there's always been a following for the short-stroke 170 because of its European-like willingness to rev, the characteristics of the over-square engine (unique among the slant-six's three displacements (170-198-225)) unusually lively for a US straight-six.  Despite some aspects of the specification being modest (there were only four main bearings although they were the beefy units used in the 426 cubic inch (7.0 litre) Street Hemi V8), for much of its life it used a tough, forged steel crankshaft and high-speed tolerant solid valve lifters, features which made a robust engine.  Despite that, after the Hyper Pak affair, Chrysler showed little interest in any performance potential, knowing the US preference for V8s, something which doomed also Pontiac's short-lived single overhead camshaft (SOHC) straight-six (1966-1969).  A version of the 225 with a two-barrel carburetor (rated at 160 horsepower, an increase of 15 over the standard unit) was offered in some non-North American markets where V8 sales were not dominant and it proved very popular in South Africa, Australia, New Zealand and Central & South America but only when tighter US emission regulations forced its adoption did a 225 with a two barrel carburetor appear in the home market, installed to restore power losses rather than seek gains.

Cavitation

Cavitation (pronounced kav-i-tey-shuhn)

(1) The formation of pits on a surface.

(2) In fluid dynamics, the rapid formation and collapse of vapor pockets in a flowing liquid in regions of very low pressure (associated especially with devices such as rotating marine propellers or the impellers used in pumps.

(3) Such a pocket formed in a flowing liquid; the formation of cavities in a structure.

(4) In biology, the formation of cavities in an organ (used originally to describe those appearing in lung tissue as a result of consumption (tuberculosis)).

1868: The construct was cavit(y) + -ation.  Cavity was a mid-sixteenth century borrowing from Middle French cavité or the Late Latin cavitās, from the Classical Latin cavus (hollow, excavated, concave), the construct being cav +‎-ity (the nominal suffix).  The suffix -ation was from the Middle English -acioun & -acion, from the Old French acion & -ation, from the Latin -ātiō, an alternative form of -tiō (thus the eventual English form -tion).  It was appended to words to indicate (1) an action or process, (2) the result of an action or process or (3) a state or quality.  Cavitation is a noun, cavitate, cavitated & cavitating are verbs and cavitatory & cavitatory are adjectives; the noun plural is cavitations.

The original use of cavitation dates from 1868 and appeared in the literature of human pathology, describing “the formation of cavities in the body”, especially those appearing in lung tissue as a result of consumption (tuberculosis).  The use in fluid dynamics (particularly pumps and marine engineering) emerged in circa 1895 although oral use may have predated this: the verb cavitate (to form cavities or bubbles (in a fluid)) documented since 1892 so it was either a back-formation from cavitation or the construct was cavit(y) + -ate.  The related verbs were cavitated & cavitating.  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  The noun supercavitation was a creation of plasma physics and described an extreme form of cavitation in which a single bubble of gas forms around an object moving through a liquid, significantly reducing drag.  As observational technology & techniques improved, the form ultracavitation also appeared to describe instances where instances of the phenomenon meant drag tended as close to zero as was possible.

Cavitation is an interesting aspect of fluid dynamics but it’s studied because it’s something which can cause component failure in devices like the pumps used for liquid, fluid & gas which can have catastrophic consequences for both connected equipment and people in the vicinity and beyond.  Such components typically feature robust construction but cavitation is a function of sustained operation (often 24/7) at high speeds and some vulnerable parts may be heavy and the fragmentation at high velocity of a heavy, reciprocating mass is obviously a serious problem.  Technically, it’s the formation of vapour- or gas-filled cavities in a flowing liquid when tensile stress is superimposed on the ambient pressure and one novelty in the science of cavitation was in 2021 noted by researchers in an oncology laboratory.  Using a gassy, explosive bacteria to destroy cancer cells by bombardment, the strikes were observed to produce a brief sonoluminescence (in physics, the emission of short bursts of light from imploding bubbles in a liquid when excited by sound), the cavitation bubbles producing a brief flash of light as they collapsed.

In the specific case of “pump cavitation”, the problem typically occurs when a hydraulic pumps which pumps liquids suffers a partial pressure drop.  What the change in pressure can induce is the formation of air bubbles, leading to cavity creation.  Inside the pump, the pressure shift transforms the liquid into a vapor which is then converted back to liquid by the spinning impellers.  The air bubbles thus are constantly moving inside the housing and as they implode during pressure changes, the surfaces of the impeller are eroded and it’s the creation of these tiny cavities which can accumulate sufficiently to weaken the structure to the point of failure.  The issue particularly affects centrifugal pumps but can occur in submersible devices.

Lindsay Lohan enjoying the effects of fluid dynamics.

Although something identified by engineers in the nineteenth century, the exact nature of cavitation wasn’t fully understood until the application in the 1950s of high-speed photography and the mathematical models developed then were later confirmed as close to exactly correct by computer simulations later in the century.  What was found was two causes of cavitation : (1) Inertial Cavitation in which a shock wave is produced by the collapse of bubble or void present in a liquid and (2) Non-inertial Cavitation which is initiated when a bubble in a fluid undergoes shape alterations due to an acoustic field or some other form of energy input.  Also observed were two behaviors of cavitation: (1) Suction Cavitation induced by high vacuum or low-pressure conditions which reduce the flow of fluid, bubbles forming near the eye of an impeller eye; as these bubbles move towards the pump’s discharge end, they are compressed into liquid, and they will implode against the impeller’s edge and (2) Discharge Cavitation which occurs when the pump’s discharge pressure becomes abnormally high, altering the flow of fluid, leading to internal recirculation, the liquid becoming “stuck” in a pattern between the housing (and the impeller) thereby creating a vacuum which in turn creates the air bubbles which will collapse and cavitate the impeller.

Representation of fluid dynamics under specific resonant conditions.

In fluid dynamics, a flow becoming “stuck” is often something to avoid but an aspect of the behavior can be exploited and it was a specific instance of certain “resonant conditions” Chrysler’s engineers exploited in 1959 when designing their Sonoramic induction system.  The idea wasn’t new, the math explained as early as 1863 and in racing cars it had been used for years but what Chrysler did was make it a focal point.  Sonoramic was an implementation of Sir Isaac Newton's (1642–1727) first law of motion, more commonly known as the law of inertia: “An object at rest tends to stay at rest and an object in motion tends to stay in motion” and it’s the second part which was exploited.  During the intake cycle of an engine, the fuel-air mix flows through the intake manifold, past the intake valve, and into the cylinder, then the intake valve shuts.  At that point, the law of inertia comes into play: Because the air was in motion, it wants to stay in motion but can’t because the valve is shut so it piles up against the valve with something of a concertina effect.  With one piece of air piling up on the next, the air becomes compressed and this compressed air has to go somewhere so it turns around and flows back through the intake manifold in the form of a pressure wave.  This pressure wave bounces back and forth in the runner and if it arrives back at the intake valve when the valve opens, it’s drawn into the engine.  This bouncing pressure wave of air and the proper arrival time at the intake valve creates a low-pressure form of supercharging but for this to be achieved all variables have to be aligned so the pressure wave arrives at the intake valve at the right time.  This combination of synchronized events is known as the “resonant conditions”.

Representation of cavitation in mechanical gears.

The behavior in pumps is now well understood and both design parameters and maintenance schedules are usually cognizant of cavitation and its potential consequences.  However, instances remain not infrequent, especially when pumps are fitted into systems by non-specialists, the most common causes being (1) low fluid pressure, (2) insufficient internal diameter of suction pipes, (3) excessive distances between a fluid source and a pump’s impeller(s), (4) pumps being run at too high a speed (which may be within a manufacturer’s recommendations but inappropriate for the system in which it’s installed), (5) too many fittings added to a suction pipe and (6) debris intrusion (often a consequence of inadequate filter cleaning & maintenance).  Cavitation is a function of speed and in devices such as slow-speed propellers (such as those in many marine applications), cavitation is not an issue, thus the frequent use of light, efficient, thin blades.

Crossbody

Crossbody (pronounced kraws-bod-ee or kros‐bod-ee)

(1) Of or noting a type of bag, distinguished by a long shoulder strap intended to be worn diagonally across the body.  A crossbody purse or crossbody wallet is a variation on the theme.

(2) In professional (ie choreographed) wrestling, a term covering several aerial moves in which one competitor launches themselves from a height (sometimes using the ring’s ropes or corner-posts to gain altitude) landing horizontally or diagonally across their (often already) prostrate opponent's torso, forcing them to the mat if they were standing.

Early 1950s: The construct was cross + body.  As a prefix, cross was from the Middle English cros- & crosse- (relating to a cross, forming a cross, in the shape of a cross or “X”), developed from the noun and influenced by “across”.  Body (the spelling bodie is long obsolete) was from the Middle English bodi & bodiȝ, from the Old English bodiġ (body, trunk, chest, torso, height, stature), from the Proto-West Germanic bodag (body, trunk), from the primitive Indo-European bhewd (to be awake, observe).  It was cognate with the Old High German botah from which the Swabian gained Bottich (body, torso).  Although as late as the sixteenth century, “body” was used in the now archaic sense of the “section of a dress or gown extending from the neck to the waist but excluding the arms” the idea of the crossbody was a reference always to “the body” in the sense of the physical structure of a human form, in this case the torso, the line extending from a shoulder to around the opposite hip.  The alternative spelling is cross–body.  Crossbody is a noun & adjective; the noun plural is crossbodies.

The cross-prefix has widely been used for similar or analogous purposes such as the crossbow, (an early, mechanized version of the bow and arrow), the cross-bolt (a means of adding additional structural rigidity to the main bearings in an internal combustion engine by adding locating bolts at a 90^o angle to those mounted vertically) and cross-purposes (a conversation in which two or more are talking while misunderstanding each other's plans, intentions or meanings) and the cross-stitch (in needlework or embroidery, a double-stitch which forms a cross.  Many other uses such as cross-country, cross-dresser, cross-cultural etc, are different in that they don’t involve the “X” shape or (of necessity) anything in a diagonal.

Bill Clinton & Monica Lewinsky, the White House, February 1997, one of the photographs of the 1990s.

Monica Lewinsky (1973) was the young intern of whom in 1998 Bill Clinton (b 1946; US president 1993-2001) infamously remarked “I did not have sexual relations with that woman… Miss Lewinsky.”  Had that been something said in a county court in a flyover state of a consensual encounter between two obscure private citizens, defense counsel may have succeeded in arguing that for there to be “sexual relations” one must have “sex” and what transpired had not crossed the accepted definitional threshold.  In 1998, there probably were still places where such distinctions were maintained but because what happened happened in the White House between the chief magistrate of the United States and an intern a quarter century younger, Monicagate played out.  A trained lawyer and former Arkansas attorney-general, Mr Clinton may have been tempted to say “I did not have congress with that woman… Miss Lewinsky.”  At least arguably that could have be held to be “truthful” because “congress” generally is understood as coitus (penetrative sexual intercourse) where as “sexual relations” casts a wider net.  Whether such sophistry would have saved him from impeachment seems unlikely and nothing was going to save him from the wrath of crooked Hillary.  Unfortunately, in subsequent legal proceedings, we never got to hear Mr Clinton's deconstruction of “congress” but we did learn what the word “is” means and that his definition of “sexual relations” extended to “giving” oral sex but excluded “receiving” oral sex.  The latter distinction surprised a few but at least now we know.

As political sex-scandals go there have certainly been worse and as Harold Macmillan (1894–1986; UK prime-minister 1957-1963) replied when woken in the middle of the night to be told a member of his cabinet was in the midst of an affair with a young lady “with both a present and a past” who was also enjoying the affections of a Soviet spy: “Well at least it was with a woman.” (his sleepy response long quoted as an example of the old Etonian's sangfroid and reassessed only when Macmillan's bisexuality became public knowledge).  That the liaisons with the Russian were arranged at the behest of MI5 (the UK's internal security organization) is one of the many details which made the Profumo Affair (John Profumo (1915–2006)) one of the century's juiciest scandals although, some of the files containing "sensitive" information about members of the English establishment remain embargoed until 2046. Even then, few expect to see unredacted papers. 

Bill Clinton and crooked Hillary Clinton, the Hamptons, 2021.

A youthful indiscretion is one thing but an indiscretion with someone youthful is something else and whether crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) ever forgave her husband only she knows but she didn’t leave him so there was that.  She had her own reasons to stay which may or may not have involved forgiveness but the conventional political wisdom remains that had the US constitution allowed it, Bill Clinton would probably have enjoyed a comfortable victory in the 2000 presidential election so enough of the US population either forgave him or were indifferent in the matter.  Monica Lewinsky fared not as well, being as unprepared for what ensued as just about anyone in her position would have been and it’s remarkable she coped as well as she did.  However, now 50, Ms Lewinsky has survived and in February 2024 emerged as the face of women’s fashion label Reformation’s latest campaign, one focused on corporate workwear and, in concert with vote.org, encouraging women to “use their voice” in the upcoming election and given the extent to which recent court decisions have encouraged an influential faction in the Republican Party to mount further assaults on the rights of women, their vote has the potential to be decisive in contests for both houses of Congress.

Monica Lewinsky's photoshoot for Reformation’s You’ve Got the Power campaign. 

The “You’ve Got the Power” campaign slogan thus has a dual meaning, referencing both the exercise of the franchise and the “power dressing” of the wardrobe (good taste prevailed and no electric blue dresses were featured) although big shoulder pads didn’t make a return which would have disappointed some but the corporate staples red (here described as “scarlet”) and black were prominent.  The range was conservative as befits the target market but seems to have been well-received and serious students of such things especially appreciated the inclusion of an irregular polka-dot in black & white.  Ms Lewinsky certainly looked good and while photographers have tricks to play with lighting and angles, there’s little to suggest much post-production editing was done; she looked a youthful, elegant 50.  One piece which attracted attention was the “Monica” bag which came with both a fitted top-handle and a longer strap, allowing it to be carried on the shoulder or as a crossbody.

Reformation’s "Monica" crossbody bag in black (left) and topo (right).

The Monica crossbody bag is available in topo or black.  Topo is a Spanish word meaning “mole” (both (1) in zoology as the small mammal and (2) in the jargon of espionage a “sleeper agent” who infiltrates an organization, usually to spy) and as a dark brownish-grey colour (ie an approximation of the colour of a mole's skin (hence the familiar "moleskin"), it’s the equivalent of the English taupe, from the French taupe, from the Latin talpa (mole).  In the circumstances, “talpa” presumably was more appealing to the marketing department than “moleskin” although “black” was refreshingly simple.  Reformation’s Monica (as in the crossbody bag) web page recommended the topo hue worked well paired with their “Lysander” dress, available in “selene” (the rather fetching polka-dot) or “midnight” (a dark blue close to navy and far enough removed from the shade of dress Ms Lewinsky made famous not to attract comment).  How fashion houses come up with product names is often mysterious.

Lysander was from the Ancient Greek Λῠ́σᾰνδρος (Lúsandros) and is a (now rare) male given name although in the US there has in the twenty-first century been a modest resurgence.  In the Greek, the name was used to denote “liberator” and it became entrenched in English probably because William Shakespeare (1564–1616) used it in the comedy, A Midsummer Night's Dream (1596), a romp in which Lysander found himself under Puck's spell after running away with his beloved Hermia, enduring a half-dozen cases of mistaken identity before being reunited, marrying in a triple ceremony (all of which sounds curiously modern in a Netflix sort of way).  What Reformation may have had in mind was Lysander (circa 454-395 BC), the Spartan admiral who liberated his people from the hegemony of Athens, his most famous victory being the sinking of the Athenian fleet at the Battle of Aegospotami (405 BC), the engagement which ended the Peloponnesian War.  Presumably, the thinking at Reformation was the name of an admiral from Antiquity was enough of a connection with navy blue although that tradition of use in navies began many centuries later.  There was also the Westland Lysander, a World War II (1939-1945) era communications & support aircraft used by the British Army and best remembered for (1) its role in smuggling spies and saboteurs into occupied Europe and (2) the unusual use of the wheel spats as mounting points for machine guns and ordnance such as 250lb (115 KG) bombs.  In production in the UK & Canada between 1936-1943, it was an uncelebrated but versatile platform which provided invaluable service in the clandestine operations run by the UK’s remarkably large number of agencies concerned with dirty tricks and other murky business.  It’s not likely Reformation thought much about the aircraft.

The Monicagate (1998) effect: The decline of the use of the name Monica in the US

Monica is a female given name and the variants in other European languages include Monique (French & Dutch), Mónica (Spanish Portuguese & Italian), Mônica (Brazilian Portuguese), Monika (Polish, Slovak, Slovine, Lithuanian, Croatian, Finnish, German & Indian, Czech, Bulgarian, Latvian, Finnish, Swedish, Norwegian & Danish), Moonika (Estonia), Mónika (Hungarian) and Mònica (Catalan).  The origin is obscure but may be from a Phoenician, Punic or Berber dialect, the oldest known instance being as the name of the mother of Saint Augustine of Hippo (354–430) although it has also been associated with the Ancient Greek μόνος (monos) (alone, only, sole, single).  It was Monica who converted Augustine to Christianity and in gratitude the Church also canonized her.  The Latin name Monica was from monere (to advise), an inflection of moneō, from the Proto-Italic moneō, from the primitive Indo-European monéyeti, causative from men- (to think); it was etymologically unrelated to later forms.  As an English name, it has been in use since the mid-eighteenth century while in the US, popularity peaked in the mid-1970s before beginning a gradual decline which became a precipitous plummet after 1999, something it seems reasonable to attribute to “the Monicagate effect”.

Lindsay Lohan with crossbody bags: At the LLohan Nightclub pop-up event, Playboy Club, New York, October 2019 (David Koma crystal-embellished cady midi dress with asymmetric hem, Valentino Rockstud 110mm pumps and Chanel mini tweed bag with crossbody strap from the Spring/Summer 2015 runway collection) (left) and with Louis Vuitton Le Coussin BB Bag (with a detachable crossbody strap), arriving with appropriate tatterdemalion chic (right), at JFK Airport, New York City, August, 2022 .

Creature of habit: Audrey Hepburn carrying her crossbody purse, Rome, 1971.

The crossbody bag in one form or another would have existed about as long as there have been bag-like creations for holding stuff because the design offers the advantage of transferring the weight to the shoulders (alternating if required) and leaving the user inherently "hands free".  Although for centuries a feature of military webbing, as a packaged piece of fashion, the industry usually credits the "design" of the product to Robert Sakowitz and later refinements to his daughter Bunny (she added the game-changing zipper!), the latter acknowledging a debt to the eighteenth century cross-body "strap bags".   The mix of thoughtful detailing, practicality and high prices meant that in the 1950s it soon became a a fashion staple and Audrey Hepburn (1929–1993) using one in her portrayal of the modern young spinster Holly Golightly in the movie Breakfast at Tiffany's (1961) cemented it's place.  It's never left and a crossbody bag is merely one worn across the body with the strap extending diagonally from one shoulder to the opposite hip but the utility come from (1) hands-free convenience, (2) security & stability while affording ease of access to multiple compartments and (3) the ability to optimize weight distribution.  The crossbody method can be applied to bags of various sizes and there are even crossbody wallets and small purses and while such things might sound merely decorative, men tend often forget it's not uncommon for a woman's entire outfit to include not one pocket; in an era when the modern young lady needs little more than her phone, a lipstick and a small can of mace, practicality need no longer imply big.

Lindsay Lohan in Rupert Sanderson (b 1966) Tiffany High Heel Sandals in Gold Mirror with Gold Caps on a four-inch (100 mm) heel.  Uno de 50 20^th anniversary party, Palacio de Saldana, Madrid, Spain, 9 June, 2016.

In fashion, the “cross-body” idea doesn’t need to be asymmetric with straps and such sometimes “mirror-imaged”.  In some cases that’s deterministic because, the essence of structural engineering being “making push equal pull”, it can be necessary to match something on the left with something on the right.  With strappy stilettos that approach obviously is optional there are asymmetric and symmetric implementations, both variations of “cross-body” and, in the case of this example, “cross dorsum” (top of the foot).

1961 Chrysler 300 G with SonoRamic “cross-ram” induction system (left) and Ford’s one-off abortive “Indy Cleveland” V8 with X-pattern push rod configuration (right).  The pair of bifurcated Sonoramic tubes were available in designer colors and red ones are thought very cool.  

In engineering, not all instances of the “cross-body” idea are there to provide or enhance structural integrity.  Chrysler’s SonoRamic induction system was developed in the late 1950s to gain some of the benefits offered by supercharging without the weight, complexity and cost.  The 30 inch (760 mm) long tubular intake runners with their distinctive “cross-body” layout were used because the engineers needed the length to achieve the required “resonant conditions” an exploitation of the properties of fluid dynamics made possible.  At that length, the system greatly enhanced mid-range torque, characteristics ideal for street use.  When a version was produced for competition where the need was greater top-end power, the tubes needed to be only half the length but for production line simplicity, the external dimensions were retained with the inner sections re-calibrated so the physics were active only over the final 15 inches (380 mm).

Fords one-off “Indy Cleveland” V8 was built in 1968 by Henry "Smokey" Yunick (1923–2001), a World War II bomber pilot who in the post-war years carved a distinctive role as one of the most imaginative souls ever to develop racing cars.  The genesis of the project lay in the competition rule permitting a generous 355 cubic inch (5.8 litre) displacement if a “stock-type” block was used.  Ford was in the throes of developing its 335 series engine (later called the “Cleveland” because the foundry where the blocks were cast was in Cleveland, Ohio) with a slated capacity of 352 cubic inches (5.8 litres and marketed as “351” because Ford had earlier produced an unrelated 352) so it was an obvious choice for the venture.  Freed from the limitations of having to produce something with the compromises necessary for use on the street, what Mr Yunick did was design a poly-angle valve-train geometry with angled, "criss-crossed" pushrods and ports larger even than those which ended up on the Cleveland's “4V” (ie “four venturis”) "big-port" cylinder head, intended for use with a four barrel carburetor.  As subsequent experience revealed, the generously sized intake ports on 4V heads were too big for wholly satisfactory street use and were ideal only in racing where so much time is spent at full-throttle;  for the “Indy Cleveland”, destined for the circuits, the big ports were perfect but unfortunately, Ford’s corporate in-fighting meant the project proved abortive and the single example built remains a museum piece.  After the brief "big port" era ended, Ford continued to use the "2V" & "4V" as verbal shorthand to distinguish between two and four barrel carburetors but confusing some, after production of the Cleveland was in 1974 shifted to Australia, the engineers there did a "mix & match", pairing the 2V heads with a 4V carburetor, creating a compromise optimized for road use.    

The "other Monica", the Monica 560

France's finest ever: 1963 Facel Vega Facel II, Paris, 1963.

In the fashion business there have been a number of products named “Monica” and it’s likely this often was for no reason other than it was thought appropriately feminine and pleasing to use.  There is also an automotive footnote, the Monica 560 a French-built luxury car which was the last of what often are referred to as the "first generation" of trans-Atlantic hybrids which, combining elegant European coachwork with robust, powerful, very cheap (and very thirsty) US-sourced drive-trains, flourished between the mid-1950s and the first oil shock two decades later.  They weren't really the "first generation" because there were manufacturers of such things during the 1930s but the sales volumes were tiny.  It’s often said the Monica was an attempt to resurrect the much lamented Facel Vega (1954-1964) but the founder was more nostalgic still, the industrialist Jean Tastevin (1919-2016) recalling the pre-war Delahayes, Bugattis Delages & Buccialis, French cars which ranked with the world’s finest.  However, when in the late 1960s Monsieur Tastevin surveyed the scene, even the more expensive French cars, whatever their other virtues (some of which were admittedly well concealed), were under-powered and although in many ways sophisticated, lacked the power and refinement of the British, US & European competition.  His core business was the large conglomerate Compagnie française de produits métallurgiques (CFPM) which specialized in building freight rail wagons, his imaginative business model including leasing them, a form of vertical integration which provided a stable revenue stream during periods of diminished demand.  

One of the valve cover castings for a Martin V8 installed in a prototype Monica.

With this industrial capacity and financial infrastructure, he reasoned building a car to compete with the other speciality builders (and he included in that the upper-range Mercedes-Benz, Jaguars and such) was within CFPM’s capacity and in that he may have been correct but a combination of bad decisions, bad luck and bad timing doomed the project.  The first mistake was to try to match Maserati & Ferrari in the use of a bespoke engine rather than the US V8s pragmatically adopted by Jensen, Bristol, Iso, Monteverdi and others; Tastevin wanted a thoroughbred, not a bastard.  What was available was a V8 designed by the gifted English engineer Ted Martin (1922-2010) and it was in many ways outstanding being robust, compact, powerful and light.  Convinced, Tastevin bought the rights along with the collateral contract under which Rolls-Royce agreed to handle the production, the prestige of a “Rolls-Royce-built engine” another thing which appealed.  Unfortunately, Monsieur Tastevin subsequently demanded of Rolls-Royce they guarantee the power output of each unit, an underwriting the company declined on the basis that as a manufacturing and assembly contractor of something they’d not designed and tested, they were not prepared to guarantee someone else’s work.  His contract well-written, Ted Martin kept the money and Tastevin had to find another engine.

The first (left) and second (centre) Monica prototypes and the Amiot 143M (1931-1944), a French five-seat reconnaissance bomber (right).

By early 1968, that was still to happen and prototypes were built with the Martin V8.  There was progress in that the chassis and most of the underpinnings were in close to their final form but the all-important styling was still a work in progress although that is being charitable, the appearance of the early prototypes in the tradition of some of the inter-war bombers built for the French Air Force which to this day remain among the ugliest aircraft ever to fly.  The English were involved in the appearance of the early cars so blame can be shared and it wasn’t until the Italian carrozzeria Vignale became involved, something like the final, sleek form emerged although the work would be brought to fruition by others because Vignale subsequently was shuttered.  One thing which was deemed right as soon as the decision was made was the car’s name: Madam Tastevin’s name was Monique.

The Monica stand, Paris Motor Show, 1972.

The Monica made its debut at the Paris Motor Show, late in 1972 and impressed many with the look of its jewel-like V8 and sumptuous interior although the price raised a few eyebrows, costing as much as two Citroën SMs, then France's most expensive car in series-production.  In the way of such things, the sales projections were optimistic, suggesting as many as 500 Monicas annually even though the market for big, expensive four-door saloons had become crowded; not only were specialists like Iso, Monteverdi and De Tomaso offering fully-developed and well-established models with reliable US V8s, Jaguar’s V12-powered XJ12 had set a dynamic benchmark at an extraordinarily low price and Mercedes-Benz were rumoured to be preparing a 7.4 litre (452 cubic inch) version of their epoch making S-Class (W116, 1972-1979) (post-oil shock, eventually it would in 1975 surface as the 450 SEL 6.9).  Still, in 1972, generally, there was still faith in the future.

1973 Monica 560 interior.  The engine was from the US, the leather & burl walnut was English, it was styled in both in Italy & England and the gearbox was German (or from the US if automatic).  The car was said to have a "French flavor". 

There optimism was still in the air in 1973 (the oil wouldn’t stop flowing until October) but by then the hunt was on for a new engine.  The contractual squabble with Rolls-Royce was one thing but by then, it had anyway finally occurred to Tastevin’s inexperienced team that the Martin V8, an enlarged racing engine, was never going to possess the characteristics needed in a luxury car.  It was noisy, at its best with a manual gearbox and at anything but high revs (where it needed to operate to produce the required power), somewhat rough.  In the early 1960s the Maserati Quattroporte had to a lesser extent displayed something of that character though it sold well but then there were few alternatives; by the next decade, the world had moved on and what buyers wanted was the turbine-like smoothness of the XJ12 or the effortless torque of the big-displacement V8 hybrids.  The 3.4 litre (209 cubic inch) Martin V8 was a vibrant thing which would have been entertaining in a sports car but it wasn't what the target market now expected in a luxury saloon.  Tastevin’s original plan had been to build a high-performance sports car and the switch to four-door coachwork came early in the development process but of all the hybrids built in the era, the Monica was the only one never offered as a two-door coupé. 

One of the few: 1974 Monica 560 Berlina.  The flowing lines were much admired and clearly not forgotten because the motifs re-appeared early in the next century on the Maserati Quattroporte V (Tipo M139, 2003-2012), that shape from Pininfarina's studio.

Surrendering to the inevitable, Tastevin phoned Detroit and arranged to purchase a batch of Chrysler’s 340 cubic inch (5.6 litre) (LA) V8s, one of the best of the small-block engines of the era and equally adaptable either to the company’s TorqueFlite automatic transmission or the ZF five-speed manual which still had real appeal for some.  Although by then somewhat detuned from its peak during the muscle car years, the 340 could be run in Europe without most of the power-sapping anti-pollution gear insisted on by US regulators (things were different then) and the performance was sparkling; in deference to Europeans for whom cubic inches were mysterious, the car was named the Monica 560 (an allusion to the V8's 5.6 litre displacement).  In 1974, the finished product was ready for sale although inflation meant the already high price had risen by over 50% since 1972 and the four-fold increase in the price of oil in the wake of the embargo had punished demand for fast, thirsty, cars, especially those from a previously unknown manufacturer.  By late 1974, many of the makers of the trans-Atlantic hybrids were either closed or in the throes of what would for most be a not long-protracted demise.  After 17 Monicas were sold in a few months, it was obvious the math was wrong and in February 1975, the company’s closure was announced, one of many such press-releases that year and while a handful of uncompleted chassis were brought to a finished state by a contracted third party, it’s never been clear how many.  Had the Monica 560 been brought to market in 1968 or 1969, it might have enjoyed some years of modest success although there’s no reason to believe it would have weathered the winds of change which blew through the 1970s any better than others blown away.