Pink (pronounced pingk)
(1) A definition
of perceived color varying between a light crimson to a pale reddish purple
(sometimes described as fuchsia); any of a group of colors with a reddish hue
that are of low to moderate saturation and can usually reflect or transmit a
large amount of light; a pale reddish tint.
(2) Any
of various Old World plants of the caryophyllaceous genus Dianthus, such as D.
plumarius (garden pink), cultivated for their fragrant flowers including the
clove pink or carnation (sometimes referred to as the pink family); the flower
of such a plant; any of various plants of other genera, such as the moss pink.
(3) The
highest or best form, degree, or example of something (expressed usually as “in
the pink” or “the pink of”).
(4) As
the disparaging slang pinko, either (1) a communist or one so suspected (US) or
(2) a socialist (UK and English-speaking Commonwealth) (both dated).
(5) In
informal use, a document provided in commerce or by government for some purpose
which was historically issued on pink tissue paper (usually a carbon copy), the
term still in some cases enduring for the modern digital analogue.
(6) In
fox hunting as “the pinks”, a coat worn by riders (although actually in a shade
of scarlet).
(7) In
military tailoring, the pinkish-tan gabardine trousers once worn in some
regiments as part of an officer’s dress uniform.
(8) In
the stone trade, the general term for marble of this color.
(9) In informal
use, of or relating to gay people or gay sexual orientation and used sometimes
as a modifier in this context (the pink vote, the pink dollar etc, the pink
economy et al) (dated). The pink
triangle was a literal description of the fabric patch worn on the uniforms of
homosexual inmates in Nazi concentration camps.
(10) In
labour market demography, as pink collar, that part of the workforce or those
job categories predominately female.
(11) In
commerce, as a modifier, such products as may be discerned as being of this
color (champagne, gin, salmon, diamonds et al).
(12) To
pierce with a rapier or the like; to stab (based on the idea of a pinkish stain
appearing on the clothing of one so stabbed); figuratively, to wound by irony,
criticism, or ridicule.
(13) In
tailoring, to finish fabric at the edge with a scalloped, notched, or other
pattern, as to prevent fraying or for ornament.
(14) To
punch cloth, leather etc with small holes or figures for purposes of ornament; to
adorn or ornament, especially with scalloped edges or a punched-out pattern
(mostly UK use).
(15) As
pink disease (infantile acrodynia), a condition associated with chronic
exposure to mercury.
(16) In
nautical use, a sailing vessel with a narrow overhanging transom (historically
a vessel with a pink stern).
(17) As
pinky or pinkie, the fifth digit (little finger).
(18) In
gardening, to cut with pinking shears.
(19) In
US slang, an operative of the Pinkerton National Detective Agency (archaic).
(20) In
the slang of fishing, various fish according region including the common minnow
and immature Atlantic salmon, the origin of all probably the Middle Dutch pincke.
(21) In
snooker, one of the color balls (colored pink), with a value of 6 points and in
use since the nineteenth century.
(22) In
vulgar slang, sometimes as “pink bits”, the vagina or vulva.
(23) In
slang, an unlettered and uncultured, but relatively prosperous, member of the
middle classes (similar to the Australian CUB (cashed-up bogan)) (UK archaic).
(24) In
informal use, having conjunctivitis (ie pinkeye).
(25) To
turn a topaz or other gemstone pink by the application of heat.
(26) In
(spark ignition) internal combustion engines (especially in motor cars), to
emit a high "pinking" noise, usually as a result of ill-set ignition
timing for the fuel used.
(27) Of
a musical instrument, to emit a very high-pitched, short note.
(28) In
color definition, any of various lake pigments or dyes in yellow, yellowish
green, or brown shades made with plant coloring and a metallic oxide base
(obsolete).
(29) As
pinkwashing (al la greenwashing and the figurative use of whitewashing), a fake
or superficial attempt to address issues of gay rights (though often applied to
LGBTQQIAAOP issues in general).
Circa
1200: The source of pink was the Old
English pungde (to pierce, puncture,
stab with a pointed weapon) which by the early fourteenth century had acquired
the sense of "make holes in; spur a horse" the source uncertain but
perhaps from a nasalized form of the Romanic stem that also yielded French piquer (to prick, pierce) and the Spanish
picar or else from the Old English pyngan (to prick) and directly from its
source, the Latin pungere (to prick,
pierce), from a suffixed form of primitive Indo-European root peug or peuk- (to prick). By circa
1500, it had come to mean "to decorate (a garment, leather) by making
small holes in a regular pattern at the edge or elsewhere" and that sense
endures to this day in pinking shears (although they were not so-named until
1934). The English pinge, pingen, pinken, pung & pungen (to push (a door)), batter, shove; prick, stab, pierce;
punch holes in) was from the Old English pyngan
(to prick) and dates from 1275–1325 and may be from (1) the Latin pungere (to prick, pierce), (2) the Low
German pinken (hit; to peck) & Pinke (big needle) or (3) the Dutch pingelen (to do fine needlework), the
root again the primitive Indo-European peug
(to prick).
The
words "pinkie" & “pinky” was from the Dutch pinkje, diminutive of pink (little finger), of uncertain origin, the
earliest known used in Scotland in 1808 and is common in Scottish English, US English
and elsewhere in the English-speaking world.
The nautical use dates from circa 1450, from the late Middle English pynck & pyncke, from the Middle Dutch pinke
(fishing boat). The flows were so
named in the sixteenth century and surprisingly, the use to describe the color
didn’t emerge until the eighteenth century, perhaps a shortening of
pinkeye.
The
flower family was so named in the 1570s, the common name of Dianthus, a garden
plant actually of various colors. The
family picked up the name “pink” probably because of the idea of the "perforated"
(scalloped) petals (ie “pinked” in the earlier sense) although etymologists did
suggest there might be a link to the Dutch pink
(small, narrow (in the sense of pinkie)), via the term pinck oogen (half-closed eyes (literally "small eyes), borrowed
in the 1570s, the speculative link being that the Dianthus sometimes has small
dots resembling eyes. The coincidence in
the dates is interesting but there’s no documentary evidence. It was the example of the flower which, by
the 1590s, led to the figurative use for "the flower" or highest type
or example of excellence of anything.
Actor Florence Pugh (b 1996) in hot pink Valentino Tulle gown with Valentino Tan-Go pink patent platform pumps, July 2022.
The
noun meaning "pale red color, red color of low chroma but high
luminosity" was first noted in 1733 (although pink-colored dates from the 1680s),
developed from one of the most common and fancied of the flowers and pink had
come into use as an adjective by 1720. As a physical phenomenon, the color pink
obviously pre-dated the word pink as a descriptor and the earlier name for such
a color in English was the mid-fourteenth century incarnation (flesh-color) and
as an adjective (from the 1530s) incarnate, from the Latin words for
"flesh". These however had
other associations and tended to drift in sense from “flesh-color” &
“blush-color” toward “crimson” & “blood color”; it is thus a discipline to
“translate” even early Modern English.
Lindsay Lohan in pink pantsuit with Valentino’s Rockstud pumps, New York, October 2019.
The
noun pink-eye (and pinkeye) (contagious eye infection) was an invention of US
English from 1882 although, dating from the 1570s, it one meant "a small
eye". The adjectival pink-collar
(jobs generally held by women or those considered characteristically feminine (1977)
or the female workforce generally (1979) was a back-formation based on the
earlier blue-collar, white-collar etc. Pinky
as an adjective (pinkish, somewhat pink) dates from 1790, building on the
earlier pinkish (somewhat pink), noted since 1784. The derogatory
adjectival slang pinko (soon also a noun in this context) was used of those
with social or political views "tending towards “red” (ie sympathetic to
communism, the Soviet Union (USSR) etc) since 1927 although as a metaphor that
had existed at least since 1837. It was
in the context of the time a euphemistic slur; a way of calling someone a
communist (or at least a fellow traveler) without actually saying so. In Australia, former Victorian Premier Sir
Henry Bolte (1908-1990; premier of Victoria 1955-1972) would often refer to
the local broadsheet “The Age” as “that awful pinko rag” although
he wasn’t unique in his critique, the paper’s one-time headquarters known by
many as the “Spencer Street Soviet”.
On any Wednesday.
In
idiomatic use, to be "in the pink" is to be healthy, physically fit, or in high
spirits; to be "tickled pink" dates from 1909 and is to be very happy with
something. The "pink slip" (apparently originally
a "discharge from employment notice" and historically issued on pink
tissue paper (usually as a carbon copy)),
is attested by 1915 and pink slips had various connotations in
employment early in the twentieth century, including a paper signed by a worker
attesting he would leave the labour union or else be fired. The term pink slip came to refer to a wide
variety of documents (in the US it was often the title to a car) provided in
commerce or by government for some purpose (although not all literally were
pink) the term still in some cases enduring for the modern digital analogue. To “see pink elephants”, a euphemism for
those suffering alcohol-induced hallucinations, dates from 1913 when it
appeared in Jack London's (1876-1916) autobiographical novel, John Barleycorn although such things are
not always apparitions. While in London,
famous Australian concierge Elvis Soiza (once a leading figure in the Secret Society of the Les Clefs d’Or)
managed, at remarkably short notice, to procure a pink (painted) elephant to be
led through the streets of Chelsea to delight one of the wives of a visiting
dignitary from the Middle East. It’s
apparently not since been done.
Some
languages such as Chuukese and German use pink but other descendants include
the Afrikaans pienk, the Finnish
pinkki, the Irish pinc, the Japanese pinku (ピンク), the Korean pingkeu
(핑크),
the Marshallese piin̄, the Samoan piniki, the Scottish Gaelic pinc, the Southern Ndebele –pinki, the Swahili -a pinki, the Tokelauan piniki,
the Tok Pisin pinkpela, the Welsh pinc and the Xhosa –pinki. Pink is
a noun, verb & adjective, pinker, pinkest, pinkish and pinky are adjectives
and pinkness is a noun.
The Playmate-Pink Cars, 1964-1975
Hugh
Hefner in his 1955 Cadillac Series 62 convertible. 1955 was Cadillac’s year of “peak
dagmar” and
amateur
psychoanalysts should make of Mr Hefner’s taste in automobiles what
they will.
The Playboy
Motor Car Corporation was established in New York in 1947 by a pre-war car
dealer who believed there would be much demand for a smaller, less expensive
car than those in the ranges offered by the established manufacturers, almost
all of which essentially differed little from the models which abruptly had
ceased production in 1942. In some ways
it was a modern concept, in-house manufacturing minimized in favor of outsourcing
and, wherever possible, the use of standard, off-the-shelf parts. Conceived as a small convertible with
three-abreast seating, it offered the novelty of a multi-part, retractable hard-top,
something not new but which would not be offered by a volume manufacturer for
almost a decade (before being mostly abandoned for forty years). Like many thousands (literally) of optimistic
souls who have for more than a century succumbed to the temptation of entering
the car business, the hopes of Playboy’s founders were high but many factors
conspired against the project, not the least of which was the car’s tiny size
and under-powered engine; it offered economy in an age when austerity was
becoming unfashionable and not even a hundred were built before the company
entered bankruptcy in 1951.
1949 Playboy Convertible.
With
that, the Playboy name might have passed forgotten into the annals of the New
York Bankruptcy Court. However, not long
after the company’s demise, Hugh Hefner (1926–2017; founder and
long-time editor-in-chief of Playboy magazine) received a “cease and desist” letter
from counsel for Stag magazine (a
men’s adventure title), advising a trademark protection suit would be filed
were he to proceed with the release of the magazine he intended to launch with the
title Stag Party. A new name was thus required and after
pondering Pan, Sir, Top Hat, Gentleman,
Satyr & Bachelor, Hefner’s
friend (and Stag Party’s co-founder), Eldon Sellers (1921-2016) (apparently
prompted by his mother who had worked for the failed car company) suggested
it was the ideal name. Hefner agreed
although whether that had anything to do with the clever mechanism with which the little car could be made topless has never been discussed.
With Marilyn Monroe (1926-1962) on the cover, Hefner in 1953 issued the
first edition of Playboy magazine and the rest is history. One
footnote in Playboy’s history is that between 1964-1975, the car gifted to the playmate
of the year (PotY) was usually pink. After
that, the gifts were still given but no longer in pink:
1964:
Donna Michelle Ronne, Ford Mustang convertible.
The
Mustang was the industry’s big hit for 1964, setting sales records which even
now are impressive. It was also highly
profitable, most mechanical parts borrowed from existing Ford lines and the
very platform on which it was built was that of the humble Falcon, introduced a
few years earlier as a compact (in US terms), economy model.
Only the body was truly new but it was “the body from central casting”
and while it didn't (quite) invent the “pony car” segment, it certainly defined it, its lines creating the motif which would
be imitated by many and, sixty-odd years on, the current Mustang, Dodge
Challenger and Chevrolet Camaro are all variations of the 1964 original. That original had wide appeal, able to be
configured with relatively small six-cylinder engines or larger V8s, soon to
include even highly-strung solid-lifter versions, a sign of things to come.
The
1964 PotY’s car was finished in a special-order color which anyone could order
but it quickly became known to the public as “Playmate Pink” or “Playboy Pink”
although it was only later Ford added the latter to the option list as code #WT9301. That would be one of four shades
of pink the corporation would offer between 1964-1972 including Dusk Rose (code #M0835 and offered originally on the 1957 Thunderbird), Passionate Pink (code #WT9036
which was part of a Valentine’s Day promotion in February 1968) & Hot Pink
(code #WT9036). Interestingly, regarded as niche
shades, most of the hues of pink rarely appeared on the mass-distribution
brochures and could be viewed only on DSO (Dealer Special Order) charts. Social change, workforce participation and the contraceptive pill combined in the 1960s to let women emerge as influential or even autonomous economic units and Ford was as anxious as any of the cogs of capitalism to attract what was coming to be described as the "pink dollar". The tie-in with Playboy wasn’t the only time
a pink Mustang was a promotional prop, the Tussy Lip Stick Company offering three 1967 Mustangs as prizes for contest winners, each finished in a shade
of pink which matched the lip sticks Racy Pink, Shimmery Racy Pink Frosted & Defroster. Defroster sounds particularly ominous but to set minds at rest, Tussy helpfully decoded the pink portfolio thus:
Racy Pink: "A pale pink".
Racy Pink Frosted: "Shimmers with pearl".
Defroster: "Pours on melting beige
lights when you wear it alone, or as a convertible top to another lip color".
The
fate of the cars is unknown but nerds might note the three prizes were 1967 models while the model (as in the Mustang) in the advertisement is from 1966. That's because the advertising copy had to be made available before the embargo had been lifted on photographs of the 1967 range. The men on Madison Avenue presumably dismissed the suggestion of what might now be thought "deceptive and misleading" content with the familiar "she'll never know".
1965:
Jo Collins, Sunbeam Tiger.
Although
from a different manufacturer, the 1965 PotY’s car actually had the same engine
as her predecessor’s gift. Introduced in
1961 with a capacity of 221 cubic inches (3.6 litres), Ford’s small-block V8
(known as the Windsor after the location of the foundry at which it was first
built), it pioneered the use of “thin-wall” casting techniques and, on sale between
1961-2002, would be enlarged first to 260 cubic inches (4.2 litres), then 289
(4.7), 302 (4.9) and 351 (5.8) and installed in everything from pick-ups to the
GT40 (#1075) which won the Le Mans 24 hour classic in 1968 & 1969. AC used a 221 as a proof of concept exercise
in what, with the 260, would be released as the first Shelby Cobras, the most
numerous of which used the 289.
In
England, Sunbeam had been attracted by the Windsor’s light weight and
compactness, finding, with a little modification and some help from Carroll
Shelby, it could (just) fit in the bay of their little Alpine sports car, until
then never powered by anything larger than a 1.7 litre (105 cubic inch)
four.
Fit it did although one
modification was the inclusion of a hatch in the passenger’s footwell to permit
a hand to reach one otherwise inaccessible spark plug, an indication of how tight was that fit. However, the project proved successful and
the Tiger sold well although Sunbeam never offered the high-powered versions of
the Windsor Shelby used in the Cobras, the platform really at its limit using
the more modestly tuned units.
The US
was a receptive market for the little hot rod and one featured in the
Get Smart
TV series, although it’s said that for technical reasons, a re-badged Alpine was
actually used, the same swap effected for the 2008 film adaptation, a V8
exhaust burble dubbed where appropriate, a not unusual trick in film-making.
In 1967, after taking control of Sunbeam,
Chrysler had intended to continue production of the Tiger, by then powered by
the 289 but with Chrysler’s 273 cubic inch (4.4 litre) LA V8 substituted.
Unfortunately, while 4.7 Ford litres filled
it to the brim, 4.4 Chrysler litres overflowed; the Windsor truly was compact.
Allowing it to remain in production until the
stock of already purchased Ford engines had been exhausted, Chrysler instead
changed the advertising from emphasizing the “…
mighty Ford V8 power plant” to
the vaguely
ambiguous “…
an American V-8 power train”.
It’s
not clear if the 1965 PotY received her Tiger as a gift or a twelve-month loan
but either way she enjoyed a rarity. The
Tiger was produced for only three years, during which just over 7000 were made,
most with the 260, but the PotY’s Mark II model was one of 663 fitted with the
289. Now painted red, the car still exists.
1966:
Allison Parks, Dodge Charger.
Experience
on the NASCAR ovals had demonstrated how much more aerodynamically efficient
were steeply sloped rear windows compared with the more upright “notch backs”
that designers had preferred for the additional headroom their packaging
efficiency created. So buoyant was the
state of the US industry at the time, the solution was to offer both and the most
slippery form of all was the fastback, a roofline which extended in one curve
from the top of the windscreen all the way to the tail. As a generation of Italian thoroughbreds had
shown, the fastback could be a dramatic and aesthetic success on smaller machines but on
the big Americans, it was a challenge and one never really solved
on the full-sized cars although by the late 1960s, a formula had been found for
the intermediates.
In
1966, the formula was still being mixed and while the Dodge Charger’s
wind-cheating tail delivered the extra speed on the ovals, the slab-sidedness
attracted some criticism and, after an initial spurt, sales were never
impressive and it wouldn’t be until the revised version was released to acclaim
in 1968 that the promise was realized.
In fairness, the 1966 Charger, while not as
svelte as its successor, was
a better interpretation of the big fastback than some others, notably the truly
ghastly Rambler (later AMC) Marlin.
Mechanically, the
Charger was tempting, the top engine (though not the biggest, a tamer
440 cubic inch (7.2 litre) V8 also available) option the newly released 426 cubic inch
(7.0 litre) Street Hemi which was a very expensive, slightly
detuned race
engine and the dashboard featured Chrysler’s intriguing electroluminescent instruments
which, rather than being lit with bulbs, deployed a phenomenon in which a material emits light
in response to an electric field; the ethereal glow much admired.
Apparently
the 1966 PotY wanted something roomy and practical with which to take her family
to swimming practice so the spacious Charger was a good choice and the rear-seats, although
separated by a full-length console, could be folded flat, creating a surprisingly
capacious compartment. Wisely, the
Playboy organization didn’t give her a Hemi Charger, the dual quad monster
inclined to be noisy, thirsty and even a little cantankerous, the pink car
fitted with a 383 cubic inch (6.3 litre) V8, the engine nominated by Chrysler’s
engineers at the time as the best all-round compromise, the two-barrel version
their usual recommendation, a four-barrel for those prepared to sacrifice
economy for performance. The fate of the
car is unknown.
1967:
Lisa Baker, Plymouth Barracuda fastback.
However
ungainly the fastback may have appeared on the Charger, it worked well on the
smaller Barracuda although there are students of such things who maintain the almost
Italianesque lines of the notchback version are better and there was a
convertible too, matching the coachwork by then offered on the Mustang. What all agreed however was the second series
Barracuda, released in 1967, was a vast improvement on its frumpy predecessor,
now noted mostly for the curiosity of its huge, wrap-around rear-window. Things could have been different because the
original Barracuda, using the same concept as the Mustang (a sport body draped
over prosaic underpinnings) was actually released a few weeks before the sexy
Ford and was in some ways a superior car but it had nothing like the appeal, being so obviously based on an economy car whereas the Mustang better hid its humble origins.
The
second series Barracuda looked much more attractive although, being less
changed underneath, didn’t fully emulate the “long hood, short deck” motif with
which the Mustang had created the pony car template.
Still, it’s reception in the marketplace
encouraged Chrysler and soon, to match the now widened Mustang, big block
engines began to appear.
The Barracuda was not actually widened but this was the 1960s and though Chrysler couldn’t easily
install a big-block, they could with difficulty and so they did although the 383
was a tight fit and some compromises were required, the exhaust system a little
restrictive and niceties like power steering weren’t offered; with the big
lump sitting over the front wheels, at low speed they did demand strength to
manhandle.
Almost 2000 were built with the 383 V8 but
there were some who wanted more and in 1969, in a package now called ‘Cuda, a
few were fitted with the 440.
At first
glance it looked a bargain, the big engine not all that expensive but having
ticked the box, the buyer then found added a number of "mandatory
options" so the total package did add a hefty premium to the basic
cost.
The bulk of the 440 was such that
the plumbing needed for disc brakes wouldn’t fit so the monster had to be
stopped with the antiquated drum-type and again there was no space for power
steering.
The prototype built with a
manual gearbox frequently snapped so many rear suspension components the
engineers were forced to insist on an automatic transmission, the fluid cushion
softening the impact between torque and tarmac but, in a straight line, the
things were quick enough to entice almost 350 buyers.
To this day the 440 remains the
second biggest displacement engine Detroit put in a pony car, only the 455 (7.5 litre) Pontiac used in the Firebird and
Trans-Am was larger.
The
1969 440s weren’t exactly anti-climatic but true megalomaniacs had in 1968 been
more impressed when Plymouth again took the metaphorical shoehorn and installed
the 426 Street Hemi, 50 of which were built (though one normally reliable
source claims 70) and with fibreglass panels & much acid-dipping to reduce weight, there was no pretense the things were
intended for anywhere except a drag strip, living out sometimes brief lives in quarter mile (402m) chunks.
The power-to-weight ratio of the 1968 Hemi ‘Cudas was the highest of the
era but lurking behind the Sturm und Drang stirred
by the big blocks was one of the best combinations of the era: The 'Cudas
fitted with Chrysler's 340 cubic inch (5.6 litre) (LA) small block V8 were
superior machines except in straight line speed and the visceral reaction only
a Hemi can inspire.
The
Hemi Cuda reached its apotheosis in 1970 when, on a unique widened (E-body) platform,
it and the companion Dodge Challenger were finally fully competitive pony cars. Unfortunately, just as the 1967 Barracuda
would likely have been a bigger success if released in 1964, so the 1970 car
was three years too late, debuting in a declining market segment. In 1970, an encouraging 650 odd Hemi ‘Cudas
were sold but the next year, under pressure from the soaring costs of insuring
the things, sales collapsed, barely reaching three figures. The smaller engined versions fared better but
the emission & safety regulations added to the negative market forces and
the first oil shock in 1973 was a death knell, both the Barracuda and
Challenger cancelled in 1974, the four-year E-body programme booking a significant financial loss. In the agonizing reappraisal undertaken in the aftermath of what was labeled "a debacle", careers were said to have suffered. It was as an extinct species the later ‘Cudas
achieved their greatest success... as used cars. In 2014, one of the twelve 1971 Hemi ‘Cuda
convertibles sold at auction for US$3.5 million and in 2021, another attracted
a bit of US$4.8 million without reaching the reserve. If it survives, the 1967 PotY’s pink
Barracuda wouldn’t benefit from quite that appreciation but it would have some
appeal and there were reputedly another ten pink cars built for the occasion,
all from the one California plant, the paint code #999, which, coincidently, is
shared with Dior’s cor Rouge 999 lip stick and nail enamel. Red rather than pink, the 999 reference was borrowed from the gold industry, a purity of 99.9-something percent as pure as gold gets. Known also as "24 karat" or "pure gold", because of the softness, it's not suitable for all decorative or industrial uses but is a required standard for investment purposes such as bars, bullion or coins. The 999 standard permits an alloying with 0.1% impurities or other metals (usually silver, copper or lead) and some metals exchanges even specify the proportion of the other metals which may be included in the 0.1%.
Before
Tesla, American Motors Corporation (AMC) was the last of the "independents" and agglomerations
which tried to compete with Detroit’s big three, General Motors (GM), Ford
& Chrysler. In the post-war years
this was mostly a struggle and AMC’s brightest years had come in the late
1950s when, then run by George Romney (1907–1995 and father of Mitt Romney (b
1947; Republican nominee for US president 2012)), the company began to
compete against small, imported cars, then a market segment in which the big
three offered no domestically produced vehicles. That however changed in the early 1960s and
AMC’s halcyon days soon ended although they continued for years along the road
to eventual extinction and one of their more interesting ventures was the
short-lived AMX (1968-1970).
The AMX
exemplified the AMC approach in that it was conjured up something new by taking
an existing model and, at low cost, modifying it to be something quite different, an
approach which, for better and worse, they were compelled to follow to the
end. The AMX was a short-wheelbase,
two-seater version of AMC’s Javelin pony car which, introduced in 1967 to
contest the then booming segment, had been well-reviewed by the press
and, despite the latter-day perception of its lack-lustre performance in the
market, sometimes out-sold the Barracuda and actually out-lived it by a few
months. However neither Javelins nor
AMXs command multi-million dollar prices at auction.
AMX 36-24-35, post-restoration, 2015.Still,
the AMX was an interesting, even a brave (in the sense Sir Humphrey Appleby might
have used the word) innovation, a two-seat coupé added to a market in which
there was no similar model, Chevrolet’s Corvette a true sports car, the last attempt
at such a thing the two-seat Ford Thunderbird (1955-1957) which had been retired
and replaced by a vastly more successful four-seat version. That was not encouraging but AMC persisted,
able to leverage its resources and produce lines at lower cost than the big
three could manage. The AMX, like the
Javelin was a piece of typically solid AMC engineering, enjoyed some success in
competition and quixotically, two dozen were assembled in Australia in
right-hand-drive configuration, sold under the old Rambler name which had so
well served George Romney, the marque lingering on there for a few more
years. However, the costs involved in
maintaining the shorter AMX platform were too great and when a revised Javelin
was released in 1971, AMX became just an option package. The Javelin too would be axed in 1974 but AMC
continued to use the AMX name (which had actually started life in 1966 for concept cars on the show circuit) until 1980.
By
1968, the deeply religious George Romney was long gone from AMC, having moved
into Republican politics; like his time in the car business, his second career
had its ups and downs and (like his son and many others) he never realized his goal of reaching the White
House. Had he still been in the chair, it may be that never would he have countenanced the idea of AMC getting mixed up with Playboy magazine and,
even if persuaded, probably would have drawn the line at the PotY’s vital statistics blatantly being celebrated. As
it was, with no Mormon veto, the AMX, one of several
said to have been painted “Playmate Pink” was delivered to Ms Dorian
with a plaque on the dashboard engraved AMX 36–24–35.
Ms
Dorian too had her ups and downs, eventually parting with AMX 36-24-35 after forty-two years but keeping
the Walther (9mm) PPK handgun which had been a gift from a friend, the film-maker
Roman Polanski (b 1933), the two having met when Dorian appeared as a recovering
heroin addict in Polanski's
Rosemary's
Baby (1968). She was also a friend of
the director's then wife Sharon Tate (1943-1969) and in August 1969, after followers
of cult leader Charles Manson (1934-2017) murdered the eight months pregnant
Tate (and four others), Polanski gave his personal Walther PPK to Dorian for
self-protection and it was with this that in 2010, after an argument, a 66 year-old Angela
Dorian shot her husband of two decades. He survived the shooting and was
quoted by the press
lamenting "
I loved her for nearly 25 years. A divorce
would have been sufficient, not a bullet....", which, in the circumstances, does seem generous. Charged with attempted
murder (later reduced to attempted voluntary manslaughter to which she pleaded
no contest), she received a nine year sentence and was released on parole in
April 2018. AMX 36-24-35 also had its ups and
downs, repainted (like many of the playmate cars) in something less
eye-catching before being found in a dilapidated state. It’s since been restored to its original pink splendor.
1969: Connie Kreski, Shelby Mustang GT500 with the ultimate hood ornament.
In
their run of half a decade, Carroll Shelby’s Mustangs were transformed from race
cars which, conveniently, could be road-registered and driven to the track,
into elaborately embellished, luxuriously equipped cars usually just a little
more powerful than those upon which they were based yet managing still to look faster still. In 1965, Shelby was aware of the Mustang’s
potential in competition and looking for a profitable line to sell, the new seven litre (427 & 428 cubic inch) Cobra giving every indication it would become the
loss-making venture it proved.
Shelby
created the first of his Mustangs in 1965, using basic, fastback cars sent by
Ford to his factory in Venice Beach, the facilities later moved to West
Imperial Highway adjacent to Los Angeles International Airport (LAX) when more
space was required. All the cars built
in 1965-1966 used the familiar Windsor 289 in essentially the same sate of tune
as the Cobras and the drive-train was beefed-up to handle both
the additional output and the lateral forces encountered in the extremes of competition. The Cobra DNA in the early
Shelby Mustangs was thus no affectation and the “Cobra” name was often applied
to the cars, both in marketing materials and on parts prominently displayed. The cars however were as much about what was
left out as what was put in. Shelby had
been a race driver (winning the 1958 Le Mans 24 Hour) and understood the significance of lightness which improved performance, tyre wear & fuel
consumption and reduced the stresses to which mechanical components were
subject so, reflecting his philosophy that a sports car was one “with noting on
not there for the purpose of making it go faster”, the Shelby Mustangs were
stripped of whatever wasn’t essential, including carpets and sound deadening. That helped the performance on the track but
did make driving a noisy, uncomfortable experience. At the time, the 1965 Shelby Mustang GT350
was memorably described as “a brand new, clapped-out racing car”. Sometimes the weight-saving was necessitated
by the letter of the law, the rear seat removed so the things could be defined
as “two seat sports cars” and thus be eligible for competitions run by the
Sports Car Club of America (SCCA), a modification which proved handy because it
allowed the spare tyre to be kept where once the seat sat, improving weight
distribution. It was definitely not for
everyone but 562 were sold, 34 of which were the specially prepared GT350Rs which
for three years won its SCCA championship class.
The
retreat from rawness began in 1966, the need to homologate for competition
having been satisfied. An automatic
transmission became optional and the cars, now labelled as Shelby GT350s, were
no longer fitted with some of the suspension, exhaust and other modifications
which had distinguished the 1965 run although the rarely-ordered option of a
Paxton supercharger was added to a growing list. Famously too, in that year some 1000 GT350Hs
were built on order from the Hertz Rental Car Company and there are stories,
some of which may be true, of them being rented on Saturday, raced on Sunday
and returned on Monday. These days, the deal with Hertz would be called a “related party transaction", Ford (a
big holder of Hertz stock) having prevailed on their management to place the
order.
1967 Shelby GT500 (427, "Super Snake").
In
1967, the trend towards civility continued, a convertible added to the range (although
technical problems prevented production) and all were now full-fledged road
cars, Shelby’s interest now entirely in cheque-books rather than chequered flags. Ford had given the 1967 Mustangs a wider
platform so the 390 cubic inch (6.4 litre) big-block (FE) V8 could be fitted
and this enabled Shelby to introduce the GT500 which used a 428 cubic inch (FE)
(7.0 litre) V8, until then something used effortlessly and quietly to propel luxury
sedans and coupés. Shelby add a brace of four
barrel carburetors and tuned his 428s a little but the quest had shifted from
raw performance to making slightly faster versions of Mustangs which looked
faster still and could attract a higher price. However, in a glimpse of
what might have been (and was not quite realized even when the Boss 429 Mustang later appeared), Shelby did build one
GT500 with a 427 FE. With fractionally
less displacement than the 428, the 427 was a genuine racing engine, more
oversquare in configuration with enhanced lubrication and a strengthened bottom
end; it twice won at Le Mans and had been intended as an option for the 1968 Mustangs before the accountants worked out quite how expensive that would
prove. Dubbed the "Super Snake", Shelby’s 427 GT500 was used to test tyres in high-speed use and remained a one-off, selling at auction in 2013 for US$1.3 million.
In 1968
the convertible was added as an option and from then on, the Shelby GT350s and
GT500s became less interesting and more successful, the engines growing larger
but less powerful, Shelby’s decisions vindicated by rising sales and healthy
profits. However, Ford was less content and, the arrangement having served its
purpose, the corporation gradually assumed control, the 1969 models the end of the line although a few cars built that year were
re-listed as 1970 models and sold in the first few months of that year. The PotY GT500 (Shelby serial #1027 & Ford vehicle identification number 9F02R481027) was regular production item with a 428 cubic inch (7.0 litre) Cobra Jet V8, an automatic transmission and no air-conditioning. Not accounted for in the Shelby registry, its fate is unknown though one quirk of note is that it left the Shelby line finished in Pastel Grey (code M3303A) and was re-painted prior to delivery.
1970: Claudia
Jennings, Mercury Capri.
From a
Shelby GT500 to a Mercury Capri isn’t quite the sublime to the ridiculous but
it’s quite a change. That said, the
Capri, a product of Ford’s European operation and built in both England and
Germany, was always regarded as “Europe’s Mustang” and borrowed the same
successful and lucrative model of construction: bolt a sexy shell onto a best-selling
platform. So, atop the uninspiring but
reliable and cheap to produce underpinnings of the Cortina (UK) and Taunus
(Germany), a two-door fastback coupé appeared in 1968 and, over three
generations, remained in production until 1986. In the US, it enjoyed some success and was at one point the highest-selling import.
In
Europe, it was available initially with an engine as small as 1.3 litres (79
cubic inches) but the bigger sellers were 1.6 (98 cubic inch) & 2.0 litre
(122 cubic inch) fours (some of which, unusually, were V4s) and the V6s of 2.3
(140 cubic inch), 2.6 (159 cubic inch), 2.8 (170 cubic inch) & 3.0 litres
(183 cubic inches). Additionally, a few
3.1 liter (189 cubic inch) V6s were built for homologation and even some 3.4
litre (207 cubic inch) engines appeared purely for use in competition.
Ms Jennings was just in the right place at the wrong time. In 1970, the only engine Ford offered in the
Capri (imported from Germany and always sold in the US as a Mercury) was the
2.0 litre in-line four shared with the the Pinto which would be introduced that
year. At least she didn’t get one of
them (although in the early years the Pinto didn’t carry the stigma which would be
attached by later events).
Ford Capri RS and BMW 3.0CSL, Spa Francorchamps Belgium, 1974.
The
so-called Cologne Capris were among the most famous to compete in European
touring car racing during the 1970s and to counter the threat BMW produce their famous 3.0CSL, the be-winged, lightweight version of their E9 coupé, the battles between the two the stuff of
legend. For many seasons sharing space on European circuits, the more unfortunate link between the two was a vulnerability to rust, E9s and Capris prone to rot at a rate bettered only south of the Dolomites, Fiats, Lancias & Alfa-Romeos of the era crumbling more quickly still. On the road, even with
the bigger or the later turbocharged V6s, the Capri was always competent rather
than dominant and the only ones to make a serious attempt to make genuine
high-performance version were the South Africans, around 500 built there with the 302 Windsor. Rapid
on the road, it was also successful in competition. Again, the fate of the pink car is unknown
but given the propensity to rust, hopes are not high.
1972: Sharon
Clark, Spectra 20 Ski Boat.
That Ms
Clark received a boat (and one more red than pink) rather than a car attracted
comment. Many concluded she just liked
boats or perhaps skiing and that seems to be the case because Playboy's archives record that she met the boat’s designers after recognizing them as the
fathers of two of her high-school friends, the donation of a Spectra 20 Ski
Boat as her prize happening some months later so there’s presumably some
relationship between events. It proved synergistic,
the publicity said to have improved sales to the extent that Spectra offered
her a weekend job taking prospective customers on test rides at Long
Beach. Later she would work full-time
for Spectra.
1972: Liv
Lindeland, De Tomaso Pantera.
The De
Tomaso Mangusta (1967-1971) was achingly lovely but adapting a race car for the
road necessitates compromises and the Mangusta had a few. The 32/68% front/rear weight distribution
delighted racing drivers but induced characteristics likely to frighten
everybody else and the interior was cramped, something tolerated in competition
vehicles but not endearing to buyers looking for something with which to
impress the bourgeoisie. However, it sold
well enough to encourage de Tomaso to pursue the concept and the better
designed (if less beautiful) replacement, the Pantera, lasted from 1971 to
1993, over seven-thousand being sold, most fitted with US or Australian-built versions of the Ford 351 cubic inch (5.8 litre) Cleveland V8.
1969 De Tomaso Mangusta.The
Pantera was designed from the start as a road-car and was thus a far more
satisfactory experience for most drivers and the Ford Motor Company, interested
in having in their showrooms a competitor for Chevrolet’s Corvette, began to
import the car into the US in 1972. Predictably,
there were quality control problems (Elvis Presley famously shot his when, once
too often, it refused to start) which compelled some investment from Ford and although
the sales volumes never challenged those of the Corvette, in the four years it
was available in the US, well over five-thousand were sold. After being withdrawn from the US market in
1975, De Tomaso maintained production on a smaller scale, the majority sold in
Europe and it enjoyed a long Indian summer, the final examples not leaving the
factory until 1993 by which time the output was reduced to a trickle.
1985 De Tomaso Pantera GT5.Disappointingly,
despite on paper appearing to possess a promising specification, there was
never a stellar career in competition although factory support was offered and
private teams ran regular campaigns.
Conspiracy theorists have long attributed the paucity of success to the
more established players like Ferrari and Porsche having undue influence on the
regulatory bodies, nudging them always in directions favoring their machines. The factory arranged small runs of Panteras
which conformed to Group 3 and Group 4 racing regulations, some of which owners
later converted to Group 5 specifications but consistent success proved
elusive. De Tomaso however knew his
market. Even if he couldn’t often beat
the Porsches and Ferraris on the track, as the years went by the Panteras
adopted increasingly wild styling and they certainly looked the part.
The playmate-pink Pantera re-imagined, for better or worse, 2022.Panteras
have a high survival rate and the pink car still exists, though no longer is it
recognizable as the playmate’s prize. Extensively modified (as are many Panteras)
and now painted a vivid (almost a Dior 999) red, the engine has been enlarged
to 397 cubic inches (6.5 litres), the interior refinished and wheel-arch flares
added to accommodate wider, staggered-diameter wheels. It sold at auction in June 2022 for
U$110,000, a not exceptional price for the breed and it may have been more valuable if left in the original pink livery.
1973: Marilyn
Cole, Volvo 1800ES.
Still
one of the more admired Volvos, the 1800ES (1972-1973) wasn’t the first
shooting brake to combine utility with sportiness but it was an exquisitely
executed styling exercise which breathed new life in the coupé
(1961-1972) on which it was based. The re-design was undertaken entirely in-house, the proposal by Fura (the P1800’s
original designer) thought too avant garde for Volvo buyers. They may have had a point because Volvo owners do seem impressed more by frugality of
operation and longevity than anything flashy and there are several 1800s which
are documented as having covered more than a million miles (1.6 million km). The coupé gained not quite a rakish
reputation but certainly one associated with a certain style by virtue of its
use in a popular TV series shown in the early 1960s, a promotional opportunity
made possible only because Jaguar declined to loan the production company one
of its new E-Types which had debuted in the same year as the P1800. Still, the seductive E-Type hardly needed a
TV series to create its image.
Ms Cole
was the first English Playmate of the Year and took her prize in England and
the range has an English connection, the first 6000-odd of the coupés built at
Jensen’s West Bromwich Albion factory. Those early models (1961-1963) were called P1800 but when production moved to Sweden, the name 1800S was adopted (1963-1970), changed again in 1970 to 1800E (1970-1972) to mark the addition of fuel injection. Like
many of the pink cars, it was re-painted red but, despite being involved in an involved
in an accident in 2005, it’s still registered for road use in the Netherlands
although it’s not known if it’s been restored to the pink. Another quirk in the nomenclature was it continued to be labelled (1800) even after the engine's displacement was increased to 2.0 litres. It transpires too there are other uses for an 1800 coupé, one gifted amateur engineer, taking advantage of a similarity in dimensions and angles, using one to build his own (partial) replication of the 1967 Ferrari 275 GTB/4 NART Spyder.
1974: Cyndi
Wood, Mercedes-Benz 450SL (R107).
The Mercedes-Benz
R107 (1971-1989) had a unexpectedly long life, a longevity which slightly exceeded
even the 600 (W100; 1963-1981) although across the Grosser’s eighteen years,
the only obvious change was when the two-piece hubcap & trim-ring combination (the appearance of which suited the design) was replaced with a one-piece wheel cover (which wasn't as satisfactory) whereas during much the same duration, eight different engines and several
transmissions were fitted to the R107.
280SL:
2.7 litre (168 cubic inch) straight 6 (M110)
300SL:
3.0 litre (183 cubic inch) straight 6 (M103)
350SL:
3.5 litre (215 cubic inch) V8 (M116)
380SL:
3.8 litre (231 cubic inch) V8 (M117)
420SL:
4.2 litre (256 cubic inch) V8 (M117)
450SL:
4.5 litre (274 cubic inch) V8 (M117 (iron-block))
500SL:
5.0 litre (301 cubic inch) V8 (M117)
560SL:
5.5 litre (338 cubic inch) V8 (M117)
1988 Mercedes-Benz 560SL.Not all
versions were sold in all markets, the sixes never offered in the US, the 420 sold
mostly in Europe and the 560, an emission-controlled special restricted mostly to Australia, Japan and the US. Some 500s
are seen in the US and Australia but all are private or grey market imports and
it remains the most powerful (and among the most toxic) engine offered in the
roadster. The labelling of the early US
versions was however confusing; although called a 350SL (as it was in the rest
of the world where it used the 3.5) it was fitted with the 4.5 litre V8, chosen (1) because
the improved low-speed torque characteristics of the long-stroke 4.5 was better
suited to US driving conditions and (2) the increased displacement partially
offset the power loss caused by the early, primitive anti-emission
equipment. The US market cars were later
re-badged 450SL, matching the 4.5 litre SLs in the rest of the world. Fuel consumption of both the 3.5 & 4.5
was poor, even by the slight standards of the time, the larger 6.3 litre (386 cubic inch) and 6.8 litre (417 cubic inch) V8s surprisingly little more thirsty though those big-blocks were fitted to much heavier cars. The 3.5 litre 350SLs are notable for being among the final Mercedes-Benz V8s available with a manual
transmission, the last apparently sold as late as 1980. Not exactly Lotus-like in operation, the gear-shifts can be a little clunky but, as a manual V8, those 350SLs do have a cult following among collectors.
The R107
had always been intended to be exclusively V8 powered but the 280SL entered the
line in 1974 in response to the first oil shock (1973) and in many markets, a
six cylinder version remained available to the end. That the end didn’t come until 1989 is
because for much of the R107’s early life, the very future of convertibles in
the US was uncertain, threatened by what was thought to be impending US
legislation which would ban the things. That
never transpired but much of the 1970s and 1980s were troubled times and there
were other priorities so the R107 remained the only convertible offered until replaced
in 1989 and a four seat drop-top didn’t return to the line until 1992.
SL
actually stands for “super light” which was sort of true when first it was used
in 1952 but by 1971 was misleading at least, the R107 no lightweight and a
grand tourer rather than a sports car. For
years, the factory never much discussed what the abbreviation "SL"
stood for and the assumption had long been it meant Sports Light (Sports
Leicht), based presumably on the SSKL of 1929-1931 (Super Sports Kurz (short)
Leicht) but the factory documentation for decades used both Sports Leicht and
Super Leicht. It was only in 2017 it
published a 1952 paper discovered in the corporate archive confirming the
correct abbreviation is Super Leicht. However defined, the R107 is heavy, the
removable hard-top famously so and although that roof was fashioned in the "pagoda" shape, a la its (W113) predecessor, it was only the earlier model which picked up the nickname.
A whiff of scandal attaches to the “pink” 450SL: It was white.
Whether Mercedes-Benz couldn’t or wouldn’t
supply a pink car isn’t known and in photographs, Ms Wood seems unconcerned. Playboy's (pre-digital) production staff were
famously adept at air-brushing and other editing techniques so making a white car
appear pink would not have been a challenge, even if the bodywork was a little more
rectilinear than their usual fare. Whether it survives isn’t known but anyone who fancies a pink R107 should find one to paint, a remarkable 227,000-odd produced over the years
and they were for decades the preferred (one suspects almost the obligatory) transport for types such as interior decorators, Hollywood
starlets, successful hairdressers and the wives of cosmetic surgeons.
1975: Marilyn
Lange, Porsche 911S.
Ms
Lange’s 911S proved to be the first of eight Porsches awarded to subsequent PotYs
over the years.
First introduced in
1963, the 911 is the improbable survivor of Europe’s rear-engined era and by
1975, even Porsche thought it was in its final days, Volkswagen and many others having long concluded the rear-engined configuration had no place in the
modern world.
Indeed, work by 1975
was well advanced on Porsche’s new generation of front-engined cars which would
use water-cooled four, five & eight cylinder engines.
In time, augmenting these, would be a new
line of mid-engined sports cars which would benefit from the lessons learned by
Porsche in the development of machines like the 908 and, of course, the famous
917.
It was
a vision of the future which made complete sense to everyone except 911 buyers
who made it clear they would accept no other configuration and regarded any
quirks inherent in the layout not as insoluble problems or dangerous characteristics, but charming idiosyncrasies to be cherished in a way drivers of bland,
predictable machinery would never get to experience or understand if they did. The customer being always right, their view
prevailed and the 911 survived, emerging much changed but still rear-engined
and still recognizable, sixty-odd years on.
Nor have those inherent problems proved insoluble, modern electronics and
tyres permitting Porsche’s engineers to create 911s with driving characteristics
indistinguishable from more conventional layouts unless driven by experts at speeds
higher than should ever be attempted on public roads.
So the
911 survived but the playmate-pink tradition did not, subsequent cars finished in colors chosen seemingly at random. Quite why this happened is speculative but may
be as simple as pink becoming less fashionable (even within the Playboy
organization where the hues in the publication and the clubs were tending
darker) and there’s no record of a feminist critique, even though the tradition
began just as second-wave feminism was gaining critical mass. There is a bulky literature documenting the many strains of feminist criticism of pornography and it's likely the matter of pink cars, if noticed, was thought not substantive. Of course it may be that feminists really like pink, the secret which must never be spoken.
The famous pink car which never really was
1959 Cadillac Series 62 Convertible.There are many, many pink 1959 Cadillacs, the model regarded as having the most extravagant fins available during Detroit's crazy macropterous era, the effect heightened by the equally memorable "twin bullet" tail-lamps. No 1959 Cadillac however left the factory painted pink, a rose-colored exterior hue offered in only 1956. It was that Elvis Presley (1935-1977) owned a pink Cadillac and the use of the phrase in popular culture (song & film) that made the trend a thing although his car was a 1955 Fleetwood Sixty Special which was originally blue with a black roof. The roof was later re-sprayed white but people adopting the motif usually go all-pink.
