Chamber

Chamber (pronounced cheym-ber)

(1) A room, usually private, in a house or apartment, especially a bedroom (now archaic or poetic).

(2) A reception room or audience room in an official residence, palace, etc.

(3) The meeting hall of a legislative or other assembly.

(4) In law, a place where a judge hears matters not requiring action in open court.

(5) In England, the quarters or rooms that lawyers use to consult with their clients, especially in the Inns of Court.

(6) A legislative, judicial, or other like body.

(7) An organization of individuals or companies for a specified purpose.

(8) The place where the moneys due a government are received and kept; a treasury or chamberlain's office (obsolete).

(9) As chamberlet, a small chamber.

(10) Of or relating to, or performing chamber music.

(11) To put or enclose in, or as in, a chamber.

(12) To provide with a chamber.

(13) The space between two gates of the locks of a canal, dry dock, etc

(14) An enclosure for a cartridge in the cylinder of a revolver or for a shell in the breech of a cannon.

(15) An enclosed space, compartment or cavity; the smallest chamber in a cave.

1175-1225: From the Middle English chamber (a room in a (usually private) house) from the eleventh century Old French chambre (room, chamber, apartment), derived from the Late Latin camera (a chamber, room), variant of camara (vaulted room) from the Ancient Greek kamára.  In an interesting linguistic twist, the Old French and Middle English words were also used alone and in combinations to form words for "latrine, privy" from the idea of the "bedroom utensil for containing urine".  The word in the fourteenth century was adopted for use in to anatomy in the sense of "an enclosed space in a body" and this was extended to machinery after 1769, the use in gunnery or ballistics meaning  "part of the bore in which the charge is placed" dating from the 1620s.  The familiar use to refer to the rooms where legislative bodies assemble (ie upper & lower chambers) has been in use since circa 1400.  Chamber music dates from 1789; the distinction being it described a type of music meant to be performed in private rooms instead of public halls.  Chamber-lye, disturbingly to modern ears, meant "urine used as a detergent" and dates from the 1570s and the obviously related chamber-pot (also chamberpot) (vessel for urine used in bedrooms) came into use a decade earlier.  A chambermaid was (1) a female servant who dresses a lady and waits on her in her bedchamber and (2) a woman who makes beds and cleans rooms in a private house, palace or inn, a form which emerged in the 1580s and obviously derived from bedchamber (also bed-chamber) (a room for sleep or repose) which had been in use since the mid-fourteenth century.  Bedchamber is now archaic and used only in relation to royalty (an then mostly in historic reference), expensive hotels and hopeful real-estate salespeople.  The verb chamber was in the late fourteenth century derived from the noun and was used in the sense of (1) to restrain, shut up as in a chamber and (2) to furnish with a chamber" (implied in chambered); the related form was chambering.  The adjective chambered (divided into chambers) was from the same era and was the past-participle adjective the verb.  The famous reference to nautilus shells dates from 1819.  Chamber & chambering are nouns & verbs, chamberful & chamberer are nouns, chambered is a verb & adjective, chamberless & chamberlike are adjectives; the noun plural is chambers.

The cult of the combustion chamber.

In an ICE (internal combustion engine), the combustion chamber is the (temporarily) sealed space in which a quantity of fuel and air is compressed and then ignited (ie the mix is combusted), the energy released moving a piston or rotor, that energy subsequently transferred by a series of mechanical connections so the movement (transferred energy) can be applied to some purpose.  All else being equal, the larger the chamber and the more of them, the more energy can be produced, expressed usually as power or torque.  In an ICE, these ignitions happen thousands of times a second so the transfer of energy from the fuel to a mechanical action can be considerable.  Combustion chamber design has for well over a century occupied the time of engineers and a number of “standard types” emerged including the “wedge”, “hemi” “poly” and “swirl”.  For those designing a device for a single purpose the task can be a relatively simple quest for optimal efficiency (for short-duration purposes such as drag or sprint racing when all that matters is power & torque) whereas if there are a number of parameters it’s a matter of balancing out competing specific efficiencies (in endurance racing, economy matters as well as power & torque).  In mass production units for general sale, as well as striking a balance between output and economy, engineers also have to factor in the cost & ease of manufacture as well as (for the last 60-odd years) the toxicity of emissions.

Smith & Wesson Model 648 .22 WMR Revolver.  In a revolver, the bullets are housed in chambers (typically between 5 & 10) in the revolving cylinder.

Popular in the “female market” (in the US, a sector for some years exhibiting consistent growth) and something of a “sweet spot” for small-game-hunting and plinking (recreational target shooting), the .22 Magnum cartridge is suitable for both handguns and long-arms; inherently an accurate cartridge, the ballistics out of a 6-inch (150 mm) barrel handgun are at least equal to those of a 22 LR out of a 24-inch (610 mm) barrel rifle.  Smith & Wesson’s 648 was produced in runs between 1989-1996 and 2003-2005, the re-introduction in 2020 much welcomed.  The most recent edition uses a stainless steel version of S&W’s 6-inch K-Frame barrel with an 8-chamber cylinder.

The Court of Star Chamber

The former Court of Star Chamber (1836), engraving by unknown artist, published in Edward Walford’s (1823-1897) Old & New London (Volume 3, 1881), reproducing a visual record of the historic chamber shortly before it was demolished.

Named for the star pattern on the ceiling of the room in Westminster Palace where sittings were convened, the Court of Star Chamber (known almost always as the Star Chamber), was an English law court that operated in parallel with the common-law courts although its authority was drawn directly from the king's sovereign power and privileges; it was not bound by the common law or legal precedent.  Created originally to ensure the enforcement of laws against the socially and politically well-connected (those "ordinary" courts often for whatever reason hesitant to convict "the rich"), the Star Chamber evolved from the medieval King's Council.  There had been a tradition of the king presiding over a court composed of his Privy Counsellors and in 1487, under the supervision of Henry VII (1457–1509; King of England 1485-1509 and the first Tudor king), the Court of Star Chamber was established as a judicial body separate from the council (analogous with the way by the nineteenth century the courts of final appeal referred to as (1) the House of Lords and (2) the Privy Council had become specialized bodies with a small, judicially qualified membership while retaining the existing names).  The original rationale was for the Star Chamber to (1) oversee the lower courts, (2) act as a court of appeal and (3) hear petitions seeking redress addressed to the king.  Initially, the court heard cases only on appeal, but Henry VIII's (1491–1547; King of England 1509-1547) chancellor, Cardinal Thomas Wolsey (1473–1530; Lord High Chancellor of England 1515-1529) encouraged suitors directly to lodge writs of appeal and not await verdicts from the common-law courts (a concept that might have appeal for some modern-day litigants and lawyers).  Although most of the cases heard involved property rights, trade, government administration and public corruption, the Tudors especially were concerned with public disorder and Cardinal Wolsey referred matters involving forgery, fraud, perjury, riot, slander, and anything else he considered a breach of the peace. Following the Reformation, the Star Chamber was used (and much misused) to punish religious dissenters.

Procedurally the Star Chamber would begin a case with a petition or with information brought to the attention of the judges and depositions would be taken to discover the facts.  Accused parties could be put on oath to respond to the charges and answer detailed questions. No juries were used; members of the court decided whether to hear cases, passed verdicts and assigned punishments.  Structurally, the court was thus a hybrid with influences from the common law, Roman civil law, developments in Chancery (equity) law and the Court of Exchequer.  Interestingly, the court did not have capital jurisdiction so instead declared its choice of punishment was wholly arbitrary and not at all governed by precedent, guidelines or laws, judges able to choose (indeed even invent) the punishment(s) they felt most appropriate to the crime or criminal and on the bench there were some imaginative folk.  The sentences handed down included fines, time in the pillory (stocks), whipping, branding, mutilation or imprisonment for any length of time.  In Australia, there are critics of the NSW (New South Wales) ICAC (Independent Commission against corruption) who compare its operations with the Star Chamber; in this they’re only partially correct in that there are some procedural similarities but the comparison is not valid regarding punishments.

Tucked up: Lindsay Lohan in her bedchamber under tufted bedhead.

The Star Chamber offered an expeditious resolution to legal conflicts. It was popular with the Tudors because quickly it could enforce the law (or the will of the king when the letter of the law proved tiresome) when other courts were slow or tainted by corruption.  In royal circles it was valued because it could be relied upon to deliver "satisfactory remedies" in cases  where the common law restricted punishments able to be inflicted or failed to address specific infractions.  These days, some might call it "judicially efficient".  Under the Tudors, Star Chamber hearings were held in public, proceedings and verdicts subject to inspection, that alone inducing most judges to act with reason and try to deliver fair justice; it was in the seventeenth century, the court evolved into something secretive and corrupt, the Stuarts using the court to enforce their royal proclamations (ancestor of the "executive order" now much associated with the White House), holding sessions in secret and allowing no appeals.  Charles I (1600–1649; King of England, Scotland, and Ireland 1625-1649) saw the court as a substitute for Parliament when he tried to govern without calling the legislature into session and resentment grew as the Stuarts used the court to prosecute members of the nobility who otherwise would not be subject to prosecution in common-law courts.  The Long Parliament in 1641 abolished the Star Chamber and, except in historic references, the term "star chamber" is now almost always pejorative and used to describe social and political oppression through the arbitrary use and abuse of the powers wielded (in political science, the doctrine of separation of powers is held to be the most effective means to prevent abuse of power by the state; at its most simple, it means the executive can no longer in individual cases impose the sanctions of criminal law, a function belonging exclusively to the courts.  The verbal shorthand for the concept is "judicial independence".

Not often was the Court of Star Chamber a cause for mirth but William Shakespeare (1564–1616) found a way in The Merry Wives of Windsor (1602), Justice Shallow in Act 1, Scene 1 saying: “Sir Hugh, persuade me not; I will make a Star-chamber matter of it: if he were twenty Sir John Falstaffs, he shall not abuse Robert Shallow, esquire.”  The context was the carefully named Justice Shallow, an arrogant, pompous provincial magistrate from Gloucestershire, was furious because Sir John Falstaff and his followers had insulted and robbed him and his cousin.  That this petty crime was not the sort of thing to come before the Star Chamber was the joke, showing Shallow’s puffed-up sense of self-importance and legal pedantry.  The Court of Star Chamber was a classic example of an institution that “seemed a good idea at the time” that came, through a process of “mission creep” later to be "re-purposed" and misused to the extent it became something worse than the problems it was created to solve.  The early records are sketchy so the origins are obscure but the critical point was that despite the creation of several layers of courts and the evolution of the English common law, no sovereign ever surrendered their “supreme jurisdiction” and by the thirteenth century, when sessions of the King's Council became regular (and functionally distinct from parliament), this residual supreme jurisdiction continued to be exercised by the King in council.  What happened was that as the common law administered by the courts introduced (by the operation of precedent) a certain predictability, the more erratic judgments handed down by the council (a body with unlimited jurisdiction) resulted in an increasing volume of complaints but, such was the state of constitutional development (essentially the balance of power between the king and parliament), successive parliaments had little success in effecting reforms.

Sir Edward Coke (published 1792), line engraving by Thomas Trotter (circa 1750-1803), after a portrait by Cornelius Johnson (Cornelius Janssen van Ceulen, 1593-1661), published by publisher & bookseller Thomas Cadell the Elder (1742-1802), National Portrait Gallery, London.

As late as the nineteenth century, historians were still writing of the Star Chamber (after operating for a half-century odd) “ceasing to exist” towards the end of the reign of Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) with the court’s powers reverting to the Council.  The extant records are contradictory but whatever the terminology used, it would seem a deliberative body at least “Star Chamber-like” sat concurrently with the Council and, by whatever processes, the two bodies were again separate institutions late in the reign of Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603).  The murkiness seems to stem from the Act of 1540 including the phrase “in the Star Chamber or elsewhere” and this may explain why it became difficult to determine a clear distinction between the duties of the Privy Council and those of the Star Chamber; essentially, it wasn’t clear in what capacity members were sitting and there’s little to suggest they made jurisdictional distinctions.

The uncertainty is illustrated in the writings of eminent jurist Sir Edward Coke (1552–1634 Chief Justice of the King's Bench 1613–1616) who observed the Star Chamber “is (or may be) compounded of three several councils: (1) the Lords and others of the Privy Council; (2) the judges of either bench and the barons of the Exchequer; (3) the Lords of Parliament, who are not, however, standing judges of the court.”  Sir Edward usually is regarded as authoritative but William Hudson (circa 1577-1935), an advocate who practiced before the court, in 1621 claimed all peers had the right of sitting in the court and it’s not clear when that right was extinguished but definitely the privilege did not exist late in the seventeenth century.  Hudson’s Treatise of the court of Star Chamber (1621) was a quite strident defence of the Star Chamber, a response to complaints about the body’s haphazard ways with the records of pleadings and judgements.  Critics compared the court’s inconsistent, unstructured approach with the at least semi-codified methods by then adopted by Westminster’s other courts and found a “lack of diligence”, claiming the Star Chamber was no “settled, ordinary court of justice”, nor a “court of ordinary justice ever tied to form” but effectively “a committee for such great causes as it pleased the king”.  Hudson did not deny the administrative neglect but observed it was something new, the court in former times a model of record-keeping.  By the time Parliament abolished the Star Chamber, one of the distinctions MPs drew between it and what they deemed the “ordinary, legitimate courts of common law” was precisely that the former had no proper record whereas the latter did.

The Court of Star Chamber, Westminster (undated), lithograph by unknown artist, The National and Domestic History of England (circa 1890) by William Hickman Smith Aubrey (1858-1916).

That grumble really was a product of how “records” was defined.  The court produced an abundance of material, just not in the predictable, structured form used by other courts, a form that would come to be accepted as the proceedings of a “court of record” (ancestor of the modern law report).  If judged by volume alone, the Star Chamber certainly was productive, its documents including lengthy bills in the form of petitions through to rejoinders, demurrers, interrogatories, and depositions.  In a modern phrase, that was "a lot of data but not much information", lawyers finding it difficult to “mine” all this stuff for findings or facts, let alone incontrovertible determinations.  As an outgrowth of the authority of the sovereign, the jurisdiction of the Star Chamber was as vague as its constitution, Hudson making the point it was “impossible to define” without offending the supporters of “the prerogative” by a limitation of its powers, or the advocates by attributing to it “an excessive latitude”.  Given that, it’s hardly surprising the jurisdiction remained effectively close to unlimited and the vista was extraordinary, encompassing from time-to-time riots, murder, forgery, felony, perjury, fraud, libel and slander, duels and acts tending to treason, as well as of some civil matters, such as disputes about land between great men and corporations, disputes between English and foreign merchants, and testamentary cases.  It can be understood only as analogous to a delegation of the powers of an absolute monarch dispensing justice from his throne and that was of course the body's medieval root.  As Hudson put it: “All offences may be here examined and punished if the King will.”  Not constrained by the limitations and guideposts of the common law, Hudson’s critique was summed-up by a later reviewer as: “Its procedure was not according to the Common Law; it dispensed with the encumbrance of a jury; it could proceed on rumour alone; it could apply torture; it could inflict any penalty but death.”

The paradox of such an institution was that it was thus “admirably calculated to be the support of order against anarchy, or of despotism against individual and national liberty.”  So it proved, operating in the former light under the Stuarts and in the latter under the Tudors, shifting from “a tribunal constantly resorted to as a resource against the ignorance or prejudices of a country jury” where, in such investigations “it showed itself intelligent and impartial.”  Under the Stuarts, the Star Chamber became “the great engine of the royal tyranny” with “hateful and excessive punishments inflicted on those brought it judges”.  Amusingly, despite that perception, even as late as 1629 the Barons of the Exchequer felt moved to observe the Star Chamber was “one of the most high and honourable courts of justice.”  Although in 1641 abolished by an act of parliament, twenty years later the "gap in the judicial market" was considered by a committee of the House of Lords, their lordships reporting “that it was fit for the good of the nation that there be a court of like nature to the Star Chamber.”  The mood had however shifted and the matter wasn’t pursued.

Tchotchke

Tchotchke (pronounced chahch-kuh or chotch-kee)

(1) In Yiddish, an inexpensive, often showy trinket

(2) By adoption in English slang, an inexpensive souvenir, trinket, or ornament.

(3) In Yiddish, an attractive young woman (with variants).

(4) By adoption in English slang, an attractive young woman (now rare).

(5) In slang, objects of inferior quality (now rare US use of the word as a kind of alternative to schwag or swag (trinkets or promotional items given away at an event)) and used also of marijuana of low potency.

1950s: From the Yiddish טשאַטשקע (tshatshke) (ornament; trinket; toy and (figuratively) attractive girl or woman), from a Slavic language, perhaps the Russian цацка (tsatska) (toy or small ornamental object) or Ukrainian цяцька (tsatska (toy or trinket) but many etymologists think the Polish czaczko (trinket; knickknack) the most likely source and probably ultimately imitative of a baby’s utterances.  The Polish czaczko is long obsolete; the modern cacko exists in the same sense (originally dialect, of expressive origin).  Tchotchke is a noun; the noun plural is tchotchkes.

Classic tchotchke: Lindsay Lohan fridge magnet.  In US “tourist spots”, there are “tchotchke shops” (functionally equivalent to souvenirs shops in other places).

Quite what was tchotchke’s path through Slavic languages is not certain; no single root has ever been identified.  The sense of “a small ornament of minor value; a knick-knack, a trinket” seems first to have appeared in the 1950s while the figurative meaning “attractive girl or woman” had come into use by at least 1964.  Both are thought to have origins in Jewish communities in the north-eastern US (almost certainly New York City) from which use spread to cities in south-east Canada.  The time-line of the assumption of meanings (trinket: 1950s & attractive young woman: 1960s) are vague because tchotchke was circulating in oral use for some time before appearing in the written record; in the pre-online era, years could elapse between lexicographers acknowledging a word’s existence and its appearance in a printed volume of a dictionary (or one of the “supplements” issued between releases of revised editions).  That the transferred sense of “pretty girl” is listed as dating from 1964 reflects the publication date; not a verified first use.  With an origin in the Middle Ages, Yiddish is best imagined as beginning as a “concept”, assembled (variously and eventually) from over-lapping dialects, influenced mostly by West Germanic and Middle-Eastern languages.  Although by the 1950s (when tchotchke entered the lexicon) Yiddish was more codified, alternative spellings still were being listed, including chatchka, chachka, chatchke, chotchke, tsatske, tshatshke, tsotchke and tchotchkeleh.  The spelling tchotchke is an English transliteration of the Yiddish, not a form that follows ordinary English phonetic conventions although the OED (Oxford English Dictionary) notes consonant cluster “tch-” sometimes is used in English for “ch” (especially in foreign words) so the adaptation (with the silent “T”) is not unusual).

The dual meanings have survived despite the use to describe women being obviously sexist and sometimes derogatory (ie the latter sense transferred from “cheap trinket”) but it’s said now to be used with an emphasis on the “attractive” or “amusing” rather than any hint of “intellectually unsubstantial” with at least two Yiddish dictionaries adding “sometimes used affectionately”.  However, in many languages, with descriptors of women, there have been those who re-purpose even complimentary terms as pejoratives and documented uses of tchotchke have extended to what would in English be understood as “a kept woman”, “a manipulative minx” and “a bimbo”.  There can also be confusion with the Yiddish tsatskele (either “young woman who exploits her attractiveness to achieve her ends” or “one’s favourite daughter”, an explanatory note in Leo Rosten’s (1908–1997) The Joys of Yiddish (1968) explaining the meaning shift being effected by a change in the tone of voice).  In Yiddish, context matters much, regional uses also including “bruise”, “nobody”, “misfit” and “brat”.  That variety is emblematic of Yiddish because, unlike formal, structured Hebrew, Yiddish long grew without any sense of a “standard canon” and words used in one city district could convey a different meaning than those heard no more remotely than a few suburbs or blocks away.  Even today, not all entries in Yiddish dictionaries are necessarily comprehensive; the language varied by region and community with not every recorded sense universally understood.  If ever the term “melting pot” could be applied to languages, it was of the way Yiddish forms in the nineteenth & twentieth centuries swirled around New York City, entering (sometimes adapted but usually not) US English and the spreading.

Conservatory of Hitler's country house, Berchtesgaden: note wicker chair's incorporated swastika below armrest, “AH” in the embroidered throw and cushions in a variety of colors and designs, all gifts to the Führer from grateful German women.

There are those who inherit their tchotchkes, others acquire them while some have the thrust upon them.  Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) had the typical upper-middle class distaste for kitschy stuff and in his (sometimes reliable) memoir Erinnerungen (Memories or Reminiscences; published in English as Inside the Third Reich (1969)) the presence of not a few tchotchkes in Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) country house, on Obersalzberg of the Bavarian Alps, some years before it was enlarged in the sprawling complex centred on the Berghof: “After Berchtesgaden came the steep mountain road full of potholes, until we arrived at Hitler's small, pleasant wooden house on Obersalzberg.  It had a wide overhanging roof and modest interior: a dining room, a small living room, and three bedrooms. The furniture was bogus old-German peasant style and gave the house a comfortable petit-bourgeois look.  A brass canary cage, a cactus, and a rubber plant intensified this impression. There were swastikas on knickknacks and pillows embroidered by admiring women, combined with, say, a rising sun or a vow of ‘eternal loyalty.’  Hitler commented to me with some embarrassment: ‘I know these are not beautiful things, but many of them are presents.  I shouldn't like to part with them.’”

US three-piece band Tchotchke (Anastasia Sanchez (b 1999, drums, lead vocals), Eva Chambers (b 1999, bass, keyboards, backing vocals) and Emily Tooraen (b 1996, guitar, backing vocals).

Anastasia Sanchez and Eva Chambers had been members of a number of musical aggregations and had released some material before in 2020 recruiting Emily Tooraen as lead guitarist, the trio adopting the name Tchotchke.  Most tracks on their eponymous album (2022) had been recorded prior to Tooraen’s arrival but their second release (Playin' Dumb) in 2025 included contributions from all three.  Working in what’s described as a “retro blend” of 1960s “pure pop” and sometimes formulaic “playlist-friendly power pop”, the band often collaborates with fellow New York outfit the Lemon Twigs, both in packaged recordings and undertaking tours.  Tchotchke’s emphasis on the use of harmonies (a nod to the “girl groups” of the 1960s) and analogue recording techniques produce a “vintage sonic aesthetic” (always, their material concurrently is available on vinyl) and reviewers have noted it works as well with a touch of “old time static” as it does in the crystal-clear digital version.  Despite the obvious commercial appeal of their “candy-coated” sound, definitely the trio belong somewhere in the “art house” genre.

Wish You Were a Girl (2022), official music video.

While tempting (for men at least) to assume the band’s name was chosen as an allusion to the photogenic qualities of the members, Ms Sanchez said the origin lay in the fondness she and Ms Chambers have for tchotchkes: “We like tchotchkes and have collections that are constantly growing.  Emily is more of a minimalist, which has been healing to our hoarding tendencies.”  Pleasingly though, an element of nominative determinism appeared in the in official music video of Wish You Were a Girl (2022) with many tchotchkes included as  verisimilitude.

Tchotchke with Volvo 240.  There may be a subliminal message or maybe the girls just like Volvos (sometimes, “a Volvo is just a Volvo”).

The Volvo 200 series, in production between 1974 and 1993, was the famously robust machine that more than any established the brand in the US; some 2.8 million were built.  Available mostly as two & four doors sedans and a five-door station wagon, there were some low-volume variants including LWB (long wheelbase) limousines (supplied mostly to the GDR (Deutsche Demokratische Republik (German Democratic Republic; the old East Germany, 1949-1990)) and a distinctive two-door PLC (person luxury coupé) with a lowered roofline (the “chop-top” 262C (1978-1980)).  The 262C, designed in-house, was built by in Turin, Italy by Carrozzeria Bertone and although fewer than 7,000 were made, the expensive model was always intended as an exclusive range-topper and was throughout its run a success, demand greatly exceeding the original projections.  Visually, the lowered roof-line atop the otherwise brick-like structure made the 262C something of a caricature but the look was less pronounced than the way it was implemented on some of the US PLCs of the 1970s, Imperials and full-sized machines from Chrysler's other divisions featuring the most exaggerated expression of the motif.

Factory publicity shot for 1981 Volvo 262C (left) and 1972 Imperial LeBaron Two-door Hardtop (right).  The 262C's “small greenhouse atop large body” was not wholly “un-Volvo like” because the look had been seen on the earlier 1800 coupés (1961-1972) and it reflected the design language of the US PLCs of the 1970s that at times approached absurdity, the ratio of cabin to what lay fore & aft as inefficient as it looked.  By comparison with them, the Volvo was better balanced, the most desirable of the 262Cs made in the final season with the unfortunate vinyl roof receiving an overdue banishment.  Alone among the 260 range, only the 262C attracts much interest but although of its genre a “minor classic” with many cachets (two doors, lavish interior, limited production, built by a storied Italian coach-building house), the collector market still prices it in the lower range.    

Unusually, although among collectors, as a general principle, desirability tends to rise as cylinder-count and displacement increases, it’s the cars powered by Volvo’s (reputedly indestructible) four-cylinder engines that are preferred to those with the PRV (Peugeot-Renault-Volvo) “Douvrin” V6 that gained a reputation for thirst, sluggishness and fragility, even before it appeared in the tail of the stainless steel fiasco that was the doomed DMC DeLorean (1981–1983); production of the V6 260 ended in 1984 and in that aspect, the long-running 200 series differed from its predecessor.  The 140 Series was produced exclusively in four-cylinder form between 1966 and 1974 but in 1969 the companion 164 appeared, powered by Volvo’s 3.0 litre (182 cubic inch) straight-six.  The 164 was highly regarded (a lack of power one of the few complaints about the 140), the robust engine (used also in marine, military, industrial and other applications) a paragon of reliability.  Unexpectedly, the 164 remained in (limited) production for a season beyond the retirement of the 140, batches needed for certain markets (notably the US and Japan) while the PRV V6 was made compliant with their more onerous emission rules.  That made those PRVs less toxic to the environment but further compromised its dubious reputation, the anti-emission plumbing sapping more of the anyway modest power, the only metrics to increase being fuel consumption and complaints.  While to this day the 240 enjoys a cult following, few lamented the demise of the 260 and even at the highest reaches of the company, the PRV seems not to have been admired.  Pehr Gyllenhammar (1935–2024) between 1970-1994 served as Volvo’s CEO (chief executive officer) & chairman and his 262C company car was a genuine one-off, fitted not with the PRV but a more vibrant B21ET (a 2.1 litre (130 cubic inch) turbocharged version of the faithful in-line four).  In the years since, some owners have followed the chairman’s lead and re-powered their own 262Cs; predictably, several have received a US V8 of some flavor.

Tchotchke (while enjoying bananas) with Volvo 240.

The NNN designation system (N=Series; N=Cylinders; N=Doors) was in 1983 simplified so 242, 264, 245 etc was replaced by 240 & 260.  The predecessor of the 200 series is a footnote in diplomatic history as what Volvo calls the “biggest car heist in history”.  In 1974, a thousand Volvo 144s were ordered by the government of the DPRK (Democratic People's Republic of Korea (North Korea)) and duly supplied, along with an invoice than went unpaid.  The factory got paid by the Swedish state because the transaction had been underwritten by SECA (Swedish Export Credit Agency) but, despite SECA periodically sending “reminder notices” to Kim Il-Sung (Kim I, 1912–1994; Great Leader of DPRK 1948-1994), Kim Jong-Il (Kim II, 1941-2011; Dear Leader of DPRK  1994-2011) and Kim Jong-Un (Kim III, b 1982; Supreme Leader of DPRK since 2011), the invoice remains in SECA’s BD (bad debts) ledger and not even the ownership of Volvo in 2010 passing to the Chinese Geely Group seems to have assisted in extracting money from Pyongyang (Beijing among the few “friends” of the “Hermit Kingdom”).  Adding insult to injury, some of the 144s are still in use and the Great Leader, Dear Leader & Supreme Leader never contested the bill; they just ignored the letters of demand.

Supreme Daughter (left) and Supreme Leader (right) inspecting an exhibit of women’s clothes, Pyongyang, October 2026.  The Supreme Leader seemed much taken with a pair of pink sneakers which closely he examined.

With interest accumulated over a half-century odd, the total owed is now some US$455 million but despite hacker operation TraderTraitor (known also as the Lazarus Group and allegedly the 414 Liason Office within the DPRK state apparatus) recently stealing a reputed US$6.4 billion in cryptocurrency from the Binance exchange, it’s unlikely the anyone at SECA is expecting a cheque in the mail.  Apart from all else, the Supreme Leader has other demands on his purse, photos published by the KCNA (Korean Central News Agency, the DPRK's energetic and highly productive propaganda arm) suggesting Supreme Daughter (Kim Ju Ae, (b circa 2013), by Kim Jong-Un out of Ri Sol-ju (b circa 1988)) has very expensive tastes in clothes, shoes, handbags and such.  Still, the DPRK’s in-house hacking operation is making progress, cybersecurity company Elliptic revealing their analysis suggested TraderTraitor was taking a recently emerged approach to cyber-laundering, minting worthless meme tokens simply as “pass-through devices” to move stolen cryptoassets through decentralized exchange liquidity pools, meaning there’s no direct path from wallets holding stolen assets to wallets intended as ultimate recipients.  The method’s attraction is its low cost (the tokens created as “throw-aways”) and the convolutions created on the blockchain, the latter making more time-consuming the task of those investigating the heist.  The DPRK’s foreign ministry has denied the state engages in any form of hacking and certainly had nothing to do with the “Binance incident” but, just as rule during the Cold War (1948-1911) was “nothing can be confirmed as true until denied by the Kremlin”, the industry seems assured it has found the culprit, the DPRK having “a bit of previous”: An outfit that would steal a thousand Volvos would not be squeamish about pickpocketing Bitcoins.

Monica Lewinsky, pleased to see “big schmuck” Bill Clinton, 1996.

Yiddish has enriched English, the words often a “highlight” of the sentence in which they appear.  Former White House intern Monica Lewinsky (b 1973, with whom Bill Clinton (b 1946; POTUS 1993-2001) “did not have sexual relations") was a good Jewish girl (who got led astray) and one of her emails (discussing gifts Mr Clinton had purchased from The Black Dog at Martha’s Vineyard and sent her through the office of his secretary Betty Currie (b 1939)) to college friend Catherine Davis (b 1973) was published in the “Starr report” (Referral from Independent Counsel Kenneth W. Starr in Conformity with the Requirement of Title 28, United States Code, Section 595(c) (1998) by Ken Starr (1946–2022; independent counsel investigating the Clinton-era Whitewater(gate) affair and other matters).  “Well, I found out from Betty yesterday that he not only brought me a t-shirt, he got me 2 t-shirts, a hat and a dress!!!!  Even though he's a big schmuck, that is surprisingly sweet – even that he remembered!”  Some other Yiddish words most frequently used in English include:

Bupkis (or bubkes): Emphatically nothing or a worthless amount (as a Jewish mother telling her daughter: “Your new boyfriend isn't worth bupkis”).

Chutzpah (pronounced hutz-pah): Impudent nerve, supreme self-confidence, or audacity.

Glitch: A minor technical malfunction or sudden error (as in “a glitch in the matrix”).

Klutz: A clumsy, uncoordinated person (from the Yiddish word for a wooden block or beam).

Kvell: To beam with pride and joy, especially over a child or family member.

Kvetch: To whine, complain, or squeeze out a grievance (a word that might have been coined for crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).

Mensch: A good, honorable, and decent person of integrity (rarely used by most people).

Meshuggah (or meshugener): Crazy or senseless.

Nebbish: A timid, ineffectual, or unfortunate simpleton.

Nosh: To snack or nibble on food.

Oy vey: An interjection expressing dismay, exhaustion, or grief.

Plotz: To collapse, burst, or explode from overwhelming emotion (laughter, stress, or anger).

Schlemiel: A clumsy or chronically incompetent person.

Schlep: To drag, haul, or travel with great difficulty or heavy effort.

Schlimazel: A chronically unlucky person (often used in conjunction with “schlemiel”: “The schlemiel spills the soup; the schlimazel is the one on whom it lands”).

Schmaltz: Excessive sentimentality or melodrama (most of the reading list for women’s book clubs).

Schmooze: To chat in a friendly, conversational way, often to make social connections or gain an advantage.

Schmuck: A foolish, obnoxious, or contemptible person (although sometimes used affectionately of one loved despite their flaws).

Schmutz: Dirt, grime, or a smudge of filth.

Spiel: An elaborate, rehearsed, or persuasive sales pitch or story.

Verklempt: Choked up or overcome with emotion.

Yenta: A nosy, gossipy person or busybody.

Teaspoons: Functional when stirring one's coffee, tchotchkes when displayed in arrays.

There are words that can be synonyms of tchotchke including “trinket”, “ornament”, “kitsch”, “souvenir”, “knick-knack”, “gewgaw” and “bric-à-brac” but the significance of the Yiddish word is it’s so specific in meaning “small & inexpensive”.  In that, it differs from “ornament”, “kitsch”, “souvenir”, all terms that can be applied to stuff that can be large and costly (sometimes inexplicably expensive) and differs from “trinket” because there's not the same sense of the dismissive; a trinket intrinsically is “useless” while a tchotchke might fulfil some purpose, even if abstract.  Souvenirs, by definition, tended to be “location or event specific” and while tchotchkes certainly could be souvenirs, not all were.  In the US, tchotchke also entered the jargon of business, the small toys in breakfast cereal boxes and the stuff in bags handed out in conferences also described thus.  So, of all these words there’s a definite “evaluative undertone” and while none are exactly positive, as terms of derision all are fairly mild although “ornament” is an outlier in that ornaments can be both exquisite and expensive so are more like bibelots (by convention, used of stuff both beautiful and expensive).  Depending on the context (and item(s)), the term can have a connotation of worthlessness or disposability as well as tackiness: To say: “She’s a collector of porcelain figurines” is neutral whereas: “She collects tchotchkes” probably in the minds of most summons visions of clutter, perhaps a room full of lovingly curated teaspoon collections, all in wall-mounted display cabinets.

Centaur

Centaur (pronounced sen-tawr)

(1) In classical mythology, one of a race of monsters having the head, trunk, and arms of a man, and the body and legs of a horse (modern depictions in the age of the internet seem to prefer the upper body of a woman).  The synonym is hippocentaur.

(2) In astronomy, the constellation Centaurus (initial capital letter).

(3) In astronomy, any of a group of icy bodies with the characteristics of both asteroids and comets, orbiting the Sun in elliptical paths, mostly in the region between Saturn & Neptune.

(4) In modern slang, a skillful (male or female) rider of a horse.

(5) In rocketry, a US-designed and built upper-stage (with re-startable liquid-propellant engine), used with an Atlas or Titan booster to launch satellites and probes.

(6) In chess, team comprising a human player and a computer.

(7) By extension, in AI (artificial intelligence), a human and some form or AI, working together.

1325–1375: From the Middle English, from the Old English, from the Latin centaurus, from the Ancient Greek, from Κένταυρος (Kéntauros), thought to mean “a member of a savage race from Thessaly” although some etymologists are sceptical.  Historically, Thessaly was known as Αἰολία (Aiolía (Aeolia in modern use)) and that’s how it was referred to in the Odyssey (Homer’s epic poem from the eighth or seventh century BC); the gentlemen in Athens were quick to describe those from elsewhere as savages or barbarians, .  The half-human, half horse Centaur from Greek mythology belongs in the class of mixtumque genus, prolesque biformis (a mixed or blended race, offspring of two forms), the phrase made famous when it appeared in the Roman poet Virgil’s (Publius Vergilius Maro (70–19 BC)) Aeneid (29-19 BC) description of the Minotaur, the mythical creature with the head of a bull atop a human body.  The most common use of the adjective centauric was a reference to the mythological creatures (resembling or of the nature of a centaur) but in the sometimes weird world of spiritualism it was defined as "characterized by an integration of mind and body for consciousness above the ego-self" (whatever that means).  When the adjective is used in SF (SciFi or science fiction) it's with an intital capital if referring to the residents or natives of the constellation Centaurus.  The case difference matters because there no reason why in SF half human, half-horse beasts can't be part of the ecosystem in Centaurus and they would have to be described as Centauric centaurs.  In fantasy fiction, a centauress was a female centaur (a she-centaur) and the term centaurette has also been used; it does not (as the -ette prefix might be thought to imply) mean a “a small centaur”).  Presumably, a centauress, while possessing the secondary sex characteristics of a human female could, anatomically, in the hind quarters either colt, stallion, filly or mare so it could be helpful if authors differentiated centauress & centaurette thus.  Centaur & centaurdom are nouns, centaurian is a noun & adjective and centauresque, centaurial & centauric are adjectives; the noun plural is centaurs.

In the sky

Judy Volker’s annotation of Sea & Sky’s sky-chart of the Centaurus constellation.

Centaurus is one of two constellations said to represent Centaurs and is associated primarily with Chiron (Cheiron), a wise, immortal being who was king of the Centaurs and said to be a scholar & prophet skilled in the healing arts.  In some of the myths, from his cave on Mount Pelion, he is said to have raised, tutored, or counselled several figures prominent in Greek mythology, including Jason, Heracles and Asclepius.  Of Chiron's association with the constellation, there are several tales.  In one legend, Chiron was the first to identify the constellations and teach them to mortal humans, placing an image of himself in the sky to help guide Jason on his quest for the Golden Fleece.  A different story has Chiron placed in the sky by Zeus and of this telling there are variants but the most common element is Chiron being accidentally wounded by a poisoned arrow and giving up his immortality as a way to escape the never-ending pain.  A twist on this has Chiron simply bored with life and wanting it to be over and this came to the attention of Prometheus, the Titan undergoing permanent torture for stealing fire from the gods to give to humans.  For Prometheus to be released from his torture, an immortal had to volunteer to renounce eternal life and go to Tartarus in his place.  Someone (Zeus, Heracles, or Chiron himself depending on the author) suggested Chiron's offer be used to release Prometheus and for this Zeus honored Chiron with his place in the sky.  There’s even a tale in which the constellation represents the Centaur Pholus, honoured thus by Zeus for his skill in prophecy.

Centaurus, copperplate engraving by Polish astronomer Johannes Hevelius (1611–1687) from Firmamentum Sobiescianum sive Uranographia (1687), his atlas of constellations.

In English, the southern constellation of Centaurus has been so described since the 1550s but was known by that name to the Romans (to the Greeks it was Centaur).  The ninth largest constellation, visible in the far southern sky in the months around March, since classical times, it has been confused with Sagittarius.  In astronomy, a centaur is a small, icy celestial body orbiting the Sun in an in elliptical paths, most tracking between Jupiter and Neptune, the name gained from them typically having the characteristics of both asteroids and comets, that dual-nature the link with the half-human, half-horse from mythology.  Centaurs are considered transitional objects that may originally have been KBOs (Kuiper Belt Object) and often have unstable orbits due to gravitational interactions with the giant planets.  Orbiting mostly between 5.5-30 AU (an “astronomical unit”, the average distance between the Earth and Sun (about 150 million km (93 million miles)) from the sun, such is the gravitational effect of the big planets that most centaurs (which range in diameter between 100-400 km (60-250 miles) are expected over millennia to be sent into the inner solar system or even ejected into interstellar space.  Astronomers first became aware of the objects in 1977 with the discovery of Chiron but the technology of the time didn’t permit the structure fully to be understood and the body was thus initially classified both as a comet (95P/Chiron) and minor planet.  It was improvements in observational hardware which demonstrated that while appearing as asteroids, when closer to the sun the comet-like behavior of developing a coma or tail will manifest.  The largest known centaur is 10199/Chariklo.  Listed as a minor planet, it orbits the Sun between Saturn and Uranus and in 2014 it was announced it possessed two rings (nicknamed Oiapoque and Chuí after the rivers that define Brazil's borders), the existence confirmed by observing a stellar occultation.  One implication of the rings is it's likely it also has at least one shepherd moon and infrared images indicate the Chariklo is named after the nymph Chariclo (Χαρικλώ), the wife of Chiron and the daughter of Apollo.

On four hooves

Front (left) and rear (right) of the gatefold cover of the album Ride a Rock Horse (1975) by The Who's lead singer Roger Daltrey (b 1944).  The artwork was the work of his cousin Graham Hughes who produced a number of album covers during the 1970s.  Until the early 1980s when the CD (compact disc) reduced the size of packaging, the album cover was the most distributed form of pop-art. 

Things rarely were consistent in the evolution of the myths from Antiquity and the mythical centaurs were described variously as being wholly equine from (human) torso down or with the from parts of the legs also human, the latter a popular depiction during the Medieval period while in Classical era, they had four horses' hooves and two human arms.  Living on raw flesh and inhabiting mountains and forests, they were descended either from Centaurus (the son of Apollo & Stilbe) or of Ixion & Nephele although the Centaurs Chiron and Pholus were of a different descent lineage: Chiron was the son of Philyra & Cronus while Pholus was fathered by Silenus and born of an unnamed Nymph; what distinguished that pair was that unlike the other herds, they were hospitable and non-violent.  The cooking of food being a marker of civilization, it was recorded that when Heracles was hunting the Erymanthian boar, he visited Pholus who received him hospitably, giving him cooked meat whereas Pholus himself ate exclusively raw food.

When Heracles asked for wine, Pholus told him that there was only one jar, which either belonged communally to the Centaurs or had been a gift from Dionysus who had told them to open it only if Heracles should be their guest.  Telling his host not to be afraid, Pholus broke the seal but when the Centaurs smelled the wine they galloped from the mountains, armed with rocks, fir trees and torches to attack the cave.  The first two Centaurs to attack were Anchius and Agrius (killed by Heracles) but Pholus was killed in the aftermath of the fight: while burying a fallen Centaur he drew one of Heracles' poisoned arrows from a wound but it fell from his grasp, piercing his leg and almost instantly he died.  Heracles drove off the remaining Centaurs and pursued them to Cape Malea where they took refuge with Chiron.  In the ensuing battle Heracles shot Elatus in the elbow, but Chiron either dropped one of Heracles' arrows on his foot or was shot in the knee by Heracles.  The wounds of Heracles' arrows could not be healed and the immortal Chiron begged the gods to make him mortal.  It was Prometheus agreed to take on his immortality, and Chiron died, leaving most of the Centaurs to take refuge in Eleusis.  Their mother (Nephele) aided them by summoning a rain storm but that didn’t deter Heracles who slaughtered a dozen including Daphnis, Argeius, Amphion, Hippotion, Oreius, Ispoples, Melanchaetes, Thereus, Doupon, Phrixus & Homadus.

Wedding reception gone bad: Rape of Hippodamia (The Lapiths and the Centaurs) (1636-1637), oil on canvas by Peter Paul Rubens (1577-1640), Museo Nacional del Prado, Madrid, Spain.  The painting was one of a large cycle of mythologies by Rubens for the Torre de la Parada, Philip IV's (1605–1665; King of Spain 1621-1665 and (as Philip III) King of Portugal 1621-1640) newly built hunting lodge on the outskirts of Madrid.  One of Rubens’ oil sketches for the work is on display at Musees Royaux des Beaux-Arts de Belgique in Brussels, Belgium and is of interest to art students and critics because of the detail differences in the final composition.  On the basis of content shared on the internet, wedding receptions these days are sometimes torrid affairs. 

Lindsay Lohan AI generated as a centaur by EnjoyLingerie on DeviantArt.

The Centaurs also fought a legendary battle against the Lapiths (a Thessalian people who originally inhabited Pindus, Pelion and Ossa; they drove out the native people, the Pelasgians).  Pirithous invited the Centaurs (who regarded themselves as his parents) to his wedding feast and it went well until, unaccustomed to the effects of wine, the Centaurs became drunk and one of them tried to rape (in the classical sense of "abduction") Deidamia (Pirithous' bride and more commonly known as Hippodamia), resulting in a violent brawl which ended with the Lapiths driving the Centaurs out of Thessaly after killing many.  Containing so many wonderful subjects (Centaurs, a feast, a rape scene, a brawl), the disrupted wedding reception (which came to be known as “the Centauromachy”) for centuries drew artists to the theme.  In Antiquity, the Centaurs got a bad press because they appear in so many legends involving rape, abductions and violence.  In many ways the myths can be deconstructed as violent soap operas with an undercurrent of licentiousness, typified by the tales of Eurytion attempting to rape Hippolyta or Mnesimache, the daughter of Dexamenus.  In one version Dexamenus had betrothed his daughter to Azan (an Arcadian) and Eurytion (again as a guest at the wedding feast) attempted a kidnapping but she was saved by the hero Heracles arrived in time to kill him, returning bride safely to groom.  Most scribes were members of the Heracles admiration society and there also the story of how Heracles, on his way to Augias, seduced the girl, promising to marry her upon his return.  While he was away, forcibly she was betrothed to Eurytion but just as the wedding ceremony was about to begin, Heracles stormed in, killed the Centaur and had himself declared her husband.

Cupid and Centaur (1992), photograph by US photographer Joel-Peter Witkin (b 1939).

Based in Albuquerque, New Mexico, recurring themes in Mr Witkin’s work includes death and corpses (or dismembered body-parts), often artfully arranged for staged photo-shoots, his subjects including dwarfs, transgender and intersex persons.  As might be imagined, his images sometimes attracted controversy although some in the disabled community did praise his depictions of those living with a range of physical features not often documented in art.  Witkin claims his elaborate creations are not at all exploitative and are intended to “honor and elevate” those often neglected and “hidden from view”, rarely presented in an artistic context, motifs sometime drawn from paintings in both the sacred and secular traditions.  In an interview, Mr Witkin recalled his interest in what would many would think macabre was trigged when, as a child, he saw the decapitated head of a young girl killed in an automobile accident.

On four wheels

1976 Chrysler Centura GL.  Despite the visual resemblance, the (optional) styled steel wheels were unrelated to those used on Oldsmobiles between 1966-1987.

Whatever processes led to Chrysler Australia adopting the name “Centura” for their local version of the European Chrysler 180 (1970-1982) may still exist in the corporation’s archives but it seems the details have never been published though it can be assumed it was not an Anglicized adaptation of the Romanian centură (belt, girdle).  In Latin centum meant "one hundred" and the term centuria referred to (1) a unit of the Roman army, nominally consisting of 100 soldiers (historians suggest in practice the establishments varied between 60-160) and headed by a centurion, (2) in real estate a unit of area, equal to 100 heredia or 200 iugera (circa 125 acres (50  hectares)), (3) a group of citizens eligible to vote, the system apparently one of the reforms introduced by Servius Tullius (king of Rome 578-535 BC) and based on the ownership of land, one of the many systems which, over millennia, have codified a relationship between ownership of property (usually land) with a right to in some way participate in the polity (usually by voting) and (4) figuratively or literally, things in some way related to "100".  In modern Romance languages, things of course evolved: the Romanian centura (belt or girdle) was from the French ceinture (belt), from the Latin cinctura (girdle, belt), thus by extension used also to refer to the to beltways (ring roads) around cities.  In Spanish & Portuguese, the related cintura (waist; belt) is from the same Latin root cingere (to gird; surround).

The name of the short-lived Chrysler Centura (1975-1978) may have been an allusion to the Centaurs of myth because, like them it had a dual nature, combining the platform of a European four-cylinder with a much more powerful (and heavier) Australian built six.  That had been a concept Holden (GM's (General Motors) Australian outpost) in 1969 introduced when they installed their six-cylinder engine in a modified Vauxhall Viva and called it the Torana.  It proved a great success and Ford Australia in 1972 responded by fitting still larger displacement sixes to the Cortina which, being longer than the Viva, didn’t need the four inch (100 mm) stretch of the wheelbase required for things (tightly) to fit in the Torana.  Given the way local journalists would within a few years decry the inherently unbalanced Cortina six, it is remarkable how well the press received the thing upon debut.

1975 Chrysler Centura brochure shot (GL left; XL right).

Had the Centura been released in 1973 as planned, it might have found success but the timing was unfortunate, the decision by the French government of Georges Pompidou (1911–1974; President of France 1969-1974) to conduct tests of nuclear weapons in its South Pacific territories, prompting the leadership of Australian trade unions to blacklist French goods arriving in ports (Australian trade unions in those days running an independent foreign policy and the ACTU (Australian Council of Trade Unions) a kind of co-government).  As a consequence, it wasn’t until 1975 the Centura arrived in showrooms and by then the market had moved on, competition rather more intense.  Although the Centura offered class-leading performance (indeed, in a straight line it was quicker than many V8s) by virtue of its optional 4.0 litre (245 cubic inch) straight-six (even the 215 (3.5) version could run with the 4.1 (250) Cortinas), increasingly buyers were more tempted by the equipment levels and perceptions (sometimes true) of superior build quality and economy of operation offered by vehicles with origins in the Far East.  As it was, Chrysler in 1976 began local production of the Japanese Mitsubishi Sigma and it proved a great success, even without the six cylinder engine once thought such a selling point.  Tellingly, although a prototype Centura with a 5.2 (318) V8 was built, the project rapidly was abandoned.  Officially, the explanation was the body lacked the structural rigidity to handle the additional torque, the same reason Ford never contemplated their V8 Cortina entering production; engineers familiar with the structures of both platforms agree that was true of the Cortina but maintain the Centura was robust enough and suspect both companies, having observed the subdued demand for the V8 Holden Toranas (1974-1978) decided Holden was welcome to its exclusive presence in the niche sector.  Fewer than 20,000 Centuras were built during its dismal three year run, a fraction of what was projected as its annual production.

On three wheels

Rupp Super Sno-Sport, 1969.  If an object moves (or can be made to move), the chances are high an American will at some point have installed a V8.

Although it seems now the company’s best-remembered product, the Rupp Centaur was built only during 1974-1975 with production reaching barely four figures.  A fibreglass-bodied, wheeled tricycle available in red, white, blue, and yellow, the Centaur was something of a departure from Rupp’s traditional lines and its existence was a product of (1) climatic conditions, (2) a downturn in the economy and (3) the sharp increase in the price of gas (petrol), induced by the first oil-shock of 1973-1974.  Rupp Manufacturing had in 1959 been founded in Mansfield, Ohio by Herbert Edward “Mickey” Rupp (1936–2023), initially as a small-scale operation producing Dart Go-Karts but the venture proved successful enough for the company to expand and in 1960 a line of mini-bikes was introduced.  Simple to manufacture and sold with an attractive margin, the cash–flow enabled further development and by 1964 Rupp’s prototype snowmobiles had been sufficiently refined to be suitable for mass production, an encouraging 500 sold the following year, demand steadily increasing.  By the end of the decade, Rupp Manufacturing had a staff of over 400 and a catalogue of RVs (recreational vehicles) including mini-bikes, small ATVs (all-terrain vehicles) and a signature range of Sno-Sport snowmobiles, by then available in five models.  This being the US, there was also the sport of “snowmoble drag-racing” and Mickey Rupp fabricated the “Super Sno-Sport”, a genuinely exotic entrant using a special 308 cubic inch (5.0 litre) V8 from Ford’s racing research department with braking provided by a combination of disk brakes on the drive axle and a parachute, activated by a cable-release mechanism.  Whether it ever attained its theoretical maximum speed (150 mph (241 km/h)) isn’t clear but, in 1969, it was recorded at 95.5 mph (153.7 km/h) during a run at West Yellowstone.

Rupp advertising, 1970.

While the V8 Super Sno-Sport was a useful publicity tool, Rupp Manufacturing’s core business was more modestly powered snowmobiles and the company entered the 1970s as one of the industry’s most successful, annual production in 1970-1971 reaching almost 40,000 units.  However, while the economy was beginning to slow, what really affected things was two successive seasons of poor snow conditions, Rupp especially suffering because it had borrowed money to expand production and built up a large inventory of product to meet an anticipated strong demand,  With falling sales and rising debt-servicing costs, the rapidly dwindling profits of 1972 quickly became unsustainable losses and, in 1973, facing imminent bankruptcy, a controlling interest was sold to a investment group (what would now be called a PE (private equity) company).  The takeover provided the necessary injection of cash but of course involved also the inevitable “restructuring” (lay-offs and cost-cutting), leading to a market perception was of reduced quality and the possibility of Rupp being closed once the new owners worked out an asset-strip would likely be more lucrative than on-going production.  However, defying expectations, product development continued and in 1976 Rupp introduced its “Nitro” line of snowmobiles, now with liquid-cooled Xenoah power-plants.  These were a considerable technical advance and reviews were glowing but development costs had been high and the sector had become crowded; although sales were encouraging, profits became marginal as the machines often had to be sold at a discount.  In 1977, despite the publicity generated by the Rup 440 Nitro being capable of a genuine 80 mph (130 km/h), the company filed for bankruptcy, even a joint venture with the more stable Arctic Cat operation unable to stave off the inevitable.  In 1978, Rupp was wound up.

1974 Rupp Centaur (single seater).  Based on the photographic record, most buyers seemed to have chosen red.

The change in ownership and troubled history of the early 1970s explains the existence of the Centaur.  With an existing product line rendered unsuitable by the sudden decline in the snowmobile market, Rupp needed a new offering that could (1) quickly be developed, (2) be produced using existing assembly lines and (3) be sold at a price acceptable to its market segment and for that roll of the dice, planners settled on a powered-tricycle, a configuration familiar to customizers and specialist applications (police forces, postal services etc).  Rupp was targeting not commercial operators but the recreational market and that the machine would offer better fuel consumption than even small economy cars was an attraction, the project conceived when gas  had become not only suddenly expensive but also often scarce.  Unfortunately for Rupp, the scarcity didn’t last and in retrospect, even if it had, the Centaur’s many impracticalities might anyway have been enough to see it doomed (it was very much a “fun machine” for fine weather and the original version was strictly a single seater; in the recession year of 1974, it was not a compelling formula).  Although priced at US$1,700, for what one got, the cost-breakdown didn’t make sense for most because a small Toyota or Datsun could the leave the showroom for as little as US$2,800 and for that buyers got something that could seat five under a roof with a radio and heater.  Fun came at a cost and too few were prepared to pay the price.

1975 Rupp Centaur (two seater).

There was also the Centaur’s mechanical specification.  Designed originally to use the Volkswagen Type 1’s (Beetle) 1,285 cm³ (78 cubic inch) flat-four engine & transmission, the two companies couldn’t agree to terms so the tricycles were released with a 336 cm³ (21 cubic inch) two-stroke Kohler twin from the snowmobile line.  The fuel consumption certainly was low but while in the lightweight Centaur the VW engine would have delivered sparkling performance with an entertaining ability to cruise at 75 mph (120 km/h and by 1974 anyway unlawful because of a 55 mph (88 km/h) speed limit imposed nationally in as a “fuel-saving measure” by Richard Nixon (1913-1994; VPOTUS 1953-1961 and POTUS 1969-1974)), with the little two-stroke, only (a claimed) 55 mph was possible and at that speed the engine was very busy (and noisy), one reviewer remaking “one can almost hear it wearing out”.  Compounding the problem, the centrifugal clutch for the automatic transmission (an apparatus that had been a paragon or reliability in snowmobiles) proved troublesome when handing the greater weight and forces transmitted by the relatively wide contact area of the tyres.

Elvis Presley with 1975 Rupp Centaur, Memphis, Tennessee, 1975.  Keeping a cigarette burning while riding a motorcycle is a reasonable achievement.

Additionally, despite the minimalism of the body structure, flaws in the design (apparently a miscalculation of lateral loadings) meant the fibreglass had a tendency to crack, leading buyers unhappy and Rupp with expensive warranty claims.  It took not long for Rupp to work out the Centaur was not going to be the company's saviour but while a re-design was impossible and Volkswagen refused to lower the price of its engines, some adaptation was possible and in 1975 a two-seat version was released, obviously doubling the seating capacity but further adding to the weight and thus the load on the anyway hard-working engine and its vulnerable clutch.  Given all that Rupp probably did well to sell some 1,200 of the things over two years (although some are documented as lingering (discounted) on dealers’ lots as late as 1977).  One discerning buyer with a taste for the unusual was Elvis Presley (1935-1977) who purchased his in the summer of 1975 (it’s on display at Graceland) but he found the performance unsatisfactory (he was by then quite bulky which wouldn’t have helped) and after a few weeks replaced it with Super Cycle Stallion tricycle, powered by a Volkswagen flat-four.  It’s not known whether Elvis’s dissatisfaction with his Centaur was ever so intense he shot the thing (as he did when his De Tomaso Pantera refused to start) but his feelings were not unique because a number of the surviving Centaurs have been re-powered with Volkswagen engines and at least two have been converted to electric propulsion.

In art

Stormy Daniels (2019) drawing in ink, correction fluid & graphite on paper, by Robert Crumb (b 1943).  The image is available on the “Stormy Tee Shirt” (in black or pink) from Platform Art with 10% of sales revenue going to Safe Horizon, a New York-based organization supporting victims of domestic violence and sexual assault. 

It’s not known if  Donald Trump (b 1946; POTUS 2017-2021 & since 2025) is a student of Greek mythology (stranger things have happened) but he did provide us with his unique vision of the half-horse, half-human beast, labeling content provider, actress & director Stormy Daniels (Stephanie Gregory Clifford; b 1979) “horse face”.  In May, 2024, the memorable phrase returned to the news as matters came before court related to “hush money” allegedly paid to Ms Daniels (on behalf the of the President) in exchange for her maintaining a silence about a certain “intimate encounter” they had shared, their apparently brief tryst including her spanking him on the butt with a rolled-up magazine featuring his picture on the cover.  Mr Trump denies not only the spanking but the very encounter, claiming it never happened.  To give a flavor of the proceedings, at one point counsel asked Ms Daniels: “Am I correct in that you hate President Trump?” to which she replied: “Yes.”  No ambiguity there and although not discussed in court, her attitude may not wholly be unrelated to Mr Trump’s rather ungracious description of her as “horse face”.  Really, President Trump should have been more respectful towards a three-time winner of F.A.M.E.'s (Fans of Adult Media and Entertainment) much coveted annual “Favorite Breasts” award.

Death of a Centaur (1912), oil on canvas by Arthur Lemon (1850–1912).  For Lemon, the Centaur was what would now be called his "spirit animal" and the work was painted when he was close to death. 

Born on the Isle of Mann, Arthur Lemon spent his childhood in Rome before moving to California to work as a cowboy; there he became a devotee of what he would call en plain air (by which he meant “an outdoor life”).  Later he would return to Europe to study art and for the rest of his life he would travel between Italy and England where regularly he staged exhibitions at London's Royal Academy; his work most associated with scenes of the Italian countryside and the daily lives of the rural peasantry.  Lemon's fine eye for painting a Centaur was a thing of practice.  He became close friends with English artist Henry Scott Tuke (1858–1929), noted for his prolific output of works in the Impressionist tradition focused on nude adolescent boys and during the 1880s the pair for a time lived Florence where they “spent time sketching male nudes in the Italian sunshine.”  

The Wooing of Daphnis (exhibited 1881), oil on canvas by Arthur Lemon.

Daphnis possessed the youthful beauty of the kind idealized by Tuke and the many nymphs who so adored him.  A victim of that beauty, his life ended badly.  The artistic approach of Lemon and Tuke was interesting in that their nude youths often were shown in a contemporary setting and in that they differed from the many paintings and sculptures of Ancient Greek gods and mythological which, historically, enabled an exploration of the male nude without upsetting public decency; what Lemon and Tuke especially did was eroticise their young subjects.  From his time as a cowboy, Lemon was well acquainted with the physicality of the horse and knew from his studies that in Greek art Centaurs often were depicted as highly sexed figures; being not wholly human, Centaurs could be treated as creatures able to ignore the strict moral expectations of society and accordingly, formed their own community.  Lemon and Tuke in their own ways noted this and both took the Centaur as something of a model although while Lemon devoted much of his energy to painting horses, Tuke’s attention on the nude male youth was obviously his obsession.  After decades of little interest, in the more permissive atmosphere of the 1970s, Tuke emerged as a cult figure among those collecting gay-themed art but Lemon remained a footnote as a minor artist of rural life.