Tube

Tube (pronounced toob or tyoob)

(1) A hollow (usually cylindrical or oval) body of metal, glass, rubber or other material, used especially for conveying or containing liquids or gases.

(2) A small, collapsible, cylinder of metal or plastic sealed at one end and having a capped opening at the other from which paint, toothpaste, or some other semi-fluid substance may be squeezed or pumped.

(3) In anatomy & zoology, any hollow, cylindrical vessel or organ:

(4) In botany, the lower part of a gamopetalous corolla or gamosepalous calyx, below the lobes but used generally of any other hollow structure in a plant

(5) As “inner tube” a rubber, synthetic or composite construction in the form of a torus (doughnut-shaped) which sits inside the tyres of bicycles, motorcycles and certain other vehicles for the purpose of sustaining inflation (now rare on passenger vehicles which tend to use “tubeless” tyres.

(6) In semi-formal use (originally UK colloquial but now trademarked), the London RTS (rapid transit system) railway system (should use initial upper case).  The name comes from the tube-like tunnels drilled for most on the original underground sections but “The Tube” is used of the whole network (which does extend beyond London) including the above-ground sectors.  “Tube” is used variously of (1) the service, (2) of the cylindrical tunnels and (3) the rolling stock (the trains and carriages).  The term is also used in other places to describe underground railways.

(7) In electronics as “electron tube” (clipped usually to “tube”); as the “vacuum tube”, the predecessor of the transistor.

(8) In materials, as “nanotube”, small carbon constructions some 50,000 times smaller than the diameter of a human hair.

(9) In fashion variously as (1) “tube top” (a tight-fitting, sleeveless garment extening from the armpits to the waist or hips, (2) “boob tube” a shorter type of tube top which covers only the breasts (often labeled as “bandeau tube top”) and (3) “tube skirt” (a close fitting skirt which differs from the similar “pencil skirt” which is tapered).

(10) In slang, a television set (also used as “boob tube” with “boob” used in the sense of “someone stupid or foolish”, an allusion either to the inanity of much of what was broadcast or slur upon the audience).  Historically, television screens (like pre-modern computer monitors) used a “cathode-ray tube” and this was the original source of the idea of televisions as “on the tube”.

(11) In the slang of surfers, the curled hollow space formed when a cresting wave pitches forward when breaking.

(12) In the slang of clinical medicine, to intubate.

(13) In Australian Slang, a can of beer.

(14) In slang, a telescope (now rare and used usually as a deliberate archaism).

(15) To furnish with a tube or tubes.

(16) To convey or enclose in a tube.

(17) To form or render into the shape of a tube; to make tubular.

1590-1600: From the Middle French tube, from the Latin tubus (tube, pipe), related to tuba (long trumpet; war-trumpet), of obscure origin, but possibly connected to tībia (shinbone, reed-pipe).  The idiomatic for “down the tube(s)” (into a ruined, wasted, or abandoned state or condition; lost, finished) dates from the early 1960s and carries the same meaning as “down the drain”.  Despite the similarity of the words and the shapes of the structures, etymologists believe tub (open vessel used for liquids or other substances) was unrelated to tube.  Tub was from the late fourteenth century Middle English tubbe & tobbe, from a continental Germanic source such as the Middle Dutch tubbe, the Middle Low German tubbe & tobbe or the Middle Flemish tubbe, all of uncertain origin.  Tube, tubage & tubing are nouns & verbs, tubulure is a noun, tubed is a verb, tubular, tubey, tubiform, tubesque, tubeless, tubelike, tubish, tuboid & tuboidal are adjectives; the noun plural is tubes.

Squeezed from a tube: The toothpaste one squeezes onto a toothbrush is called a "nurdle".

The original use in the 1590s was of the observed structures in anatomy and zoology (a hollow organ or passage in the body) and this was extended by the 1650s to mean “pipe or hollow cylinder” (especially a small one used as a conduit for liquids).  The use to describe a “sealed container in tubular form” began in 1859 with the vacuum tube, later extended in electronics to a sealed tube containing electrodes (in wide use until the 1950s when transistors achieved mass-production).  The use to describe televisions dates from 1959 and seems to have been as clipping of “cathode ray tube” (CRT, the technology use of pre-modern screens) or “picture tube”.  “The Tube” was also late nineteenth century for wired telephones, the use derived from ships where voice traffic between places was sometimes carried by “speaking tube”, the same technology also used in horse-drawn carriages and early motor vehicles where the passenger compartment was sealed and separated from the drive or chauffeur.  In limousines (with a glass partition or divider), speaking-tubes were still sometimes fitted as late as the 1960s because it was simple, reliable technology and over such short distances an electronic apparatus offer little advantage.  London’s underground railway (an early London RTS (rapid transit system)) came to be known as “the Tube” in 1847, based on the tubular tunnels drilled to created the network; in 1900, in the press, it was dubbed the “Twopenny Tube” (a reference to the basic fare).  “Tube” has come to be a slang for RTS systems in various places, even those with no tubular tunnels (a similar linguistic process to “wire” or “cable” for electronic transmission).

Tube maps (sort of):  The London Underground maps, 1908 (left), 1933 (centre) and 2014 (right).

Although referred to almost universally as the “London Underground Map”, pedants like to point out (1) it’s a schematic (or diagram) rather than a map and (2) over half the “Underground” is above ground.  The now familiar concept of the “map” was in 1931 devised by Henry Beck (1902–1974), then a 29 year old electrical draftsman, who envisaged the rail lines as wires, the stations as connectors and the whole network as an integrated and interconnected diagrammatic system, much like the electrical circuit boards he was accustomed to drawing.  What was revolutionary about Mr Beck’s concept was he understood the purpose was different from a conventional map where scale mattered, rail lines had to be drawn in exactly the shape the assumed and topographic features were included.  What people wanted in a map of “The Tube” was a navigation aid, something which made as simple as possible the task of working out the matter of getting from station-to-station. 

The verb “to tube” (receive, enclose, or dispatch in a (pneumatic) tube) was in use by at least 1870 and was a clipping of pneumatic-dispatch tube (PDT), tubes first installed in 1859 in buildings for the rapid delivery of documents between floors or offices and propelled by air pressure; for dispatch, the documents were rolled and inserted in a small cylinder, the external diameter of which was slightly less than the internal diameter of the tube infrastructure.  The noun tubage (insertion of a tube into a cavity or canal) dates from 1880 and by 1896 it was being used as a collective nouns for tubes.  The adjective tubular (having the form of a tube or pipe) was from the Latin tubulus (a small pipe) and was in the early 1960s adopted in California’s surfing culture to describe the hollow, curling waves, most ideal for riding.

Lindsay Lohan in green-hooped tube top (left) and Coco Avenue's range of boob tubes in designer colors (right).

In pneumatic tyres, although still common on bicycles and motor-bikes, inner tubes are now rare in passenger vehicle use but they are still produced for a variety of commercial application and they have been re-purposed for the recreational pastime of “tubing” (riding on the inflated inner tube of a large (truck, tractor etc) tyre), undertaken both as a water-sport and on ski-slopes.  The jocular slang noun “tube-steak” emerged in 1962 to described “a frankfurter” (ie hotdog sausage), the term obviously a reference to the shape and given that, it’s remarkable it seems not to have been used as a slang for “penis” until the mid-1980s.  The test-tube (cylinder of thin glass closed in rounded form at one end) was so named in 1909 because it was used to test the properties of liquids.  Surprisingly, “test-tube baby” predates by decades modern IVF (In vitro fertilization) and was first used in 1935 in reference to artificial insemination.  In the 1980s, “test tube baby” became the popular descriptor of IVF, “test tube” used as a synecdoche of the process rather than any suggestion of the use of the glass receptacles.  The name “tube-top” (a women's close-fitting elastic top) made its debut in 1972 (although the style had been seen before); the “tube skirt” appeared the next season (again, a re-labeling) while the first “boob tubes” (a truncated version of the “tube top” which wraps only around the breasts) were advertized in 1977.  Being elasticized, some wear boob tubes without a bra but they're available also with a "built-in" bra (like all forms of structural engineering, physics does limit what's possible) and some are made with a thicker material so a strapless bra unobtrusively can be worn underneath.  

YouTube content.  

YouTube is a US social media and online video sharing platform now owned by Google.  It first appeared in 2005 and is now the planet's second most visited internet site, only Google search generating more traffic (as expressed in volumes of unique visits per day).  YouTube was emblematic of the way the internet evolved in a manner somewhat different to that futurists had in preceding decades predicted.  Although it was clear it would be an inter-connected world of databases with content from “content providers” available for download, few predicted the extent to which the terms “viewer”, “user” and “content provider” would overlap; the upload phenomenon generally was not predicted.  Substantially, this was technologically deterministic: with a high percentage of the world’s population carrying cameras able to produce HD (high definition) photographs and films which easily can be uploaded to a global distribution platform at only marginal cost, a new industry emerged and others were disrupted or destroyed.

OSCA S187 (750S, the tubo di dentifricio).  The Italians dubbed these tubo di dentifricio (toothpaste tube), illustrating yet again why everything sounds better in Italian.

In 1937, facing bankruptcy, the three surviving Maserati brothers (Bindo (1883-1980), Ettore (1894-1990) & Ernesto (1898-1975)) sold their eponymous company to the Orsi Group in Modena, the arrangement including a decade-long consultancy for the trio.  It’s not known if there was “no compete” clause in place but the brothers waited until 1947 when the contract expired before returning to San Lazzaro di Savena (near Bologna) where they founded Officine Specializzate per la Costruzione Automobili Fratelli Maserati S.p.A. (O.S.C.A.), the intention being to build small runs of racing cars for customers and for more than a decade production continued.  Most of the machines built used small displacement engines to contest the various series for such things (then popular in Italy) although in 1951 there was a one-off, 4.5 litre (273 cubic inch) V12, soon rendered an orphan when the Formula One rules were changed. 

Accordingly, subsequent OSCAs were smaller and one of the most exquisite was the S187 which made its debut in 1956.  Built to contest the well-supported 750 cm³ (46 cubic inch) racing class, the name was derived from the displacement of each of the engine’s four cylinders, a convention used for years also by Ferrari.  The smallest engine O.S.C.A. ever made, it was of “square” configuration (the bore & stroke both 62 mm (2.44 inch)) with double overhead camshafts (DOHC) and a pair of twin-choke, side-draft Weber carburetors.  Modest the displacement may have been but the package generated an impressive 70 horsepower which, combined with low weight (a svelte 450 kg (990 lb)) and effective aerodynamics, delivered class-leading performance.  That was despite the S187 being a little heavier than had been envisaged because constraints in time & cash meant the planned multi-tubular space frame had to be abandoned, replaced with a more conventional ladder frame chassis.

OSCA 750S NART (North American Racing Team), one of four with a clamshell body.

The delicate aerodynamic body was by the coachbuilder Morelli and the S-187 (referred to usually as the 750S) was immediately successful, gaining a class victory at the 1956 Mille Miglia, followed the next year with a class win at the 12 Hours of Sebring.  Although in 1959 still competitive in the 750 cm³ class, the brothers produced a new cylinder head which raised the output by 5 horsepower which may sound slight but it was a 7% lift (it would be like adding some 30 hp to a 400 hp engine) and despite in competition being regularly run for sustained periods at the 7700 rpm redline, reliability continued to be outstanding and the 750S remained competitive until well into the 1960s.  Nineteen were built.

End of the line: 1963 OSCA 1600 GT2

Unfortunately, age caught up with the Maserati brothers and in 1963 they sold O.S.C.A. to Count Domenico Agusta (1907–1971) who, in 1945, founded the MV Agusta motorcycle company, a move necessitated by the post-war peace treaty which included a ban on Italian aircraft production which obviously rendered unviable the aviation business Costruzioni Aeronautiche Giovanni Agusta S.A. (formed in 1923 by Count Giovanni Agusta (1879–1927)).  The O.S.C.A. operation was closed in 1967.

Choke & Choker

Choke (pronounced chohk)

(1) To be unable to breathe because of obstruction of the windpipe (solid & semi-solid objects such as food or fumes or particles in the air which cause the throat to constrict); asphyxiate, strangle, suffocate, throttle.

(2) Full to the point of obstruction (usually as “choked with”); block up, bung up, clog, congest, jam, obstruct, stop up.

(3) In forestry, to seize a log, felled tree etc with a chain, cable, or the like, so as to facilitate removal.

(4) In engineering, any mechanism which, by narrowing or blocking a passage, regulates the flow of air, gas etc.

(5) In fluid mechanics (of a duct), to reach a condition of maximum flow-rate (immediately before the choke-point), due to the flow at the narrowest point of the duct becoming sonic.

(6) In electronics, an inductor having a relatively high impedance, used to prevent the passage of high frequencies or to smooth the output of a rectifier (also called the choke-coil.

(7) In combat sports (wrestling, karate etc), a type of hold (of the throat) which can result in strangulation.

(8) A constriction at the muzzle end of a shotgun barrel which varies the spread of the shot.

(9) To enrich the fuel mixture of an ICE (internal-combustion engine) by diminishing the air supply to the carburetor (a choke a specific component of a carburetor althouh the term is used loosely).

(10) To make or install a choke in a device.

(11) To stop by or as if by strangling or stifling:

(12) To stop by filling; obstruct; clog

(13) To suppress a feeling, emotion, etc (often as “choke up”, choke down” or “choke back”).

(14) In sport, to grip a bat, racket, club etc) farther than usual from the end of the handle (to shorten the grip).

(15) To suffer from or as from strangling or suffocating.

(16) To become obstructed, clogged, or otherwise stopped.

(17) To become too tense or nervous to perform well (used most often in competitive sport, specifically in the sense losing by performing badly at a critical point, when in a winning position).

(18) In slang, the inedible centre of the head of an artichoke.

1150–1200: From the Middle English choken & cheken, a variant of achoken & acheken, from the Old English ācēocian (to suffocate), from the Old English ċēoce & ċēace (jaw, cheek) and cognate with the Old Norse kōk (gullet) and the Icelandic kok (throat) & koka (to gulp).  The transitive verb emerged in the late thirteenth century and by the late 1300s was being used in the sense of “to stop the breath by preventing air from entering the windpipe”; “to make to suffocate, deprive of the power of drawing breath” and that was used of persons as well as swallowed objects.  In that. It was a shortened form of the twelfth century acheken, from Old English ācēocian, probably from the root of ċēoce & ċēace (the spelling ceoke was also used).  In the narrow technical sense “choking” has been the cause of death of a number of rock stars including the guitarist Jimi Hendrix (1942-1970), Led Zeppelin’s drummer John Bonham (1948-1980) and AC/DC’s vocalist Bon Scott (1946-1980) although in all cases the critical “inhalation of vomit” which induced them to choke to death was caused by substance abuse.  In the same vein, the singer Janis Joplin suffered a fatal head injury in a fall while affected by drugs and alcohol; all these deaths may be regarded as “death by misadventure”.  The alternative forms choak & choake are obsolete; chock is dialectal.  Choke is a noun & verb, chokage & choker are nouns, choking is a noun & verb, chokeable is an adjective and choked is a verb & adjective; the noun plural is chokes.

The intransitive verb dates from the early fifteenth century when it was used to mean “gasp for breath”, in line with the figurative use in agriculture & horticulture (the Biblical notion of weeds stifling the growth of useful plants a Biblical image).  The term “choked up” (overcome with emotion and unable to speak) seems first to have been documented in 1896, the use possibly related to the earlier use of the word (choke-pear (1530s), crab-apple (1610s), choke-cherry (1785)) of fruits with an untypical degree of astringency and it’s thought the botanical link inspired Dr Johnson (Samuel Johnson (1709-1784)) to define the figurative use as “any aspersion or sarcasm, by which another person is put to silence”.  The noun chokage emerged in the 1840s while the term chokehold (tight grip around a person's neck to restrict breathing) was first used in 1962. The idea of a “choke” in sport in the sense of “losing by performing badly at a critical point, when in a winning position” dates from 1907 and comes from baseball where it referred to a “clutch hitter” (the hitter at the plate upon whom winning depended) “choking up” and failing to perform; the phrase “to fail in the clutch” similar in meaning.

Interchangeable choke for shotgun.

Although (except in the odd, curious niche), rendered obsolete by fuel injection, the carburetor is a device which continues to exert a fascination in those with a fondness for mechanical intricacy and an inclination to tinker.  Carburetors are devices used on ICEs (internal combustion engine) to produce the mix of fuel (typically petrol (gas)) & air required for combustion and in mainstream use they lasted into the twenty-first century.  Most carburetor were fitted with a choke, an instrument controlled by the driver and what the choke did was provide an enriched mixture (ie more fuel, less air) to make starting easier from cold.  The term “choke” was already known in engineering but the most direct comparison was probably from ballistics, chokes (some types described as “adjustable chokes”) fitted to shotguns as early as 1875.  A shotgun’s choke is a device (or constriction) at the muzzle end of the barrel which controls the spread (or pattern) of the shot as it exits the barrel.  By altering the spread, chokes allow shooters to customize their gun's performance for different purposes (ie hunting, target shooting, home defense et al).  When a shotgun cartridge is discharged, the begin to spread out immediately upon leaving the barrel (in slang they’re sometimes called “scatter guns” and a choke modifies this spread by narrowing or widening the diameter of the barrel at the muzzle.  This affects the density and size of the shot pattern at different distances.

Pellet field streams using various chokes.

In the industry, the classification of chokes is determined by the extent to which they narrow the barrel and the most common types are: (1) Cylinder: these are not fitted with a choke and thus there’s no constriction; they’re most suitable for short-range shooting. (2) Improved Cylinder: These have a slight constriction, thereby offering a moderately wide spread suitable for short and medium range targets. (3) Modified: A variation of the Improved with more constriction, lengthening the effective range.  (4) Full: Thos provides a narrow bore, creating a tight pattern for long-range accuracy, (5) Extra full: As the name implies, an even smaller bore, popular for turkey hunting or precision shooting.  There are also (1) fixed chokes (integral with the barrel and thus unchangeable) and (2) interchangeable chokes which are detachable inserts a shooter can swap according to the shooting to be done.

1971 Chrysler Charger E38 (choke knob arrowed).

Confusingly, although it was almost always the case a choke would be part of a carburetor (cable activated by a control in the driver’s cabin), the word “choke” was also used of carburetors in a different context and potentially more confusingly still, when used thus, it was often synonymous (and sometimes used interchangeably) with “throat”, “barrel” and “venturi”.  In the now arcane world of carburetors inhabited by those familiar with the things, this casual use isn’t a problem because the four words are known to refer to different components, although even experts rarely dwell on the details: (1) The throat is the main passage (there can be as many as four in a single carburetor, not necessarily all of the same bore (although if there are four they are usually sized in pairs)) through which air flows and a throat encompasses the entire internal air pathway.  (2) The barrel is the cylindrical tube that houses the throat, venturi and in many cases the throttle valve; the barrel is the structural element through which the air and fuel are mixed and delivered.

Weber-style IDF twin choke downdraft carburettor with chrome ram tubes (left), pair of Weber 40 IDA triple barrel carburetors (centre) and Holley Dominator 4500 1150 CFM Square Bore four barrel carburetor with fitting kit.

In US use, “barrel” is the most common way of describing carburetors (two barrel, four barrel) and the standard abbreviation is “bbl”.  That seems inexplicable by the usual conventions of English but is a historic legacy from the petroleum industry where it was used to denote a barrel of oil.  The specification and paint scheme of early oil barrels were standardized by Standard Oil, and the abbreviation “bbl” became widely used to signify a “standardized blue barrel”, hence the apparently superfluous “b”; over time, “bbl”, became the universal shorthand for barrel, even outside the oil industry. (3) The venturi is a specific narrowing of a carburetor's throat or barrel, the primary purpose of which is to create a pressure drop due to the “venturi effect” (a phenomenon of fluid dynamics) in which as air flows through the narrowed section, its velocity increases and its pressure decreases (surface friction at this scale not significant).  The pressure drop induced by the venturi effect draws fuel from the fuel bowl into the air stream for mixing and atomization.  (4) Choke in this context is simply another way of saying “barrel” and the choice is dictated by local conventions of use; In Europe it was common to speak of a “two choke” carburetor whereas if used by a US manufacturer this would be a “two barrel”.  There was trans-Atlantic respect for this tradition and in both communities tend to use the correct terminology of each other’s devices although hot-rodders in the US did like slang such as the evocative “four-holer”.  Despite that, Ford did for a while muddy the waters by using the terms to 2V and 4V (ie 2 venturi & 4 venturi) to refer both to two & four barrel carburetors but also the two different cylinder heads designed for each.  People got used to that but it did latter induce confusion elsewhere when 2V & 4V came to be understood as “two valve” & “four valve” (ie per cylinder).

Model Tessa Fowler (b 1992) wearing fabric chokers.

Choker (pronounced choh-ker)

(1) In fashion, a piece of jewelry or ornamental fabric, worn as a necklace or neckerchief, snug around the throat (use based on the “choker chain” used to restrain dogs).

(2) One who, or that which, chokes or strangles.

(3) A person administering a choking device (depending on context, either a class or machine operator or a murderous strangler).

(4) A neckcloth or high collar.

(5) As choker chain, a dog collar designed to pinch or squeeze the dog or other animal when the leash is pulled.

(6) In forestry, a chain or cable used to haul logs to a transportation point.

(7) In slang, any disappointing or upsetting circumstance.

(8) In slang, the traditional clerical collar worn by Christian clergy.

(9) In slang, a cigarette.

(10) A person who pratices autoerotic asphyxiation or paraphilia, a practice where someone temporarily cuts off their own air supply by means of a ligature or some other sort of self-asphyxiation device during sex or masturbation.

(11) In sport, one who “chokes” (losing by performing badly at a critical point, when in a winning position).

1550s: The construct was choke + -er.  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  The noun emerged in the 1550s in the sense of “one who chokes” an agent noun from the verb and from 1848 it was used to mean “large neckerchief”.  The use to mean “a kind of necklace worn against the throat” dates from 1928.  Choker is a noun; the noun plural is chokers.

Lindsay Lohan with choker at Moschino Fashion Show, London, June 2014.  A choker is a decorative accessory worn around the neck and differs from a necklace in that it sits higher (typically mid-way up the neck) and fits snugly.

In fashion, choker is a clipping of “choker chain”, a dog collar designed to pinch or squeeze the dog or other animal when the leash is pulled.  Chokers can be for any material (fabric, leather (studded varieties popular), metal etc), and are sometimes adorned with jewels or logos.  There are also chokers with LED (light-emitting diodes) displays in a variety of colors which are powered by a small button-battery, rechargeable via a USB (universal serial bus) port.  According to a normally reliable source (Urban Dictionary), a choker is (1) a symbol used by emos to convey a desire to engage in self-harm or even suicide or (2) a way certain young ladies advertize their especial fondness for and skill in performing fellatio (this should be treated as a gaboso (Generalized Association Based On Single-Observation).  In the BDSM (Bondage, Discipline (or Dominance) & Submission (or Sadomasochism) community, chokers are sometimes used as the “submissive collar”, given by dominants as a symbol of possession and sometimes augmented with a leash for purpose of public display.

Anna Teshu (b 1994, right), in choker and on leash with ex-boyfriend Nathan Riely (b 1988. left) while role-playing as a dog and handler.  If consensual, the "leashed partner" thing is a kink and a genuine ALC (alternative lifestyle choice), albeit one which has attracted some criticism, some suggesting the "leashed" are suffering from "false consciousness", an idea explored in other contexts by both Karl Marx (1818-1883) and Sigmund Freud (1856-1939).

Snoot

Snoot (pronounced snoot)

(1) In slang, the nose (of humans, animals, geological formations, distant galaxies and anything else with a feature even vaguely “nose-like”).

(2) In slang, an alcoholic drink.

(3) In slang, a police officer (especially a plain-clothed detective, the use explained by the notion of police “sticking their noses into” things).

(4) In clothing, the peak of a cap.

(5) In photography and film production, a cylindrical or conical e-shaped fitment on a studio light to control the scene area illuminated by restricting spill light.

(6) In informal use, a snob; an elitist individual; one who looks down upon those “not of the better classes”.

(7) In linguistics, a language pedant or snob; one who practices linguistic elitism (and distinct from a “grammar Nazi”).

(8) In engineering, as “droop snoot”, a design in which the nose of a machine is lowered (temporarily or permanently) for reasons of visibility or to optimize aerodynamics.

(9) To behave disdainfully toward; to condescend to (usually as “snooty”).

(10) To apply a snoot attachment to a light.

1861: From the Scots snoot (a variation of snout (nose or projecting feature of an animal), from the Middle English snowte, from the Middle Dutch snute, ultimately from the Proto-West Germanic snūt, from the Proto-Germanic snūtaz, source also of the German Schnauze (the basis of schnauzer, a name for a type of dog) and it’s presumed the slang schnoz (a nose, especially if large) is probably related.  Snoot is a noun & verb, snootiness, snooter & snootful are nouns, snooting & snooted are verbs, snooty, snootier & snootiest are adjectives and snootily is an adverb; the noun plural is snoots.

Lindsay Lohan's snoot.

The noun snootful dates from 1885 and was a synonym of skinful (to have imbibed as much liquor as one could manage).  It was based on the use of snout to mean “an an alcoholic drink” whereas skinful was an allusion to the time when wine was transported in containers made from animal skin (ie in original use skinful meant “the container is full”).  The adjective snooty (proud, arrogant) was first noted as university student slang in 1918 and presumably was in some way related to the earlier snouty (insolent, overbearing) which was in use by at least 1857, doubtlessly on the basis of “looking down one's nose at someone or something”.  In dialectal or slang use a snout (in the sense of “nose” is not of necessity derogatory and in fields like engineering, cosmology, geography, geology, cosmology or zoology, it is merely descriptive.  However, when used as a slang term for a snob (a snooty person), the sense is almost always negative although there are some elitists who are proud of their snootiness.  Those who don’t approve of barbarisms such as country & western music sometimes make sure their snootiness is obvious but as a general principle it’s usually better just to ignore such things.  The adjective snooty is in much more common use than the noun snoot and it appears often with a modifier such as “a bit snooty”.  That may seem strange because one is either snooty about someone or something or one isn’t but there are degrees of severity with which one can allow ones snootiness to manifest (the comparative “snootier”, the superlative “snootiest”.

In engineering, “droop snout” is used to describe a design in which the nose of a machine is lowered (temporarily or permanently) for reasons of visibility or to optimize aerodynamics.  The term was apparently first used between engineers in the late 1950s while working on the first conceptual plans for the Anglo-French supersonic airliner which became the Concorde although the first known use in print dates from 1963 (“droop nose” appearing in the same era).  The idea wasn’t developed for use on the Concorde.  An experimental British supersonic test-bed with a droop-nose had flown as early 1954 and proved the utility of the concept by being the first jet aircraft to exceed 1000 mph (1600 km/h) in level flight, later raising the world speed record of to 1132 mph (1822 km/h), exceeding the previous mark by an impressive 310 mph (500 km/h).  In aviation, the basic idea of a sloping nose had been around for decades and one of the reasons some World War II (1939-1945) Allied fighter pilots found targeting easier in the Hawker Hurricane than the Supermarine Spitfire was the nose of the former noticeably tapered towards the front, greatly enhancing forward visibility.

How the Concorde's droop snoot was used.

On the Concorde, the droop snoot wasn’t a mere convenience.  The combination of the engineers slide-rules and wind tunnel testing had proved what the shape had to be to achieve the combination of speed and fuel economy (the latter an under-estimated aspect of the development process) but that shape also meant the pilots’ view was so obstructed during take-offs, landings and taxiing that safety was compromised.  The solution was the “droop nose” mechanism which included a moving transparent visor which retracted into the nose prior to being lowered.  At supersonic speeds, the temperatures are high and so are the stresses so much attention was devoted to “fail-safe” systems including the droop snoot because a structural failure at Mach 2 would potentially be catastrophic for the entire airframe (and obviously every soul on board).  Thus, the hydraulic systems controling the droop snoot’s movement was duplicated and, as a last resort, the pilots had access to a simple mechanical lever which would disengage the pins holding the structure in place, the apparatus afterwards gracefully (hopefully) descending into its lowered position by the simple operation of gravity.  Droop snoots appeared also on Soviet supersonic aircraft including the short-lived Tupolev Tu-144 (visually close to a Concorde clone) and the Sukhoi T-4 strategic bomber which never entered production.  Interestingly, the USAF’s (US Air Force) North American XB-70 Valkyrie (a Mach 3 experimental bomber) didn’t use a droop snoot because it was developed exclusively for high-altitude, high-speed strategic bombing missions and, being a military airplane, would only ever operate from large, controlled airbases where additional ground support systems (monitoring and guidance) negated the need for the mechanism.

1955 Ford Customline (left) and the 1967 “droop snoot” “Custaxie” (right), the construct being Cust(omline) + (Gal)axie, the unusual hybrid created by merging (some of) a 1955 Customline with a 427 cubic inch (7.0 litre) Ford Galaxie V8.  The bizarre machine won the 1967 New Zealand Allcomers (a wonderful concept) saloon car championship, the modifications to the nose reckoned to be the equivalent of an additional 40-50 horsepower.

At sub-supersonic speeds, throughout the 1960s race-cars proved the virtue of the droop snoot (though a fixed rather than a moveable structure.  While sometimes weight-reduction was also attained, overwhelmingly the advantage was in aerodynamics and the idea began to spread to road cars although it would be decades before the concept would no longer be visually too radical for general market acceptance.

1972 Vauxhall Firenza coupé promotional material for the Canadian launch, a market in which the car was a disaster (left) and 1975 High Performance (HP) Firenza "dropsnoot".  GM in South Africa actually made a good car out of the Firenza coupé, building 100 (for homologation purposes) with the 302 cubic inch (4.9 litre) V8 used in the original Z/28 Chevrolet Camaro.  In South Africa, they were sold as the "Chevrolet Firenza".  

In 1973, officially, Vauxhall called their new version of the Firenza coupé the “High Performance (HP) Firenza” but quickly the press, noting the Concorde (then still three years from entering commercial service), dubbed it the “droopsnoot”, the reference obviously to the distinctive nosecone designed for aerodynamic advantage.  The advantages were real in terms of performance and fuel consumption but Vauxhall had the misfortune to introduce the model just as the first oil crisis began which stunted demand for high-performance cars (BMW’s 2002 Turbo another victim) and triggered a sharp recession which was a prelude to that decade’s stagflation.  Vauxhall had planned a build of some 10,000 a year but in the difficult environment, a paltry 204 were built.

A Ford Escort Mark 2 in the 1977 Rally of Finland (left) and a 1976 Escort RS2000  with the droop snoot (right).

In 1976, Ford launched their own take on the droop snoot, the Mark 2 Escort RS2000 featuring a similar mechanical specification to that of the Mark 1 but with a distinctive nosecone.  Ford claimed there was an aerodynamic benefit in the new nose but it was really a styling exercise designed to stimulate interest because the Escort was the corporation’s platform for rallying rather than something used on high-speed circuits and it certainly achieved the desired results, the model proving popular.  Ford Australia even offered it with four doors as well as two although emission regulations meant the additional horsepower on offer in Europe was denied to those down under.  Interestingly, although the range’s high-performance flagship, the factory rally team didn’t use the droop snoot version, those in competition using the standard, square-fronted body.

Godox Pro Snoot S-Type Mount SN-05

Sable

Sable (pronounced sey-buhl)

(1) An Old World, small, carnivorous, weasel-like mammal, Mustela zibellina, of cold regions in Eurasia and the North Pacific Islands, valued for its fur which exists in shades of brown.  They are solitary & arboreal, with a diet largely of eat small animals and eggs.

(2) A marten, especially the Mustela americana & Martes zibellina.

(3) The fur of the sable.

(4) A garment made from sable (as descriptor or modifier)

(5) An artist's brush made from the fur of the sable.

(6) A type of French biscuit of a sandy texture and made with butter, sugar, eggs & flour.

(7) The stage name of Rena Marlette-Lesnar (née Greek, formerly Mero; b 1968), a US model & actress, best known for her career (1996-1999 & 2003-2004) as a professional wrestler.

(8) The color black, especially when in heraldic use.

(9) The color of sable fur (a range from yellowish-brown to dark brown).

(10) A locality name in North America including (1) a cape at the southern Florida (the southern-most point of the continental US and (2) the southernmost point of Nova Scotia, Canada.

(11) In the plural (as sables), black garments worn in mourning.

(12) In literary use, dark-skinned; black (archaic when used of people but used still in other contexts).

(13) In figurative use, a “black” or “dark” mood; gloominess (now rare).

1275–1325: From the Middle English sable, saibel, sabil & sabille (a sable, pelt of a sable; (the color) black), from the Old French sable, martre sable & saibile (a sable, sable fur), from the Medieval Latin sabelum & sabellum (sable fur), from the Middle Low German sabel (the Middle Dutch was sabel and the late Old High German was zobel), from a Slavic or Baltic source and related to the Russian со́боль (sóbol), the Polish soból, the Czech sobol, the Lithuanian sàbalas and the Middle Persian smwl (samōr).  Sable is a noun & adjective; the noun plural is sables or sable.

The modern funeral: @edgylittlepieces take on the sable.  Their funeral dress included a mode in which it could be “tightened up to make it super modest for the funeral”, later to be “loosened back down for the after-party.”  The promotional clip attracted many comments, some of which indicated scepticism about whether funerals had “after-parties” but the wake is a long-established tradition.  Wake (in this context) was from the Middle English wake, from the Old English wacu (watch), from the Proto-Germanic wakō and wakes could be held before or after the funeral service, depending on local custom.  In James Joyce's (1882–1941) Finnegans Wake (1939), Tim Finnegan's wake occurs before the funeral service so the young lady would have “loosened” first before “tightening” into “super modest” mode for the ceremony.  “Modest” is of course a relative term and it's literature's loss Joyce never had the chance to write about this sable although how he'd have interpolated it into the narrative of Finnegans Wake is anyone's guess but fragments from the text such as “…woven of sighed sins and spun of the dulls of death…” and “…twisted and twined and turned among the crisscross, kisscross crooks and connivers, the curtaincloth of a crater let down, a sailor’s shroud of turfmantle round the pulpit...” lend a hint.

In Western culture black is of course the color of mourning so funeral garments came to be known as “sables” but the curious use of sable to mean “black” (in heraldry, for other purposes and in figurative use) when all known sables (as in the weasel-like mammal) have been shades of brown (albeit some a quite dark hue) attracted various theories including (1) the pelt of another animal with black fur might have been assumed to be a sable, (2) there may in some places at some time have been a practice of dying sable pelts black or (3) the origin of the word (as a color) may be from an unknown source.  It was used as an adjective from the late fourteenth century and in the same era came to be used as a term emblematic of mourning or grief, soon used collectively of black “mourning garments”.  In the late eighteenth century it was used of Africans and their descendants (ie “black”) although etymologists seem divided whether this was originally a “polite” form or one of “mock dignity”.

AdVintage's color chart (left) and a Crusader Fedora hat in True-Sable with 38mm wide, black-brown grosgrain ribbon, handcrafted from Portuguese felt (right).

The phrase “every cloud has a silver lining” was in general use by the early nineteenth century and is used to mean even situations which seem bad will have some positive aspect and thus a potential to improve.  That’s obviously not true and many are probably more persuaded by the derivative companion phrase coined by some unknown realist: “Every silver lining has a cloud” (ie every good situation has the potential to turn bad and likely will).  “Every cloud has a silver lining” dates from the seventeenth century and it entered popular use after the publication of John Milton’s (1608–1674) masque Comus (1634) in which the poet summoned the imagery of a dark & threatening cloud flowing at the edges with the moon’s reflected light of the moon, symbolizing hope in adversity:

I see ye visibly, and now believe
That he, the Supreme Good, to whom all things ill
Are but as slavish officers of vengeance,
Would send a glistering guardian, if need were
To keep my life and honor unassailed.
Was I deceived, or did a sable cloud
Turn forth her silver lining on the night?
I did not err; there does a sable cloud
Turn forth her silver lining on the night,
And casts a gleam over this tufted grove.

Who wore the sable-trimmed coat better?  The Luffwaffe's General Paul Conrath (1896–1979, left) with Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945, centre), Soviet Union, 1942 and Lindsay Lohan at New York Fashion Week, September 2024.  Given modern sensibilities, Ms Lohan's “sable” presumably was faux fur and appeared to be the coat's collar rather than a stole but the ensemble was anyway much admired.  Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1944 wasn’t an impartial observer of anything German but he had a diarist’s eye and left a vivid description of the impression the Reichsmarschall made during his visit to Rome in 1942: “At the station, he wore a great sable coat, something between what motorists wore in 1906 and what a high grade prostitute wears to the opera.”  Ciano was the son-in-law of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) who later ordered his execution, a power doubtlessly envied by many fathers-in-law.

1996 Mercury Sable.  The styling of the third generation Sable (and the Ford Taurus) was upon its release controversial and, unlike some other designs thought “ahead of their time”, few have warmed to it.  To many, when new, it looked like something which had been in an accident and was waiting to be repaired.

Over five generations (1986–1991; 1992–1995; 1996–1999; 2000–2005 & 2008–2009), the Ford Motor Company (FoMoCo) produced the Mercury Sable, a companion (and substantially “badge-engineered”) version of the Ford Taurus (discontinued in the US in 2016 but still available in certain overseas markets).  Dreary and boring the FWD (front wheel drive) Taurus & Sable may have been but they were well-developed and appropriate to the needs of the market so proved a great success.  The Mercury brand had been introduced in 1939 to enable the corporation better to service the “medium-priced” market, its approach until then constrained by the large gap (in pricing & perception) between Fords and Lincolns; at the time, General Motors’ (GM) “mid-range” offerings (ie LaSalle, Buick, Oldsmobile & Pontiac (which sat between Chevrolet & Cadillac)) collectively held almost a quarter of the US market.  Given the structure of the industry (limited product ranges per brand) at the time it was a logical approach and one which immediately was successful although almost simultaneously, Ford added the up-market “Ford De Luxe” while Lincoln introduced the “Lincoln Zephyr” at a price around a third what was charged for the traditional Lincoln range.  It was a harbinger of what was to come in later decades when product differentiation became difficult to maintain as Ford increasingly impinged on Mercury’s nominal territory.  After years of decline, Ford took the opportunity offered by the GFC (Global Financial Crisis, 2008-2011) and in 2010 closed-down the Mercury brand.

Midler v. Ford Motor Co., 849 F.2d 460 (Ninth Circuit Federal Courts of Appeal, 1988)

Apart from the odd highlight like the early Cougars (1967-1970), Mercury is now little remembered and the Sable definitely forgotten but it does live on as a footnote in legal history which, since the rise of AI (Artificial Intelligence), has been revisited because of the advertising campaign which accompanied the Sable’s launch in 1996.  The case in which the Sable featured dates from 1988 and was about the protectibility (at law) of the voice of a public figure (however defined) and the right of an individual to prevent commercial exploitation of their “unique and distinctive sound” without consent.  FoMoCo and its advertising agency (Young & Rubicam Inc (Y&R)) in 1985 aired a series of 30 & 60 second television commercials (in what the agency called “The Yuppie Campaign”, the rationale of which was to evoke in the minds of the target market (30 something urban professionals in a certain income bracket) memories of their hopefully happy days at university some fifteen years earlier.  To achieve the effect, a number of popular songs of the 1970s were used for the commercials and in some cases the original artists licenced the material but ten declined to be involved so Y&R hired “sound-alikes” who re-recorded the material.  One who rejected Y&R’s offer was the singer Bette Midler (b 1945).

Sable (the stage name of Rena Marlette-Lesnar (née Greek, formerly Mero; b 1968)); promotional photograph issued by WWE (World Wrestling Entertainment) to which she was contracted.

Y&R had from the copyright holder secured a licence to use the song, Do You Want to Dance which Ms Midler had interpreted on her debut album The Divine Miss M (1972) and neither her name nor an image of her appeared in the commercial.  Y&R’s use of the song was under the terms of settled law; the case hung on whether Ms Midler had the right to protect her voice from commercial exploitation by means of imitation.  At trial, the district court described the defendants' conduct as that “...of the average thief...” (“If we can't buy it, we'll take it”) but held there was no precedent establishing a legal principle preventing imitation of Midler's voice and thus gave summary judgment for the defendants.  Ms Midler appealed.

Years before, a federal court had held the First Amendment (free speech) to the US constitution operated with a wide latitude in protecting reproduction of likenesses or sounds, finding the “use of a person's identity” was central; if the purpose was found to be “informative or cultural”, then the use was immune from challenge but if it “serves no such function but merely exploits the individual portrayed, immunity will not be granted.”  Moreover, federal copyright law overlays such matters and the “...mere imitation of a recorded performance would not constitute a copyright infringement even where one performer deliberately sets out to simulate another's performance as exactly as possible.”  So Ms Midler’s claim was novel in that it was unrelated to the copyrighted material (the song), thus excluding consideration of federal copyright law.   At the time, it was understood a “voice is not copyrightable” and what she was seeking to protect was something more inherently personal than any work of authorship.  There had been vaguely similar cases but they had been about “unfair competition” in which people like voice-over artists were able to gain protection from others emulating in this commercial area a voice, the characteristics of which the plaintiffs claimed to have “invented” or “defined” (the courts never differentiated).

On appeal, the court reversed the original judgment, holding that it was not necessary to “…go so far as to hold that every imitation of a voice to advertise merchandise is actionable.  We hold only that when a distinctive voice of a professional singer is widely known and is deliberately imitated in order to sell a product, the sellers have appropriated what is not theirs and have committed a tort in California.  Midler has made a showing, sufficient to defeat summary judgment, that the defendants here for their own profit in selling their product did appropriate part of her identity.”  What this established was an individual's voice can be as integral to their identity as their image or name and that is reflected in recent findings about AI-generated voices that mimic specific individuals; they too can infringe on similar rights if used without consent, particularly for commercial or deceptive purposes.  The “AI generated voice” cases will for some time continue to appear in many jurisdictions and it’s not impossible some existing (and long-standing) contracts might be declared void for unconscionability on the grounds terms which once “signed away in perpetuity” rights to use a voice will no longer enforced because the technological possibilities now available could not have been envisaged.