Rook

Rook (pronounced rook)

(1) A large Eurasian passerine bird, Corvus frugilegus, with a black plumage and a whitish base to its bill from the family Corvidae (crows) and noted for its gregarious habits.

(2) In slang, a swindler, someone who cheats at cards, dice etc; a deceiver or fraudster.

(3) In slang, someone who betrays (now rare).

(4) In slang, a bad deal; rip off.

(5) In historic English slang, a parson, vicar, priest etc (based on the traditional black cassock clerics wore).  A variant with a similar origin was Adolf Hitler's (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) disparaging German Roman Catholic clergymen as “diese schwarzen Krähen” (those black crows). 

(6) In chess, one of four pieces (two of each color) that may be moved any number of unobstructed squares horizontally or vertically; also called castle.  Rooks start the game on the four corners of the board.

(7) As chess rook, in Canadian heraldry, the cadency mark of a fifth daughter.

(8) In cards, a trick-taking game, played usually with a specialized deck. 

(9) As rookie, a type of firecracker used by farmers in the UK to scare birds (including, but not restricted to, rooks).

(10) To cheat, fleece or swindle.

Pre 900: From the Middle English rok & roke, from the Old English hrōc, from the Proto-West Germanic hrōk, from the Proto-Germanic hrōkaz.  In other languages there was the Old Norse hrókr, the Saterland Frisian Rouk, the Middle Swedish roka, the Old High German hruoh (crow), the Middle Dutch roec and Dutch roek (and the obsolete German Ruch, from the primitive Indo-European kerk- (crow, raven).  Related avian forms included the Old Irish cerc (hen), the Old Prussian kerko (loon, diver), the dialectal Bulgarian кро́кон (krókon) (raven), the Ancient Greek κόραξ (kórax) (crow), the Old Armenian ագռաւ (agṙaw), the Avestan kahrkatat (rooster), the Sanskrit कृकर (kṛkara) and the Ukrainian крук (kruk) (raven). The Old French was roc, from the Spanish rocho & ruc, from the Arabic رُخّ‎ (ruḵḵ), from the Persian رخ‎ (rox).  Use as the bird’s name was possibly imitative of its raucous voice, an etymology hinted at by other languages (the Gaelic roc (as in "croak") and the Sanskrit kruc (as in "to cry out")).  Rook & rooking are nouns & verbs, rookery, rooker & rooklet are nouns, rooked is a verb, rookish, rooless, rooklike & rooky are adjectives, rookie is a noun, verb & adjective and rookwise is an adjective & adverb; the noun plural is rooks.

Chess pieces.

Rook was applied as a disparaging term for persons since at least the early sixteenth century, extended by the 1570s to mean "a cheat", especially at cards or dice, this probably associated with the thieving habits of the rook, a habit it shares with other acquisitive corvine birds like the crow and magpie.  The adverb rookwise can be applied to anyone or anything said to be moving exclusively in “a cardinal direction” (ie toward any of the four principal points of the compass: north, south, east and west), as a rook moves on a chessboard.  In use, it’s applied usually to mean “in the perpendicular or horizontal” (as opposed to a curve, diagonal or other angle) though not of necessity to true north, south, east or west.  The companion term is bishopwise (moving exclusively in diagonals, as a bishop moves on a chessboard).  A rooker is a person who cheats or swindles but the victim is not described as a “rookee”; other terms are applied to these unfortunates.  Rookie means (1) someone new to some activity (much used thus in sport), (2) an inexperienced recruit (much used thus in the military & law enforcement) and (3) a firecracker used in the UK to scare birds away from crops) but it’s only the use in agriculture which is related to the bird. Rookie may have been some sort of phonetic derivative for “recruit” or may be from either (1) the Dutch broekie (short for broekvent (a boy still so young as to be in short trousers)) which was a common a common term for “a shipmate” or (2) the Irish rúca (an inexperienced person).

Rendered by Vovsoft as cartoon character: a young Lindsay Lohan moves her rook.

Chess arrived in Russia perhaps as early as the ninth century, the path via the Islamic world from India and soon it was being played in much of Europe.  The rook gained its name from the chaturanga, the piece used in Indian chess and represented by a रथ (ratha) (a war chariot); when the game was adopted by the Persians, ratha became رخ (rukh) (chariot), the term retained by the Arabic-speaking world and in this form it reached Europe.  It was adapted in the Italian as rocco and in the Old French as roc or roche, the later influencing English when eventually it evolved into rook (although in Middle English the name of the chess piece was sometimes confused with the roc (the enormous mythical bird in Eastern legend).  The name thus changed little between languages and nor did the strategic role of the piece vary: chariot-like fast, powerful charges in straight lines.

Gilt metal chess set in gold, sterling silver, enamel, amethyst & pearl, made by Viennese artisans of the Austro-Hungarian Empire, circa 1898.

The use of “castle” as the informal name for the rook was an unintended consequence of the operation of phonetic similarity in the sub-set of the population practicing an oral culture.  Apparently in southern Italy, some rural folk interpreted rukh as the Italian rocca (fortress or rock) and this led to a new visual representation: the rook as a castle tower or siege tower, the position in the corner of the board reflecting its defensive strength.  This quickly became the standard shape in European chess pieces and historians of the game have speculated that because carving a plausible “castle turret” from a small base of wood, stone or metal would have been quicker and easier (and this cheaper) than a “chariot”, the economics of production may also have been persuasive.  It was European folk etymology that created “castle” as the alternative and it has survived to become (depending on one’s view), informal, incorrect or old-fashioned and has been cited as a class-identifier (a la Knave vs Jack in playing cards): In Noblesse Oblige: An Enquiry Into the Identifiable Characteristics of the English Aristocracy (1956) Nancy Mitford (1904–1973) didn’t list the chess pieces but had she bothered the rook would have been the “U” word and castle the “non-U”.   Curiously, even among those who insist the piece is a rook, use persists in the move “castling” in which the rook and king can switch positions along the “base-line” (ie rows 1 & 8).  Chess purists insist this is the only permissible use of “castle” but seem resigned to the “mistake’s” regrettable survival.

Pavlova

Pavlova (pronounced pav-luh-vuh, pahv-loh-vuh, pav-luh-vuh or pah-vluh-vuh (Russian)).

A meringue cake, topped typically with whipped cream and fruit or confections.

Circa 1930: Named after Russian ballet ballerina Anna (pronounced ah-nuh) Pavlova (1885-1931).  Pavlova is a transliteration of the Russian surname Па́влова (Pávlova), the feminine variant of Па́влов (Pávlov).  Pavlova is a noun and Pavlovian is an adjective; the noun plural is pavlovas.  The standard short form (of the cake) is "pav" and if used as a proper noun, there's an initial capital.

Julia from Pampered Menial (1975) by Pavlov’s Dog.

Although coined at much the same time, the adjective Pavlovian is unrelated to the Russian ballerina or meringue cakes.  It refers to the theories & experimental work of Russian physiologist Ivan Petrovich Pavlov (Ива́н Петро́вич Па́влов; 1849-1936), especially in connection with the conditioned salivary reflexes of dogs in response to the mental stimulus of the sound of a bell (in the West, his work was in 1911 originally referred to as the “Pavloff method” because of a misunderstanding by editors).  His work was a landmark in experimental behavioralism, inducing a dog associatively to link a biologically potent stimulus (food) with a previously neutral stimulus (a bell).  The phrase “Pavlov’s dog” entered English to describe a conditioned response (reacting to a situation on the basis of taught behavior rather than reflectively).  One interesting aspect of comrade Pavlov’s career is he made no secret of his opposition to many aspects of communism in the Soviet state built by comrade Stalin (1878–1953; leader of the USSR 1922-1953), on occasions making his views plain even to the general secretary himself.  Despite that, no action appears ever to have been taken against him and after he died (at 86 of natural causes), he was granted a grand funeral.

Anna Pavlova with Jack.

Anna Pavlova was famous for her interpretation of The Dying Swan, a solo dance choreographed by Mikhail Fokine (1880-1942) to Camille Saint-Saëns's (1835-1921) Le Cygne (The Swan) from Le Carnaval des animaux (The Carnival of the Animals (1922)), commissioned as a pièce d'occasion (an artistic work produced for a special event) for the ballerina who performed it on some 4000 occasions.  It's a short, intense piece which follows the last moments of a swan and for years Ms Pavlova kept a pet swan called Jack.  That she lent her name to a light, meringue-based dessert with a crisp crust and soft, marshmallowy centre was a consequence of the impression she made on tours of Australia & New Zealand during the 1920s.  Such was her elegance, lightness, and grace on stage, the meringue’s airy texture was seen as the culinary expression of her ethereal dancing style, chefs seeking to create something which was at once a thing of swirling style yet also ephemerally fragile.

Rendered by Vovsoft as cartoon character: Lindsay Lohan with a pavolva she'd just whipped up.

New Zealand is a small country in the remote South Pacific which has over the years produced some notable figures such as (1) Lord Rutherford (1871–1937) who, although a physicist who regarded other branches of science as mere applications of engineering which worked within the laws of physics, was awarded the 1908 Nobel Prize in chemistry and is most remembered for his work which led to the atom being split in 1932, (2) Sir Edmund Hillary (1919–2008) who, with the Sherpa mountaineer Tenzing Norgay (1914–1986), was the first to ascend Mount Everest and (3) Sir David Low (1891–1963) who was among the most noted and prolific political cartoonists between the troubled 1930s and the early Cold War years.  The country has also for more than a century fielded what has been usually the world’s most successful rugby union side (the recent inconsistency of the All Blacks not withstanding) and memories are long, the try disallowed by a Scottish referee in a 1905 test against Wales at Cardiff Arms Park (Wales 3, All Blacks 0) still a sore point.

Mango, passion fruit & limoncello pavlova.

Less bitter but no less contested than the matter of the disallowed try is the origin of the pavlova, the invention of which is claimed by both Australia and New Zealand.  What all agree is the cake is a mixture of egg whites and sugar, topped usually with cream and fresh fruit, named after the Russian ballerina Anna Pavlova who toured both countries during the 1920s.  Researchers on both sides of the Tasman Sea (referred to by locals as “the ditch”) have long trawled cook books and newspapers to find the earliest entry but according to the Oxford English Dictionary (OED), New Zealand appears to hold the evidential advantage, a recipe from there having been verified as published in 1927 while the oldest claimed entry from Australia dates from 1935.  That however resolves only the use of Ms Pavlova’s name as the description, pastry chefs adding cream to meringue known even in the nineteenth century and the 1927 recipe in the book Davis Dainty Dishes, published by the Davis Gelatine company, was a multi-colored jelly concoction.  New Zealand’s historians of food concede the culinary point but cite recipes from 1928 & 1929 which are definitely of meringue, cream and fruit.  Strangely perhaps, the OED remained on the lexicographical fence, listing the origin as an ambiguous "Austral. and N.Z."

Espresso martini pavlova

Preparation: 1 hour

Cooking: 2 hours:

Serves: 10-12

Ingredients

8 egg whites
Pinch of cream of tartar
1 tablespoon ground coffee powder
430 gm (2 cups) caster sugar
2 tablespoons of corn-flour
1 teaspoon white vinegar
600 ml (l carton) thickened cream
125 ml (½ cup) coffee liqueur
2 teaspoons cocoa powder
Chocolate-coated coffee beans (to decorate)
Dark chocolate curls (to decorate)
Coffee vodka syrup
2 tablespoons vodka
2 teaspoons arrowroot
100 grams (½ cup, firmly packed) brown sugar
125 ml (½ cup) prepared espresso coffee

Instructions

(1) Preheat oven to 120^o C (100^o C fan forced) (250^o F (210^o F fan forced).  Draw a 200 mm (8 inch) circle on 2 sheets of baking paper.  Place each sheet, marked side down, on a baking tray.

(2) Use an electric beater with a whisk attachment to whisk the egg whites and cream of tartar in a clean dry bowl until firm peaks form.  Gradually whisk in the coffee powder.  Add the sugar, 1 tablespoon at a time, whisking constantly until the sugar dissolves and the mixture is thick and glossy.  Beat in the corn-flour and vinegar.

(3) Divide meringue mixture among the 2 marked circles on the prepared trays. Use a palette knife to spread mixture into 2 evenly shaped discs.  Bake for 2 hours or until meringues are dry and crisp.  Turn off oven. Leave meringues in the oven, with the door slightly ajar, until cooled completely.

(4) Meanwhile, to make the coffee vodka syrup, combine the vodka and arrowroot in a small bowl.  Combine the sugar and coffee in a small saucepan.  Bring to the boil over high heat, stirring, until the sugar dissolves. Reduce heat and simmer for 3 minutes or until the syrup has thickened slightly.  Stir in the vodka mixture and return to the boil, boiling for 1 minute or until thickened.  Remove from heat and transfer to a small bowl and set aside to cool.  Place in the fridge until required.

(5) Use electric beaters to beat the cream in a bowl until soft peaks form. Beat in the coffee liqueur and cocoa until firm peaks form.

(6) Place 1 pavlova disc on a serving plate. Top with half the cream mixture. Drizzle with a little coffee vodka syrup. Scatter with coffee beans and chocolate curls.  Repeat with the remaining disc, cream mixture, syrup, coffee beans and chocolate curls.  Serve.

A century-odd on, an issue still: Auckland Airport, New Zealand, December 2023.

Zugzwang

Zugzwang (pronounced tsook-tsvahng)

(1) In chess, a situation in which a player is limited to moves that cost pieces or have a damaging positional effect.

(2) A situation in which, whatever is done, makes things worse (applied variously to sport, politics, battlefield engagements etc).

(3) A situation in which one is forced to act when one would prefer to remain passive and thus a synonym of the German compound noun Zugpflicht (the rule that a player cannot forgo a move).

(4) In game theory, a move which changes the outcome from win to loss.

Circa 1858 (1905 in English): A modern German compound, the construct being zug+zwang.  Zug (move) was from the Middle High German zuc & zug, from the Old High German zug ,from Proto-Germanic tugiz, an abstract noun belonging to the Proto-Germanic teuhaną, from the primitive Indo-European dewk (to pull, lead); it was cognate with the Dutch teug and the Old English tyge.  Zwang (compulsion; force; constraint; obligation) was from the Middle High German twanc, from the Old High German geduang.  It belongs to the verb zwingen and cognates include the Dutch dwang and the Swedish tvång.  The word is best understood as "compulsion to move" or, in the jargon of chess players: "Your turn to move and whatever you do it'll make things worse for you", thus the application to game theory, military strategy and politics where there's often a need to determine the "least worse option".  Zugzwang is a noun; the noun plural is Zugzwänge.  In English, derived forms such as zugzwanged, zugzwanging, zugzwangish, zugzwanger, zugzwangesque and zugzwangee are non-standard and used usually for humorous effect.

Chess and Game Theory

Endgame: Black's turn and Zugzwang! Daily Chess Musings depiction of the elegance of zugwang.

The first known use of Zugzwang in the German chess literature appears in 1858; the first appearance in English in 1905.  However, the concept of Zugzwang had been known and written about for centuries, the classic work being Italian chess player Alessandro Salvio's (circa 1575–circa 1640) study of endgames published in 1604 and he referenced Shatranj writings from the early ninth century, some thousand years before the first known use of the term.  Positions with Zugzwang are not rare in chess endgames, best known in the king-rook & king-pawn conjunctions.  Positions of reciprocal Zugzwang are important in the analysis of endgames but although the concept is easily demonstrated and understood, that's true only of the "simple Zugzwang" and the so-called "sequential Zugzwang" will typically be a multi-move thing which demands an understanding of even dozens of permutations of possibilities.

Rendered by Vovsoft as cartoon character: a brunette Lindsay Lohan at the chessboard.  In her youth, she was a bit of a zugzwanger.

Zugzwang describes a situation where one player is put at a disadvantage because they have to make a move although the player would prefer to pass and make no move. The fact the player must make a move means their position will be significantly weaker than the hypothetical one in which it is the opponent's turn to move. In game theory, it specifically means that it directly changes the outcome of the game from a win to a loss.  Chess textbooks often cite as the classic Zugzwang a match in Copenhagen in 1923; on that day the German Grandmaster (the title inaugurated in 1950) Friedrich Sämisch (1896–1975) played White against the Latvian-born Danish Aron Nimzowitsch (1886-1935).  Playing Black, Nimzowitsch didn’t play a tactical match in the conventional sense but instead applied positional advantage, gradually to limit his opponent’s options until, as endgame was reached, White was left with no move which didn’t worsen his position; whatever he choose would lead either to material loss or strategic collapse and it’s said in his notebook, Nimzowitsch concluded his entry on the match with “Zugzwang!”  A noted eccentric in a discipline where idiosyncratic behaviour is not unknown, the Polish Grandmaster Savielly Tartakower (1887-1956) observed of Nimzowitsch: “He pretends to be crazy in order to drive us all crazy.”

French sculptor Auguste Rodin's (1840-1917) The Thinker (1904), Musée Rodin, Paris (left) and Boris Johnson (b 1964; UK prime-minister 2019-2022) thinking about which would be his least worst option (left).

In its classic form chess is a game between two, played with fixed rules on a board with a known number of pieces (32) and squares (64).  Although a count of the possible permutations in a match would yield a very big number, in chess, the concept of Zugwang is simple and understood the same way by those playing black and white; information for both sides is complete and while the concept can find an expression both combinatorial game theory (CGT) and classical game theory, the paths can be different.  CGT and GT (the latter historically a tool of economic modelers and strategists in many fields) are both mathematical studies of games behaviour which can be imagined as “game-like” but differ in focus, assumptions, and applications.  In CGT the basic model (as in chess) is of a two-player deterministic game in which the moves alternate and luck or chance is not an element.  This compares GT in which there may be any number of players, moves may be simultaneous, the option exists not to move, information known to players may be incomplete (or asymmetric) and luck & chance exist among many variables (which can include all of Donald Rumsfeld’s (1932–2021: US defense secretary 1975-1977 & 2001-2006) helpful categories (known knowns, known unknowns, unknown unknowns & (most intriguingly) unknown knowns).  So, while CGT is a good device for deconstructing chess and such because such games are of finite duration and players focus exclusively on “winning” (and if need be switching to “avoiding defeat”), GT is a tool which can be applied to maximize advantage or utility in situations where a win/defeat dichotomy is either not sought or becomes impossible.  The difference then is that CGT envisages two players seeking to solve deterministic puzzle on a win/lose basis while GT is there to describes & analyse strategic interactions between & among rational actors, some or all of which may be operating with some degree of uncertainty.

Serial zugzwanger Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022), Parliament House, Canberra.  More than many, Mr Joyce has had to sit and ponder what might at that moment be his “least worst” option.  He has made choices good and bad.

In politics and military conflicts (a spectrum condition according to Prussian general and military theorist Carl von Clausewitz (1780–1831)), a zugzwang often is seen as parties are compelled to take their “least worst” option, even when circumstances dictate it would be better to “do nothing”.  However, the zugzwang can lie in the eye of the beholder and that why the unexpected Ardennes Offensive, (Wacht am Rhein (Watch on the Rhine) the German code-name though popularly known in the West as the Battle of the Bulge, (December 1944-January 1945)) was ordered by Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945).  It was the last major German strategic offensive of World War II (1939-1945) and among all but the most sycophantic of Hitler’s military advisors it was thought not “least worst” but rather “worse than the sensible” option (although not all the generals at the time concurred with what constituted “sensible”).  Under the Nazi state’s Führerprinzip (leader principle) the concept was that in any institutional structure authority was vested in the designated leader and that meant ultimately Hitler’s rule was a personal dictatorship (although the extent of the fragmentation wasn’t understood until after the war) so while the generals could warn, counsel & advise, ultimately decisions were based on the Führer’s will, thus the Ardennes Offensive.

While the operation made no strategic sense to the conventionally-schooled generals, to Hitler it was compelling because the tide of the war had forced him to pursue the only strategy left: delay what appeared an inevitable defeat in the hope the (real but still suppressed) political tensions between his opponents would sunder their alliance, allowing him to direct his resources against one front rather than three (four if the battle in the skies was considered a distinct theatre as many historians argue).  Like Charles Dickens’ (1812–1870) Mr Micawber in David Copperfield (1849-1850), Hitler was hoping “something would turn up”.  Because of the disparity in military and economic strength between the German and Allied forces, in retrospect, the Ardennes Offensive appears nonsensical but, at the time, it was a rational tactic even if the strategy of “delay” was flawed.  Confronted as he was by attacks from the west, east and south, continuing to fight a defensive war would lead only to an inevitable defeat; an offensive in the east was impossible because of the strength of the Red Army and even a major battlefield victor in the south would have no strategic significance so it was only in the west a glimmer of success seemed to beckon.

The bulge.

In the last great example of the professionalism and tactical improvisation which was a hallmark of their operations during the war, secretly the Wehrmacht (the German military) assembled a large armored force (essentially under the eyes of the Allies) and staged a surprise attack through the Ardennes, aided immeasurably by the cover of heavy, low clouds which precluded both Allied reconnaissance and deployment of their overwhelming strength in air-power.  Initially successful, the advance punched several holes in the line, the shape of which, when marked on a map, lent the campaign the name “Battle of the Bulge” but within days the weather cleared, allowing the Allies to unleash almost unopposed their overwhelming superiority in air power.  This, combined with their vast military and logistical resources, doomed the Ardennes Offensive, inflicting losses from which the Wehrmacht never recovered: From mid-January on, German forces never regained the initiative, retreating on all fronts until the inevitable defeat in May.  A last throw of the dice, the offensive both failed and squandered precious (and often irreplaceable) resources badly needed elsewhere.  By December 1944, Hitler had been confronted with a zugzwang (of his own making) and while whatever he did would have made Germany’s position worse, at least arguably, the Ardennes Offensive was not even his “least worse” option.

Pasha

Pasha (pronounced pah-shuh, pash-uh, puh-shah or pur-shaw)

(1) In historic use, a high rank in the Ottoman political and military system, granted usually to provincial governor or other high officials and later most associated with the modern Egyptian kingdom; it should be placed after a name when used as a title, a convention often not followed in the English-speaking world.

(2) A transliteration of the Russian or Ukrainian male given name diminutive Па́ша (Páša).

(3) A surname variously of Islamic and Anglo-French origin (ultimately from the Latin).

(4) In casual use, anyone in authority (used also pejoratively against those asserting authority without any basis); the use seems to have begun in India under the Raj.

(5) As the “two-tailed pasha” (Charaxes jasius), a butterfly in the family Nymphalidae.

1640–1650: From the Turkish pasa (also as basha), from bash (head, chief), (there being in Turkish no clear distinction between “b” & “p”), from the Old Persian pati- (maste), built from the primitive Indo-European root poti- (powerful; lord) + the root of shah (and thus related to czar, tzar, csar, king & kaisar).  The related English bashaw (as an Englishing of pasha) existed as early as the 1530s.  Pasha’s use as an Islamic surname is most prevalent on Indian subcontinent but exists also in other places, most often those nations once part of the old Ottoman Empire (circa 1300-1922) ) including Albania, Republic of Türkiye and the Slavic region.  As a surname of English origin, Pasha was a variant of Pasher, an Anglicized form from the French Perchard, a suffixed form of Old French perche (pole), from the Latin pertica (pole, long staff, measuring rod, unit of measure), from the Proto-Italic perth & pertikā (related also to the Oscan perek (pole) and possibly the Umbrian perkaf (rod).  The ultimate source of the Latin form is uncertain.  It may be connected with the primitive Indo-European pert- (pole, sprout), the Ancient Greek πτόρθος (ptórthos) (sprout), the Sanskrit कपृथ् (kapṛth) (penis) although more than one etymologist has dismissed any notion of extra-Italic links.  Pasha, pashaship & pashadom are nouns and pashalike is an adjective; the noun plural is pashas.  The adjectives pashaish & pashaesque are non-standard but tempting.

Fakhri Pasha (Ömer Fahrettin Türkkan (1868–1948), Defender of Medina, 1916-1919).

In The Struggle for Survival, 1940–1965 (1966) (extracts from the diary of Lord Moran (Charles Wilson, 1882-1977, personal physician to Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955)), there’s an entry in which, speaking of her husband, Clementine Churchill (1885–1977) told the doctor: “Winston is a Pasha.  If he cannot clap his hands for servant he calls for Walter as he enters the house.  If it were left to him, he'd have the nurses for the rest of his life ... He is never so happy, Charles, as he is when one of the nurses is doing something for him, while Walter puts on his socks.”  In his busy youth, Churchill has served as a subaltern in the British Army’s 4th Queen's Own Hussars, spending some two years in India under the Raj; he would have been a natural pasha.

Debut of 928 & the pasha: Ferdinand "Ferry" Porsche (1909–1998) with the Porsche 928 displayed at the Geneva Auto Salon, 17 March, 1977.

The car (pre-production chassis 928 810 0030) was finished in the Guards Red which in the next decade would become so emblematic of the brand and this was not only the first time the pasha trim was seen in public but also the first appearance of the “phone-dial” wheels.  Although the factory seems never to have published a breakdown of the production statistics, impressionistically, the pasha appeared more often in the modernist 924 & 928 than the 911 with its ancestry dating from the first Porsches designed in the 1940s. 

The “Pasha” flannel fabric was until 1984 available as an interior trim option for the 911 (1964-1989), 924 (1976-1988) & 928 (1977-1995) in four color combinations: black & white, black & blue, blue & beige and brown & beige.  Although not unknown in architecture, the brown & beige combination is unusual in fashion and it's doubtful the kit once donned by New Zealand’s ODI (one day international) cricket teams was influenced by the seats of pasha-trimmed Porsches; if so, that was one of the few supporting gestures.

1979 Porsche 930 with black & white pasha inserts over leather (to sample) (left) and 1980 Porsche 928S with brown & beige pasha inserts over brown leather.

It was known informally also as the Schachbrett (checkerboard) but it differed from the classic interpretation of that style because the objects with which the pattern was built were irregular in size, shape and placement.  Technically, although not usually listed as a velvet or velour, the pasha used a similar method of construction in that it was a “pile fabric”, made by weaving together two thicknesses of fine cord and then cutting them apart to create a soft, plush surface, rendering a smooth finish, the signature sheen generated by the fibres reflect light.  It was during its run on the option list rarely ordered and in the Porsche communities (there are many factions) it seems still a polarizing product but while “hate it” crowd deplore the look, to the “love it” crowd it has a retro charm and is thought in the tradition of Pepita (or shepherd’s check), Porsche’s unique take on houndstooth.

Reproduction Porsche pasha fabric available from the Sierra Madre Collection.

There are tales about how Porsche’s pasha gained the name including the opulent and visually striking appearance evoking something of the luxury and flamboyance associated the best-known of the Ottoman-era pashas, much publicized in the West for their extravagant ways.  There seems no basis for this and anyway, to now confess such an origin would see Porsche damned for cultural appropriation and at least covert racism.  It may not be a “cancellation” offence but is trouble best avoided.  Also discounted is any link with lepidopterology for although the “two-tailed pasha” (Charaxes jasius, a butterfly in the family Nymphalidae) is colourful, the patterns on the wings are not in a checkerboard.  Most fanciful is that during the 1970s (dubbed to this day “the decade style forgot” although that does seem unfair to the 1980s), in the Porsche design office was one chap who was a “sharp dresser” and one day he arrived looking especially swish, his ensemble highlighted by a check patterned Op Art (optical art, an artistic style with the intent of imparting the impression of movement, hidden images, flashing & vibrating patterns or swelling & warping) scarf.  The look came to the attention of those responsible for the interiors for the upcoming 928 and the rest is history... or perhaps not.  More convincing is the suggestion it was an allusion to the company’s success in motorsport, a chequered (checkered) flag waved as the cars in motorsport cross the finish-line, signifying victory in an event.  What the pasha’s bold, irregular checkerboard did was, in the Bauhaus twist, create the optical illusion of movement.

Publicity shot for Porsche 911 Spirit 70, released as a 2026 model.

When on the option list, the Pasha fabric was never a big seller but, being so distinctive, memories of it have never faded and it transcended its lack of popularity to become what is now known as “iconic”.  Originally, the use of “iconic” was limited to the small objects of religious significance (most associated with the imagery in Eastern Orthodox Christianity where the concept didn’t always find favour, the original iconoclasts being literally those destroyed icons) and later co-opted for analogous (often secular) use in art history.  It was in the 1960s, perhaps influenced by the depictions in pop-art (many of which were icon-like) of pop culture figures such as Marilyn Monroe (1926–1962) that there meaning shifted to apply to those highly influential, recognizable, or emblematic in some aspect of what was being discussed, be that a look, brand, cultural phenomenon or whatever.  In that sense, Porsche over the years has been associated with a few “iconic” objects including certain wheels, rear spoilers and entire vehicles such as the 911 or 917.  Even before the internet reached critical mass and accelerated the trend, the word was in the 1980s & 1990s a common form but in the twenty-first century such was the overuse the value was diminished and its now not uncommon for it to have to be used with modifiers (genuinely iconic, truly iconic etc).  So, the path has been from sacred to symbolic to cultural to viral to clichéd, and by the 2020s, were something to be described as “totally iconic”, there was a fair chance it would within a week be forgotten.

2026 Porsche 911 Spirit 70.  The Pasha fabric is standard on the door panels and seat cushions but optional for the seat squabs and dashboard (left).  The Pascha-Teppich (Pasha mat) in the frunk is included (right).

Porsche however seems assured the Pasha fabric is part of the company’s iconography and in April 2025 announced the look would be reprised for the 911’s latest Heritage Edition model.  Dubbed the 911 Spirit 70, the name is an allusion to the “company’s design philosophy of the seventies” and that may be something worth recalling for during that “difficult decade”, not only did some of Porsche’s most memorable models emerge but most than most manufacturers of the time, they handled the troubles with some aplomb.  Production of the Spirit 70 will be limited to 1,500 units, all in Olive Neo (a bespoke and (in the right light) untypically vibrant olive) with retro-inspired livery and trimmed in the revived Pasha fabric upholstery (although use on the seat squabs and dashboard is optional).  Mechanically, the car is based on the Carrera GTS Cabriolet, availability of which has spanned a few of the 911’s generations and for those who don’t like the graphics, they’re a delete option.

Lindsay Lohan (during “brunette phase”) in bandage dress in black & white pasha, rendered as an adumbrated pen & ink sketch in monochrome.

Although made with "pasha" fabric, this is not a “pasha-style” dress.  Some purists deny there’s such a thing and what people use the term to describe is correctly an “Empire” or “A-Line” dress, the industry has adopted “pasha” because it’s a romantic evocation of the style of garment often depicted being worn by notables in the Ottoman Empire.  The (Western) art of the era fuelled the popular imagination and it persists to this day, something which was part of the critique of Palestinian-American academic Edward Said (1935–2003) in Orientalism (1978), an influential work which two decades on from his death, remains controversial.  As used commercially, a pasha dress can be any longer style characterized by a flowing silhouette, sometimes with a wrap or corset detailing and so vague is the term elements like ruffles or pagoda sleeves can appear; essentially, just about any dress “swishy” enough to “waft around” dress can plausibly be called a pasha.  Since the symbiotic phenomena of fast-fashion and on-line retailing achieved critical mass, the number of descriptions of garment styles probably has increased because although it's difficult to create (at least for saleable mass-produced products) looks which genuinely are "new", what they're called remains linguistically fertile. 

For the Porsche owner who has everything, maXimum offers “Heel Trend Porche Pasha Socks”, the "Porche" (sic) a deliberate misspelling as a work-around for C&Ds (cease & desist letters) from Stuttgart, a manoeuvre taken also by legendary accumulator of damaged Porsches (and much else), German former butcher Rudi Klein (1936-2001) whose Los Angeles “junkyard” realized millions when the contents were auctioned in 2024.  His “Porsche Foreign Auto” business had operated for some time before he received a C&D from German lawyers, the result being the name change in 1967 to Porche Foreign Auto.  It’s a perhaps unfair stereotype Porsche owners really do already have everything but the socks may be a nice novelty for them.

Chairs, rug & occasional tables in black & white pasha.

A minor collateral trade in the collector car business is that of thematically attuned peripheral pieces.  These include models of stuff which can be larger than the original (hood ornaments, badges and such), smaller (whole cars, go-karts etc) or repurposed (the best known of which are the engines re-imagined as coffee-tables (almost always with glass tops) but there are also chairs.  Ideal for a collector, Porsche dealership or restoration house, one ensemble consisting of two chrome-plated steel framed chairs, a circular rug and brace of occasional tables was offered at auction.  The “Porsche Pasha” chosen was the black & white combo, something which probably would be approved by most interior decorators; with Ferraris there may be “resale red” but with furniture there’s definitely “resale black & white”.