Disc or Disk

Disc or disk (pronounced disk)

(1) A phonograph record.

(2) Any thin, flat, circular plate or object.

(3) Any surface that is flat and round, or seemingly so.

(4) In computing hardware, any of several types of media consisting of thin, round plates of plastic or metal, used for external storage.

(5) In zoology and anatomy, any of various roundish, flat structures or parts in the body, especially an intervertebral disc.

(6) In botany, (in the daisy and other composite plants) the central portion of the flower head, composed of tubular florets (especially the middle part of the lip of an orchid).

(7) Any of the circular steel blades that form the working part of a disk harrow.

(8) In mathematics, the domain bounded by a circle.

1655-1665: From the French disque, from the Latin discus, from Ancient Greek δίσκος (dískos) (disk, quoit, platter; a circular plate suited for hurling) from δικεῖν (dikeîn) (to hurl, to launch) from the primitive Indo-European dik-skos from the root deik (to show, pronounce solemnly).  The Proto-Germanic diskaz was also drawn from the Latin and Greek root and was cognate with the Old Saxon disk, the Old Dutch disc (Dutch dis (table)), the Old High German tisc (German tisch (table)) and the Old Norse diskr (plate).

The sense of "phonograph disk" dates from 1888 and discophile was used to describe enthusiasts for gramophone recordings from 1940.  Disk jockey as a term to describe those on radio who broadcast music from records was first recorded 1941; it became dee-jay is 1955 and was further truncated to DJ in 1961; the video version "veejay" is from 1982 but never really caught on.  Disk-drive is from 1952 although disk was first noted in the context of computing in 1947.  Disc brakes were first developed in the late nineteenth century, began to be used on cars at scale in the 1950s and were widely widely available early in the next decade.  The first compact disc (CD) was released in 1982, the digital versatile disc (DVD) in 1995 and the BluRay (BD) disc in 2006.

Disk or Disc

LP album cover; the LP was the final evolution of the traditional phonographic disk.  This cover is memorable but fake, it is a fake disk.

Although both the Latin and Greek spellings have endured, there is in English no formal rule for the use of disc & disk and the two are often used interchangeably.  Even within industries or in countries, there is no consensus on the difference but there are conventions.  Historically the Latinate form was preferred in the British Empire and the Greek in the US but the advent of disk as the preferred use in the computing industry from the 1940s spread worldwide although, as a point of deliberate differentiation, disc was adopted for the new optical hardware (CD, DVD and BluRay).  The distinction is maintained still; mechanical devices are diskettes or hard disks whereas the optical are all discs.

The newer form of storage is solid state and the devices are properly called semiconductor storage devices (SSD) but are more typically referred to (wrongly and presumably influenced by the SSD acronym) as  solid-state disks, or solid-state drives even though SSDs don't have the rotating disk or the drive mechanism which powers the movable read–write heads used with hard disk drives (HDD) and floppy disks (FDD); even among those who understand the difference, the habits of old die hard.  So, the SSD has neither disk nor drive but does require, somewhere in the system, a software driver.

Lindsay Lohan music albums on CD: Speak (2004) and A Little More Personal (RAW) (2005, both released by Casablanca Records.

Although the use in IT greatly increased use of disk, even before the debut of optical media, there was never any indication disc would become extinct.  Except where specifically defined as a brand-name or trademark (such as the CD), both are likely to continue to be used interchangeably with regional and perhaps even generational variations.  Most style guides, even those which provide prescriptive lists, acknowledge this and suggest regardless of the form(s) users choose, what matters is to maintain consistency.  Rotating disks and discs are anyway vanishing from computer hardware so the influence of the industry's conventions of use will presumably diminish.

Umbra

Umbra (pronounced uhm-bruh)

(1) Shade; shadow, now restricted mostly to literary use.

(2) The invariable or characteristic accompaniment or companion of a person or thing.

(3) In astronomy, the complete or perfect shadow of an opaque body, as a planet, where the direct light from the source of illumination is completely cut off.

(4) In astronomy, the dark central portion of a sunspot.

(5) A phantom or shadowy apparition, as of someone or something not physically present; ghost; spectral image.

(6) An uninvited guest brought along by one who was invited (archaic).

(7) The fully shaded inner region of a shadow cast by an opaque object.

(8) One of the family Umbridae of mudminnows; a sciaenoid fish, the umbrine.

(9) In typography, a sans-serif display typeface released in 1935 as a variation of the earlier Tempo.  Similar to many contemporary art deco designs, it's constructed with a shadow effect, the letter shapes built as negative space and defined by a black dimensional shadow.

1590s: From the Latin umbra (literally “shade”; shadow), a doublet of umber and of uncertain origin.  If it was from the Old Latin omra, source may have been the primitive Indo-European hzmrup-, related to the Ancient Greek ἀμαυρός (amaurós) (dark) and “rot” & “rotten” in the Luwian hieroglyphic.  Etymologists also note the Hittite Maraššantiya (their name for the Kızılırmak River), and this Indo-European source is said to be a possible borrowing from a Semitic root ḥ-m-r (be red), linked to the Arabic ح م ر‎ (ḥ m r).  All agree there is a connection with the Lithuanian unksna.  The adjectives are umbral & umbrageous and the noun plurals are umbras & umbrae.

The early meaning was that of a “phantom or ghost," a figurative use drawn from the Latin umbra (shade, shadow), which gave rise to the later umbrage (A feeling of anger or annoyance caused by something offensive or (now rarely) a feeling of doubt, from the Middle French ombrage (umbrage), from the Old French ombrage, from the Latin umbrāticus (in the shade), from umbra (shadow, shade)).  The astronomical sense of a "shadow cast by the earth or moon during an eclipse" was first used during the 1670s.  The meaning "an uninvited guest accompanying an invited one" is from 1690s and was an invention in English, from a secondary sense used in Ancient Rome.

The related noun umber (brown earthy pigment) is from the 1560s, from the French ombre (in terre d'ombre), or the Italian ombra (in terra di ombra), both from the Latin umbra (shade, shadow) or otherwise from Umbra, the feminine form of Umber "of or belonging to Umbria, the region in central Italy from where the coloring material was first discovered.  Burnt umber, specially prepared and redder in color, is attested from circa 1650 and distinguished from raw umber, both well-known to artists of the era.

It’s the cosmic coincidence of the relationship between the diameter of the Moon and its distance from the Sun which makes solar eclipses such a spectacular sight from planet earth.  On other planets, where the relationship is different, solar eclipses may not be as enchanting.  A solar eclipse happens sometimes as the Moon moves between the Sun and Earth, the Moon blocking the light of the Sun from reaching Earth.  Astronomers classify solar eclipses into three types:

(1) A total solar eclipse which is visible from a small area on Earth.  Those who see a total eclipse are those standing in the center of the Moon's shadow when it hits Earth. The sky becomes very dark, as if it were night. A total eclipse occurs only when the Sun, Moon and Earth are in a direct line.

(2) A partial solar eclipse happens when the Sun, Moon and Earth are not exactly aligned, the sun appearing to have a dark shadow on a small part of its surface.

(3) In an annular solar eclipse, the Moon seems further because the annular happens when the Moon is farthest from Earth and thus does not block the entire view of the Sun, instead looking like a dark disk on top of a larger Sun-colored disk.

A solar total eclipse.

Solar eclipses are not rare, visible around every eighteen months somewhere on Earth although the viewing spot is always relatively small.  Unlike lunar eclipses, solar eclipses last only a few minutes.  The umbra is the darkest part of a shadow, especially the cone-shaped region of full shadow cast by Earth, the Moon, or another body during an eclipse. In a full lunar eclipse, which generally lasts for one or two hours, the entire disk of the Moon is darkened as it passes through the umbra. During this period the Moon takes on a faint reddish glow due to illumination by a small amount of sunlight that is refracted through the Earth's atmosphere and bent toward the darkened Moon; the reddish tint is caused by the filtering out of blue wavelengths as the sunlight passes through the Earth's atmosphere, leaving only the longer wavelengths on the red end of the spectrum.

The umbra is the innermost and darkest part of a shadow, the area in which the light source is entirely obscured by the occluding body and if standing in this space, the viewer will experience a total eclipse.  Viewed in the abstract, the Sun, Moon & Earth all being (almost) spherical, umbra forms a right circular cone and, if viewed from the cone's apex, the two bodies will seem the same size.  The penumbra, from the Latin paene (almost, nearly) is the region in which only some of the light source is obscured by the occluding body so the viewer standing in the experiences a partial eclipse.  The antumbra, from the Latin ante (before) is the region from which the occluding body appears entirely within the disc of the light source.  The viewer standing in this apace experiences an annular eclipse, which manifests as a bright ring visible around the eclipsing body.  If the viewer is able to move closer to the light source, the apparent size of the occluding body increases until it causes a full umbra.

An umbraphile (shadow lover) is a person with much interest in eclipses, often making extraordinary efforts to travel to see them.  The construct is umbra +‎ phile.  Phile is from the Latin -phila, from the Ancient Greek φίλος (phílos) (dear, beloved) and from the same source is -phil, a word-forming element meaning "one that loves, likes, or is attracted to," via the French -phile and the Medieval Latin -philus in this sense, from the Ancient Greek -philos, a common suffix in personal names (such as Theophilos), from philos (loving, friendly, dear; related, own) and related to philein (to love) which is of unknown origin.  One authoritative etymologist suggests the original meaning was "own; accompanying" rather than "beloved."

Umbraphilia emerged as a niche in nineteenth century high-end tourism, gentlemen scientists and society figures sailing around the world to observe and sometimes report their findings.  The longest known observation of a solar eclipse was that undertaken on 30 June 1973 when a group travelled on board the Concorde, enjoying seventy-four minutes of totality.

Album

Album (pronounced al-buhm)

(1) A bound or loose-leaf book consisting of blank pages, pockets, envelopes etc, for storing or displaying photographs, stamps, or the like, or for collecting autographs.

(2) A digital collection of photographs, stored on a computer or mobile device for viewing, displaying, or sharing.

(3) A record or set of records containing several musical selections, a complete play or opera etc.

(4) The package or container for such a record or records:

(5) A collection of audio recordings released together as a collected work:

(6) A printed book containing an anthology of writings, reproductions of photographs or artwork, musical compositions etc.

(7) In Ancient Rome, a white tablet or register on which the praetor's edicts and other public notices were recorded.

1645–1655: From the late Middle English albo (souvenir book), from the Classical Latin album (a board calked or painted white, onto which was inscribed in black, certain public notices, most notably the Annales Maximi, compiled by the Pontifex Maximus, high priest of the Collegium Pontificum (College of Pontiffs) which listed the year’s most significant events and appointments).  In Latin, the literal meaning of album was "white in color; whiteness", a noun use of the neuter of the adjective albus (white).

Album of Frederick Handel's (1685-1759) Messiah (1741) on 18 x 78 rpm shellac records; Royal Philharmonic Orchestra, under Sir Thomas Beecham (1879-1961), RCA Victor, 1947. 

The word was revived in Prussia circa 1645 by German scholars whose custom was to keep an album (amicorum) of colleagues' signatures, the meaning later expanded to include "book with blank leaves meant to collect signatures and other souvenirs" and according the entry in Samuel Johnson’s (1709-1784) A Dictionary of the English Language (1755), the album was "…a book in which foreigners have long been accustomed to insert autographs of celebrated people."  Photographic albums (in which people mounted photographs) were first advertised in 1859 and in 1882, the publisher Stanley Gibbons added to their catalogue the “stamp album” to meet the demand from the increasingly popular (and sometime profitable) hobby of philately.  The word became the popular descriptor of the (twelve-inch (300 mm)) 33⅓ rpm LP (long-playing) record in the 1950s although the term had earlier been used of (what would later be known as “boxed sets”) the bundled collections of 78 rpm records which, for certain recordings, demanded dozens of disks.  The use of “album” was an allusion to the resemblance of the paper sleeves, in which the shellac (and later polyvinyl chloride (PVC and usually called “vinyl”)) disks were stored, to the pages of autograph or stamp albums.

Lindsay Lohan's discography: Speak (Casablanca, 2005) & A Little More Personal (Raw) (Casablanca, 2005).

The Grateful Dead, Anthem of the Sun (1968).

The twelve-inch vinyl LP was an ideal format for commercial music distributors because it allowed 40-50 minutes of product to be packaged on the one disk, thereby permitting even long opera performances to be released as an album which required usually no more than 3-4 disks.  In popular music, the 50 minute limit (which technology did later permit to be extended to about an hour) was perfect and there many releases which barely troubled the lower end of the limit, format allowing acts to release several albums a year, each with perhaps a dozen songs (“tracks” as they came to be called).  This corresponded well with both creative output and the occasional release of a live performance and when required, double albums could be recorded and by the 1970s, there were even some triple and quadruple-disk albums.

The Incredible String Band, The 5000 Spirits or the Layers of the Onion (1967).

The eight-track cartridge and the much more successful cassette tape proved handy as portable media but operated less as a competitor than an adjunct to the vinyl product and it wasn’t until the compact disc (CD) gained critical mass in the mid-1980s that the 12 inch format came to be supplanted.  The CD was another format which proved ideal for the industry, particularly during the first decade-odd of its existence when the duplication hardware was for most (unlike cassette decks which were bundled with mainstream (3-in-1) stereo systems), prohibitively expensive.  The CD didn’t add greatly to the duration available for recording but the sound quality was superior (some vinyl audiophiles still dispute that), unit production and distribution costs were lower and windfall profits were raked in as the early CDs were sold at high prices and many consumers actually duplicated at least some of their vinyl collection as well as buying new releases.  Thus the “album age” lasted until displaced by the digital era which made possible the consumer’s (probably long-standing) preference to purchase the individual tracks they prefer.

Iron Butterfly, In-A-Gadda-Da-Vida (1968).

Until largely displaced by the smaller CD, the twelve inch album sleeve existed as a form of pop-art which attracted its own school of criticism.  Between the mid-1960s and late 1980s, small industries arose to create the artwork and there was even a niche in specialist publishing which produced compilations, the more psychedelic efforts especially popular and the “gatefold covers” used for the double and triple albums even permitted a wider vista; the results sometimes good, sometimes not.  The so-called “concept album” appeared to have had little effect on the album cover artwork which is surprising given it was such an obvious way to encapsulate a “concept”.  However, the definition of the “concept album” was always vague and while there were plenty with some discernible theme, it could with others be difficult to work out just what the “concept” was supposed to be.  Still, it was a word which suggested ambitions beyond a collection of three-minute singles and in the 1960s there was a growing industry of earnest critics, anxious to find meanings and ready to fill in the gap if none was immediately obvious.  Sometimes they would write as if influenced by TS Elliot, sometimes they'd just gush and if the idea had been delayed a generation, they would probably have called them "paradigm albums".     

There were great moments in album covers but, unfortunately, the memorable cover for Svetlana Gruebbersolvik's My Lips are for Blowing was a fake.  Beginning in the 1960s, the album cover with its standardized 12 x 12 inch (300 x 300 mm) format became a sub-genre of pop-art, the movement lasting until the smaller media of the CD rendered the packaging obsolete.  The twelve inch format has enjoyed something of a twenty-first century revival but the volumes are too low to support the scale of graphic-art industry which once flourished. 

Dogdish

Dogdish (pronounced dog-dish or dawg-dish)

(1) The dish in which a pet dog’s meals are served (probably a rare use because “dog bowl” is the more common (an accurate) descriptor.

(2) In US use, the style of simple hubcap used in the 1960s & 1970s for low-cost vehicles (especially for fleet operators such as police forces) or certain high-performance cars (including those ordered for competition use).

1940s or 1950s (in the automotive context): The word dog pre-dates the eleventh century and was from the Middle English dogge (akin to the Scots dug), from the Old English dogga & docga, of uncertain origin.  The documentary evidence from a thousand years ago is unsurprisingly scant but does suggest “dog” was used to mean something like the modern “cur” or “mutt” (ie a common or stray dog as opposed to one of good breeding), later refined to be applied to “large or stocky canines”.  The Old English dogga & docga may have been a pet-form diminutive of dog, the appended suffix -ga also used of pet frogs (frocga) and pigs (picga).  The ultimate source of dog (and the meaning) is uncertain but there may be some link with the Old English dox (dark, swarthy) or the Proto-West Germanic dugan (to be suitable), the latter the origin of the Old English dugan (to be good, worthy, useful), the English dow, the Dutch deugen and the German taugen.  It’s all speculative but the most supported theory appears to be it was likely a children’s epithet for dogs meaning something like “good creature”.  Less supported is the notion of a relationship with docce (stock, muscle), from the Proto-West Germanic dokkā (round mass, ball, muscle, doll), from which English gained dock (stumpy tail) and ultimately (in that context) docking (the removal of a tail.  In England, as late as the early fifteenth century, the common words used of domestic canines was hound, from the Old English hund while dog tended to be restricted to a sub-type resembling the modern mastiff and bulldog.  In the way English tends towards shorter forms, by the sixteenth century dog had become the general word with hound increasingly a specialist word used of hunt dogs (accounting for all those English pubs called “The fox & hounds”.  At the same time, the word dog was adopted by several continental European languages as their word for mastiff although this use didn’t persist as “dog” became more generalized.  Etymologists note that despite the overlaps in form and meaning, the English word was not related to the Mbabaram dog.  Dish predated the tenth century and was from the Middle English dish & disch, from the Old English disċ (plate; bowl; dish), from the Proto-West Germanic disk (table; dish), from the Latin discus, from the Ancient Greek δίσκος (dískos) (quoit, disc, discus, dish, trencher, round mirror, reliquary, marigold).  For centuries the orthodox etymology of dískos was that it was from δίκ-σκος (dík-skos), from δικεῖν (dikeîn) (to cast) but more recent scholarship have cast doubts on this on the grounds the suffix -σκο- was rare in nominal derivation.  The alternative suggestion was δισκ- (disk-) was a variant of δικεῖν (dikeîn) (of pre-Greek origin) rather than a direct formation.  Dogdish is a noun; the noun plural is dogdishes.

The dogdish hubcap

Dogdishes (also as dog dish or dog-dish and there’s even a faction which calls them “pie pans”, the collective being “poverty caps”) are a basic, unadorned style of hubcap used with steel wheels (“steelies” to the tappet-heads).  Although some steel wheels could be stylish (notably those offered by the US manufacturers in the 1960s & 1970s and those used on the later Jaguar E-Types (XKE) and some Daimler & Jaguar XJs, in passenger vehicles, lighter aluminium wheels have in recent decades become the standard fitting for all but the cheapest models in a range.  However, the steel wheel possesses a number of virtues as well as being cheaper than aluminium units, notably their resistance to impact injuries and ease of repair, the latter the reason they’re still the choice for many police vehicles and rental fleets.  The steel wheel is inherently heavier so not the ideal choice for high performance use but the strength is attractive for off-road users who appreciate being able to effect repairs in remote places with little more equipment than a hammer.

1929 Mercedes-Benz 460 Nürburg (W08, 1928-1933); a Nürburg was the first "Popemobile" (sopplied by the factory to Pius XI (1857–1939; pope 1922-1939) and the official car of Eugenio Pacelli (1876-1958, the future Pope Pius XII (1939-1958)) while Apostolic Nuncio to Germany (1920–1930).  The wheels were fashioned in timber and the hubcaps were of stainless steel.  Wooden wheels were by 1929 already archaic although some were still being produced as late as 1939.  Typically, hickory was favored because of its strength, flexibility and shock resistance which made it able to cope with the stresses imposed by the often rough roads of the era.

1957 Cadillac Eldorado Brougham.  During the 1930s, for various reasons (dirt protection, aerodynamics and, increasingly, aesthetics), hubcaps grew to become "wheel covers" and in the hands of US stylists in the 1950s they became an integral component of the whole design, used for product differentiation and the establishment of a model's place in the hierarchy.  Compared with the excesses which would be seen in the 1960s & 1970s, those on the 1957 Cadillac Eldorado Brougham were almost restrained.      

The origin of the hubcap was, fairly obviously, “a cap for hub”, something which dates from the age of horse-drawn carts.  Although they would later become something decorative, hubcaps began as a purely function fitting designed to ensure the hub mechanism was protected from dirt and moisture because removing a wheel when the hub was caked in mud with bolts “rusted on” could be a challenge.  In the twentieth century the practice was carried over to the automobile, initially without much change but as wheels evolved from the wooden-spoked to solid steel (and even in the 1920s some experimented with aluminium), the hubcaps became larger because the securing bolts were more widely spaced.  This meant they became a place to advertise so manufacturers added their name and before long, especially in the US, the humble hubcap evolved into the “wheel-cover”, enveloping the whole circle and they became a styling feature, designs ranging from the elegant to the garishly ornate and some were expensive: in 1984 a set of replacement “wire” wheel covers for a second generation Cadillac Seville (the so-called “bustle-back”, 1980-1985) listed at US$995.00 if ordered as a Cadillac part-number and then that was a lot of money.

1969 COPO Chevrolet Camaro ZL1.  Only 69 units in this configuration were built for not only was the all-aluminium ZL1 a highly-strung engine not suited to street use, it added US$4160.15 to a V8 Camaro's base price of US$2727.00 restricting demand to those who really did want to run on drag strips.  The basic interior fittings and dogdish hubcaps saved buyers a few dollars. 

But the dogdishes persisted because police forces and other fleet operators ordered cars with them in large volumes and many thrifty private buyers opted for them too.  As the cult they are today however, the origin lies in their appearance on muscle cars during the 1960s.  Sometimes their inclusion was as a cost-cutting measure (such as the 1968 Plymouth Road Runner) or because the vehicle was being produced for competition (such as the Chevrolet Camaros fitted with 427 cubic inch (7.0 litre) engines via General Motors’ (GM) COPO (Central Office Production Order) scheme used usually for volume runs of things like vans for utility companies or police interceptors with the high-performance but not the "dress-up" options).  The apparent anomaly of the high-performance Cameros running the dogdishes (then sometimes referred to as “poverty caps”) was that the buyer would anyway be fitting their own wheel/tyre combination so the vehicle was supplied ex-factory with the cheapest option.  The photographic record suggests that in truth, when new, relatively few muscle cars prowled the street with dogdishes still attached, something more stylish usually fitted at some point during ownership but they’ve become so emblematic of the era that reproductions are now available for those undertaking restorations or creating their own clone (tribute/faux/fake/replica etc); authenticity can be emulated.

Dogdish owner: Lindsay Lohan leaving a Lincoln Town Car with Chloe the Maltese (which lived to the reasonable age of 15), May 2008, New York City.  He first dog, also a Maltese, she called Gucci, the name explained by the puppy arriving simultaneously with her “first pair of Gucci boots”.  The dog promptly chewed up the boots.

Usually, in the collector market, what commands the highest price is a vehicle which left the factory fitted with the most options, the “fully-optioned” machine the most desirable (although the odd extra-cost item like an automatic transmission or a vinyl roof can detract), the dogdishes don’t deter buyers, most of who would probably admit the various styled steel wheels of the era were better looking.  In August 2024, the most highly optioned 1969 Dodge Daytona in the most desirable mechanical configuration (the 426 cubic inch (7.0 litre) Street Hemi V8 & four-speed manual transmission combination) achieved US$3.36 million at Mecum’s auction at Monterey, California.  The price was impressive but what attracted the interest of the amateur sociologists was the same Daytona in May 2022 sold for US$1.3 million when offered by Mecum at their auction held at the Indiana State Fairgrounds.  The US$1.3 million was at the time the highest price then paid for a Hemi Daytona (of the 503 Daytonas built, only 70 were fitted with the Hemi and of those, only 22 had the four-speed manual) and the increase in value by some 250% was obviously the result of something other than the inflation rate.

The US$3.36 million 1969 Dodge Daytona.  When new, the Daytona (and the more numerous companion "winged warrior" Plymouth Superbird) was sometimes difficult for dealers to sell, the wild body modifications not appealing to all.  Consequently, so resorted to returning them to the same visual appearance as standard Dodge Chargers.  Now, the process is reversed and a number of Chargers have been transformed into "clone" Daytonas.   

The consensus was that although the internet had made just about all markets inherently global, local factors can still influence both the buyer profile and their behaviour, especially in the hothouse environment of a live auction.  Those who frequent California’s central coast between Los Angeles and San Francisco include a demographic not typically found in the mid-west and among other distinguishing characteristics there are more rich folk, able to spend US$3.36 million on a half-century old car they’ll probably never drive.  That’s how the collector market now works.

1971 Plymouth Hemi 'Cuda: US$410,000 in 1999; US$3.36 million in 2014, the appreciation due to (1) the supply & demand curve and (2) the largess of the US Federal Reserve.  For those wanting "the look", reproduction stainless steel dogdishes are available for US$258.00 (set of four). 

Despite the result, the green Daytona’s result wasn’t even the highest price a Chrysler product had achieved at auction, that mark set in Seattle in 2014 when one of the five four-speed manual 1971 Plymouth Hemi ‘Cuda convertibles (there were another seven automatics) sold US$3.78 million.  While the outcome of such a rarity was not indicative of broader market trends (although there have been stellar performances for classic Mercedes-Benz and pre-1973 Ferraris), it did illustrate the effect of the increase in the global money supply in the wake of the GFC (Global Financial Crisis, 2008-2012) when central banks essentially not only “replaced” much of money the rich had lost gambling but gave them a healthy bonus as well.  The Hemi ‘Cuda in December 1999 had (albeit in its original, un-restored state sold at auction for US$410,000 so the successful US$3.36 million bid 14 years on was an increase of more than 800%, the sort of RoI (return on investment) which would once have impressed even Richard "Dick" Fuld (b 1946), chairman & CEO of Lehman Brothers (1850-2008).  Time however will tell if the money spent in 2014 was a good investment because when another four-speed 1971 Hemi ‘Cuda convertible was offered for auction in 2021, despite predictions it would go for as much as US$6.5 million, it was passed-in at US$4.8 million without reaching the reserve.  The car was fitted with Chrysler’s “Rallye” wheels rather than the steelie/dogdish combo but this was not thought to be of any significance.

Mecum Auctions catalogue image of 1971 four-speed Plymouth Hemi 'Cuda convertible with 15" Rallye wheels.  Passed in on a high-bid of US$4.8 million, it'll be interesting to see if, when next offered, steelies & dogdishes are fitted.

Frisbee

Frisbee (pronounced friz-bee)

(1) A brand of plastic concave disk, used for various games by sailing it through the air, thrown by making it spin as it's released with a flick of the wrist.

(2) By extension & genericization (without an initial capital), a disk-shaped gliding toy of any brand.

(3) The sport or pass-time involving flying disks.

1957: The brand name Frisbee was trademarked in 1959 and later acquired by Wham-O.  Frisbee was an alteration of Frisbie, the name applied to the disk game by students who tossed the pie plates which came with the “Mrs Frisbie’s Pies” from the Frisbie Pie Company which operated from the Frisbie Bakery in Bridgeport, Connecticut.  Frisbie supplied pies to Yale University and it was at Middlebury College in Vermont during the 1930s a campus craze started for tossing empty pie tins stamped with the company's logo, the aeronautical qualities apparently uniquely good (students at both Yale and Princeton claiming to have discovered the aerodynamic properties).  The spelling of the name was changed on legal advice and frisbee is a genericization of the trademark.  Frisbee is a noun & verb and frisbeeing & frisbeed are verbs; the noun plural is frisbees.  The adjectives frisbesque & frisbeeish are both non standard.

Lindsay Lohan carrying her frisbee in its protective case.

The family name Frisbie exists in English records from 1226, from a place name in Leicestershire (Frisby on the Wreak), attested from 1086, from the toponym attested 1086 in Frisby on the Wreak, Leicestershire, from the Old Danish Frisby (Frisian village; farmstead or village of the Frisians), from the Old Norse Frisa, genitive plural of Frisr.  Not unusually for the age, there were two hamlets in county Leicestershire called Frisby but genealogists seem certain the origin of the family name is associated with Frisby on the Wreak.  In the parish records of 1239 there is a priest named de Frysby who was vicar of the church at Welham, a village about 13 miles (21 km) south-east of the city of Leicester, England and he may be the same Roger de Frysbey who in 1246 was curate of the church at Barkestone, ten miles (16 km) north of Melson Mowbray.  As a geographical name, the now lost Frisbys were two of many in the British Isles which derived their names from the Old Norman frisir (someone from the area of Frisia or Friesland).  The names were illustrative of the vast movement of people from Europe after the Norman Conquest of England in 1066.  A multitude of spelling variations characterize Norman surnames, many because the Old and Middle English lacked definite spelling rules and in an age of limited mobility, regional evolutions were common and gave rise to many dialectical forms (the introduction of Norman French to England also had an effect, as did the court languages of Latin and French).  It was not unknown for one person’s name to be spelled several ways during their single lifetime and Frisbie was just one of many including Frisbie, Frisby, Frisbee, Frisebie, Frisebye & Friseby.  The Frisbie motto was Semper fidelis (Always faithful).

At much the same time students in the north-east US were tossing Mrs Frisbie’s pie tins to each other, a young couple were enjoying similar fun with a popcorn can lid but, unlike the students, they had an entrepreneurial streak and began selling the cardboard bases sold to cake makers for five times the cost, changing only the labeling.  World War II (1939-1945) interrupted business between 1942-1945 but, once hostilities ceased, the designer applied to the re-purposed disk some lessons learned from service with the US Army Air Force (USAAF), improving the aerodynamic properties.  The zeitgeist of the late 1940s was also influential.  In June 1947, a commercial pilot claimed to have seen nine "flying discs" zipping across Washington state at a speed he estimated at 1,200 mph (1931 km/h) and, without waiting for verification, the Associated Press (AP) wire service distributed the story.  The Hearst press ran the piece with a "flying saucers" headline and that phrase went viral about as quickly as things now spread on social media.  Saucer-mania had begun and soon there were hundreds of reported sightings, a trend which continued, spiking in response to events such as the launch of the USSR’s Sputnik satellite in 1957.  Taking advantage, the prototype Frisbee, by then mass-produced in plastic, was renamed from Whirlo-Way to Flyin' Saucer.

Effie Krokos, this time in black jacket.

In 2019, Effie Krokos (b 1999) and her fiancé were in the front yard of his house in Loveland (a wonderful name), 40 miles (64 km) north of Denver, enjoying some frisbee tossing.  Because it was a hot day, she removed her shirt and continued to play while topless.  Several hours later, a Loveland police officer (the mind boggles) arrived and issued an indecent-exposure citation, invoking a city ordinance prohibiting exposure in public places or places open to public view.  Ms Krokos told the officer of a recent circuit court ruling against the public nudity ordinance in the neighboring city of Fort Collins but the officer maintained the ruling didn’t apply in Loveland.

Loveland Police cruiser.

Denver civil rights attorney David Lane (b 1954) agreed to take the case as part of the #FreetheNipple movement, explaining the Circuit Court of Appeals had ruled in February 2019 that Fort Collins’ public nudity ordinance, which had no restrictions on male toplessness but prohibited women from baring their breasts, was in violation of the Equal Protection Clause of the 14th Amendment.  Free the Nipple v City of Fort Collins (17-1103 (10th Cir. 2019)) established that ordinances based on gender are unconstitutional.  “Anywhere it’s legal for a man to appear in public topless, it’s legal for a woman to do the same” Lane said.  Loveland accepted the offer of a US$50,000 settlement in Krokos’ case in to prevent a federal lawsuit.  The case was dismissed with prejudice (meaning that it cannot be reintroduced in another lawsuit) and the city suspended enforcement of the provision, pending a review.  Ms Krokos said she wants to show that "it isn’t fair for women to be treated differently than men by law enforcement" and hopes that the case will make more women aware of their rights.

Boston University's women’s "Ultimate Frisbee" team (the Lady Pilots), ran an "I Need Feminism Because..." campaign.  The campaign was an effort to draw attention to the need for gender equity, apparently prompted by crooked Hillary Clinton's (b 1947; US secretary of state 2009-2013) loss in that year’s presidential election to a man whose reported comments about women would have ended the political career of anyone else.  Each of the players wrote their own message on the underside of a frisbee.

By the mid 1950s, the design had been refined to the form which exists to this day and had the changes were judged sufficiently innovative to be granted a US Design Patent; this was the product released as the Pluto Platter and the final evolution of the name came in 1957 when the named Frisbee was applied.  Remarkably, it had taken until then for the knowledge of the casual student game of the 1930s to become known to the manufacturers after an article appeared in a newspaper which revealed students were calling the Pluto Platter the Frisbie.  It was clearing a catchier name and it caught on, persuading the manufacturers to change the name to Frisbee, the change in spelling on legal advice, lest the pie makers object though that would soon become moot, the Frisbie Pie Company ceasing operations in 1958, something apparently unrelated to flying disks and attributed to the sharp US recession of that year.

Paige Pierce about to execute a backhand drive.

Because Frisbee is a registered trademark, the name isn’t use in formal competition.  The World Flying Disc Federation (WFDF) applied for consideration by the Olympic Organizing Committee to be included in the Olympic Programme of the 2028 Summer Olympic Games in Los Angeles but didn’t make the short list which was restricted to baseball & softball, break dancing, cricket, flag football, karate, kickboxing, lacrosse, motorsport, and squash.  WFDF expressed disappointment, noting that “Flying Disc sports is actively practiced on a competitive level in 103 countries in the world and appeared to satisfy all of the objective criteria agreed between the IOC and LA28. These criteria included not adding cost and complexity to the games by utilizing full venue sharing on the beach or grass stadium, having total gender equality with our gender-balanced mixed format, having youth appeal, and ensuring that the top athletes were involved. There are few other sports that can boast an equivalent Californian DNA as frisbee and we felt our Ultimate 4s format requiring a total athletes’ quota of only 48 would fit well given the overall cap on the Games. We are also strongly convinced that our sport is unique in upholding integrity and fairness with our self-refereeing concept of Spirit of the Game.”  The WFDF have indicated they’ll make representations to be included in the 2032 Olympic Games in Brisbane, Australia.  The game is certainly growing and a tiny elite are already finding Flying Disk a lucrative pursuit, the top athletes attracting sponsorship deals from disk manufacturers.  Paul Mcbeth’s (b 1990) contract is worth a reported US$10 million over five years while the highest paid woman is Paige Pierce (b 1991), earning US$3 million over three years.  Both are under contract to Discraft.

Quadraphonic

Quadraphonic (pronounced kwod-ruh-fon-ik)

(1) Of, noting, or pertaining to the recording and reproduction of sound over four separate transmission or direct reproduction channels instead of the customary two of the stereo system.

(2) A quadraphonic recording.

(3) A class of enhanced stereophonic music equipment developed in the 1960s.

1969: An irregular formation of quadra, a variant (like quadru) from the older Latin form quadri- (four) + phonic from the Ancient Greek phonē (sound, voice).  All the Latin forms were related quattor (four) from the primitive Indo-European kwetwer (four).  Phonē was from the primitive Indo-European bha (to speak, tell, say) which was the source also of the Latin fari (to speak) and fama (talk, report).  Phonic, as an adjective in the sense of “pertaining to sound; acoustics" was used in English as early as 1793.  Quadraphonic is a noun and adjective.

Those for whom linguistic hygiene is a thing approved not at all of quadraphonic because it was a hybrid built from Latin and Greek.  They preferred either the generic surround sound which emerged later or the pure Latin lineage of quadrasonic (sonic from sonō (make a noise, sound)) which appeared as early as 1970 although it seems to have been invented as a marketing term rather than by disgruntled pedants.  Quadraphonic, quadrasonic and surround sound all refer to essentially the same thing: the reproduction of front-to-back sound distribution in addition to side-to-side stereo.  In live performances, this had been done for centuries and four-channel recording, though not mainstream, was by the 1950s, not uncommon.

Surround sound

Quadraphonic was an early attempt to mass-market surround sound.  It used four sound channels with four physical speakers intended to be positioned at the four corners of the listening space and each channel could reproduce a signal, in whole or in part, independent of the others.  It was briefly popular with manufacturers during the early 1970s, many of which attempted to position it as the successor to stereo as the default standard but consumers were never convinced and quadraphonic was a commercial failure, both because of technical issues and the multitude of implementations and incompatibilities between systems; many manufacturers built equipment to their own specifications and no standard was defined, a mistake not repeated a generation later with the CD (compact disc).  Nor was quadraphonic a bolt-on to existing equipment; it required new, more expensive hardware.

Quadraphonic audio reproduction from vinyl was patchy and manufacturers used different systems to work around the problems but few were successful and the physical wear of vinyl tended always to diminish the quality.  Tape systems also existed, capable of playing four or eight discrete channels and released in reel-to-reel and 8-track cartridge formats, the former more robust but never suited to the needs of mass-market consumers.  The rise of home theatre products in the late 1990s resurrected interest in multi-channel audio, now called “surround sound” and most often implemented in the six speaker 5.1 standard.  Modern electronics and the elimination of vinyl and tape as storage media allowed engineers to solve the problems which beset quadraphonic but there remain audiophiles who insist, under perfect conditions, quadraphonic remains the superior form of audio transmission for the human ear.

Highway Hi-Fi record player in 1956 Dodge.

First commercially available in 1965, the eight-track cartridge format (which would later become the evil henchman of quadraphonic) convinced manufacturers it was the next big thing and they rushed to mass-production and one genuine reason for the appeal was that the 8-track cartridge was the first device which was practical for use as in-car entertainment.  During the 1950s, the US car industry had offered the option of record players, neatly integrated into the dashboard and in the relatively compact space of a vehicle's interior, the sound quality could be surprisingly high.  Although not obviously designed with acoustic properties optimized for music, the combination of parallel flat surfaces, a low ceiling and much soft, sound absorbing material did much to compensate for the small size and range offered by the speakers.  However, although they worked well when sitting still in showroom or in certain vehicles, on the road things could be different.  The records (the same size as the classic 7 inch (180 mm) 45 rpm "singles") played by means of a stylus (usually called "the needle") which physically traced the grooves etched into the plastic disks rotating at 16.66 rpm which, combined with an etching technique called "ultra micro-grooving" meant the some 45 minutes of music were available, a considerable advance on the 4-5 minutes of the standard single.  The pressings were also thicker than other records, better to resist the high temperatures caused by heat-soak from the engine and the environment although, in places like Arizona, warping was soon reported.  To keep the stylus in the track, the units were fitted with a shock-absorbing, spring enclosure and a counterweighted needle arm.  Improbably, in testing, the system performed faultlessly even under the most adverse road conditions so the designers presented the product for corporate approval.  At that point there was a delay because the designers worked for the Colombia Broadcasting Corporation (CBS) which had affiliations with thousands of radio stations all over the country and no wish to cannibalize their own markets; if people could play records in their cars, the huge income stream CBS gained from advertising would be threatened as drivers tuned out.  The proposal was rejected.

Highway Hi-Fi record player in 1956 Plymouth.

Discouraged but not deterred, the engineers went to Detroit and demonstrated the players to Chrysler which had their test-drivers subject the test vehicles to pot-holes, railway tracks and rolling undulations.  The players again performed faultlessly and Chrysler, always looking for some novelty, placed an order for 18,000, a lucrative lure which convinced even CBS to authorize production, their enthusiasm made all the greater by the proprietary format of the disks which meant CBS would be the exclusive source.  So, late in 1956, Chrysler announced the option of "Highway Hi-Fi", a factory-installed record player mounted under the car's dashboard at a cost of (US$200 (some US$1750 in 2023 terms)).  Highway Hi-Fi came with six disks, the content of which reflected the reactionary tastes of CBS executives and their desire to ensure people still got their popular music from radio stations but the market response was positive, Chrysler selling almost 4000 of the things in their first year, the early adopters adopting with their usual alacrity.

The second generation of players used standard 45 rpm singles: Austin A55 Farina (left) and Beatle (lead guitarist) George Harrison's (1943–2001) Jaguar E-Type (right).  These two users presumably listened to different music although the player hardware was the same.  All four Beetles had the players fitted in their cars and Harrison is pictured here stocking his 14-disk stack. 

At that point, problems surfaced.  Tested exclusively in softly-sprung, luxury cars on CBS's and Chrysler's executive fleets, the Highway Hi-Fi had to some extent been isolated from the vicissitudes of the road but when fitted to cheaper models with nothing like the same degree of isolation, the styluses indeed jumped around and complaints flowed, something not helped by dealers and mechanics not being trained in their maintenance; even to audio shops the unique mechanism was a mystery.  Word spread, sales collapsed and quietly the the option was withdrawn in 1957.  The idea however didn't die and by the early 1960s, others had entered the field and solved most of the problems, disks now upside-down which made maintaining contact simpler and now standard 45 rpm records could be used, meaning unlimited content and the inherent limitation of the 4 minute playing time was overcome with the use of a 14-disk stacker, anticipating the approach taken with CDs three decades later.  Chrysler tried again by the market was now wary and the option was again soon dropped.

1966 Ford Mustang with factory-fitted 8-track player.

Clearly though, there was demand for in-car entertainment, the content of which was not dictated by radio station programme directors and for many there were the additional attractions of not having to endure listening either to advertising or DJs, as inane then as now.  It was obvious to all tape offered possibilities but although magnetic tape recorders had appeared as early as 1930s, they were bulky, fragile complicated and expensive, all factors which mitigated against their use as a consumer product fitted to a car.  Attention was thus devoted to reducing size and complexity so the tape could be installed in a removable cartridge and by 1963, a consortium including, inter alia, Lear, RCA, Ford & Ampex had perfected 8-track tape which was small, simple, durable and able to store over an hour of music.  Indeed, so good was the standard of reproduction that to take advantage of it, it had to be connected to high quality speakers with wiring just as good, something which limited the initial adoption to manufacturers such as Rolls-Royce and Cadillac or the more expensive ranges of others although Ford's supporting gesture late in 1965 of offering the option on all models was soon emulated.  Economies of scale soon worked its usual wonders and the 8-track player became an industry standard, available even in cheaper models and as an after-market accessory, some speculating the format might replace LP records in the home.

Lindsay Lohan's A Little More Personal (Raw) as it would have appeared if released in the 8-Track format.

That never happened although the home units were widely available and by the late 1960s, the 8-track was a big seller for all purposes where portability was needed.  It maintained this position until the early 1970s when, with remarkable suddenness, it was supplanted the the cassette, a design dating from 1962 which had been smaller and cheaper but also inferior in sound delivery and without the broad content offered by the 8-track supply system.  That all changed by 1970 and from that point the 8-track was in decline, reduced to a niche by late in the decade, the CD in the 1980s the final nail in the coffin although it did for a while retain an allure, Jensen specifying an expensive Lear 8-track for the Interceptor SP in 1971, despite consumer reports at the time confirming cassettes were now a better choice.  The market preferring the cheaper and conveniently smaller cassette tapes meant warehouses were soon full of 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.

1976 Holden HX LE

Thus created was the high-priced, limited edition LE (not badged as a Monaro although all seem still to use the name), in metallic crimson with gold pin striping, fake (plastic) aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based.  These days, examples are advertised for sale for (Aus$) six-figure sums.  Those who now buy a LE do so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control devices bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take an elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.