Eschew

Eschew (pronounced es-choo)

To abstain or keep away from; to refuse to use or participate in; stand aloof from; shun; avoid.

1300–1350: From the Middle English eschewen from the Old French eschiver & eschever (shun, eschew, avoid, dispense with (which in the third-person present was eschiu), from the Frankish skiuhan (to dread, shun, avoid), from the Proto-Germanic skeukhwaz (source also of the Old High German sciuhen (to avoid, escape) and the German scheuen (to fear, shun, shrink from), from scheu (shy, timid).  In German the evolution produced the Old High German sciuhen & skiuhan (to frighten away) and the German scheuchen (shoo, shoo away, drive away).  The Italian schivare (to avoid, shun, protect from) from schivo (shy, bashful) are both related loan words from the Germanic.  Eschew, eschewed & eschewing are verbs and eschewal & eschewance are nouns; the most common noun plural is eschewals.

Orson Wells (1915-1985) as Sir John Falstaff, Chimes of Midnight (1965).

The convention of use has evolved to suggest the verb eschew should not be applied to the avoidance or shunning of a person or specific physical object but only to the ideas, concepts, or other intangibles and William Shakespeare (1564–1616), in Sir John Falstaff and the Merry Wives of Windsor (1602), though the concept a binary: “What cannot be eschew'd must be embrac'd”.  Avoid is the most often used synonym, similar but not quite in the same sense are “circumvent”, “boycott” and “forgo”.  Eschew is a verb, the nouns are eschewment, eschewal & eschewer.

Lindsay Lohan eschewing some underwear and the fastening of a couple of buttons, Los Angeles, 2010.

The surviving dialectical variation is the Scots umbechew (umschew & umchew now extinct), the construct being umbe- +‎ eschew.  As a transitive, it meant “to avoid; shun” and as an intransitive “to get away; escape”.  The prefix umbe- is from the Middle English um-, umbe- & embe-, from Old English ymb- & ymbe- (around), from the Proto-Germanic umbi- (around, about, by, near), from the primitive Indo-European hzmbhi (round about, around).  It was cognate with the Dutch om- (around), the German um- (around), the Latin amb- (around, about), the Latin ambi- (both), the Ancient Greek ἀμφί (amphí) (around, about), the Sanskrit अभि (abhi) (against, about).  The prefix (meaning around; about) is no longer productive, obsolete outside mostly Scots dialects.

Chivalry

Chivalry (pronounced shiv-uhl-ree)

(1) The sum of the ideal qualifications of a knight, including courtesy, generosity, valor, and dexterity in arms; the combination of qualities expected of an ideal knight, especially courage, honour, justice and a readiness to help the weak.

(2) The rules and customs of medieval knighthood; Courtesy, respect and honourable conduct between opponents in wartime (often as a historical re-construction).

(3) The medieval system or institution of knighthood.

(4) Cavalry; horsemen armed for battle (historic use only).

(5) Collectively, knights, gallant warriors or gentlemen, fair ladies and noble chivalry (archaic).

(6) The ethical code(s) of the knight prevalent in Medieval Europe, having such primary virtues as mercy towards the poor and oppressed, humility, honour, sacrifice, fear of God, faithfulness, courage and courtesy to ladies.

(7) Courteous behaviour, especially of men towards women.

(8) In historic English law, a tenure of land granted by virtue of knightly service.

Circa 1300: From the Middle English chivalrie and the eleventh century Old French chevalerie (knighthood, chivalry, nobility, cavalry).  The early form was chevaler (knight) from the Medieval Latin caballarius (horseman), from the Latin caballus (nag, pack-horse).  The Medieval Latin caballaria (knighthood, status or fief of a knight) was the most familiar form by the twelfth century, the term chevaler long in use to describe "a knight or horseman".  The meaning (related to cavalier) "the nobility as one of the estates of the realm", dates from the fourteenth century whereas the more modern use "social and moral code of medieval feudalism" appears to be an eighteenth century historical revival.  Chivalry is a noun and chivalrous is an adjective; the noun plural is chivalries.

The Song of Roland

In Medieval Europe, there never was one universal code of chivalry.  The code was a moral construct which several authorities reduced to writing and, despite this disparate history, the concept was well understood in medieval times.  Although only parts of the codes were concerned with warfare, the texts formed the basis of the early rules of war and from here, can be traced the origins of much international law.  The epic-length poem The Song of Roland (written between 1098-1100) is a recount of the eighth century "Knights of the Dark Ages" and the wars fought by Charlemagne; it's essentially Charlemagne's Code of Chivalry but it is a literary work, a tale of betrayal and a normative text of what ought to be rather than a historical document of chivalrous warfare.  In summary, Charlemagne’s code can be reduced to:

To fear God and maintain His Church
To serve the liege lord in valor and faith
To protect the weak and defenseless
To give succor to widows and orphans
To refrain from the wanton giving of offence
To live by honour and for glory
To despise pecuniary reward
To fight for the welfare of all
To obey those placed in authority
To guard the honour of fellow knights
To eschew unfairness, meanness and deceit
To keep faith
At all times to speak the truth
To persevere to the end in any enterprise begun
To respect the honour of women
Never to refuse a challenge from an equal
Never to turn the back upon a foe

The Duke of Burgundy’s Code

In the fourteenth century, the Duke of Burgundy reduced Charlemagne’s code to a list (printed on pigskin), which knights could carry in their Bibles: Faith, Charity, Justice, Sagacity, Prudence, Temperance, Resolution, Truth, Liberality, Diligence, Hope & Valor.  One can credit the Duke of Burgundy with the invention of the credo card.

The High Court of Chivalry

Lindsay Lohan usurping the escutcheon of the Secret Society of the Les Clefs d’Or (digitally altered image).

In London, in December 1954, the High Court of Chivalry was summoned for the first time in two centuries to hear the case of a city council claiming their coat of arms had been usurped by a private company displaying it on their theatre.  Before substantive matters were introduced, the judge had to rule whether the ancient court still existed and if so, if it was the appropriate body to hear the case.  The judge found the court extant and with valid jurisdiction, his reasons a succinct sketch of the UK’s unwritten constitution in operation and a tale of how law and language interacted over several centuries.  The important principle established was to confirm, even in the modern era, there existed an enforceable law of arms and the law takes as much notice of bad heraldic manners as it does of more violent discourtesies, the judge disapproving of the “prevalent” notion that something cannot be unethical if it’s lawful.  That theme has of late been noted by royal commissioners though perhaps not politicians; in the judgement, the temptation to comment on whether chivalry was dead was resisted.

In Manchester Corporation v Manchester Palace of Varieties Ltd [1955] 1 All ER 387, the Manchester Corporation was successful and the court has not since sat but in 2012,  the council of the Welsh town of Aberystwyth issued a statement that they were prepared to lodge a writ against a Facebook page they alleged was usurping its coat of arms.  Before the council made clear whether they were intending to sue facebook.com or the author(s) of the page, the offending image had been removed.  As one of the findings in 1955 had been the High Court of Chivalry could be abolished only by an act of parliament, because New Labour’s judicial reforms didn’t do this, it appears the court would have to be convened in some form to hear similar matters although it's thought the marvellously flexible British constitution would allow a judge at an appropriate level to declare that their court was "sitting as the Court of Chivalry for the purposes of this case".  Given that constitutional flexibility, it's not impossible it may have crossed the minds of either Boris Johnson (b 1964; UK prime-minister 2019-2022) or Liz Truss (b 1975; UK prime-minister Sep-Oct 2022) that a re-constituted Court of Star Chamber might be a way quickly to solve "a few local difficulties". 

Ombre

Ombre (pronounced om-brey)

(1) A gradual blending of one color to another, often a blended shifting of tints and shades from light to dark within the range of one hue but it can also be applied when using contrasting colors.

(2) A card game of Spanish origin, dating from the late seventeenth century; played usually by three, it uses a deck of forty cards, the 8, 9 & 10 discarded and gained the name from the phrase “Soy el hombre” (I am the man), uttered at critical points during play.  As a fashionable game, it was superseded by quadrille.

(4) A large Mediterranean fish (Umbrina cirrosa), popular in cooking (archaic and better known as the shi drum, gurbell, sea crow, bearded umbrine or corb).

1840–1845: From the French ombré (shadowed, shaded), past participle of ombrer, from the Italian ombrare (to cover in shadow (in painting)), ultimately from the Latin umbra (shadow).  The name of the card game (as a reference to the player who attempts to win the pot) was from the French hombre, from the Spanish hombre (man), from the Latin homo, from the earlier hemō, from the Proto-Italic hemō, from the primitive Indo-European ǵm̥mṓ (earthling), from déǵōm (earth), from which Latin gained Latin humus (ground, floor, earth, soil).  It was cognate with the Old Lithuanian žmuõ (man), the Gothic guma and the Old English guma (man).  The link between the words for both earth and man wasn't unique to Latin and existed also in Semitic languages, illustrated by the Hebrew אָדָם‎ (adám) (man) & אֲדָמָה‎ (adamá) (soil).  Ombre is a noun & adjective (and conceivably a verb); the noun plural is ombres.

Ombre chiffon strapless bridesmaid dress from Dollygown (left) and Mansory’s Ferrari F8XX Spider Tempesta Turchese (right).  There seems no clear agreement about when a "bridesmaid dress" becomes a "bridesmaid gown" and most retailers avoid the latter term, presumably to avoid compressing relativities between "bridal gowns" and what the bridesmaids wear.

Mansory is a German operation based in Tirschenreuth, Bavaria, the core business of which is the modification of high-priced (mostly European) cars.  Their signature approach is the celebration of conspicuous consumption and they eschew subtlety in favor of an eye-catching appearance, a focus being “one-off” (the “one of one philosophy” as they describe it) creations where a particular combination of colors and modifications are not duplicated on another vehicle.  So, while not exactly bespoke (as the word traditionally was understood), their products are about the closest thing possible to actually displaying a price-tag somewhere on the bodywork;  high sales are said to have been achieved in Russia, China, the Middle East and India.  Mansory's work with specific components (notably carbon-fibre) is renowned in the industry as state-of-the-art and of the highest standard.  One recent one-off creation was the F8XX Spider Tempesta Turchese (Turquoise Storm), a variation of their modified Ferrari F8 Spider on which the ombre color scheme transitioned gradually from a specially blended white to a vivid turquoise, accented by Mansory’s traditional set of carbon-fibre pieces in black.  The company also modifies the 3.9 liter (238 cubic inch) twin-turbocharged V8, its output increased by some 22% to 868 bhp (648 kW) which propels the Tempesta Turchese to a top speed of 220 mph (355 km/h).

Lindsay Lohan in vintage Herve Leger bandage dress, Maxim Hot 100 Party, Gansevoort Hotel, New York City, May 2007 (left) and 1976 PDL Ford Mustang II, Baskerville Raceway, Tasmania, Australia, 1977 (right).

Incorrectly, ombre sometimes is used to describe color arrays or schemes where a variety of distinct shades are applied with a clear line of division between each and this is wrong because the ombre effect is one in which there's a gradual blending of one hue into another.  Where the multi-color (which can be just two) layers are distinct and differentiated, designers use the generic term “color block” to refer to the use of solid blocks of contrasting or complementary shades.  A special case is the “rainbow stripe”, applied to an array which recalls the pattern (not necessarily the curved shape) of a rainbow but this need not follow the classic ROYGBIV (the sequence of the visible spectrum: red, orange, yellow, green, blue, indigo & violet) model.  Indeed, an array of colors which in nature would never be seen in a rainbow can still be called “rainbow stripe”, based on the pattern. So, Ms Lohan's bandage dress is in rainbow stripe while the PDL Mustang II's is in a color block scheme.

Brochure for 1975 Ford Mustang II Ghia, the pitch summed up in the phrase “Economy is emphasized”; note the model's veavage dress.  Although the V8 had returned to the option list, the advertising continued to focus on “prestige” and “luxury” with the the new engine mentioned only in passing although Ford had good reason not to make too much of a fuss because to describe the much de-tuned V8 as “spirited” really was damning with faint praise in that it was justified only because the four and six-cylinder alternatives were more anaemic still.  For many reasons, it was a troubled decade which “started well, got worse and ended badly” and in the era, ombre color schemes could be a challenge because there were so many shades of brown. 

1974 Ford Mustang II.

Although of the seven generations it's the least fondly remembered, commercially, the Mustang II (1973-1978) was a great success.  Smaller and lighter than what its predecessor had evolved to become, serendipitously, it had been released just weeks before the first oil shock began on 17 October, 1973.  It's sometimes forgotten the shift in the US to also produce smaller cars pre-dated the oil crisis of the 1970s and was a reaction to changing public tastes and success of imported cars, most notably those from Japan.  Upon debut, the Mustang II surprised some (and appalled others) because a V8 engine wasn't even on the option list (and wouldn't re-appear until the 1975 season although what was offered was a far cry from the potent units which had been fitted not half-a-decade earlier) but it was the right car at the right time and a great success although it's the only Mustang not to have some sort of following in the collector market.  That said, the car's front sub-frame proved most attractive to builders wanting a quick way to splice in the combination of IFS (independent front suspension), disk brakes, a V8 engine and rack & pinion steering which meant at least part of the Mustang II didn't last long in wreckers yards.  Being cannibalized for a higher purpose isn't the most desirable fate but it was a contribution to the ecosystem the original incarnation never achieved.

1970 PDL Mustang.

“Electric Blue and 180 mph” (290 km/h) was a good hook for a company in the business of producing electrical components but the livery was adopted only in 1975, the car in the previous four seasons having been variously white, orange, green and a fetching fuchsia.  Although by 1975 New Zealand’s transition from imperial to metric measures was almost complete (phased in, 1969-1976), Electric Blue and 290 km/h wouldn’t have had the same cachet.

Since 2001 owned by Schneider Electric, Plastic & Die Casting Ltd was founded in 1937 in Christchurch, New Zealand and in 1957 was re-branded with the snappier name PDL Industries Ltd.  The core business was the company’s highly-regarded electric switches and fittings but beyond the industry what generated most “brand-awareness” were the two PDL Mustangs used in racing.  The first was a genuine 1970 Mustang Boss 429 (one of 499 built that year with the special 429 cubic inch (7.0 litre) V8) which had been stolen and recovered without its valuable engine and transmission.  Purchased for what was in retrospect the bargain price of US$500, it was a good basis for a circuit racer because Kar Kraft (the specialist operation to which Ford had out-sourced the Boss 429 installation programme (1969-1970) was compelled to widen the front track to accommodate the width (the “semi-hemi” cylinder heads with their huge intake ports (nicknamed “shotgun” because the sight of two of them recalled a side-by-side 12 gauge shotgun) were unusually bulky), something that, when fitted with an iron-block 351 cubic inch (5.8 litre) unit, greatly improved the handling.  Later, in the quest for more pace, it would be fitted with one of the rare, aluminum-block 351s.      

1976 PDL Mustang II.

The PDL Mustang II was a space-frame race car built in 1976 to conform with the commendably liberal rules which at the time applied in New Zealand, then something of a parallel universe which had continued to follow the path other regulatory bodies a decade earlier had abandoned because the machines were becoming to too removed from their origin.  So extensive were the modifications from the donor vehicle that any relationship with an actual Ford Mustang II wasn’t even skin deep and it used the all-aluminum (Cleveland; 335 series) 351 its predecessor had run the previous season.  Both cars enjoyed much success but so radical were the modifications to the Mustang II, eventually it was compelled to wander the planet to find events where the organizers were prepared to let it run.  When unleashed, it was fast, loud and spectacular and made a good case for there being more Formula Libre races.  That case can still be made.

Fumblerule

Fumblerule (pronounced fumm-bull-roule)

A rule of language or linguistic style, written in a way that violates the rule; technically a form of self-reference which relies on the inherent contradiction for the humor.

1979: A portmanteau word, the construct being fumble + rule.  In the context of fumblerule, “fumble” is used in the sense of “a blunder; awkwardly to seek”.  The mid-fifteenth century fumble (the obsolete English famble & fimble had much the same meaning) was from the Late Middle English, possibly from either the Low German fommeln or the Dutch fommelen, the alternative etymology being a Scandinavian or North Germanic source and there’s likely some relationship with the Old Norse fálma (to fumble, grope), the Swedish fumla, the Danish fumle and the German fummeln.  The history is certainly murky and the ultimate source could even be onomatopoeia (imitative of sounds associated with someone fumbling (bumble or stumble) or from the primitive Indo-European pal- (to shake, swing) from which Classical Latin gained palpo (I pat, touch softly) or (entirely speculatively) the Proto-West Germanic fōlijan (to feel).  The intransitive sense "do or seek awkwardly" was from the 1530s and the noun dates from the 1640s.

In the context of fumblerule, “rule” is used in the sense of “a regulation, law or guideline”.  The noun in the sense of “measure; measurement” dates from circa 1175, the verb first noted circa 1200 from the Middle English riwlen, reulen & rewellen from the Old French riuler, rieuler & ruler from the Late Latin rēgulāre (derivative of rēgula).  The sense of "principle or maxim governing conduct, formula to which conduct must be conformed" is from the Old French riule & the Norman reule (rule, custom, (religious) order) which, in Modern French, has been partially re-Latinized as règle.  The meaning "regulation governing play of a game” is from 1690s. The notion of a rule of law (supremacy of impartial and well-defined laws to any individual's power), as a phrase, emerged surprisingly recently, dating only from 1883.  The sense "to control, guide, direct" came from the Old French riuler (impose rule) from the Latin regulare (to control by rule, direct) from the Latin regula (rule, straight piece of wood) from the primitive Indo-European root reg- (move in a straight line) with derivatives meaning "to direct in a straight line," thus "to lead, rule."  The legal sense "establish by decision" is recorded from the early fifteenth century.

Fumblerule was coined by right-wing US commentator Bill Safire (1929-2009) in a November 1979 edition of his column On Language in the New York Times.  Safire extended this in the later book Fumblerules: A Lighthearted Guide to Grammar and Good Usage (1990) (ISBN 0-440-21010-0), which, in 2005, was re-printed as How Not to Write: The Essential Misrules of Grammar.  Physicist George L Trigg (1925-2014) also published a list of these rules.

Bill Safire (right) on Air Force Two with Spiro Agnew, November 1972 (US presidential election campaign).

Safire was also a White House speech writer for Richard Nixon (1913–1994; US president 1969-1974 & Spiro Agnew (1918–1996; US vice president 1969-1973).  Impressionistically, it would seem right-wingers tend to outnumber the left in the authorship of texts lamenting the decline in standards of English writing and it is one of the theatres of the culture wars.  In English, although there are the plenty of pedants and not a few of the infamous grammar Nazis still obsessing over stuff like a split infinitive, it’s not the sort of language which needs pointless “rules” to be enforced, many of which were never rules in the first place.  English spelling and grammar evolves usually according to a practical imperative: the transmission of meaning in an economical, precise and elegant way.  Criticism from the (notional) left is more political than linguistic: their objections to “correct” English is essentially that it’s just another way of maintaining white privilege and that all dialects within English are of equal cultural value and none should be regarded as “incorrect” or spoken by the “uneducated”.

Some of Bill Safire’s fumblerules

Avoid run-on sentences they are hard to read.

Don't use no double negatives.

Use the semicolon properly, always use it where it is appropriate; and never where it isn't.

Reserve the apostrophe for it's proper use and omit it when its not needed.

Do not put statements in the negative form.

Verbs has to agree with their subjects.

No sentence fragments.

Remember to never split an infinitive.

Proofread carefully to see if you any words out.

Avoid commas, that are not necessary.

If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.

A writer must not shift your point of view.

Eschew dialect, irregardless.

And don't start a sentence with a conjunction.

Don't overuse exclamation marks!!!

Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.

Writers should always hyphenate between syllables and avoid un-necessary hyph-ens.

Write all adverbial forms correct.

Don't use contractions in formal writing.

Writing carefully, dangling participles must be avoided.

It is incumbent on us to avoid archaisms.

If any word is improper at the end of a sentence, a linking verb is.

Steer clear of incorrect forms of verbs that have snuck in the language.

Take the bull by the hand and avoid mixed metaphors.

Avoid trendy locutions that sound flaky.

Never, ever use repetitive redundancies.

Everyone should be careful to use a singular pronoun with singular nouns in their writing.

If I've told you once, I've told you a thousand times, resist hyperbole.

Also, avoid awkward or affected alliteration.

Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.

Always pick on the correct idiom.

"Avoid overuse of 'quotation "marks."'"

The adverb always follows the verb.

Last but not least, avoid cliches like the plague; seek viable alternatives.

Kink

Kink (pronounced kingk)

(1) A twist or curl, as in a thread, rope, wire, or hair, caused by its doubling or bending upon itself.

(2) An expression describing muscular stiffness or soreness, as in the neck or back.

(3) A flaw or imperfection likely to hinder the successful operation of something, as a machine or plan (differs from a bug in that kinks or their consequences tend immediately to be obvious.

(4) A mental twist; notion; whim or crotchet (and in a pejorative sense an unreasonable notion; a crotchet; a whim; a caprice).

(5) In slang, a flaw or idiosyncrasy of personality; a quirk.

(6) In slang, bizarre or unconventional sexual preferences or behavior; a sexual deviation (Defined as paraphilia; the parameters of paraphilic disorders (essentially that which is non-normophilic) are (to some extent) defined in the American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders (DSM) but the public perception of kinkiness varies greatly between and within cultures).

(7) In slang, a person characterized by such preferences or behavior (a kinkster).

(8) To form, or cause to form, a kink or kinks, as a rope or hairstyle or a physical construction like a road; to be formed into a kink or twist.

(9) Loudly to laugh; to gasp for breath as in a severe fit of coughing (now rare except in Scotland).

(10) In mathematics, a positive 1-soliton solution to the sine-Gordon equation.

(11) In the jargon of US railroad maintenance as “sun kink”, a buckle in railroad track caused by extremely hot weather, which could cause a derailment.

(12) In fandom slang as “kinkmeme” (or kink meme), an online space in which requests for fan fiction (generally involving a specific kink) are posted and fulfilled anonymously (a subset thus of the anon meme).

(13) In slang, as “kinkshame” (or kink-shame or kink shame), to mock, shame, or condemn someone (a kinker) for their sexual preferences or interests and fetishes.

1670–1680: From the Middle English kink (knot-like contraction or short twist in a rope, thread, hair, etc (originally a nautical term), from the Dutch kink (a twist or curl in a rope), from the Proto-Germanic kenk- & keng- (to bend, turn), from the primitive Indo-European geng- (to turn, wind, braid, weave) and related to the Middle Low German kinke (spiral screw, coil), the Old Norse kikna (to nod; to bend backwards, to sink at the knee as if under a burden”) and the , the Icelandic kengur (a bend or bight; a metal crook).  It’s thought related to the modern kick although a LCA (last common ancestor) has never been identified.  The intransitive verb emerged in the 1690s and the transitive by the early nineteenth century.  The adjective kinky (at that stage of physical objects such as ropes or hair full of kinks, twisted, curly) seems first to have been used in 1844.  Words with a similar meaning (depending on context) include crimp, wrinkle, flaw, hitch, imperfection, quirk, coil, corkscrew, crinkle, curl, curve, entanglement, frizz, knot, loop, tangle, cramp, crick, pain &, pang  The sense familiar in Scottish dialect use (a convulsive fit of coughing or laughter; a sonorous in-draft of breath; a whoop; a gasp of breath caused by laughing, coughing, or crying) was from the From Middle English kinken & kynken, from the Old English cincian (attested in cincung), from the Proto-West Germanic kinkōn, from the Proto-Germanic kinkōną (to laugh), from the primitive Indo-European gang- (to mock, jeer, deride), and related to the Old English canc (jeering, scorn, derision).  It was cognate with the Dutch kinken (to kink, to cough).  One curious adaptation was the (nineteenth century) use of kinker to describe circus performers, presumably on the basis of their antics (kinky in the sense of a twisted rope).  Kink is a noun & verb, kinkily is an adverb, kinkiness & kinkster are nouns, kinked is a verb & adjective, kinky and kinkier & kinkiest are adjectives; the noun plural is kinks.

Bridge with kinks: Lucky knot bridge, Dragon King Harbor River in Meixi Lake District, Changsha, China.  The design was inspired by the Möbius strip although the structure is not a true representation of a Möbius.

Kink appears to have entered English in the 1670 from the interaction of English & Dutch seafarers, the first use of the word being nautical, French & Swedish gaining it in a similar manner.  The figurative sense of “an odd notion, a mental twist, a whim, a capricious act” was first noted in US English in 1803 in the writings of Thomas Jefferson (1743–1826; US president 1801-1809).  It was one of the many terms applied to those thought “sexually abnormal”, the first use noted in 1965 (although the adjective kinky had been so applied as early as 1959) and the use as a synonym for “a sexual perversion, fetish, paraphilia” is thought by most etymologists to have become established by the early 1970s.  The slang, “kinkshame” means “to mock, shame, or condemn someone (a kinker) for their sexual preferences or interests and fetishes”.  Dictionaries tend to list this only as a verb (ie that directed at another) but it would seem also a noun (a feeling of kinkshame), such as that suffered by Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983; the last King of Italy (May-June 1946) who, while heir to the throne (and styled Prince of Piedmont), Benito Mussolini’s (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) secret police discovered the prince was a sincere and committed Roman Catholic but one unable to resist his “satanic homosexual urges” and his biographer agreed, noting he was “forever rushing between chapel and brothel, confessional and steam bath” often spending hours “praying for divine forgiveness.”  He would seem to have been suffering kinkshame.

Lindsay Lohan with kinked hair. 

Car & Driver "Fastest American Car" comparison test, April 1976.

Although the word kinky had by then for some time been in use to describe sexual proclivities beyond the conventional, in April 1976, when the US magazine Car & Driver chose to describe a pickup truck as “kinky” it was using the word in the sense of “quirky” or “different” and certainly not in a pejorative way.  While testing the Chevrolet C-10 stepside in an attempt to find the fastest American built “car”, the editors noted that although the phenomenon hadn’t yet travelled south of the Mason-Dixon Line. “…kinky pickups are one of the more recent West Coast fascinations”.  A few years earlier, it would have been absurd to include a pickup in a top-speed contest but the universe had shifted and ownership of the fast machines of the pre-1972 muscle car era had been rendered unviable by the insurance industry before being banned by the legislators; by earlier standards, high-performance was no longer high.  Some demand for speed however remained and General Motors found a loophole: the Environmental Protection Agency (EPA) didn't impose power-sapping exhaust emission controls on anything with a gross vehicle weight rating above 6000 pounds (2722 kg).  Thus emerged Chevrolet’s combination of the heavy-duty version of the pickup chassis (F44) with the big-block, 454 cubic inch (7.4 litre) V8, a detuned edition of the engine which half-a-decade earlier had been offered with the highest horsepower rating Detroit had ever advertised.  Power and brutish enjoyment was ensured but the aerodynamic qualities of the pickup were such it could manage only third place in Car & Driver’s comparison, its 110 (177 km/h) mph terminal velocity shaded by the Pontiac Trans Am (118/190) and the Chevrolet Corvette (125/201) which won although both were slow compared with what recently had been possible.  The pickup did however outrun Ford’s Mustang Mach 1 which certainly looked the part but on the road prove anaemic, 106 mph (171 km/h) as fast as it could be persuaded to go.  In second place was what turned out to be the surprise package, the anonymous-looking Dodge Dart which, although an old design, was powered by a version of the Chrysler LA small-block V8, one of the best of the era and clean enough to eschew the crippling catalysts most engines by then required.  Its 122 mph (196 km/h) capability made it the fastest American sedan.

Kinkiness in 1964-1965: 1965 Dodge D-100 with 426 Street Wedge V8.

The kinky pickup however was a harbinger for where went California, so followed the other forty-nine.  The idea of the kinky pickup had actually begun in 1964 when Chrysler quietly slipped onto the market a high-performance version of the the Dodge D-100, a handful of which were built with a 413 (6.7 litre) cubic inch V8 but with little more fanfare, the 426 cubic inch (7.0 litre) Street Wedge was next year added to the option list which, rated at 365 horsepower, was more than twice as powerful than the competition.  Ahead of its time, the big-power in the engines D-100 were withdrawn in 1966 but it was the first muscle truck and the spiritual ancestor of the C-10 which a decade later was faster than the hottest Mustang, damning with faint praise though that may be.  The trend continued and Dodge early in the twenty-first century even sold pickups with an 8.3 litre (505 cubic inch) V10.  The market has since shown little sign of losing its desire for fast pickups and the new generation of electric vehicles are likely to be faster still.

The adjective "kinky" evolved from the noun but a linguistic quirk in the use of "kink" in the gay community is that etymologically it was technically a back-formation from "kinky".  In the LGBTQQIAAOP movement, there is some debate whether displays of “kink” should be part of “pride” events such as public parade.  One faction thinks group rights trumps all else and there can be no acceptance of any restrictions whereas others think the PR cost too high.  One implication of some representation of this or that kink being included in pride parades is that presumably, once accepted as a part of public displays, it ceases to be kinky and becomes just another place on the spectrum of normality.  Kinky stuff surely should be what goes on only behind closed doors; if in public it can even be hinted at, it can't truly be a kink because a kink must be something seriously twisted.  

1962 BMW 1500 (Neue Klasse, left), the incomparable BMW E9 (1968-1975, centre) and the 2023 BMW 760i (G70, right).

In automotive design, the “Hoffmeister kink” is a description of the forward bend in the C-pillar (D-pillar on SUVs) and it’s associated almost exclusively with BMW (Bayerische Motoren Werke) vehicles built since the early 1960s.  The kink is named after Wilhelm Hofmeister (1912–1978; BMW design chief 1955-1970) who used the shape on the BMW Neue Klasse (The “New Class”, the first of which was the 1500 and in various forms was in production 1962-1975) although the BMW 3200 CS (1962-1965) which was styled by Giuseppe "Nuccio" Bertone (1914–1997) also used the lines and design work of both began in 1960.  However, the name “Hoffmeister kink” stuck not because it originated with Herr Hoffmeister but because BMW has for decades stuck with it so it’s now perhaps even more of an identifiable motif than their double-kidney grill which is now less recognizable than once it was.  Herr Hoffmeister deserves to be remembered because the work of his successors has been notably less impressive and none has matched his E9 coupe (1968-1975) although it gained as much infamy for its propensity to rust as admiration for its elegance.

Some pre-Hoffmeister kinks:  1949 Buick Super Sedanette (left), 1951 Kaiser Deluxe (centre) and 1958 Lancia Flaminia Sport Zagato (right).

Built-in kink: 1964 Ford Galaxie four-door hardtop.

A curiosity in the tale of the Hofmeister kink is that between 1957-1963, the Ford Motor Company (FoMoCo) in the US produced as an assembly (made of several part-numbers) a Hofmeister kink which was “bolted-on” to the rear door of four-door Ford and Mercury four-door hardtops.  The doomed Edsels and more exalted Lincolns didn’t use them and after 1961 Lincoln for a while abandoned the body-style although a dozen-odd prototypes & pre-production examples were produced and there are competing theories about why it never reached the showrooms.  The appendage existed apparently because it was a quick and cheap way to ensure the rear-windows of the four-door hardtops could fully retract into the door when wound down.

Bolt-on kink; how it was done on Ford & Mercury four-door hardtops (1957-1963): Sedans with (central) B-pillar un-kinked (left) and pillarless hardtops with bolted-on kink (right).

Because of the multi-part complexity of the pressings and the need for precise tolerances (something Detroit often didn’t quite manage) to ensure a good “open & shut”, doors are expensive to tool for so Ford’s temptation to do a “bolt-on” was understandable.  However, despite that, for the body’s fourth and final season in 1964, the kink was integrated into the door but the look was banished when the new range appeared for 1965, the leading edge of the C pillar re-located in the industry-standard way.

Curtain

Curtain (pronounced kur-tn)

(1) A hanging piece of fabric used to shut out the light from a window, adorn a room, increase privacy etc.

(2)  A movable or folding screen used for similar purposes (tends to be regionally specific).

(3) In a performance theatre, a set of hanging drapery for concealing all or part of the stage or set from the view of the audience; the act or time of raising or opening a curtain at the start of a performance; the end of a scene or act indicated by the closing or falling of a curtain; an effect, line, or plot solution at the conclusion of a performance.

(4) In broadcasting, music signaling the end of a radio or television performance (and used as a direction in a script of a play to indicate that a scene or act is concluded).

(5) Anything that shuts off, covers, or conceals.

(6) In military jargon, as curtain of artillery fire, a specific type of barrage.

(7) In architecture, a relatively flat or featureless extent of wall between two pavilions or the like.

(8) In military architecture, a fortification, the part of a wall or rampart connecting two bastions, towers, or the like.

(9) In slang (always in the plural as curtains), the end; death, especially by violence.

(10) In political shorthand (iron curtain, bamboo curtain, banana curtain), a descriptor for a politically defined geographical construct.

1250–1300: From the Middle English curteyn, corteyn, cortyn, cortine & curtine (hanging screen of textile fabric used to close an opening or shut out light, enclose a bed, or decorate an altar), from the Anglo-French & Old French courtine & cortine (curtain, tapestry, drape, blanket), from the Late Latin cōrtīna (enclosed place; curtain), probably equivalent to co(ho)rt- (stem of cohors (court; enclosure; courtyard)) + -īna or –ine, operating as a calque of the Ancient Greek aulaía (curtain), derivative of aulḗ (courtyard).  The Latin cōrtīna is sometimes imputed to the primitive Indo-European (s)ker- (to turn, bend) but etymologists think this dubious.  The evolution of curtain in Late (Ecclesiastical) Latin was influenced by resemblance of the curve of an amphitheater to a cauldron (kettle) and the sacred tripod of Apollo, metonymically for the curved seat or covering.

In Classical Latin cōrtīna meant "round vessel, cauldron," from cortem (cohortem was the older form) (enclosure, courtyard) and related to the modern cohort.  The meaning shift appears to have begins with cōrtīna being used as a loan-translation of Greek aulaia (curtain) in the Vulgate (to render Hebrew yeriah in the Book of Exodus).  The Ancient Greek was connected to aule (court), probably because the "door" that led to the courtyard of a Greek house was a hung cloth.

The figurative use (something that conceals or screens) was noted from the early fifteenth century and from the 1590s to mean a "large sheet used to conceal the stage in a theatre" with many figurative senses drawn from the stage: “Behind the curtain” is from the 1670s; “curtains” from 1912; “curtain call” (appearance of individual performers on stage at the end of a performance to be recognized by the audience) from 1884; “to draw the curtain” from circa 1500 (in opposite senses: "to conceal" & "to reveal".  The curtain-rod is attested from circa 1490. An Old English word for "curtain" was (fly-net), ancestor of the modern fly-screen.

The Iron Curtain

From Stettin in the Baltic to Trieste in the Adriatic.

The term “iron curtain” was popularized by its use in a 1946 speech by Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) in Fulton, Missouri.  In saying the line “From Stettin in the Baltic to Trieste in the Adriatic, an iron curtain has descended across the continent.”, the reference was to the political barrier the USSR had created between the satellite states in its sphere of influence and the West.  It created the sense of an impenetrable barrier between the blocs, with the not inaccurate implication of a form of imprisonment imposed on those “behind the iron curtain”.

The companion cold war term, “bamboo curtain” was adopted after the 1949 communist takeover of China to refer to the political demarcation between the communist and non-communist states in Asia, essentially a descriptor of the Chinese sphere of influence.  It was used less-frequently than iron curtain because, unlike the static line in Eastern Europe, the bamboo curtain, however defined, tended to shift and nothing as formal as the Warsaw Pact ever emerged.

Iron curtain appears first to have been used in 1794 as the name of a fire-protection device for theatres.  This was literally an iron curtain which dropped to protect the audience should fire break out on the stage, The Monthly Review (June 1794) noting the helpful advantage of the innovation being that should a fire erupt, the audience would remain safe and “…nothing can be burnt but the scenery and the actors.”  HG Wells (1866–1946) in The Food of the Gods and How It Came to Earth (1904) used "iron curtain" in a psychological sense, a use adopted (and extended into the political) by the German-born Queen Elizabeth of the Belgians (1876–1965; Queen of the Belgians 1909-1934) when, writing of the poignant position in which she was place by the German invasion of Belgium in 1914, she said "between them (the Germans) and me there is now a bloody iron curtain which has descended forever."  The phrase caught on during the war years, US surgeon George Washington Crile (1864–1943) in A Mechanistic View of War and Peace (1917) describing the "iron curtain" which was now France's frontier with Germany and Vasily Rozanov (1856-1919) in Apokalipsis nashego vremeni (The Apocalypse of our Time (1917-1918)) applied the idea to the way the Bolshevik revolution was cutting off all in Russian history that was inconvenient for the telling of their narrative.  Ethel Snowden (1881–1951), who would flit across British history for three decades, may or may not have read Rozanov but in her book of observations of the early revolutionary state, Through Bolshevik Russia  (1920), she invoked "iron curtain" to convey the sense of sharp difference the place engendered as soon as the border was crossed.  No useful idiot, she was highly critical of what was still a pre-Stalinist state, noting that "Everyone I met in Russia outside the Communist Party goes in terror of his liberty or his life".  Plus ça change...           

Between then and 1946, the phrase had been used many times though rarely in a political context but it had been mentioned in 1920 in reference to the edge of the Soviet sphere of influence and Nazi propaganda minister Dr Joseph Goebbels (1897-1945; German propaganda minister 1933-1945 Minister) used (ein eiserner Vorhang) it in 1944 in the same sense as Churchill two years later.  So had one of the great survivors of the Third Reich, Count Ludwig Graf Schwerin von Krosigk (1887–1977) who was German finance minister (1932-1945) under both the Weimar Republic (1918-1933) and the Third Reich (1933-1945), before being appointed Chancellor in the bizarre coda that was the three week government formed in Flensburg under Grand Admiral Karl Dönitz (1891–1980; head of the German navy 1943-1945, German head of state April-May 1945).

In Australia, “banana curtain” made a comeback in the age of COVID-19, used mostly by those south of the border envious of Queensland’s relative success in suppressing the virus.  It was actually a myth bananas were grown only north of the border but a popular one and “banana curtain” was originally a disparaging reference to the state under the (mildly) repressive National Party (originally Country Party) régime (1968-1987) of Joh Bjelke-Petersen (1911-2005) and was used flippantly in the 1970s, Hugh Lunn’s (b 1941) book Behind the Banana Curtain published in 1980.  The term was reclaimed by Brisbane radio station 4ZZZ with the issue in 2000 of Behind the Banana Curtain, a two-CD compilation to mark twenty-five years of 4ZZZ broadcasting.  A similar collection, a compilation from the most recent decade, Beyond the Banana Curtain, was released in 2010.

Curtain reveal: Model Megan Fox (b 1986) in a cherry-red Jacquemus’ La Maille Pralù from the La Montagne autumn/winter 2021 collection, with La Jupe Valerie skirt, Femme LA sandals and Mietis bag, August 2021.

The engaging ”midriff-flossing” emerged in the northern summer of 2020 as a term to describe the strappy tops and dresses designed to display the abdomen.  The companion term of 2021 was “curtain reveal”, the imagery being a pair of curtains, draped to the centre of the window, joined by the flimsiest of cords.  In fashion, this translates to a tiny crop top, secured as dubiously as possible with a fastening at the sternum.  It’s a look which, depending on the number of links included, can be adjusted to reveal a little or a lot of the torso but can leave modesty or lawfulness hanging by a literal thread.  Some interpretations eschew fabric for the tie, relying instead on the industry's invaluable tool of last resort, the ever-dependable safety-pin, hence the use also of the phrase “pin-top”.

Lindsay Lohan in curtain reveal sheer frilly cardi-top, Teen Choice Awards, 2003.