Hostage

Hostage (pronounced hos-tij)

(1) A person given as a pledge or security for the performance of the conditions of a treaty or similar agreement, such as to ensure the status of a vassal.

(2) A person seized in order to compel another party to act (or refrain from acting) in a certain way, because of the threat of harm to the hostage.

(3) A security or pledge (obsolete).

(4) The condition of a hostage.

(5) To give someone as a hostage (rare).

1225–1275: From the Middle English hostage & ostage, from the eleventh century Old French hostage & ostage (kindness, hospitality; residence, dwelling; rent, tribute; compensation; guarantee, pledge, bail; person given as security or hostage (and ôtage (hostage) persists in Modern French)) of uncertain origin although most etymologists favor the Vulgar Latin obsidāticum (state of being a hostage; condition of being held captive), from the Latin obsid- (stem of obses (hostage)), the construct being ob- (before) + sid- (the base of sedere (to sit)) + -āticum (the suffix used (1) to form nouns indicating pertinence to the root verb or noun & (2) to form nouns indicating a state of being resulting from an action).  There is a (less supported) alternative etymology which traces hostage back to a construct from the Old French hoste (host) + -age (the sense development from “taking someone in and offering them lodging” to “taking someone in and holding them captive”.  The initial “h” was added to the Latin obses (hostage) under some influence which may have been the Old French hoste or the Latin hostis.  The word displaced the Old English ġīsl.  In idiomatic use, the phrase “hostage” to fortune historically had different meanings on either side of the Atlantic.  In the UK it meant “an action, promise, or remark that is considered unwise because it could be difficult to later to fulfill one’s obligations (even if merely implied)”.  In North America, it conveys the idea of “a person (or institution) whose fate is seen as dependent on chance or luck”.  Hostage & hostageship are nouns and hostaged & hostaging are nouns; the noun plural is hostages.

Swapped for one of Moscow’s hostages: Viktor Bout in Thailand.

The hostage negotiator is now a recognized specialist category in law enforcement and there are also many in the private sector, engaged usually on an ad hoc basis as needed.  The taking of hostages, although use of the word spiked only in the 1970s as the hijacking of civilian airliners became a popular means of pursuing political agendas, is ago old and during certain periods was institutionalized as an accepted part of how conflicts were executed.  Nothing new then but of late, some regimes have become more blatant in the way “hostage diplomacy” is done, making only the most perfunctory gestures towards adding a veneer of legal legitimacy to what is essentially the tactic of gangsters.  Some cases have attracted some public attention such as the exchange by Moscow of one of their American hostages for Viktor Bout (b 1967) a Russian arms trader apparently of Ukrainian origin and one of the great characters who flourished in the chaos which prevailed after the breakup of the Soviet Union.  Whether it was grenade launchers, government officials subject to UN sanctions or frozen chickens, all through Africa, Eastern Europe and the Middle East, Viktor Bout’s air-freight operation gained the reputation of delivering the goods as described, on time and at the price quoted, international sanctions and embargos no obstacle.  Unfortunately, he strayed too closely to the claws of Western law enforcement agencies and ended up being extradited to the US where he was convicted of this and that and sentenced to a 25 year term, ten of which he served before he was exchanged in a swap.

Held us hostage” is now a commonly used phrase applied to the tactics or antics of trade unions, film stars, Meghan Markle, minority political parties and anyone else who proves difficult.

US diplomat and historian George Kennan (1904-2005) is best remembered for the “Long Telegram” he sent from Moscow in 1946, warning the State Department of the possible implications of Soviet policy and advocating the US adopt its own policies to contain Soviet expansion.  He also published widely on other aspects of US foreign policy including an assessment of the PRC (People’s Republic of China), early in the rule of the Chinese Communist Party (CCP) and while he held the Chinese in high regard (he thought them “…probably the most intelligent, man for man, of the world’s peoples”), he thought “…no good could come of any closer relationship between the US and China” and he was little more enthusiastic about the rival Kuomintang government established by Generalissimo Chiang Kai-shek on the island of Formosa (Taiwan), regarded to this day by Beijing as a renegade province.  To support his views, he made four points which, some seven decades on, sound remarkably modern and probably familiar to diplomats in many chancelleries and embassies:

(1) The Chinese were, as a people, intensely xenophobic and arrogant.  Their attitude towards the foreigner and his world, based as it was on the concept of China as the “Middle Kingdom” and the view of the foreigner as a barbarian, was essentially offensive to other peoples and did not provide a basis for satisfactory international relations, other than ones of the most distant sort.

(2) He noted it seemed clear the Chinese, despite the highly civilized nature of their normal outward behavior, were capable of great ruthlessness when they considered themselves to be crossed.  How he thought in this Peking much differed from Washington & London he didn’t explore but he nevertheless found admirable many of their best qualities including industriousness, honesty in commerce, practical astuteness and political acumen.  Where he found the national character lacking was in their lack of two attributes of the Western Christian mentality: the capacity of pity and the sense of sin though intriguingly he conceded the possession of these both qualities induced weakness rather than strength in the Western character.  Presumably, he added, the Chinese were all the more formidable for their lack but this was a reason to afford them a healthy but wary respect, not to idealize them or seek intimacy in our relationship with them.

(3) His third observation was that of the pragmatic diplomat.  While the Chinese were often ready to make practical arrangements of an unwritten nature and usually ones that could at will be reversed if that suited their purposes, they were never prepared to yield on matters of principle.  Occasionally, they would consent, were sufficient pressure applied, to allow others to do certain things provided they were able to insist that there was no actual right to act in such a way.  In other words, at least in theory, China was always in the right, others in the wrong.  Kennan thought this an expression of national arrogance that augured badly for really good relations with any outside power.

(4) Finally, there was the matter of hostage taking although it’s clear from his writing that he was somewhat in awe of the skill and success in the subtlety of their gangsterism.  Over decades he noted, the Chinese had corrupted a large proportion of the Americans who had anything to do with them and the longer these visitors resided there, the greater the risk.  He was anxious to point out this corruption was always, or even usually financial deciding it was something far more insidious, the Chinese infinitely adept at turning foreign visitors and residents (even diplomats) into hostages.  Then, with their superb combination of delicacy and ruthlessness, they would extract the maximum in the way of blackmail or ransom for giving them the privilege either of leaving the country or remaining, whichever it might be they most desired.  It all sounds remarkably modern.

Metal

Metal (pronounced met-l)

(1) Any of a class of elementary substances, as gold, silver, or copper, all of which are crystalline when solid and many of which are characterized by opacity, ductility, conductivity, and a unique luster when freshly fractured.

(2) Such as substance in its pure state, as distinguished from alloys.

(3) An element yielding positively charged ions in aqueous solutions of its salts.

(4) An alloy or mixture composed wholly or partly of such substances such as steel or brass.

(5) An object made of metal.

(6) Formative material; stuff.

(7) In printing, as type metal, the stencils used to apply ink; the state of being set in type.

(8) The substance of glass in a molten state or as the finished product; molten glass in the pot or melting tank (mostly in technical use).

(9) As road metal, the crushed rock used in road construction; small stones or gravel, mixed with tar to form tarmac for the surfacing of roads.

(10) To furnish or cover with metal.

(11) In popular music, verbal shorthand for the genre heavy metal (but apparently usually not other variations (thrash; power; gothic; doom; twisted; black; molten; death)).

(12) In admiralty jargon, the total weight of projectiles that can be shot by a ship's guns at any one time; the total weight or number of a ship's guns.

(13) In heavy element astronomy, any atom except hydrogen and helium.

(14) In heraldry, a light tincture used in a coat of arms, specifically argent (white or silver) and or (gold).

(15) In rail construction, the rails of a railway (almost always plural).

(16) In mining, the ore from which a metal is derived (the use to describe the mine from which the ore is extracted is obsolete).

(17) Figuratively, the substance that constitutes something or someone; matter; hence, character or temper (now archaic and replaced by mettle).

(18) In the jargon of civil aviation, the actual airline operating a flight, rather than any of the code-share operators.

(19) In the jargon of drag-racing, a descriptor applied to the largest capacity (usually big-block) engines.

1250–1300: From the Middle English, from the Old French metal (metal; material, substance, stuff), from the Classical Latin metallum (quarry, mine, product of a mine, metal), from the Ancient Greek μέταλλον (métallon) (mine, quarry, ore).  The Greek work picked up the sense of “metal” only in post-classical texts, via the notion of "what is got by mining”; the original meaning was "mine, quarry-pit," probably a back-formation from metalleuein "to mine, to quarry," a word of unknown origin which may be related to metallan "to seek after" but there’s no evidence in support and it’s thought derived from a pre-Greek source because of the presence of -αλλο- (-allo-).  Metal is a noun, verb & adjective and metallic is a noun & adjective; the noun plural is metals.

In the West, what defined a metal was based on the metals known from antiquity: gold, silver, copper, iron, lead, and tin.  The adjectival form (or or covered with metal) emerged in the late fourteenth century reflecting the advances in metallurgy.  The term metalwork is attested from 1724 and has been used to describe both functional and decorative endeavours and is a common title in technical education (al la woodwork).

Iron Butterfly, In-A-Gadda-Da-Vida (1968).  An early heavy metal recording, their previous album was Heavy (1968).

The use to describe a variety of loud forms of popular music (heavy; thrash; power; gothic; doom; twisted; black; molten & death-metal (there may be others, it’s hard to tell)) began with heavy metal, the term coming into general use circa 1970 to describe a genre which had evolved since what came retrospectively to be called the proto-metal pieces of the 1950s such as Link Wray's Rumble.  As a shortened form, “metal” appears to be used properly to reference only heavy metal, presumably because it came first, the other forms almost always identified with the modifier.  The use in popular music seems to have been picked up from counterculture literature, William S Burroughs (1914-1997) using the phrase "heavy metal kid" in the 1962 novel The Soft Machine.  That was not a musical reference but in the subsequent Nova Express (1964), extended the use to a metaphor for drug use and from there, adoption in somewhere in popular culture was probably inevitable; it was the 1960s.

The lightness and heaviness of naturally occurring metals has been noted since pre-historic times, probably because of the interest in the malleability of materials which might be used to craft metal ornaments, tools and weapons and until the early nineteenth century, all known metals had relatively high densities, indeed that very quality of heaviness was thought a distinguishing characteristic which defined metals.  However, beginning in 1809, lighter metals such as sodium and potassium were isolated, their low densities demanding a definitional re-think and it was proposed they be categorised as “metalloids” but instead, that was reserved to later refer to a variety of non-metallic elements.

The term "heavy metal" seems first to have been used by German chemist Professor Leopold Gmelin (1788-1853) in an 1817 paper in which he divided the elements into non-metals, light metals, and heavy metals, based on relative density.  Later, “heavy metal” would be associated with elements with a high atomic weight or high atomic number and it is sometimes used interchangeably with the term “heavy element” although, two centuries on, there is criticism of the very usefulness of the now classical categories, the suggestion being they’ve become so diverse as to be meaningless.  Despite that, “heavy metal” in particular remains frequently used in both scientific and popular literature, the latter most often without any definitional rigor.  By comparison, presumably because their less associated with environmental pollution, “light metal” appears most often in association with metal trading, referring usually to aluminium, magnesium, beryllium, titanium and lithium.

The cosmological periodic table.  Chemists do at least agree on what metals are, heavy or otherwise.  Astronomers consider any element heavier than helium to be a metal, the distinction based on whether an element was created directly after the Big Bang (hydrogen and helium) or instead formed through subsequent nuclear reactions.  In the world of cosmology this is well understood but it can cause confusion among a general audience because it means elements such as carbon and oxygen are treated as metals, a most unfamiliar concept.

To astronomers, the production of metals is a consequence of stellar evolution.  Although metals lighter than iron are produced in the interiors of stars through nuclear fusion reactions, only a very small fraction escape (through stellar winds or thermal pulsations) to be incorporated into new stars.  For this reason, the majority of the metals found in the Universe are produced and expelled in the supernova explosions that mark the end for many stars.  This gradual processing of hydrogen and helium into heavier elements through successive generations of stars means that the metallicity of stars (the fraction of the mass of the star in the form of metals) varies.  Very old stars which formed from the almost pristine material of the Big Bang contain almost no metals, while later generations of stars can have up to 5% of their mass in the form of metals.  The percentage of metals in our star (the Sun) is around 2%, indicating it’s a later generation star.

When it comes to money, and not just with precious metals like gold, the choice of metal matters much; aluminum can become quite precious.

1950 Jaguar XK120 (chassis: 670165 (aluminum body))

Jaguar went to the 1948 London Motor Show thinking their big announcement would be the new XK engine, the twin-cam straight-six which faithfully would serve the line for the next forty-four years.  What instead stole the show was the test-bed, the roadster in which it was installed.  It was a sensation, the reaction convincing Jaguar's management to put it into production as the XK120.  However, tooling-up a production-line, even for a relatively low-volume sports car, takes time so the first 242 XK120s were hand-built with aluminum bodies affixed to an ash frame atop a steel chassis substantially shared with an existing model.  By 1950, the factory was ready for mass production and all subsequent XK120s were made with pressed-steel bodies although the doors, bonnet, and boot lid continued to use aluminum; the later cars weigh an additional 112 lb (51 kg).  All the aluminum-bodied cars were open two seaters (OTS (roadster)) and most were destined for the North American market, only fifty-eight being built with right-hand drive.  The most desirable of the XK120s, the record price for a road car at auction is US$396,000, realised in 2016.  Cars with a competition history have attracted more, a 1951 Roadster campaigned by the Scottish race team Ecurie Ecosse, sold for £707,100 in 2015 while the 1954 (steel) Competition Roadster that won its class at the Alpine Rally brought £365,500 in the same year.

1955 Mercedes-Benz 300SL (chassis: 550028 (aluminum body))

Intended for those planning to use the things in competition, the aluminum body for the 300SL gullwing was a regular production option, albeit a not inexpensive one although, given the processes required, it may have been a bargain.  Reducing weight by 215 lb (80 kg), the aluminum bodies were hand-crafted in the motorsports department in Untertürkheim and then mounted on the spaceframes sent from the Sindelfingen factory.  Of the 1400 gullwings, only 29 were built in aluminum, 26 of 855 in 1955 and 3 of 308 in 1956 so the option was taken-up only by two percent of customers.

Lindsay Lohan with metallic bags, London, 2014.

Adding to the desirability of the lightweights are the other modifications the factory made to improve competitiveness against the mostly British and Italian opposition.  Plexiglass windows, vented brake drums and stiffer springs were in the package, along with the Sonderteile (special parts (NSL)) engine with tweaked fuel-injection and a more aggressive camshaft, gaining fifteen horsepower.  Curiously, one option intended for use in motorsport actually added a little weight: the Rudge wheels, the seconds the knock-off hubs saved in the pits said to be worth the slight increase.  Available for any gullwing, the Rudge wheels are one of the desirable features, like the fitted luggage, tool kit and factory documents, the presence and condition of which attract a premium at sale.  For some years, the record price at auction for one of these was the US$4.62 million for a 1955 model, paid in 2012 for a car which in 1980 been bought by a German collector for US$57,000.  A new mark was set in 2022 at RM Sotheby's January auction at Scottsdale's Arizona Biltmore Resort when one crossed the block for US$6,825,000.

Calorie

Calorie (pronounced kal-uh-ree)

(1) In thermodynamics (called also the gram calorie or small calorie), an amount of heat equal to 4.1840 or 4.1868 joules (depending on definitional table used); the standard abbreviation is cal.

(2) In physiology, a unit equal to the kilocalorie, used to express the heat output of an organism and the fuel or energy value of food.

(3) A quantity of food capable of producing such an amount of energy.

1819: From the French calorie, from the Latin calor (genitive caloris) (heat), from the primitive Indo-European kle-os- (a suffixed form of the root kele- (warm)), the construct being calor- + -ie (the noun suffix).  The suffix -ie was a variant spelling of -ee, -ey & -y and was used to form diminutive or affectionate forms of nouns or names.  It came to be used also (sometimes in a derogatory sense) to form colloquial nouns signifying the person associated with the suffixed noun or verb (eg bike: bikie, surf: surfie, hood: hoodie etc).  The now obsolete spelling was calory.  The phrase calorie-counting (or calorie-watching), describing a more “scientific” approach to weight-regulation, dates from 1908.  Calorie is a noun, caloric is a noun & adjective and calorific is an adjective; the noun plural is calories.

Rendered obsolete by experimental progress in the mid-nineteenth century, caloric theory held that the phenomenon of heat could be described as a self-repellent fluid (caloric) that flowed from hotter to colder substances or objects.  In fluid dynamics, caloric was also held to be a weightless gas able to pass in and out of pores in solids and liquids.  It was replaced by the mechanical theory of heat but didn’t completely disappear even from scientific literature until early in the twentieth century.  It’s that history which explains the duality of the meaning of the word “calorie”.  The kilogram calorie (known also as the food calorie, large calorie or dietary calorie) was originally defined as the quantity of heat needed to raise the temperature of 1000 grams (one kilogram) of water by 1^o Celsius (or one kelvin).  The gram calorie (known also as the small calorie) was the quantity of heat raise the temperature of one gram of water by the same 1^o; the relationship between the small & large calorie thus mirrors that of the gram & kilogram: 1:1000.  Both definitions of calorie are from the 1800s: the small in the early years, the large late in the century (recorded by 1866 in French & 1870 in German.

Until relatively recently, in science (mostly physics, chemistry and other fields in which fluid dynamics matter), the gram calorie was used as a unit of measurement (and in the vernacular was “the calorie”, the kilocalorie referenced when necessary) but it was never formally made part of the metric system (SI) and has for almost all purposes been rendered obsolete by the standard SI unit of energy: the joule.  For decades there were inconstancies in the way different bodies expressed the “conversion rate” between calories and joules but in both thermochemistry and nutrition, one small calorie is now held to equal to exactly 4.184 joules, one kilocalorie thus 4184 J (4.184 kJ as expressed by nerds).  Only in the industrial production of food is there still some attachment to the old (4.1840) value, reflected in product packaging although European Union (EU) legislation now insists on the use of “kilocalorie” on labels for consumer products.  In nutrition and food production, the term calorie (usually expressed with the standard abbreviation “cal”) refers almost always to the kilocalorie and is a (more-or-less) standardized expression of the energy value of foods (usually in terms of the (1) the whole packet or quantity in which it’s supplied, (2) a nominal “standard serving” or (3) a standardized metric (eg per 100 grams).  Although sometimes misunderstood, the unit is measure of the energy released by food as it is digested by the human body.

Lindsay Lohan during her early century, peak calorie-counting period.

Although it’s something of a blunt-force measure which doesn’t of necessity correlate with an ideal nutritional intake, the World Health Organization (WHO) and many national and sub-national bodies have issued guidelines for daily calorie intake based on age, sex, activity level, and other factors.  The WHO cautions their recommendations are merely part of the calculations which should be made when constructing healthy diets and calorie counts should be thought a framework for a nutritional model.  The WHO suggests that as a general principle, an average sedentary adult woman requires 1,800-2,200 while the equivalent man will need 2,200-2,700 although these approximations need to be read in conjunction with an assessment of an individual’s metabolism, body composition, and physical activity level.

Purpose

Purpose (pronounced pur-puhs)

(1) The reason for which something exists or is done, made, used, etc.

(2) An intended or desired result; end; aim; goal.

(3) Determination; resoluteness.

(4) The subject in hand; the point at issue.

(5) Practical result, effect, or advantage.

(6) To set as an aim, intention, or goal for oneself.

(7) To intend; design.

(8) To resolve to do something.

(9) To have a purpose.

1250-1300 (noun): The noun form with the meaning "intention, aim, goal" was from the Anglo-French & Middle English purpos from the twelfth century Old French porpos (aim, intention) from porposer (to put forth), the construct being por- (forth) (from the Latin pro- (forth) + the Old French poser (to put, place).  The phrase “on purpose” dates from the 1580s.  The verb followed soon, the first citations noted in the fourteenth century, from the Anglo-French purposer in the sense of "to design" and the Old French porposer (to intend, propose), a variant of proposer.  It’s from the same root Latin gained prō (forth) + pono (hence propono & proponere with conjugation altered based on poser).  Purpose is a noun & verb, purposer is a noun, purposeful & purposeless are adjectives, purposefully is an adverb, purposing is a verb and purposed is a verb & adjective; the noun plural is purposes.

The General Purpose Machine Gun (GPMG)

Although the manually-cranked Gatling gun (1861) was the first practical rapid-fire (200 rounds-per-minute (rpm)) battlefield weapon, the fully automatic, water-cooled, Maxim machine gun (1884), with a fire-rate of 600 rpm, revolutionized war.  By the end of the First World War, machine guns had been deployed by all sides, in some battles accounting for over ninety percent of the small-arms ammunition expended.  The concept became entrenched in all branches of the military and a number of forks developed from the original design, each with their own set of special features depending on their application.  Machine guns used by armies, navies and air-forces became increasingly specialized.

Mauser Maschinengewehr 42 (MG 42) (7.92×57mm rounds).

The General Purpose Machine Gun (GPMG) came later, originating in an innovative 1934 design by Germany’s Mauser which cleverly circumvented restrictions imposed by the 1919 Treaty of Versailles.  Highly adaptable to all military applications, it could be deployed in a traditional infantry role, used either on aircraft or as an air defense weapon, mounted on anything from light vehicles to tanks and just about any warship.  Development was accelerated by the demands of the Second World War, the GPMG an ideal product to which the techniques of mass-production and production-line standardization could helpfully be applied.  Attaining a fire-rate of up to 1500 rpm, the WWII GPMGs represent a technological plateau and there’s been little change since, all the design elements of the 1940s still present in today’s weapons, innovations restricted mostly to improved materials and add-ons such as laser-assisted sighting.  Like the shark and the pencil, the GPMG evolved to attain perfection and possible improvements to the design are not immediately obvious.

Lindsay Lohan with submachine gun.

A GPMG is not simply any machine gun used for “general purposes” (and a definition of that in this context would be impossible exactly to codify) and in the military the GPMG is a specific class of weapon.  A submachine gun (SMG) and a GPMG differ in design, purpose and application although there can be some overlap in the use of parts, tool kits and (less commonly), ammunition.  The classic SMG is (in relative terms) light, compact and those appropriately trained can fire some of them using only one hand although most are fitted with a (sometimes foldable or detachable) shoulder to enhance stability.  Many SMGs feature selective fire modes permitting a choice between a single shot, bursts (typically 3 shots) or fully automatic, continuous firing.  SMGs with an effective maximum range between 100-150 m (300-500 feet) are intended for close-quarters combat (they were designed during World War I (1914-1918) and intended to be decisive in trench warfare but the conflict ended before they could be deployed) in which, with a higher rate of fire than a rifle and a longer range than most side arms, they can be ideal.  Conveniently they often use the same ammunition as a sidearm although with a higher capacity.

The GPMG is larger, heavier and designed to sustain continuous fire for long periods.  They are now almost always belt fed and use rifle-style & size cartridges, requiring a team of two or three effectively to operate.  As “general purpose” suggests, GPMGs are highly mobile, versatile weapons which can be deployed in a range of combat situations including suppressing fire to sustain either attacks or withdrawals and can engage targets at medium range, something especially useful in theatres where the use of artillery would risk causalities from friendly fire.  GPMG offer a high rate of fire and some Western forces in the late twentieth century concentrated on those using the 5.56 x 45mm NATO load because of the expectation the days of the set-piece, medium-range battle was a thing of the past but experience in recent conflicts confirmed the army’s need for heavier loads and many units were re-equipped with GPMGs using the 7.62 x 51mm NATO round, the latter with an effective range of 800-1220 m (2600-4000 feet) and thus suitable for any form of infantry support.

Font

Font (pronounced font)

(1) In Christianity, a receptacle, usually of stone, as in a baptistery or church, containing the holy water used in baptism (now usually as "fount").

(2) A receptacle for holy water; a stoup (now usually as "fount") .

(3) A productive source (often in the form “a fount of wisdom”).

(4) The reservoir for the oil in a lamp, ink for a pen etc (now usually as "fount").

(5) Figuratively, a spring or fountain; a wellspring (archaic but still appears in poetic & literary use as both "font" & "fount").

(6) In the slang of television production, to overlay text onto the picture.

(7) In typography, a set of glyphs of unified design, belonging to one typeface, style & weight and usually representing the letters of an alphabet, supplementary characters, punctuation marks and the ten standard numerals.

(8) In phototypesetting, a set of patterns forming glyphs of any size, or the film they are stored on.

(9) In digital typesetting, a set of glyphs in a single style, representing one or more alphabets or writing systems, or the computer code representing it.

(10) In computing, a file containing the code used to draw and compose the glyphs of one or more typographic fonts on a display or printer.

Pre 1000: From the Middle English font, from the Old English font & fant, from the Latin font-, the stem of the Church Latin fons baptismalis (baptismal font, spring, fountain) from the Classical Latin fōns (genitive fontis) (fountain).  The use in printing to describe typefaces dates from the 1570s and was from the Old & Middle French fonte (a founding, casting), the feminine past participle of the verb fondre (to melt), from the unattested Vulgar Latin funditus (a pouring, molding, casting), a verbal noun from the Latin fundere (past participle fusus) (to pour a melted substance) from a nasalized form of the primitive Indo-European root gheu- (to pour).  The meaning was acquired because all the characters in a set were cast at the same time.  Most people use the words font and typeface as synonyms but industry professionals maintain a distinction: the typeface is the set of characters of the same design; the font is the physical means of producing them; that difference was maintained even as printing moved from physical wood & metal to electronics.  The modern practice is for the spelling “font” to apply to use in printing while “fount” is use for receptacles containing liquids.  That must seem strange to those learning the language but it’s how things evolved.  Font is a noun & verb, fonted is a verb & adjective, fonting is a verb and fontal is an adjective; the noun plural is fonts.

The politics of fonts

Great moments in fonts: Always select your font with care.

Dr Stephen Banham (b 1968) is a senior lecturer in typography at RMIT University in Melbourne, Australia who has published widely on the subject.  He recently discussed the politics of fonts and offered a number of examples of how fonts have played some significant role in recent history.  He noted the way in which some developments in typefaces have been technologically deterministic, something related not only to the changes in the mechanical devices used in printing (such as the shift from wooden to metal type) but also the speed at which people travelled while reading.  When the development of railways meant people began regularly to travel at speeds beyond that which teams of horses could attain, it meant there was signage which had to be legible to those passing on the train and this was not always simply a matter of scaling-up the existing styles; sometimes new designs were needed with different aspect ratios.

Fonts in transition: Nazi Party poster advertising a “Freedoms Rally” (the irony not apparent at the time), Schneidemuhl, Germany, (now Pila, Poland) in 1931 (left), Edict issued by Martin Bormann (1900–1945) banning the future use of Judenlettern (Jewish fonts) like Fraktur (the irony of the letterhead being in the now banned typeface presumably didn’t disturb the author) (centre) and (in modern Roman script), an announcement in occupied that 100 Polish hostages had been executed as a reprisal for death of two Germans in Warsaw, 1944 (right).

Sometimes too, the message was the typeface itself; it imparted values that were separate from the specific meaning in the text.  The Nazi regime (1933-1945) in Germany was always conscious of spectacle and although in matters of such as architecture customs there was a surprising tolerance of regional difference, in some things it demanded uniformity and one of those was the appearance of official documents.  Early in his rule their rule, Adolf Hitler (1889-1945; Führer (leader), German head of government 1933-1945 & head of state 1934-1945) decreed that “German Black Letter” should be used for all official purposes (and it was used in the cover art of most early editions of Mein Kampf); Hitler, who to the end thought himself an “artist”, liked the heavy, angular form for its encapsulation of the Germanic.  Fraktur is probably the best known of these although it’s but one of a number of variations of the typeface and such was the extend of the state support for the font that the party was critical of newspapers, publishers & magazines which used more modern (and easier to read) forms (and they were used by the German military and civil service when legibility was important), a frequent criticism being the “Roman characters” somehow represented a “Jewish influence”.  In one of the ironies of history however, when it became apparent that when used in letters and notices distributed to enforce rule in the occupied territories the use of the font was counter-productive because it was so hard to read, the Nazis suddenly declared that Fraktur had become contaminated wand was thus proscribed as Judenlettern (Jewish letters), official documents thereafter rendered in modern Roman type.  Martin Bormann's edict was issued thus:

I announce the following, by order of the Führer:

It is false to regard the so-called Gothic typeface as a German typeface. In reality, the so-called Gothic typeface consists of Schwabacher-Jewish letters. Just as they later came to own the newspapers, the Jews living in Germany also owned the printing presses… and thus came about the common use in Germany of Schwabacher-Jewish letters.

Today the Führer… decided that Antiqua type is to be regarded as the standard typeface. Over time, all printed matter should be converted to this standard typeface. This will occur as soon as possible in regard to school textbooks, only the standard script will be taught in village and primary schools. The use of Schwabacher-Jewish letters by authorities will in future cease. Certificates of appointment for officials, street signs and the like will in future only be produced in standard lettering…

In the post war years, fonts (the word had come by them to be used generically of typefaces except by printers) reflected the mood of the times and in the unexpectedly buoyant years of the 1950s there emerged in West Germany (the FRG) “Optima”, (1958) intended to convey the optimism engendered by the Wirtschaftswunder (the economic miracle) while in France, “Univers” (1957), the product of a Swiss designer, was in a similar vein and intended to be suitable for all purposes in all languages.  Doubtlessly though, no font compares with the Swiss "Helvetica" (1957) which, by virtue of its elegance, simplicity & adaptability, quickly enjoyed a popularity which endures to this day and it remains the only font which has been the subject of a full-length feature film.  It spawned a number of imitators, especially after it was included in Adobe’s PostScript set, the best known of which is probably the ubiquitous Arial (1982).  The optimism of the 1950s is long gone although Optima remains available and names still reflect something of the concerns of their era: “Exocet” (1981), “Stealth” (1983) and “Patriot” (1986) all part of the late Cold War Zeitgeist.  Fonts can also reflect environment concerns and there are now some which no longer use solid forms, instead being made of lines, thereby reducing the consumption of ink or toner by up to 12%.  The trick isn’t detectable by the naked eye and is actually not new, “outline” typefaces long available although in those the technique was designed to be apparent and there were limitations in their application; below a certain size they tended to fragment.

More great moments in fonts.

During the Covid-19 pandemic when we were all spend much time in a form of house arrest, the font download sites all noted a spike in demand for script-like fonts, especially those which most resembled handwriting (and it is possible to have one’s own handwriting rendered as a font), the demand presumed to be induced by a longing for a way to express feelings in a more “human” way than the default serif and san serif sets which ship with email and messenger services.  That over arching binary (serif & san serif) has also attracted criticism because humanity’s most obvious binary (male & female) in now under siege as a form of oppression so binaries in general seem no longer fashionable.  With fonts, the most obvious micro-aggression is the way fonts are often categorized as “masculine” (Arial; Verdana etc) and “feminine” (Brush Script; Comic Sans (maybe in fuchsia) etc) and though the relevant characteristics can’t exactly be defined (except for the fuchsia), the differences probably can be recognized although that of course is a product of the prejudices and suppositions of the observer.  Presumably, if offered a third category (gender-neutral), a sample group would put some fonts in there but even that would seem based on the prejudices and suppositions constructed by the original binary.  The mechanics (as opposed to the content) of typology is one of the less expected theatres of the culture wars.

Verzoening, Geffen, the Netherlands.

The simultaneously derided yet still popular font Comic Sans (1984) has been more controversial than most.  The design was intended to recall the sort of writing which appeared in the speech bubbles of cartoons and it first came to wide public attention in 1995 when it was used in Microsoft Bob, the software which was an attempt to use a cartoon-like interface to make navigating Windows 95 easier for neophytes.  Even less popular than Windows Me, Windows Vista or DOS 4.0, Bob was allowed quietly to die but Comic Sans survived and found a niche, much to the disgust of some in major corporations who banned its use, demanding the staff use only “dignified” or “serious” (presumably masculine) fonts rather than something from a comic book.  Unfortunately, this news appeared not to reach whoever it was in the Netherlands who in 2012 approved the use of Comic Sans on the World War II memorial Verzoening (Reconciliation) erected in the town of Geffen.  That attracted much criticism but not as much as the decision to have the names of Jewish, Allied and German military deaths all to be etched (in Comic Sans) on the same stone.  After it was pointed out that reconciliation with the SS was not a national sentiment, the offending names were removed although for the rest, Comic Sans remained, albeit modified by the stonemasons so the text was rendered thicker, the local authorities justifying the retention on the grounds the shape of the text was in accord with the stone (it’s difficult to see the connection) and easily legible at a distance (certainly true).  It may be the only monument in the world, dedicated to the dead, which uses Comic Sans.

Crooked Hillary Clinton updating her Burn Book which, during the primary campaign for the Democrat Party nomination for the 2016 presidential election, probably would have been referred to internally as her "Bern Book" because it would have been so filled with tactics designed to sabotage the campaign of Bernie Sanders (b 1941; senior US senator (Independent, Vermont) since 2007) (digitally altered image).  In Mean Girls (2004), the Burn Book's cover used the "ransom note" technique which involved physically cutting letters from newspapers & magazines and pasting them onto a page, a trick of the pre-DNA analysis age which left no identifiable handwriting.  There are a number of "ransom" fonts which emulate the appearance in software.

Politicians do maintain burn books although few are much discussed.  Richard Nixon's (1913-1994; US president 1969-1974) "enemies list" became famous in 1973 when it emerged during congressional hearings enquiring into the Watergate break-in and that such a list existed surprised few although some did expect it to contain more names than the twenty included; it was common knowledge Nixon had many more enemies than that.  That view was vindicated when later lists were revealed (some containing hundreds of names) though had the net been cast a little wider, it could well have run to thousands.

At least one Eurocrat has also admitted to keeping a burn book although Jean-Claude Juncker (b 1954; president of the European Commission 2014-2019) calls his "little black book" Le Petit Maurice (little Maurice), the name apparently a reference to a contemporary from his school days who grew taller than the youthful Jean-Claude and seldom neglected to mention it.  Although maintained for some thirty years (including the eighteen spent as prime-minister of Luxembourg) to record the identities of those who crossed him, Mr Junker noted with some satisfaction it wasn't all that full because people “rarely betray me”, adding “I am not vengeful, but I have a good memory.”   It seems his warning “Be careful.  Little Maurice is waiting for you” was sufficient to ward of the betrayal and low skulduggery for which the corridors of EU institutions are renowned.

Credo

Credo (pronounced kree-doh or krey-doh)

(1) The Apostles' Creed or the Nicene Creed (often initial capital letter).

(2) A musical setting of the creed, usually of the Nicene Creed (often initial capital letter).

(3) Any creed or formula of belief; doctrine, tenet, philosophy.

(4) Any formal or authorized statement of beliefs, principles, or opinions

1150–1200: From the Middle English credo (the Creed in the Church service), from the Latin crēdō (the first person singular present indicative of credere (to believe" (literally "I believe")), the first word of the Apostles' and Nicene Creeds in Latin (Credo in Deum Patrem omnipotentem, Creatorem caeli et terrae).  The Latin crēdō was from the Proto-Italic krezdō, from the primitive Indo-European compound kerd-dhe (literally "to place one's heart" (ie to trust, believe)), a compound phrase of oblique case form of ḱḗr (heart), also the root of the Latin cor- & deh- (to put, place, set) and the Latin faciō).  It was cognate with the Welsh credu (I believe), the Sanskrit श्रद्दधाति (śrad-dhā) (to trust, believe; faith, confidence, devotion) and the Old Irish creitid (believes (verb)).  In English the form was soon nativized as creed while the general sense of a "formula or statement of belief" emerged in the late sixteenth century.  One of the more quoted phrases from the epic poem The Aeneid (29-19 BC) by the Roman poet Virgil (Publius Vergilius Maro (70–19 BC)) was experto crede ("take it from one who knows"), the construct the dative singular of expertus + the imperative singular of credere (to believe).  Credo is a noun; the noun plural is credos.

Intended as a basic, succinct statement of the faith, the Apostles’ Creed was structured according to the fundamental belief in the Trinity and the function particular to each of the three Persons:  The Father & creation; the Son & redemption; and the Holy Spirit & sanctification.  It was relatively short and simple, able to be memorized and recited even by the illiterate, an important tradition in times of persecution when it was part of the disciplina arcana (discipline of the secret) to be remembered and passed on orally as a protection against attack.

The Nicene Creed was produced by the Council of Nicea I (325) which was convoked to combat the heresy of Arius (who denied the divinity of Christ).  The Council wished firmly to confirm Christ was consubstantial (one in being) with God, sharing the same divine nature; begotten, not made or created; and that Mary conceived by the power of the Holy Spirit, and through her, Jesus Christ, true God, became also true man. 

Later, at the Council of Constantinople (381), the Church again not only affirmed its condemnation of Arianism but also of the Pneumatomachi (killers of the Spirit) who not only denied the divinity of Jesus but also the divinity of the Holy Spirit.  Thus the creed was expanded to clearly define the divinity of the Holy Spirit, adapting the text written in 374 by Saint Epiphanius of Salamis (circa 310-403).  This creed, officially entitled the Nicene-Constantinopolitan Symbol, was introduced into the Mass circa 500.

Lindsay Lohan's daily skincare credo, the meaning enhanced in the modern way with emojis.