Anagoge

Anagoge (pronounced an-uh-goh-jee)

(1) The spiritual or mystical interpretation of a word or passage beyond the literal, allegorical or moral sense (especially in Biblical criticism); A form of allegorical interpretation of Scripture that seeks hidden meanings regarding the future life.

(2) A spiritual interpretation or application of words (following the tradition with the Scriptures.

(3) In psychology, deriving from, pertaining to, or reflecting the moral or idealistic striving of the unconscious.

(4) The mystical interpretation or hidden sense of words.

1350-1400: From the Middle English anagoge, from the Late Latin anagōgē, from the Medieval Latin anagōgia & anagogicus from the Ancient Greek ἀναγωγή (anagōgḗ) (elevation; an uplifting; spiritual or mystical enlightenment), the construct being an- (up) + agōgḗ (feminine of agōgós) (leading), from anagein (to lead up, lift up), the construct being ana- (up) + agein (to lead, put in motion) from the primitive Indo-European root ag- (to drive, draw out or forth, move).  In theology, the adjective anagogical was from the early sixteenth century the more commonly used form, explaining the ways in which passages from Scripture had a “secondary, spiritual sense”.  The idea of a “spiritual, hidden, allegorical or mystical meaning” spread to literature and other fields where it operates as a special form of allegorical interpretation.  The alternative spelling is anagogy.  Anagoge is a noun, anagogic & anagogical are adjectives and anagogically is an adverb; the noun plural is anagoges.

Portrait of Percy Bysshe Shelley at the Baths of Caracalla, depicted writing Prometheus Unbound, oil on canvas, painted posthumously Joseph Severn (1793–1879), Rome, Italy, 1845.

In literary analysis, there does seem a fondness for classifying methods into groups of fours.  Thomas Love Peacock (1785–1866) was an English novelist and poet but despite a background in literature and little else, through family connections he was in 1819 appointed an administrator in the East India Company (which “sort of” ran British India in the years before the Raj).  It was an example of the tradition of “amateurism” much admired by the British establishment, something which didn’t survive the harsher economic realities of the late twentieth century although some still affect the style.  Despite being untrained in such matters, his career with the company was long and successful so he must have had a flair for the business although his duties were not so onerous as to preclude him from continuing to write both original compositions and works of literary analysis.  In 1820 he published Four Ages of Poetry which was regarded as a “provocative” and although a serious critique, the tone was whimsical, poetry classified into four periods: iron, gold, silver & brass.  His friend Percy Bysshe Shelley (1792–1822) understood the satire but seems to have been appalled anyone would treat his art with such flippancy, quickly penning the retaliatory essay Defence of Poetry although the text was unfinished and remained unpublished until 1840, almost two decades after his death.  It’s remembered now for its final sentence: “Poets are the unacknowledged legislators of the world.”  With that, the few thousand souls on the planet who buy (and presumably read) poetry collections might concur but for the many more who can’t tell the difference between a masterpiece and trite doggerel, it may sound either a conceit or a threat.

Peacock not treating poets and their oeuvre which what they believed was due reverence left a mark and while Shelly died before he could finish his reply, more than a century later the English poet & academic literary I.A. Richards (1893–1979) in Science and Poetry (1926) still was moved to defend the poetic turf.  Although approvingly quoting the words of English poet (and what would now be called a “social commentator”) Matthew Arnold (1822–1888): “The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay.  There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve.  Our religion has materialized itself in the fact, in the supposed fact; it has attached its emotion to the fact, and now the fact is failing it.  But for poetry the idea is everything.”, he nevertheless admitted “Extraordinary claims have often been made for poetry…”  Tellingly too, he acknowledged those claims elicited from many “astonishment” and the “more representative modern view” of the future of poetry would be that it’s “nil”.  Modern readers could decide for themselves whether that was as bleak as Peacock’s conclusion: “A poet in our times is a semi-barbarian in a civilized community.  He lives in the days that are past... In whatever degree poetry is cultivated, it must necessarily be to the neglect of some branch of useful study and it is a lamentable thing to see minds, capable of better things, tunning to seed in the spacious indolence of these empty aimless mockeries of intellectual exertion.”  Take that poets.

Peacock's second novel was the Regency-era three volume novel Melincourt (1817).  It was an ambitious work which explored issues as diverse as slavery, aspects of democracy and potential for currency destabilization inherent in the issue of paper money.  Another theme was the matter of differentiating between human beings and other animals, a central character being Sir Oran Haut-ton, an exquisitely mannered, musically gifted orangutan standing for election to the House of Commons.  The idea was thus of “an animal mimicking humanity” and the troubled English mathematician Dr Alan Turing (1912–1954) read Melincourt in 1948, some twelve months before he published a paper which included his “imitation game” (which came to be called the “Turing test”).  Turing was interested in “a machine mimicking humanity” and what the test involved was a subject reading the transcript of a natural-language conversation between a human and a machine, the object being to guess which interlocutor was the machine.  The test was for decades an element in AI (artificial intelligence) research and work on “natural language” computer interfaces but the field became a bit of a minefield because it was so littered with words like “feelings”, learning”, “thinking” and “consciousness”, the implications of which saw many a tangent followed.  Of course, by the 2020s the allegation bots like ChatGPT and character.ai have been suggesting their interlocutors commit suicide means it may be assumed that, at least for some subjects, the machine may have assumed a convincing human-like demeanour.  The next great step will be in the matter of thinking, feelings and consciousness when bio-computers are ready to be tested.  Bio-computers are speculative hybrids which combine what digital hardware is good at (storage, retrieval, computation etc) with a biological unit emulating a brain (good at thinking, imagining and, maybe, attaining self-awareness and thus consciousness).

Westminster Bridge And Abbey (1813), oil on canvas by William Daniell (1769–1837).

There’s more than one way to read Richards and it may be tacitly he accepted poetry had become something which would be enjoyed by an elite while others could spend their lives in ignorance of its charms, citing the sonnet Composed upon Westminster Bridge, September 3, 1802 by William Wordsworth (1770–1850) as an experience for “the right kind of reader”.  So there it is: those who don’t enjoy poetry are the “wrong” kind of reader so to help the “right kind of reader”, Richards also came up with a foursome.  In Practical Criticism (1929) he listed the “four different meanings in a poem”: (1) the sense (what actually is said, (2) feeling (the writer's emotional attitude to what they have written), (3) tone (the writer's attitude towards their reader and (4) intention (the writer's purpose, the effect they seek to achieve).

A vision from Dante's Inferno: The Fifth Circle (1587) by Stradanus (1523-1605)), depicting Virgil and Dante on the River Styx in the fifth circle of Hell where the wrathful are for eternity condemned to splash around on the surface, fighting each other.  Helping the pair cross is the infernal ferryman Phlegyas.  Stradanus was one of the many names under which the Flemish artist Jan van der Straet painted, the others including Giovanni della Strada, Johannes della Strada, Giovanni Stradano, Johannes Stradano, Giovanni Stradanus, Johannes Stradanus, Jan van Straeten & Jan van Straten.

In literary theory, anagoge is one the classic “four levels of meaning” and while there is no consensus about the origins of the four, it’s clear there was an awareness of them manifest in the Middle Ages.  It was Dante (Dante Alighieri (circa 1265–1321)) in his Epistola a Cangrande (Epistle XIII to Cangrande della Scala (described usually as Epistle to Cangrande)) who most clearly explained the operation of the four.  Written in Latin sometime before 1343, the epistle was the author’s letter to his patron Cangrande della Scala (1291–1329), an Italian aristocrat and scion of the family which ruled Verona between 1308-1387; it was a kind of executive summary of the Divina Commedia (Divine Comedy (circa 1310-1321)) and an exposition of its structure.  Dante suggested the work could be analysed in four ways which he distinguished as (1) the literal or historical meaning, (2) the moral meaning, and (3) the allegorical meaning and (4) the anagogical.

Among scholars of Dante the epistle is controversial, not for the content but the matter of authenticity, not all agreeing it was the author who wrote the text, the academic factions dividing thus: (1) Dante wrote it all, (2) Dante wrote none of it and (3) Dante wrote the dedication to his patron but the rest of the text is from the hand of another and it’s left open whether that content reflected the thoughts of Dante as expressed to the mysterious scribe or it was wholly the creation of the “forger”.  Even AI (artificial intelligence) tools have been used (a textual analysis of the epistle, Divine Comedy and other material verified to have been written by Dante) and while the process produced a “probability index”, the findings seemed not to shift factional alignments.  Dante’s authorship is of course interesting but the historical significance of the “four levels of meaning” concept endures in literary theory regardless of the source.

First edition of The Pilgrim's Progress (1678) by John Bunyan (1628–1688).

So the critics agreed the anagogical meaning of a text was its spiritual, hidden, or mystical meaning so anagoge (or anagogy) was a special form of allegorical interpretation.  Whether it should be thought a subset or fork of allegory did in the eighteenth and nineteenth centuries trouble some who argued the anagogue was a wholly separate layer of meaning if the subject was biblical or otherwise religious but merely a type of allegorical interpretation if applied to something secular; that’s a debate unlikely to be staged now.  However, given the apparent overlap between anagogical and allegorical, just which should be used may seem baffling, especially if the work to which the concept is being applied has a religious flavor.  There is in the Bible much allegory (something which seems sometimes lost on the latter-day literalists among the US Republican Party’s religious right-wing) but only some can be said truly to be anagogic and although the distinction can at the margins become blurred, that’s true also of other devotional literature.  The distinction is more easily observed of less abstract constructions such John Bunyan in The Pilgrim's Progress calling his protagonist “Christian”, the choice not merely a name but symbolic of the Christian soul’s journey to salvation, hinted at by the book’s full title being The Pilgrim's Progress from This World, to That Which Is to Come.  For something to be judged anagogical, the text needs to look beyond the literal and moral senses to its ultimate, transcendent, or eschatological significance, illustrated by applying the four-fold technique (literal, moral, allegorical & anagogical) to the biblical description of Jerusalem which deconstructs as: (1) Literal (the actual physical city in history), (2) Allegorical (the Church), (3) Moral (the soul striving to find a path to God and (4) Anagogical (the heavenly Jerusalem, the final destiny of those humanity who kept the faith).  The point of the anagoge was thus one of ultimate destiny or divine fulfilment: heaven, salvation, forgiveness and eternal life.

That does not however mean the anagogical is of necessity teleological.  Teleology was from the New Latin teleologia a construct from the Ancient Greek τέλος (télos) (purpose; end, goal, result) genitive τέλεος (téleos) (end; entire, perfect, complete) + λόγος (lógos) (word, speech, discourse).  In philosophy, it was the study of final causes; the doctrine that final causes exist; the belief that certain phenomena are best explained in terms of purpose rather than cause (a moral theory that maintains that the rightness or wrongness of actions solely depends on their consequences is called a teleological theory).  The implications which could be found in that attracted those in fields as diverse as botany & zoology (interested in the idea purpose is a part of or is apparent in nature) and creationists (anxious to find evidence of design or purpose in nature and especially prevalent in the cult of ID (intelligent design), a doctrine which hold there is evidence of purpose or design in the universe and especially that this provides proof of the existence of a designer (ie how to refer to God without using the “G-word”)).  Rationalists (and even some who were somewhere on the nihilism spectrum) accepted the way the phrase was used in philosophy & biology but thought the rest weird.  It was fine to accept Aristotle’s (384-322 BC) point the eye exists for the purpose of allowing creatures to see or that it’s reasonable to build a theory like utilitarianism which judges actions by the outcomes or goals achieved but to suggest what is life of earth is an end, purpose, or goal which can be explained only as the work of a “creator” was ultimately just “making stuff up”.  So to reductionists (1) the allegorical was “means something else”, (2) the anagogical was “points upward to our ultimate spiritual destiny” and (3) the teleological was “explained by its end or purpose”.

Anagoge (pronounced an-uh-goh-jee) should not be confused with Anna Gogo (pronounced an-uh-goh-goh, left), a chartered engineer at Red Earth Engineering or Anna Go-Go (pronounced an-uh-goh-goh, right), persona of the proprietor of Anna's Go-Go Academy (a go-go dancing school).  Ms Go-Go is also a self-described “crazy cat lady” and the author of Cat Lady Manifesto (2024); she is believed to be high on J.D. Vance’s (b 1984; US vice president since 2025) enemies list.  Note the armchair's doilies, a cat lady favorite.

Anna & Gogomobil TS 250.

There is also Anna's Gogo which is "Anna explaining the Goggomobil TS 250 Coupé” (in Russian).  The TS 250 was a version of the Goggomobil two-door sedan, one of the many “microcars” that emerged in post-war Europe.  First displayed in 1954 by Bavaria-based Hans Glas GmbH of Dingolfing, the Goggomobil T 250 sedan was about as conventional in appearance as microcars got and its configuration (RWD (rear-wheel-drive) with a rear-mounted 245 cm³, air-cooled parallel twin engine) was not unusual, the economy of production made possible by adapting for four (sometime three) wheeled use mechanical components from motor-cycles.  Although rising prosperity, increased average road-speeds and safety concerns ultimately doomed the sector (in its original form although it survived in an urban niche and there’s been something of a modern revival), more than 200,000 of the little sedans (some with displacements a large as 392 cm³ which can be thought of (loosely) as the “muscle car” or “big block” version) manufactured, production finally ending in 1969.

Glas publictity shot for 1955 Gogomobil T 250 (left) and 1957 Googlemobile TS 250 Coupé (right).

The TS coupé appeared three years after the sedan and used the formula which for more than a century has proved profitable for the industry: Take the platform of a prosaic, mass-market car and drape atop a “more stylish and sporty” body, sometimes with (a little) more power and always a higher price.  The approach was in 1964 exemplified by the original Ford Mustang but the TS 250 was unusual in that to achieve the desired style, the coupé was actually longer than the sedan (3,035 mm (119.5 inches) vs 2,900 mm (114.2 inches) but describing the accommodation as “2+2” was more accurate to modern eyes than the “full four-seater” claim attached to the sedan although, in the era, it wasn’t unusual for families of five or more to be crammed inside.  Like the sedans, the coupés were offered in “muscle car spec” and on the Autobahns, if given long enough and without too many aboard, over 100 km/h (60 mph) was possible.

1959 Gogomobil Dart.

The platform also provided the underpinnings for the quirkiest of the breed, the Goggomobil Dart a fibreglass-bodied “microcar roadster” developed in Australia, with what seems now a remarkable 700-odd sold between 1959 to 1961.  Even when using the “big 392” (not to be confused with the 392 cubic inch (6.4 litre) Chrysler Hemi V8 which in the US had just ended production), it wasn’t “fast” but, weighing only 345 kg (761 lb), with a small frontal area and what was at the time industry-leading aerodynamic efficiency, it was lively enough in urban use and, on short circuits, some even appeared in competition.  The slippery lines however, while adding a little to top speed, hadn't benefited from wind-tunnel testing to ensure downforce was sufficient for high speed stability and even at around the 70 mph (110 km/h) the specially tuned versions could reach on race tracks, the drivers reported "front-end lift" and unpredictable directional stability.  All things considered, it was probably just as well the factory stopped at 392 cm³.  

Gogo Anime.

GogoAnime is an online streaming site for anime and related TV content (the distinction between the genres escapes most but it's well-established so must be real) which maintains a large library of anime content “ranging from classic titles to the latest releases” and for international audiences offers both “dubbed” (voice in various languages) and “subbed” (on-screen sub-titles in various languages) versions although there's a sub-set of “hard-core” aficionados for whom that will mean little because they know the best way to watch anime is with the sound muted.  Reviewers of GogoAnime praise its “intuitive and user-friendly interface” which makes streaming an effortless experience and it does appear the more disturbing anime content (much of which is available on physical media “off the shelf” in Japanese convenience stores) isn’t hosted.  The lawfulness of GogoAnime offering “free streaming” of commercially released product seems murky so gogo-scrapers should probably stream while they still can.

Although long in the toolbox of theologians & Biblical scholars, anagogical analysis became an element for critics of poetry and, as the post-modernists taught us, everything is text so it can be applied to anything.  One case-study popular in teaching was George Orwell’s (1903-1950) Animal Farm (1945) and that’s because there’s a interesting C&C (compare & contrast) exercise in working out the anagoge first in Orwell’s original book and then in the film versions distributed in post-war Europe, the fun in that being the film rights were purchased by the US CIA (Central Intelligence Agency) which prevailed upon the makers to alter the ending so the capitalist class didn’t look so bad.  By conventional four-way analysis, Animal Farm traditionally is broken down as (1) Literal meaning: A tale of the revolt of the animals against their human overlords, and the outcome of that revolt, (2) Moral meaning: Power tends to corrupt'; (c) Allegorical meaning: Major=comrade Lenin; Napoleon=comrade Stalin; Snowball=Comrade Trotsky; Jones=corrupt capitalist owners of the means of production & distribution.

The Canyons, Cinema Poster.

Although theologians and literary critics alike prefer to apply their analytical skills to material densely packed with obscure meanings and passages impenetrable to most, their techniques yield results with just about any text, even something as deliberately flat and affectless like The Canyons (Paul Schrader’s (b 1946) film of 2013 with a screenplay by Bret Easton Ellis (b 1964)) one intriguing aspect of which was naming a central character “Christian” although unlike Bunyan’s (1628–1688) worthy protagonist seeking salvation in The Pilgrim's Progress, Ellis’s creation was an opportunistic, nihilistic, manipulative sociopath.  The author seems never to have discussed any link between the two Christians, one on a path to salvation, the other mid-descent into a life of drugs, sex, and violence.  It may be it was just too mischievously tempting to borrow the name of one of Christendom’s exemplars of redemption and use it for so figure so totally amoral and certainly it was a fit with the writer’s bleak view of Hollywood.  Structurally, the parallels were striking, Bunyan’s Christian trekking from the City of Destruction to Celestial City whereas Ellis has his character not seeking salvation but remaining in Hollywood on his own path of destruction, affecting both those around him and ultimately him too.  In interviews, Ellis said he chose the name after reading the E. L. James (b 1963) novel Fifty Shades of Grey (2011) in which Christian Grey was a central character and The Canyons does share more contemporary cultural touch-points with the novel than with Bunyan’s work.

A Lindsay Lohan GIF from The Canyons.

(1) Literal or Historical Meaning (a trust-fund movie producer exercises control over his girlfriend while being entangled in transactional and destructive relationships with others in a decadent Hollywood; (2) Moral Meaning: Christian’s controlling, voyeuristic cruelty and his girlfriend’s compromises illustrate the corrosion of moral agency induced by narcissism and a superficial, consumerist culture); (3) Allegorical Meaning (The Canyons is built as a microcosm of what Hollywood is imagined to be, Christian representing the ruthless producer; Tara the girlfriend as the powerless talent unable to escape from a web of exploitation and other characters as collateral damage.  The shuttered cinemas in inter-cut shots serve as allegory for the death of cinema, replaced by shallow, formulaic “product”; the film ultimately less about the two-dimensional characters than the descent of a culture to a moral wasteland and (4) Anagogical Meaning (The film is an eschatology of cultural decay; art corrupted by money, leaving something alive but spiritually dead, something which some choose to map onto late-stage capitalism sustained by atomized, voyeuristic consumption with human life cast adrift from moral responsibility or even its recognition).  Of course for moral theologians accustomed to dancing on the heads of pins, an anagogical viewing of The Canyons might allow one to see some hint of something redemptive and the more optimistic might imagine it as a kind of warning of what may be rather than what is, encouraging us to resist in the hope of transcendence.  That’s quite a hope for a place depicted as owing something to what’s found in Dante’s nine circles.

Swastika

Swastika (pronounced swos-ti-kuh (Germanic) or swas-ti-kuh (English-speaking world)).

(1) A figure used as a symbol or an ornament in the Old World and in America since prehistoric times, consisting of a cross with arms of equal length, each arm having a continuation at right angles.

(2) The official emblem of the Nationalsozialistische Deutsche Arbeiterpartei (The NSDAP, the National Socialist German Workers' Party better known as the Nazi Party (1920-1945)) and (after 1935) the German state (Third Reich).

1850–1855: From the Sanskrit स्वस्तिक (svastika), from svasti (prosperity), the construct being सु- (su-) (good, well (cognate with Greek eu-) + अस्ति (asti) (that being as- (be) + -ti- (the abstract noun suffix)) + क (ka) (the diminutive suffix), hence "little thing associated with well-being", best understood in modern use as “a lucky charm".  It was first attested in English in 1871, a Sanskritism which replaced the Grecian gammadion.  After adoption in the early 1920s by the German National Socialist Workers’ Party (the Nazis), swastika was increasingly used to refer to the visually similar hooked cross which in German was the Hakenkreuz (literally "hook-cross"), English use first noted in 1932.  The su- element is from the primitive Indo-European (e)su- (good), a suffixed form of the root es- ("to be”); the asti element is from the same root.  It was known in Byzantium as the gammadion and in medieval heraldry as the cross cramponnee, Thor's hammer, and (although this is contested), the fylfot, a similar shape though most usually rendered in mirror image to the swastika.  Swastika is a noun (the rare adjective swastikaed is non-standard); the noun plural is swastikas.

Crate label advertising, Swastika brand fruit, L.V.W. Brown Estate, Riverside, California, 1930s.

For thousands of years, the swastika was used by almost every culture as a symbol of good fortune before, in the Western world, becoming synonymous the Nazis and thus a byword for racism and barbarism.  Translated literally as "well-being" in the ancient Indian language of Sanskrit and for millennia shared between Hindus, Buddhists and Jains, it was the positive connotations associated with the shape, as well as its pleasing, adaptive geometry which inspired the early Western travelers visiting Asia to bring it home, examples found in the archaeological record of the Ancient Greeks, Celts, and Anglo-Saxons, some of the oldest examples in eastern Europe, stretching from the Baltic to the Balkans.  In the 1800s it became a popular shape among jewelry designers and by the turn of the twentieth century there was quite a fad for it among graphic designers who applied it from everything from tiled floors, fabrics, architectural motifs and advertising.  Carlsberg and Coca-Cola both used it on their bottles and Swastika was the title of the magazine of the Girls' Club of America, the young ladies being awarded swastika badges to wear as a prize for selling copies.  In one especially interesting example of timing and placement, some war planes of both the Aeronautical Division of the US Signal Corps (predecessor of USSAF & USAF) and the UK’s Royal Air Force (RAF) were adorned with swastikas, beginning in the 1920s.  Use declined, obviously, during the 1930s but there’s evidence the symbol was used as late as 1939.  The Finnish Air Force adopted it in 1918, discretely painting over the last examples in 1945 but the symbol continues to be used by some squadrons and on decorations.

Dirty laundry: Darty Laundry electric delivery van, rendered by Raidió Teilifís Éireann, (RTE, Radio & Television of Ireland, the Irish public service broadcaster) in “Swastika Laundry” livery for the television series Caught in a Free State (1983) a four-part drama about German spies in neutral Ireland during World War II (1939-1945), an event known in Ireland as “The Emergency”.  As late as the 1970s there were at least 600 electric delivery vehicles on the streets of Dublin alone, their numbers declining as private ownership of cars, washing machines, refrigerators and such increased.  In the UK, when milk was still every day delivered to houses, some 85% of deliveries were made by electric vehicles.

Anwar Sadat (1918–1981; president of Egypt 1970-1981, left) and Israeli foreign minister (and former IDF (Israeli Defence Force) general) Moshe Dayan (1915-1981, right), King David Hotel, Jerusalem, 19 November 1977.

It was the first visit to Israel by an Egyptian president and although the visit was successful, the “swastika” tie he on one occasion wore attracted comment.  During the visit he also chose neckwear in stripes and polka-dots so there were mixed messages but in Washington DC, on 26 March 1979, some 16 months after the visit and following the 1978 Camp David Accords, the Egypt–Israel treaty was signed, providing for mutual recognition and a cessation of the state of war that had existed since the 1948 Arab–Israeli War.  Maybe, sometimes a tie is just a tie.

Playing cards, New, York, 1920s.

The Nazi’s use of the swastika is another example of the quasi-scientific links they claimed existed between Germans and ancient civilizations.  Nineteenth century German scholars translating old Indian texts had notice the structural similarities between their language and Sanskrit; their conclusions were equivocal but the some among the Nazis concluded this was proof of a shared ancestry with a race of white warriors they called Aryans.  Even at the time, the linguists and anthropologists were appalled at the misappropriation of their work; their findings had been about the structure of language and nothing more.  The Nazis however grasped at straws wherever they fell.  Single swastikas began to appear in the Neolithic Vinca culture across south-eastern Europe around some 7,000 years ago and during the Bronze Age were widespread across the continent but, when clay pots embossed with swastikas dating from circa 2000 BC were looted after the occupation of Kiev in WWII and were exhibited in Berlin as evidence of a shared Aryan ancestry.  Displays of the swastika have been banned in Germany since the end of the war but attempts to extend the ban EU-wide have never succeeded.

A K-R-I-T bus in New York City, taking a jury to luncheon, October 1912.  The matter on which the jury sat was a police corruption trial, the murder of Herman Rosenthal (1874–1912) who ran several small casinos which were subject to raids by the police who, in exchange for “protection money” (claimed to be 20% of the day’s take) allowed them illegally to operate, the money spread among police, Tammany Hall (headquarters of the Democratic Party machine) and some corrupt politicians (in NYC at the time, something of a tautology),  New York Police Department (NYPD) Lieutenant Charles Becker (1870–1915) and four members of the Lenox Avenue Gang ultimately were convicted of murder and “got the chair”, the executions carried out in 1915 in Sing Sing Prison’s death chamber.

US Army Air Corps Boeing P12 (F4B) (1929-1942), circa 1964 (left) and the flying jacket of a US Army observer, 45th Infantry Division, circa 1939 (right).  Obviously the swastika livery didn't endure but it wasn't the end of the symbol appearing on US and British warplanes, small versions of the symbol often stencilled onto the fuselage to indicate the count of a pilot's "kills".

Finnish Air Force Morane-Saulnier M.S.406 fighters, Latva Airfield, East Karelia, 9 September, 1943.

The Finnish Air Force introduced the blue swastika in 1918; it was known as the hakaristi, the construct being haka (hook) +‎ risti (cross).  The Morane-Saulnier M.S.406 was a French fighter, based on an airframe which first flew in 1935 and it was only marginally improved by 1938 when the pre-production models first flew.  Like some other aircraft in what was a transitional period, the construction was a mix of old and new, the rear steel-tube frame fabric-covered in the conventional manner but the remainder had a skin of plymax, (a plywood veneer bonded to light alloy).  Under-powered and lacking firepower, it was hardly state of the art but was valuable export for the French industry, two sent to Switzerland to be used as templates for local production and 30 to Turkey while 160 had been sold to Poland but the timing was unfortunate because they were in the process of delivery when the German invasion began in 1939.  Just before the fall of France, 30 had been dispatched to Finland and the Germans would later augment this with a further batch of 57 confiscated from the Armée de l-Air (the French Air Force), distributing others to Croatia and Italy.  As the combat record in the Battle of France suggests (400 losses for 175 kills), the M.S.406 was outclassed by more capable German designs and in the conflicts with the Soviet Union (1939-1940 & 1941-1944) Finnish pilots found then agile but under-powered as well as unreliable as a gun platform, instability noted when firing and the weapons of dubious reliability.  The solution for the lack of power was typical of the improvisations often adopted during war-time: re-fitting the sturdy airframe with the more powerful Soviet Klimov M-105 or M-103 engines, both in plentiful supply from crashed enemy aircraft and stocks captured by the Germans during the early successes in the invasion of Russia in 1941.  A typical Soviet rip-off, the Klimovs were improved versions of the Hispano-Suzia 12Y-31 V12 used in the M.S.406 and were thus able to be re-purposed with relatively little effort.  The change transformed the Finnish fighters, giving them a performance second only to the Messerschmitt BF-109s also in the fleet.

Years before there was a Nazi Party, the trademark of the short-lived (1909-1916), Detroit-based motor car company K-R-I-T (derived from Kenneth Crittenden (1889-1972) who provided financial backing and contributed to the design) was the swastika.  K-R-I-T (the name was simplified to Krit after 1912) was one of some 2000 concerns which entered the US motor industry during the first two decades of the twentieth century but the ancient symbol of good fortune, chosen “to ensure favor of auspicious gods” failed the export-dependent company and World War I (1914-1918) proved the final nail in the coffin.  That Mr Crittenden was born in the same year as Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) is one of history's many coincidences and he went on to a long career in the industry, in 1928 joining Chrysler where he remained until his retirement in the mid-1960s.

1912 K-R-I-T Model A Roadster.  From the automotive “brass era”, its fittings included a firewall mounted Solar acetylene spotlight, twin Solar acetylene headlight, E&J kerosene sidelights, tufted black leather upholstery, wood spoke wheels with 30 x 3½ inch tires and a cylindrical bolster fuel tank.

Krit’s business model was one which for more than a century has lured major manufacturers, independents and start-ups when came and went: “the modestly priced, full-featured automobile”.  Such a product obviously has huge market appeal and thus the possibility of achieving compelling economies of scale but it also attracts players so the sector tends to become crowded, accounting for a hundred-odd years of industrial churn.  Depending on the configuration, the K-R-I-T Model A was advertised between US$800-1000, just a little more expensive than Henry Ford’s (1863-1947) Model T (1908-1927) but offered more power from an engine almost identical in specification (177 cubic inch, L-head, in-line four-cylinder) and a three-speed sliding gear transmission, easier to use and affording greater flexibility than the Ford’s two-speed planetary gearbox.  Unfortunately for Krit, demand in its most receptive and lucrative domestic market fell precipitously after widespread crop-failure in the US west in 1913 and the outbreak of war in Europe some months later killed demand there; Europe had absorbed more than 80% of of the company’s export business.  Production ceased in 1915 and after for some month trying. And failing, to raise new capital, the concern was dissolved.

The K-R-I-T badge (1908, left) and The Nazi's Goldenes Parteiabzeichen (Golden Party Badge (1933, right).

That the detailing in some of Krit's swastika emblems was so similar to that adopted by the Nationalsozialistische Deutsche Arbeiterpartei (The NSDAP, the National Socialist German Workers' Party better known as the Nazi Party (1920-1945)) is not surprising because the color combinations and aspect ratios which most appeal to one graphic artist are likely to be judged as pleasing by another.  Adolf Hitler claimed he personally designed the escutcheon his movement would make infamous and while he told many lies and there are many myths about his role in the party’s early days, his claim is thought to be true and throughout his political career, even in the depths of war when thing were bad, he never ceased sketching and designing; he was a competent (if uninspired) artist (although the human form eluded him) and likely would have be a proficient architect.  Nor did Hitler claim his conceptual notions were original, admitting the combination of red, white and black was something he “stole” from the posters of his enemies, the German communists (whose propagandists seem to have settled on the scheme because it was used for the flag of the German Empire (the so-called “Second Reich” (1871-1918).  Especially among the right-wing, the symbol had been much used in the German Empire.

Grounds of the Mercedes-Benz factory decorated in honor of a visit to Stuttgart by Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), the display visible from his aircraft (1936, top left), a Mercedes-Benz showroom in Munich, Lenbachplaz (1935, top right) and 1938 Mercedes-Benz W125 Rekordwagen (bottom).  Although, tucked away in a corner of the corporate website there is a single page which contains a rather perfunctory acknowledgement of company’s complicity in some of the crimes against humanity committed by the Nazi regime between 1933-1939 there’s little attempt to discuss the matter, an understandable reticence and quite a gap in the otherwise extensively documented history which dates back to 1886 with the debut of what is claimed to be the world’s “first automobile”.  Brand-management can be as much about what is left unsaid or hidden as what is projected. 

When used in events other straight-line speed record attempts (ie where corners needed to be negotiated) the streamlined version of the W125 Formel-Rennwagen (race car built in accord with defined rules) didn’t use the spats (fender-skirts) covering the wheels.  It was used thus on Berlin’s high-speed Avusrennen with its two, uniquely long straights and differed from the conventional W125 in that it was powered by V12 engine rather than the usual big-bore straight-eight, the lower hood (bonnet) line further reducing drag.  Fitted with the spats, W125 Rekordwagen (record car) was used in 1938 to achieve a speed of 432.7 km/h (269 mph) over the flying kilometre, then the fastest timed speed achieved on a public road and a record which stood until 2017.  It’s now on display in the Mercedes-Benz Museum in Stuttgart, although, the swastika with which it was once adorned has been removed from the aluminum skin (displays of the swastika banned in Germany except as authorized).

German U-boat (submarine) U-576 (left) flying the Kriegsmarine’s (German navy) War Ensign (1935-1945).

U-Boat U-576 was sunk on 15 July 1942, 30 miles (48 km) off Cape Hatteras, Hatteras Island, North Carolina.  The Kriegsmarine’s (German navy) War Ensign, flown from all combat vessels between 1935-1945, was raised when submarines were entering or leaving port but otherwise rarely displayed.  The swastika was never painted on the hulls, a point of some legal consequence in the first Nuremberg trial (1945-1946, heard before an IMT (International Military Tribunal) to try the surviving leading Nazis) when evidence was presented in the matter of the steam trawler Noreen Mary, sunk by gunfire from U-247 about 20 miles (32 km) west of Cape Wrath on the north Coast of Scotland.  The witness provided sworn testimony he saw a swastika painted on the submarine’s conning tower but it was proved no U-Boat had ever been so decorated and, combined with other evidence, this weakened the prosecution case against Großadmiral Karl Dönitz (1891–1980; Supreme Commander of the Kriegsmarine 1943-1945).

Hitler Youth & BDM members on camp together, circa 1937.

The Bund Deutscher Mädel (League of German Girls) was the girls' wing of the Hitlerjugend (Hitler Youth), the Nazi Party's youth movement (membership of which, like much in the Third Reich, was close to obligatory), intended to train boys to be ready to become good soldiers and prepare girls for their traditional role of motherhood; it was abbreviated as BDM.  Perhaps unfortunately, some mixed activities such as the girls and boys going on camps together resulted in much practical preparation for motherhood, revelations of this promiscuity leading Germans to conclude BDM might better be understood as the Bund Deutscher Matratzen (League of German Mattresses).

Bromide press print (circa 1911) of portrait by unknown photographer of Olave St Clair Baden-Powell (née Soames), Lady Baden-Powell (1889-1977), Leader of the world Girl Guide movement and wife of Lord Baden-Powell, founder of the Boy Scouts movement, National Portrait Gallery, London (left), the Edmonton Swastikas ice hockey team, 1916 (centre), and US actress Clara Bow (1905–1965) adorned in swastikas to ward off the bad luck of Friday the 13^th, photo-shoot for “Ancient Cross Defies Jinx Day” published on page 27 of the Los Angeles Times, 13 April 1928 (right).

Although in the West now most associated with the BDM, before the evilness of the Nazis tainted the association, girls had been wearing swastikas for centuries, sometimes because of the association with good fortune and sometimes because it was just another bolt shape, the distinctiveness of which made it adaptable to fashion.  As well as the Edmonton operation, there were two other Canadian ice hockey teams, the Fernie Swastikas out of Fernie, British Columbia and the Windsor Swastikas of Windsor, Nova Scotia.  In Nazi Germany, the Boy Scouts and Girl Guides movements associated with Lord & Lady Baden-Powell were absorbed respectively into the HJ & BDM and although many of the activities were carried over (tying knots, outdoor survival skills, pitching tents and all that), the political nature of the indoctrination was different.  Tellingly, although the Nazis had been marching under the swastika since 1920 and were already in Germany & Austria a byword for intolerance and violence, the LA Times in April 1928 made not one mention of events in Europe and it’s doubtful the movement, then still obscure in the US and well-known only to the few interested in international events, much registered in public consciousness.  Ms Bow seems never to have been interested in the politics of the right or left but she did in 1933 visit Germany on her honeymoon and film buff Hitler (like many, a Clara Bow fan) presented her a copy of his autobiographical manifesto Mein Kampf (My Struggle, 1925); it’s thought like most, Ms Bow probably didn’t trouble to read the work.  The swastika did not ward off her bad luck and she later went mad (suffering what would now be called “mental health issues”).

Mr Ye and Ms Censori, annual Grammy Awards, Los Angeles, 2 February 2025.  Most intriguing has been the suggestion Ms Cansori is being paid by Mr Ye on a "per outfit" basis and is thus a kind of "walking installation".  That would make it a very "modern" marriage and one of which not all would approve but there have been relationships (artistic and otherwise) based on more dubious arrangements.

In recent years, the US rapper, singer, songwriter, record producer, hip hop identity & fashion designer Ye, formerly known as Kanye West (b 1977) has (in a sense) “re-created” Australian architect & model Bianca Censori (b 1995) as a series of installations (which probably isn’t quite the right word but on the model of the art business, it’s close); the two may (at least in some jurisdictions) be married, the reports are contradictory.  What Mr Ye has done is to create photo opportunities using Ms Censori as a lure by having her dress (again that may not be quite the right word) in a style likely to attract photographers, vloggers, magazine editors and other content aggregators.  As an installation there to be photographed, the well-qualified Ms Censori certainly draws the lens and has taken the “nude dress” trend of the last decade-odd almost to its logical conclusion and whether the concept can be taken further than her recent appearance at the 2025 Grammy Awards has been debated; it certainly wouldn’t demand much fabric.  Although the coverage (in the media, not of Ms Censori’s skin) has been extensive, whether Mr Ye is much benefiting isn’t clear because the focus is, predictably, very much on the installation rather than the artist and the only mention he seems to gain is being condemned as exploitative or worse.  All the attention devoted to Ms Censori may also have engendered in him what Gareth Evans (b 1944; Australian Labor Party (ALP) senator or MP 1978-1999, sometime attorney-general & foreign minister) called RDS (relevance deprivation syndrome) because his latest on-line project is selling “swastika T-shirts” at US$20; it's a niche market but, given recent events, he may regard it as a growing one and the reaction to his venture was certainly focused on him.  The product code for the T-shirts was "HH01" and those who recall his comment: “There’s a lot of things that I love about Hitler" in a December 2022 podcast with the since bankrupted host Alex Jones (1974) probably deconstructed the code to mean “Heil Hitler” although to remove any doubt he also tweeted: “I love Hitler” and “I'm a Nazi”.  Swastika T-shirts must have been too much for Shopify which took down the page, issuing a statement saying Mr Ye had "violated" the company's terms.  It was an example of the dangers inherent in having a site administered by AI (artificial intelligence) with humans checking the content only in reaction to complaints.  The AI will improve but whether Mr Ye has thought better of offering the range remains to be seen, yeezy.com now displaying only the stylized message YEEZY STORES COMING SOON♡.

The artist formerly known as Kanye West in shirt, Los Angeles, February 2025.  As a device to attract photographers and generate an ongoing presence in print and on-line, a well-placed swastika remains potent.

In architecture and design, the swastika has been used for thousands of years.  Top row: Lampposts, Glendale, California, USA 1924-1927 (left), the unexpected juxtaposition of a swastika atop a Jewish Star of David (centre) and Coronado Naval Base, San Diego, California (not the “Albert Speer Memorial Retirement Home” as it has been tagged on the internet), (right).  Bottom row: Skillman Branch Library (1931), Detroit, Michigan, USA (left), nineteenth century floor in Roman Catholic church, Tamaulipas, Mexico (centre) and a floor mosaic with geometrical designs and swastikas, laid in the second or third century AD, Tarraco (ancient name of the city of Tarragona, Catalonia, Spain), Archaeological Museum of Tarragon, Spain, (right).

The "Swasticar"

Elon Musk at the 2025 US Presidential Inauguration, Washington DC, January 2025.

So moved by the moment when on stage at the inauguration ceremony marking the beginning of Donald Trump’s (b 1946; US president 2017-2021 and since 2025) second coming (as the MAGA devotes seem to regard it) was tech titan Elon Musk FRS (b 1971) that to express to the adoring crowd “My heart goes to you”, spontaneously he gave a gesture which many noted was similar to the many “Sieg Heil!” (Hail Victory!) moments made infamous by Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) in Nazi Germany (1933-1945).  To reinforce his point, Mr Musk then turned to the crowd behind and repeated the gesture.  He did first place his right hand over his heart (as per the US Pledge of Allegiance's current protocol) but arm was raised ("palm-down" (as used by the Nazis)) rather than "palm-up" (the pre-1942 US protocol) although probably no intent should be inferred from this because the raised palm procedure hadn't be in use for almost two generations before Mr Musk was born. 

The reaction was swift and widespread.  Predictably, memes appeared but there was also direct action, Tesla dealerships picketed and the cars vandalized, sometimes by being daubed with swastikas, sometimes by being torched, a disturbing trend given they’re fitted with lithium-ion batteries which, when they burn, burn for hours.  The shift in the political association attached to the flagship of electric vehicles was remarkable.  Once it had been V8-powered pick-up owners south of Mason-Dixon Line who had despised the things, their suspicion being Teslas encapsulated much that was a threat to the American way of life: homosexuality, New York, California, trans-gender rights, environmentalism, Freemasonry and the Democratic Party; suddenly, it was the Tesla-driving (or aspiring) liberals embarrassed (or fearful) to be associated with the brand, some resorting to gluing on Honda or Hyundai badges to deter the attacks.

One of the most striking was an image by Portuguese graphic artist Ves Vaz (b 1986) which was based on the famous photograph of “Tank man” standing in front of PLA (People's Liberation Army) tanks sent in June 1989 by the CCP (Chinese Communist Party) to “deal with” crowds of protesters gathered in Beijing's Tiananmen Square.  The photograph was taken by AP (associated Press) photographer Jeff Widener (b 1956) who initially was displeased at “tank Man” appearing in frame for what looked like a perfectly composed shot.  As things turned out, it became one of the best known images of the century and one often re-published when the Tiananmen Square Massacre (the “June Fourth Incident according to the CCP) is discussed.  For cartoonists and artists like Ves Vaz the Cybertruck is a gift because the shape is so distinctive instantly it’s recognizable as a Tesla, even by those unable to tell a Ferrari from a F-150.  Of course, that also means it’s pointless to stick on a Toyota badge which can make more anonymous looking Teslas “blend in”, to some degree protecting them from roving anti-MAGA vandals.

Soon, on London bus shelters there appeared posters dubbing Teslas “Swasticars” and urging people not to buy them, the political messaging including references to white supremacy, autocracy and allusions to the Third Reich.  Swastikas seem not to have appeared, presumable to avoid possible legal challenges although even without them, the meaning was lost on few.

Digital projection on Tesla Gigafactory, Berlin, Germany.

Other forms of direct action included the Tesla’s Gigafactory in Berlin having a depiction of Mr Musk’s “My heart goes to you” moment projected onto the façade with a “Heil” prefixed to the illumined “Tesla” although no swastika was added, the symbol banned in Germany for all but a few special purposes.  Interestingly, Tesla was there already the subject of controversy on environmental and social grounds, having a year earlier suffered an arson attack but the opposition has swelled after Mr Musk association with the second Trump administration has fuelled a growing perception of an alignment with the far-right.  Although computers would have made the stunt easier, this would have taken much preparation and some physical testing.

Hailing cab with dog on leash: Gloria Walker (b 1937), PotM (Playmate of the Month), Playboy magazine, June 1956; photograph by Herman Leonard (1923-2010).  Whether waving to someone or hailing a cab, the raised arm is one of humanity's more common gestures, meaning jurisdictions banning the act must base prosecutions on context and intent rather than merely the act. 

2024 Tesla Cybertruck AWD Foundation Series (left) and the suspect cant rail.  The term “cant rail” came from architecture and railway engineering and referred to an angled or sloped surface.  Cant rails (also often seen in fence construction) are those parts which are tilted or positioned at an angle rather than being strictly vertical or horizontal.  In automobile design specifically, a cant rail is the (sometimes structural and sometimes cosmetic) section running along the top edge of the side windows, connecting the A-pillar to the B-  C- or D-pillar; visually, it defines the roofline and can contribute to strength.  The early automobiles picked up the name from the reinforced horizontal member supporting the upper structure on railway carriages & horse-drawn carriages because the early techniques of construction were essentially the same.

To add to Tesla’s woes, in March 2025 came the news the company’s Cybertruck was subject to a global recall, needed to rectify a fault in which large stainless steel body panels can unexpectedly detach and (if the vehicle is in motion) “fly off”.  The recall notice issued by the NHTSA (National Highway Traffic Safety Administration) revealed the affected Cybertrucks were the 46,096 built between November 2023 & February 2025 and the issue was the adhesive used: “The Cybertruck is equipped with a cosmetic applique along the exterior of the vehicle, known as the cant rail, which is an assembly comprised of an electro-coated steel stamping joined to a stainless steel panel with structural adhesive. The cant rail assembly is affixed to the vehicle with fasteners. On affected vehicles, the cant rail stainless steel panel may delaminate at the adhesive joint, which may cause the panel to separate from the vehicle.”  According to a Tesla communiqué, the adhesive was “susceptible to environmental embrittlement” which pleased word nerds; although “embrittlement” is rare, it’s not a recent tech industry neologism and is seen most commonly as “hydrogen embrittlement” (HE), known also as “hydrogen-assisted cracking” (HAC) or “hydrogen-induced cracking: Hydrogen embrittlement (HE), also known as hydrogen-assisted cracking or hydrogen-induced cracking” (HIC), all of which describe the absorption of hydrogen into a metal, and subsequent weakening, as part of a pickling process.

1945 Heinkel He 162 Salamander (Volksjäger) National Air and Space Museum, Washington DC.

Recalls and “fix bulletins” from Tesla have not been uncommon but most have involved the need to patch software and these have been handled remotely.  The “flying panels” will however require a visit to a Tesla Service Center.  The company has thus far acknowledged 151 warranty claims related to the failed glue but said it was “not aware of any collisions, fatalities, or injuries.”  Coincidently, it was problems with an adhesive which afflicted the Heinkel He 162 Volksjäger (People's Fighter), a jet-powered fighter aircraft the Luftwaffe late in World War II (1939-1945) planned to be flown by aviators from the Hitlerjugend (HJ, the Hitler Youth) who had the benefit of a few hours training flying gliders.  For those intrepid youth, going from that to a jet-fighter was about as ill-advised as it sounds but by 1945 the Germany’s military position was dire and in many fields the bottom of the barrel was being scraped.  Heinkel used Salamander as the project name for the wing program and it’s that which military historians came to prefer despite the whole project being called Spatz (Sparrow), while the Air Ministry’s preferred Volksjäger never caught on.  With aviation-standard metals in short supply, the He 162 was built substantially from wood with only critical components such as the fuselage skin and wing edges made from aluminium.  This made it not only cheap to produce but also a genuinely “disposable” aircraft with damaged units intended to be discarded and replaced.  Remarkably, the first prototype flew in December 1944 only 38 days after the factory received the blueprints but while the early tests proved it was a capable (if sometimes tricky to handle because of the unusual layout) short-range interceptor, after only days structural failures in flight began to occur, leading to fatalities.  The issue was traced to environmental embrittlement, an acid in the adhesive used to bond the wood panels causing delamination of the layers, the subsequent fragmentation meaning vital parts would “fly off” compromising structural integrity.  Between February-May 1945, some 120 of the 1000-odd air-fames were delivered to Luftwaffe units but few ever saw combat and losses (most from accidents or structural failures) exceeded the small number of Allied aircraft it claimed.

With the anti-Tesla movement growing and sales declining by as much as half in some places, the company turned to what may seem an improbable but untapped market: The Kingdom of Saudi Arabia (KSA).  In invitations sent to prospective customers in the kingdom, recipients were requested to RSVP to a launch event at the Bujairi Terrace on 10 April 2025 where they could “Explore our global best-selling line-up and step into a world powered by solar energy, sustained by batteries, and driven by electric vehicles” and “Experience the future of autonomous driving with Cybercab, and meet Optimus, our humanoid robot, as we showcase what's next in AI and robotics.”  Assured real humans would be on hand to answer questions about “Tesla ownership, home charging and more”, the select few were urged: “RSVP now. Space is limited.”  Tesla’s previous neglect of Saudi Arabia was not related to the kingdom being one of the planet’s major producers of fossil fuels (and one which not long ago pledged to extract and sell “every last molecule”).  Instead, the estrangement dated from a 2018 rift between Mr Musk and Saudi Arabia’s PIF (Public Investment Fund the kingdom’s sovereign wealth fund) over the failure of a funding deal which would have enabled him to take the company private.  To add insult to injury, the PIF subsequently invested in EV (electric vehicle) start-up Lucid, taking a majority stake and later announcing an intention to purchase as many as 100,000 Lucid EVs over a decade, apparently as part of an effort to reduce the government’s dependence on oil.  All that may not sound encouraging for Tesla and EV sales in Saudi Arabia constitute not even 1% of total but elsewhere in the Gulf, EV penetration in the taxi and ride-hailing sector has been impressive so, coming off a low base, there clearly some scope for growth and even before Tesla’s recent troubles, relations between the parties did seem to be improving.  Apart from all else, Mr Musk is one of nature’s optimists.

Mr Musk is known for his optimism, recently suggesting it was feasible for a settlement on Mars to be established, able to sustain a permanent population of a million people.  That does show an engineer’s faith in technological advances (as well as fiscal provision) because (1) to transport even one person to Mars would take well over a year (thus far the longest duration of one ways trips to somewhere else is the three-odd days it took the twelve Apollo programme astronauts over six trips in 1969-1972), (2) on Mars there is no breathable atmosphere, no known food sources and the availability of usable water is uncertain and (3) the climate is mostly not hospitable for human life with only the equatorial regions ever sometimes rising to what on Earth would be thought temperate (highs between 20°C (68°F) - 35°C (95°F) recorded at noon during summer but typically the whole place is cold especially the poles (-153°C (–243° F) and it’s there water sources (as ice) may exist.  So it’s a challenging place for human habitation and the extent of the challenge is emphasised here on earth with simply a rise on the global average temperature by 3^oC threatening to render certain regions economically unviable for a permanent human presence to be maintained.  It was in an interview with Ted Cruz (b 1970; US senator (Republican-Texas) since 2013) in which Mr Musk speculated about a million folk living on Mars under “glass domes” and the senator is well-aware of the difficulties of coping with extreme cold, having once jetted out of an icy Texas during a cold snap to enjoy the warmth of a Mexico beach, somewhat to the chagrin of the shivering voters he deserted.  On Mars, there are no sun-drenched beaches and whatever Mr Musk’s million souls find when they get there, that’s their life.

The "fascist salute"

The fascist salute has become so associated with Hitler and Nazism that in recent years some jurisdictions have banned its use, emulating the prohibition which has existed in Germany (the sanction pre-dating unification in 1990) for decades.  Because the salute is the same gesture as that used for purposes ranging from waving to one's mother to hailing a taxi, prosecutions are expected to be initiated only in cases of blatant anti-Semitism or other offensive acts.  The "salute" is so widely used that photographs exist of just about every politician in the act and they're often published; usually it's just a cheap journalistic trick but if carefully juxtaposed with something, it can be effective.

Lindsay Lohan: Sometimes, a wave is just a wave.     

Benito Mussolini's (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) reverence for the Ancient Rome of popular imagination accounts at least in part for the Fascists' adoption of the so-called "Roman salute" although the Duce did also object to the shaking of hands on the basis it was “effete, un-Italian and un-hygienic” and as the reduced infection rates of just about everything during the “elbow-bumping” era of the COVID-19 social isolation illustrated, on that last point, he had a point.  Other fascist regimes and movements also adopted the salute, most infamously the Nazis although none were as devoted as Hitler who, quite plausibly, claimed to have spent hours a day for weeks using a spring-loaded “chest expander” he’d obtained by mail-order so he’d strengthen his shoulder muscles sufficiently to enable him to stand, sometimes for a hour or more with his right arm extended as parades of soldiers passed before him.

A much-published image of the Duce, raising his arm in the fascist salute next to the bronze statue of Nerva (Marcus Cocceius Nerva) (30–98; Roman emperor 96-98) in the Roman Forum.  Often published as an example of the fascist salute's lineage, the emperor is actually holding what's believed to be a scroll.

However, historians maintain there’s simply no evidence anything like the fascist salute of the twentieth century was a part of the culture of Ancient Rome, either among the ruling class or any other part of the population.  Whether the adoption as a alleged emulation of Roman ways was an act of cynicism of self-delusion on the part of the Duce isn’t known although he may have been impressed by the presence of the gesture in neo-classical painting, something interesting because it wasn’t a motif in use prior to the eighteenth century.  This “manufacturing” of Antiquity wasn’t even then something new; the revival of interest in Greece and Rome during the Renaissance resulted in much of the material which in the last few hundred years has informed and defined in the popular imagination how the period looked and what life was like.  By the twentieth century, it was this art which was reflected in the props and sets used in the newly accessible medium of film and the salute, like the architecture, was part of the verisimilitude.  Mussolini enjoyed films and to be fair, there were in Italy a number of statutes from the epoch in which generals, emperors, senators and other worthies had a arm raised although historians can find no evidence which suggests the works were a representation of a cultural practice anything like a salute.  Indeed, an analysis of many statues revealed that rather than salutes, many of the raised arms were actually holding things and one of the best known was revealed to have been repaired after the spear once in the hand had been damaged.

Adolf Hitler showing the "long arm" & "short arm" variants of the fascist salute (left) and examples of the long arm & short arm penalty being awarded in rugby union (right).

In fascist use, what evolved was the “long-arm” salute used on formal occasions or for photo opportunities and a “short-arm” variation which was a gesture which referenced the formal salute which was little more than a bending of the elbow and involved the hand rising at a 45^o angle only to the level of the shoulder; in that the relationship of the short to the long can be thought symbiotic.  Amusingly and wholly unrelated to fascism, the concept was re-appropriated in the refereeing of rugby union where a “short-arm” penalty (officially a “free-kick”) is a penalty awarded for a minor infringement of the games many rules.  Whereas a “full-arm” penalty offers the team the choice of kicking for goal, kicking for touch or taking a tap to resume play, a “short-arm” penalty allows a kick at goal, a kick for touch or the option of setting a scrum instead of a lineout.  The referee signals a “short-arm” penalty by raising their arm at an angle of 45^o.

How it was done: Mussolini, Hitler and Victor Emmanuel III show their interpretations of the fascist salute, the technique varying according to their commitment to the cause.  The trio are reviewing an Italian military parade, Rome, May, 1938. 

Front row: Benito Mussolini (left), Adolf Hitler (centre) and Victor Emmanuel III (1869–1947; King of Italy 1900-1946) (right).

Second row: Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945, far left), Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1943, centre left), Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945, centre right) and Rudolf Hess (1894–1987; Nazi deputy Führer 1933-1941, far right).

Back row: The WAGs (wives & girlfriends).

Of the seven men in this image, only Victor Emmanuel would die from natural causes, in exile succumbing to pulmonary edema (fluid in the lungs) some 18 months after being compelled to abdicate.  While on the run, the deposed Mussolini would be executed by Italian partisans, Hitler & his new wife would commit suicide in the Berlin Führerbunker with Soviet troops only blocks away, von Ribbentrop would be hanged at Nuremberg after being found guilty of planning aggressive war, waging aggressive war, war crimes & crimes against humanity, Ciano would be executed on the orders of Mussolini (his father-in-law!), Goebbels & his wife would commit suicide (after murdering six of their seven children (aged 5-14)) shortly after the death of Hitler and Hess, sentenced to life imprisonment at Nuremberg for planning & waging aggressive war, committed suicide aged 93, after 46 years in captivity.

A most unfortunate conjunction of imagery: Adolf Hitler on Berlin's newly opened East-West Axis in his Mercedes-Benz 770 K Grosser Cabriolet F open tourer (W150; 1938-1943) in a parade marking his 50^th birthday, opposite the Technical High School, 20 April 1939 (left) and David Bowie in his Mercedes-Benz 600 (W100, 1963-1981) Pullman Landaulet, Victoria Station, London, 2 May 1976 (right).

Sometimes a wave is just an excuse.  The pop star David Bowie (1947-2016) understood he was an influential figure in music but on more than one occasion explained to interviewers: “I am not an original thinker”.  Trawling pop-culture for inspiration nevertheless served him well but he later came to regret dabbling with history slightly less recent.  Not impressed with the state of British society and its economy in the troubled mid-1970s, he was quoted variously as suggesting the country would benefit for “an ultra right-wing government” or “a fascist leader”.  Although he would later claim he was captivated more by the fashions (the long leather coats said to be a favorite) than the policies of the Third Reich, the most celebrated event of this period came in 1976 in what remains known as the "Victoria Station incident".  Mr Bowie staged a media event, arriving standing in an open Mercedes-Benz 600 Pullman Landaulet, recalling for many the way in which Hitler so often appeared in his 770 K.  Unfortunately, a photographer captured a shot in what the singer later claimed was “mid wave” and it certainly resembled a Nazi salute.  He later attributed all that happened during this stage of his career to too many hard drugs which had caused his interest in the aesthetics of inter-war Berlin to turn into an obsession with politics of the period.  All was however quickly forgiven and his audience awaited the next album which is an interesting contrast to the cancel culture created by the shark-feeding dynamic of the social media era.

Now, were a pop star to tell interviewers: “Britain could benefit from a fascist leader” and “I believe very strongly in fascism … Adolf Hitler was one of the first rock stars”, their future career prospects might be "nasty, solitary, brutish and short".  Despite that orthodoxy however, the multi-media personality Ye (the artist formerly known as Kanye West (b 1977)) has expressed what seem to be pro-Hitler sentiments and been photographed wearing a "swastika T-shirt", even (briefly) offering them for sale on the (now apparently in abeyance) Yeezy website.  Rather than having him cancelled, Mr Ye's comments and products seem to have had at least a financial upside because in a post on X (formerly known as Twitter) he stated: "...AND I MADE 40 MILLION THE NEXT DAY BETWEEN MY DIFFERENT BUSINESS. THERE'S I LOT OF JEWISH PEOPLE I KNOW AND LOVE AND STILL WORK WITH. THE POINT I MADE AND SHOWED IS THAT I AM NOT UNDER JEWISH CONTROL ANYMORE IN WAR YOU TAKE A COUPLE LOSES..."  That would seem to suggest that in the right circumstances, the Irish writer Oscar Wilde (1854–1900) and Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) were right: "It doesn't matter what people are saying about you as long as they're saying something."

The US Pledge of Allegiance salute

Children in the US saluting the flag, circa 1892.  The non-saluting young chap in the centre of the photo is thought to have been distracted by the camera, rather than attempting to exercise his First Amendment rights.

In the US, the “Pledge of Allegiance” salute was visually similar to the fascist gesture but its adoption long predated the Italian and German dictatorships of the inter-war years.  Despite the name, the origin of the so-called “Bellamy salute” (1892) officially is credited to someone else and the true “inventor” (adaptor might be a better term) is contested, there being factions which attribute the honor variously to either (1) American Christian socialist Baptist preacher Francis Bellamy (1855–1931) or (2) confessed Freemason James Upham (1845-1905).  According to Bellamy's published instructions for the “National School Celebration of Columbus Day” (as the 400^th anniversary of the “discovery” of America), the salute was first demonstrated on 21 October, 1892.  It should also be added the text was a revision of the original Pledge of Allegiance, written in 1885 by Captain George Thatcher Balch (1828-1894), an officer in the Union Army during the US Civil War (1861-1865).

The Freemasons stake their claim to the pledge: Plaque at James Upham's grave.

The orthodox history long was the palm-out salute was created by Upham as the gesture to accompany the Pledge of Allegiance of the United States of America, a text written by Bellamy; known also as the “flag salute”, it gained the name by which it came to be known because it was Bellamy who most assiduously advocated its use.  Not until several years after Upham's death did his family found a copy of the pledge’s original draft, written in his hand, but by then there had already been a ruling attributing credit to Bellamy and a monument in his name erected.  Despite the documentary evidence, in 1939, a committee of the USFA (US Flag Association) ruled in favour of Bellamy and a review issued in 1957 by the Library of Congress in 1957 supported the committee’s findings.  The family never succeeded in gaining Upton official recognition but the Freemasons did have their revenge, “arranging for” the city of Malden to commission a plaque acknowledging his authorship, installing it at Upham’s gravesite in Forestdale cemetery.

The meme makers had much fun with Mr Musk's “My heart goes to you” moment and earlier, those editing fragments from the film Der Untergang (Downfall (2004), a dramatization of Hitler's last days in the Führerbunker) when making contributions to the Hitler Rants Parodies explored the comedic possibilities of the fascist salute. 

Little disquiet about the salute seem to have been expressed during the 1920s but fascism, then associated exclusively with Mussolini’s Italy, didn’t yet have the bad reputation it would gain when the nature of the Nazi regime became better understood (although not until after the end of World War II (1939-1945) were the horrors fully comprehended).  Interestingly, as late as June 1942, at the urging of the American Legion and the Veterans of Foreign Wars, Congress had passed Public Law 77-623, which codified the etiquette used to display and pledge allegiance to the flag including the raised arm.  However, now at war with the fascist Axis powers (Germany, Italy & Japan) the controversy increased and, as a consequence, the protocol was revised by replacing the raised arm with an instruction the right hand should be placed over the heart when reciting the pledge, Congress amending the Flag Code on 22 December 22, 1942.  Even that wasn’t without controversy because, after all, the Americans were first and both the USFA and the Daughters of the American Revolution (then still in its pre-DEI (diversity, equity & inclusion) phase) asserted it was inappropriate for the nation to have to change the traditional salute just because foreigners had later adopted a similar gesture.

Context is everything.

Top left: Crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) in Ralph Lauren pantsuit waving to her fans (it's believed, world-wide, there may be as many as a dozen), presidential inauguration ceremony, Washington DC, January 2017; Top right: A kitten, probably stretching but who knows, some cats seem really evil and these three could be an axis of evil.

Bottom left: Australian sprinter Peter Norman (1942–2006, left) and US athletes Tommie Smith (b 1944, centre) & John Carlos (b 1945, right), on the podium after the 200 metres final, Summer Olympics Mexico City, 1968.  Smith and Carlos displayed the "Black Power" salute (with only one pair of gloves, Carlos used his left arm) while in solidarity, Norman wore the OPHR (Olympic Project for Human Rights) badge; Bottom right: Formula One champion Sir Lewis Hamilton (b 1985) who has adopted the Black Power salute to signify his support for BLM (the Black Lives Matter movement).

As well as the modification to the gesture, there have over the years been changes to the text and the most controversial by far proved to be the interpolation of “under God”, a change requested by Dwight Eisenhower (1890-1969; US president 1953-1961), concerned about the spread of Godless (though more to the point, un-Christian) communism during the high Cold War.  Because of the “freedom of religion” guaranteed by the US Constitution (primarily protected by the First Amendment (1791): “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof...”) challenges to that have reached the USSC (US Supreme Court) but as early as 1940 (in Minersville School District v. Gobitis, 310 U.S. 586 (1940)) the court ruled 8-1 students could be compelled to recite the pledge, Harlan Stone (1872–1946; associate justice US Supreme Court 1925-1941 & chief justice 1941-1946) issuing the only dissent: “The guarantees of civil liberty are but guarantees of freedom of the human mind and spirit and of reasonable freedom and opportunity to express them…The very essence of the liberty which they guarantee is the freedom of the individual from compulsion as to what he shall think and what he shall say.”

By implication, the ruling meant the state could demand at least an expression of obedience to the nation, even if it conflicted with the doctrine of one’s religion.  Justice Stone’s argument must have been persuasive because in West Virginia State Board of Education v. Barnette, 319 U.S. 624 (1943), the court held the First Amendment guaranteed a right to non-participation in flag salutes although to solve several problems, that case was decided on the basis of protected “free speech” rather than “freedom of religion”.  In the twenty-first century, the cases (now usually based on the argument the phrase “under God” was an unconstitutional endorsement of monotheism have continued but none have succeeded and where possible, judges have found technical (such as a lack of standing) rather than substantive grounds to dismiss although in a lower court in 2015, it was ruled that because since 1943 participation has been “optional”, the pledge was thus a voluntary and patriotic exercise, not a religious one.