TikToker

TikToker (pronounced tik-tok-ah)

(1) One who is a regular or frequent viewer of the content posted on the short-form video (which, with mission-creep, can in certain circumstances now be up to sixty (60) minutes in duration) sharing site TikTok.com.

(2) One who is a regular or frequent content provider on the TikTok platform.

(3) With a variety of spellings (ticktocker, tictoker, tiktoka etc), a slang term for a clock or watch, derived from the alternating ticking sound, as that made by a clock (archaic).

(4) In computing, with the spelling ticktocker (or ticktocker), slang for a software element which emulates the sound of a ticking clock, used usually in conjunction with digitals depictions of analogue clocks.

2018: The ancestor form (ticktock or tick-tock) seems not to have been used until the mid-nineteenth century and was purely imitative of the sound of mechanical clocks. Tick (in the sense of "a quiet but sharp sound") was from the Middle English tek (light touch, tap) and tock was also onomatopoeic; when used in conjunction with tick was a reference to the clicking sounds similar to those made by the movements of a mechanical clock.  The use of TikToker (in the sense of relating to users (consumers & content providers) of the short-form video (which, with mission-creep, can be up to ten (10) minutes in duration) sharing site TikTok.com probably began in 2018 (the first documented reference) although it may early have been in oral use.  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  TikToker is a noun & adjective; the noun plural is TikTokers (the mixed upper & lower case is correct by commercial convention but not always followed).  The PRC- (People’s Republic of China) based holding company ByteDance is said to have chosen the name “TikTok” because it was something suggestive of the “short, snappy” nature of the platform’s content; they understood the target market and its alleged attention span (which, like the memory famously associated with goldfish might be misleading).

A blonde Billie Eilish, Vogue, June, 2021.

Those who use TikTok (whether as content providers or consumers) are called “tiktokers” and the longer the aggregate duration of one’s engagement with the platform, the more of a tiktoker one can be said to be.  The formation followed the earlier, self-explanatory “YouTuber” and the use for similar purposes (indicating association) for at least decades.  So, the noun tiktoker can be a neutral descriptor but it can be used also as a slur.   In February 2024, at the People’s Choice Awards ceremony held in Los Angeles, singer Billie Eilish (b 2001) was filmed leaning over to Kylie Minogue (b 1968), remarking sotto voce:“There’s some, like, TikTokers here…” with the sort of distaste Marie Antoinette (1755–1793; Queen Consort of France 1774-1792) might have displayed if indicating to her companion the unpleasing presence of peasants.  The clip went viral on X (formerly known as Twitter) before spreading to Tiktok.  Clearly there is a feeling of hierarchy in the industry and her comments triggered some discussion about the place of essentially amateur content creators at mainstream Hollywood (and such) events.  That may sound strange given a platform like TikTok would, prima facie, seem the very definition of the “people’s choice” but these events have their own history, associations and connotations and what social media sites have done to the distribution models has been quite a disturbance.  Many established players, even some who have to some extent benefited from the platforms, find disquieting the intrusion of the “plague of TikTokers”.

Pop Crave's clip of the moment, a brunette Billie Eilish & Kylie Minogue, People's Choice Awards ceremony, Los Angeles, February 2024.

There will be layers to Ms Eilish’s view.  One is explained in terms of mere proximity, the segregation of pop culture celebrities into “A List”, B List, C List” etc an important component in the creation and maintenance of one’s public image and an A Lister like her would not appreciate being photographed at an event with those well up (ie down) the alphabet sitting at the next table; it cheapens her image.  Properly managed, these images can translate into millions (and these days even billions) of dollars so this is not a matter of mere vanity and something for awards ceremonies to consider; if the TikTokers come to be seen as devaluing their brand to the extent the A Listers ignore their invitations, the events either have to move to a down-market niche or just be cancelled.  Marshall McLuhan’s (1911-1980) book Understanding Media: The Extensions of Man (1964) pre-dates social media by decades but its best-remembered phrase (“The medium is the message”) could have been coined for the era, the idea being the medium on which content is distributed should be the first point of understanding its significance, rather than actual content, the theory being the initial assessment of the veracity or the value of something relies on its source.  In the case of pop music, this meant a song distributed by a major label possessed an inherent credibility and prestige in a way something sung by a busker in a train station did not.  What the existence of YouTube and TikTok meant was the buskers and the artists signed to labels began suddenly to appear on the same medium, thus at some level gaining a sort of equivalency.  Viewing TikTok on a phone, tablet or laptop,  sharing the same screen-space, in a sense, all are rendered equal.

On trend: Lindsay Lohan announces she is now a Tiktoker.

Ms Eilish and her label have been adept at using the social media platforms as tools for this and that so presumably neither object to the existence or the technology of the sites (although her label (Universal Music) has only recently settled its dispute with TikTok over the revenue sharing) but there will be an understanding that while there’s now no alternative to, in a sense, sharing the digital space and letting the people choose, that doesn’t mean she’ll be happy about being in the same photo frame when the trophies are handed out.  Clearly, there are stars and there are TikTokers and while the latter can (and have) become the former, there are barriers not all can cross.

The Tic-Toc Tach

1967 Jaguar 340 (left), 1980 Mercedes-Benz 450 SLC 5.0 (centre) and 1970 Plymouth Superbird (right).  Only the Americans called the shared tachometer/clock a “Tic-Toc Tach”.

Since the inter-war years Jaguar had included a small clock at the bottom of the tachometer but in 1966, phasing in the change as models were updated or replaced, began to move the device to the centre of the dashboard (in the case of the 420 & 420G putting it in a blister in the padded section which had replaced the timber top-rail).  By 1968 the horological shift was almost complete (only the last of the Mark IIs (now known as 240, 340) and & Daimler V8 250 models still with the shared dial) and it was then Chrysler adopted the idea although, with a flair the British never showed, they called it the "Tic-Toc-Tachometer".  Popularly known as the “Tic-Toc Tach”, it was also used by other US manufacturers during the era, the attraction being an economical use of dash space, the clock fitting in a space at the centre of the tachometer dial which would otherwise be unused.  Mercedes-Benz picked up Jaguar's now abandoned concept in 1971 when the 350 SL (R107, 1971-1989) was introduced and it spread throughout the range, almost universal (in cars with tachometers) after 1981 when production of the 600 (W100) ended; Mercedes-Benz would for decades use the shared instrument.  A tachometer (often called a “rev counter”) is a device for measuring the revolutions per minute (RPMs) of a revolving shaft such as the crankshaft of an internal combustion engine (ICE) (thus determining the “engine speed”).  The construct was tacho- (an alternative form of tachy-, from the Ancient Greek ταχύς (takhús) (rapid) + meter (the suffix from the Ancient Greek μέτρον (métron) (measure) used to form the names of measuring devices).

1967 Oldsmobile 4-4-2.

Nobody however crammed more into a tic-toc-tach than Oldsmobile which during the first generation (1964-1967) of its 4-4-2 also included a temperature gauge, ammeter and oil pressure gauge, something necessitated because the instrument panel the stylists were compelled to use contained only two pods.  When the second generation (1968-1972) was released, the dash included a third pod so the ancillary gauges were given their own space and a true tic-toc-tach was used.  Thankfully, nobody seems ever to have attempted to coin a term for five-function device on the early 4-4-2s so those who worry about such things must content themselves with choices like “enhanced tic-toc-tach” or “augmented tic-toc-tach”.  Buyers got the instrument with its “perimeter auxiliary gauges” by choosing option code U21 (Rallye Pac with Tachometer and Clock) for US$84.26 which sounds modest but at the time the bikini-clad and neoprene-tailed “mermaids” who splashed around the coral reef in the middle of Submarine Lagoon at California’s Disneyland Resort were paid US$65 week.  Making a virtue of necessity, Oldsmobile described the cluttered device as a “compact instrument cluster [which] lets driver monitor engine performance at a glance”, not burdening brochure readers with the fact the Rallye Pac wasn’t planned as part of the range and with only two pods on the dash, there was no other way elegantly to cram it all in.

1967 Oldsmobile 4-4-2 Holiday Coupe W-30.

The 4-4-2 was Oldsmobile’s response to the Pontiac GTO, introduced in 1964 by the companion GM (General Motors) division.  The GTO (Pontiac shamelessly “borrowing” the name from Ferrari’s 250 GTO (Gran Turismo Omologato (ie car homologated for competition in the GT (grand-touring) category) was the template for the “muscle car” genre of the 1960s in that it used a big V8 from the full-sized range in the smaller, lighter, intermediate platform.  It was actually an old idea practiced on both sides of the Atlantic since the 1920s but the GTO institutionalized the concept and made it a commercial proposition on a scale never before known because of the then unique conjunction in 1960s America of a large cohort of males aged 17-25 with enough disposable income (or credit-worthiness) to pay for such things.  The GTO existed because Pontiac threaded the configuration through a loophole in the GM corporate rules designed to prevent such things being produced for road use but it sold in such volume at a pleasing profit margin that management’s scruples rapidly were discarded and the crazy years of the muscle car began.  The GTO of course encouraged imitators from Ford, Chrysler and (eventually) even AMC but it also compelled three of GM’s other divisions (Chevrolet, Buick & Oldsmobile) to do their own interpretations.  Only Cadillac stood aloof but in 1970 they did put a 500 cubic inch (8.2 litre) V8 rated at 400 HP (gross horsepower) in the FWD (front-wheel-drive) Eldorado which sounds a daft idea but the engineers disguised its inherent tendencies very well and the delivery of the 400 HP was a very different experience than something like that of the 375 Ford in the same year modestly claimed for the Boss 429 Mustang.

1970 Oldsmobile 442 Convertible, Official Pace Car (Indianapolis 500) Edition.

Though not original, GTO was of course a great name and the best Oldsmobile’s product-planners could come up with was 4-4-2, an allusion to the configuration (front to rear) of a four barrel carburetor, a four-speed manual gearbox and dual-exhausts.  Once explained it made sense but it remained a flaky name, something suffered by later imitators, Dodge’s “Super Bee” as good a car as Plymouth’s Road Runner but with nothing like the same brand-appeal.  Like Pontiac’s GTO, the 4-4-2 was originally an option package but such was the market response both became regular production models.  As it turned out, 4-4-2 was “just a name” rather than a promise because in 1965 when, in order to be advertise the things at a lower base-price, a three-speed gearbox became standard with the four-speed moved to the option list but there was no 4-3-2: 4-4-2 they all remained which made sense because at various times it could be ordered also with two or three-speed automatic gearboxes, none of which ever were dubbed 4-2-2 or 4-3-2.  However, in an inconsistency at the time not untypical in the industry, although in 1968 the badge was changed from “4-4-2” to “442”, both descriptions continued for years to appear in documents and sales literature.

Conventions in English and Ablaut Reduplication

In 2016, the BBC explained why we always say “tick tock” rather than “tock-tic” although, based on the ticking of the clocks at the time the phrase originated, there would seem to be no objective reasons why one would prevail over the other but the “rule” can be constructed thus: “If there are three words then the order has to go I, A, O.  If there are two words then the first is I and the second is either A or O which is why we enjoy mish-mash, chit-chat, clip-clop, dilly-dally, shilly-shally, tip-top, hip-hop, flip-flop, tic tac, sing song, ding dong, King Kong & ping pong.  Obviously, the “rule” is unwritten so may be better thought a convention such as the one which dictates why the words in “Little Red Riding Hood” appear in the familiar order; there the convention specifies that in English, adjectives run in the textual string: opinion; size; age; shape; colour; origin; material; purpose noun.  Thus there are “little green men” but no “green little men” and if “big bad wolf” is cited as a violation of the required “opinion (bad); size (big); noun (wolf)” wolf, that’s because the I-A-O convention prevails, something the BBC explains with a number of examples, concluding “Maybe the I, A, O sequence just sounds more pleasing to the ear.”, a significant factor in the evolution of much that is modern English (although that hardly accounts for the enduring affection some have for proscribing the split infinitive, something which really has no rational basis in English, ancient or modern.  All this is drawn from what is in structural linguistics called “Ablaut Reduplication” (the first vowel is almost always a high vowel and the reduplicated vowel is a low vowel) but, being English, “there are exceptions” so the pragmatic “more pleasing to the ear” may be helpful in general conversation.

Rolls-Royce, the Ford LTD and NVH

Rolls-Royce Silver Cloud II, 1959.  Interestingly, the superseded Silver Cloud (1955-1958) might have been quieter still because the new, aluminium 6¼ litre (380 cubic inch) V8 didn’t match the smoothness & silence of the previous cast iron, 4.9 litre (300 cubic inch) straight-six, despite the V8 being remarkably heavy for something made substantially from "light metal".

The “tick-tocking” sound of a clock was for some years a feature of the advertising campaigns of the Rolls-Royce Motor Company, the hook being that: “At 60 mph (100 km/h) the loudest noise in a Rolls-Royce comes from the electric clock”.  Motoring journalists did verify the claim (at least in ideal conditions) but given electric clocks can be engineered silently to function, the conclusion was the company deliberately fitted time-pieces which emitted an untypically loud “tick-tock”, just to ensure the claims were true.  The Silver Clouds were, by the standards of the time, very quiet vehicles but in the US, Ford decided they could mass-produce something quieter still and at the fraction of the cost.  Thus the 1965 Ford LTD, a blinged-up Ford (the add-on "gingerbread" in pre-bling days known as "gorp") advertised as: “Quieter than a Rolls-Royce”.

The test conditions were recorded as: “Dry, level, moderately smooth concrete divided highway; light quartering winds.  All cars operated at steady 20-, 40- and 60- mph with all vents closed”.  The two Rolls-Royces were both standard wheelbase Silver Cloud III saloons with the 6¼ litre (380 cubic inch) V8 and four-speed automatic transmissions while the three Fords (a Galaxie 500 LTD, a Galaxie 500/XL and a Galaxie 500 Four-Door Sedan) were all fitted with the 289 cubic inch (4.7 litre) V8 and three-speed Cruise-O-Matic automatic transmission.  The test results were certified by the USAC (United States Auto Club).

To ensure what must at the time have seemed an audacious claim couldn't be dismissed as mere puffery, J. Walter Thompson, then Ford’s advertising agency commissioned acoustical consultants Boldt, Beranek and Neuman to run tests, two brand new Rolls-Royce Silver Cloud III saloons purchased for the project.  What the engineer’s decibel (dB) meters revealed was that, under conditions that were controlled but representative of much of the driving experience in the US, the Galaxies were indeed quieter inside than a Rolls-Royce.  Because of the way the dB scale works, the differences (as great as 5.5 dB) were quite large and obvious to the human ear.  It was a reasonable achievement in engineering and Ford, anticipating the ensuing controversy, was uncharacteristically modest in claiming their 2.8 dB advantage at 60 mph was only “slight”, the numbers making the point with no need for exaggeration.  Ford didn’t mention the tick-tock of the clock.

Ford Galaxie 500/XL advertising, 1965.  In the West, advertising has long been an exception to the general prohibition of the use of "child labor" (Lindsay Lohan was signed to Ford Models at the age of three and soon got her first gig!).

Ford did though “stack the deck”, a bit in configuring the Galaxies with their mildly tuned 289 V8 with a two-barrel carburettor; had the test included another variation on the full-size line which used the 427 (7.0) V8, the results would have been different, the raucous 427 side oiler offering many charms but they didn't extend to unobtrusiveness.  Still, the choice was reasonable because the tune of the 289 was more representative of what most people bought.  Amusingly, it wasn't the first time Rolls-Royce was surprised by the way things were done in Detroit.  Years earlier, the company had obtained a licence to manufacture Cadillac's four-speed Hydramatic automatic transmission, then the benchmark of its type.  Disassembling one, the Rolls-Royce engineers were surprised at the “rough finish” on some of the internal components and resolved their version would be built to their standards of precision.  That done, a lovingly built Hydramatic was installed in a car and tested, the engineers surprised to find it didn't work very well and offered nothing like the smooth operation of the original.  They contacted Cadillac and were told the prototype Hydramatics produced with universally fine tolerances had also misbehaved and the “roughness” of certain components deliberately was introduced to ensure the optimal frictional resistance was obtained.     

Ford Galaxie 500 LTD advertising, 1965.

Not much noticed at the time was another intrusion.  Although the trend had for years been creeping through the industry, what the 1965 LTD did was make blatant Ford's incursion into the market territory once reserved for the corporate stablemate, Mercury, the "middle class" brand between Ford & Lincoln.  This intra-corporate cannibalism (which had already seen Chrysler shutter its DeSoto division) would have consequences, one of which was Mercury's eventual demise, another being Ford's competitors, noting the LTD's success, bringing their own interpretations to the market, the most successful of which was the Chevrolet Caprice (which enjoyed the same relationship to the Impala as the LTD had to the Galaxie 500).  Notably, the Caprice contributed to the later extinction of the once highly popular Oldsmobile, squeezed from its niche by Chevrolet (from below) and Buick (from above).  What were once gaps in the market, catered to by specific brands, ceased to exist. 

1965 Ford LTD (technically a “Galaxie 500 LTD” because in the first season the LTD was a Galaxie option, not becoming a stand-alone model until the 1966 model year).

Even before the LTD was released the full-sized cars produced by the US industry featured the world's finest engine-transmission combinations and Ford justly deserves credit for what was achieved in 1965 because it wasn’t an exercise merely in adding sound insulation.  The previous models had a good reputation for handling and durability but couldn’t match the smoothness and ride of competitive Chevrolets so within Ford was created a department dedicated to what came to be called HVH (Noise, Vibration & Harshness) and this team cooperated in what would now be understood as a “multi-disciplinary” effort, working with body engineers and suspension designers to ensure all components worked in harmony to minimize NVH.  The idea was to craft a platform which, at least on the billiard table like surfaces of the nations freeways, would match the powertrains for smoothness and that was a task which would absorb much time and effort because the mildly-tuned V8 engines most customers bough were unobtrusive in their delivery and the automatic transmissions didn't so much change gears as slur effortlessly between ratios.

Ford Galaxie 500 LTD (with "Body/Chassis Puck") advertising with , 1965.

What emerged was a BoF (Body on Frame) platform (a surprise to some as the industry trend had been towards unitary construction) to ensure the stiffest possible structure but the combination of the frame’s rubber body-mounts (which Ford dubbed "pucks" because of their similarity in size and shape to the rubber disks used in ice hockey), robust torque boxes and a new, more compliant, coil-spring rear suspension delivered what even the competition's engineers (though probably not the sales staff) acknowledged was the industry’s quietest, smoothest ride.  To solve the problem of troublesome vibrations, the material had before come to the rescue, a rubber layer for the carburettor mountings proving the solution to the resonance which, at certain road speeds, affected the flow of the fuel-air mix in the MGA Twin-Cam, resulting in pistons melting.  Alas, the fix was discovered too late and the MGA was doomed.  Norton had better luck with their Isolastic, a rubber-based engine mounting which disguised the chronic vibration on the Commando's 750 cm³ parallel twin, allowing the company (as something of a last gasp) to extract a (sometimes profitable) decade from what was an antiquated design.

Ford LTD advertising, 1980.

In geopolitics and economics, much changed between 1965 and 1980.  Whereas Ford had once been able prove their Galaxie range (US$2,800-4,800) was quieter than a US$17,000 Rolls-Royce, by 1980 a LTD (the Galaxie name, dating from 1959 was retired after the 1974 season) sold typically for between US$6,400-8,000, reflecting the inflation which became entrenched during the 1970s.  That was representative of the effect on domestically produced cars but an "entry-level" (the concept really was used even of cars from the more exulted) Rolls-Royce Silver Shadow now listed for a minimum US65,000-odd and if that wasn't thought conspicuous enough consumption, there was the two-door Camargue with a price tag in six figures.  The LTD was looking even better value.  Ford in the era made a bit of a thing of comparing their locally produced machines with high-priced stuff from across the Atlantic, one campaign showing how closely the US Granada (1975-1982) resembled various Mercedes-Benz; these days it's the Chinese manufacturers which are accused of plagiarism although they often are more blatant in their copying.  Reckoning however what worked in 1965 would still work 15 years on, Ford re-ran their tests and, in a regulatory environment which was rather more harsh on advertising claims, asserted only that "The 1980 Ford LTD rides as quietly as a $65,000 Rolls-Royce".  The tic-tock of the clock still didn't rate a mention.        

Bug

Bug (pronounced buhg)

(1) Any insect of the order Hemiptera, especially any of the suborder Heteroptera (a hemipteran or hemipteron; a hemipterous insect), having piercing and sucking mouthparts specialized as a beak (rostrum) and known loosely as the “true bug”.

(2) Any of various species of marine or freshwater crustaceans.

(3) In casual use, any insect or insect-like invertebrate (ie used often of spiders and such because of their supposed “bug-like” quality).

(4) In casual use, any micro-organism causing disease, applied especially to especially a virus or bacterium.

(5) An instance of a disease caused by such a micro-organism; a class of such conditions.

(6) In casual (and sometimes structured) use, a defect or imperfection, most associated with computers but applied also to many mechanical devices or processes.

(7) A craze or obsession (usually widespread or of long-standing).

(8) In slang, a person who has a great enthusiasm for such a craze or obsession (often as “one bitten by the bug”).

(9) In casual (and sometimes structured) use, a hidden microphone, camera or other electronic eavesdropping device (a clipping of bugging device) and used analogously of the small and effectively invisible (often a single-pixel image) image on a web page, installed usually for the purpose of tracking users.

(10) Any of various small mechanical or electrical gadgets, as one to influence a gambling device, give warning of an intruder, or indicate location.

(11) A mark, as an asterisk, that indicates a particular item, level, etc.

(12) In US horse racing, the five-pound (2¼ kg) weight allowance able to be claimed by an apprentice jockey and by extension (1) the asterisk used to denote an apprentice jockey's weight allowance & (2) in slang, US, a young apprentice jockey (sometimes as “bug boy” (apparently used thus also of young female jockeys, “bug girl” seemingly beyond the pale.)).

(13) A telegraph key that automatically transmits a series of dots when moved to one side and one dash when moved to the other.

(14) In the slang of poker, a joker which may be used only as an ace or as a wild card to fill a straight or a flush.

(15) In commercial printing, as “union bug”, a small label printed on certain matter to indicate it was produced by a unionized shop.

(16) In fishing, a any of various plugs resembling an insect.

(17) In slang, a clipping of bedbug (mostly UK).

(18) A bogy; hobgoblin (extinct).

(19) In slang, as “bug-eyed”, protruding eyes (the medical condition exophthalmos).

(20) A slang term for the Volkswagen Beetle (Type 1; 1938-2003 & the two retro takes; 1997-2019).

(21) In broadcasting, a small (often transparent or translucent) image placed in a corner of a television program identifying the broadcasting network or channel.

(22) In aviation, a manually positioned marker in flight instruments.

(23) In gay (male) slang in the 1980s & 1990s as “the bug”, HIV/AIDS.

(24) In the slang of paleontology, a trilobite.

(25) In gambling slang, a small piece of metal used in a slot machine to block certain winning combinations.

(26) In gambling slang, a metal clip attached to the underside of a table, etc and used to hold hidden cards (a type of cheating).

(27) As the Bug (or Western Bug), a river in Eastern Europe flows through Belarus, Poland, and Ukraine with a total length of 481 miles (774 km).  The Southern Bug (530 miles (850 km)) in south west Ukraine flows into the Dnieper estuary and is some 530 miles (850 km) long.

(28) A past tense and past participle of big (obsolete).

(29) As ISO (international standard) 639-2 & ISO 639-3, the language codes for Buginese.

(30) To install a secret listening device in a room, building etc or on a telephone or other communications device.

(31) To badger, harass, bother, annoy or pester someone.

1615–1625: The original use was to describe insects, apparently as a variant of the earlier bugge (beetle), thought to be an alteration of the Middle English budde, from the Old English -budda (beetle) but etymologists are divided on whether the phrase “bug off” (please leave) is related to the undesired presence of insects or was of a distinct origin.  Bug, bugging & debug are nouns & verbs, bugged is a verb & adjective and buggy is a noun & adjective; the noun plural is bugs.  Although “unbug” makes structural sense (ie remove a bug, as opposed to the sense of “debug”), it doesn’t exist whereas forms such as the adjectives unbugged (not bugged) and unbuggable (not able to be bugged) are regarded as standard.

Nerd humor.

The array of compound forms meaning “someone obsessed with an idea, hobby etc) produced things like “shutterbug” (amateur photographer) & firebug (arsonist) seems first to have emerged in the mid nineteenth century.  The development of this into “a craze or obsession” is thought rapidly to have accelerated in the years just before World War I (1914-1918), again based on the notion of “bitten by the bug” or “caught the bug”, thus the idea of being infected with an unusual enthusiasm for something.  The use to mean a demon, evil spirit, spectre or hobgoblin was first recorded in the mid-fourteenth century and was a clipping of the Middle English bugge (scarecrow, demon, hobgoblin) or uncertain origin although it may have come from the Middle Welsh bwg (ghost; goblin (and linked to the Welsh bwgwl (threat (and earlier “fear”) and the Middle Irish bocanách (supernatural being).  There’s also speculation it may have come from the scary tales told to children which included the idea of a bugge (beetle) at a gigantic scale.  That would have been a fearsome sight and the idea remains fruitful to this day for artists and film-makers needing something frightening in the horror or SF (science fiction) genre.  The use in this sense is long obsolete although the related forms bugbear and bugaboo survive.  Dating from the 1570s, a bugbear was in folklore a kind of “large goblin”, used to inspire fear in children (both as a literary device & for purposes of parental control) and for adults it soon came to mean “a source of dread, resentment or irritation; in modern use it's an “ongoing problem”, a recurring obstacle or adversity or one’s pet peeve.  The obsolete form bugg dates from circa 1620s and was a reference to the troublesome bedbug, the construct a conflation of the middle English bugge (scarecrow, hobgoblin) and the Middle English budde (beetle).  The colloquial sense of “a microbe or germ” dates from 1919, the emergence linked to the misleadingly-named “Spanish flu” pandemic.

Bugs: A ground beetle (left), a first generation der Käfer (the Volkswagen Beetle, 1938-2003) (centre) and an "New Beetle" (1997-2011).  Despite the appearance, the "New Beetle" was of front engine & front-wheel-drive configuration, essentially a re-bodied Volkswagen Golf.  The new car was sold purely as a retro, the price paid for the style, certain packaging inefficiencies.  Few have ever questioned why the original VW Beetle picked up the nickname “bug”.

Like the rest of us, even scientists, entomologists and zoologists generally probably say “bug” in general conversation, whether about the insects or the viruses and such which cause disease but in writing academic papers they’ll take care to be more precise.  Because to most of us “bugs” can be any of the small, creepy pests which intrude on our lives (some of which are actually helpful in that quietly and unobtrusively they dispose of the really annoying bugs which bite us), the word is casually and interchangeably applied to bees, ants, bees, millipedes, beetles, spiders and anything else resembling an insect.  That use may be reinforced by the idea of the thing “bugging” us by their very presence.  To the professionals however, insects are those organisms in the classification Insecta, a very large class of animals, the members of which have a three-part body, six legs and (usually) two pairs of wings whereas a bug is a member of the order Hemiptera (which in the taxonomic system is within the Insecta class) and includes cicadas, aphids and stink bugs; to emphasize the point, scientists often speak of those in the order Hemiptera as “true bugs”.  The true bugs are those insects with mouthparts adapted for piercing and sucking, contained usually in a beak-shaped structure, a vision agonizingly familiar to anyone who has suffered the company of bedbugs.  That’s why lice are bugs and cockroaches are not but the latter will continue to be called bugs, often with some preceding expletive.

9 September 1947: The engineer's note (with physical evidence) of electronic computing's "first bug".

In computing, where the term “bug” came to be used to describe “glitches, crashes” and such, it has evolved to apply almost exclusively to software issues and even if events are caused by hardware flaws, unless it’s something obvious (small explosions, flame & smoke etc) most users probably assume a fault in some software layer.  The very first documented bug however was an interaction recorded on 9 September 1947 between the natural world and hardware, an engineer’s examination of an early (large) computer revealing an insect had sacrificially landed on one of the circuits, shorting it out and shutting-down the machine.  As proof, the unfortunate moth was taped to the report.  On a larger scale (zoologically rather than the hardware), the problem of small rodents such as mice entering the internals of printers, there to die from various causes (impact injuries, starvation, heat etc) remains not uncommon, resulting sometimes in mechanical damage, sometimes just the implications of decaying flesh.

Revelle's Bug Bomb, 1970.

The idea of a bug as a “defect, flaw, fault or glitch” in a mechanical or electrical device was first recorded in the late 1800s as engineer’s slang, the assumption being they wished to convey the idea of “a small fault” (and thus easily fixed, as opposed to some fundamental mistake which would necessitate a re-design).  Some sources suggest the origin lies with Thomas Edison (1847-1931) who is reported as describing the consequences of an insect “getting into the works”.  Programmers deploy an array of adjectives to "bug" (major, minor, serious, critical & non-critical etc) although between themselves (and certainly when disparaging of the code of others) the most commonly heard phrase is probably “stupid bug”.  The “debugging” (also as de-bugging) process is something with a wide definition but in general it refers to any action or set of actions taken to remove errors.  The name of the debug.exe (originally debug.com) program included with a number of (almost all 16 & 32-bit) operating systems was a little misleading because in addition to fixing things, it could be used for other purposes and is fondly remembered by those who wrote Q&D (quick & dirty) work-arounds which, written in assembler, ran very fast.  The verb debug was first used in 1945 in the sense of “remove the faults from a machine” and by 1964 it appeared in field service manuals documenting the steps to be taken to “remove a concealed microphone”.  Although the origin of the use of “bug” in computing (probably the now most commonly used context) can be traced to 1947, the term wasn’t widely used beyond universities, industry and government sites before the 1960s when the public first began to interact at scale with the implications (including the bugs) of those institutions using computerized processes.  Software (or any machinery) badly afflicted by bugs can be called “buggy”, a re-purposing of the use of an adjective dating from 1714 meaning “a place infested with bugs”.

Some bugs gained notoriety.  In the late 1990s, it wasn’t uncommon for the press to refer to the potential problems of computer code using a two-numeral syntax for years as the “Y2K bug” which was an indication of how wide was the vista of the common understanding of "bug" and one quite reasonable because that was how the consequences would be understood.  A massive testing & rectification effort was undertaken by the industry (and corporations, induced by legislation and the fear of litigation) and with the coming of 1 January 2000 almost nothing strange happened and that may also have been the case had nothing been done but, on the basis of the precautionary principle, it was the right approach.  Of course switching protocols to use four-numeral years did nothing about the Y10K bug but a (possible) problem 8000 years hence would have been of little interest to politicians or corporate boards.  Actually, Ynnn~K bugs will re-occur (theoretically with decreasing frequency) whenever a digit needs to be added.  The obvious solution is trailing zeros although if one thinks in terms of infinity, it may be that, in the narrow technical sense, such a solution would just create an additional problem although perhaps one of no practical significance.  Because of the way programmers exploit the way computers work, there have since the 1950s been other date (“time” to a computer) related “bugs” and management of these and the minor problems caused has been handled well.  Within the industry the feeling is things like the “Y2038 problem” will, for most of the planet, be similarly uneventful.

The DOSShell, introduced with PC-DOS 4.0; this was as graphical as DOS got.  The text-based DOSShell was bug-free and a reasonable advance over what came before but the power users had already adopted XTree as their preferred file handler.

Bugs can also become quirky industry footnotes.  As late as 1987, IBM had intended to release the update of PC-DOS 3.3 as version 3.4, reflecting the corporation’s roadmap of DOS as something of an evolutionary dead-end, doomed ultimately to end up in washing machine controllers and such while the consumer and corporate market would shift to OS/2, the new operating system which offered pre-emptive multi-tasking and access to bigger storage and memory addressing.  However, at that point, both DOS & OS/2 were being co-developed by IBM & Microsoft and agreement was reached to release a version 4 of DOS.  DOS 4 also included a way of accessing larger storage space (through a work-around with a program called share.exe) and more memory (in a way less elegant than the OS/2 approach but it did work, albeit more slowly), both things of great interest to Microsoft because they would increase the appeal of its upcoming Windows 3.0, a graphical shell which ran on top of DOS; unlike OS/2, Windows was exclusive to Microsoft and so was the revenue stream.  Unfortunately, it transpired the PC-DOS 4.0 memory tricks were “buggy” when used with some non-IBM hardware and the OS gained a bad reputation from which it would never recover.  By the time the code was fixed, Microsoft was ready to release its own version as MS-DOS 4.0 but, noting all the bad publicity, after some cosmetic revisions, the mainstream release was MS-DOS 4.01.  In the code of the earlier, bug-afflicted bits, there seems no substantive difference between MS-DOS 4.01 the few extant copies of MS-DOS 4.0.

Herbie, the love bug

Lindsay Lohan (left) among the bugs (centre) on the red carpet for the Los Angeles premiere of Herbie Fully Loaded (a 2005 remake of The Love Bug (1968)), El Capitan Theater, Hollywood, Los Angeles, 19 June 19, 2005.  The Beetle (right) was one of the many replica “Herbies” in attendance and, on the day, Ms Lohan (using the celebrity-endorsed black Sharpie) autographed the glove-box lid, removed for the purpose. 

In idiomatic and other uses, bug has a long history.  By the early twentieth century “bugs” meant “mad; crazy" and by then “bug juice” had been in use for some thirty years, meaning both “propensity of the use of alcoholic drink to induce bad behaviour” and “bad whiskey” (in the sense of a product being of such dubious quality it was effectively a poison).  A slang dictionary from 1811 listed “bug-hunter” as “an upholsterer”, an allusion to the fondness bugs and other small creatures show for sheltering in the dark, concealed parts of furniture.  As early as the 1560s, a “bug-word” was a word or phrase which “irritated or vexed”.  The idea of “bug-eyed” was in use by the early 1870s and that’s thought either to be a humorous mispronunciation of bulge or (as is thought more likely) an allusion to the prominent, protruding eyes of creatures like frogs, the idea being they sat on the body like “a pair of bugs”.  The look became so common in the movies featuring aliens from space that by the early 1950s the acronym BEM (bug-eyed monster) had become part of industry slang.  The correct term for the medical condition of "bulging eyes" is exophthalmos.

Lindsay Lohan in promotional poster for Herbie: Fully Loaded (2005).

To “bug someone” in the sense of “to annoy or irritate” seems not to have been recorded until 1949 and while some suggest the origin of that was in swing music slang, it remains obscure.  The now rare use of “bug off” to mean “to scram, to skedaddle” is documented since 1956 and is of uncertain origin but may be linked to the Korean War (1950-1953) era US Army slang meaning “stage a precipitous retreat”, first used during a military reversal.  The ultimate source was likely the UK, Australian & New Zealand slang “bugger off” (please leave).  The “doodle-bug” was first described in 1865 and was Southern US dialect for a type of beetle.  In 1944, the popular slang for the German Vergeltungswaffen eins (the V-1 (reprisal weapon 1) which was the first cruise missile) was “flying bomb” or “buzz bomb”) but the Royal Air Force (RAF) pilots preferred “doodle-bug”.

The ultimate door-stop for aircraft hangers: Bond Bug 700.

The popularity of three wheeler cars in the UK during the post-war years was a product of cost breakdown.  They were taxed at a much lower rate than conventional four-wheel vehicles, were small and thus economical and could be operated by anyone with only a motorcycle licence.  Most were genuine (if not generous) four-seaters and thus an attractive alternative for families and, being purely utilitarian, there were few attempts to introduce elements of style.  The Bond Bug (1970-1974) was an exception in that it was designed to appeal to the youth market with a sporty-looking two-seater using the then popular “wedge-styling” and in its most powerful form it could touch 80 mph (130 km/h), faster than any other three wheeler available.  The bug was designed by Vienna-born British designer Tom Karen (1926–2022) who intended it as a “Ferrari for 16-year-olds” which may hint he knew more about cars than young males but in the 1970s such comparisons often were made, a tester in one magazine describing the diminutive Fiat 127 (1971-1983) as “the 0.9 litre Ferrari” which was journalistic licence writ large but people knew what he meant.

An infestation of Bugs.

However, the UK in 1973 introduced VAT (value-added tax, a consumption tax) and this removed many of the financial advantages three-wheelers offered (it also doomed much of the “kit-car” business in which customers could buy the parts and assemble them with their own labor).  In an era of rising prosperity, the appeal of the compromise waned and coupled with some problems in the early productions runs, in 1974, after some 2¼ thousand Bugs had been built, the zany little machine was dropped; not even the oil crisis of the time (which had doomed a good number of bigger, thirstier cars) and the nasty recession which followed could save it.  Even in its best years it was never all that successful, essentially because it was really a novelty and there were “real” cars available for less money.  Still, the survivors have a following in their niche at the lower end of the collector market and it's a machine truly like no other.

The business of spying is said to be the “second oldest profession” and even if not literally true, few doubt the synergistic callings of espionage and war are among man’s earliest and most enduring endeavors.  Although the use of “bug” to mean “equip with a concealed microphone” seems not to have been in use until 1946, bugging devices probably go back thousands of years (in a low-tech sort of way) and those known to have been used in Tudor-era England (1485-1603) are representative of the way available stuff was adapted, the most popular being tubular structures which, if pressed against a thin wall (or preferably a door’s keyhole) enabled one to listen to what was being discussed in a closed room.  Bugging began to assume its modern form when messages began to be transmitted over copper wires which could stretch for thousands of miles and the early term for a “phone bug” was “phone tap”, based upon the idea of “tapping into” the line as one might a water pipe.  Bugs (the name picked-up because many of the early devices were small, black and “bug-like”), whether as concealed microphones or phone taps, swiftly became part of the espionage inventory in diplomacy, commerce and crime and as technology evolved, so did the bugging techniques.

Henry Cabot Lodge Jr (1902–1985), US Ambassador to the UN (United Nations) at a May 1960 session of the Security Council, using the Great Seal bug to illustrate the extent of Soviet bugging.  The context was a tu quoque squabble between the Cold War protagonists, following Soviet revelations about the flight-paths of the American's U2 spy planes.  Lodge would be Richard Nixon’s (1913-1994; US president 1969-1974) running mate in that year's presidential election.     

A classic bug of High Cold War was the Great Seal bug, (known to the security services as the thing), a Soviet designed and built concealed listening device which was so effective because it used passive transmission protocols for its audio signal, thereby rendering it invisible to conventional “bug-detection” techniques.  The bug was concealed inside large, carved wooden rendition of the US Great Seal which, in 1945, the Kremlin presented as a “gift of friendship” to the US Ambassador to the USSR Averell Harriman (1891-1986); in a nice touch, it was a group of Russian school children who handed over the carving.  Sitting in the ambassador’s Moscow office for some seven years, it was a masterpiece of its time because (1) being activated only when exposed to a low-energy radio signal which Soviet spies would transmit from outside, when subjected to a US “bug detection” it would appear to be a piece of wood and (2) as it needed no form of battery or other power supply (and indeed, no maintenance at all), its lifespan was indefinite.  Had it not by chance been discovered by a communications officer at the nearby British embassy who happened to be tuned to the same frequency while the Soviets were sending their signal, it may well have remained in place for decades.  Essentially, the principles of the Great Seal bug were those used in modern radio-frequency identification (RFID) systems.