Brat

Brat (pronounced brat)

(1) A child, especially one is ill-mannered, unruly, annoying, spoiled or impolite etc (usually used either playfully or in contempt or irritation, often in the phrase “spoiled brat”.

(2) As “military brat”, “army brat” etc, a child with one or more parent serving in the military; most associated with those moving between military bases on a short-duration basis; the derived form is “diplomatic brat” (child living with parents serving in overseas missions).

(3) In the BDSM (bondage/discipline, dominance/submission, sadism/masochism) community, a submissive partner who is disobedient and unruly (ie a role reversal: to act in a bratty manner as the submissive, the comparative being “more bratty”, the superlative “most bratty”).

(4) In mining, a thin bed of coal mixed with pyrites or carbonate of lime.

(5) A rough makeshift cloak or ragged garment (a now rare dialectal form).

(6) An apron fashioned from a coarse cloth, used to protect the clothing (a bib) (a now obsolete Scots dialect word).

(7) A turbot or flatfish.

(8) The young of an animal (obsolete).

(9) A clipping of bratwurst, from the German Bratwurst (a type of sausage) noted since 1904, from the Middle High German brātwurst, from the Old High German, the construct being Brāt (lean meat, finely shredded calf or swine meat) + wurst (sausage).

(10) As a 2024 neologism (technically a re-purposing), the qualities associated with a confident and assertive woman (along the lines of the earlier “bolshie woman” or “tough broad” but with a more overtly feminist flavor).

1500–1520: Thought to be a transferred use (as slang for “a beggar's child”) of the early Middle English brat (cloak of coarse cloth, rag), from the Old English bratt (cloak) of Celtic origin and related to the Old Irish brat (mantle, cloak; cloth used to cover the body).  The origin of the early Modern English slag use meaning “beggar's child” is uncertain.  It may have been an allusion, either to the contemporary use meaning “young of an animal” or to the shabby clothing such a child would have worn", the alternative theory being some link with the Scots bratchet (bitch, hound).  The early sense development (of children) may have included the fork of the notion of “an unplanned or unwanted baby” (as opposed to a “bastard” (in the technical rather than behavioral sense)) had by a married couple.  The “Hollywood Brat Pack” was a term from the mid-1980s referring to a grouping of certain actors and modeled on the 1950s “Rat Pack”.  The slang form “brattery” (a nursery for children) sounds TicTokish but actually dates from 1788 while the generalized idea of “spoiled and juvenile” became common in the 1930s.  The unrelated use of bratty (plural bratties) is from Raj-era Indian English where it describes a cake of dried cow dung, used for fuel.  Brat is a noun, verb & adjective, brattishness & brattiness are nouns, bratting & bratted are verbs, brattish & bratty are adjectives and brattily is an adverb; the noun plural is brats.

LBJ, the "Chicken Tax" and the Subaru BRAT

Subaru Brat, advertising in motion (US).

The Subaru BRAT was (depending on linguistic practice) (1) a coupé utility, (2) a compact pick-up or (3) a small four wheel drive (4WD) ute (utility).  The name was an acronym (Bi-drive Recreational All-terrain Transporter), the novel idea of “bi-drive” (4WD) being the notion of both axles being driven, something dictated by the need to form the acronym.  “Bi-Drive Recreational All-Terrain Transporter” certainly was more imaginative (if opportunistic) than other uses of BRAT as an acronym which have included: ”Behaviour Research And Therapy” (an academic journal), “Bananas, Rice, Applesauce and Toast” (historically a diet recommended for those with certain stomach disorders), “Brush Rapid Attack Truck” (a fire-fighting vehicle), “Basenji Rescue and Transport” (a dog rescue organization), “Behavioral Risk Assessment Tool” (used in HIV/AIDS monitoring), Beautiful, Rich and Talented (self-explanatory), the “Bureau de Recherche en Aménagement du Territoire” (the Belgium Office of Research in Land Management (in the French)), “Beyond Line-Of-Sight Reporting and Tracking” (a US Army protocol for managing targets not in visual range) and “Battle-Management Requirements Analysis Tool” (a widely used military check-list, later interpolated into a BMS (Battle Management System).

Ronald Reagan on his Santa Barbara ranch with Subaru BRAT.  Like many owners who used their BRATs as pick-up trucks, President Reagan had the jump seats removed.

Built on the platform of the Leone (1971-1994) and known in some markets also as the MV Pickup, Brumby & Shifter, the BRAT was variously available between 1978-1994 and was never sold in the JDM (Japanese domestic market) although many have been “reverse imported” from Australia and the US and the things now have a cult following in Tokyo.  The most famous BRAT owner was probably Ronald Reagan (1911-2004; US president 1981-1989) who kept a 1978 model on his Californian ranch until 1988, presenting something of a challenge for his Secret Service detail, many of whom didn’t know how to drive a stick-shift (manual transmission).  That though would have been less frightening than the experience of many taken for a drive by Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) in the Amphicar 770 (1961-1965) he kept at his Texas ranch.  LBJ suddenly would turn off the path, driving straight into the waters of the dam, having neglected to tell his passengers of the 770’s amphibious capabilities.

Of physics.  Those familiar Sir Isaac Newton's (1642–1727) First Law of Motion (known also as the Law of Inertia: "An object at rest will remain at rest, and an object in motion will continue in motion with the same speed and in the same direction unless acted upon by an unbalanced external force") can ponder the possibilities.

The Subaru BRAT is remembered also as a “Chicken Tax car”.  Tax regimes have a long history of influencing or dictating automotive design, the Japanese system of displacement-based taxation responsible for the entire market segment of “Kei cars” (a clipping of kei-jidōsha (軽自動車) (light automobile), the best known of which have been produced with 360, 600 & 660 cm3 (22, 37 & 40 cubic inch) engines in an astonishing range of configurations ranging from micro city cars to roadsters and 4WD dump trucks.  In Europe too, the post-war fiscal threshold resulted in a wealth of manufacturers (Mercedes-Benz, Jaguar, BMW, Ford, Maserati, Opel et al) offering several generations of 2.8 litre (171 cubic inch) sixes while the that imposed by the Italian government saw special runs of certain 2.0 litre (122 cubic inch) fours, sixes & even V8s.  The US government’s “Chicken Tax” (a part of the “Chicken War”) was different in that it was a 25% tariff imposed in 1963 by the Johnson administration on potato starch, dextrin, brandy and light trucks; it was a response to the impost of a similar tariffs by France and the FRG (Federal Republic of Germany, the old West Germany) on chicken meat imported from the US.

Subaru BRAT in use.

The post-war development in the US of large scale, intensive chicken farming had both vastly expanded production of the meat and radically reduced the unit cost of production which was good but because supply quickly exceeded the demand capacity of the domestic market, the surplus was exported, having the effect in Europe of transforming chicken from a high-priced delicacy to a staple consumer protein; by 1961, imported US chicken had taken some 50% of the European market.  This was at a time when international trade operated under the General Agreement on Tariffs and Trade (the GATT (1947)) and there was nothing like the codified dispute resolution mechanism which exists in the rules of the successor World Trade Organization (the WTO (1995)) and the farming lobbies in Germany, France and the Netherlands accused the US producers of “dumping” (ie selling at below the cost of production) with the French government objecting that the female hormones US farmers used to stimulate growth were a risk to public health, not only to those who ate the flesh but to all because nature of the substances was such that a residue enter the water supply.  The use of the female hormones in agriculture does remains a matter of concern, some researchers linking it to phenomena noted in the last six decades including the startling reduction in the human male's sperm count, the shrinking in size of the penises of alligators living in close proximity to urban human habitation and early-onset puberty in girls.

Subaru BRAT Advertising (US).

Eventually, the tariffs on potato starch, dextrin and brandy were lifted but the protection for the US truck producers remained, triggering a range of inventive “work-arounds” concocted between various engineering and legal offices, most of which involved turning two-seater trucks & vans into vehicles which technically could quality as four-seaters, a configuration which lasted sometimes only until the things reached a warehouse where the fittings could be removed, something which would cost the Ford Motor Company (one of the corporations the tax had been imposed to protect) over US$1 billion in penalties, their tactics in importing the Transit Connect light truck from Turkey (now the Republic of Türkiye) just too blatant.  In New Zealand, in the mid 1970s, the government found the “work-arounds” working the other way.  There, changes had been implemented to make the purchase of two seater light vans more attractive for businesses so almost instantly, up sprang a cottage industry of assembling four-door station wagons with no rear seat which, upon sale, returned to the workshop to have a seat fitted.  Modern capitalism has always been imaginative.

Subaru "Passing Lamp" on Leone 1600 GL station wagon (optional on BRATs, 1980-1982).

In Fuji Heavy Industries’ (then Subaru’s parent corporation) Ebisu boardroom, the challenge of what probably was described as the “Chicken Tax Incident” was met by adding to the BRAT two (the frame welded to the cargo bed) plastic, rear-facing jump seats, thereby qualifying the vehicle as a “passenger car” subject in the US only to a 2.5 and not a 25% import tax.  Such a “feature” probably seems strange in the regulatory environment of the 2020s but there was a time when there was more freedom in the air.  Subaru’s US operation decided the BRAT’s “outdoor bucket seats” made it an “open tourer” and slanted the advertising thus, the model enjoying much success although the additional seating wasn’t available for its final season in the US, the BRAT withdrawn after 1987.  Another nifty feature available on the BRAT between 1980-1982 was the “Passing Lamp” (renamed “Center Lamp” in 1982 although owners liked “Third Eye” or “Cyclops”), designed to suit those who had adopted the recommended European practice of flashing the headlights (on high beam) for a second prior to overtaking.  The BRAT was not all that powerful so passing opportunities were perhaps not frequent but the “passing lamp” was there to be used if ever an even slower car was encountered.  The retractable lamp was of course a complicated solution to a simple problem given most folk so inclined just flash the headlights but it was the sort of fitting with great appeal to men who admire intricacy for its own sake.

Brat: Charli XCX's Summer 2024 album

Charli XCX, BRIT Awards, O2 Arena,  London, February 2016; the "BRITs" are the British Phonographic Industry's annual popular music awards.

“Brat” has been chosen by the Collins English Dictionary as its 2024 Word of the Year (WotY), an acknowledgement of the popular acclaim which greeted the word’s re-purposing by English singer-songwriter Charli XCX (the stage-name of Charlotte Emma Aitchison (b 1992)) who used it as the title for her summer 2024 album.  The star herself revealed her stage name is pronounced chahr-lee ex-cee-ex; it has no connection with Roman numerals and XCX is anyway not a standard Roman number.  XC is “90” (C minus X (100-10)) and CX is “110” (C plus X (100 +10)) but XCX presumably could be used as a code for “100” should the need arise, on the model of something like the “May 35^th” reference Chinese Internet users used to use in an attempt to circumvent the CCP's (Chinese Communist Party) "Great Firewall of China" when speaking of the “Tiananmen Square Incident” of 4 June 1989.  In 2015, Ms XCX revealed “XCX” was an element of her MSN screen name (CharliXCX92) when young (it stood for “kiss Charli kiss”) and she used it on some of the early promotion material for her music.

Charli XCX with Brat album (vinyl pressing edition) packaging in "brat green".

According to Collins, the word “resonated with people globally”.  The dictionary had of course long had an entry for the word something in the vein of: “someone, especially a child, who behaves badly or annoys you”, but now it has added “characterized by a confident, independent, and hedonistic attitude”.  In popular culture, the use spiked in the wake of the album's released but it may be “brat” in this sense endures if the appeal is maintained, otherwise it will become unfashionable and fade from use, becoming a “stranded word”, trapped in the time of its historic origin.  So, either it enters the vernacular or by 2025 it will be regarded as “so 2024”.  The lexicographers at Collins seem optimistic about its future, saying in the WotY press release that “brat summer has established itself as an aesthetic and a way of life”.

Lindsay Lohan in Jil Sander (b 1943) "brat green" gown, Disney Legends Awards ceremony, Anaheim, Los Angeles, October 2024.  For anyone wanting to describe a yellowish-green color with a word which has the virtues of (1) being hard to pronounce, (2) harder to spell and (3) likely to baffle most of one’s interlocutors, there’s “smaragdine” (pronounced smuh-rag-din), from the Latin smaragdinus, from smaragdus (emerald), from the Ancient Greek σμάραγδινος (smáragdinos), from σμάραγδος (smáragdos).

The “kryptonite green” used for Brat’s album’s packaging seems also to have encouraged the use in fashion of various hues of “lurid green” (the particular shade used by Ms XCX already dubbed “brat green” although some which have appeared on the catwalks seem more of a chartreuse) and an online “brat generator” allowed users replicate the cover with their own choice of words.  The singer was quite helpful in fleshing out the parameters of the aesthetic, emphasizing it didn’t revolve around a goth-like “uniform” and nor was it gender-specific or socially restricted.  In an interview with the BBC, Ms XCX explained the brat thing was a spectrum condition extending from “luxury” to “trashy” and was a thing of attitude rather than accessories: “A pack of cigs, a Bic lighter, and a strappy white top with no bra.  That’s kind of all you need.”  Although gender-neutral, popular use does seem to put the re-purposed “brat” in the tradition of the earlier “bolshie woman” or “tough broad” but with a more overtly feminist flavor, best understood as “the qualities associated with a confident and assertive woman”.  In its semantic change, “brat” has joined some other historically negative words & phrases (“bitch”, “bogan”, the infamous “N-word” et al) which have been “reclaimed” by those at whom the slur was once aimed, a tactic which not only creates or reinforces group identity but also weaponizes what used to be an insult so it can be used to return fire.

Swagger

Swagger (pronounced swag-er)

(1) A manner, conduct, or gait thought an ostentatious display of arrogance and conceit.

(2) To walk or strut with a defiant or insolent air.

(3) To boast or brag noisily.

(4) To bring, drive, force, etc by means of bluster (now rare).

(5) Elegantly fashionable and confident (listed by some dictionaries as “rare” but in UK use it remains understood as a way of differentiating from “arrogant” and appears often in the form “a certain swagger” on the model of a phrase like “a certain grandeur”).

(6) In historic Australian (mostly rural) slang, an alternative name for a “swagman” or “swaggie” (an itinerant worker who carried a swag (a kind of roll-up bed) (archaic).  Swagman remains familiar in Australia because of the opening line of the bush ballad Waltzing Matilda: “Once a jolly swagman camped by a billabong”.

1580–1590: The construct was swag + -er and it was a frequentative form of swag (in the sense of “to sway”), an early use of which appears in William Shakespeare’s (1564–1616) A Midsummer Night's Dream (1595): “What hempen homespuns have we swaggering here?” (Puck in Act III, Scene 1) and it appears also in Henry IV, Part 2 (circa 1598) & King Lear (circa1605).  The verb swag (in the Shakespearian sense of “to strut in a defiant or insolent manner” (which then could also mean “a gait with a sway or lurch”) was from the Middle English swaggen, swagen & swoggen, probably from the Old Norse sveggja (to swing, sway) and may be compared with the dialectal Norwegian svaga (to sway, swing, stagger).  The meaning “to boast or brag” was in use by the 1590s to describe the antics of the concurrent agent-noun swaggerer (blusterer; bully; boastful, noisy fellow), the noun appearing in the early eighteenth century in the sense of “an insolent strut; a piece of bluster; a boastful manner”.  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.  Swagger is a noun & verb, swaggerer is a noun, swaggering is an adjective and swaggeringly is an adverb; the noun plural is swaggers.  The verb (used with object) out-swagger was used as a kind of “loaded” superlative, suggesting someone’s swagger had been “topped” by that of another.

Swaggering: Lindsay Lohan in swagger coat, New York City, March 2024.

A swagger coat was a (usually) calf-length overcoat with a distinctive cut which flared out below the knee.  They became fashionable in the early decades of the twentieth century, the wide, roomy silhouette, often without a belt, allowing for a “swaggering” or flowing appearance when worn.  The relaxed fit lent the garment a casual elegance and they often were worn, cloak-like, cast over the shoulders.  Swagger coats were commonly made from heavier fabrics like wool or tweed, making them ideal for outerwear in cooler weather and their air of “quiet sophistication” has made them a timeless classic.  A swagger stick was a short stick carried by a military officer as a symbol of authority but should not be confused with a field-marshal’s baton which was a symbol of the highest military rank.  Swagger sticks were shorter than a walking-cane, tended to be made from rattan or bamboo and adorned with a polished metal tip or cap.  A symbol rather than a practical tool, they are still seen during formal parades or other ceremonial events.  A “swagger-jack” was someone who copied or imitated the actions, sayings or personal habits of another.  The word “swagger” often carries a negative connotation but there’s a long tradition in the UK of it being used to distinguish for someone thought “arrogant”.  When one reviewer wrote of the Rolling Stones album Beggars Banquet (1968) as being the band “at their most swaggeringly debauched”, he really was giving them a compliment.  Much can context influence meaning.

The Swagger Portrait

A swagger portrait is a grand, usually large and often ostentatious portrait, typically commissioned by wealthy or influential individuals to display their status, power and prestige.  The term came into use in the late nineteenth century at the height of the British Empire when countless generals, admirals, politicians, governors, viceroys and others less exalted (though perhaps more deserving) decided it was something they deserved.  The distinguishing characteristics were (1) an imposing dimensionality, larger than life renditions not uncommon, (2) elaborate staging and poses, (3) an attention to detail, something of significance to the subjects often were dripping with decorations or precious jewels which demanded to be captured with precision and (4) a certain grandeur, something at which some artists excelled.  An exemplar of the breed was John Singer Sargent (1856-1925).

Portrait of Theodore Roosevelt (1903; left), oil on canvas by Théobald Chartran (1849–1907) and Portrait of Theodore Roosevelt (1903; right), oil on canvas by John Singer Sargent.

Nobel Peace Prize laureate Theodore Roosevelt (1858–1919; US President 1901-1909), famous also for waging war and shooting wildlife, after being impressed by Théobald Chartran’s portrait of his wife, invited the French artist to paint him too.  He was so displeased with the result, which he thought made him look effete, he refused to hang the work and later supervised its destruction.  Roosevelt then turned instead to expatriate US artist John Singer Sargent.  The relationship didn’t start well as the two couldn’t agree on a setting and during one heated argument, the president suddenly, hand on hip, took on a defiant air while making a point and Sargent had his pose, imploring his subject not to move.  This one delighted Roosevelt and was hung in the White House.

Portrait of Madame X (1884), oil on canvas by John Singer Sargent, Metropolitan Museum of Art, Manhattan.

A controversial work in its time, Madame X was Virginie Amélie Avegno Gautreau (née Avegno; 1859–1915) a banker's wife.  Unusually in the tradition of swagger portraits, Madam X was not a commission but undertaken on the painter's initiative and he understood the critics as well as he knew his subjects, knowing the juxtaposition of a black satin gown and porcelain-white skin would create a sensation.  However he understood the Parisian bourgeoisie less well and after being exhibited at the Paris Salon of 1884, the public reception was such that Singer was just about run out of town.  However, the painting made his reputation and it remains his best known work.

The Duke of Wellington (1812), oil on canvas by Francisco Goya (1812-1814), The National Gallery, London.

Arthur Wellesley (1769-1852; First Duke of Wellington was a British military hero and a less successful Tory politician although he remains remembered as a classic “Ultra”, a calling which is a hallmark of twenty-first century ideology.  Goya’s work is a typical military swagger portrait and it was for his battlefield exploits rather than in parliament which saw him granted the rare distinction of a state funeral.

Portrait of Empress Eugénie (1854), oil on canvas by Franz Xaver Winterhalter (1805-1873), Metropolitan Museum of Art, Manhattan.

The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba) was the wife of Napoleon III (Charles-Louis Napoléon Bonaparte, 1808–1873; first president of France (1848-1852) and the last monarch as Emperor (1852-1870)) and it wasn't an easy gig for her so she deserved a swagger portrait more than many, Winterhalter painting several.  They have many the elements of the swagger portraiture of royalty, lavish fabrics, the subject in regal attire, as much an almost as much an installation as any of the sumptuous surrounds, the message conveyed one of status, power and beauty.

Kammback

Kammback (pronounced cam-bak)

A motif in automotive styling (originally dictated by wind tunnel findings during research into aerodynamic properties) in which rear of the car slopes downwards before being abruptly cut off to terminate in a vertical or near-vertical surface.  The things are known also as the Kamm tail (K-tail).

1950s (the actual design first appearing in 1938): The construct was Kamm + back.  The surname Kamm (related to Kamp) was of Germanic or Jewish (Ashkenazic) origin and translates literally from the German as “comb”.  The German comb was from the Middle High German kamb, kambe, kam & kamme and the Yiddish kam (comb).  Genealogists conclude Kamm was probably an metonymic occupational surname for someone who either made or sold combs, a common tool used for grooming or for textile work such as carding or combing wool.  There’s also the possibility the name of some Kamm clans could have been of topographic origin because in German, Kamm can also mean “ridge” or “crest” of a hill, mountain or some other elevation; it could thus have referred to someone who lived near such a geographical feature.  Less likely is that some arose from nicknames based on physical features or personal characteristics with Kamm used to describe someone with hair resembling a comb or someone with a sharp or distinctive personality.  The surname emerged in the Middle Ages, a time when hereditary family names were becoming more common in German-speaking regions and in addition to the presence in Germany, exists at various scale in areas with a historic patter of German migration (notably the north-eastern US and South Australia.

Back was from the Middle English bak, from the Old English bæc, from the Proto-West Germanic bak, from the Proto-Germanic bakam & baką which may be related to the primitive Indo-European beg- (to bend).  In other European languages there was also the Middle Low German bak (back), from the Old Saxon bak, the West Frisian bekling (chair back), the Old High German bah and the Swedish and Norwegian bak; there are no documented connections outside the Germanic and in other modern Germanic languages the cognates mostly have been ousted in this sense by words akin to Modern English ridge such as Danish ryg and the German Rücken.  At one time, many Indo-European languages may have distinguished the horizontal back of an animal or geographic formation such as a mountain range from the upright back of a human while in some cases a modern word for "back" may come from a word related to “spine” such as the Italian schiena or Russian spina or “shoulder”, the examples including the Spanish espalda & Polish plecy.

Tail was from the Middle English tail, tayl & teil (hindmost part of an animal), from the Old English tægl & tægel (tail), from the Proto-Germanic taglaz & taglą (hair, fibre; hair of a tail) (source also of the Old High German zagal, the German Zagel (tail), the dialectal German Zagel (penis), the Old Norse tagl (horse's tail) and the Gothic tagl (hair), from the primitive Indo-European doklos, from a suffixed form of the roots dok & dek- (something long and thin (referring to such things as fringe, lock of hair, horsetail & to tear, fray, shred)), source also of the Old Irish dual (lock of hair) and the Sanskrit dasah (fringe, wick).  It was cognate with the Scots tail (tail), the Dutch teil (tail, haulm, blade), the Low German Tagel (twisted scourge, whip of thongs and ropes; end of a rope), the dialectal Danish tavl (hair of the tail), the Swedish tagel (hair of the tail, horsehair), the Norwegian tagl (tail), the Icelandic tagl (tail, horsetail, ponytail), and the Gothic tagl (hair). In some senses, development appears to have been by a generalization of the usual opposition between head and tail.  The Oxford English Dictionary (OED) suggest the primary sense, at least among the Germanic tongues, seems to have been "hairy tail," or just "tuft of hair," but already in Old English the word was applied to the hairless "tails" of worms, bees etc.  The alternative suggestion is that the notion common to all is that of the "long, slender shape."  It served as an adjective from the 1670s.  A long obsolete Old English word for tail was steort.  Kammback is a noun; the noun plural is kammbacks.  No lexicographer seems to have listed Kammbackesque, Kammbacklike or Kammbackish as standard adjectives but, given the extent of the deviances from Professor Kamm's original which are still labelled as “Kammbacks”, they might be useful forms.  Who wouldn't want to be able to use terms like the comparative “more Kammbackish” and the superlative “most Kammbackish”?

Some notable Kammbacks

The Kammback (also known as the Kamm tail) was named after German engineer & aerodynamicist Professor Wunibald Kamm (1893–1966) who during the 1930s pioneered the shape, his work assisted greatly by some chicanery within the Nazi military-industrial complex which enabled the FKFA (Forschungsinstituts für Kraftfahrwesen und Fahrzeugmotoren Stuttgart (Research Institute of Automotive Engineering and Vehicle Engines Stuttgart) institute he established in 1930s to secure funding to construct a full-sized wind tunnel equipped with a two-part steel treadmill in the floor and an 8.8 metre (350 inch) diameter axial fan, able to drive air at up to 400 km/h (250 mph).  What the two concentric floor turntables allowed was that as well as enabling turbulence to be studied from the side on the running steel belt, slip angles were also possible.   At the time, it was the most modern structure of its kind on the planet, the very existence of which was owed to the priority afforded by the Nazis to re-armament, especially the development of modern airframes, most of the money eventually coming from the Reichs-Luftfahrt-Ministerium (RLM, the State Air Ministry).

A classic Kammback on a 1970 Fiat 850 Coupé (1965-1973), one of the last of the generation of post-war mainstream rear-engined cars built in Western Europe.

While Professor’s Kamm’s work on automobile shapes continued, increasingly the facility became focused on military contracts, contributing to an extraordinary range of novel aircraft designs, some revolutionary and most of which would never reach production.  All of this ceased in July 1944 when the facility was severely damaged in air-raids by Royal Air Force (RAF) Bomber Command, a costly campaign in which one mission incurred a loss-ration of 20% and it wasn’t until the late 1940s that reconstruction began after it was acquired by Daimler-Benz AG which enlarged and modernized the machinery, the early fruits including the 300 SL (the W194, first gullwing coupé) which won the 1952 Le Mans 24 hour race and the W196R “streamliner” Grand Prix race cars which created such a sensation in 1954.  Although he wasn’t part of “Operation Paperclip” (the US project which secured (by various means including the military “smuggling” them into the country despite many being wanted by those investigating war crimes and crimes against humanity) Professor Kann was acknowledged as one of the world’s leading authorities on turbulence and between 1947-1953 was part of the team working at Wright-Patterson Air Force Base in Dayton, Ohio.  Some of what was undertaken then remains classified but it can be assumed it was all related to military projects and what would later become the space program.

The Kammback which really wasn't: 1976 Chevrolet Vega Kammback.

One often misunderstood aspect of the Kamm tail is that the aerodynamic benefits are realized only if the flat, vertical surface created was no more than about 50% of the total area of the vehicle (as viewed directly from the back).  That’s why even designs which don’t conform to the requirements are often casually referred to as “Kammbacks” and in the US, Chevrolet were cynically opportunistic when the Vega range (1970-1977) included what was nothing more than a two-door station wagon (estate), it was named “Vega Kammback”.  Actually, even the existence of the thing in the US was unusual because at that stage, General Motors (GM) really “didn’t like” small station wagons but many critics did agree the Kammback was the best looking of the Vega’s body-styles.

2023 Ford Mustang coupe (left) and convertible (right).  Three of the Mean Girls (2004) ensemble (Karen Smith (Amanda Seyfried (b 1985)), Gretchen Wieners (Lacey Chabert (b 1982)) & Cady Heron (Lindsay Lohan (b 1986)) in 2023 filmed a commercial for Pepsi Corporation, one of the props a 2023 Ford Mustang convertible.  So ubiquitous has the Kammback become that its now unnoticed (except in its absence), one quirk being that when convertibles are created from such a base, many of the aerodynamic advantages are lost, one reason why (all else being equal which is rarely the case) a convertible will tend to have slightly inferior performance and slightly higher fuel consumption.

The knowledge gained from aero-engine development during World War I (1914-1918) meant even the mainstream engines of the 1920s were developing much more power so the speeds of cars were rising.  Some intrepid types also took advantage of the number of huge, powerful aero-engines being sold cheaply as “war surplus”, installing them is powerboats and racing cars, resulting in some fast machines and not a few fatalities.  However, it became clear the law of diminishing returns applied as speeds rose because while an increase of 100 horsepower might make possible an increase in top speed from 100 to 120 mph, another 100 hp might yield only another 10 mph; wind resistance increasing too much for the power to overcome.  Thus the interest in aerodynamics, then usually called “streamlining” something which, coincidently, produced some memorable art deco designs buy the engineers were interested in higher speeds and lower fuel consumption for a given quantum of energy input (fuel consumption).

2014 Shelby American Cobra 427 50^th Anniversary Edition in aluminium (left) and 1964 Shelby Daytona Coupe (right).

The AC Shelby Cobra (1962-1967) was small, light and powerful which made it an instant success on the race tracks but, ruggedly handsome though it was, its aerodynamics limited the top speed and on the some fast, open European circuits it gave away as much as 50 km/h (30 mph) to less powerful but more streamlined machines.  More power wasn’t the solution but a new Kammback body was and the Daytona duly won its class in the 1965 World Sports Car Championship.  All used the 289 cubic in (4.7 litre) Ford Windsor V8 although one briefly was fitted with a 390 (6.5) FE V8 and the planned 427 (7.0) version (CSX3027, the so-called “Daytona Super Coupe”) was never completed until sold by Shelby some 17 years later in a “rummage sale”.  The Kammback Daytona was the work of US designer Pete Brock (b 1936) and in a macabre coincidence, his namesake, the Australian racing driver Peter Brock (1945–2006) was killed while competing (in retirement) in a replica Daytona Coupe during the now defunct Targa West (2005-2021) in Western Australia.

Before the Kammback, the state of the aerodynamic art was the airship-like "streamliner" which, although it probably didn't cross the engineers' minds, owed something to the train of a bride's gown.  1939 Lincoln Zephyr V12 Coupe (left) and 1937 Mercedes-Benz 540K (W29) Special Roadster (originally delivered to Mohammad Zahir Shah (1914–2007; the last King of Afghanistan 1933-1973) (right).

What soon became clear was that the shape of the dirigible (better known as the “airship” or “blimp”) was close to ideal and needed to be tweaked only by honing it into a “teardrop shape” with a rounded nose, extending to a long, tapered tail, a shape which in the 1930s caught the imagination of designers who rendered some memorable designs although the most famous were impractical and inefficient in terms of packaging, thus suitable only for the then small market niche which sought speed.  It was to try to gain the benefits of streamlining in a shape more suitable for mass production that Professor Kamm and others took their slide-rules to the wind tunnel began to experiment.  The solution which emerged was to terminate the lovely, long flowing roofline with an abrupt end at a surface which was either vertical or close to it, an unexpected benefit being an improvement in high-speed stability, obviating the need for (a usually central) stabilizing fin (a la an aircraft’s tail).  By 1938, BMW had produced a car with a Kammback and although World War II (1938-1945) interrupted development by the late 1940s the shape had begun to appear in showrooms and in little more than ten years it was common in specially bodied racing cars.  That didn’t mean the allure of the teardrop went away because the aerodynamicists (who now had both access to bigger wind tunnels in which higher speeds could be tested and the novelty of computers which could process previously unimaginable quantities of data) could still prove ultimate slipperiness could be attained only with the teardrop.

Pre-Kammback & non-Kammback.  Porsche 917LH (Langheck (long tail)) at Arnage, Le Mans 24 hour, 1969 (left) and 2020 McLaren Speedtail (right).  Such things are now possible.

It was this which convinced Porsche to use such a tail on their revolutionary 917 in 1969 and having encountered no stability issues on their test track, sent the car to the circuits where it proved as fast as expected.  Unfortunately, the size of the Porsche test facility limited the 917 to 290 km/h (180 mph) and when on the long straights of some European circuits when speeds exceeded 320 km/h, it was clear the thing was lethally unstable.  Although the drivers killed at the wheel of the early 917s didn’t die at such velocities, it was understood it would be only a matter of time so the rear bodywork was redesigned.  When in 2018 McLaren returned to the teardrop for the “Speedtail” (a car which sacrificed just about anything not mandated by law in the quest for top speed), it was able to achieve a safe (it’s a relative term) 400 km/h (250 mph) because advances in aerodynamics, computing, materials & hydraulics had made such things possible although the packaging inefficiencies remained, something not significant for the target market.

Melcryptovestimentaphilia

Melcryptovestimentaphilia (pronounced mel-krip-toh-ves-tuh-muhn-tah-fil-ee-uh)

(1) A desire or fondness for women's black underwear.

(2) A compulsion to steal women's black underwear.

(3) Being able to achieve sexual arousal only when women's black underwear is in some way involved.

Mid-twentieth century:  A portmanteau word, the construct being mel- (from the Ancient Greek μέλας (mélas) (black; dark) (genitive μέλανος (mélanos)) + -crypto- (from the Ancient Greek κρυπτός (kruptós) (hidden, secret) + -vestimenta-, a back-formation from the Latin vestimentum (clothing; garment), the construct being vestīre (clothe), from vestis (a garment, gown, robe, vestment, clothing, vesture), from the primitive Indo-European wéstis, from wes- (to be dressed) +‎ -mentum (from the Latin suffix -menta (familiar in collective nouns such as armenta (herd, flock)) from the Proto-Italic -məntom, from the plural primitive Indo-European -mn̥the + -philia, from the Ancient Greek φιλία (philía) (fraternal) love).  It was used to form nouns conveying a liking or love for something and in clinical use was applied often to an abnormal or obsessive interest, especially if it came to interfere with other aspects of life (the general term is paraphilia).  The companion suffix is the antonym -phobia. The related forms were the prefixes phil- & philo- and the suffixes -philiac, -philic, -phile & -phily.  Melcryptovestimentaphilia & melcryptovestimentaphilism are nouns, and melcryptovestimentaphiliac is an adjective; the noun plural is melcryptovestimentaphiliacs.  Were the situation to demand an adverb, it would be melcryptovestimentaphilially.

Model Adriana Fenice (b 1994) in black underwear.

The origin of melcryptovestimentaphilia is unknown but it was more likely a coining for humorous purposes than something document in clinical psychiatry.  The word appears in An Almanac of Words at Play (1975) by US philologist & writer Willard Espy (1910–1999) which is one of the languages more eclectic gatherings of words, phrases, fables, fragments of verse, parodies, anagrams, clever sayings, palindromes, fractured & tortured English, graffiti, typographical blunders (a polite description of what James Joyce (1882–1941) called “bitched type”), anecdotes, appalling stanzas, coined words, epitaphs, slang, collective nouns, last words of the dying (including the apocryphal which are among the best) and linguistic curiosities such as malapropisms, spoonerisms, macaronies, oxymorons, acrostics, acronyms, Clerihews, lipograms and rhopalic verse.  It’s one of those books which can be read either in lineal form or by just opening it at random to see what one finds.

Lingerie, the DSM and the ICD

Unsurprisingly, melcryptovestimentaphilia appears in neither the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) nor the World Health Organization’s (WHO) International Classification of Diseases (ICD), not because the syndrome doesn’t exist but because the profession’s modern view of such things is such a focus should not in itself be considered a disorder, unless accompanied by distress or impairment although it was noted by many that if even a nominally “harmless” fetish became an obsession, it certainly could impair healthy sexuality.  Since the DSM-5 (2013), a diagnosis of paraphilia (a type of mental disorder characterized by a preference for or obsession with unusual sexual practices) was assigned to individuals who experience sexual arousal from objects or a specific part of the body not typically regarded as erotic and presumably any body part or object can be a fetish, the most frequently mentioned including underwear, shoes, stockings, gloves, hair and latex.   Fetishists may use the desired article for sexual gratification in the absence of a partner although it’s recorded this may involve nothing more than touching smelling the item and the condition appears to manifest almost exclusively in men, the literature suggesting a quarter of fetishistic men are homosexual but caution needs always to be attached to these numbers (because fetishism is something which many happily enjoy their whole adult lives, it never comes to the attention of doctors and a high proportion of the statistical material about fetishism is from patients self-reporting).  The statistics in a sense reflect thus not the whole cohort of the population with the condition but rather those who either want to talk about it or are responding to surveys.  That is of course true of other mental illnesses but is exaggerated with fetishism because so much lies with the spectrum of normal human behavior and the definitional limitations in the DSM-5 reflect this, including three criteria for Fetishistic Disorder and three specifiers:

Criterion 1: Over a six month period, the individual has experienced sexual urges focused on a non-genital body part, or inanimate object, or other stimulus, and has acted out urges, fantasies, or behaviors.

Criterion 2: The fantasies, urges, or behaviors cause distress, or impairment in functioning.

Criterion 3: The fetishized object is not an article of clothing employed in cross dressing, or a sexual stimulation device, such as a vibrator.

Specifiers for the diagnosis include the type of stimulus which is the focus of attention (1) the non-genital or erogenous areas of the body (famously feet) and this condition is known also as partialism (a preoccupation with a part of the body rather than the whole person), (2) Non-living object(s) (such as shoes), (3) specific activities (such as smoking during sex).

Fan de sous-vêtements noirs, Lindsay Lohan.  Women often choose the color of their underwear on the basis of the clothing with which it will be worn and beige is a big seller because it blends best with the skin of the white population (although in a nod to the DEI (diversity, equity & inclusion) imperative, the hue is no longer advertised as "skin-tone").  Black is popular because much black clothing is worn but there's evidence to suggest women really like both navy blue and gun-metal grey even though both are niche products compared with black, white & beige.

It was Sigmund Freud (1856-1939) who admitted that, lawfulness aside, as animals, the only truly aberrant sexual behavior in humans could be said to be its absence (something which the modern asexual movement re-defines rather than disproves).  It seemed to be in that spirit the DSM-5 was revised to treat a behaviour such as melcryptovestimentaphilia (and many other “harmless” manifestations) as “normal” and thus within the purview of the manual only to the extent of being described, clinical intervention no longer required.  Whether all psychiatrists agree with the new permissiveness isn’t known but early reports suggest there’s nothing in the DSM-5-TR (2022) to suggest those with even an obsessional fondness for black underwear will soon again be labeled as deviants.  Of course, those who feel compelled to steal the stuff or engage in anything non-consensual with the stuff as a theme will be guilty of something but their condition is, in a legal sense, incidental to the offence.

Philistine

Philistine (pronounced fil-uh-steen, fil-us-stahyn, fi-lis-tin, fil-us-teen, or fi-lis-teen)

(1) In historical use, a non-Semitic native or inhabitant of ancient Philistia, a region in the southwest Levant in the Middle East (initial upper case).

(1) A person lacking in, hostile to or smugly indifferent to cultural values, intellectual pursuits, aesthetic refinement etc, or is contentedly commonplace in ideas and tastes; a vulgarian or lowbrow.  Of late it has been extended also to those thought too materialistic, especially if the objects of their desires are big televisions, jet skis, McMansions etc.

(3) One’s opponent (a usually humorous use, often in the plural).

(4) In historic university slang, a person not associated with the university; a non-academic or non-student; a townsperson (originally German, adopted elsewhere as an imitative form although largely now replaced by other regionalism).

1350-1400: From Middle English Philistyne & Philisten (there were many other spellings, often from misunderstandings by Medieval scribes), a descriptor of the Old Testament people of coastal Palestine who made war on the Israelites, from the from Old English Filistina (Fillestina the genitive plural), from the Old French Philistin (which persists in modern French) and the Late Latin Philistinus (Philistīnī in the plural), from the Koine Greek Φυλιστῖνοι (Phulistînoi), a variant of Φυλιστιίμ (Phulistiím), Φυλιστιείμ (Phulistieím) (which may be compared with the Koine Greek Παλαιστῖνοι (Palaistînoi)), all ultimately derived from the Hebrew plural noun פְּלִשְׁתִּים (p'lishtím) (people of P'lesheth (Philistia)), from the adjective פְּלִשְׁתִּי (p'lishtí) (Philistine), from פְּלֶשֶׁת (p'léshet) (Philistia).  The English word was cognate with the Akkadian KURpi-lis-ta (Pilistu), KURpa-la-as-tu (⁠Palastu), KURpi-liš-ta-a-a (⁠Pilištayu) ((people) of the Pilištu lands) and is a doublet of Palestine.  In Egyptian the form was Palusata.  The archaic noun plural form Philistim was from the Middle English Philistiim and the Late Latin Philisthiim.  The synonyms: include the now obsolete Philistee & Philister (used adjectively as philister) and the archaic (except in historic use where it remains rare) Philistian.

The now more familiar adjective was derived from the noun.  The meaning "person felt by the writer or speaker to be deficient in liberal culture" dates from 1827, used originally by Scottish polymath Thomas Carlyle (1798-1881) and popularized by him and English poet Matthew Arnold (1822–1888), both borrowing from the German Philister (enemy of God's word (literally "Philistine," inhabitants of a Biblical land, neighbors (and enemies) of Israel)).  In English, philistine had been used in the humorous figurative sense of "an unfeeling enemy" since circa 1600.  Philistine is a noun & adjective, philistinism is a noun, philistinic & philistinish are adjectives, and philistinely is an adverb; the noun plural is philistines (the spelling Philistim is archaic but still used by historians and Biblical scholars).  The form philistinistic is non-standard but persistent and the usual convention in English applies: it’s Philistine with a capital P if referring to those of biblical description and philistine with a lower-case p when deriding those whose lives are thought culturally barren.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

The figurative sense was popularized in German student slang as a contemptuous term by the “gownies” for the "townies" and hence, by extension, to “any uncultured or uneducated person” (as judged by students).  In English, the expression of difference in university cities (“town and gown”) remains.  As late as the early twentieth century it was still common to see printed the claim the figurative use was derived from a sermon delivered in 1693 (cited sometimes as 1689) by the ecclesiastical superintendent Georg Heinrich Götze (1667–1728) at Thuringia’s Jena University.  The event was a memorial service for a student who died as the result of a town versus gown squabble which had turned more than usually violent, several Germans beating each other to death and the pastor’s phrase was the biblical “Philister über dir, Simson!” (The Philistines are upon you, Samson! (Judges 16:9, 12, 14, & 20).  However, the Oxford English Dictionary’s (OED) entry notes the word was in use in this sense as early as 1687, the sermon picking up rather than the origin.  The words philister and philistine were introduced into English by the British author Thomas Carlyle (1795–1881) and greatly popularized by the English poet and cultural critic Matthew Arnold (1822–1888), particularly in essays first published in The Cornhill Magazine (1860-1975) between 1867 and 1868 which were collected into a book entitled Culture and Anarchy (1869).

Writers

Stooping to conquer the Daily Mail's readers: Photograph of Bernard Levin (1963) by Lewis Morley (1925-2013), held by the Board of Trustees of the Science Museum, London.

Vladimir Nabokov (1899–1977) thought finding obscenity in works of art was philistinism and that art should be criticized only if banal or technically inept.  Art could explore any number of obscenities but, however representational, could not be obscene.  Even before he went mad, Friedrich Nietzsche (1844–1900) felt himself surrounded by philistines, identifying the worst of the breed as those critical of his writings; such behavior he reduced to an almost clinical condition, accusing them of lacking “true unity” and able to understand any form of style only“...in the negative”.  Sir Martin Amis (1949–2023) may have harbored a similar notion, although the quote attributed to him as finding philistinism “…in anyone who preferred television to his novels” may be apocryphal; whatever the provenance, it was something his father (Sir Kingsley Amis (1922–1995)) might have thought but never said.  Fleet Street’s Tory tabloids liked to hire philistines as columnists and few seemed to display much self-awareness in their shark-feeding populism though Bernard Levin (1928-2004), while a Daily Mail columnist during the 1960s affected the style of a philistine proud of his ignorance.  The Mail’s readership enjoyed the solidarity but after a squabble with the proprietor he moved to The Times.

The Battle between the Philistines and the Israelites (circa 1580), oil on canvas by Tintoretto (Jacopo Robusti (1518-1594)), an Italian Renaissance painter of the Venetian school although this work is in the style of Mannerism which emerged during the Late Renaissance.