Limelight

Limelight (produced lahym-lahyt)

(1) In the lighting systems of live theatre, prior to the use of electricity, a lighting unit for spot-lighting the front of the stage, producing illumination by means of a flame of mixed gases directed at a cylinder of lime and having a special lens for concentrating the light in a strong beam.

(2) The light produced by such a unit (and subsequently by lights using other technology.

(3) In theatre slang (1) a lighting unit (also clipped to “limes”), especially a spotlight & (2) by extension, attention, notice, a starring or central role, present fame (source of the general use of the word).

(4) The centre of attention, interest, observation, or notoriety.

(5) As “limelight dress”, a designed to make the wearer the “centre of attention”.  Of late, “limelight” has been applied also in high street fashion to refer to garments made with neon-like fabrics which resemble a color under a bright light.

1826:  The construct was lime + light.  Lime (in this context) was from the Middle English lyme, lym & lime, from the Old English līm, from the Proto-Germanic līmaz, from the primitive Indo-European sley- (smooth; slick; sticky; slimy).  It was cognate with the Saterland Frisian Liem (glue), the Dutch lijm, the German Leim (glue), the Danish lim (from the Old Norse lím) and the Latin limus (mud).  In chemistry, the word described any inorganic material containing calcium (usually calcium oxide (quicklime) or calcium hydroxide (slaked lime).  In literary or poetic use, it was used of any gluey or adhesive substance, usually in the sense of “something which traps or captures someone” and sometimes as a synonym for birdlime.  It was used as a verb to mean (1) to apply to some surface a coasting of calcium hydroxide or calcium oxide (lime) & (2) to smear with birdlime or apply limewash.

Lime (chemical formula: CaO) is composed primarily of calcium oxides and hydroxides (typically calcium oxide and/or calcium hydroxide) and the origin of the word lies in its early use as building mortar (because of its qualities of sticking or adhering).  It was the interaction of lime with other substances which lent the concrete mixed in Ancient Rome (known to engineers as “Roman concrete”) unique properties that made it remarkably durable and long-lasting (though despite the legend, it was no more “sticky” that other concrete using the same quantity of lime).  A critical ingredient in Roman concrete was a type of volcanic ash called pozzolana (abundant in the environs of Rome) which was mixed with lime and small rocks or rubble to create a paste that could be molded into various shapes and sizes.  What created uniqueness was the chemical reaction between pozzolana and lime when the mix was exposed to water, this creating a mineral called calcium silicate hydrate, the source of Roman concrete’s durability and strength.  Unusually, it was able to harden underwater and for centuries resist the effects of saltwater (indeed such exposure triggered a kind of “self repair” reaction), making it ideal for building structures like harbors and aqueducts and, in a happy coincidence, the easy accessibility of pozzolana meant Roman concrete could be produced at a lower cost than other building materials.  Engineers note the chemistry but maintain the slang “sticky concrete” remains appropriate because its durability meant the stuff is still “sticking around”, centuries after other forms of concrete have crumbled to dust. 

Light (in this context) was from the Middle English light, liht, leoht, lighte, lyght, & lyghte, from the Old English lēoht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom, from the root lewk- (light).  It was cognate with the Scots licht (light), the West Frisian ljocht (light), the Dutch licht (light), the Low German licht (light) and the German Licht (light) and related also to the Swedish ljus (light), the Icelandic ljós (light), the Latin lūx (light), the Russian луч (luč) (beam of light), the Armenian լույս (luys) (light), the Ancient Greek λευκός (leukós) (white) and the Persian رُخش‎ (roxš).  The early uses (in this context) all were related to the electromagnetic radiation in the spectrum visible to the human eye (ie what we still commonly call “light”).  Typically, the human eye can detect radiation in a wavelength range around 400 to 750 nanometres and as scientific understanding evolved, the shorter and longer (ultraviolet light and infrared light) wavelengths, although not visible, were also labeled “light” because, as a matter of physics, they are on the spectrum and whether or not they were visible to the naked eye was not relevant.  “Light” in the sense of illumination was literal but the word was also productive in figurative and idiomatic generation (the “Enlightenment”; “leading light”; “negative light”; “throw a little light on the problem”; “bring to light”; “light the way” etc).  Limelight is a noun & verb, limelighting is a verb, limelighted & limelit are adjectives and limelighter is a noun; the noun plural is limelights.

Three exemplars of the art. 

The term “limelight dress” was coined to describe a garment designed to attract the eye (or a photographer's lens), making the wearing the “centre of attention” in the manner of a stage performer in the limelight: Rita Ora (b 1990, left), Ariel Winter (b 1998, centre) and Lindsay Lohan (b 1986, right) illustrate the idea; while there are often commonalities in the way designers do these things, there are many variants.  It has in recent decades become less easy to achieve the “limelight dress effect” because of the mainstreaming of the “nude dress” and it may be that a more modest cut, if well executed, might work better for clickbait purposes, just because of the novelty.  Rita Ora with some aplomb wore the dramatic gown designed by Donna Karan (b 1948) at the 2014 MTV Video Music Awards in 2014 and while it was much admired, a similar creation in the same scarlet by Alexandre Vauthier (b 1971) Couture created a sensation when worn by Bella Hadid (b 1996) at the 2016 Cannes Film Festival.  Perhaps the ultimate “limelight dress”, it remains still probably the dress of twenty-first century.     

In the limelight: In a marquisette gown, Marilyn Monroe (1926–1962) sang Happy Birthday Mr President to John Kennedy (JFK, 1917–1963; POTUS 1961-1963) at a Democratic Party fundraiser at New York's Madison Square Garden on 19 May, 1962, ten days before his actual birthday.  Within three months, she would be dead.

The dress became one of the best-known garments of the Marilyn Monroe cult and it re-appeared at the 2020 Met Gala in New York City, worn by Kim Kardashian (b 1980) complete with blonde hair for the occasion.  It couldn’t be expected to cause quite the same stir as sixty years earlier because, cut from a sheer, silk marquisette that almost exactly matched Ms Monroe’s skin-tone, the 2,500 hand-sewn rhinestones intricately were positioned to respond to the particular gait she chose that evening and, under the limelight in the darkened amphitheatre, as she moved, the crystals sparkled and the dress came alive.  It was quite a design.  In the hard, white light of the Met Gala’s red carpet, it couldn’t be expected to work the magic it did all those years ago; not shimmering in the darkness, it seemed lifeless and perhaps it would have benefited from the contrast her lustrous natural hair would have lent but Ms Kardashian wore it well, attracting admiration (and criticism from the usual suspects) too for the reasonable achievement of in three weeks shedding a reputed 16 lbs (7¼ kg) to ensure a (close to) comfortable fit.

Limelight was the common name for the Drummond light (or calcium light), a lamp of then unprecedented luminosity created by the burning of calcium oxide (lime).  The process of creating light by burning lime augment by oxygen & hydrogen had been invented in the early 1920s and, generating an intense white light, it was developed in 1925 for use in mining and surveying by Scottish army engineer Captain Thomas Drummond (1797-1840) and soon adopted for lighthouses although it became famous from the use in live theatre where directional spot-lights were used to illuminate the principal actors on stage and although the technology has moved on, in theatre, film & television production, catwalks etc, “limelight” is still often used to describe both the physical lighting equipment and the effect produced.  In popular entertainment, limelight came into use in the UK in the mid-1830s and, cheap to produce and easily exported, were soon in use around the world, even the military finding them useful, the army to assist the targeting of artillery (an early example of applying technology to fire-control systems) and the navy found they were vastly more effective than any other spotlight.  Limelights remained in widespread use until replaced by electric devices in the late nineteenth century but in some far-flung outposts of the British Empire, they were still in use even after World War II (1939-1945).

Lindsay Lohan (1) "in the limelight", on stage with Duran Duran, Barclays Center in New York, April 2016 (left) and (2) "in the glare", arriving at LA Superior Court, Los Angeles, February 2011 (right) during her "troubled Hollywood starlet" phase.  

Although "glare" isn't vested with quite the cachet of "limelight", Ms Lohan illustrated how the catwalk was but a state of mind, pairing a white bandage dress (it’s not clear if wearing the color the Bible associates with purity influenced the judge but channelling the fashion choice of the 24 elders in Revelation 4:4 and the Roman Catholic pontiff may have helped) with a pair of Chanel 5182 sunglasses.  Speculatively, it’s at least possible a strut under the limelight on the catwalk wouldn’t have had the same simulative commercial effect as the stroll to a hearing, the the US$575 Glavis Albino dress from Kimberly Ovitz's (b 1983) pre-fall collection selling-out worldwide that very day.

New York Post, 11 February, 2011: Rupert Murdoch's (b 1931) editors always have a feeling for a good headline.  On X (then known as Twitter), Ms Lohan observed of the coverage: “What I wear to court shouldn't be front page news.  It’s just absurd.”  However, as a studious student of the modern media, she would have understood the place of absurdity in tabloid journalism and doubtlessly accepted it was best to work with the world as it is than worry too much about how it ought to be.

From the idea of the character on stage being highlighted by the limelight came the figurative use of the phrase “in the limelight” (noted since 1877) to refer to anyone on whom attention is focused.  From this evolved the related and self-explanatory phrases “steal the limelight”, “bask in the limelight” & “hog the limelight”, all from the world of theatre but later adopted as required just about anywhere (sport, corporate life etc).  “In the limelight” tends to be used only positively; those who are the focus of attention for reasons such as being accused of committing crimes or some transgression which might lead to cancellation are usually said to be “in the glare”.

1970 Plymouth Hemi 'Cuda in Limelight (left) and 2023 Dodge Challenger SRT Hellcat Redeye Jailbreak in Sublime (right).  Although today much prized, Chrysler's E-body pony cars (Plymouth Barracuda (& 'Cuda) and Dodge Challenger (1970-1974) were a financial disaster but, as Dodge's (2008-2023) revival proved, the styling was spot-on.   

Like other US car manufacturers in the strange, cultural twilight zone that was the dying days of the Johnson administration (Lyndon Johnson (LBJ, 1908–1973; VPOTUS 1961-1963 & POTUS 1963-1969)) and the first term of Richard Nixon (1913-1994; US VPOTUS 1953-1961 & POTUS 1969-1974), Chrysler had some history in the coining of fanciful names for colors dating from the psychedelic era.  What came from the once staid corporation included “Plum Crazy”, “In-Violet”, “Tor Red”, “Limelight”, “Sub Lime”, “Sassy Grass”, “Panther Pink”, “Moulin Rouge”, “Top Banana”, “Lemon Twist” & “Citron Yella”.  Although it may be an industry myth, the story told is that “Plum Crazy” & “In-Violet” (lurid shades of purple) were late additions because the killjoy board refused to sign-off on “Statutory Grape”.  Plymouth labelled their lime green “Limelight” while Dodge used “Sub Lime”.  The acid-themed shades so associated with the era vanished from the color charts in the early-1970s, not because of changing tastes but in response to environmental & public health legislation which banned the use of lead in automotive paints; without the additive, production of the bright colours was prohibitively expensive.  Advances in chemistry meant that by the twenty-first century, the look could again be achieved without the addition of lead so Dodge revived psychedelia for a new generation although “Sub Lime” became “Sublime”.  There was however, still a price to be paid, the new, environmentally less lethal, “Sublime”, “Red Octane”, “Sinamon Stick” and “Go Mango” all costing an additional US$395 while the less vivid shades listed at US$95.

Almach

Almach (pronounced elle-mak)

(1) In astronomy, a second-magnitude quadruple star, telescopically visible as an apparent double star composed of an orange bright giant and a fifth-magnitude blue-white triple star, marking the left foot of the chained woman in the northern constellation of Andromeda.

(2) In astronomy, Gamma Andromedae, specifically the brightest star of the Almach star system.

Late 1500s (in English): From the Arabic العناق الأرض (al-ʿanāq al-arḍ) (desert lynx or caracal).  The construct of the original Arabic was al- (the (the Arabic definite article)) + ʿanāq (a small wild animal, often glossed as lynx, caracal, or desert fox) + al-arḍ (“the earth” or “the ground”).  The process by which “al-ʿanāq al-ard” became “Almach” was a familiar one, the transmission into medieval Latin astronomical texts often was accomplished via translations of works by writers from Antiquity such as the Greco-Roman mathematician, astronomer & astrologer Ptolemy (Claudius Ptolemy, circa 100–170), filtered sometimes through the writings of Arabic scholars who contributed much to pre-modern science.  These processes appears to have been lineal (though not necessarily in a single path because variations in spelling and use continued with alternatives running in parallel) and the evolution essential was al-ʿanāq → al-anach → almach.  The “-mach” element was a not untypical corruption of the guttural consonants (ʿayn and qāf) so familiar in Arabic that didn’t map neatly into pronunciation in Latin or later European languages.  While not a “meaningful” word in European languages Almach endures as fossilized misreading of an Arabic descriptive name, preserved (as modified) through the long transmission chain of classical astronomy, a not unique linguistic phenomenon because other names of places in the Cosmos (such as Rigel and Betelgeuse) went through similar Arabic to Latin distortions and these types, although outwardly different, in structural linguistics, the patterns are said to be consistent.

Caracel HD wallpaper from Alphacoders.

The related variant (referring to the same star) is Alamak, a closer phonetic attempt at the Arabic original.  Alamak may be thought a less-corrupted sibling of Almach with both traced back to the same Arabic source, the difference being in the in transliteration of ʿanāq, approximated as anak or amak.  So “Alamak” represents a more faithful attempt to emulate the phonetic practice in Arabic with the consonants (especially the final qāf) rendered in something close to the original but whether this happened as a deliberate attempt at “authenticity”, through the offices of an Arabic-speaking scholar or a native speaker of the tongue isn’t known.  That of course poses the question of why, when Arabic astronomical, scientific or mathematical texts were translated into Latin in medieval Spain or elsewhere, there was no standardized system for either preserving multi-word (or element) names or representing guttural consonants.  Etymologists caution modern conventions and conditions cannot be mapped onto earlier eras with transliterations and translations a good example.  In Europe, scholars, separated often by hundreds of miles, sometimes were working with the same ancient or foreign texts and it wasn’t unknown for them for years or even decades to be unaware of the work of others, the modern concepts of “publishing” and “distribution” then centuries away.  That’s also why so many errors of translation for so long endured into the Renaissance, the Enlightenment and Modernity, a mistake which gained critical mass (especially if widely printed) being accepted as orthodoxy.  Sometimes the errors were mistakes or misunderstandings but there’s long been evidence medieval scribes weren’t above “making stuff up” to “fill in the gaps” so what the early versions of consumer-level generative AI (artificial intelligence) products (ie, the ones we’re living with in the mid-2020s) sometimes do is not novel, as the recent "experiment" publishing "data" about the "condition" bixonimania demonstrated. 

Almach's place in Andromeda from the BBC's Sky at Night.  The lines drawn on the chart illustrate the romantic origin of the link with the caracal (lynx or desert fox).

Both “Almach” & “Alamak” (or “Almak” entered English through the highly productive medieval–early modern pipeline of Arabic to Latin to become part of the vernacular of astronomy but use stabilized at different times.  Almach came first to English, appearing late in the sixteenth century in “star catalogues” (some of which carefully were illustrated with commendable accurately) and by the early 1600s, it had been accepted as the standard form in English astronomical works, remaining the dominant use for Gamma Andromedae well into the modern period.  The variants “Alamak” & “Almak” came later, there being no evidence of use prior to the mid-eighteenth century and the more phonetically informed transliteration probably was influenced by an improved European knowledge of Arabic phonology, the shift from “-ch” to “-k” representing a closer rendering of the Arabic ق. (qāf).  While that “authenticity” made it a more “difficult” word for those in the West, there were scholars wo took pride in wherever possible respecting original forms and although mistakes may have come from “source documents”, it was accepted practice to “correct” things verified as wrong.  “Almak” however was not an “error”; it was a variant spelling of “Alamak” simplified by dropping the medial vowel.  Today, “Almach” remains the orthodoxy in astronomy, while “Almak” survives as a recognized but less common variant.  In the layered lexicon of astronomy, the synonym of Almach is Andromedae and the holonym (in philosophy & semantics, philosophy a term that denotes the whole of which another term's referent is a part) is Andromeda.  Almach is a proper noun.

Despite the similarity, there is no connection between the use of “Alamak” in astrometry and the Malay word alamak (an interjection meaning something like “Oh dear” (in the sense of an expression of shock or dismay)?  While the former ultimately was the result of transliteration drift (an attempt to correct an imperfect rendering of a Latinized Arabic), the Malay word comes from a wholly separate linguistic stream.  The Malay interjection alamak! deconstructs as al- (the Arabic definite article (the) which was absorbed into Malay through Islamic and literary influences + amak (colloquial Malay for “mother”).  So alamak! (Literally “oh, mother!”) is understood as an exclamatory construction expressing surprise, alarm, or dismay and in that it may be thought functionally similar to English expressions such as “oh dear!” or “oh my!” or “oh goodness!”, such fragments doubtless parts of just about every language, serving as “polite” or “socially acceptable” ways of expressing emotions other “oh xxx!” forms do in earthier, more vulgar ways (in English there are more than a dozen of these).  The Malay use is thought probably to have originated as a contracted form of Al(lah) (God) +‎ mak (mother) with the Arabic al- (“the”) an “official” substitute element to avoid using the name of God for a purpose which might in some circumstances have been judged “a profanity or blasphemy”.  There may have been some Portuguese influence (from the common expression Kristang alamah (Mother of God) or even the Christian expression “Mary, mother of God” but modern Malaysian scholars have suggested the Malay term may be contracted from the Arabic اللَّهُ مَعَكَ (al-lahu maʕaka), a traditional phrase meaning “May God be with you”.  Whatever the origin, it survived into the modern era as an exclamation or expression of alarm about a problem, error or crisis.

Four star system (cosmology).

Gamma Andromedae is a multiple star system in the northern constellation of Andromeda and the third-brightest in the constellation, after Alpheratz and Mirach; it is some 390 light-years distant from Earth.  Believed by the astronomers of Antiquity to be a single star, using the more advanced telescopes which had become available, German physicist Johann Tobias Mayer (1752–1830) in 1778 determined the object to be a “double star system”, the brighter member, Andromedae the “primary” component and thus designated Andromedae A (officially “Almach”), used as the traditional name of the whole system seen by the naked eye as a single object.  The fainter secondary was called Andromedae B and it was only later (when optics improved further) that Andromedae was observed to be “triple system” and what appears to the naked eye as a “single star” is thus a “four star system”.  That compelled the the renaming of Andromedae B to Andromedae Ba & Andromedae Bb.

Four star system (Hollywood).

The Mean Girls (2004) crew (Regina George (Rachel McAdams, b 1978)), Gretchen Wieners (Lacey Chabert, b 1982)), Karen Smith (Amanda Seyfried, b 1985)) and Cady Heron (Lindsay Lohan, b 1986)), pictured at the 2005 MTV Movie Awards ceremony.  Barbara “Barbra” Streisand (b 1942) starred in the movie Funny Girl (1968) and, after completing the sequel (Funny Lady (1975)), joked that in a few decades she expected to hear from Columbia Pictures “…offering her the title role in Funny Old Hag.”  Whether there will be a Mean Ladies isn’t known but one day, definitely there should be a Mean Old Hags.

Four star system (military).

Portrait of General George S. Patton (1945), oil on canvas by Boleslaw Jan Czedekowski (1885-1969), National Portrait Gallery, Smithsonian Institution, Washington DC.  Four star US Army General George Patton (1885-1945) was steeped in military history and thought in millennialist terms.  During World War II (1939-1945) thought of the Germans as “the Prussians” and the Soviets as the “the Mongols”.  After the war ended, so concerned was the US State Department about General Patton’s openly expressed hostility towards the Soviet Union they feared he might do something which would trigger conflict; even if brief and localized, that would have been unwelcome so the diplomats asked the Army to have their psychiatrists “keep a discrete eye on him”.  Patton was seriously injured in a traffic accident early in December 1945, dying some two weeks later.

The use of “star” to describe the hierarchy of senior military ranks is now well-established and is useful for those not well-acquainted with the nomenclature.  For example a three star (lieutenant) general out-ranks a two star (major) general by a grade despite a major out-ranking a lieutenant by two notches.  The reasons for the apparent anomaly are historic but is an indication why for non-experts it easier to “think stars” than titles.  Surprisingly, in the United States military, the system was finalized only this century and prior to 1944, the matter of stars and titles for generals had been a little confused, the whole order of precedence in the army since the Declaration of Independence only properly codified with some retrospective creations in 1976 and 2024.  Historically, the most senior rank in the US Army had been lieutenant general and it was as one George Washington (1732–1799; first POTUS, 1789-1797) retired from the military.  The first major change came in the post Civil War (1861-1865) era when the rank of “General of the Army” was gazetted and while nominally a four star appointment, structurally, it was the equivalent of what would in 1944 be formalized as five star rank.  However, in 1866, the significance of the title “General of the Army” was it reflected the appointee being the general with authority over the whole army which meant there could be only ever be one in active service.  In other words, that meant the four star general was commander-in-chief of the army and the paperwork had years earlier been prepared for Washington to be raised thus but this was never done because of concern among lawyers it might set a precedent and be seen to impinge upon a president’s authority as commander in chief.  Indeed, although later the US military would use titles such as “Commander in Chief, US Pacific Command”, Donald Rumsfeld (1932–2021: US defense secretary 1975-1977 & 2001-2006) in 2002 ended the practice (and use of the acronym CINC) by re-asserting there was in the US: “only one commander in chief in America - the president”, spelled out in Article II, Section 2 of the US Constitution: “The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States."  The matter of civilian authority over the military was one of the founding principles of the republic.

The next change came when General John "Black Jack" Pershing (1860–1948) who had commanded the US expeditionary forces in World War I (1914-1918) was appointed to the then unique rank of General of the Armies of the United States.  At the time, the war was known as the "World War" (a suggestion by Woodrow Wilson (1856–1924; POTUS 1913-1921)), the vast and bloody conflict already regarded as “the war to end all wars” and the feeling was the conflict had in scale and awfulness been unique so some special recognition was deserved.  Pershing however remained a four star general and confusingly, when the spate of five star appointments was made between 1944-1950, the old wording “General of the Army” was revived with the pecking order based on the gazetted date of appointment to the rank which no longer implied an individual having authority over the entire army.  There have since been no five star creations (although many other armies have continued to appoint field marshals which is the equivalent).  In the US, some historians and many in the military fretted over the untidiness of it all and in 1976, George Washington formerly was gazetted “General of the Armies of the United States with rank and precedence over all other grades of the Army, past or present”, meaning he will for all time be the US Army’s senior officer.

1995 Mercedes-Benz E 320 Cabriolet (A124) in Polar White over Black Leather with 16 inch Alamak wheels.  The A124 (1992-1997) was a variant of the W124 (1985-1995) and was the factory's first four-seat cabriolet since the W111 (1961-1971).    

The Alamak wheel design by Mercedes-Benz is also sometime referred as the “8-hole” which is accurate, if brutish.  The name comes from the alternative spelling of the common name for Gamma Andromedae and is one of a number of examples of the factory turning to the lexicon of cosmology to dub wheel designs, others in the celestial theme including Adharaz (a star in Canis Major), Alcor (a star in Ursa Major), Mizar (a star in Ursa Major) and Toliman (Alpha Centauri).  The Alamaks were most often fitted to the W126 (1976-1991), W201 (1982-1993), W124 (1985-1997), R129 (1989-2001) and W140 (1991-1999) ranges.  Among students of such things the Alamaks were thought among the factory’s most accomplished designs (some of what followed, notably on the W210 (1994-2003) were inexplicably ugly) but dissenting from the admirers were the AMG fanboys who, whenever possible, sought to replace the Alamaks fitted to the early build 500 E models (1991-1995) with some flavour of AMG’s Monoblock wheels, a design which attracted a cult-like following.   Late in the run of the R129, a less aesthetically pleasing variant of the Alamak’s theme appeared as the Albireo, a "six-hole" design; they were fitted as standard equipment on Silver Arrow edition R129s.  Albireo is a double star system in the Constellation Cygnus.

Fishtail

Fishtail (pronounced fish-teyl)

(1) As "to fishtail" or "fishtailing", to swerve or skid from side to side, as the rear end of a car (an oversteering sequence).

(2) In aviation, to slow an airplane by causing its tail to move rapidly from side to side; such a maneuver.

(3) A gas burner having two jets crossing each other so as to produce a flame resembling a fish's tail.

(4) A device having a long, narrow slot at the top, placed over a gas jet, as of a Bunsen burner, to give a thin, fanlike flame.

(5) In nautical design, a propeller consisting of a single blade that oscillates like the tail of a fish while swimming.

(6) In jewelry design, a setting consisting of four prominent triangular corner prongs to hold the stone.

(7) In dance, a step in ballroom dancing in which the feet are quickly crossed

(8) In fashion design, a dress or skirt with a flowing, scalloped hemline sometimes longer at the back than at the front, flaring usually from about the knee.

(9) A kind of chisel with a flared blade.

(10) In hair-styling, a two-stranded braid.

1400–1450: From the late Middle English, the construct being fish + tail.  Fish the noun (strictly a vertebrate which has gills and fins adapting it for living in the water but the word came to be more widely applied, zoologically) was from the Middle English fisch, from the Old English fisċ (fish), from the Proto-West Germanic fisk, from the Proto-Germanic fiskaz (fish) (source also of the Old Saxon, the Old Frisian & the Old High German fisc, the Old Norse fiskr, the Middle Dutch visc, the Dutch vis, the German Fisch & the Gothic fisks) and related to the West Frisian fisk, the Danish, Norwegian & Swedish fisk, the Irish iasc & the Latin piscis; Root probably either the primitive Indo-European peysḱ- (fish) or pisk (a fish) but at least one etymologist, on phonetic grounds, has suggested it might be a northwestern Europe substratum word.  Fish the verb is from the Old English fiscian (to fish, to catch or try to catch fish), and was cognate with the Old Norse fiska, the Old High German fiscon, the German fischen & the Gothic fiskon, all derived from the noun.  In popular use, since Old English, fish has been used to apply to "any animal that lives entirely in the water," hence shellfish & starfish although, in English there’s an early fifteenth century document which describes fishes bestiales as "water animals other than fishes").  Today, aquatic mammals like dolphins are presumed fish by some.  The plural is fishes, but in a collective sense, or in reference to fish meat as food, the singular fish is commonly used as a plural so, except for the pedants, that battle is lost.  Regarding the heavens, the constellation Pisces is from the late fourteenth century.  The hyphenated form fish-tail is common.  Fishtail is a noun & verb and fishtailing & fishtailed are verbs; the noun plural is fishtails.  Presumably, were one to be employed to chop the tails off fish, one would be called a "fishtailer" but the term seems never to have been used. 

An artist's depiction of Lindsay Lohan as mermaid.

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, fiber; 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 OED (Oxford English Dictionary) suggested 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.

1952 Vincent Black Shadow with four-port “fishtail” exhaust extension.

An unmistakable look, the “fishtail tip” polarizes opinion; it really is a “love it or hate it” fitting but they retain great popularity in the Harley Davidson community, a crew as devoted to their machines as any.  There are many modern takes on the design; while all feature the characteristic vertical, narrow flare in the distinctive shape, many are upswept and some protrude from the back more than others.  As well as the look, fishtails often are advertised on the basis of their sound (loud) and internally, are tuned to create different resonances, the ears of Harley Davidson riders as sensitive to the variations as are collectors of Stradivarii.

1937 Norton Model 30 International with Brooklands Can (technically the Brooklands Silencer) (left) and 1934 MG Magnette 'K3' Specification Supercharged Roadster (right).

One of the world’s first dedicated venues for motorsports and aviation, England’s Brooklands motor racing circuit was built in 1907, predating the IndianapolisMotor Speedway by two years.  Located in what had until then been the quiet little hamlet of Weybridge in the county of Surrey, some 20 miles (12 km) south-west of London, it sits 9 miles (14.5 km) south of Heathrow Airport and a portion of the original outer circuit (originally 2.75 miles (4.4 km) in length with the banking in places rising almost 30 feet (9.1 m) high) still exists.  Then, as now, Motorsport was a very noisy business and as the sport boomed in popularity after World War I (1914-1918), the tolerance of the inhabitants of Weybridge must have been tested because there’s a record of complaints about the noise (especially on Sundays and during the 24 hour events sometimes run) and eventually, in September 1924, a group commenced in the High Court an action in the tort of nuisance.  By July 2025 (reasonably brisk by the standards of the legal system), a settlement was agreed which included a permanent injunction limiting the days and hours of operation and the creation of the novel “Brooklands Can”, a design of muffler which could be adapted to both cars and motorcycles.  Were it created today, it'd likely be dubbed the “Brooklands Nimby” (not in my backyard).

1937 Norton Model 30 International with Brooklands Can (Left), diagram of Brooklands Can for a number of contemporary 1930s MGs close to the Magnette NE (1934) specification (centre) and a Luminous White male Guppy (right).

What the High Court’s injunction required was even on those days when racing was allowed, noise levels had to be reduced and the obvious solution was a muffler (in England then known optimistically as “silencers”) and the case turned out to be influential as the century progressed, often cited as the way a court might balance technological progress, any public nuisance created and the right of individuals to the “quiet enjoyment” of life in their homes.  Interestingly, the French (silencieux) and Italians (silenziatore) followed the English practice while the more practical Germans adhered to the realistic literalness of the Americans with Schalldämpfer (sound damper).  All Brooklands cans had two distinguishing characteristics: a rhomboidal receptacle located close to the engines header pipes which emerge from the exhaust manifold and a fishtail tip (although those used on some smaller capacity cars did terminated in a straight “dump pipe” and depending on the displacement (and thus the volume of exhaust gasses), the dimensions of the apparatus varied.  The “silencer” didn’t make the machines “quiet” in the accepted sense of the word; just less noisy.

Tilly Shilling on her Norton N30 500, Brooklands, July 1935.  Note the fishtail Brooklands Silencer.

Ms Beatrice “Tilly” Shilling (1909-1990) was a pre-modern rarity, a female engineer and amateur racing driver.  Even before gaining a MSc (Master of Science) in mechanical engineering, Ms Shilling had been building and racing motorcycles and it was on her modified (at one point even fitting a supercharger) 490 cm³ Norton M30, she lapped the Brooklands track at 106 mph (171 km/h), a feat for which she was awarded the BMRC (British Motorcycle Racing Club) Brookland Gold Star; she remains only one of three women to have lapped the famous banked circuit “at the ton” before it was closed in 1939.  With the coming of war, she returned the Norton to road use, riding in this form until 1953.

Battle of Britain (1940) era Hawker Hurricane Mk IIA (upper) and Supermarine Spitfire Mk II (lower).

In 1940, while employed as an engineer at the RAE (Royal Aircraft Establishment) at Farnborough, Ms Shilling worked on the "fuel delivery problem" reported by RAF (Royal Air Force) Fighter Command pilots, the Rolls-Royce Merlin V12s in their Hurricanes and Spitfires "cutting out" for as long as 1½ seconds during a "negative G-force maneuver" (pitching the nose hard down), the fuel being forced upwards to the top of the carburetor's float chamber rather than into the combustion chamber, leading to a loss of power.  If the negative G continued, the fuel would collect in the top of the float chamber, forcing the float to the bottom. This in turn would open the needle valve to maximum, flooding the carburetor with fuel, drowning the supercharger with an over-rich mixture which would shut down the engine, a serious matter in aerial combat.  While 1½ seconds doesn't sound long, in combat at altitude, travelling at hundreds of mph, inches and seconds can be critical: the difference between life and death.  The complete solution for fuel starvation was a pressurized fuel system such as the direct injection used by Daimler-Benz 600-series inverted V12s as used in the German fighters but such a development would take months to design, test, manufacture and install.

RAE Anti "G" carburetor restrictor plate instruction sheet.

As a stop-gap measure, Ms Shilling designed a flow restrictor: a small metal disc with a central orifice, looking much like a plain metal washer.  The restrictor orifice was sized to accommodate just the fuel flow needed for maximum engine power, the setting usually used during dogfights and it solved the immediate, critical, problem of the engine shutdowns following flooding.  Officially named the RAE Restrictor or RAE Anti “G” Carburetor, the device proved popular with pilots, who much preferred to call it Miss Shilling's orifice or the Tilly orifice.  The simple and elegant solution proved effective until pressurized carburetors (essentially throttle-body injection, a simplified version of the Daimler-Benz direct fuel injection) were developed which permitted even inverted flight.  With a backpack of RAE Restrictors, she toured RAF airfields on the same Norton N30 500 on which she'd once lapped Brooklands at 100 mph, instructing and assisting the maintenance crews with the installation of the devices.  Ms Shilling was a serious engineer making an important contribution to the war effort and was not amused by the nicknames for her invention but, reportedly regarded it as something typical of minds of men, rolled her eyes and carried on with her work.  The orifice was but a footnote in the history of the Merlin and the Allied war effort but did typify the improvisation and speed with which British industry developed "quick & dirty" solutions, especially in the early days of the war.

1933 Napier-Railton.

Driven by John Cobb (1899–1952), this car in 1935 set the Brooklands lap record for the Outer Circuit at 143.44 mph (230.84 km/h) a mark which will stand for all time because after being appropriated in 1939 for military purposes, the facility never re-opened.  The Napier-Railton was powered by a W12 (the so-called “broad arrow”) aero engine of 24 litres (1,461 cubic inch) and because the configuration had the cylinders in three banks of four, three of the Brooklands Cans had to be fitted and, with each bank displacing some 8 litres (487 cubic inch), each system was among the largest ever built.  Away from the delicate ears and aspidistras of Surrey's respectable residents, the machine sometimes ran “unsilenced”, including on the Bonneville Salt Flats where it ran with nothing more open stack exhausts, setting a world 24 hour record at an average speed of 158.6 mph (242 km/h).

1937 Rudge Special 500; like their aquatic sources of inspiration, the fishtail exhausts came in both symmetrical and asymmetric forms.

The sense in common law of tail (limitation of ownership) which endures mostly in the law of real property began as a legal term in English in the early fourteenth century (late thirteenth in Anglo-French & Anglo-Latin); in almost all cases it was a shortened form of entail.  The verb tail dates from the 1520s and was derived from the noun, the sense originally "attach to the tail", the meaning "move or extend in a way suggestive of a tail" dating from 1781.  The meaning “secretly to follow" is a US colloquial creation from 1907, borrowed from the earlier sense of "follow or drive cattle”.  The saying "tail off” (diminish) was noted in 1854.  The tail of a coin (reverse side; opposite the side with the head, hence “heads or tails”) appears to have been first described that was in the 1680s.  The more predictable "backside of a person, buttocks" is recorded from circa 1300, the slang sense of "pudenda" is from the mid-fourteenth century and as a term to refer to an “act of copulation with a prostitute”, it was first noted in 1846.  From circa 1933 it was applied to mean "woman as sex object" is from 1933.  In printing and typography, tail was the technical term to describe the descending strokes of letters from the 1590s.  As “tails”, the formal dress for men (coat with tails), the first advertisements appeared in 1857.  The tail-race, the part of a mill race below the wheel is from 1776.  The phrase “to turn tail” (take flight) dates from the 1580s and was originally from falconry, later to be adopted by the Admiralty and the army.  The image of the “tail wagging the dog” (a minor or secondary part of something which is controlling or dominating the whole or the main part) is from 1907 and was part of the jargon of political science.

A whale fluking its fluke (left) and 1987 Ford Sierra RS Cosworth (1986-1992).

Among the most photographed “fish tails” are those of whales, once hunted for their meat and oil, they’re now charismatic creatures and among nature’s most prolific content providers, their tails “fluking” (appearing above the surface just as a deep dive is about to begin) long an Instagram staple.  Whales are however not fish, all being mammals, they’re thus within the zoological class Mammalia, not Pisces.  The “whale tail” spoiler first appeared on Porsches in 1974 and is best remembered for its use on the 911 Turbo (930, 1974-1989), a vehicle which gained the nickname “widow-maker” because, in unskilled hands, the quirky handling (the 930 wasn’t exactly a “250 horsepower VW Beetle” but the layout was the same and the inherent characteristics thus exaggerated although (up to a point), well-tamed) could lead to “fishtailing” and worse.  The “whale tail” later evolved into the “tea tray” although the original nickname remains more widely used, even of later variants.

English model & actor Cara Delevingne (b 1992), Met Gala 2026, Metropolitan Museum of Art, New York City, May 2026.

The event's “dress code” for 2026 was “fashion is art” though at the Met Gala it's more “suggested theme” than enforced code and designers have always interpreted things liberally.  That liberality sometimes has assumed such a level of abstraction that Met Gala outfits have defied attempts to see a link with the code but Ms Delevinge’s fishtail gown with delicate appliqués was a tribute to the art of the seamstress.  Quite when a “fishtail” becomes a “train” may be in the eye of the beholder but a photographer staging shots on the Met’s staircase could arrange the fabric in ways to produce either effect.

Fish appears often in idiomatic use.  The figurative sense of “fish out of water” (a person in an unfamiliar and awkward situation) is attested from the 1610s, the use extended from circa 1750, usually with a modifier (strange fish, queer fish, cold fish) but from at least 1722 it was used in reference to a person considered desirable to “catch”, a sense preserved in the phrase “plenty more fish in the sea”, a form picked up by one dating site.  To “drink like a fish” (one with a habitually high consumption of alcohol) is from 1744 and the “fishy story” (an incredible or extravagant narration) was first noted in 1819, a US colloquial form based on the tendency of anglers to exaggerate the size of “the one that got away”.  Having “other fish to fry” (having other things which demand one’s attention) is from the 1650s.  In optics, the fish-eye lens was patented in 1959.  Fish-and-chips seem first to have been advertised in 1876 and fish-fingers were first sold in 1962.

Lindsay Lohan in fishtail dresses.  Herbie: Fully Loaded premiere, El Capitan Theatre, Hollywood Boulevard, Los Angeles, June 2005 (left); Vanity Fair Oscar Party, Morton’s West Hollywood, Los Angeles, March 2006 (centre); Liz & Dick premiere, Beverly Hills Hotel, Los Angeles, November 2012 (right).

A fitted bodycon construction, the distinguishing feature of the fishtail dress is the flowing, scalloped hemline, often longer at the back and tending to flare from around the knee-line.  Because a successful implementation of the style depends most on length and volume, most fishtail dresses are floor length, many better described as gowns although some have tried shorter variations.  The bodice can vary but fitted waists are the most frequently seen.  The design was originally called the "fishtail train" and the early versions, first seen in the 1870s, all featured the asymmetric extension at the back and it wasn’t until the turn of the century the flaring lowered from mid-thigh to the knee.  Prior to the Victorian era, trains were not unknown but they were then worn only as evening gowns and were really an addition to existing garments.

Promotional shot of the author for Fierce: The History of Leopard Print (2018) by Jo Weldon (b 1962), founder of the New York School of Burlesque.

Some in the industry refer to the “fishtail” as the “trumpet” or the more charming mermaid and there are those who insist on distinguishing between the three, based usually from the point at which the flare begins but the distinction escapes the many who use the terms interchangeably, regarding all as variations on a theme.  However described, the great advantage of the lines is that they create, on a suitable frame, an hourglass figure and one with a range of definition, all determined by the point at which the flare begins and the volume of material chosen for the fishtail; done properly it can render a feminine and flawless silhouette, perhaps the most persuasive reason it’s chosen by so many brides.  Some however are probably too easily persuaded, the fishtail really not suited to those either too short or too wide.  Successfully to wear a fishtail, it’s not necessary to be truly statuesque or actually thin but beneath a certain height, one starts to look like part of a condiment set; one must be realistic about what shapewear can achieve.  The recommendation is that the style can be worn by those of at least average height and it works best on those who are slim with small or medium size hips.  A good seamstress can adapt things to better suit other shapes but there’s a law of diminishing returns the more one is removed from the ideal; a deep but narrow cut can disguise only so much.

Fishtail braid in blonde.

The fishtail braid is a variation of the French braid, both with a smoothly woven appearance, the fishtail dividing the hair into two sections instead of the French three.  The technique essentially is that a small piece of each section is passed over to the other, the process repeated until the braid assumes its shape; in the nineteenth century this was known as the "Grecian braid".  The fishtail braid appears intricate because it's built with small strands but hairdressers say it's a simple, and essentially repetitive, nine-step process.  On great advantage of the fishtail is it lends itself well to a looser braid, one which over a couple of days will tend usually (and gradually) to deconstruct into a deliberately messy look, the attraction is technical as well as aesthetic: the messy fishtail is uniquely suited to act as a framework for hair extensions.

(1) Split the hair into two equal strands

(2) Pick up a small section of hair on the right side of the right strand

(3) Cross the small section over and add it to the left strand

(4) Pick up a small section of hair on the left side of the left strand

(5) Cross the small section over and add it to the right strand

(6) Pick up a small section of hair on the right side of the right strand

(7) Cross the small section over and add it to the left strand

(8) Pick up a small section of hair on the left side of the left strand

(9) Cross the small section over and add it to the right strand

(10) Repeat steps 2-9 until the end is reached.

Students and their mannequins, Pints & Ponytails, London, March 2026.  Presumably, there would be some inverse correlation between symmetry of braids and consumption of pints of beer.  As a quirk of English, while one doing the braiding is a braider, there is no companion word braidee for the one being braided; the same convention applies to plait.

Braiding and platting of hair has for some time been political because certain styles are claimed to have specific cultural or religious connections so anyone not of the background adopting those looks risk being accused of a gamut of offences ranging from microaggression to cultural appropriation.  Recently, the braid has also entered the “toxic masculinity” debate after self-proclaimed misogynist Andrew Tate (b 1986 and dubbed by some the “high priest of toxic masculinity”) disapprovingly shared a video from a “Pints and Ponytails” event in London.  The novel P&Ps are conducted to train men in the art of creating their daughters’ braids, plaits and pony-tails, something which to most probably doesn’t look challenging until they make an attempt and find out it’s something of an art, the tresses just one component in a process which extends also to the mysteries of pins, brushes, detangler spray, leave-in conditioner and hair-ties.

A recent victim of inexpert braiding: More practice required.

To hairdressers, braids and plaits are a “basic style” taught to entry-level apprentices, but even for those familiar with tasks such as stranding cables, early results are likely to be disappointing; to assure those concerned, no daughter was damaged by the neophyte stylists, the P&P sessions conducted using the same mannequins salons use in their training.  The courses have proved popular with men as might be expected of any event including pints of beer but the serious rationale was an attempt to improve bonding between fathers and daughters as well as increasing the participation of men in child-raising chores.  As the organizers expected, the sessions also provided a time and place in which men could discuss the problems and challenges of fatherhood, the unique environment of drinking beer while learning to plait tending to encourage conversation on topics probably not often raised in situations where men gather; in other words, the sort of discussions familiar to young mothers.  Cultural critic Andrew Tate cast aspersions on the masculinity of the men taking part although one might have thought he’d see benefits in women being relieved of responsibility for the daily pony tail(s), thereby leaving them more time for cooking & cleaning.