Pylon

Pylon (pronounced pahy-lon)

(1) A marking post or tower for guiding aviators, much used in air-racing to mark turning points in a a prescribed course of flight.

(2) A relatively tall structure at the side of a gate, bridge, or avenue, marking an entrance or approach.

(3) A monumental tower forming the entrance to an ancient Egyptian temple, consisting either of a pair of tall quadrilateral masonry masses with sloping sides and a doorway between them or of one such mass pierced with a doorway.

(4) In electricity transmission, a steel tower or mast carrying high-tension lines, telephone wires, or other cables and lines (usually as power-pylon, electricity pylon or transmission tower).

(5) In architecture (1) a tall, tower-like structure (usually of steel or concrete) from which cables are strung to support other structures and (2) a lighting mast; a freestanding support for floodlights.

(6) In aeronautics, a streamlined, finlike structure used to attach engines, auxiliary fuel tanks, bombs, etc to an aircraft wing or fuselage.

(7) In modeling, as “pylon shot”, a pose in which a model stands with arms raised or extended outwards, resembling an electricity pylon.

(8) An alternative name for an obelisk.

(9) In aviation, a starting derrick for an aircraft (obsolete) and a tethering point for an dirigible (airship).

(10) In American football (gridiron), an orange marker designating one of the four corners of the field’s end zones.

(11) In the slang of artificial limb makers (1) a temporary artificial leg and (2) a rigid prosthesis for the lower leg.

(12) In literature, as "Pylon Poet" (usually in the plural as “the Pylons”), a group of British poets who during the 1930s included in their work many references to new & newish mechanical devices and other technological developments.

(13) In slang, a traffic cone.

1823: A learned borrowing from Ancient Greek πυλών (pulṓn; pylṓn) (gateway; gate tower), from pylē (gate, wing of a pair of double gates; an entrance, entrance into a country; mountain pass; narrow strait of water) of unknown origin but etymologists suspect it may be a technical term (from architecture or construction) from another language.  The first use was in archaeology to describe a “gateway to an Egyptian temple”, a direct adaptation of the original Greek.  In Western architecture, it’s believed the first “modern” pylons were the tall, upright structures installed at aerodromes to guide aviators and it was the appearance of these things which inspired the later use as “power pylon” (steel tower for high-tension wires over distance, use noted since 1923) and the word spread to any number of similar looking devices (even those on a small scale such as traffic cones).  Until then, in engineering and architecture, tall structures used to carry cables or in some way provide support (or even be mere decorative) were described as a “tower” or “obelisk” (such use continuing).  Pylon is a noun and pylonless, pylonlike, pylonesque & pylonish are adjectives; the noun plural is pylons.  Despite the fondness in engineering for such forms to emerge, the verbs pyloned & pyloning seem never to have been coined.

The Ancient Greek πυλών (pulṓn; pylṓn) was used of the grand architecture seen in the entrances to temples and the usual word for doors (and gates) rather more modest was θύρα (thýra).  It was a feminine noun and appears in various forms depending on the grammatical case (θύρα (nominative singular; a door), θύρας (genitive singular; of a door) & θύραι (nominative plural; doors).  Etymologists believe θύρα may have undergone phonological changes, adapting to Greek morphology and pronunciation patterns, while retaining its fundamental meaning tied to entryways or openings.  The word was from the primitive Indo-European dhur or dhwer (door; gateway) which was the source also of the Latin foris (door, entrance), the Sanskrit dvā́r (door, gate), the Old English duru (door) and the Old Norse dyrr (door).  Because of their functional role and symbolism as thresholds (ie transition, entry, protection), the door played a prominent part in linguistic as well as architectural evolution.

Temple of Isis, first pylon, north-eastern view.

The Ancient Greek πυλών (pulṓn; pylṓn) was the classical term for an Egyptian ceremonial gateway (bekhenet) used in temples from at least the Middle Kingdom to the Roman period (circa 2040 BC–AD 395) and anthropologists have concluded the intent was to symbolize the horizon.  The basic structure of a pylon consisted of two massive towers of rubble-filled masonry tapering upwards, surmounted by a cornice and linked in the centre by an elaborate doorway.  Ancient depictions of pylons show that the deep vertical recesses visible along the facades of surviving examples were intended for the mounting of flag staffs.

An “anchor pylon” is the one which forms the endpoint of a high-voltage and differs from other pylons in that it uses horizontal insulators, necessary when interfacing with other modes of power transmission and (owing to the inflexibility of the conductors), when significantly altering the direction of the pylon chain.  In large-scale display advertizing, a “pylon sign” is a tall sign supported by one or more poles and in the original industry jargon was something in what would now be called “portrait mode”; a sign in “landscape mode” being a “billboard”.  Not surprisingly, there are a number of mountains known as “Pylon Peak”.  The task of naming such geological features is part of the field of toponymy (in semantics the lexicological study of place names(a branch of onomastics)) and a specialist in such things is known as a toponymist.  The term toponomy was later borrowed by medicine where it was used of the nomenclature of anatomical regions. In aviation, the “pylon turn” is a flight maneuver in which an aircraft banks into a circular turn around a fixed point on the ground.

The Ancient Greek πυλών (pulṓn; pylṓn) was used of the grand architecture seen in the entrances to temples and the usual word for doors (and gates) rather more modest was θύρα (thýra).  It was a feminine noun and appears in various forms depending on the grammatical case (θύρα (nominative singular; a door), θύρας (genitive singular; of a door) & θύραι (nominative plural; doors).  Etymologists believe θύρα may have undergone phonological changes, adapting to Greek morphology and pronunciation patterns, while retaining its fundamental meaning tied to entryways or openings.  The word was from the primitive Indo-European dhur or dhwer (door; gateway) which was the source also of the Latin foris (door, entrance), the Sanskrit dvā́r (door, gate), the Old English duru (door) and the Old Norse dyrr (door).  Because of their functional role and symbolism as thresholds (ie transition, entry, protection), the door played a prominent part in linguistic as well as architectural evolution.

The plyon pose: Lindsay Lohan demonstrates some variations.

In modeling, the “pylon shot” is used to describe the pose in which a model stands with arms raised or extended outwards, resembling (at least vaguely) an electricity pylon, the appearance of which is anthropomorphic.  There are practical benefits for designers in that raising the arms permits a photographer to include more of a garment in the frame and this can be significant if there’s detailing which are at least partially concealed with the arms in their usual position.  Topless models also adopt variations of the pose because the anatomical affect of raising the arms also lifts and to some extent re-shapes the breasts, lending them temporarily a higher, a more pleasing aspect.

The Pylons

The so-called “pylon poets” (referred to usually as “the Pylons”) were a group who dominated British poetry during the 1930s, a time when the form assumed a greater cultural and intellectual significance than today.  The best known (and certainly among the most prolific) of the Pylons were Louis MacNeice (1907–1963), Stephen Spender (1909–1995), WH Auden (1907-1973) and Cecil Day-Lewis (1904–1972), their names sometimes conflated as “MacSpaunday”.  It was Spender’s poem The Pylons which inspired the nickname and it referenced the frequent references to the images of “industrial modernity”, drawn from new(ish) technology and the machinery of factories.  The intrusion of novel machinery and technology into a variety of fields is not unusual; in the age of steam the devices were used as similes when speculating about the operation of the human brain, just as the terminology of computers came to be used when the lexicon entered the public imagination.  Their method underlying the output of the pylons was influenced by the metaphysical poetry of John Donne (circa 1571-1631) whose use of “scientific” imagery was much admired by TS Eliot (1888–1965), the work of whom was acknowledged as influential by both Auden and Spender.  However, the 1930s were the years of the Great Depression and probably their most fertile source was Marxist materialism although, of the Pylons, historians tend to regard only Day-Lewis as one of the “useful idiots”.

The Pylons (1933) by Stephen Spender.

The secret of these hills was stone, and cottages
Of that stone made,
And crumbling roads
That turned on sudden hidden villages
 
Now over these small hills, they have built the concrete
That trails black wire
Pylons, those pillars
Bare like nude giant girls that have no secret.
 
The valley with its gilt and evening look
And the green chestnut
Of customary root,
Are mocked dry like the parched bed of a brook.
 
But far above and far as sight endures
Like whips of anger
With lightning's danger
There runs the quick perspective of the future.
 
This dwarfs our emerald country by its trek
So tall with prophecy
Dreaming of cities
Where often clouds shall lean their swan-white neck.

The term “useful idiot” is from political science and so associated with Lenin (Vladimir Ilyich Ulyanov (1870–1924; first leader of Soviet Russia 1917-1922 & USSR 1922-1924) that it's attributed to him but there's no evidence he ever spoke or wrote the words.  It became popular during the Cold War to describe pro-communist intellectuals and apologists in the West, the (probably retrospective) association with Lenin probably because had the useful idiots actually assisted achieving a communist revolution there, their usefulness outlived, he'd likely have had at least some of them shot as "trouble-makers".  Although it took many Western intellectuals decades to recant (some never quite managed) their support for the Soviet Union, the watershed was probably Comrade Khrushchev's (1894–1971; Soviet leader 1953-1964)  so called "Secret Speech" (On the Cult of Personality and Its Consequences) to the 20th Congress of the Communist Party of the Soviet Union on 25 February 1956 in which he provided a detailed critique of the rule of comrade Stalin (1878-1953; Soviet leader 1924-1953), especially the bloody purges of the late 1930s.

Some had however already refused to deny what had become obvious to all but avid denialists, and in 1949 a contribution by Spender appeared in The God that Failed, a collection of six essays in which the writers lay bare their sense of betrayal and disillusionment with communism because of the totalitarian state forged by comrade Stalin which was in so many ways just another form of fascism.  Spender was associated with the intellectual wing of left-wing politics during the 1930s and was briefly a member of the Communist Party but his attraction seems to have been motivated mostly by the Soviet Union’s promises of equality and its anti-fascist stance.  He quickly became disillusioned with the Soviet state, unable to reconcile its authoritarianism with his personal beliefs in freedom and individual rights, a critical stance differentiated him from figures like George Bernard Shaw (GBS; 1856-1950) and Sidney (1859–1947) & Beatrice Webb (1858–1943), the latter couple for some time definitely useful idiots.

The sort of sights which would have inspired Spender’s line “Bare like nude giant girls that have no secret”.

Louis MacNeice, was politically engaged during the 1930s but that was hardly something unusual among writers & intellectuals during that troubled decade.  Among the pylons he seems to have been the most sceptical about the tenets of communism and the nature of comrade Stalin’s state and no historians seem every to have listed him among the useful idiots, his views of the left as critical and nuanced as they were of the right.  What he most objected to was the tendency among idealistic & politically committed intellectuals to engage in a kind of reductionism which allowed them to present simplistic solutions to complex problems in a form which was little more than propaganda, a critique he explored in his poem Autumn Journal (1939) captures his doubts about political certainty and his disillusionment with simplistic solutions to complex problems.  Auden certainly wasn’t a “useful idiot” and while politically engaged and associated with several leftist intellectual circles during the 1930s, his sympathy for Marxism and anti-fascist causes were really not far removed from those share by even some mainstream figures and a capacity for self-reflection never deserted him.  Much was made of the time he spent in Spain during the Spanish Civil War (1936-1940) but he went as an observer and a propagandist rather than a combatant and what he saw made his disillusioned with the ideological rigidity and in-fighting among leftist factions and he made no secret of his distaste for Stalinist communists.  By the early 1940s, he was distancing himself from Marxism, the process much accelerated by his re-embrace of Christianity where, at least debatably, he discharged another form of useful idiocy, his disapproval of collectivist ideologies apparently not extending to the Church of England.

Profiles of some electricity pylons.  There a literally dozens of variations, the designs dictated by factors such as the ground environment, proximity to people, voltage requirements, weight to be carried, economics, expected climatic conditions and a myriad of other specifics.

Of the Pylons, Cecil Day-Lewis (who served as Poet Laureate of the UK 1968-1972) had the most active period engagement with communism and Marxist ideals and he was for a time politically aligned with the Soviet Union; it was a genuine ideological commitment.  During the 1930s, the true nature of the Soviet Union wasn’t generally known (or accepted) in the West and Day-Lewis admired the Soviet Union as an experiment in social and economic equality which he championed and it wasn’t until late in the decade he realized the ideals he had embraced had been betrayed; it was Great Purge and the Moscow Show-Trials which triggered his final disillusionment.  Day-Lewis later acknowledged the naivety and moral compromises of his earlier stance and came to argue poetry and art should not be subordinated to political ideology, a view formed by his understanding of the implications of propagandistic pieces of his younger years being exactly that.

Doodlebug

Doodlebug (pronounced dood-l-buhg)

(1) In entomology the larva of an antlion (a group of some 2,000 species of insect in the neuropteran family Myrmeleontidae, the appellation “doodlebug” an allusion to the “doodle-like” marks they leave in the sand as tracks of their movement.

(2) In entomology (UK), a cockchafer (genus Melolontha).

(3) In entomology (US regional), a woodlouse.

(4) Any of various small, squat vehicles.

(5) A divining rod or similar device supposedly useful in locating underground water, oil, minerals etc.

(6) In World War II (1939-1945) UK slang, the German cruise missile the V1, (Fs-103, also known in formally as the “flying bomb” or “buzz bomb”, the latter an allusion to the distinctive sound made by the craft’s pulse-jet power-plant.  The slang began among RAF (Royal Air Force) personnel and later spread to the general population.

(7) In US rural slang, as “doodlebug tractor”, a car or light truck converted into tractor used for small-scale agriculture for a small farm during World War II.

(8) In informal use, a term of endearment (now rare).

(9) In informal use, a slackard (an archaic form of slacker) or time-waster (now rare).

(10) In informal, an idiot (the word used casually rather than in its once defined sense in mental health).

(11) In informal use, someone who habitually draws (or doodles) objects).

(12) Individual self-propelled train cars (obsolete).

(13) A device claimed to be able to locate oil deposits.

1865-1870: A coining in US English, the construct being doodle + bug, the first known use as a US dialectal form (south of the Mason-Dixon line) to describe certain beetles or larva.  Doodle dates from the early seventeenth century and was used to mean “a fool or simpleton”.  It was originally a dialectal form, from dudeldopp (simpleton) and influenced by dawdle (To spend time idly and unfruitfully; to waste time, pointlessly to linger, to move or walk lackadaisically; to “dilly-dally”), thus the later use of doodle to mean “a slackard (slacker) or time-waster”.  The German variants of the etymon included Dudeltopf, Dudentopf, Dudenkopf, Dude and Dödel (and there’s presumably some link with the German dudeln (to play the bagpipe)).  There is speculation the Americanism “dude” may have some link with doodle and the now internationalized (and sometimes gender-neutral) “dude” has in recent decades become one of slang’s more productive and variable forms.  The song Yankee Doodle long pre-dates the American Revolutionary War (1775-1783) but it was popularized in the era by being used as a marching song by British colonial troops and intended to poke fun at their rebellious opponents.  From this use was derived the verb of the early eighteenth century (to doodle), meaning “to swindle or to make a fool of”.  The predominant modern meaning (the drawings regarded usually as “small mindless sketches”) emerged in the 1930s either from this meaning or (s seems to have greater support), from the verb “to dawdle” which since the seventeenth century had been used to mean “wasting time; being lazy”.  In slang and idiomatic use, doodles uses are legion including “the penis” and any number of rhyming forms with meanings ranging from the very good to the very bad.

A doodled Volkswagen “bug” on Drawn Inside.

Bug dates from 1615–1625 and the original use was to describe insects, apparently as a variant of the earlier bugge (beetle), thought to be an alteration of the Middle English budde, from the Old English -budda (beetle) by etymologists are divided on whether the phrase “bug off” (please leave) is related to the undesired presence of insects or was of a distinct origin.  Bug, bugging & debug are nouns & verbs, bugged is a verb & adjective and buggy is a noun & adjective; the noun plural is bugs.  Although “unbug” makes structural sense (ie remove a bug, as opposed to the sense of “debug”), it doesn’t exist whereas forms such as the adjectives unbugged (not bugged) and unbuggable (not able to be bugged) are regarded as standard.  The array of compound forms meaning “someone obsessed with an idea, hobby etc) produced things like “shutterbug” (amateur photographer) & firebug (arsonist) seems first to have emerged in the mid nineteenth century.  The development of this into “a craze or obsession” is thought rapidly to have accelerated in the years just before World War I (1914-1918), again based on the notion of “bitten by the bug” or “caught the bug”, thus the idea of being infected with an unusual enthusiasm for something.  The use to mean a demon, evil spirit, spectre or hobgoblin was first recorded in the mid-fourteenth century and was a clipping of the Middle English bugge (scarecrow, demon, hobgoblin) or uncertain origin although it may have come from the Middle Welsh bwg (ghost; goblin (and linked to the Welsh bwgwl (threat (and earlier “fear”) and the Middle Irish bocanách (supernatural being).  There’s also speculation it may have come from the scary tales told to children which included the idea of a bugge (beetle) at a gigantic scale.  That would have been a fearsome sight and the idea remains fruitful to this day for artists and film-makers needing something frightening in the horror or SF (science fiction) genre.  The use in this sense is long obsolete although the related forms bugbear and bugaboo survive.  Dating from the 1570s, a bugbear was in folklore a kind of “large goblin”, used to inspire fear in children (both as a literary device & for purposes of parental control) and for adults it soon came to mean “a source of dread, resentment or irritation; in modern use it's an “ongoing problem”, a recurring obstacle or adversity or one’s pet peeve.  The obsolete form bugg dates from circa 1620 and was a reference to the troublesome bedbug, the construct a conflation of the middle English bugge (scarecrow, hobgoblin) and the Middle English budde (beetle).  The colloquial sense of “a microbe or germ” dates from 1919, the emergence linked to the misleadingly-named “Spanish flu” pandemic.  Doodlebug & doodlebugger are nouns and doodlebugging is a verb; the noun plural is doodlebugs.  The forms have sometimes been hyphenated.

A doodlebug (left) and his (or her) doodles in the sand (right).

That the word doodlebug has appeal is obvious because since the 1860s it has been re-purposed many time, often with the hint something “small but not cute”, that something understandable given the original creature so named (larva of an antlion) is not one of nature’s more charismatic creations.  Doodlebugs are squat little things which live mostly in loose sand where they create pit traps and genuinely are industrious creatures, their name earned not because they are idle time-wasters but because the tracks they leave in the sand are strikingly similar to the doodles people often wile away their time drawing.  The frankly unattractive ant leave their doodles behind because as they percolate over the sands, their big butts drag behind them, leaving the erratic trails.  So compelling is the name, it has been applied to a number of other, similar insects.  Another use is attributive from the link with the seventeenth century notion of a doodle being “a simpleton or time-waster”, extended later to “an idiot” (the word used casually rather than in its once defined sense in mental health); in the 1930s it came be used of those who incessantly sketch or draw stuff, the idea being they are squandering their time.  What they draw are called “doodles”, the source of the name for the artist.

Doodles on a rendering of Lindsay Lohan by Stable Diffusion.

The mid-twentieth century art (some of its practitioners claiming it was a science) of doodlebugging was practiced by doodlebuggers who used a method said to be not greatly different from the equally dubious technique of the water diviner.  All the evidence suggests there was a general scepticism of the claims that a bent rod waived about above the earth could be used to locate hydro-carbons and the use of “doodlebuging” to refer to the process was originally a slur but it became an affectionate name for those intrepid enough to trek into deserts seeking the “black gold”.  In the 1940s when the “profession” was first described, any reliable means of detecting sub-surface oil deposits simply didn’t exist (other than drilling a hole in the ground to see if it was there) and the early doodlebuggers were scam merchants.  The science did however advance (greatly spurred on by the demands of wartime) and when geologists came to be able to apply the modern machinery of seismic mapping and actually had success, they too were called doodlebuggers and happily adopted the name.

Texaco Doodlebug fuel tanker, one of eight built in 1934-1935 during the industry's "streamliner" era.  It was a time when art deco's lovely lines appeared in many fields of design. 

In the early twentieth century, a doodlebug was a self-propelled rail car, used on rail lines which were short in length and subject only to light traffic.  These were autonomous vehicles, powered both by gasoline (it was the pre-diesel era in the US) and electricity and were an economical alternative for operators, being much cheaper to run than the combination of large locomotives & carriage cars, eminently suited to lower passenger numbers.  The concept may be compared with the smaller (often propeller or turbo-prop) aircraft used on regional & feeder routes where the demand wouldn’t make the use of a larger airliner viable.  Although the doodlebugs carried relative few passengers, their operating costs were correspondingly lower so the PCpM (passenger cost per mile) was at least comparable with the full-sized locomotives.  While it may be a myth, the story is that one rail employee described the small, stumpy rail car as looking like a “potato bug” and (as English informal terms tend to do) this morphed into the more appealing doodlebug.

Some assembly required: a doodlebug tractor with hydraulic pump-driven crane, the agglomeration dating from circa 1934.

Although the mechanical specification of each tended to vary as things broke and were replaced with whatever fell conveniently to hand or could be purchased cheaply, when discovered it included a 1925 Chevrolet gasoline engine, Ford Model T firewall and steering, Ford Model A three-speed manual transmission, Ford Model TT rear end and AM General HMMWV rear wheels and tires.  The "mix & match" approach was typical of the genre and it's doubtful many were for long exactly alike.

A doodlebug could also be a DIY (do it yourself) tractor.  During the Great Depression of the 1930s, the smaller-scale farmers in the US no longer had the capital (or access to capital) to purchase plant and equipment on the same scale as in more prosperous times but they needed still to make their land productive and one of the modern tools which had transformed agriculture was the tractor.  New tractors being thus unattainable for many, necessity compelled many to turn to what was available and that was the stock of old cars and pickup trucks, now suddenly cheaper because the Depression had lowered demand for them as well.  With saws and welding kits, imaginative and inventive farmers would crop & chop and slice & dice until they had a vehicle which would do much of what a tractor could and according to the legends of the time, some actually out-performed the real thing because their custom design was optimized for a specific, intended purpose.  What made the modifications possible in the engineering sense was that it was a time when cars and pick-ups were almost always built with a separate chassis; the bodies could be removed and it was possible still to drive the things and it was on these basic platforms the “doodlebug” tractors were fashioned.  They were known also as “scrambolas”, “Friday night specials” and “hacksaw tractors” but it was “doodlebug” which really caught on and so popular was the practice that kits were soon advertised in mail-order catalogues (the Amazon of the day and a long tradition in the rural US).  Not until the post-war years when economic conditions improved and production of machinery for civilian use resumed at full-scale did the doodlebug industry end.

1946 Brogan Doodlebug (right) with 1942 Pontiac Torpedo (left).  In the US, some passenger car production continued in the first quarter of 1942. 

Although now what’s most remembered about the US cars of the post-war era are the huge and extravagantly macropterous creations, there were more than two dozen manufacturers in the 1940s & 1950s which offered “micro-cars”, aimed at (1) female drivers, (2) inner-city delivery services and (3) urban drivers who wanted something convenient to manoeuvre and park.  The market however proved unresponsive and as the population shift to the suburbs accelerated, women wanted station wagons (in many ways the emblematic symbol of suburban American of the 1950s) and the delivery companies needed larger capacity.  As the VW Beetle and a few other niche players would prove during that decade’s “import boom”, Americans would buy smaller cars, just not micro-cars which even in Europe, where they were for a time successful, the segment didn’t survive to see the end of the 1960s.  But there was the Brogan Doodlebug, made by the B&B Specialty Company of Rossmoyne, Ohio and produced between 1946-1950 although that fewer than three dozen were sold hints at the level of demand at a time when Detroit’s mass-production lines were churning out thousands of “standard sized” cars a day.

1946 Brogan Doodlebug.

Somewhat optimistically (though etymologically defensible) described as a “roadster”, the advertising for the Doodlebug exclusively featured women drivers and it certainly was in some ways ideal for urban use (except perhaps when raining, snowing, in cold weather, under harsh sun etc).  It used a three wheeled chassis with the single wheel at the front, articulated so the vehicle could turn within its own length so parking would have been easy, the thing barely 96 inches (2440 mm) in length & 40 inches (1020 mm) wide; weighing only some 442 lbs (200 kg), it was light enough for two strong men to pick it up and move it.  Powered by either a single or twin-cylinder rear-mounted engine (both rated at a heady 10 horsepower (7.5 kW)) no gearbox was deemed necessary thus no tiresome gear levers or clutch pedals were there to confuse women drivers and B&B claimed a fuel consumption up to 70 mpg (US gallon; 3.4 L/100 km) with a cruising speed of 45-50 mph (70-80 km/h).  All this for US$400 and remarkably, it seems it wasn’t until 1950 (after some 30 doodlebugs had been built over four years) the cost-accountants looked at the project and concluded B&B were losing about US$100 on each one sold.  A price-rise was ruled out so production ended and although B&B released the Broganette (an improved three-wheeler with the single wheel at the rear which provides much better stability), it was no more successful and the company turned to golf carts and scooters which proved much more lucrative.  B&B later earned a footnote in the history of motorsport as one of the pioneer go-kart manufacturers.

Annotated schematic of the V-1 (left) and a British Military Intelligence drawing (dated 16 June 1944, 3 days after the first V-1 attacks on London (right). 

First deployed in 1944 the German Vergeltungswaffen eins (“retaliatory weapon 1” or "reprisal weapon 1” and eventually known as the V-1) was the world’s first cruise missile.  One of the rare machines to use a pulse-jet, it emitted such a distinctive sound that those at whom it was aimed nicknamed it the “buzz-bomb” although it attracted other names including “flying bomb” and “doodlebug”.  In Germany, before Dr Joseph Goebbels (1897–1945; Reich Minister of Propaganda 1933-1945) decided it was the V-1, the official military code name was Fi 103 (The Fi stood for Fieseler, the original builder of the airframe and most famous for their classic Storch (Stork), short take-off & landing (STOL) aircraft) but there were also the code-names Maikäfer (maybug) & Kirschkern (cherry stone).  While the Allied defenses against the V-1 did improve over time, it was only the destruction of the launch sites and the occupation of territory within launch range that ceased the attacks.  Until then, the V-1 remained a highly effective terror weapon but, like the V-2 and so much of the German armaments effort, bureaucratic empire-building and political intrigue compromised the efficiency of the project.

Retard

Retard (pronounced ri-tahrd and ree-tahrd (depending on definition))

(1) To make slow; delay the development or progress of (an action, process etc); hinder or impede (pronounced ri-tahrd).

(2) To be delayed (pronounced ri-tahrd).

(3) a slowing down, diminution, or hindrance, as in a machine (pronounced ri-tahrd).

(4) A contemptuous term of US origin (as a clipping of “mental retardation”) used to refer to a person who is cognitively impaired (now disparaging & offensive slang) (pronounced ree-tahrd).

(5) A person who is stupid, obtuse, or ineffective in some way (now disparaging & offensive slang) (pronounced ree-tahrd).

(6) In the tuning and maintenance of internal combustion engines, an adjustment made in the setting of the distributor so the spark for ignition in each combustion chamber is generated later in the cycle; the opposite procedure is “to advance” (pronounced ri-tahrd).

(7) In physics, as retarded, designating a parameter of an electromagnetic field which is adjusted to account for the finite speed of radiation (pronounced ri-tahr-did).

1480–1490: From the Old French retarder, from the Latin retardāre (to delay, protract), the construct being re- + tardāre (to loiter, to make slow; to be slow), from tardus (slow, sluggish, late, lingering; dull, stupid, slow-witted) (of unknown origin but one etymologist suggests it may have some relationship to the Etruscan), from which English gained tardy (late to arrive; slow in action).  The re- prefix is from the Middle English re-, from the circa 1200 Old French re-, from the Latin re- & red- (back; anew; again; against), from the primitive Indo-European wre & wret- (again), a metathetic alteration of wert- (to turn).  It displaced the native English ed- & eft-.  A hyphen is not normally included in words formed using this prefix, except when the absence of a hyphen would (1) make the meaning unclear, (2) when the word with which the prefix is combined begins with a capital letter, (3) when the word with which the is combined with begins with another “re”, (4) when the word with which the prefix is combined with begins with “e”, (5) when the word formed is identical in form to another word in which re- does not have any of the senses listed above.  As late as the early twentieth century, the dieresis was sometimes used instead of a hyphen (eg reemerge) but this is now rare except when demanded for historic authenticity or if there’s an attempt deliberately to affect the archaic.  Re- may (and has) been applied to almost any verb and previously irregular constructions appear regularly in informal use; the exception is all forms of “be” and the modal verbs (can, should etc).  Although it seems certain the origin of the Latin re- is the primitive Indo-European wre & wret- (which has a parallel in Umbrian re-), beyond that it’s uncertain and while it seems always to have conveyed the general sense of "back" or "backwards", there were instances where the precise was unclear and the prolific productivity in Classical Latin tended make things obscure.

Retard is a noun & verb (used with and without object), retardation is a noun, retarded & retardative are adjectives, retarding is a verb and retardingly an adverb.  The (now proscribed except in historic reference) noun plural was retards; retardings remaining acceptable when used in science and engineering.  Words related in meaning in these later contexts include choke off, crimp, decelerate, hamper, handicap, impede, lessen, arrest, baffle, balk, bog, brake, check, choke, clog, dawdle, decrease, defer, delay & detain.

The general sense of “delayed; delayed in development, hindered; impeded” dates from the seventeenth century and in the nineteenth was absorbed into the early technical language of psychology (having mental retardation; mentally deficient or underdeveloped) as a clipping of “mentally retarded”.  Later it was part of the formalized system of classification of intelligence, a retard defined as having an IQ below 70.  From the jargon of the profession it was picked up in twentieth century US colloquial use to describe (1) those then defined as mentally retarded, (2) those thought stupid and (3) a derogatory term to be applied as wished.  From the 1980s it came to be regarded as offensive, use disapproved of in polite society.

President John Kennedy (JFK, 1917–1963; US president 1961-1963) addressing the thirteenth annual convention luncheon of the National Association for Retarded Children (NARC). Mayflower Hotel, Washington DC, 24 October 1963.

The names used by the NARC are interesting in that it wasn’t until the 1990s that the word “retard” was removed.  The organization was called the National Association for Retarded Children (1953-1973), the National Association for Retarded Citizens (1973-1981) & the Association for Retarded Citizens of the United States (1981-1992) before assuming the name Arc of the United States in 1992.  While hardly illustrative of the euphemism treadmill familiar elsewhere, it does hint at the difficulties changes in the social acceptability of words can cause institutions with a corporate history or identity vested in a brand name.  The National Association for the Advancement of Colored People (NAACP), formed in 1909, retained the name even after “colored people” had been declared an unacceptable form and replaced by “people of color”, because the brand NAACP was thought too valuable to alter.  However, acronyms and abbreviations can continue even if divorced from their historic connections.  The oil company British Petroleum, in filings with the various regulatory agencies with which it deals, explained that it now positions itself as “an energy company” and expected to remain trading as BP, even if the day came when it no longer dealt with fossil fuels or petro-chemicals.

Retard is an interesting example of a word in English, the use of which is socially proscribed in one historical context (human intelligence) but still acceptable in other adaptations (engineering & physics).  In this it differs from other words which began as something uncontroversial and perhaps merely descriptive but which, for associative reasons, became “loaded terms” and socially (and even legislatively) proscribed, including, the other “n-word” (negro) which as late as the 1960s was socially respectable but now, even for historic purposes (such as the description of the specific stream of music once called the “negro spiritual” or the “negro league” in baseball) should probably be replaced with an uncontroversial substitute unless use is deemed essential by virtue of the context of use.  The conventions of use may yet evolve to the point reached with the original n-word word whereby it can in certain circumstances be acceptable for it to appear in print but which may never be spoken (unless by (at least some) persons of color).       

In less globalized times, the loading could be geographically (and thus circumstantially) specific; as late as the early 1980s, the television network in Australia which held the broadcast rights to international cricket could include in their televised promotions for a series involving teams from the West Indies, Pakistan & Australia a jingle with the phrase “the Windies, the Pakis, the Aussies”.  Although all three were ostensibly affectionate diminutives of the country names and thus neutral, linguistic equivalents, “Paki” in the United Kingdom had by the 1960s come to be regarded as an offensive, ethnic slur referencing either (1) an actual Pakistani, (2) a person of Pakistani descent, (3) anyone whose origins were perceived to be South Asian or even (4) any person of color (Africans, Arabs et al).  Actually, structural linguistic equivalency is never of necessity any sort of guide to what a word has come to denote, “Chinaman” thought pejorative while “Englishman” is not.

Definitely not a word for the twenty-first century unless one is a mechanic.  

Paki acquired the offensive connotations in the 1960s from a pattern of use in the UK, reinforced by the Fleet Street (and regional) tabloids which used the word to refer to subjects of former colonies, with no attempt to disguise that it was being done in a derogatory and racist manner.  Use persists in certain sections of the community although the popular press has been forced to adopt an uncharacteristic subtlety when making their point about people of color.  Interestingly, like some other disparaging slurs (n-word, slut), there has been noted a trend of reclamation, an adoption by second and third-generation youth of Pakistani extraction to claim exclusive use of the term, excluding all outsiders, even Indians, Bangladeshis and others at whom it was originally and offensively directed.

No such phenomenon appears to have happened with “retard”, presumably because it was not a word which (in the context of human intelligence or behavior) never had any history of enjoying a neutrality of meaning, either by definition or inference always being in the negative.  Despite that, when the medical profession introduced retard, retarded & retardation to their system of classifications, genuinely it was an attempt to de-stigmatize those once labeled idiots, imbeciles & morons, the early twentieth century classifications being:

Idiots: Those so defective that the mental development never exceeds that or a normal child of about two years.

Imbeciles: Those whose development is higher than that of an idiot, but whose intelligence does not exceed that of a normal child of about seven years.

Morons: Those whose mental development is above that of an imbecile, but does not exceed that of a normal child of about twelve years.

Retard was used in relation to developmental delay in 1895 and was introduced as an alternative to idiot, moron, and imbecile because at the time it wasn’t derogatory, being a familiar technical term from engineering and mathematics but the associative connection meant that it soon became an frequently heard insult.  Indeed, following the example of the n-word, there is in the United States much lobbying by interested groups socially to construct retard as “the r-word” and render its use just as unacceptable.

US legislation in 2010 required the terms "mental retardation" and" mentally retarded" be removed from federal records and replaced with "intellectual disability" and "individual with an intellectual disability", a change reflected in the publication in 2013 of the fifth edition of the American Psychiatric Association’s (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-5).  The US National Institutes of Health, which took several years to scrub “retarded” and related terms from their archival material, recommend “intellectually and developmentally disabled”, the acronym IDD being one which rolls not easily from the tongue and is therefore less susceptible to entering the vernacular as an insult.  Other organizations focused on specific conditions have also made suggestions but constructions such as “differently-abled” do seem likely to attract derision and be applied as insults, as happened with “special”.

Ignition timing: Advancing and retarding the ignition

Intake, compression, power, exhaust: the four-stroke cycle.

In a four-stroke, internal combustion engine, the ignition timing is measured in degrees of a crankshaft rotation before top dead centre (BTDC).  To ensure the power stroke is at this point achieved, the spark plugs need to fire at the right time and this is achieved by advancing or retarding the timing of the engine.  Advancing the timing means the spark plugs fire earlier in the compression stroke, further from the TDC, meaning the fuel/air mixture in the combustion chamber doesn’t burn immediately.  The primary advantage in advancing the timing of ignition is an increase in top-end horsepower at the expense of some low end response.  Retarding the ignition causes the spark plug to fire later in the compression stroke which can reduce engine detonation, which is combustion inside the cylinders after the spark plug fires, commonly referred to as “engine knocking”.  In the early days of emission control systems, retardation was usually part of the process.  In the special (although now quite common) case of engines which use forced aspiration (by turbocharging or supercharging), retarding can be beneficial because it adjusts for the increased pressure, compensating for the denser fuel/air mixtures.

Mullet

Mullet (pronounced muhl-it)

(1) Any of various teleost food marine or freshwater, usually gray fishes of the family Mugilidae (grey mullet (order Mugiliformes)) or Nullidae (red mullet (order Syngnathiformes)), having a nearly cylindrical body; a goatfish; a sucker, especially of the genus Moxostoma (the redhorses).

(2) A hairstyle in which the hair is short in the front and at the sides of the head, and longer in the back; called also the “hockey player haircut" and the "soccer rocker"; the most extreme form is called the skullet, replacing the earlier hockey hair.

(3) In heraldry, a star-like charge having five or six points unless a greater number is specified, used especially as the cadency (any one of several systems used to distinguish between similar coats of arms belonging to members of the same family) mark of a third son; known also as American star & Scottish star.  The alternative spelling is molet.

(4) In slang (apparently always in the plural), a reference to one’s children (two or more).

(5) In slang, a person who mindlessly follows a fad, trend or leader; a generally dim-witted person.

(6) In dress design, a design based on the hairstyle, built around the concept of things being longer at the back, tapering progressively shorter towards the sides and the front.  The name is modern, variations of the style go back centuries.

1350-1400: The use in heraldry is from the Middle English molet(te), from the Old French molete (rowel of a spur), the construct being mole (millstone (the French meule) + -ette (the diminutive suffix).  The reference to the fish species dates from 1400–50, from the late Middle English molet, mulet & melet, from the Old French mulet (red mullet), from the Medieval Latin muletus, from the Latin muletus & moletus from mullus (red mullet) from the Ancient Greek μύλλος (múllos & mýllos) (a Pontic of fish), which may be related to melos (black) but the link is speculative.

The use to describe the hairstyle is said to date from 1994, thought to be a shortening of the slang mullethead (blockhead, fool, idiot ("mull" used in the sense of "to dull or stupefy")), popularized and possibly coined by US pop-music group the Beastie Boys in their song Mullet Head (1994), acknowledged by the Oxford English Dictionary (OED) as the first use "in print" although the origin use is contested.  Mullethead also was a name used in the mid nineteenth century of a large, flat-headed North American freshwater fish which gained a reputation for stupidity (ie was easily caught).  As a surname, Mullet is attested in both France and England from the late thirteenth century, the French form thought related to the Old French mul (mule), the English from the Middle English molet, melet & mulet (mullet) a metonymic occupational name for a fisherman or seller of these fish although some sources do suggest a link to a nickname derived from mule (a beast with a reputation for (1) an ability to carry a heavy burden and (2) stubbornness).  The now less fashionable Australian slang form "stunned mullet" is used to imply that someone appears "especially or unusually dim-witted".

The "mullet" label casts a wide net: Red mullet (Goatfish) (left) and grey mullet (right).

In ichthyology, fish of the family Mugilidae are distinguished variously by modifiers including black mullet, bright mullet, bully mullet, callifaver mullet, grey mullet, diamond mullet, finger mullet, flathead mullet, hardgut mullet, Lebranche mullet, mangrove mullet, pearl mullet, popeye mullet, red mullet, river mullet, sea mullet, so-iuy mullet & striped mullet.  Mullet is a noun and mullety and mulletlike & mulleted are adjectives (as verbs mulleted and mulleting are non-standard as is the adjective mulletesque).  The noun plural is mullet if applied collectively to two or more species of the fish and mullets for other purposes (such as two or more fish of the same species and the curious use as a (class-associated) slang term parents use to refer to their children if there are two or more although use in the singular isn’t recorded; apparently they can have two (or more) mullets but not one mullet.

The Mullet  

Proto-mullet.

The mullet hairstyle goes back a long way.  The Great Sphinx of Giza is thought to be some four and a half thousand years old but evidence of men & women with hair cut short at the front and sides, long at the back, exists from thousands of years earlier.  It’s assumed by historians the cut would variously have been adopted for functional reasons (warmth for the neck and freedom for obstruction of the eyes & face) although aesthetics has probably always been a feature of the human character so it may also have been a preferred style.  There are many findings in the archaeological record and references to the hair style appear in the histories of many cultures.  In the West, the acceptability of longer cuts for men was one of the social changes of the 1960s and the mullet was one style to again arise; from there it’s never gone away although, as the mullet came to be treated as a class-identifier, use did become more nuanced, some claiming to wear one ironically.  The other sense in which "proto-mullet" is used is of a mulletlike hairstyle which at the back is shorter than the full-fledged mullet (such also once called the "tailgate" or "mudflap"). 

Rime of the Ancient Mullet: Samuel Taylor Coleridge (1772–1834).

Opinion remains divided and some schools have gone as far as to ban mullets because of an alleged association with anti-social or disruptive behavior.  At the other end of the spectrum there are are mullet competitions with prizes including trophies and bottles of bourbon whiskey.  It's suspected those who disapprove of the style, if asked to pick the "worst mullet", would likely choose the same contestants winning "best mullet" in their categories.  The competitions seem popular and are widely publicized, although the imagery can be disturbing for those with delicate sensibilities not often exposed to certain sub-cultures.  Such folk are perhaps more familiar with the Romantic poet Samuel Taylor Coleridge but there was a time when he wore a mullet although the portraits which survive suggest his might not have been sufficiently ambitious to win any modern contests.

Emos with variegated tellums: Black & copper (left) and black, magenta, blue & grey (right).

Associated initially with that most reliable of trend-setters, the emo, the tellum (mullet spelled backwards), more helpfully described as the “reverse mullet” is, exactly as suspected, long in front and short at the back.  Definitely a thing exclusively of style because it discards the functionally which presumably was the original rationale for the mullet, emos often combine the look with one or more lurid colors, the more patient sometimes adopting a spiky look which can be enlivened with a different color for each spike.  That’s said to be quite high-maintenance.  The asymmetric tellum can be engineered to provide a dramatic look, concealing much of the face, the power of effect said to be to force the focus onto the one exposed eye.  True obsessives use colored contact lens to match whatever is the primary hue applied to the the hair. 

Martina Navratilova (b 1956) playing a backhand shot.

On a tennis court, a mullet is functional and there are headband users who wrongly have been accused of being mulleteers.  No more monolithic than any others, it’s probably absurd to think of any of the component part of the LGBTQQIAAOP as being a visually identifiable culture but there appears to have been a small lesbian sub-set in the 1980s which adopted the mullet although motives were apparently mixed, varying from (1) chauvinistic assertiveness of the lesbionic, (2) blatant signalling when advertising for a mate to (3) just another haircut.  Despite that, there's little to suggest that in isolation a mullet on a woman tends to be used as a GABOSO (general association based on single observation) to assume she's a lesbian.

Caitlyn Jenner (when identified as Bruce) with mullet at different stages of transition.

It also featured in a recent, celebrated case of gender-fluidity, Bruce Jenner (b 1949) photographed sporting a mullet shortly before beginning his transition to Caitlyn Jenner.  However, the mullet may be unrelated to the change, the photographic record confirming his long-time devotion to the cut and, since transitioning to Caitlyn, it seems to have been retired for styles more overtly traditionally feminine.

A MulletFest entrant in the Junior (14 to 17 Years category).

In Australia, the mullet is much associated with the bogan, one of sociology’s more striking cross-cultural overlaps.  The correlation is of course not 1:1 but while the perception that all mullet-wearers are bogans is probably about right, not all bogans sport a mullet and they’re even credited with at least popularizing the “skull mullet” which takes the “short at the sides” idea down almost to the skin.  At the institutional level, there’s MulletFest which tours the nation conducting “Best Mullet Competitions” at appropriate events (rodeos, agricultural shows, meetings for those displaying hotted-up cars et al) with inclusive categories including five for children (age-based), rangas (redheads), vintage (for the over 50s), grubby (the criteria unclear) and the mysterious “extreme”.  All entrants are “…judged on their haircut, overall presentation and stage presence, and the person with the “Best Mullet of them All” is crowned on the day and takes home that worthy honour.”  Proceeds from MulletFest events are donated to local charities.

The Mullet Skirt

Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685) an early adopter of the mullet style, in his coronation robes (circa 1661), oil on canvas by John Michael Wright (1617–1694) (left) and two views of Lindsay Lohan, also with much admired legs, following the example of the House of Stuart, Los Angeles, August 2012 (centre & right).  Charles II got more fun out of life than his father (Charles I (1600–1649; King of England, Scotland & Ireland 1625-1649) and possibly more even than Charles III (b 1948; King of the United Kingdom since 2022), the House of Windsor's latest monarch.  Both Charles I & Charles III also rocked the mullet look for their coronations and fashionistas can debate who wore it best.

Sewing pattern for mullet dress (left) and or the catwalk, Miranda Kerr (b 1983, left) demonstrates a pale pink high-low celebrity, prom or graduation party dress, Liverpool Fashion Fest Runway, Mexico City, March 2011 (right).

The style of the mullet skirt long pre-dates the use of the name and the same concept used to be called "tail skirt", "train skirt" or "high-low circle skirt" (which in commercial use often appeared as "Hi-Lo skirt"), the terms still often used by those who find the mere mention of mullet distasteful.  The pattern for the fabric cut is deceptively simple but as in any project involving other than straight lines, it can be difficult to execute and the less volume that's desired in the garment, the harder it becomes to produce with precision.  That so many mullet dresses are bulky is probably a stylistic choice but the volume of fabric is handy for obscuring any inconsistencies.

The cheat cut mullet skirt.

Seamstresses do however have a trick which can work to convert an existing skirt into a mullet although again, it does work best if there's a lot of fabric.  Essentially, the trick is to lay the skirt perfectly flat, achieved by aligning the side seams (if there are no side seams, describe two with chalk lines); use a true, hard surface like a hardwood floor or a table to ensure no variations intrude.  Then, draw the cutting line, describing the shape to permit the extent of mulletness desired.  Unless absolutely certain, it's best to cult less, then try on the garment; if it's not enough, re-cut, repeating the process if necessary.  Because a hem will be needed, the cut should allow the loss of a ½ inch (12 mm) of fabric.

January Jones (b 1978 left) wore a blue “sea wave” piece from the Atelier Versace Spring 2010 collection to that year’s Emmy Awards ceremony and it was definitely a mullet.  Emma Stone’s (b 1988, centre left & centre right) sequined dress from Chanel's Fall 2009 haute couture collection, worn at the 2011 Vanity Fair Oscar party, was one of the season’s most admired outfits but it is not a mullet because it resembles one only when viewed at a certain angle; it should be regarded as an interpretation of the “train skirt”.  Caitlin FitzGerald (b 1983, right) appeared at the 2014 Golden Globes award ceremony in an Emilia Wickstead dress which featured an anything but straight hemline but it was not a mullet because the designer's intent was not to seek a "mullet effect"' it was a dress with a "swishy" skirt.  So, conceptually, the mullet dress is something like adding an "integrated cloak" to an outfit and the implications of that mean the result will sit somewhere on a spectrum and as with all mullets, there is a beginning, a middle and an end.