Meconium

Meconium (pronounced mi-koh-nee-uhm)

(1) In medicine, the first fecal excretion of a newborn child, composed chiefly of bile, mucus, and epithelial cells; it accumulates in the fetal intestines, manifesting as dark green mucoid material.

(2) In zoology, a dark green mass, the contents of the fetal intestines during the later stages of mammalian gestation, that forms the first feces of the newborn

(3) In entomology, the fecal mass released at pupation by the larvae of some insects.

(4) The milky sap of the unripe seed pods of the opium poppy; crude opium, sometimes called opium juice.

(5) Slang for opium (obsolete).

1595–1605: From the New Latin, from Classical Latin mēcōnium (opium; excrement of a newborn child), from the Ancient Greek μηκώνιον (mēkṓnion) (poppy-juice; opium”), from μήκων (mḗkōn) (poppy).  The Ancient Greek mēkōnion & mēkōn may be related to the Old Church Slavonic maku & the German Mohn and many etymologists support this although it’s not impossible both are of pre-Greek origin, one noting the consensus among botanists that the opium poppy is of Mediterranean origin and the word may later have entered the primitive lndo-European at a later date.  The fecal discharge was so called by classical physicians for its resemblance to the pappy sap, the notion later adopted by entomologists and zoologists to describe the same phenomenon respectively in some insects and mammals.  In chemistry, meconin is an anhydride of meconinic acid (found in opium).  The adjective meconic was first documented in the sense of “pertaining to or derived from the poppy” in 1818 in reference to an acid obtained from opium, and the French meconine exists in the literature as an alternative to the English form meconin.  However, it’s noted meconic may long have been in oral use among physicians.  In Hellenic medicine, mēkōnion came to be used to describe an infant's first excrement because of similarity in colour to the sap of the opium poppy (mēkōn) that had long been so-named.  In human gestation (and of mammals generally & even some insects), a little of the substance called meconium collects lower in the intestines and is discharged at birth.  Meconium is a noun and meconic & meconial are adjectives and (perhaps thankfully), it seems there's no adverb; the noun plural is meconiums.

One charming linguistic coincidence is that the anagram of meconium (baby shit) is encomium, meaning, inter alia, “a formal speech delivering praise”, the connection between the two not unfamiliar to those who have heard many such insincere orations.  Economium was from the Latin encōmium (praise, eulogy), from the Ancient Greek ἐγκώμιον (enkṓmion) (laudatory ode, praise), from ἐγκώμιος (enkṓmios) (of or pertaining to the victor), from κῶμος (kômos), (festival, revel, ode).  One obstetrician nominated the Ferrari paint color Verde Medio Nijinsky (medium green Nijinsky (Italver)) as a fine way to illustrate to medical students the shade of green a healthy infant’s meconium should display.  A Ferrari so finished will be more pleasing than a photograph (and certainly a sample) of the real thing.

Lester Piggott in green, red & yellow silks, aboard Nijinsky, 1970.

The Ferrari factory named Verde Medio Nijinsky after Nijinsky (Nijinsky II, 1967–1992, by Northern Dancer out of Flaming Page), a Canadian-bred, Irish-trained thoroughbred.  In 1970, trained by Vincent O'Brien (1917-2009) and ridden by Lester Piggott (1935–2022), he was the twelfth winner of the English Triple Crown (run since 1853 and comprising (1) the 2,000 Guineas Stakes (run over 1 mile (1.6 km) at Newmarket, (2) the Derby (1 mile, 4 furlongs & 10 yards (2,423 m) at Epsom & the St Leger Stakes (1 mile, 6 furlongs & 132 yards (2,937 m) at Town Moor)).  No horse has since won the English Triple Crown and Aidan O'Brien (b 1969), who in 1996 took over Vincent O'Brien’s Ballydoyle stables, was not related to his predecessor.  The link between horse and factory paint chart was in the colors of the silks worn by the jockey; Piggott’s shade of green chosen for Verde Medio Nijinsky.  Ferrari during the 1960s offered almost thirty colors named after thoroughbreds, a few of the more lyrical being Bianco Tetratema (1.441.110), Grigio Ortello (2.443.813), Blu Caracalla (2.666.901), Blu Turchese Molvedo (2.443.632) & Verde Sea-Bird (2.665.902).

Major Count Francesco Baracca with his SPAD S-XIII (left), the prancing horse on the fuselage based of that on his family’s coat of arms (right).

The link between horses and the Cavallino Rampante ((little) prancing horse) escutcheon chosen by Enzo Ferrari (1898-1988) for both the Scuderia Ferrari team and later the cars he would build lies in a meeting il Commendatore had with the mother of Major Count Francesco Baracca (1888–1918), Italy's top fighter ace of World War I (1914-1918).  The count had emblazoned on the side of his aircraft a horse rearing on its rear hooves, a stylized variation of that which appeared on his family’s coat of arms and in Italian heraldry the prancing horse was of some significance, dating from 1692 when it appeared on the standard of Victor Amadeus II (1666–1732; Duke of Savoy 1675-1730 & King of Piedmont-Sardinia 1720-1730) of Savoy’s Royal Piedmont cavalry regiment.  The horse on the fuselage originally was red, the black version appearing on one of the count’s surviving fighters following his death in aerial combat.  A myth later arose Rolls-Royce had followed the precedent, switching the lettering on their radiator emblem from red to black to mark the death in 1933 of Sir Henry Royce (1863-1933) but although usually red, Rolls-Royce often had used black and other colors; the change in 1933 was aesthetic rather than romantic, the feeling that a dark hue would better suit the colors owners tended to choose for the coach-work and Sir Henry had endorsed the decision well before his death.  It was mere coincidence he died the same year as the change.

Alfa Romeo 8C Monza, Spa Francorchamps, Belgium, 1932.

Enzo Ferrari (1898-1988) and Giulio Ramponi (1902–1986) in June 1923 won the first Grand Prix at the Savio Circuit in Ravenna, driving an Alfa Romeo RL-Targa Florio.  As part of the ceremony following the race, Count Enrco Baracca (1855-1936), father of the aviator, "entrusted" Ferrari with the image of the prancing horse to carry on the memory of his late son, later introducing him to the pilot’s mother, Countess Paolina Baracca.  It was the countess who suggested adding the symbol to his cars, assuring him it would bring good luck.  Alfa-Romeo’s corporate policies prevented an immediate use of the prancing horse but, in 1929, Enzo Ferrari created Auto Avio Costruzioni (later to become Scuderia Ferrari) as a separate racing team although one still affiliated with Alfa Romeo and permission finally was received for the symbol to adorn the cars.  On that very day in 1932, fielding a pair of Alfa-Romeo 8C Monzas at Belgium’s Spa Francorchamps, the scuderia was again victorious, vindicating the faith the countess had shown and the prancing horse continued to be displayed until 1939 when Ferrari began his own car-making operation.  Squabbles and the war intervened but in 1947, Ferrari displayed the 125S (1.5 litre (91 cubic inch) Colombo V12, thus 125 cm³ per cylinder, the origin of the factory’s original convention for model names) with the equine logo, although subtly modified, the tail now upturned (al la the Baracca coat of arms) the beast more sinuous and the background the canary yellow of Modena where il Commendatore had based his operation.  The prancing horse has adorned every Ferrari since.

1972 Ferrari 365 GTC/4 (left) in Verde Medio Nijinsky over beige leather (left) and Ferrari 365 GTB/4 Coupé (right) in Rosso Corsa (Racing Red) over tan leather (right).

Although one of the minor classics of the era, the 365 GTC/4 lives still in the shadow of the illustrious 365 GTB/4 with which, mechanically, it shares much.  The GTB/4 picked up the nickname “Daytona”, an opportunistic association given 1-2-3 finish in the 1967 24 Hours of Daytona involved three entirely different Ferraris while the GTC/4 enjoyed only the less complementary recognition of being labeled by some il gobbone (the hunchback) or quello alla banana (the banana one).  It was an unfair slight and under the anyway elegant skin the GTC/4 shared much with & GTB/4, the engine of the former differing mainly in lacking the dry-sump lubrication and the use of six twin-choke side-draft Weber carburetors rather than the down-drafts, this permitting a lower hood (bonnet) line.  Revisions to the cylinder heads allowed the GTC/4's V12 to be tuned to deliver torque across a broader range rather than the focus on top-end power that made the GTB/4 so intoxicating.  One quirk in the specification of the Daytona was, unusually for a front-engined car, it used a rear-mounted transaxle to provide optimal weight distribution, reflecting the quest for as close to perfect a weight-distribution as was possible with the front-engine configuration. 

Runner-up & winner, 2015 Miss Universe Contest.  Ariadna María Gutiérrez Arévalo (b 1993), Miss Colombia 2014 & first runner-up (left) and Pia Alonzo Wurtzbach (b 1989), Miss Philippines 2015 & Miss Universe 2015 (right).  

Criticizing the GTC/4 because it doesn’t quite have the visceral appeal of the GTB/4 seems rather like casually dismissing the model who managed only to be runner-up to Miss Universe.  The two cars anyway, despite sharing a platform with the same wheelbase and track, were intended for different purposes, the GTB/4 a high performance road car able, with relatively few modifications, to be competitive in racing whereas the GTC/4 was a grand tourer, even offering occasional rear seating for two (short or uncomplaining) people.  One footnote in the history of the marque is the GTC/4 was the last Ferrari offered with the lovely Borrani triple-laced wire wheels; some GTB/4s had them fitted by the factory and a few more were added by dealers but the factory advised that with increasing weight, tyres with much superior grip and higher speeds, they were, which subject to extreme loadings, no longer strong enough and the cast aluminum units should be fitted for use in environments without speed restrictions such as race tracks or certain de-restricted public roads (then seen mostly in the Middle East, the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany, 1949-1990), Montana & Nevada in the US and Australia's Northern Territory & outback NSW (New South Wales)).  A Ferrari in Verde Medio Nijinsky is a rarity but does illustrate how well colors other than the dominant red can suit the lines; a Ferrari in white or navy blue can be a revelation.

Verde Medio Nijinsky is a neglected color: 1972 Ferrari 365 GTC/4 (left), a matching Lindsay Lohan (centre), rendered with generative AI (artificial intelligence) as “The Incredible Hulk” by Stable Diffusion (centre) and 1974 Dino 246 GTS (right); Ferrari finished only three Dino 246s in Verde Medio Nijinsky and it's one of those colors greatly affected by the light in which it stands, something photographers must account for although modern digital post-production techniques have now made possible the emulate the outdoors inside and vice versa.

Whatever color she wore, Cinderella was a hard act to follow.  As a design, the still much-neglected GTC/4 really should be compared with the other big 2+2 coupés of the era (exotic and otherwise) rather than the Daytona; whatever the extent of the mechanical similarity, the GTB/4 was a thing of a certain time and place that both allowed and dictated something more uncompromising in what proved an "end-of-an-era" moment.  Still stunning the GTB/4 was the evolutionary apex of its species; it can't be improved upon but the GTC/4 was no ugly sister and when contemplating quello alla banana, one might reflect on the sexiness of the fruit.  The Daytona’s shark-like lines and extreme nature have such an allure it’s the front-engined V12 Ferrari of the era collectors have always sought; despite between 1968-1973 production running to 1406 (1284 coupés & 122 Spyders (roadsters), it typically now sells for several times the price of a 364 GTC/4 in equivalent condition, 505 of which left the line between 1971-1972.  The market is neither right nor wrong, the market is the market and the customer is always right.

Cover of Candy-O (1979) by The Cars (left) and the photograph on which the cover-art was based (right).

Years after production ended, the 365 GTC/4 did earn an unusual place in the history of pop culture when a line-art rendering of one appeared on the cover of Candy-O, the second album by US rock band The Cars (formed 1976).  The artwork was created by Peruvian-American painter of pin-ups Alberto Vargas (1896–1982) who, as well as being acknowledged as the definitive exponent of what came to be called “cheesecake girls”, was between 1956-1958, a judge for the Miss Universe beauty contest.  Mr Vargas came out of retirement for the commission, enticed apparently by a niece who was a fan of the music, something with which he was at the time wholly unacquainted.  The artist’s technique required a photograph on which an image could be based so a photo-shoot was arranged at a nearby Ferrari dealership which, perhaps surprisingly, agreed to have the statuesque, stiletto clad model sprawl over the hood of a 365 GTC/4 then on the lot.  There’s no record of damage to the Rosso Nearco paint so all's well that ends well.  Nearco (1935–1957) was a famous Italian thoroughbred and the factory paint code was 2.664.032; it was a subtly-metallic shade of red rather darker than the classic Rosso Corsa.

Candy Moore adorning Ferrari 365 GTC/4 in Rosso Nearco, Candy-O photo shoot session, Beverly Hills, Los Angeles, 1979.  This was the pre-digital era and photographers used physical film stock although the highly flammable celluloid had by then been replaced by acetate-based “safety film”.

The model in the photo shoot (a substitute after the original had second thoughts upon seeing the scantiness of the outfit) was Candy Moore (who later appeared in the movie Lunch Wagon (1981)) but the name was a coincidence, the album’s title (and sixth track on side one of the original release) locked in long before the shoot.  As is usually the case with photo-shoots, many images were taken and one of the determining factors in the choice was its compositional suitability for use on the 12.375 inch (314.3 mm) square format of album art, the one selected among the last on the roll.  Mr Vargas, being a cheesecake artist, of course used a little licence in his interpretation and (with all due respect to the lovely Ms Moore) few would claim his enhancements don’t add to the appeal.  The other coincidence attached to the model’s name is she’s often confused with the actress Candace Lee Klaasen (b 1947) who worked under the stage name Candy Moore, appearing in well-known television series including Leave It to Beaver, and The Lucy Show.  Surprisingly, even the usually accurate IMDb (Internet Movie Database) once got the two mixed up; the entry has since been corrected.

Trope

Trope (pronounced trohp)

(1) In art and literature, any literary or rhetorical device, as metaphor, metonymy, synecdoche, and irony, that consists in the use of words in other than their literal sense and which tends to become a motif.

(2) In rhetoric, a figure of speech in which words or phrases are used with a non-literal or figurative meaning, such as a metaphor.

(3) In geometry, a tangent space meeting a quartic surface in a conic or the reciprocal of a node on a surface (archaic).

(4) In music, a short cadence at the end of the melody in some early music; a pair of complementary hexachords in twelve-tone technique.

(5) In the rituals of Judaism, a chanting (cantillation) pattern, or one of the marks that represents it.

(6) In medieval Christianity (and preserved in the rituals of certain factions in Roman Catholicism), either a phrase or verse added to the Mass when sung by a choir or a phrase, sentence, or verse formerly interpolated in a liturgical text to amplify or embellish.

(7) In Athenian philosophy, any of the ten arguments used in scepticism to refute dogmatism.

(8) In Santayanian philosophy, the principle of organization according to which matter moves to form an object during the various stages of its existence.

(9) In metaphysics, a particular instance of a property, as contrasted with a universal.

1525–1535: From the Latin tropus (a figure of speech (in rhetoric)) from the Ancient Greek τρόπος (trópos) (a turn, direction, course, way; manner, fashion; a mode in music; a mode or mood in logic (in rhetoric, "a turn or figure of speech)) and related to τροπή (tropḗ) (solstice; trope; turn) and τρέπειν (trépein) (to turn).  Root was the primitive Indo-European trep (to turn), related also to the Sanskrit trapate (is ashamed, confused, literally "turns away in shame") which Latin picked up trepit (he turns), the Latin adoption in the figurative.  The meaning is now understood as something more diffuse but technically, in rhetoric, a trope was "a figure of speech in which a word or phrase is used in a sense other than the usual definition".  In English, the word is found often in combined form (such as heliotrope) and occurs also in concrete nouns that correspond to abstract nouns ending in -tropy or -tropism.  Trope is a noun & verb, troper, tropist, tropology & tropism are nouns and tropey is an adjective; the noun plural is tropes.

Use of the noun “tropism” is now generalized but in literary history it’s used in the sense of the “technique” (really more a concept) attributed to the Russian-born French-Jewish novelist and lawyer Nathalie Sarraute (1900-1999).  An exercise in abstract thought, madame Sarraute’s approach was to refer to mental and imaginative life as perceived by her and, thus perceived, it comprised (literally) millions of tiny little responses to innumerable stimuli, the classic example being her experimental narrative Tropismes (begun in 1932 but not published until 1939).  In that, with a most unconventional use of language, she “translated” her “vision of reality” into a construct of a “different reality”, the book consisting of 24 short vignettes, capturing brief scenes, described in intricate detail; it was compared by one modern critic to “a MRI (Magnetic Resonance Imaging) machine able to scan what the brain is doing to construct perceptions and render it all sequentially in text.”  The work came to be regarded as proto nouveau roman (“new novel”, an originally French literary movement that emerged in the mid-1950s); it was described by Jean-Paul Sartre (1905–1980) as un chef-d'œuvre (a masterpiece) and the Paris-based newapaper Le Monde included it in their “100 Books of the Century”.  The title of Tropismes was a botanical reference, tropisms being stimuli to plant growth and this idea madame Sarraute applied to human thought processes, tropisms imagined as “interior movements that precede and prepare our words and actions, at the limits of our consciousness.”

Tropisms (first edition of the English language edition (1963)).

In reading Tropisms, some mental gymnastics are demanded because among the mysteries of the abstract and imaginary are interspersed the real and living; with often no clear break between where one ends and the other starts, it can be helpful to re-read the odd passage.  Even in 1939 when the French language edition first was published, that “modernist” approach hardly was new but it wasn't yet part of mainstream literature.  That “slurring between” what's “real” and what's not adds to the experience and, within the internal logic of the author's premise, probably is essential but the traditionalists of the pre-Nouveau Roman world likely have dismissed the “blurring” as a technical flaw.  After the “very modern” novelist Sir Martin Amis (1949–2023) told one interviewer people “should read my books twice” fully to understand them, his father (Sir Kingsley Amis (1922–1995)), possibly with a glance at the Booker on his shelf, observed: “Well that means the little shit has failed doesn't it?”

One can see why it seduced Sartre but the idea of the Nouveau Roman becoming fashionable didn’t at the time appeal to most of the “reading for pleasure” segment of the market (ie those who paid for and read novels rather than “deconstructing” them in seminar rooms).  For a mainstream readership, the conventions of the nineteenth century novel (beginning, middle, end; plots; characters, right & wrong etc) that seemed dreary to literary theorists were the essence of fiction and to replace these with “cold, meticulous descriptions of external objects” seemed hardly “literature”; for “that sort of thing”, there were repair manuals and political science tracts.  Read however on its own terms and not as an “exemplar of a genre”, Tropismes can be compelling in the way a half-century before, those prepared to spend time looking from different angles at the work of the early cubists must have found fascinating new insights.

Nu descendant un escalier n° 2 (Nude Descending a Staircase, No. 2), oil on canvas by Marcel Duchamp (1887–1968), Philadelphia Museum of Art,  Philadelphia, Pennsylvania.  The Spanish illustrate the meaning of “enigmatic” with the example “of meeting a man on the stairs and being unable to tell if he's going-up or coming down”.  One could describe Tropisms as: “an enigmatic work”.   

Just as the cubists could depict the human form simultaneously in the way the brain might separately process the sight viewed in different aspects, what Nathalie Sarraute did was explore spaces variously unremarkably mundane or threateningly claustrophobic, populated with dream-like figures, her idea being of the mind working in the almost animalistic, pre-verbal, “instinctual movements” she thought arose from human unconscious.  These she said, “constitute the secret source of our existence” and the old existentialist Sartre concurred, saying: “it is existence itself”.  Even Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955), fond of the novels of Anthony Trollope (1815-1882) and unlikely to have found much of worth in nouveau roman, in a way, thought like Sarraute and Sartre.  In 1949, after a minor stroke, his personal physician (Lord Moran (Charles Wilson), 1882-1977; President of the RCP (Royal College of Physicians) 1941-1949), seeking to reassure his patient the consequences were minor, explained: “…there was no paralysis; it had only cut off the nutrition of certain central cells concerned with sensation”, adding, in the clinician’s reductionist way: “Sensation doesn’t matter.”  Churchill at once interrupted: “Life is sensation; sensation is life.”

Visitatio Sepulchri Double Bass Sheet Music by Sir James MacMillan (b 1959).

In modern use, “trope” continues to be used to denote any rhetorical or figurative device but the history was varied, one special use occurring during the Middle Ages when it came to be applied to a verbal amplification of the liturgical text used Church rituals.  Regionally, there were likely a few (now lost) but the best–documented of such interpolations was the Quem quaeritis trope preceding Easter Sunday's Introit.  The Latin phrase Quem quaeritis (Whom do you seek?) was used as the opening line (of four) in the Easter liturgical dialogue introduced during the tenth century and which came to be the basic structural element in what became a vast body of medieval liturgical drama (known also as isitatio sepulchri (Visit to the tomb)).  From this perhaps unpromising ecclesiastical origin came the rebirth of European theatre as it developed into a dramatized form (detached from the sacred Liturgy); what was genuinely a new genre became a trope of great significance in the evolution of European drama.  The Easter Introit (a short musical piece or chant sung at the start of an Easter service) was in a sense “ready-made” for adaptation and proved in the hands of many authors ideal for elaboration into the dialogues that were the basis of an entire school of liturgical drama.  Although never long pieces, so influential was their form the English literary critic and Shakespearean scholar Sir Edmund Kerchever “E.K.” Chambers (1866–1954) devoted many pages to tracing their lineage in his two volume The Mediaeval Stage (1903), a work long overshadowed by his four-volume The Elizabethan Stage (1923) but which benefited from the latter-day revival of interest in and re-assessment of the period dubbed the “Late Middle Ages”.

DVD covers: (The Parent Trap (1998), Freaky Friday (2003) and I Know Who Killed Me (2007).  

When younger, Lindsay Lohan's signature trope was playing dual roles (The Parent Trap, Freaky Friday and I Know Who Killed Me while during her “troubled Hollywood starlet” phase” (2007-2012) she became emblematic of the “downward spiral” trope.  In 2022, she appeared in Falling for Christmas, a Netflix take on the "Christmas movie trope".  Although the scripts for tropes have long followed an algorithm, the studios are said now to be using a predictive form of AI (artificial intelligence) to hone the generation of whatever should have the most audience appeal (an approach with a history in popular music pre-dating AI).  The flesh & blood screen-writers (most of whom have for decades driven cars and made their toast using products manufactured in plants where machines (industrial robots) substantially have displaced the human labor content) are are unlikely ultimately to succeed in keeping AI out of their profession; in the medium term, their future may lie in the creation of the quirky and bizarre (in the pop-culture ecosystem, that's a niche to inhabit until AI also perfects those tropes and at marginal cost).  Indeed, what's predictable is the emergence of the "obviously not AI generated" trope although, presumably, it's a matter of time until machines master also that genre.  For the formulaic stuff (most commercial screen product), the studios are likely to find the AI path "better, cheaper, faster" and the history of US industrial relations suggests these imperatives will prove irresistible.  It's doubtful whether, over the last 40-odd years, many screen-writers gave much thought to the blue-collar workers displaced by robots from assembly lines; it's likely they were just delighted by cheap toasters and better-built cars.  Whether the quality of what ends up on screen will much be improved by AI remains to be seen but the studios will benefit from lower production costs while hoping those rendered redundant will find ways to generate sufficient disposable income to be able to pay to watch what the machines are making.       

Of the Stage 5 Clinger trope, most sources cite the origin as the movie Wedding Crashers (2005) although there are claims it merely popularized the use; without earlier citations however, the source must be assumed to be the film.  As a technical point, a stage one clinger isn’t initially labelled as such, the term applied retrospectively after syndrome is diagnosed.  If men are smart or lucky, they’ll by stage two realize what is happening but some men are so stupid things don't "click" until stage four.  While in movie there was no discussion of stages other than “5”, by implication that was most extreme and memes soon fleshed out 1-4.  Although unverified, the following cautionary tale reputedly was written by Bill Clinton:

SC1, the Stage 1 Clinger: She seems fine

First date went well, she was attentive, interested, and even sometimes got the drinks.  Best of all, she made breakfast!.  Afterwards, the text messages were fun and flirtatious.

SC2, the Stage 2 Clinger: Hunter and game

The text messages become frequent and your first impression was of course positive but, in retrospect, that was the first first hint of the lure / engage / trap strategy of the lone hunter, the point of a lure being to tempt prey and "lure them into a false sense of security".  Lures are of course used because they work and, before long, you'll be exchanging texts with her, most of which will demand little more than agreeing with her about innocuous topics like the weather or the day's traffic.  She has engaged her prey.  When the conversational dynamic has achieved the required level of "naturalness", she’ll suggest a second date and will extract a commitment to a specific time / date / place.  That will be soon.  At this point, an escape still is simple but appears not necessary because a second date seems hardly a threat.

"I've got a stage five clinger", Wedding Crashers (2005).         

SC3, the Stage 3 Clinger: Tactical Manoeuvres

The second day was maybe something you'd not wish to repeat because there was a creepiness in the way she knew so much about your life.  Of course, in the age of social media, such "biodata mining" is hardly a challenge but her knowledge seemed so comprehensive as to suggest the skills of a stalker.  The most dopey men at this point are flattered because they enjoy a date in which about the only topic of conversation was themselves but the more socially sophisticated should at this point sense danger.  The mistake is to continue the engagement by agreeing to a third date, even if thought a clever ploy by not confirming a time; at this point, delusions remain comforting.  Within hours, text messages become frequent to the point of nuisance; you check Facebook and find she's friended everybody one knows while on Instagram she's posted positive comments on your posts.  Needing time to think, you ignore the texting and eventually it goes quiet… for about an hour.  Then she phones.  By being terse to the point of brutish, it can now be ended but many men allow themselves to be trapped into a third date, usually with the illusion they'll use the event to end things.  The S3C stage frequently is the point of no return and exactly when you should have acquainted yourself with the tale of Julius Caesar (100-44 BC; Roman general and dictator of Rome 49-44 BC) crossing the Rubicon and pondered whether to cast the di or cut your losses and run.      

SC4, the Stage 4 Clinger: The circling vulture

By stage four, clinging has slurred effortlessly into stalking and S4C is likely to send your mother flowers on her birthday and attempts at avoidance will prompt texting and calling from other phones.  SC4s who drive are even more of a threat because, wherever you go, she can follow; you'll "run into her" at the most improbable places and usually she’ll suggest taking advantage of the coincidence by going to lunch, dinner or whatever else might be close.  No matter how studiously you might watch the rear-view mirror, she’ll hunt you down and find you.

S5C, the Stage 5 Clinger: Thrill of the kill

A "cheater's" Volvo C30 (2006-2013).  Over dark blue, a stark white "CHEATER" probably is a better contrast the the traditionally preferred red or lurid fuchsia.

The "Cheater Car" phenomenon is due often to wanton philandering but also in some instances because S5C-APCs seek to "dissuade the competition"; Hell hath no fury like a S5C-APC.  In the days of solid machines like the 140/160 (1966-1975) and 240/260 series (1974-1993) series cars, it was once accepted, as a sociological reality, no Volvo ever would suffer the fate but clearly, both Volvos and their ownership profile have changed.  While obviously not desirable, some vehicles have suffered more.

At this point, her life is scheduled around you, even to the point where she may now work in the same building; she expects to have lunch with you every day and a drink after work whenever possible.  Should you try to avoid these meetings, emotional meltdowns (sometimes in public) ensue, the only way to avoid a scene being to agree.  Your friends will start asking you out as a couple and tell one how lucky you are to have her because "she’s wonderful"; the most helpful will hint "she's too good for you" and "you won't do any better".  They know that because they've invited her to their dinner parties where she talks about your plans together.  The S5C can also be APC ("actual psycho-chick", the two not synonymous but there’s frequent overlap).  Pursuing another relationship (even in desperation a fake one) as in an attempt to dissuade her brings its own problems; the S5C-APC will spray-paint CHEATER on their car (usually in some reddish hue but black or white also are used, the required contrast depending on the car's color; these are APC conventions of use).  At this point, faking your own death begins to seem a good tactic.

Cling on and no matter what, never let go: Victorious S5C crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) and Bill Clinton (b 1946; POTUS 1993-2001) under gloomy skies for the formal dedication of the William J Clinton Presidential Center, Little Rock, Arkansas, November 2004.  

The significance of dividing the path of the clinger into stages is it’s vital to extricate yourself from their clutches at the earliest stage possible; it needs to be remembered progression can be rapid, some clingers so adept at the art they're able to skip one or even two stages.  The longer delayed the excision, the harder it becomes and if allowed to reach the later stages, one may be stuck with her forever, the hunter has been captured by the game and for that, you can’t blame her: You're trapped and it's all your fault; you have only yourself to blame.

Hot Dog

Hot dog (pronounced hot-dawg)

(1) A frankfurter.

(2) A sandwich consisting of a frankfurter (or some sort of sausage of similar shape) in a split roll, eaten usually with (1) mustard, sauerkraut & relish or (2) mustard & ketchup.

(3) Someone who performs complex, showy, and sometimes dangerous manoeuvres, especially in surfing or skiing (hotdogging sometimes a defined class in competition).

(4) Someone thought a show-off, especially in sporting competition.

(5) In informal use, an expression of joy, admiration or delight (occasionally also used ironically in the manner of “that’s great”).

(6) In New Zealand, a battered, deep-fried sausage or saveloy on a stick (essentially the same concept as the US corn dog and the Australian Dagwood dog).

(7) In slang, the human penis, a variation of which is the “man sausage”.

(8) In slang, a sexually suggestive physical gesture involving hip movement (usually as hotdogging).

1894: A coining in US English for commercial purposes, the idea being the vague resemblance of the sausage to a dachshund dog, the “hot” from the traditional use of mustard as a condiment although there’s evidence the early suspicion some hot dogs included actual canine meat weren’t entirely without foundation.  The use as (1) an interjection expressing joy, admiration or delight was another US creation dating from around the turn of the twentieth century (the circumstances unknown) and (2) a descriptor of someone who performs showy, often dangerous stunts was also an Americanism from the same era.  It seems to have begin in sport and is still widely used but has become best known for its use in skiing and surfing where it’s institutionalized to the extent some competitive categories have been named thus.  The variation “hot diggety dog” (also clipped to “hot diggety” was used in the same sense as the interjection “hot dog”, the interpolated “diggety” there for emphasis and rhetorical effect.  The slang synonyms (mostly in the US and not applied exclusively to hot dogs) have included “tubular meat on a bun”, “frank”, “frankfurt”, “frankfurter”, “glizzy”, “pimp steak”, “tube steak”, “wiener”, “weeny”, “ballpark frank”, “cheese coney”, “cheese dog”, “Chicago-style”, “Chicago dog”, “chili dog”, “Coney Island”, “corndog”, “footlong”, “junkyard dog”, “not dog”, “pig in a blanket”, “steamie” “veggie dog” & “frankfurter in a bun”.  In informal use, both single word contractions (hotdog) and hyphenated forms (hot-dog, hot-dogger etc) are common and “hot dog!” as an interjection is heard in the US, especially south of the Mason-Dixon Line.

Extra mustard: Lindsay Lohan (during "brunette phase") garnishing her hot dog, New York, 2010.

The construct was hot + dog.  Hot was from the Middle English hot & hat, from the Old English hāt, from the Proto-Germanic haitaz (hot), from the primitive Indo-European kay- (hot; to heat) and was cognate with the Scots hate & hait (hot), the North Frisian hiet (hot), the Saterland Frisian heet (hot), the West Frisian hjit (hot), the Dutch heet (hot), the Low German het (hot), the German Low German heet (hot), the German heiß (hot), the Danish hed (hot), the Swedish het (hot) and the Icelandic heitur (hot).  Dog was from the Middle English dogge (source also of the Scots dug (dog)), from the Old English dogga & docga of uncertain origin.  Interestingly, the original sense appears to have been of a “common dog” (as opposed one well-bred), much as “cur” was later used and there’s evidence it was applied especially to stocky dogs of an unpleasing appearance.

New Jersey Hot Dog periodic table.

Etymologists have pondered the origin:  It may have been a pet-form diminutive with the suffix -ga (the similar models being compare frocga (frog) & picga (pig), appended to a base dog-, or doc-(the origin and meaning of these unclear). Another possibility is Old English dox (dark, swarthy) (a la frocga from frog) while some have suggested a link to the Proto-West Germanic dugan (to be suitable), the origin of Old English dugan (to be good, worthy, useful), the English dow and the German taugen; the theory is based on the idea that it could have been a child’s epithet for dogs, used in the sense of “a good or helpful animal”.  Few support that and more are persuaded there may be some relationship with docce (stock, muscle), from the Proto-West Germanic dokkā (round mass, ball, muscle, doll), from which English gained dock (stumpy tail).  In fourteenth century England, hound (from the Old English hund) was the general word applied to all domestic canines while dog referred to some sub-types (typically those close in appearance to the modern mastiff and bulldog.  By the sixteenth century, dog had displaced hound as the general word descriptor. The latter coming to be restricted to breeds used for hunting and in the same era, the word dog was adopted by several continental European languages as their word for mastiff.  Unmodified, the English Hot Dog has been borrowed by dozens of languages.  Hot dog is a noun, verb & adjective, hotdoggery & hotdogger are nouns, hotdogging & hotdogged are verbs; the noun plural is hot dogs.

For the 2016 Texas State Fair, the manufacturer went retro, reviving the "Corny Dog" name although, in a sign of the times, vegetarian dogs were available.

The corn-dog (a frankfurter dipped in cornmeal batter, fried, and served on a stick), although the process was patented in 1927, seems to have come into existence between 1938-1942 (the sources differ with most preferring the latter) but it received a lexicographical imprimatur of when it began to appear in dictionaries in 1949 and it was certainly on sale (then as the “corny dog”) at the 1942 Texas State Fair.  In Australia, the local variation of the US corn dog is the Dagwood dog (a batter-covered hot dog sausage, deep fried in batter, dipped in tomato sauce and eaten off a wooden stick), not to be confused with the “battered sav”, a saveloy deep fried in a wheat flour-based batter (as used for fish and chips and which usually doesn’t contain cornmeal).  The Dagwood Dog was named after a character in the American comic strip Blondie.  Dagwood, Blondie’s ineptly comical husband, did have a dog albeit not one especially sausage-like and it may simply have been it was at the time the country’s best known or most popular cartoon dog.

The hot dog as class-identifier: David Cameron showing how the smart set handle a hot dog while on the campaign trail, April 2015.

After leaving Downing Street, Harold Macmillan (1894–1986; UK prime-minister 1957-1963) visited Lyndon Johnson (LBJ, 1908–1973; VPOTUS 1961-1963 & POTUS 1963-1969) in the White House and was served lunch, a meal the former prime minister found so remarkable that his account of the recollection warranted a rare exclamation mark: "Hot dogs!"  He didn’t comment further but it’s assumed his experience of the culinary treat must have been the Old Etonian’s first and last.  It wouldn't however have been meal unfamiliar to old LBJ who, on the opening day (13 April) of the 1964 MLB (Major League Baseball) season at Washington DC’s District of Columbia Stadium (now the Robert F. Kennedy Memorial Stadium), set the record for the most hot dogs eaten by a president on Opening Day, all four scoffed down without resort to knife & fork.  The record still stands, something which must not have been brought to the attention of Donald Trump (b 1946; POTUS 2017-2021 and since 2025) because, if he knew, there would have been a post on Truth Social correcting the record by revealing he'd once eaten five.  The hot dog certainly can be political, David Cameron (b 1966; UK prime-minister 2010-2016 and another Old Etonian) attracting derision after being photographed eating his hot dog with knife and fork, something declared “out-of-touch” by the tabloid press which, while usually decrying the class system, doesn’t miss a chance to scorn toffs behaving too well or chavs too badly.  Cameron had other problems with takeaway snacks, caught being untruthful about his history of enjoying Cornish pasties, another working class favourite.  So it would seem for politicians, hot dogs are compulsory but only if eaten in acceptable chav style.

Barack Obama (b 1961; POTUS 2009-2017) and David Cameron eating hot dogs (both in chav-approved manner) at a college basketball game between Mississippi Valley State and Western Kentucky, Dayton Arena, Ohio, March 2012 (Western Kentucky won 59-56) (left) and UK Labour Party politician Ed Miliband (b 1969) enjoying what came to be known as "the notorious bacon sandwich moment", May 2014 (right).

Mr Miliband didn't attend Eton and some of his high school education was undertaken in the US so presumably he knows how to handle a hot dog.  If so, he has no excuse because a toastie is less challenging.  Mr Miliband's father was the sociologist Dr Ralph Miliband (1924–1994) who was among the most famous examples of that rare species, the “celebrity academic Marxist”.  People must make of that what they will when deciding whether, or to what extent, that might account for how his son came to handle a BCT (bacon & cheese toastie).  Curiously, Mr Cameron had some three years earlier undergone "hot dog eating training", supervised by President Obama, noted for his expertise (both theoretical and practical) in the subject.  So he knew how it should be done and immediately there was speculation he resorted to knife & fork to avoid any chance of something like Ed Miliband's "notorious bacon sandwich moment", something which had resulted in ridicule and a flood of memes after the photograph was published in Rupert Murdoch's (b 1931) tabloid The Sun on the eve of the 2015 general election.

Peter Dutton (b 1970; leader of the Liberal Party of Australia 2022-2025) enjoying a Dagwood Dog (in approved bogan manner), Brisbane Exhibition (Ekka), Australia, 2022 (left) and Lena Katina (b 1984) sucking on a popsicle (band-mate Julia Volkova (b 1985) looking sceptical) in a publicity shot for t.A.T.u., Moscow, 2002 (right).

On seeing the photo, Mr Dutton observed of such things: "There is no good angle" and one can see his point but he need not be apologetic about his technique because, as Ms Katina demonstrated, his method was immaculate.  Looking damnably like a neon-green hotdog, the shapes of the two snacks essentially are identical so they're eaten in a similar manner.  In Australia, it’s probably good for a politician to be known to eat Dagwood dogs but not necessarily be photographed mid-munch.  Interestingly, despite many opportunities, Mr Dutton has never denied being a Freemason.  Promoted as a pair of lesbian schoolgirls, t.A.T.u. (1999-2011) was a Russian pop cum electronica act, best remembered for being denied their deserved victory in the 2003 Eurovision Song Contest because of obvious irregularities in the voting; that the duo were neither lesbians nor schoolgirls was not the point.  Music critics and political scientists all agree Mr Putin (Vladimir Vladimirovich Putin; b 1952; president or prime minister of Russia since 1999) was probably a (secret) fan and it may be even comrade Stalin (1878-1953; Soviet leader 1924-1953) might have enjoyed the tunes; he liked music he could whistle and t.A.T.u.'s melodic qualities would have appealed.  On the basis of their political views, comrade Stalin might (while whistling along) have sent them to the Lubyanka (the old KGB headquarters on Moscow's Lubyanka Square) or the Gulag but never would he have accused them of formalism.  

Instinctively, Jacqui Lambie (b 1971, senator for Tasmania, 2014-2017 and since 2019) can sense the populist potential in an image and in 2019 posted an appropriately captioned one of her enjoying a Dagwood Dog at the Autumn Festival in Tasmania’s Derwent Valley.  Historically, in Tasmania, these were sold as “Pluto Pups” but “Dagwood Dog” is now commonly used.  As this illustrates, Mr Dutton's technique was correct so it's good Senator Lambie and Mr Dutton can agree on something.

The Dagwood dog was responsible for an amusing footnote in Australian legal history, a dispute from the 1949 Sydney Royal Easter Show played out in the Supreme Court of New South Wales in its equity jurisdiction, the press reports at the time noting one happy outcome being an “uninterrupted supply of hot dogs during the next few days.”  Hot dogs were one of the show’s big sellers but a dispute arose when allegations were made there had been breaches of letters patent for "improvements in sausage goods" giving the patentees (who sold “Pronto Pups”) "exclusive enjoyment and profit within Australia for sixteen years from September, 1946.  The plaintiffs (holders of the patent), sought an injunction against those who had begun selling “Dagwood Dogs" at the show, preventing them from vending or supplying any of the improvements in sausages described in the patent, the writ claiming Dagwood dogs embodied the patented improvements and that as a consequence of the infringement, the plaintiffs were suffering economic loss.  The trial judge, ordered a hearing for an assessment (a taking of accounts) of damages to be scheduled for the following April and issued a temporary order requiring the defendants undertook to pay into a trust account the sum of ½d (half a penny) for each for each axially penetrated sausage sold.

Crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) enjoying pork hot dog during a campaign visit to the Iowa State Fair, August 2015.

The culinary delight has since been a fixture at city and country shows around the country although the name Pronto Pup didn’t survive; after the judgment in the Supreme Court it was replaced by “Pluto Pup” which also didn’t last although whether that was a consequence of a C&D (“cease & desist letter”) from Walt Disney’s lawyers isn’t known.  Anyway, since then it’s (mostly) been Dagwood dogs all the way except in South Australia (proud of their convict-free past, they often do things differently) where they’re knows as “Dippy Dogs” (an allusion to the generous dip in the tomato sauce pot) which may be of Canadian origin, although there, in at least some provinces, they’re sold as “Pogos”.

Robert Mitchum (1917–1997, right) paying attention to what Marilyn Monroe (1926–1962, left) is saying.

There are a number of “hot dog” stories about the film star Robert Mitchum, all told in the vein of him arriving at a Hollywood masquerade ball covered (to some extent) in tomato ketchup and, when asked to explain, replying: “I’m a hot dawg!”.  There were sanitized versions of the story (in which he was partially clothed) and other in which he was naked, the ketchup variously either coating his entire form or just his most sausage-like appendage.  The tale apparently first appeared in print in Confidential magazine (1952-1978) which, although a classic “scandal sheet”, was also a widely-read source of what would now be called “celebrity gossip” and was feared also by politicians and other public figures.  A kind of template for what would later be done on the internet, Confidential was published by Robert Harrison (1904–1978) who began his career as a respectable journalist before deciding sex, sensation & scandal was more lucrative.  While not always a NRS (normally reliable source) at least some of what appeared in Confidential was true.

Hotdog Stand color scheme, Microsoft Windows 3.1, 1992.

The industry legend is the “Hotdog Stand” color scheme Microsoft in 1992 shipped with Windows 3.1 was the winner of an informal contest between the designers to see who could concoct the worst possible combination.  Whether or not the competition was alcohol-fueled depends on which version of the story is told but all agree the winner based her entry on a vision of a hot dog, smothered in mustard and ketchup.  It’s doubtful many deliberately chose “Hotdog Stand” as their default scheme although there were certainly sysadmins (system administrators) who vengefully would impose it on annoying users, the more vindictive adding insult to injury by ensuring the user couldn’t change it back.  However, Hotdog Stand did briefly find a niche because it turned out to be the scheme which provided the best contrast on certain monochrome monitors, then still prevalent in corporations.  Windows 3.1 was the first version of the environment (it ran on the PC/MS/DR-DOS operating system) to attain wide corporate acceptance, whereas Windows 3.0 (1990) had tantalized while being still too unstable.  Windows 3.0 was unusual in being (apart from the short-lived 1.0) the only version of Windows released in a single version.  Although it ran in three modes: Real (on machines with only 640K RAM), Standard (requiring an 80286 CPU & 1 MB RAM) and Enhanced (requiring an 80386 CPU & 2 MB RAM), it shipped as a single product, the user with a command line switch (/r, /s or /e respectively) able to "force" the mode of choice, depending on the hardware in use.  Real mode didn't make it into Windows 3.1 and v3.11 ran exclusively as "Enhanced" so, in a sense, "Enhanced" had become standard.

A MCC member at Lords (left), wearing MCC blazer and tie and the Dege-Skinner’s MCC tie page (right). The merchandize is available from the club's official Savile Row tailor and proof of MCC membership is required for purchase.  According to the fashionistas, the trick with wearing stripes is that only the most admirably slender should don horizontal stripes while all others should stick to vertical because it's "slimming". 

Founded in 1787, the Marylebone Cricket Club (MCC) has since 1814 been based at Lord's Cricket Ground in St John's Wood, London.  The MCC owns Lord's and between 1787-1989, it was the world’s governing body of cricket, the role now discharged by the International Cricket Council (ICC), the successor body of the old Imperial Cricket Conference (1909-1963) although the MCC cast a long shadow, holding to this day the copyright to the game’s many rules.  The MCC’s distinctive colors have since the 1860s been red & yellow (replacing a more subtle sky blue), a combination known around the world as the “bacon & egg” and while caps and blazers are available, ties are the biggest seller.  Surprisingly for such a distinctive look, the origin remains a mystery and the two most popular theories are (1) they were the (horse) racing colors of the Duke of Richmond who was a prominent club member in its early days, (2) the combo was “borrowed” from the “wandering” club I Zingari (masculine plural of the Italian zingaro (Gypsy, Roma and used in the sense of "a person who likes to travel") which, founded in 1845, shared many members with the MCC and (3) they were adopted as a tribute to William Nicholson who contributed to the funds needed to purchasing the freehold of Lord’s Ground.  Mr Nicholson was an MCC Member and the owner of the Nicholson’s Gin Company, the colours of which were red and yellow so it was an early example of a type of corporate sponsorship, something now routine but then novel.  Established in 1736, the Nicholson brand was retired during the 1980s but revived by the family in 2016.  Historians of the game favour the Nicholson connection as the source of the MCC’s colors.

Zimbabwe's T20 cricket team, winners of the ICC's (International Cricket Council (named Imperial Cricket Conference 1909–1965 & International Cricket Conference 1965-1987)) inaugural Women's T20 cricket tournament at the 13^th African Games, Accra, Ghana, March 2024.

The colors of the Zimbabwe cricket kit have nothing to do with the Marylebone Cricket Club's “bacon & egg” look or any other institution in the former colonial oppressor.  They come from the national flag, chosen after independence in 1980, the red symbolizing the blood spilled during the country’s struggle for independence with the yellow (symbolic of “gold”) representing the abundant mineral wealth and natural resources beneath the soil.  The crest of Zimbabwe Cricket features the iconic Great Zimbabwe Bird in yellow on a red star. 

2016 Maserati GranTurismo MC. 

Microsoft's Hotdog Stand scheme didn’t survive the August 1995 transition to Windows 95 but a quarter of a century on, someone may have felt nostalgic because a buyer of a 2016 Maserati GranTurismo MC configured their car in bright yellow (Giallo Granturismo) over leather trim in red (Rosso Corallo).  As eye-catching in 2016 as Microsoft's Hotdog Stand had been in 1992, the Maserati’s recommended retail price was US$163,520.  Displayed first at the 2007 Geneva Motor Show, the GranTurismo (Tipo M145) remained in production until 2019, the MC Sport Line offered between 2012-2019; it's not known how many buyers chose this color combination.  The OEM (Original Equipment Manufacturer) wheels were all-black but on this MC were replaced with two-tone 21 & 22 inch Forgiato S201 ECL units in black and yellow on which were mounted Pirelli P Zero tyres (255/30-21 front & 315/25-22 rear).  Finishing the wheels in red and yellow might nicely have augmented the hot dog vibe but between the spokes Maserati's red brake calipers can be seen.  For the right buyer, this was the perfect package.

Juan Manuel Fangio, Maserati 250F, German Grand Prix, Nürburgring, August, 1957.

It’s drawing a long bow but the vivid combo may have be picked as a tribute to the Maserati 250F with which Juan Manuel Fangio (1911–1995) won the 1957 German Grand Prix at the Nürburgring, an epic drive and his most famous.  Fangio was Scuderia Alfieri Maserati’s team leader and a splash of yellow was added to the nosecone of his 250F so easily it could be identified, the color chosen because it was one of the two allocated to his native Argentina.  The 250Fs of the other team members also had nosecones painted in accordance with the original international auto racing colours standardized early in the century, American Harry Schell (1921–1960) in white and Frenchman Jean Behra (1921–1959), blue, all atop the factory’s traditional Italian red.

2022 Dodge Challenger SRT Hellcat Redeye Widebody Jailbreak in Go Mango with satin black accents over black Laguna leather and Alcantara upholstery.  Because of the design of the front splitter, this model was supplied ex-factory with the one-piece yellow "underwire". 

Unexpectedly, during the 2010s, "underwire" entered the lexicon of automotive slang when it was used to describe a plastic part fitted temporarily as a protective piece.  The yellow plastic fitting (pictured above on the leading edge of the Challenger's splitter) was called a "splitter guard" which was unimaginative but the factory didn't envisage them as consumer items and the term was merely explanatory for the information of those preparing cars for sale.  Installed to prevent damage during shipping, it was part of dealer preparation instructions to remove the pieces but leaving them attached became a cult and some cars were even retro-fitted.  An element in that was the "end of an era" vibe and large number of the vehicles in Dodge's "Last Call" runs (of which there were many) were purchased as investments to be stored away for the day when V8s are no longer produced and collectors will be anxious to pay much for the way things used to be done.  How well that will work out remains to be seen but with the "Last Call" runs typically in batches of more than 3000, most of them weren't, in collectable terms, especially rare.  

The text: "TO BE REMOVED BY DEALER" was molded into some of the splitter guards but after the things picked up their cult following, dealers began checking first with customers.  

Dealers cautioned against the trend, noting the pieces weren't specifically molded to ensure a perfect fit so dirt and moisture were prone to being trapped in the gaps and this could scuff the paint.  They were known also as "damage guards" and "scuff guards" but more imaginative souls dubbed them the "underwire" while serious students of such things suggested a better simile might have been "pastie", while acknowledging Chrysler followed the lead of the underwear manufacturers in having available both single and two-piece "underwires" although this was coincidental and deterministic, dictated by the splitter design.  Women not infrequently extract from bras underwires which have “poked through”, giving the wearer a painful jab in a soft, fleshy spot; although the tips usually are plastic-coated it’s still something of a point.  They also present a danger to machinery.  As bras age, stitching can be loosened to the extent that during washing cycles, underwires can separate from the garment and, because the drums in washing machines have many small holes, can end up in the mechanism including becoming entangled with moving parts.  For that reason, the recommendation is bras be laundered in a “bra bag”; while that affords some protection to the bra, it provides much to the machinery.  Whether on splitters they were kept or discarded might have seemed an improbable subject for dispute but with cars, men always find a reason to argue about something.  Although probably it would have preferred to discuss horsepower, superchargers and such, Chrysler noted the cultural phenomenon and, while obviously reluctant to upset either faction, did issue a statement to a magazine which had requested comment:

"The splitter guards on Dodge Charger and Challenger have taken on a life of their own. They originally made their debut in the 2015 model year to protect the performance fascias on SRT models during shipment from the manufacturing facility to the dealer, and, yes, they are designed to be removed before delivery.  But today, they have their own Facebook page, and many of our performance enthusiasts have active debates on whether to keep or remove them. Some owners say they are even selling them in the aftermarket.  Obviously, they weren't part of the original design, so we started with yellow guards and shifted to pink, but they are still so popular that we may shift them yet again to black. Wherever we land, this is another example of how our customers are passionate about every part of their Dodge muscle cars."

The Auto Sputnik

Italian and Soviet design sensibilities, circa 1958: Auto Sputnik, Rome, 1958, colorized (left) and 1958 Soviet UAZ-450 (right).  Mechanically somewhat updated (though stylistically, not by much) , the UAZ is still being made and is believed to be the oldest vehicle design still in series production, the blueprints delivered to the factory in 1957.

Built on the versatile platform of the Fiat 600 Multipla (1956–1967) Auto Sputnik (Sputnik-car) was built for the PCI (Partito Comunista Italiano, the Communist Party of Italy, 1921-1991) as a propaganda vehicle to travel around the land in the run-up to the 1958 general election.  Centre of attention was a model of Sputnik 1, the first artificial Earth satellite, launched by the Soviet Union on 4 October, 1957, an event which had shocked many in the West because it seemed to illustrate how much more advanced was Soviet science compared to that in the West.  What it heightened was the fear the communist "planned economy" was proving more efficient in producing advanced technology while in the West excessive resources were being absorbed by things like annual changes to the styling of washing machines or making the tailfins on cars rise higher.  That feeling rippled around the US Congress, causing great concern although the scientific and military establishment, better acquainted with relative industrial capabilities, were more sanguine.  Politicians however find it often more rewarding to respond to perceptions rather than reality and it was the launch of Sputnik which triggered the “space race”, the first round of which culminated in the US manned landing on the Moon in 1969.

Italian comrades admiring the Auto Sputnik, Rome, 1958.

Although just by achieving orbit Sputnik 1 was a landmark in space flight, as it circled the Earth every 96 minutes, despite much wild speculation, all the 580 mm (23 inch) wide metal sphere did was transmit “beeps” which could be received by ground-based radios but the PCI’s model on the Auto Sputnik was, in a sense, more ambitious because it included an integrated loudspeaker for broadcasting campaign messages (ie communist propaganda).  Having the Sputniks to use as propaganda tools was certainly a tribute to Soviet design prowess and industrial capacity but it was good that for Auto Sputnik the PCI turned to Italian rather than Soviet coach-builders.  There was at the time something in the souls of Italian designers which stopped them drawing an ugly line (that later would change) so the Auto Sputnik, despite its utilitarian purpose, was a stylish piece of aviation-influenced mid-century modernism, characterized by fuselage-like flanks with a sensuously shaped Perspex cockpit atop.  In a nice touch, a dog (various real beasts or stuffed toys appearing) was also carried, a tribute to Laika, the “Soviet space dog” who was the first animal to orbit the planet when Sputnik 2 flew into low orbit on 3 November 1957.  The  Perspex windows on the model of Sputnik certainly weren’t on the original sphere and were installed just so the dog could be seen and even that was an attempt to manipulate voters through “associative cognition”, people trusting dogs in a way they don't trust politicians.  Unfortunately for Laika, the technology of the era precluded a return-flight and, some hours into the mission, she died of hyperthermia.  The eye-catching design may be compared with what can be imagined had a Russian contractor been granted the commission.  What would have been delivered from behind the Iron Curtain would have been heavy, robust (if not especially well-finished) and “done the job” but it would not have been stylish.  For that, it was best to get an Italian and in the 1960s, the UK industry would do exactly that, Michelotti among several doing good business there.

Flag of the Italian Communist Party (hammer & sickle in yellow on red background, left) and the highly regarded “Italian Hot Dogs” sold at Jimmy Buff's.

No color images of the Auto Sputnik seem to exist but one monochrome photograph has been colorized, the software confirming it was finished in red & yellow.  These were the colors of the PCI’s flag so the choice had nothing to do with the ketchup and mustard of the “Italian Hot Dog”, the invention of which is credited to Jimmy “Buff” Racioppi, founder of Jimmy Buff's in Newark, New Jersey where the first “Italian Hot Dog” was sold in 1932.

The text on the vehicle: "VOTA COMUNISTA", translates as “Vote Communist” and the 1958 election was unexpectedly difficult for the party because there had been schisms and defections after (1) the Red Army's crushing the 1956 Hungarian uprising (tellingly, the Kremlin made no attempt to augment their forces with troops from other Warsaw Pact signatories) and (2) comrade Nikita Khrushchev’s (1894–1971; Soviet leader 1953-1964) “secret” speech in February that year denouncing the excesses of comrade Stalin (1878-1953; Soviet leader 1924-1953).  Still, the party maintained its support, gaining 22.7% of the vote against the 22.6% received in 1953, the loss of three seats (from 143 to 140) the consequence of electoral redistributions and some changes in the allocation of seats between the various mechanisms.  With that, the PCI remained the country’s second-largest party in Italy although the Democrazia Cristiana (DC, the Christian Democrats) remained dominant and the communists still were excluded from government.  Essentially then, the 1958 election maintained the “status quo” but what had changed since the late 1940s was that agents of the US government (not all of whom were on the payroll of the CIA (Central Intelligence Agency)) no longer wandered cities and the countryside with the suitcases of US dollars thought (correctly) to be the most useful accessory when seeking to influence elections.  When Washington complains about the CCP (Chinese Communist Party) and others using this method or that to try to “influence” elections in the US, they know what they’re talking about; while the tactics of the influencers have changed, the strategy remains the same.

BMW's venture into the "hotdog look", the K1.  The factory would preferred those making comparisons to note the emulation of the colors of the German flag. 

Between 1988–1993, BMW produced 6,921 K1s.  It was a modest volume and lifespan but the appearance and specification were quite a departure for the company which for sixty-odd years had built its reputation with air-cooled flat twins, packaged in designs which while functionally efficient offered few concessions to fashion.  That began to change in 1973 when the R90S appeared with a small bikini fairing in the style then favored by the “café racer” set but the rest of the machine remained in the sober Teutonic tradition, finished in a conservative silver (a more exuberant “Daytona Orange” would later be offered).  The fairings grew in size in subsequent models but never before the K1 did the factory produce anything so enveloping as was first seen at the 1988 Cologne Show, the effect heighted by the bold graphics and the choice of color schemes being blue & yellow or a hotdog-like red & yellow.  Inevitably, the latter's eye-catching combo picked up the nickname Ketchup und Senf (Ketchup and Mustard) but on BMW’s color chart they were listed as Marakeschrot (Marrakesh Red, code 222) and Ginstergelb (Broom Yellow, code 230).  The “broom” referenced is the shrub plant (related and visually similar to gorse) with distinctive, bright yellow flowers, not the device used for sweeping.  The look attracted almost as much comment as the mechanical specification which used an in-line four cylinder, 987 cm³ (60 cubic inch) liquid-cooled engine, mounted in an unusual longitudinal arrangement with the crankshaft to the right, something which delivered a low centre of gravity and contributed to the drag coefficient (CD) of .34 (with rider prone).  That contributed to a well-polished (it does make a difference) K1 with the correct tyre pressures being able to achieve 150 mph (241 km/h), a reasonable achievement for a 100 HP machine with a hefty (dry) weight of 259 kg (571 lb) although it was never such a happy experience at lower speeds, the long wheelbase and bodywork combining to created a 6.7 metre (22 foot) turning circle.  It was at its best on the move.

Restrained by comparison: the original alternative to the hotdog, in Laguna-Blue Metallic (code 233) & Broom Yellow.

The engineering was innovative and the K1 garnered many awards but after some initial enthusiasm sales waned and in 1991 the color scheme was not so much toned-down as re-toned, a more Germanic look (black metallic with silver wheels) offered which was less distinctive but also less controversial.  That solved one aesthetic challenge but others were more fundamental, the thing too big and heavy to be a “sports bike” in the accepted sense and all that fibreglass meant it could get very hot for both components and rider, a problem the factory, with some improvised engineering, ameliorated but never wholly solved.  What couldn’t be fixed was the lack of power, BMW at the time committed to the voluntary 100 HP (75 kW) limit for motorcycles sold in Germany and while the industry leading aerodynamics made the machine a creditable high-speed cruiser, as a “super-bike” in the manner of the Japanese and Italian machines, it simply wasn’t competitive; fifty years on, at least on two wheels, power dynamics within the Axis had shifted south and east.

1992 BMW K1 Royal-Blue metallic (code 270) & Silver (code 131).  The Royal Blue & Silver combination was perhaps the most pleasing but by the time it was made available, K1 production had slowed and it appeared on only a reputed 100 of the 296 built in 1992.

Further limiting the appeal, K1s produced for the important US market were detuned to 95 HP, noise and exhaust emissions cited as the reasons.  That reduced the top-speed to 143 mph (230 km/h) which wasn’t often experienced in US conditions but the detuning also further stunted acceleration which, compared with the more powerful competition, was anyway at the bottom of the class.  As on the Autobahns, the US-delivered K1s were effortless cruisers and stable on fast curves but at a time when Japanese “sports bikes” were both cheaper and more powerful (Suzuki rated at 125 HP, Honda at 132, Yamaha at 145 and Kawasaki at 147), BMW dealers needed to find “niche market buyers” and those customers were not numerous.  That US K1s were fitted as standard with das Antiblockiersystem (ABS, anti-lock brakes by FAG Kugelfischer/Hella which was primitive because of the computer technology of the era (in 1989 Intel’s biggest selling PC CPU was the 16-bit 80286) but effective) optional in other places was innovative but not as attractive to buyers as more power.  In Germany, where BMW had obvious local advantages and other manufacturers also complied with the 100 HP limit, the differences were less obvious but the factory never released a more powerful K1 for international sales.  One amusing aspect to the K1 being notoriously prone to heat-build-up within the enveloping faring was BMW did understand the machines might be ridden in very cold weather and thoughtfully included a Powerlet-style port for those occasions when even engine heat trapped in the fairing wasn’t enough to protect a rider from the cold.  Into the port could be plugged heated riding suits, a welcome feature still not seen on many.   

Chart of the standard semaphore alphabet (top left), a pair of semaphore flags (bottom left) and Lindsay Lohan practicing her semaphore signaling (just in case the need arises and this is the letter “U”), 32^nd birthday party, Mykonos, Greece, July, 2018 (right).

Semaphore flags are not always red and yellow, but the colors are close to a universal standard, especially in naval and international signalling.  There was no intrinsic meaning denoted by the use of red 7 yellow, the hues chosen for their contrast and visual clarity, something important in maritime environments or other outdoor locations when light could often be less than ideal although importantly, the contrast was sustained even in bright sunshine.

L-I-N-D-S-A-Y-space-L-O-H-A-N spelled-out in ICS (International Code of Signals) semaphore.  One cannot predict when this knowledge will come in handy.

Because semaphore often was used for ship-to-to ship signalling, the colors had to be not only easily distinguishable at a distance but not be subject to “melting” or “blending”, a critical factor when used on moving vessels in often pitching conditions, the operator’s moving arms adding to the difficulties.  In naval and maritime semaphore systems, the ICS (International Code of Signals) standardized full-solid red and yellow for the flags but variants do exist (red, white, blue & black seem popular) and these can be created for specific conditions, for a particular cultural context or even as promotional items.

Green & yellow alternatives: Saint Patrick's Day hot dog (left) and vegan hotdog (right). 

Although the ketchup and mustard combination is most associated with the hot dog, not all hot dogs are in a theme of red & yellow, the most common alternative formations being green & yellow.  Some of these are seasonal and created for the cultural & religious holiday celebrated as Lá Fhéile Pádraig (literally “the Day of the Festival of Patrick” and often described as the “Feast of Saint Patrick”) which marks the death of Saint Patrick (circa 385–circa 461), the foremost patron saint of Ireland and missionary who converted the Island from paganism to Christianity.  Others are usually vegetarian or vegan hot dogs and green components, while not essential, often are added as a form of virtue-signaling. 

1981 Chevrolet Corvette: In 1981, the L81 version of the 350 cubic inch (5.7 litre) small block V8 was the sole available powerplant, rated at 190 HP (horsepower) in all 50 states. 

The 2016 Maserati GranTurismo was certainly distinctive but strange color-combos are sometimes seen although in recent decades, factories have restricted not only the ranges offered but also the way they can be combined.  The 1981 Chevrolet Corvette (above) definitely didn’t leave the assembly line in yellow & green; that season, yellow (code 52) was available but there was no green on the color chart and while two-tone paint was a US$399.00 option, the only choices were Silver/Dark Blue (code 33/38); Silver/Charcoal (code 33/39); Beige/Dark Bronze (code 50/74) & Autumn Red/Dark Claret (code 80/98).  After taking in the effect of the yellow/green combo, the camel leather trim (code 64C/642) seems anti-climatic.

2025 John Deere 9900 Self-Propelled Forage Harvester: 956 HP.

Modern harvesters are machines of extraordinary efficiency, one able in an hour to reap more than what would once have taken a large team of workers more than a day.  Mechanized harvesters were an early example of the way technology displaces labor at scale and because historically women were always a significant part of the harvesting workforce, they were at least as affected as men.  The development meant one machine operator and his (and they were almost exclusively men) machine could replace even dozens of workers, something which profoundly changed rural economies, the participation of the workforce engaged in agriculture and triggered the re-distribution of the population to urban settlements.  Artificial intelligence (AI) is the latest innovation in technology applied to agriculture as just a one operator + machine combo replaced dozens of workers, multiple machines now go about harvesting with an AI bot handling the control and a dozen or more of these machines can be under the supervision of a single individual sitting somewhere on the planet, not so much controlling the things and monitoring for errors and problems.  Removing the on-site human involvement means it becomes possible to harvest (or otherwise work the fields) 24/7/365 without concerns about intrusions like light, the weather or toilet breaks.  Of course people remain involved to do tasks such as repairs, refueling and such but AI taking over many of these roles may be only a matter of time.

1936 John Deere Model B Row Crop Tractor (“Unstyled”).

The concept known to motorcyclists as the “naked” (a bike without fairings so the engine, frame and exhaust system are exposed) existed also in agricultural machinery, all of which presumably began in a “naked” form with protective housings added later.  As such equipment became big business in commerce, decorative embellishments would have been the last appendages to appear.  Until the 1939 model-cycle, John Deere’s (JD) row crop tractors were “naked” in execution with the steering post, radiator and most of the engine exposed, the wheels often with spokes running from hub to rim.  However, in 1938, JD hired the industrial designer Henry Dreyfuss (1904-1972) and he created the shapes of the sheet metal which was added to cover many of the exposed areas, including the radiator, the new grill unmistakably from the art deco era and perhaps influenced by the memorable “coffin-nosed” Cords (810-812, 1936-1937).  Mr Dreyfuss’s distinctive radiator cowling was for generations a signature element of many of JD’s Tractors.

1956 John Deere Model 60 Row Crop Tractor (“Styled”).

At the time, such ventures were thought “styling” rather than “designing” so the new JD ranges came to be dubbed the “Styled” and the predecessors retrospective this became the “Unstyled” and also a marker of the new was the use of solid steel wheels to replace the spoke units.  Although heavier and using more steel, the solid wheels were cheaper to produce because they eliminated the use of much labor.  JD’s switch to “Styled” versions was phased in over several years with the models “D” & “G” being the last to appear in the original “naked” configuration.  JD and Mr Dreyfuss put effort and capital into the “Styled” project and as the company’s product line for decades indicated, they were well-pleased with the result and no doubt would not have predicted that early in the twenty-first century, with vintage tractors a collectable item (and definitely there are identifiable cults among the calling), there would be those who would take a 1942  “Styled” JD and lovingly transform it into an “Unstyled”.

Western Electric's original Trimline was available in 36 finishes (33 shades plus faux teak or walnut and the obviously daring “Transparent”) including JD’s signature green & yellow.  According to AT&T, the most popular colors for the original 210 Trimline phones were beige (home market) and black (corporations) but they were available also in Mustard (left) and Ketchup Red.  Now of course produced in the Far East, the style made a comback as a retro-item (centre) in a wide range of designer colors and is even sold in a hotdogesquecombo (right).

Although his name remains well-known in the field, Henry Dreyfuss is somewhat neglected in the public imagination although his breadth was remarkable, encompassing both industrial and consumer products ranging from vacuum cleaners, typewriters and alarm clocks to heavy locomotives, tractors and office buildings.  His most enduring contribution to daily American life was his involvement in the design of telephone handsets, his models for Western Electric serving as standard household and office fixtures between the 1940s and 1990s while the wall-mountable rotary-dial Trimline (1965) and twelve-digit touch-phone (1968) to this day retail a niche in the telco ecosystem.

Cheerleaders of the Oregon Ducks, the college football team of the University of Oregon.

Maybe the Corvette's repaint was ordered by a fan of John Deere’s highly regarded farm equipment because JD’s agricultural products are always finished in a two-tone yellow/green (their construction equipment being black & yellow).  For the 1981 Corvette, a single engine was offered in all 50 states, a 350 cubic inch (5.7 litre) small-block V8 designated L81 which was rated at the same 190 HP (142 kW) as the previous season’s base L48; no high-output version was now available but the L81 could be had with either a manual or automatic transmission (it would prove to be the last C3 Corvette offered with a manual).  Glumly though that drive-train might have been viewed by some who remembered the tyre-smoking machines of a decade-odd earlier, it would have pleased buyers in California because in 1980 their Corvettes received only the 305 cubic inch (5.0 litre) V8 found often in pick-up trucks, station wagons and other utilitarian devices; to them the L81 was an improvement and one which seemed to deliver more than the nominal 10 HP gain would have suggested.  The L81’s 190 HP certainly wouldn’t impress those in the market for John Deere’s 9900 Self-Propelled Forage Harvester, powered by a 1465 cubic inch (24 litre) Liebherr V12, rated at 956 HP (713 kW), the machine available only in the corporate two-tone yellow & green.  Like Corvettes (which have tended to be quite good at their intended purpose and pretty bad at just about everything else), harvesters are specific purpose machines; one which is a model of efficiency at gathering one crop will be hopelessly inept with another and in that they differ from the human workforce which is more adaptable.  However, where there is some similarity in the plants, it can be possible for the one basic machine to be multi-purpose, the role changed by swapping the attachable device which does the actual picking or gathering.

1955 Studebaker Speedster (of the 2,215 Speedsters, a solid 763 were finished in the eye-catching combination of Hialeah Green & Sun Valley Yellow, left) and some ingredients for chef Jennifer Segal's (b 1974) succotash in cast iron skillet while in the throes of preparation (right).  Ms Segal’s succotash may be the finest in the world.  While striking, the Studebaker's color combination was one of the more restrained offered that season, pink & metallic purple also available.

Lest anyone think a green and yellow Corvette is just a uniquely 1980s lapse of taste, in previous decades, in fashion and on the highways, things were often more colourful than the impression left by so much of the monochrome and sepia prevalent in the photographic record until later in the twentieth century.  With roots in a family business which in the late eighteenth century began building horse-drawn wagons, following a near-bankruptcy during the Great Depression (the corporation saved by the financial skills of Lehman Brothers (1850-2008)), Studebaker emerged from World War II (1939-1945) in good financial shape and was the first US auto-maker to release a genuinely new range of post-war models, the style of which would remain influential for a decade.  Unfortunately, for a variety of reasons, the company’s next twenty years were troubled and by the mid-1960s were out of the car business, something which at the time surprised few, the only curiosity being it “…took an unconscionable time a-dying”.

1955 Studebaker Speedster: The shade of the quilted leather was listed as Congo Ivory (although collectors seem to refer “pineapple yellow”) and the diamond motif was the theme for most of the interior fitting including the engine-turned aluminium facia panel which housed what by far the US industry’s most functional (if not most imaginative) gauge cluster.

There were though in those final years a few memorable flourishes, one of which was the 1955 Speedster, produced for just one season as a flagship.  It was a blinged-up version of the President State hardtop coupe, part of a range which at the time was praised for its Italianesque lines and had it be able to be sold at a more competitive price, it may have survived to remain longer in the catalogue.  In 1955, all Studebaker’s passenger vehicles benefited from a lavish (even by Detroit’s mid-1950s standards) application of chrome and the Speedster’s front bumper is strikingly similar in shape to the “rubber bumper” added in 1974 to the MGB (1962-1980) as a quick and dirty solution to meet US front-impact regulations; it’s doubtful British Leyland’s stylists were influenced by the sight of the Speedster.

1955 Studebaker President Speedster.

The West of the 1950s sometimes is described as a period of "dull conformity" and while in some aspects there's truth in that, as well as the occasionally bizarre styling motifs, there was a sense of exuberance in the two (and sometimes three) tone color schemes the US industry offered during those years.  For those who liked the car but found the more "adventurous" color combinations a bit much, the Speedster could also be ordered in black and white over beige and brown leather.  Studebaker used the President name (they also offered a "Dictator" until events in 1930s Europe made that a harder sell) for their most expensive models, the first three generations a range of sedans, coupes and roadsters produced between 1926-1942.  The name was revived in 1955 and used until 1958, the range this time encompassing two and four-door sedans & station wagons and two-door coupes and hardtops.  The last of the Packards (the much derided, so-called "Packardbakers" which had a brief, unsuccessful run between 1957-1958) were based on the Speedster, the most admired of the range.

1979 Rolls-Royce Silver Wraith II in Champagne & Highland Green over color-coordinated leather with piping.

Such was the American fondness for the “John Deere vibe” that at least one buyer ordered a Rolls-Royce in the yellow-green combo (Champagne & Highland Green on the R-R color chart).  Re-using the name from the saloon (1946-1958) which was the first post-war Rolls-Royce (and the last of its six-cylinder cars), the Silver Wraith II was a LWB (long-wheelbase) version of the Silver Shadow (1965-1980), the company’s first car to abandon the traditional chassis and use a unitary body.  Introduced in 1977 as a companion of the revised Silver Shadow II, the “LWB Silver Shadow” concept was not new because the factory had since 1967 built such things, the model added to the general production schedule in 1969.  The additional 4 inches (100 mm) in length was allocated wholly to the rear compartment so the legroom was greater although if the optional divider was fitted this was sacrificed to the structure and the usable space was the same as a Silver Shadow.  Between the two LWB models, the production breakdown was: Silver Shadow LWB (2,772; 1967-1977) & Silver Wraith II (2,136; 1977-1980).

Covering all color bases: Lindsay Lohan in pantsuit in a gallimaufry of colors from Law Roach’s (b 1978) Akris’ fall 2022 ready-to-wear collection.

The ensemble included a wide-lapelled jacket, turtleneck and boot cut pants fabricated in a green, yellow, red & orange Drei Teile print in an irregular geometric pattern, the distinctive look paired with a similarly eclectic combination of accessories, chunky gold hoop earrings, a crossbody Anouk envelope handbag, and Giuseppe Zanotti platform heels.  A tough crew, it can be hard to predict which way critics will jump but the collective reaction to this outfit was positive.

Rolls-Royce had before re-named what was essentially an existing model, the Corniche (1971-1995) a re-branding of the two-door (saloon (coupé) & DHC (drophead coupé, the factory later joining the rest of the planet and naming the convertibles)) versions of the Sliver Shadow which were between 1965-1971 built by MPW (Mulliner Park Ward) (the count: 571 Rolls-Royce saloons & 506 convertibles and 98 Bentley saloons & 41 convertibles).  The Everflex (an expensive, heavy-duty synthetic fabric also used in the folding soft-tops of some convertibles) covering on the Silver Wraith II’s roof was an aesthetic choice (the vinyl roof inexplicably popular in the era) and not a way of disguising seams in the metal.  Unlike some coach-builders (and even some major manufacturers) inclined to "paper over the cracks" with vinyl, Rolls-Royce did things to a higher standard.  Although by the 1970s vinyl and other plastics had appeared in their cars, neither word much appeared in their documents; instead Rolls-Royce "did" leather and Everflex. 

For avatars only: A cheerleader uniform “inspired” by that of the Green Bay Packers, modeled by an “ideal” cheerleader with emblematic pig-tails, Second Life marketplace.  A demo version is available prior to purchase.

If offered for sale in the US, this particular Silver Wraith II might appeal to supporters of sporting teams which use the green-yellow combo for the players' kit.  That includes the Green Bay Packers, a professional American football team based in Green Bay, Wisconsin, which compete in the National Football League (NFL) as a member of the National Football Conference's (NFC) North division.  Established in 1919, the Packers are the NFL's third-oldest franchise and are unusual to the point of uniqueness in being the only non-profit, community-owned major league professional sports team based in the US, holding the record for the most wins in NFL history.  There is also the Oregon Ducks, the University of Oregon's college football team, which competes at National Collegiate Athletic Association's (NCAA) Division I level in the Football Bowl Sub-division (FBS) and is a member of the Big Ten Conference (B1G).  Unfortunately, the team is no longer known as the Webfoots, the Ducks moniker adopted in the mid-1960s.  The green & yellow of the Ducks has some prominence in the sportswear market because of a close association with Oregon-based manufacturer Nike.

Joey Chestnut (b 1983) and Miki Sudo (b 1986) with the title belts awarded for their victories in the 2026 Nathan's Famous Fourth of July Hot Dog Eating Contest, Coney Island, Brooklyn, New York, 4 July, 2026.  Conducted under the auspices of US MLE (Major League Eating), the event is sanctioned by the IDOCE (International Federation of Competitive Eating).

A legendary figure in the niche sport of hot dog eating record-setting, Mr Chestnut’s victory in the annual contest was secured by him consuming 66 dogs and buns (within the 10 minute limit used since 2008), continuing his domination of the event, missing the title in 2024 only because his entry was not accepted due to a “sponsorship conflict”.  The 2026 title was his 18^th with a PB (personal best) of 76 hot dogs, set in 2021.  Such a winning streak is rare in competitive sport and was all the more remarkable because it’s an outdoor event and the temperature on Independence Day 2026 registered 98^o F (37^o C).  A multiple winner of the IFOCE's prestigious “Mustard Yellow Belt”, Mr Chestnut's career in his culinary vocation began in 2005 when, as a student, he won a deep-fried asparagus eating championship.  Curiously, the chestnut industry seems never to have organized a chestnut eating competition which seems a missed opportunity given the promotional opportunities were Mr Chestnut to be invited to complete.  Entrepreneurs seeking to fill this gap in the market should note the difference between edible chestnuts (Castanea genus) and the toxic toxic horse chestnuts (Aesculus genus, known informally as buckeyes), symptoms of having consumed the latter including severe abdominal pain, vomiting and throat irritations; toxicologists caution a massive intake of horse chestnuts (such as would be ingested in a chestnut eating competition) would potentially be fatal.  The women’s contest was held on the same day and that Ms Sudo won, enjoying 39 dogs and buns.  Her record is just as remarkable, having won each of the twelve contests she has entered since her first in 2014 (in 2021 she was unable to defend her title, being with child and thus wisely concluding she should not that year compete).  Despite the apparent linguistic implications, such contests are not examples of what economists call “conspicuous consumption” but that there are hot dog eating champions brings delight to some and despair to others, the latter doubtless also disturbed there is on one menu a US$5000 hamburger.

GWR world record hot dogs, the California Capitol City Dawg by Capitol Dawg (left) and the Juuni Ban by Tokyo Dog (right).

According to GWR (Guinness World Records), the planet’s most expensive hot dog was the US$169 creation sold on 23 February 2014 by Tokyo Dog (USA) in Seattle, Washington in the US.  Dubbed the “Juuni Ban”, the “footlong” (ie 12 inch (300 mm)) concoction contained smoked cheese bratwurst, butter Teriyaki grilled onions, Maitake mushrooms, Wagyu beef, foie gras, shaved black truffles, caviar and Japanese mayonnaise, presented on a brioche bun.  There have been reports of chefs who have made even more expensive hot dogs but under the GWR’s rules, to qualify, at least one hot dog had to be purchased in a “legitimate business transaction” and on that day in 2014, Tokyo Dog sold a presumably lucrative six, the impressive elasticity in the demand curve perhaps encouraged by the announcement profits would be donated to the American Red Cross rather than this being a display of conspicuous consumption.  The Juuni Ban’s price topped the record held by the previous winner, the “California Capitol City Dawg” which, priced at US$145.49, was in 2012 sold by Capitol Dawg in Sacramento, California.  A more modest “8-incher” (200 mm), it included French whole-grain mustard, garlic & herb mayonnaise, sautéed shallots, mixed baby greens, applewood and cherry-smoked, uncured bacon, Swedish moose cheese, chopped tomato, sweetened dried cranberries, a basil olive oil/cranberry-pear-coconut balsamic vinaigrette and fresh ground pepper, served on a custom-made herb focaccia roll toasted in white truffle butter.

The potential breakdown.  However good the product, both would have been cost-prohibitive if supplied in a hot dog eating contest. 

However tasty, neither of these culinary delights would have been considered by the organizers of the annual hot dog eating contest because, in 2022, to feed the two winners alone could have cost more than US$17,000 even assuming the suppliers maintained their prices despite inflation and other pressures.  Of course, a “volume discount” would probably have been available (such as offered by Boeing & Airbus to airlines and even Rolls-Royce has a “specific unit pricing” programme “by negotiation”) but it’s doubtful either Tokyo Dog or Capitol Dawg would have been able to reduce the unit cost to a level making viable their use in hot dog eating contests.  The competitors doubtlessly would have noticed some difference in taste but as a general principle, while there’s likely to be an obvious difference in the quality of a US$3.50 hot dog compared with one costing US$10, between a US$149 and US$169 item, it’s more about variations on the theme.

Very hot dogs: Thịt chó (dog meat) in a street-food stall in Vietnam.

In Vietnam, dog meat consumption is a regional culinary practice most seen in the country’s northern regions.  The most popular form of preparation is believed to be grilling with the meat typically marinated with a combination of fermented shrimp paste, galangal (a type of ginger), turmeric, and rice vinegar.  When prepared as street food, the chopped sections are roasted over an open charcoal fire, a process that caramelizes the fats and marinades, lending exterior a glazed, crispy texture. Grilled dog meat often is served alongside dồi nướng (dog sausage) and vendors take great care in the selection of herbs used, meaning flavours can vary between sweet and savory, the flesh succulent and often described as a cross between beef and pork.  In the West, folk often are quick to condemn those eating creatures like cats and dogs but give little thought to the offence they might be causing by eating animals revered by others.  The list of animals one in the West is able to mistreat (most fish, rodents & insects, some reptiles etc) is quite long and there’s also a number available for certain purposes (scientific & industrial research) involving suffering.

Fresh meat being delivered.  This method is not greatly different to the way in the West many types of live animals are delivered to slaughterhouses (abattoirs).

Historically, east of Suez, consuming dog meat was not uncommon and in some cultures it was a significant contribution to regional protein intake (France not outlawing it until early in the twentieth century) while in other places it was either unlawful or a taboo.  Carnivorism (the practice of eating meat) is an almost universal human practice but what is acceptable varies between cultures.  Some foods are proscribed (such as shellfish or pig-meat) and while it’s clear the origin of these bans was as a kind of “public heath” measure (the rules created in hot climates in the pre-refrigeration age), the observance became a pillar of religious observance.  Sometimes, a similar rule seems originally to have had an economic imperative such as the Hindu restriction on the killing of cattle for consumption, thus the phrase “sacred cow”, the original rationale being the calculation the live beasts made an economic contribution which much outweighed their utility as a protein source.  So, what is deemed acceptable and not is a cultural construct and that varies from place-to-place, the Western aversion to eating cats & dogs attributable to the sentimental view of them that has evolved because of the role for millennia as domestic pets.  Over history, it’s likely every animal in the world has at some point been used as a food source, some an acquired taste such as the “deep fried tarantula” which, long a tasty snack in parts of Cambodia, became a novelty item in Cambodian restaurants in the West.

Yulin Lychee and Dog Meat Festival.

In the Far East, over the last decade, the trend has tended towards restricting or abolishing the commercial dog meat trade although between jurisdictions, there was much variation in the approach: (1) In Vietnam there has never been a ban but researchers say consumption is declining (sharply in urban areas) and some cities discourage it by “nudges” (delaying issuing licences for restaurants, inspectors finding violations of health rules etc).  (2) In the Philippines, the dog meat trade mostly is now unlawful (because of contravention of animal welfare laws) but there are exceptions for “traditional cultural practices”; again, among younger, urban populations, consumption has fallen.  (3) Indonesia has imposed no national ban but some cities and provinces have prohibited the trade (though enforcement is said to be “patchy”).  In the PRC (People’s Republic of China, the old “Red China”), there is no national ban but sales most large cities have prohibited consumption and in rural areas it’s believed the practice is for many reason “tolerated by being ignored”.  An example of that is the annual, ten day 狗肉节 (Dog Meat Festival), publicized (disapprovingly) in the West as the Yulin Lychee and Dog Meat Festival.  Held in Yulin, Guangxi, during the summer solstice (21-30 June), although the Ministry of Agriculture removed dogs from the official list of livestock intended for food production (describing them instead as “companion animals”). the CCP's (Chinese Communist Party) thinking seems to be there are already enough public protests about this & that and cracking down on the anyway declining numbers of dog meat munchers in Yulin would likely create more problems than it solves.

Street display of dog meat hanging on meat hooks, Vietnam.  Without the emotional attachment felt for “man’s best friend”, dog meat, like, rabbit, chicken etc, is just another protein source.

(4) The renegade province of Taiwan in 2017 imposed a complete ban on the trade in dogs & cats for human consumption and the black market is believed to be “tiny”.  (5) In Hong Kong, although the British colonial authorities for decades took little interest in the matter, in the post-war years, pressure from the UK (apparently concerned members of the public rather than the authorities) grew and by the early 1960s the trade had been driven underground; it’s now close to extinct.  (6) In the RoK (Republic of Korea, South Korea), dog meat was long a staple protein but as prosperity grew, consumption fell and in 2024, the National Assembly prohibited breeding, slaughtering, distribution or selling dogs for meat with the restrictions phased in, the three-year transition period ending in 2027 when the laws will become “fully enforceable in 2027”.  Because it was a sizeable industry, the government is providing compensation and assistance for farmers and restaurant owners compelled to abandon the business and the approach is to target the commercial industry rather than criminalizing the act of eating dog meat.  There is said to be in government a tacit admission consumption may on a small scale continue in rural areas but it’s believed it was become vanishingly small as those consumer age and die.  What happens in the DPRK (Democratic Republic of Korea, North Korea) isn’t known but given the sometimes chronic shortage of protein in rural areas, it should be assumed dog meat may there remain part of the diet.

Insider's quick summary of the hot dog production process. 

Otto von Bismarck (1815-1989; chancellor of the German Empire 1871-1890) famously observed that people "shouldn't see how laws or sausages are made".  The processes (now effectively institutionalized) which produce legislation are now more disturbing even than in the iron chancellor's gut-wrenching times but sausage production has (generally) become more hygienic.