Legion

Legion (pronounced lee-juhn)

(1) In the army of Ancient Rome, a military formation which numbered between 3000-6000 soldiers, made up of infantry with supporting cavalry.

(2) A description applied to some large military and paramilitary forces.

(3) Any great number of things or (especially) as persons; a multitude; very great in number (usually postpositive).

(4) A description applied to some associations of ex-servicemen (usually initial capital).

(5) In biology, a taxonomic rank; a group of orders inferior to a class; in scientific classification, a term occasionally used to express an assemblage of objects intermediate between an order and a class.

1175–1225: From the Middle English legi(o)un, from the Old French legion (squad, band, company, Roman military unit), from the Latin legiōnem & legiōn- (nominative legiō) (picked body of soldiers; a levy of troops), the construct being leg(ere) (to gather, choose, read; pick out, select), from the primitive Indo-European root leg- (to gather; to collect) + -iōn   The suffix –ion was from the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  Legion & legionry are nouns, adjective & verb and legionnaire & legionary are nouns; the noun plural is legions.

The generalized sense of "a large number of persons" emerged circa 1300 as a consequence of its use of legion in some translations of the Bible (my name is Legion: for we are many (Mark 5:9; King James Version (KJV, 1611)).  It was used to describe various European military formations since the 1590s and had been applied to some associations of ex-servicemen since the American Legion was established in 1919.  The French légion d'honneur (Legion of Honor) is an order of distinction founded by Napoleon in 1802, the légion étrangère (French Foreign Legion) was originally a unit of the French army officially made up of foreign volunteers (Polish, Belgian etc) which traditionally served in colonies or on distant expeditions although French nations soon appeared in Foreign Legion colours “for a number of reasons”.  The noun legionnaire from the French légionnaire dates from 1818.  The most famous modern association is Legionnaires' Disease, caused by Legionella pneumophilia, named after the lethal outbreak in July 1976 at the American Legion convention in Philadelphia's Bellevue Stratford Hotel, Legionella thus becoming the name of the bacterium.  The cause of the outbreak was traced to water used in the building’s air-conditioning systems.

The Bellevue Stratford and Legionella pneumophilia

The origin of Legionnaires’ disease (Legionella pneumophilia) was in the bacterium resident in the air-conditioning cooling towers of the Bellevue Stratford Hotel in Philadelphia which in July 1976 was hosting the Bicentennial convention of the American Legion, an association of service veterans; the bacterium was subsequently named Legionella.

The Bellevue-Stratford Hotel, 1905.

The Legionella bacterium occurs naturally and there had before been outbreaks of what came to be called Legionella pneumophilia,(a pneumonia-like condition) most notably in 1968 but what made the 1976 event different was the scale and severity which attracted investigation and a review of the records which suggested the first known case in the United States dated from 1957.  Like HIV/AIDS, it was only when critical mass was reached that it became identified as something specific and there’s little doubt there may have been instances of Legionella pneumophilia for decades or even centuries prior to 1957.  The increasing instance of the condition in the late twentieth century is most associated with the growth in deployment of a particular vector of transmission: large, distributed air-conditioning systems.  Until the Philadelphia outbreak, the cleaning routines required to maintain these systems wasn’t well-understood and indeed, the 1976 event wasn’t even the first time the Bellevue Stratford had been the source two years earlier when it was the site of a meeting of the Independent Order of Odd Fellows but in that case, fewer than two-dozen were infected and only two fatalities whereas over two-hundred Legionnaires became ill thirty-four died.  Had the 1976 outbreak claimed only a handful, it’s quite likely it too would have passed unnoticed.

Winter Evening, Bellevue-Stratford Hotel, circa 1910 by Charles Cushing (b 1959).

That the 1976 outbreak was on the scale it was certainly affected the Bellevue-Stratford.  Built in the Philadelphia CBD on the corner of Broad and Walnut Streets in 1904, it was enlarged in 1912 and, at the time, was among the most impressive and luxurious hotels in the world.  Noted especially for a splendid ballroom and the fine fittings in its thousand-odd guest rooms, it instantly became the city’s leading hotel and a centre for the cultural and social interactions of its richer citizens.  Its eminence continued until during the depression of the 1930s, it suffered the fate of many institutions associated with wealth and conspicuous consumption, its elaborate form not appropriate in a more austere age.  As business suffered, the lack of revenue meant it was no longer possible to maintain the building and the tarnish began to overtake the glittering structure.

The Bellevue Hotel Ballroom.

Although the ostentation of old never quite returned, in the post-war years, the Bellevue-Stratford did continue to operate as a profitable hotel until an international notoriety was gained in July 1976 with the outbreak of the disease which would afflict over two-hundred and, ultimately, strike down almost three dozen of the conventioneers who had been guests.  Once the association with the hotel’s air-conditioning became known, bookings plummeted precipitously and before the year was out, the Stratford ceased operations although there was a nod to the architectural significance, the now deserted building was in 1977 listed on the US National Register of Historic Places.

The Bellevue Hotel XIX Restaurant.

The lure of past glories was however strong and in 1978-1979, after being sold, a programme described as a restoration rather than a refurbishment was undertaken, reputedly costing a then impressive US$25 million, the press releases at the time emphasizing the attention devoted to the air-conditioning system.  The guest rooms were entirely re-created, the re-configuration of the floors reducing their number to under six-hundred and the public areas were restored to their original appearance.  However, for a number of reasons, business never reached the projected volume and not in one year since re-opening did the place prove profitable, the long-delayed but inevitable closure finally happening in March 1986.

The Bellevue Hotel Lobby.

But, either because or in spite of the building being listed as a historic place, it still attracted interest and, after being bought at a knock-down price, another re-configuration was commenced, this time to convert it to the now fashionable multi-function space, a mix of retail, hotel and office space, now with the inevitable fitness centre and food court.  Tellingly, the number of hotel rooms was reduced fewer than two-hundred but even this proved a challenge for operators profitably to run and in 1996, Hyatt took over.  Hyatt, although for internal reasons shuffling the property within their divisions and rebranding it to avoid any reference to the now troublesome Stratford name, benefited from the decision by the city administration to re-locate Philadelphia’s convention centre from the outskirts to the centre and, like other hotels in the region, enjoyed a notable, and profitable, increase in demand.  It’s now called simply: The Bellevue Hotel.

The Bellevue Hotel.

Understandably, the Bellevue’s page on Hyatt’s website, although discussing some aspects of the building’s history such as having enjoyed a visit from every president since Theodore Roosevelt (1858–1919; US president 1901-1909) and the exquisitely intricate lighting system designed by Thomas Edison (1847-1931) himself, neglects even to allude to the two outbreaks of Legionnaires’ disease in the 1970s, the sale in 1976 noted on the time-line without comment.  In a nice touch, guests may check in with up to two dogs, provided they don't exceed the weight limit 50 lb (22.67 kg) pounds individually or 75 lb (34 kg) combined.  Part of the deal includes a “Dog on Vacation” sign which will be provided when registering; it's to hang on the doorknob so staff know what's inside and there's a dog run at Seger Park, a green space about a ½ mile (¾ km) from the hotel.  Three days notice is required if staying with one or two dogs and, if on a leash, they can tour the Bellevue's halls but they're not allowed on either the ballroom level or the 19^th floor where the XIX restaurant is located.  A cleaning fee (US$100) is added for stays of up to six nights, with an additional deep-cleaning charge applicable for 7-30 nights.

Lindsay Lohan with some of the legion of paparazzi who, despite technical progress which has disrupted the primacy of their role as content providers in the celebrity ecosystem, remain still significant players in what is a symbiotic process.

Cadillac advertising, 1958.

Cadillac in 1958 knew their buyer profile and their agency’s choice of the Bellevue Stafford as a backdrop reflected this.  They knew also to whom they were talking, thus the copywriters coming up with: “Not long after a motorist takes delivery of his new Cadillac, he discovers that the car introduces him in a unique manner.  Its new beauty and elegance, for instance, speak eloquently of his taste and judgment.  Its new Fleetwood luxury indicates his consideration for his passengers.  And its association with the world’s leading citizens acknowledges his standing in the world of affairs.”  That’s just how things were but as the small-print (bottom left of image) suggest, women did have their place as Cadillac accessories, a number of them in the photograph to look decorative in their “gowns by Nan Duskin”.  Lithuania-born Nan Duskin Lincoln (1893-1980) in 1926 opened her eponymous fashion store on the corner of 18^th & Sansom Streets and enjoyed such success she was soon able to purchase three buildings on Walnut Stereet which she converted into her flagship and for years it was an internationally-renowned fashion mecca.  Ms Duskin was unusual in that despite have never been educated beyond the sixth grade, she was an advocate for fashion being taught at universities and while that may not seem revolutionary in an age when it’s probably possible to take a post-graduate degree in basket weaving, it was at the time a novel idea.  She worked as a lecturer in design and criticism at Drexel University, the institution later establishing the Nan Duskin Laboratory of Costume Design.  It was said of Ms Duskin that when she selected a wedding dress for brides-to-be, almost invariably they were delighted by the suggestion though she would lament the young ladies were not always so successful in their choice of grooms.

Nan Duskin brochure, 1942; While fashions change, slenderness never goes out of style and these designs are classic examples of “timeless lines”.  Presumably, this brochure was printed prior to the imposition of wartime restrictions which resulted in such material being restricted to single color, printed on low-quality newsprint. 

Responsible for bringing to Philadelphia the work of some European couture houses sometimes then not seen even in New York, there was nobody more responsible for establishing the city as a leading centre of fashion before her semi-retirement in 1958 when she sold her three stores to the Dietrich Foundation.  Unashamedly elitist and catering only to the top-end of the market (rather like Cadillac in the 1950s), her stores operated more like salons than retail outlets and while things for a while continued in that vein after 1958, the world was changing and while the “best labels” continued to be stocked, the uniqueness gradually was dissipated until it was really just another store, little different from the many which had sought to emulate the model.  In 1994, Nan Duskin filed for Chapter 11 Bankruptcy (which enables to troubled companies to continue trading while re-structuring) but the damage was done and in 1995 the businesses were closed.  Nothing lasts forever and it’s tempting to draw a comparison with the way Cadillac “lost its way” during the 1980s & 1990s.

Sunroof

Sunroof (pronounced suhn-roof)

(1) A section of an automobile roof (sometimes translucent and historically called a moonroof) which can be slid or lifted open.

(2) In obstetrics, a slang term used by surgeons to describe the Caesarean section.

1952: A compound word, the construct being sun + roof.  Sun was from the Middle English sonne & sunne, from the Old English sunne, from the Proto-West Germanic sunnā, from the Proto-Germanic sunnǭ, from the primitive Indo-European shwen-, oblique of sóhw (sun).  The other forms from the Germanic included the Saterland Frisian Sunne, the West Frisian sinne, the German Low German Sünn, the Dutch zon, the German Sonne and the Icelandic sunna.  The forms which emerged without Germanic influence included the Welsh huan, the Sanskrit स्वर् (svar) and the Avestan xᵛə̄ṇg.  The related forms were sol, Sol, Surya and Helios.  Roof was from the Middle English rof, from the Old English hrōf (roof, ceiling; top, summit; heaven, sky), from the Proto-Germanic hrōfą (roof).  Throughout the English-speaking world, roofs is now the standard plural form of roof.  Rooves does have some history but has long been thought archaic and the idea there would be something to be gained from maintaining rooves as the plural to avoid confusion with roof’s the possessive never received much support.  Despite all that, rooves does seem to appear more than might be expected, presumably because there’s much more tolerance extended to the irregular plural hooves but the lexicographers are unimpressed and insist the model to follow is poof (an onomatopoeia describing a very small explosion, accompanied usually by a puff of smoke), more than one poof correctly being “poofs”.  In use, a poof was understood as a small event but that's obviously a spectrum and some poofs would have been larger than others so it would have been a matter of judgement when something ceased to be a “big poof” and was classed an explosion proper.  Sunroof is a noun (sometimes hyphenated); the noun plural is sunroofs.

1973 Lincoln Continental Mark IV with moonroof.

Sunroofs existed long before 1952 but that was the year the word was first adopted by manufacturers in Detroit.  The early sunroofs were folding fabric but metal units, increasingly electrically operated, were more prevalent by the early 1970s.  Ford, in 1973, introduced the word moonroof (which was used also as moon roof & moon-roof) to describe the sliding pane of one-way glass mounted in the roof panel over the passenger compartment of the Lincoln Continental Mark IV (1972-1976).  Moonroof soon came to describe any translucent roof panel, fixed or sliding though the term faded from use and all such things tend now to be called a sunroof.

Lindsay Lohan standing through a sunroof: Promotional photo-shoot for Herbie Fully Loaded (2005).

Unlike many manufacturers, for many years Volkswagen maintained specific “Sunroof” models in the Beetle (Type 1) range.  When in 1945 the British military occupation forces assumed control of the Volkswagen factory and commenced production of civilian models (those made since 1938 delivered almost exclusively to the German armed forces or Nazi Party functionaries), one of the first organizational changes was to replace Herr Professor Ferdinand Porsche’s (1875–1951) internal type designations with a new set and these included the 115 (Standard Beetle Sunroof Sedan (LHD (left-hand drive)), 116 (Standard Beetle Sunroof Sedan (RHD (right-hand drive)), 117 (Export Deluxe Beetle Sunroof Sedan (LHD) & Export Deluxe Beetle Sunroof Sedan (RHD).  The original sunroof was a folding, fabric apparatus and this remained in use until 1963, a steel, sliding (manually hand-cranked) unit was fitted after the release of the 1964 range.  The Beetle used in the original film (The Love Bug (1968)) was a 1963 Sunroof Beetle; at the time they were readily available at low cost but by 2004-2005 when Herbie: Fully Loaded was in production, they were less numerous and some of those used in the filming were actually 1961 models modified (to the extent required in movies) for purposes of continuity.  Interestingly, the one which appears in most scenes appears to be a 1964 model which implies the folding sunroof was at some point added, not difficult because the kits have long been available.

Caesarean section post-operative scar: C-section scar revision is now a commonly performed procedure.

Manufacturers in the 1970s devoted sizeable resources to develop the sunroof because at the time, the industry’s assumption was the implications of US FMVSS (Federal Motor Vehicle Safety Standards) 208 (roll-over protection, published 1970) fully would be realized, outlawing both convertibles and hardtops (certainly the four-doors) but the election of Ronald Reagan (1911–2004; US president 1981-1989) in 1980 changed the regulatory climate.  Reagan, not fond of dopey rules which impinged freedom, assured Detroit there’d be no ban and the first American convertibles since 1976 soon appeared, one consequence of which was legal action brought by some who had purchased (and stored with expectations of profit) 1976 Cadillac Eldorados, claiming they had been induced to buy because of the promotional campaign by General Motors (GM) using the phrase "the last American convertible”.  The cases were dismissed on the basis that GM's statements were “reasonable at the time, based on advice from government”.  No action was possible against the government on several grounds, including the doctrines of remoteness and unforeseeability.

Following Lindsay Lohan's example: President Xi standing through a sunroof, on parade in Hongqi L5 state limousine, Beijing, 2019.

The highlight of the ceremonies marking the 70^th anniversary of the founding of the People's Republic of China (PRC) was the military parade, held in Beijing on 1 October 2019.  Claimed to be the largest military parade and mass pageant in China's 4,000-odd year history (and the last mass gathering in China prior to the outbreak in Wuhan of became the COVID-19 pandemic), the formations were reviewed by the ruling Chinese Communist Party’s (CCP) General Secretary Xi Jinping (b 1953; paramount leader of the PRC since 2012).  The assembled crowd was said without exception to be “enthusiastic and happy” and the general secretary's conspicuously well-cut Mao suit was a nice nostalgic touch.

Two generals of the Belarus army take the salute standing in Honggi L5 Parade Convertibles, Minsk, Belarus, June 2017.

Independence Day in Belarus is celebrated annually on 3 June and there is always a significant military component.  Other than the PRC, Belarus is the only known operator of the Honqqi and the four-door convertible parade cars were apparently a "gift" (as opposed to foreign aid) from the Chinese government but the aspect of this photograph which attracted some comment was whether the hats worn by generals in Belarus were bigger than the famously imposing headwear of the army of the DPRK (Democratic People’s Republic of Korea (North Korea)); analysts of military millinery appeared to conclude the dimensions were similar.  Purists traditionally describe this style of coach-work as "four-door cabriolet" and it was "Cabriolet D" in the Daimler-Benz system but the "parade convertible" is a distinct breed and often includes features such as grab bars for those standing, microphones and loud-speakers so the “enthusiastic and happy” crowd don't miss a word.   

Hongqi L5 state limousine.

The car carrying President Xi was the Hongqi L5, the state limousine of the PRC, the coachwork styling a deliberately retro homage to the Hongqi CA770, the last in the line (dating from 1958) of large cars built almost exclusively for use by the upper echelons of the CCP.  Most of the earlier cars were built on the large platforms US manufacturers used in the 1960s and were powered by a variety of US-sourced V8 engines but the L5 was wholly an indigenous product, built with both a 6.0 litre (365 cubic inch) V12 and 4.0 litre (245 cubic inch) V8 although neither configuration is intended for high-performance.  Interestingly, although Hongqi L5 have produced a version of the L5 with four-door convertible coachwork as a formal parade car and they have been used both in the PRC and in Belarus, the general secretary conducted his review in a closed vehicle with a sunroof.

US President Richard Nixon (1913-1994, US president 1969-1974) with Anwar Sadat (1918–1981; President of Egypt 1970-1981) in a 1967 Cadillac convertible, Alexandria, Egypt, June 1974.  On that day, the motorcade was 180-strong and unlike the reception his appearance in the US now induced, the Egyptian crowd really did seem genuinely enthusiastic and happy.  Within two months, in disgrace because of his part in the Watergate Affair, Nixon would resign.

The CCP didn’t comment on the choice of a car with a sunroof and it may have been made on technical grounds, the provision of a microphone array presumably easier with the roof available as a mounting point and given the motorcade travelled a higher speed than a traditional parade, it would also have provided a more stable platform for the general secretary.  It’s not thought there was any concern about security, Xi Jinping (for a variety of reasons) safer in his capital than many leaders although heads of state and government became notably more reticent about travelling in open-topped vehicles after John Kennedy (1917–1963; US president 1961-1963) was assassinated in 1963.  Some, perhaps encouraged by Richard Nixon being greeted by cheering crowds in 1974 when driven through the streets of Alexandria (a potent reminder of how things have changed) in a Cadillac convertible, persisted but after the attempt on the life of John Paul II (1920–2005; pope 1978-2005) in 1981, there’s been a trend to roofs all the way, sometimes molded in translucent materials of increasing chemical complexity to afford some protection from assassins.

Military parade marking the 70^th anniversary of the founding of the PRC, Beijing, China, 1 October 2019.  Great set-piece military parades like those conducted by the PRC and DPRK (recalling the spectacles staged by both Nazi Germany (1933-1945) and the Soviet Union (1922-1991) are now packaged for television and distribution on streaming platforms and it may be Donald Trump (b 1946; US president 2017-2021 and since 2025) was hoping the "Grand Military Parade" he scheduled in 2025 for his 79^th birthday (ostensibly to celebrate 250 years since the formation of the US Army) would display the same impressive precision in chorography.     

Covering all possibilities during the 24 hour cycle.  US advertisement (1974) for the Renault 17 Gordini Coupe Convertible, the Gordini tag adopted as a "re-brand" of the top-of-the-range R17 (1971-1979).  Gordini was a French sports car producer and tuning house, absorbed by Renault in 1968, the name from time-to-time used for high-performance variants of various Renault models.

Renault over the decades made the occasional foray into the tempting US market but all ended badly in one way or another, their products, whatever their sometimes real virtues, tending not to be suited to US driving habits and conditions.  Sunroofs had long been popular in Europe and, noting (1) what was assumed to be the demise of the convertible and (2) Lincoln's coining of "moon roof", Renault decided Americans deserved a sunroof, moonroof & starroof, all in one.  Actually, they got even more because there was also a removable, fibreglass hardtop for the winter months, Renault correctly concluding there would be little demand for a rainroof.  Physically large as it had to be, unlike a targa top, the 17's panel was intended (like other hardtops) to be stored in a garage until the warmer months.  One quirk of the R17's nomenclature was in Italy, in deference to the national heptadecaphobia, the car was sold as the R177 but the Italians showed little more interest than the Americans.

Porsche, sunroofs, weight distribution and centres of gravity 

Porsche 917K, Le Mans, 1970.

Porsche in the early 1970s enjoyed great success in sports car racing with their extraordinary 917 but greatly innovation and speed disturb the clipboard-carriers at the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) which is international sport's dopiest regulatory body.  Inclined instinctively to ban anything interesting, the FIA outlawed the 917 in sports car racing so Porsche turned its glance to the Can-Am (Canadian-American Challenge Cup) for unlimited displacement (Group 7) sports cars, then dominated by the McLarens powered by big-displacement Chevrolet V8s.  Unable to enlarge the 917's Flat-12 to match the power of the V8s and finding their prototype Flat-16 too bulky, Porsche resorted to forced aspiration and created what came to be known as the "TurboPanzer", a 917 which in qualifying trim took to the tracks with some 1,500 horsepower (HP).  There's since been nothing quite like it and for two years it dominated the Can-Am until the first oil shock in 1973 put an end to the fun.  However, the lessons learned about turbocharging the factory would soon put to good use.

The widow-maker: 1975 Porsche 930 with the rare and surprisingly desirable (for some) “sunroof delete” option.

Introduced in 1975, the 911 Turbo (930 the internal designation) had been intended purely as a homologation exercise (al la the earlier 911 RS Carrera) so the engine could be used in competition but so popular did it prove it was added to the list as a regular production model and one has been a permanent part of the catalogue almost continuously since.  The additional power and its sometimes sudden arrival meant the early versions were famously twitchy at the limit (and such was the power those limits were easily reached if not long explored), gaining the machine the nickname “widow-maker”.  There was plenty of advice available for drivers, the most useful probably the instruction not to use the same technique when cornering as one might in a front-engined car and a caution that even if one had had a Volkswagen Beetle while a student, that experience might not be enough to prepare one for a Porsche Turbo.  When stresses are extreme, the physics mean the location of small amounts of weight become subject to a multiplier-effect and the advice was those wishing to explore a 930's limits of adhesion should get one with the rare “sunroof delete” option, the lack of the additional weight up there slightly lowering the centre of gravity.  However, even that precaution may only have delayed the inevitable and possibly made the consequences worse, one travelling a little faster before the tail-heavy beast misbehaved.

Porsche 911 Carrera S, Pacific Coast Highway in Santa Monica, Los Angeles, June 2012.

Although it seems improbable, when in 2012 Lindsay Lohan crashed a sunroof-equipped Porsche 911 Carrera, it's not impossible the unfortunate event may have been related to the slight change in the car's centre of gravity when fitted with a sunroof.  She anyway had some bad luck when driving black German cars but clearly Ms Lohan should avoid Porsches with sunroofs.

The interaction of the weight of a 911’s roof (and thus the centre of gravity) and the rearward bias of the weight distribution was not a thing of urban myth or computer simulations.  In the February 1972 edition of the US magazine Car and Driver (C&D), a comparison test was run of the three flavours of the revised 911 (911T, 911E & 911S), using one of each of the available bodies: coupé, targa & sunroof coupé, the latter with the most additional weight in the roof.  What the testers noted in the targa & sunroof-equipped 911s was a greater tendency to twitchiness in corners, something no doubt exacerbated in the sunroof coupé because the sliding panel’s electric motor was installed in the engine bay.  C&D’s conclusion was: “If handling is your goal, it's best to stick with the plain coupe.”  

The Porsche 911 E series and the Ölklappe affair

1971 Porsche 911S (note the flap for the oil filler cap behind the passenger-side door (US market model and thus left-hand drive (LHD)).  The factory confirmed this car was built in July 1971, despite many references to E series production beginning in August.

Although in C&D's 1972 comparison test there was much focus on the rearward weight bias, the three 911s supplied actually had a slightly less tail-heavy weight distribution than either that season's predecessor or successor.  Porsche in 1971 began the build of its E series update (produced between July 1971-July 1972 and generally known as the “1972 models”) of the then almost decade-old 911 and in addition to the increase in the flat-six’s displacement from 2.2 litres (134 cubic inch) to 2.3 (143) (although always referred to as the “2.4”), there were a myriad of changes, some in response to US safety & emissions legislation while others were part of normal product development.  One of latter was the placing of the hinged-flap over the oil filler cap behind the right side door, something necessitated by the dry sump oil tank having been re-located from behind the right rear wheel to in front, one of a number of design changes undertaken to shift the weight distribution forward and improve the handling of the rear-engined machine’s inherently tail-heavy configuration.  In Germany, the addition was known variously as Ölklappe, Oil Klapper or Vierte Tür (fourth door, the fuel filler flap being the third).  Weight reduction (then becoming difficult in the increasingly strict regulatory environment), especially at the rear, was also a design imperative and the early-build E series cars were fitted with an aluminum engine lid and license-plate panel although these components were soon switched to steel because of production difficulties and durability concerns.

Where the troubles began:  The fuel filler flap on the left-front fender (left) and the oil filler flap on the right-rear fender (right).  Apparently, not even the “◀ Oil” sticker in red was sufficient warning.

For the E series 911s, Porsche recommended the use of a multigrade mineral oil (SAE 20W-50 or SAE 15W-40, depending on climate) but were aware those using their vehicles in competition sometimes used a high-viscosity SAE 50 monograde.  With the car’s 10 litre (10.6 US quarts, 8.8 Imperial quarts) oil tank, the fluid’s weight would be between 8.5-9.1 kg (18.7-20.0 lb) and the physics of motion meant that the more rearward the placement of that mass, the greater the effect on the 911’s handling characteristics.  It was thus a useful contribution to what would prove a decades-long quest to tame the behaviour of what, in the early versions, was a car regarded (not wholly unfairly) as handling like “a very fast Volkswagen Beetle” and ultimately the engineers succeeded, it being only at the speeds which should be restricted to race tracks the 911s of the 2020s sometimes reveal the implications of being rear-engined.

VDO instruments in 1971 Porsche 911S.  In home market cars, the oil pressure gauge (to the left of the centrally mounted tachometer) was labelled DRUCK.

However, when in August 1972 the revised F series entered production, the oil tank was back behind the rear wheel and the filler under the engine lid, the retrogressive move taken because there had been instances of gas (petrol) station attendants (they really used to exist) assuming the oil filler flap was the access point for the gas cap and, to be fair, it was in a location used for gas on many front-engined cars (a majority of the passenger-car fleet in most markets where Porsche had a presence).  Quite how often this happened isn’t known but it must have been frequent enough for the story to become part of the 911 legend and the consequences could have been severe and rectification expensive.  The factory paid much attention to oil and also ensured drivers could monitor the status of the critical fluid; all air-cooled 911s ran hot and the more highly tuned the model (in 1971-1972 the 911T, E & S in increasing potency), the hotter they got.  As well as being a lubricant, engine oil functions also as a coolant and the VDO instrumentation included gauges for oil level, oil temperature, and oil pressure; for all three to appear in a road car was unusual but being air-cooled and thus with no conventional fluid coolant, the oil's dynamics were most important.

Demimonde

Demimonde (pronounced dem-ee-mond or duh-mee-mawnd (French))

(1) That class of women existing beyond or on the margins of respectable society because of their indiscreet behavior or sexual promiscuity; typically they were mistresses but not courtesans and certainly not prostitutes (classic meaning from the mid-late nineteenth century).

(2) A group, the activities of which are ethically or legally questionable (later use).

(3) Any social group considered to be not wholly respectable (though vested sometimes with a certain edgy glamour).

(4) By extension, a member of such a class or group of persons.

1850–1855: From the French demi-monde, the construct being demi- (half) + monde (world (in the sense of “people”)), thus literally “half world” and translatable as something like “those really not ‘one of us’”.  It may have been coined by the French author and playwright Alexandre Dumas (1802-1870) but certainly was popularized in his comedic play, Le Demi Monde (1855).  The hyphenated original from French (demi-monde) is sometimes used in English.  Demimonde is a noun; the noun plural is demimondes.

In English, demi dates from the mid-1300 and was from the Middle English demi (half, half-sized, partial), from the twelfth century Anglo-Norman demi (half), from the Vulgar Latin dimedius, from the Classical Latin dīmidius, the construct being dis- (apart; in two) + medius (middle).  The French demi (which English borrowed) was a combining form which existed as noun, adjective, and adverb.  The French monde was from the twelfth century Old French monde, a semi-learned form of the tenth century mont (etymologists trace the alteration to ensure the word was distinct from the unrelated mont (mountain)), from the Latin mundus which could mean (1) clean, pure; neat, nice, fine, elegant, sophisticated, decorated, adorned or (2) universe, world (especially the heavens and heavenly bodies with the sense “universe” being a calque of the Ancient Greek κόσμος (kósmos)).or mankind (as in "inhabitants of the earth").  In Medieval Latin it was used also the mean "century" and "group of people".  The Latin mundus may have been from the Etruscan munθ (order, kit, ornament) or the primitive Indo-European mhnd- (to adorn) which was cognate with the Old High German mandag (joyful, happy; dashing).  As well as the historically pejorative sense in demimonde, “demi” appeared in other loanwords from French meaning “half”  including demilunes (in the shape of a half-moon (semi-circular)) and demitasse (a small coffee cup of the type associated with the short black) and, on that model, is also prefixed to words of English origin (eg demigod).

Treading Water Perfume's Demimonde.  The Trending Water brand is described as “queer-owned” and the products are “hand crafted”.

Similar forms in French included beau monde (literally “beautiful world”, the plural being beaux mondes) which meant “the fashionable part of society” (ie the “beautiful people”) and demi-mondaine (plural demimondaines) which was used in a variety of ways ranging from “women of equivocal reputation and standing in society” to “a sexually promiscuous woman” (ie, one of the demimonde).  Of lifestyles in some way disreputable (or at least unconventional), the terms “bohemian” and “demimonde” are often used although if one is to acknowledge the history of use, they should be differentiated despite both being associated with non-conformity.  Bohemianiam is best used of artistic and intellectual milieus where there’s a pursuit of the non-orthodox and often a rejection of societal norms (or they are at least ignored).  Demimonde, reflecting the specific origin as describing a social class of women financially able to sustain a lifestyle deemed morally dubious, retains to this day the hint of something disreputable although with the decline in the observation of such things, this is now more nuanced.  The gradual distancing of the word from its origins in the intricacies of defining the sexual morality of nineteenth century French women meant it became available to all and in her politely received novel The Last Thing He Wanted (1996), Joan Didion (1934-2021) explored the murky world of the back-channel deals in politics as it is practiced, a demimonde in which individuals are “trying to create a context for democracy” but may be “getting [their] hands a little dirty in the process.”

The Canyons (2013), Lindsay Lohan's demimonde film.

It was Alexandre Dumas’ play Le Demi Monde (1855) which popularized the use but in earlier works, notably La Dame aux Camélias (1848), the character of the demi-mondaine is identifiable although in that work the doomed protagonist is more of a courtesan whereas as used during the second half of the century, the term really wasn’t applied to that class and was most associated with women on the margins of “respectable society” who lived lavishly thanks to wealthy patrons; subtly different from a courtesan.  The literal translation “half-world” implied an existence halfway between the “proper" world and that of the disreputable and that was the sense in the late Victorian era of the Belle Époque era: glamorous but morally ambiguous women, living on the margins of high society in a state of the tolerably scandalous.  Social mores and moral codes are of course fluid and in the first half of the twentieth century the meaning shifted to encompass some other marginalized or shadowy subcultures and ones which encompassed not only women and the association was no longer of necessity associated with sexual conduct.  Thus bohemian artists, the underground nightlife, those who live by gambling and later the counter-cultural movements all came to be described as demimonde.  What that meant was these was less of a meaning shift than an expansion, the word now applied to many groups existing in some way not wholly outside the mainstream but neither entirely in conformity.  There were thus many demimondes and that use persists to this day although the air of the glamorous depicted by Dumas is now often absent, some demimondes distinctly squalid and definitely disreputable.

By the late nineteenth century the notion of the demimonde had attracted the avant-garde and non-conformists, their circles of artists, writers and intellectuals in their own way vested with the edgy glamour of the type attached to the salons the well-kept mistresses conducted in parallel with those of the establishment ladies and it’s easy to draw parallels with Andy Warhol’s (1928–1987) Factory in the 1960s which was a magnet for New York’s non-mainstream “creatives” as well as the flotsam and jetsam of the art schools.  Sometimes too, there are echos, the demimonde of Berlin after the fall of the wall (1989) drawing comparisons with that described in the city during the last years the Weimar Republic (1918-1933).  So, the track of demimonde has been (1) mistresses, and women not quite respectable but with funds enough to defy conventions (nineteenth century), (2) the more subversive of the avant-garde added (early twentieth century), (3) bohemian subcultures, various “underground” scenes (mid-late twentieth century) and (4) reflecting the implication of post-modernity, anyone who likes the label.

Sarah Bernhardt (1876), oil on canvas by Georges Clairin (1843-1919).

The Parisian Belle Époque (beautiful era) was the time between the late 1800s and the outbreak of World War I (1914-1918).  For more than a century the period has been celebrated (accurately and not) in art and literature, the great paintings mush sought by collectors.  The Belle Époque is considered still one of Europe’s “golden ages” and although its charms would have escaped most of the working population, for the fortunate few it was a time of vitality and optimism and in some ways modernity’s finest hour until ended by the blast of war.  One trend was the way the cultural hegemony of the private salons of the networks of artists, aristocrats and intellectuals lost some its hold as discourse shifted to the more public (and publicized) realm of the stage, cabriolets and cafés, lending a new theatricality to society life and an essential part was the demimonde, those who operated in the swirling milieu yet were not quite an accepted part of it, their flouting of traditional mores and bourgeois politeness perhaps a little envied but not obviously embraced.  While it could be said to include drug-takers, gamblers and such, the classic exemplar in the spirit of Dumas’ demimonde was the demimondaine, those thrusting women who maintained their elevated (if not respectable) position by parlaying their attractiveness and availability to men willing to pay for the experience.  It usually wasn’t concubinage and certainly not prostitution (as understood) but it was clear les demimondaines belonged with the bohemians and artists of the avant-garde and they were known also as les grandes horizontals or mademoiselles les cocottes (hens) among other euphemisms but for youth and beauty much is tolerated if not forgiven and in all but the inner sanctums of the establishment, mostly there was peaceful co-existence.  Among the demimondaines were many actresses and dancers, a talent to entertain meaning transgressions might be overlooked or at least not much dwelt upon.  Sarah Bernhardt (1844–1923) benefited from that and her nickname monstre sacré (sacred monster) was gained by her enjoying a status which proved protective despite her life of ongoing controversy.  The Irish writer Oscar Wilde (1854–1900) also found a niche as an amusing proto-celebrity with a good stock of one-liners and being part of the demimonde of the not quite respectable was integral to the appeal although being convicted of the abominable crime of buggery proved social suicide. 

Marthe de Florian (1898), oil on canvas by Italian-born society portraitist Giovanni Boldini (1842–1931).  The painter’s style of brushwork saw him dubbed le maître du swish (the master of swish) and he was another of Mademoiselle de Florian’s many lovers.

What tends now to be forgotten is that among the demimonde it was only figures like Bernhardt and Wilde who were well known outside of society gossip.  The once obscure Marthe de Florian (1864–1939) joined the “half worlders” by being, inter-alia, the one-time lover of four subsequent prime ministers of France (a reasonable achievement even given the churn rate in the office) although she took the name she adopted from a banker; nothing really matters except money.  When the details of her life emerged, they inspired the novel A Paris Apartment (2014) by US author Michelle Gable (b 1974), a theme of which was une demimondaine could be distinguished from a common prostitute because the former included (at least as a prelude) romance with the le grande acte (acts of intimacy) and ultimately some financial consideration.  That seems not a small difference and unlike the transactional prostitute, the implication was that to succeed in their specialized profession (debatably a calling), a demimondaine needed the skills associated with the Quai d'Orsay: tact, diplomacy, finesse, daring, low cunning and high charm.  It needed also devotion to the task because for Mlle de Florian to get where she did, she inspired “some three duels, an attempted suicide and at least one déniaisé (sexual initiation) of one lover’s eldest son”.