Quadraphonic

Quadraphonic (pronounced kwod-ruh-fon-ik)

(1) Of, noting, or pertaining to the recording and reproduction of sound over four separate transmission or direct reproduction channels instead of the customary two of the stereo system.

(2) A quadraphonic recording.

(3) A class of enhanced stereophonic music equipment developed in the 1960s.

1969: An irregular formation of quadra, a variant (like quadru) from the older Latin form quadri- (four) + phonic from the Ancient Greek phonē (sound, voice).  All the Latin forms were related quattor (four) from the primitive Indo-European kwetwer (four).  Phonē was from the primitive Indo-European bha (to speak, tell, say) which was the source also of the Latin fari (to speak) and fama (talk, report).  Phonic, as an adjective in the sense of “pertaining to sound; acoustics" was used in English as early as 1793. Those for whom linguistic hygiene is a thing approved not at all of quadraphonic because it was a hybrid built from Latin and Greek.  They preferred either the generic surround sound which emerged later or the pure Latin lineage of quadrasonic (sonic from sonō (make a noise, sound)) which appeared as early as 1970 although it seems to have been invented as a marketing term rather than by disgruntled pedants.  Quadraphonic, quadrasonic and surround sound all refer to essentially the same thing: the reproduction of front-to-back sound distribution in addition to side-to-side stereo.  In live performances, this had been done for centuries and four-channel recording, though not mainstream, was by the 1950s, not uncommon.  Quadraphonic is and adjective but had been used as a noun; the (equally irregular) noun plural is quadraphonics.

Surround sound

Quadraphonic was an early attempt to mass-market surround sound.  It used four sound channels with four physical speakers intended to be positioned at the four corners of the listening space and each channel could reproduce a signal, in whole or in part, independent of the others.  It was briefly popular with manufacturers during the early 1970s, many of which attempted to position it as the successor to stereo as the default standard but consumers were never convinced and quadraphonic was a commercial failure, both because of technical issues and the multitude of implementations and incompatibilities between systems; many manufacturers built equipment to their own specifications and no standard was defined, a mistake not repeated a generation later with the CD (compact disc).  Nor was quadraphonic a bolt-on to existing equipment; it required new, more expensive hardware.

Quadraphonic audio reproduction from vinyl was patchy and manufacturers used different systems to work around the problems but few were successful and the physical wear of vinyl tended always to diminish the quality.  Tape systems also existed, capable of playing four or eight discrete channels and released in reel-to-reel and 8-track cartridge formats, the former more robust but never suited to the needs of mass-market consumers.  The rise of home theatre products in the late 1990s resurrected interest in multi-channel audio, now called “surround sound” and most often implemented in the six speaker 5.1 standard.  Modern electronics and the elimination of vinyl and tape as storage media allowed engineers to solve the problems which beset quadraphonic but there remain audiophiles who insist, under perfect conditions, quadraphonic remains the superior form of audio transmission for the human ear.

Highway Hi-Fi record player in 1956 Dodge.

First commercially available in 1965, the eight-track cartridge format (which would later become the evil henchman of quadraphonic) convinced manufacturers it was the next big thing and they rushed to mass-production and one genuine reason for the appeal was that the 8-track cartridge was the first device which was practical for use as in-car entertainment.  During the 1950s, the US car industry had offered the option of record players, neatly integrated into the dashboard and in the relatively compact space of a vehicle's interior, the sound quality could be surprisingly high.  Although not obviously designed with acoustic properties optimized for music, the combination of parallel flat surfaces, a low ceiling and much soft, sound absorbing material did much to compensate for the small size and range offered by the speakers.  However, although they worked well when sitting still in showroom or in certain vehicles, on the road things could be different.  The records (the same size as the classic 7 inch (180 mm) 45 rpm "singles") played by means of a stylus (usually called "the needle") which physically traced the grooves etched into the plastic disks rotating at 16.66 rpm which, combined with an etching technique called "ultra micro-grooving" meant the some 45 minutes of music were available, a considerable advance on the 4-5 minutes of the standard single.  The pressings were also thicker than other records, better to resist the high temperatures caused by heat-soak from the engine and the environment although, in places like Arizona, warping was soon reported.  To keep the stylus in the track, the units were fitted with a shock-absorbing, spring enclosure and a counterweighted needle arm.  Improbably, in testing, the system performed faultlessly even under the most adverse road conditions so the designers presented the product for corporate approval.  At that point there was a delay because the designers worked for the Colombia Broadcasting Corporation (CBS) which had affiliations with thousands of radio stations all over the country and no wish to cannibalize their own markets; if people could play records in their cars, the huge income stream CBS gained from advertising would be threatened as drivers tuned out.  The proposal was rejected.

Highway Hi-Fi record player in 1956 Plymouth.

Discouraged but not deterred, the engineers went to Detroit and demonstrated the players to Chrysler which had their test-drivers subject the test vehicles to pot-holes, railway tracks and rolling undulations.  The players again performed faultlessly and Chrysler, always looking for some novelty, placed an order for 18,000, a lucrative lure which convinced even CBS to authorize production, their enthusiasm made all the greater by the proprietary format of the disks which meant CBS would be the exclusive source.  So, late in 1956, Chrysler announced the option of "Highway Hi-Fi", a factory-installed record player mounted under the car's dashboard at a cost of (US$200 (some US$1750 in 2023 terms)).  Highway Hi-Fi came with six disks, the content of which reflected the reactionary tastes of CBS executives and their desire to ensure people still got their popular music from radio stations but the market response was positive, Chrysler selling almost 4000 of the things in their first year, the early adopters adopting with their usual alacrity.

The second generation of players used standard 45 rpm singles: Austin A55 Farina (left) and George Harrison's (1943–2001) Jaguar E-Type S1 (right); all four Beatles had the players fitted in their cars and lead guitarist Harrison is pictured here stocking his 14-stack array.  The lady on the left presumably listened to different music than the Beatle on the right (although their in-car hardware was identical) but tastes can't always be predicted according to stereotype; although he disapproved of most modern music, Rudolf Hess (1894–1987; Nazi deputy Führer 1933-1941) told the governor of Spandau prison (where he spent 40 of his 46 years in captivity) he enjoyed The Beatles because their tunes "were melodic".  

At that point, problems surfaced.  Tested exclusively in softly-sprung, luxury cars on CBS's and Chrysler's executive fleets, the Highway Hi-Fi had to some extent been isolated from the vicissitudes of the road but when fitted to cheaper models with nothing like the same degree of isolation, the styluses indeed jumped around and complaints flowed, something not helped by dealers and mechanics not being trained in their maintenance; even to audio shops the unique mechanism was a mystery.  Word spread, sales collapsed and quietly the the option was withdrawn in 1957.  The idea however didn't die and by the early 1960s, others had entered the field and solved most of the problems, disks now upside-down which made maintaining contact simpler and now standard 45 rpm records could be used, meaning unlimited content and the inherent limitation of the 4 minute playing time was overcome with the use of a 14-disk stacker, anticipating the approach taken with CDs three decades later.  Chrysler tried again by the market was now wary and the option was again soon dropped.

1966 Ford Mustang with factory-fitted 8-track player.

Clearly though, there was demand for in-car entertainment, the content of which was not dictated by radio station programme directors and for many there were the additional attractions of not having to endure listening either to advertising or DJs, as inane then as now.  It was obvious to all tape offered possibilities but although magnetic tape recorders had appeared as early as 1930s, they were bulky, fragile complicated and expensive, all factors which mitigated against their use as a consumer product fitted to a car.  Attention was thus devoted to reducing size and complexity so the tape could be installed in a removable cartridge and by 1963, a consortium including, inter alia, Lear, RCA, Ford & Ampex had perfected 8-track tape which was small, simple, durable and able to store over an hour of music.  Indeed, so good was the standard of reproduction that to take advantage of it, it had to be connected to high quality speakers with wiring just as good, something which limited the initial adoption to manufacturers such as Rolls-Royce and Cadillac or the more expensive ranges of others although Ford's supporting gesture late in 1965 of offering the option on all models was soon emulated.  Economies of scale soon worked its usual wonders and the 8-track player became an industry standard, available even in cheaper models and as an after-market accessory, some speculating the format might replace LP records in the home.

Lindsay Lohan's A Little More Personal (Raw) as it would have appeared if released in the 8-Track format.

That never happened although the home units were widely available and by the late 1960s, the 8-track was a big seller for all purposes where portability was needed.  It maintained this position until the early 1970s when, with remarkable suddenness, it was supplanted the the cassette, a design dating from 1962 which had been smaller and cheaper but also inferior in sound delivery and without the broad content offered by the 8-track supply system.  That all changed by 1970 and from that point the 8-track was in decline, reduced to a niche by late in the decade, the CD in the 1980s the final nail in the coffin although it did for a while retain an allure, Jensen specifying an expensive Lear 8-track for the Interceptor SP in 1971, despite consumer reports at the time confirming cassettes were now a better choice.  The market preferring the cheaper and conveniently smaller cassette tapes meant warehouses were soon full of 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.

1976 Holden HX LE

Thus created was the high-priced, limited edition Holden LE (not badged as a Monaro although it so obviously looked like one that they've never been known as anything else), in "LE Red" (metallic crimson) with gold pin-striping, Polycast "Honeycomb" wheels, fake (plastic) burl walnut trim, deep cut-pile (polyester) carpet and crushed velour (polyester) upholstery with plaid inserts over vinyl surrounds in matching shades; in the 1970s, this was tasteful.  Not exactly suited to the image of luxury were the front and rear spoilers but they too were sitting unloved in the warehouse so they became part of the package and, this being the 1970s, rear-seat occupants got their own cigar lighter, conveniently located above the central ashtray.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but the audio quality was good and five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based.  These days, examples are advertised for sale for (Aus$) six-figure sums but those who now buy a LE do so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was very high; slow and thirsty the price to be paid for the early implementations of the emission control devices bolted to engines designed during more toxic times.

1976 Holden HX LE Polycast "Honeycomb" wheel (14 x 7").

The Polycast process used a conventional steel wheel with a decorative face of molded polyurethane, attached with mechanical fasteners or bonded using adhesives (in some, both methods were applied) and although some snobs still call them "fake alloy" wheels, legitimately, they're a category of their own.  Because the rubbery, molded plastic fulfilled no structural purpose, designers were able to create intricate shapes which would then have been too delicate or complex to render (at an acceptable cost) in any sort of metal.  By consensus, some of the Ploycast wheels were among the best looking of the decade and, unstressed, they were strong, durable and long-lasting while the manufacturers liked them because the tooling and production costs were much lower than for aluminium or magnesium-alloy.  Another benefit was, being purely decorative (essentially a permanently attached wheelcover), their use faced no regulatory barriers; US safety rules were even then strict and Citroën at the time didn't both seeking approval for the more exotic "resin" wheels offered in Europe on the SM).

Aftermath of the pace car crash, Indianapolis 500, 29 May 1971; dozens were injured but there were no fatalities, despite impact with the well-populated camera stand being estimated at 60 mph (100 km/h).

The Holden LE's wheels came straight from the Pontiac parts bin in the US where they'd first appeared on the 1971 Firebird Trans-Am.  The concept proved popular with manufacturers and a set of Motor Wheels' "Exiter" (14" x 7", part number 36830 and advertised also as "Exciter") was fitted to the Dodge Challenger Pace car which crashed during the 1971 Indianapolis 500.  The crash was unrelated to the wheels, the driver (one of the Dodge dealers providing the pace car fleet) blaming the incident on somebody moving the traffic cone he'd used in practice as his pit-lane braking marker.    Motor Wheel's advertising copy: “What wheel can survive this beating?” and “...the new wheel too tough for the 'mean machine'” predated the crash at Indianapolis and was intended to emphasise the strength of the method of construction.

Twenty years on, the “parts bin special” idea was a part of local story-telling.  Although most doubt the tale, it's commonly recounted the 85 HSV VS GTS-R Commodores Holden built in 1996 were all finished in the same shade of yellow because of a cancelled order for that number of cars in "taxi spec", the Victorian government having mandated that color for the state's cabs.  While a pleasing industry myth, most suspect it's one of those coincidences and the government's announcement came after the bodies for the GTS-R had already been painted.  Being "taxi yellow" doesn't appear to have deterred demand and examples now sell for well into six figures (in Aus$).      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden LE typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take an elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The HQ Holden (1971-1974) was admired for an delicacy of line and fine detailing; what followed over three subsequent generations lacked that restraint although to be fair, while the last of the series (HZ, 1977-1980) ascetically wasn't as pleasing as the first, dynamically, it was much-improved.   

1973 Ford Falcon XA GT Hardtop (RPO83).

In the era of the LE, Ford Australia had it's own problem with unwanted two-door bodyshells.  Released too late to take advantage of what proved a market fad, Ford’s Falcon Hardtops (XA; 1972-1973, XB; 1973-1976 & XC; 1976-1979) never enjoyed the success of Holden’s Monaro (1968-1976), Chrysler’s Valiant Charger (1971-1978) or even that of Ford’s own, earlier Falcon Hardtop (XM; 1964-1965 & XP; 1965-1966).  The public’s increasing and unpredicted uninterest in the style meant that by 1976, like Holden, Ford had languishing in unwanted in their hands hundreds of body-shells for the big (in Australian terms although in the US they would have been classed “compacts”) coupés.  When released in 1972 Ford’s expectation was it would every year sell more than 10,000 Hardtops but that proved wildly optimistic and not even discounting and some “special editions” did much to stimulate demand.  By 1977 sales had dropped to a depressing 913 and with over 500 bodies in stock, the projection no more than 100 would attract buyers meant a surplus of 400; an embarrassing mistake.

Edsel Ford II with Falcon Cobra #001, publicity shot, Ford Australia's Head Office, Campbellfield, Victoria.  The badge below the Cobra decal reads 5.8; Australia switched to the metric system in 1973 but because of the nature of the machines, almost always the V8s are described either as 302 (4.9) or 351 (5.8), cubic inches being a muscle car motif. 

Scrapping them all had been discussed but in Australia at the time was Edsel Ford II (b 1948), great-grandson of Henry Ford (1863-1947), grandson of Edsel Ford (1893–1943) and the only son of Henry Ford II (1917–1987).  The scion had been sent to southern outpost to learn the family business and been appointed assistant managing director of Ford Australia; his solution profitably to shift the surplus hardtops was hardly original but, like many sequels, it worked.  What Edsel Ford suggested was to use the same approach which in 1976 had been such a success when applied in the US to the Mustang II (1973-1978): Create a dress-up package with the motifs of the original Shelby Mustangs (1965-1968), the most distinctive of which were the pair of broad, blue stripes running the vehicle’s full length.  In truth, the stripes had been merely an option on the early Shelby Mustangs but so emblematic of the breed did they become it’s now rare to see one un-striped.  The blinged-up Mustang IIs had been dubbed “Cobra II” and although mechanically unchanged, proved very popular.  One (unverified) story which is part of industry folklore claims the American’s suggestion was initially rejected by local management and discarded before a letter arrived from Ford’s Detroit head office telling the colonials that if Edsel Ford II wanted a Falcon Cobra with stripes, it must be done.  As Edsel's father once told a Lee Iacocca (1924–2019) who seemed to be getting ideas above his station: "Don't forget my name is on the building". 

Falcon Cobra #31.  The rear-facing bonnet (hood) scoop was the most obvious visual clue identifying the Option 97 (#002-031) cars although the after market responded and it became possible to buy replica scoops as well as the decals and plaques for those who wanted their own "Cobra look".

The Australian cars thus came to be “Cobra” and as well as providing a path to monetizing what had come to be seen as dead stock, the cars would also be a platform with which Ford could homologate some parts for use in racing.  The latter task was easy because in November 1977 Ford had built 13 “special order” XC Hardtops which conformed with the “evolution” rules of the Confederation of Australian Motor Sport (CAMS, then the regulatory body) for homologating parts for Group C touring car events.  Cognizant of the furore which had erupted in 1972 when high-output engines were homologated in road cars, the changes were mostly about durability and included enlarged rear wheel wells to accommodate wider wheels and tyres, a reverse hood (bonnet) scoop which drew desirable cool-air from the low-pressure area at the base of the windscreen, twin electric fans (switchable from the cockpit) which replaced the power-sapping engine-driven fan, a front tower brace (K-brace) which stiffened the body structure, an idler arm brace and front and rear spoilers.

Falcon Cobra #094 which was one of the "fully optioned" of the Option 96 build (#081-200 including the 351 V8, air-conditioning, power steering & power windows).

A prototype Falcon Cobra was built in April 1978 with production beginning the following July.  Unusually, all were originally painted Bold Blue before the areas which would become the stripes and the sill & wheel-arch highlights was masked with a coating of Sno White was painted over the top (thin Olympic (Blaze) Blue accent stripes separated the colors and “Cobra” decals were fitted to the sides and rear).  Each of the 400 built was fitted with a sequentially numbered plaque (001 to 400) on the dash and the production breakdown was:

#001: Created for promotional use, it was allocated for the photo-sessions from which came the images used in the first brochures (351 automatic).

#002-031: The Option 97 run which contained the parts and modifications intended for competition and produced in conformity with CAMS’s “evolution” rules (351 manual).

#032-041: 351 manual with air-conditioning (A/C) & power steering (P/S).

#042-080: 351 manual with A/C, P/S & power windows (P/W).

#081-200: 351 automatic with A/C, P/S & P/W.

#201-300: 302 manual.

#301-360 (except 351): 302 automatic with A/C & P/S.

#351: 351 manual.

#361-400: 302 automatic with A/C, P/S & P/W.

Moffat Ford Dealers team cars in the Hardie-Ferodo 1000 at Bathurst, finishing 1-2 in 1977 (left) and on the opening lap in 1978 (right).  In 1978, the cars (actually 1976 XB models modified to resemble XCs) matched their 1977 qualifying pace by starting second & third on the grid but in the race both recorded a DNF (did not finish). 

The Option 97 run (#002-031) included the modifications fitted to the 13 cars built in November 1997 but also included was engine & transmission oil coolers, a tramp rod (fitted only to the left-side because most racing in Australia is on anti-clockwise circuits and most turns thus to the left) and a special front spoiler which directed cooling air to the front brakes.  Visually, the Option 97 run was differentiated from the rest by the (functional) bonnet scoop and a pair of Scheel front bucket seats (part number KBA90018) in black corduroy cloth. Collectively, the 370 Option 96 and 30 Option 97 made up the 400 SVP (Special Value Pack) that was the Falcon Cobra.  The Cobra’s blue & white livery appeared on the race tracks in 1978 but the best known (the pair run by Allan Moffat's (v 1939) “Moffat Ford Dealers” team were actually modified XB Hardtops built in 1976 and the same vehicles which had completed the photogenic 1-2 at Bathurst in 1977.

Glaucus

Glaucus (pronounce gloh-kus)

(1) Bluish-green, grayish-blue, sea-colored (ie of certain seas) or a gleaming pale blue.

(2) Any member of the genus Glaucus of nudibranchiate mollusks, found in the warmer latitudes, swimming in the open sea, strikingly colored with blue and silvery white.  They’re known also as sea swallow, blue angel, blue glaucus, blue dragon, blue sea slug, blue ocean slug).  If offered the choice, the organisms presumably would prefer to be called swallows, angels or dragons rather than slugs.

(3) A desert lime (Citrus glauca), a thorny shrub species endemic to semi-arid regions of Australia.

From the Ancient Greek γλαυκός (glaukós) (the γλαῦκος (glaûkos) was an edible grey fish although the species is uncertain (perhaps the derbio)) and was taken up by the Medieval Latin as glaucus (bright, sparkling, gleaming” and “bluish-green).  There may be an Indo-European root but no link has ever been found and despite the similarity, other words used to denote gleaming or shimmering light and colors (glow, gleam etc), there’s no known etymological link and it may have been a substratum word from Pre-Greek.  The eighth century BC poet Homer used the Greek glaukos to describe the sea as “gleaming, silvery”, apparently without any suggestion of a specific color but later writers adopted it with a sense of “greenish” (of olive leaves) and “blue; gray” (of eyes).  In English, the adjective glaucous dates from the 1670s and was used to refer to shades of bluish-green or gray; it’s a popular form in botany and ornithology, describing surfaces with a powdery or waxy coating that gives a pale blue-gray appearance.  In fashion, the vagueness of glaucus (especially the adjective glaucous) makes it handy because it can be used to describe eyes or fabrics neither quite blue nor green yet really not suited to being called turquoise, teal, aqua etc.  Glaucus is a noun & adjective; the noun plural is glaucuses.

Translators seem to believe Homer's glauk-opis Athene (Athena Glaukopis) meant “bright-eyed” rather than “gray-eyed” goddess; it was an epithet emphasizing her intelligence and wisdom, the construct being glau(kos) (gleaming, silvery; bluish-green; grey) + opsis (eye; face).  The word γλαύξ (glaux) (little owl) may have been related and linked to the bird’s distinctive, penetrating stare but it may also be from a pre-Greek source.  Owls do however sometimes appear with the goddess in Greek art and, like her, became a symbol of wisdom and intelligence.  The other epithets applied to Athena included Ophthalmitis and Oxyderkous, both references to her sharp, penetrating gaze.  As a descriptor of color, glaucus was applied widely including to eyes, the sea, the sky or fabrics and was used of shining surfaces.  The descendants include the Catalan glauc, the English glaucous, the French glauque, the Romanian glauc, the Italian glauco, the Portuguese glauco, the Romanian glauc and the Spanish glauco.  The Middle English glauk (bluish-green, gray) was in use as late as the early fifteenth century.

Renaissance-era engraving of Athena, the Ancient Greek goddess of wisdom, warfare, and craft, depicted in Corinthian helmet with spear and clothed in a long πέπλος (péplos); her aegis (shield or breastplate), bearing the Gorgon's head, rests nearby.  Athena’s sacred bird, the Athene noctua (little owl) is perched atop a pile of books, symbolizing knowledge & wisdom while the creature at her feet is the chthonic serpent Erichthonius which she raised, used often to stand for the triumph of reason over chaos, thus appearing also as the sacred serpent which protected the Acropolis.  The Greek Inscription on the banner reads: ΜΟΧΘΕΙΝ ΑΝΑΓΚΗ ΤΟΥΣ ΘΕΛΟΝΤΑΣ ΕΥ ΠΡΑΤΤΕΙΝ (Those who wish to do well must undergo toil) a classical aphorism often suggested as being a paraphrasing lines from Pindar or Isocrates, extolling effort and virtue.

In the myths of Antiquity there were many tales of Glaucus and in that the character was not unusual, the figures in the stories sometimes differing in details like parentage, where they lived, the lives they led and even whether they were gods or mortals; sometimes the lives depicted bore little similarity to those in other tales.  The myths in ancient Greece were not a fixed canon in the modern Western literary tradition; they were for centuries passed down orally for centuries before being written and in different regions a poet or dramatist was likely to tell it differently.   That was not just artistic licence because the stories could be a product people would pay to hear and content providers needed new product.  Additionally, as is a well-documented phenomenon when information is passed on orally, over generations, the “Chinese whispers problem” occurs and things, organically, can change.

Lindsay Lohan’s in glaucous (in the Medieval Latin sense of gleaming as well as the color) John Galliano satin gown, worn with Santoni stilettos, Irish Wish (Netflix, 2024) premiere, Paris Theater, New York City, March, 2024.

Nor was there the modern conception of IP (intellectual property) or copyright in the characters, the myths “belonging” literally to all as a shared public cultural heritage.  Were a poet (Ovid, Homer, Hesiod etc) to “re-imagine” an old myth or use well known characters to populate a new plot, that wasn’t plagiarization but simply a creative act in interpretation or reshaping.  There were social and political determinisms in all this: We now refer casually to “Ancient Greece” but it was not a unitary state (a la modern Greece) but an aggregation of city-states with their own distinct cults, local legends and literary traditions.  So, in one region Glaucus might have been depicted as a sea-god while somewhere to the south he was a warrior; a tragedian might make Glaucus tragic, a philosopher might use him as an allegorical device and a poet might map him onto a formulaic tale of jealousy, transformation and redemption.  The best comparison is probably the fictional characters which have entered public domain (as Mickey Mouse recently achieved) and thus become available for anyone to make of what they will.  To be generous, one might suggest what the AI (artificial intelligence) companies now wish to be made lawful (vacuuming up digitized copyright material to train their LLMs (large language models) for commercial gain while not having to pay the original creators or rights holders) is a return to the literary practices of antiquity.

Lindsay Lohan’s eyes naturally (left) are in the glaucus range but with modern contact lens (right), much is possible.

So it wasn’t so much that writers felt free to adapt myths to suit their purposes but rather it would never have occurred to them there was anything strange in doing exactly that.  Significantly, any author was at any time free to create a wholly new cast for their story but just as movie producers know a film with “bankable” stars has a greater chance of success than one with talented unknowns, the temptation must have been to avoid risking market resistance and “stick to the classics”.  Additionally, what’s never been entirely certain is the extent to which the poets who wrote down what they heard were inclined to “improve” things.  The myths were in a sense entertainment but they were often also morality tales, psychological studies or statements of political ideology, a medium for exploring fate, identity, love, betrayal, divine justice and other vicissitudes of life.  The very modern notion of “authorship” would have been unfamiliar in Antiquity, a ποιητής (author; poet) being someone who “shaped” rather than “owned” them and Homer (who may not have been a single individual) was revered not because he “made up” the Trojan War, but because masterfully he recounted it, just as now historians who write vivid histories are valued. 

Some of the many lives of Glaucus (Γλαύκος)

(1) He was the son of Antenor who helped Paris abduct Helen and to punish him, his father drove him out.  He fought against the Greeks, and was said sometimes to have been slain by Agamemnon but the more common version is he was saved by Odysseus and Menelaus; as the son of Antenor, who was bound to them by ties of friendship.

(2) He was the son of Hippolochus and grandson of Bellerophon and with his cousin Sarpedon, he commanded the Lycian contingent at Troy.  In the fighting around the city, he found himself face to face with Diomedes but both recalled their families were bound by ties of friendship so the two exchanged weapons, Diomedes of bronze and Glaucus of gold.  Later, when Sarpedon was wounded, he went to assist him, but was stopped by Teucer, wounded and forced to retire from the fray.  Apollo cured Glaucus in time to recover Sarpedon's body, though he was unable to stop the Greeks stripping the corpse of its arms.  Glaucus was killed during the fight for the body of Patroclus by Ajax and on Apollo's order his body was carried back to Lycia by the winds.

(3) He was the son of Sisyphus and succeeded his father to the throne of Ephyra, which later became Corinth.  Glaucus took part in the funeral games of Pelias but was beaten in the four-horse chariot race by Iolaus; after this his mares ate him alive after being maddened either by the water of a magic well, or as a result of Aphrodite's anger, for in order to make his mares run faster Glaucus refused to let them breed, and so offended the goddess.  In another legend, this Glaucus drank from a fountain which conferred immortality. No one would believe that he had become immortal, however, so he threw himself into the sea, where he became a sea-god and every sailor who cast a gaze upon him was assured an early death.

(4) He was a sea-deity.  Glaucus was a fisherman standing on the shore when he noticed if he laid his catch upon a certain herb-covered meadow, the fish miraculously were restored to life and jumped back into the sea. Curious, he tasted the herb himself and was seized by an irresistible urge to dive into the waters where the sea goddesses cleansed him of his remaining traces of mortality.  With that, he assumed a new form, his shoulders grew broader and his legs became a fish’s tail, his cheeks developed a thick beard (tinted green like the patina of bronze) and he became a part of the oceanic pantheon.  He also received the gift of prophecy to become a protector of sailors, often giving oracles and wisdom drawn from the sea.

Glaucus et Scylla (1726), oil on canvas by Jacques Dumont le Romain (1704-1781), (Musée des Beaux-Arts de Troyes). 

(5) Virgil made him the father of the Cumaean Sibyl and he appeared to Menelaus when the latter was returning from Troy; in some traditions he is said to have built the Argo and to have accompanied the ship on its voyage.  Glaucus courted Scylla unsuccessfully, and also tried to win the favours of Ariadne when Theseus abandoned her on Naxos. In that quest he failed but Dionysus included him in his train when the god took her away and made her his wife.

(6) He was the son of Minos and Pasiphae and while still a child he was chasing a mouse when he fell into a jar of honey and drowned.  When Minos finally found his son's corpse, the Curetés told him the child could be restored to life by the man who could best describe the colour of a certain cow among his herds which changed its colour three times a day.  It first became white, then red and finally became black.  Minos asked all the cleverest men in Crete to describe the colour of the cow and it was Polyidus who answered that the cow was mulberry-coloured, for the fruit is first white, turns red, and finally goes black when ripe. Minos felt that Polyidus had solved the problem and told him to bring Glaucus back to life, shutting him up with Glaucus' body.  Polyidus was at his wits' end, until he saw a snake make its way into the room and go over towards the body. He killed the serpent but soon a second came in and, seeing the first lying dead, went out before returning carrying in its mouth a herb with which it touched its companion.  Immediately, the snake was restored to life so Polyidus rubbed this herb on Glaucus, who revived at once.  Minos, however, was still not satisfied.  Before allowing Polyidus to return to his fatherland he demanded that the soothsayer should teach Glaucus his art.  This Polyidus did, but when he was finally allowed to go, he spat into his pupil's mouth, and Glaucus immediately lost all the knowledge he had just acquired.  In other versions of the legend, it was Asclepius, not Polyidus, who brought Glaucus back to life.

Pasha

Pasha (pronounced pah-shuh, pash-uh, puh-shah or pur-shaw)

(1) In historic use, a high rank in the Ottoman political and military system, granted usually to provincial governor or other high officials and later most associated with the modern Egyptian kingdom; it should be placed after a name when used as a title, a convention often not followed in the English-speaking world.

(2) A transliteration of the Russian or Ukrainian male given name diminutive Па́ша (Páša).

(3) A surname variously of Islamic and Anglo-French origin (ultimately from the Latin).

(4) In casual use, anyone in authority (used also pejoratively against those asserting authority without any basis); the use seems to have begun in India under the Raj.

(5) As the “two-tailed pasha” (Charaxes jasius), a butterfly in the family Nymphalidae.

1640–1650: From the Turkish pasa (also as basha), from bash (head, chief), (there being in Turkish no clear distinction between “b” & “p”), from the Old Persian pati- (maste), built from the primitive Indo-European root poti- (powerful; lord) + the root of shah (and thus related to czar, tzar, csar, king & kaisar).  The related English bashaw (as an Englishing of pasha) existed as early as the 1530s.  Pasha’s use as an Islamic surname is most prevalent on Indian subcontinent but exists also in other places, most often those nations once part of the old Ottoman Empire (circa 1300-1922) ) including Albania, Republic of Türkiye and the Slavic region.  As a surname of English origin, Pasha was a variant of Pasher, an Anglicized form from the French Perchard, a suffixed form of Old French perche (pole), from the Latin pertica (pole, long staff, measuring rod, unit of measure), from the Proto-Italic perth & pertikā (related also to the Oscan perek (pole) and possibly the Umbrian perkaf (rod).  The ultimate source of the Latin form is uncertain.  It may be connected with the primitive Indo-European pert- (pole, sprout), the Ancient Greek πτόρθος (ptórthos) (sprout), the Sanskrit कपृथ् (kapṛth) (penis) although more than one etymologist has dismissed any notion of extra-Italic links.  Pasha, pashaship & pashadom are nouns and pashalike is an adjective; the noun plural is pashas.  The adjectives pashaish & pashaesque are non-standard but tempting.

Fakhri Pasha (Ömer Fahrettin Türkkan (1868–1948), Defender of Medina, 1916-1919).

In The Struggle for Survival, 1940–1965 (1966) (extracts from the diary of Lord Moran (Charles Wilson, 1882-1977, personal physician to Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955)), there’s an entry in which, speaking of her husband, Clementine Churchill (1885–1977) told the doctor: “Winston is a Pasha.  If he cannot clap his hands for servant he calls for Walter as he enters the house.  If it were left to him, he'd have the nurses for the rest of his life ... He is never so happy, Charles, as he is when one of the nurses is doing something for him, while Walter puts on his socks.”  In his busy youth, Churchill has served as a subaltern in the British Army’s 4th Queen's Own Hussars, spending some two years in India under the Raj; he would have been a natural pasha.

Debut of 928 & the pasha: Ferdinand "Ferry" Porsche (1909–1998) with the Porsche 928 displayed at the Geneva Auto Salon, 17 March, 1977.

The car (pre-production chassis 928 810 0030) was finished in the Guards Red which in the next decade would become so emblematic of the brand and this was not only the first time the pasha trim was seen in public but also the first appearance of the “phone-dial” wheels.  Although the factory seems never to have published a breakdown of the production statistics, impressionistically, the pasha appeared more often in the modernist 924 & 928 than the 911 with its ancestry dating from the first Porsches designed in the 1940s. 

The “Pasha” flannel fabric was until 1984 available as an interior trim option for the 911 (1964-1989), 924 (1976-1988) & 928 (1977-1995) in four color combinations: black & white, black & blue, blue & beige and brown & beige.  Although not unknown in architecture, the brown & beige combination is unusual in fashion and it's doubtful the kit once donned by New Zealand’s ODI (one day international) cricket teams was influenced by the seats of pasha-trimmed Porsches; if so, that was one of the few supporting gestures.

1979 Porsche 930 with black & white pasha inserts over leather (to sample) (left) and 1980 Porsche 928S with brown & beige pasha inserts over brown leather.

It was known informally also as the Schachbrett (checkerboard) but it differed from the classic interpretation of that style because the objects with which the pattern was built were irregular in size, shape and placement.  Technically, although not usually listed as a velvet or velour, the pasha used a similar method of construction in that it was a “pile fabric”, made by weaving together two thicknesses of fine cord and then cutting them apart to create a soft, plush surface, rendering a smooth finish, the signature sheen generated by the fibres reflect light.  It was during its run on the option list rarely ordered and in the Porsche communities (there are many factions) it seems still a polarizing product but while “hate it” crowd deplore the look, to the “love it” crowd it has a retro charm and is thought in the tradition of Pepita (or shepherd’s check), Porsche’s unique take on houndstooth.

Reproduction Porsche pasha fabric available from the Sierra Madre Collection.

There are tales about how Porsche’s pasha gained the name including the opulent and visually striking appearance evoking something of the luxury and flamboyance associated the best-known of the Ottoman-era pashas, much publicized in the West for their extravagant ways.  There seems no basis for this and anyway, to now confess such an origin would see Porsche damned for cultural appropriation and at least covert racism.  It may not be a “cancellation” offence but is trouble best avoided.  Also discounted is any link with lepidopterology for although the “two-tailed pasha” (Charaxes jasius, a butterfly in the family Nymphalidae) is colourful, the patterns on the wings are not in a checkerboard.  Most fanciful is that during the 1970s (dubbed to this day “the decade style forgot” although that does seem unfair to the 1980s), in the Porsche design office was one chap who was a “sharp dresser” and one day he arrived looking especially swish, his ensemble highlighted by a check patterned Op Art (optical art, an artistic style with the intent of imparting the impression of movement, hidden images, flashing & vibrating patterns or swelling & warping) scarf.  The look came to the attention of those responsible for the interiors for the upcoming 928 and the rest is history... or perhaps not.  More convincing is the suggestion it was an allusion to the company’s success in motorsport, a chequered (checkered) flag waved as the cars in motorsport cross the finish-line, signifying victory in an event.  What the pasha’s bold, irregular checkerboard did was, in the Bauhaus twist, create the optical illusion of movement.

Publicity shot for Porsche 911 Spirit 70, released as a 2026 model.

When on the option list, the Pasha fabric was never a big seller but, being so distinctive, memories of it have never faded and it transcended its lack of popularity to become what is now known as “iconic”.  Originally, the use of “iconic” was limited to the small objects of religious significance (most associated with the imagery in Eastern Orthodox Christianity where the concept didn’t always find favour, the original iconoclasts being literally those destroyed icons) and later co-opted for analogous (often secular) use in art history.  It was in the 1960s, perhaps influenced by the depictions in pop-art (many of which were icon-like) of pop culture figures such as Marilyn Monroe (1926–1962) that there meaning shifted to apply to those highly influential, recognizable, or emblematic in some aspect of what was being discussed, be that a look, brand, cultural phenomenon or whatever.  In that sense, Porsche over the years has been associated with a few “iconic” objects including certain wheels, rear spoilers and entire vehicles such as the 911 or 917.  Even before the internet reached critical mass and accelerated the trend, the word was in the 1980s & 1990s a common form but in the twenty-first century such was the overuse the value was diminished and its now not uncommon for it to have to be used with modifiers (genuinely iconic, truly iconic etc).  So, the path has been from sacred to symbolic to cultural to viral to clichéd, and by the 2020s, were something to be described as “totally iconic”, there was a fair chance it would within a week be forgotten.

2026 Porsche 911 Spirit 70.  The Pasha fabric is standard on the door panels and seat cushions but optional for the seat squabs and dashboard (left).  The Pascha-Teppich (Pasha mat) in the frunk is included (right).

Porsche however seems assured the Pasha fabric is part of the company’s iconography and in April 2025 announced the look would be reprised for the 911’s latest Heritage Edition model.  Dubbed the 911 Spirit 70, the name is an allusion to the “company’s design philosophy of the seventies” and that may be something worth recalling for during that “difficult decade”, not only did some of Porsche’s most memorable models emerge but most than most manufacturers of the time, they handled the troubles with some aplomb.  Production of the Spirit 70 will be limited to 1,500 units, all in Olive Neo (a bespoke and (in the right light) untypically vibrant olive) with retro-inspired livery and trimmed in the revived Pasha fabric upholstery (although use on the seat squabs and dashboard is optional).  Mechanically, the car is based on the Carrera GTS Cabriolet, availability of which has spanned a few of the 911’s generations and for those who don’t like the graphics, they’re a delete option.

Lindsay Lohan (during “brunette phase”) in bandage dress in black & white pasha, rendered as an adumbrated pen & ink sketch in monochrome.

Although made with "pasha" fabric, this is not a “pasha-style” dress.  Some purists deny there’s such a thing and what people use the term to describe is correctly an “Empire” or “A-Line” dress, the industry has adopted “pasha” because it’s a romantic evocation of the style of garment often depicted being worn by notables in the Ottoman Empire.  The (Western) art of the era fuelled the popular imagination and it persists to this day, something which was part of the critique of Palestinian-American academic Edward Said (1935–2003) in Orientalism (1978), an influential work which two decades on from his death, remains controversial.  As used commercially, a pasha dress can be any longer style characterized by a flowing silhouette, sometimes with a wrap or corset detailing and so vague is the term elements like ruffles or pagoda sleeves can appear; essentially, just about any dress “swishy” enough to “waft around” dress can plausibly be called a pasha.  Since the symbiotic phenomena of fast-fashion and on-line retailing achieved critical mass, the number of descriptions of garment styles probably has increased because although it's difficult to create (at least for saleable mass-produced products) looks which genuinely are "new", what they're called remains linguistically fertile. 

For the Porsche owner who has everything, maXimum offers “Heel Trend Porche Pasha Socks”, the "Porche" (sic) a deliberate misspelling as a work-around for C&Ds (cease & desist letters) from Stuttgart, a manoeuvre taken also by legendary accumulator of damaged Porsches (and much else), German former butcher Rudi Klein (1936-2001) whose Los Angeles “junkyard” realized millions when the contents were auctioned in 2024.  His “Porsche Foreign Auto” business had operated for some time before he received a C&D from German lawyers, the result being the name change in 1967 to Porche Foreign Auto.  It’s a perhaps unfair stereotype Porsche owners really do already have everything but the socks may be a nice novelty for them.

Chairs, rug & occasional tables in black & white pasha.

A minor collateral trade in the collector car business is that of thematically attuned peripheral pieces.  These include models of stuff which can be larger than the original (hood ornaments, badges and such), smaller (whole cars, go-karts etc) or repurposed (the best known of which are the engines re-imagined as coffee-tables (almost always with glass tops) but there are also chairs.  Ideal for a collector, Porsche dealership or restoration house, one ensemble consisting of two chrome-plated steel framed chairs, a circular rug and brace of occasional tables was offered at auction.  The “Porsche Pasha” chosen was the black & white combo, something which probably would be approved by most interior decorators; with Ferraris there may be “resale red” but with furniture there’s definitely “resale black & white”.