Showing posts sorted by date for query Shadow. Sort by relevance Show all posts
Showing posts sorted by date for query Shadow. Sort by relevance Show all posts

Wednesday, August 26, 2026

Meconium

Meconium (pronounced mi-koh-nee-uhm)

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

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

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

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

(5) Slang for opium (obsolete).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Friday, August 14, 2026

Melon

Melon (pronounced mel-uhn)

(1) Any of various plants of two cucurbitaceous vines (the gourd family) including the watermelon, muskmelon etc.  Variations include Genus Cucumis (various musk melons, including honeydew, cantaloupes, and horned melon); Genus Citrullus (watermelons and others); Genus Benincasa (winter melon); Genus Momordica (a bitter melon).

(2) The fruit of any of these plants.

(3) A color ranging between a medium crimson and a deep pink, noted for the orange tinge.

(4) In zoology, the visible upper portion of the head of a surfacing whale or dolphin, including the beak, eyes, and blowhole (a mass of adipose tissue used to focus and modulate vocalizations).

(5) In the slang of (mostly North American) financial markets, an especially large additional dividend (often in the form of stock) distributed to stockholders (often as “cut a melon”).

(6) By extension, any windfall of money to be divided among specified beneficiaries.

(7) In slang, the breasts of the human female (almost always in the plural).  The alternative slang is "chest melons" and a woman generously endowed can be dubbed melonious.

(8) In slang, the head; the skull.  Those deemed vague or of limited intelligence dubbed "melon heads".

(9) In slang, a derogatory term for members of a green political party, or similar environmental groups (rare and mostly Australia & New Zealand).

1350–1400: From the Middle English meloun & melon (herbaceous, succulent trailing annual plant or its sweet, edible fruit), from the Old Portuguese (via the thirteenth century Old French melon) melon, from the Late Latin melonem & mēlōn- (stem of mēlō and a shortening of mēlopepō (the “gourd apple”, a large apple-shaped melon)), from the Ancient Greek μηλοπέπων (mēlopépōn) (large apple-shaped melon), the construct being μηλο (mêlo(n)) (apple) + πέπων (pépōn) (ripe), from πέπτω (péptō) (to ripen).  Confusingly for historians seeking to reconstruct the recipes of Antiquity the Latin melopeponem was a kind of pumpkin while the Greek mēlopepon (gourd-apple) was applied to several kinds of gourds bearing sweet fruit, the origin of that in the noun use of pépōn (ripe) distinguishing the fruit on the vine ready for harvest from those yet to ripen.  As a modifier, melon is appended as appropriate (based on color, shape, diet, environmental niche, habitat etc) including melon beetle, melon cactus, Melon rugose mosaic virus, melon thistle & melon-headed.  The best known is probably the watermelon, dating from the 1610s and so named for their high content of water-like juice; in French, the more pleasing term is melon d'eau.  Melonade is a (non-alcoholic) drink made from melons while the (definitely alcoholic) melontini is a martini cocktail made with melon.  The adjective melonic is unrelated to melons and is used in chemistry to mean "of or pertaining to a type of complex heterocyclic triazine related to melem".  Melem is the heptazine (a certain chemical compound) with three amino substituents.  Melon is a noun & adjective and melonious, melony, melonous & melonlike are adjectives; the noun plural is melons.

The Cold War won, in 1992, Richard Nixon (1913-1994; VPOTUS 1953-1961 and POTUS 1969-1974) returned to Moscow, a place more than once he’d visited as an adversary.  Visiting the markets, he bought a juicy melon.

Being prolific and undemanding to grow, melons were among the earliest plants domesticated and in Greek, “melon” was used in a generic way for many foreign fruits, a fate which would also befall "apple", thus the naming of the pineapple and in some Old English texts, cucumbers are referred to as eorþæppla (literally "earth-apples"), the deductive process that produced the French pomme de terre (potato (literally “earth-apple”)), the French pomme from the Latin pomum (apple; fruit).  Apple was from the Old English æppel (apple; any kind of fruit; fruit in general), from the from Proto-Germanic ap(a)laz (source also of the Old Saxon, Old Frisian & Dutch appel, the Old Norse eple, the Old High German apful & the German Apfel), from the primitive Indo-European ab(e)l- (apple), (source also of the Gaulish avallo (fruit), the Old Irish ubull, the Lithuanian obuolys, & the Old Church Slavonic jabloko (apple)) but etymologists caution the original sense of these and their relationship(s) to what is now understood as “an apple” is uncertain.  In Middle English, as late as the seventeenth century (even the earliest compliers of recipe books aren’t always explicit so some reverse-engineering based on supposition has been undertaken), it was a generic term for all fruit other than berries but including nuts (such as Old English fingeræppla (dates (literally "finger-apples) and the late fourteenth century Middle English appel of paradis (banana (literally apple of paradise)).

The twenty-first century judgment of Paris: Lindsay Lohan (b 1986, left), Britney Spears (b 1981, centre) & Paris Hilton (b 1981, right) reprise Hera, Athena, and Aphrodite, New York City, 29 November, 2006.  The car was a Mercedes-Benz SLR McLaren Coupé (C199, 2003-2010) leased by Ms Hilton.  It was a paparazzi photo from this moment used in the infamous "Bimbo Summit" headline by Rupert Murdoch's (b 1931) New York Post. 

That generality of meaning saw “apple” named as the fruit with which the serpent tempted Eve in the Garden of Eden, leading to the downfall of man and creating the original sin with which we’ve all since been damned.  The Biblical apportionment of blame to Eve has been held by feminists to account for at least some of the oppression suffered by women for the last two millennia.  However, the “fruit of the forbidden tree” was unspecified in the original texts of the Book of Genesis and, despite the wishful thinking of a few, in Biblical scholarship there’s no support for the notion the fruit was even hinted at being an appel of paradis, however appropriate, given the context, a nice plump banana might seem.  Nor is the forbidden fruit explicitly mentioned in the Holy Quran but according to traditional Islamic commentaries, it was not an apple but wheat.  The Prophet may not have been concerned but in Greek mythology there was the μλον τς ριδος (Golden Apple of Discord) in the story of the Judgment of Paris which the goddess ρις (Eris) (Strife), tossed in the midst of the feast of the gods at the wedding of Peleus and Thetis as a prize of beauty, thus sparking a vanity-fueled dispute among Hera, Athena and Aphrodite; it was that squabble that triggered the Trojan War.  Eris was the goddess of chaos and discord who (perhaps unsurprisingly), having not received a wedding invitation, was miffed and inscribed kallisti (To the prettiest one) on her “wedding gift” handing it to Πάρις (Paris, AKA λέξανδρος (Aléxandros) (Alexander), the son of King Priam and Queen Hecuba of Troy) who was told to choose the goddess he found most beautiful.  Judging what turned out to be one of Antiquity's more significant beauty contests, Paris chose Aphrodite, offending Hera and Athena, the most famous consequence of their feud being the Trojan War.  Tragedy did thereafter stalk the marriage of Peleus and Thetis; of their seven sons, the only one to survive beyond infancy was Achilles.

Cookmaid with Still Life of Vegetables and Fruit (circa 1620-1625), oil on canvas by Sir Nathaniel Bacon (1585–1627).

Beginning probably in Holland in the early seventeenth century and apparently first painted by Pieter Aertsen (circa 1533-circa 1573) "cookmaid and market scenes" was a genre in painting combining representations of produce and kitchens with themes often borrowed from the New Testament.  Two other examples of Sir Nathaniel's works in this vein are known still to exist: (1) Cookmaid with Still Life of Game and (2) Cookmaid with Still Life of Birds, both featuring healthy young ladies and there is obviously some artistic license in Cookmaid with Still Life of Vegetables and Fruit given that although every piece of produce depicted was at the time grown somewhere in England, not all simultaneously would have been in season.  Sir Nathaniel's lengthy title was too much for many, clipped often to the punchier "Maid with Melons".  This slang use of "melons" (ie female breasts) is listed by many dictionaries as “vulgar” or “mildly vulgar” but does travel with the vague respectability of a classical origin: In Antiquity the plural of the Greek melon (μῆλα) (mela) was used for “a girl's breasts” and in that tradition, in her youth, Lady Helen Taylor (née Windsor; b 1964 and a great-granddaughter of George V (1865–1936; King of the United Kingdom & Emperor of India 1910-1936)) was nicknamed “melons”.  In the line of succession to the British throne, Lady Helen comes in at number 49. 

Juicy Melons, Euston Station, London.

The world record price for a pair of juicy melons was set in May 2026 when a two “premium crown melons”, grown on Japan's northern main island of Hokkaido, realized ¥5.8 million yen (US$36,500) at the season’s first auction in Sapporo, Hokkaido, Japan; the result beat the previous mark of ¥5 million, achieved in 2019.  Although doubtlessly succulent, the prized examples were purchased not only for their taste but also as a promotional device, the successful bidder a Kushiro-based fruit and vegetable wholesaler who sold them to a supermarket where they would be “placed on display”.  Large, juicy melons should of course be put "on display"; everybody knows that, 

A cantaloupe as one would appear in most of the world (left) and a rockmelon down under (right).

Globalization has to some extent standardized in the English language spellings and meanings once disparate, sometimes reversing the trend towards diversity noted as one of the linguistic effects of the British Empire, especially in India under the Raj where the British pillaged the local languages with only slightly less enthusiasm than they showed for gold, diamonds and such.  However, the names of food seem often resistant to change, presumably most often where forms are well-established and supplied by local production.  Thus what is in some places eggplant is elsewhere the aubergine.  It’s also a melon matter because in Australia, what most of the world knows as the cantaloupe (from the French cantaloup, from the Italian place name Cantalupo, a former Papal summer estate near Rome, where the melons were first grown after being introduced to Europe from the Middle East), is called the rockmelon (occasionally rock-melon) and the antipodean quirkiness is not unique, the cantaloupe in some places called “sweet melon” or “Crenshaw melon” while in South Africa where it’s not uncommon to see fruit-stalls side-by-side, one selling cantaloupes and the other spanspeks (from the Afrikaans Spaanse spek (literally “Spanish bacon”)).  The Australian use, once deconstructed, does make sense in that a cantaloupe does (vaguely) resemble (some) rocks and has a "hard skin" but the case seems not compelling, cantaloupe a much more attractive word.  Visiting foodies will be gratified Australians follow the rest of the world when it comes to the honeydew (or honey-dew) melon, the name from the late sixteenth century honeydew (sticky sweet substance found in small drops on trees and plants), a replication of the formations in the Dutch honigdaauw and the German Honigthau.  That melon was first named in 1916 when selective breeding produced a cross between the cantaloupe and a melon native to southern African.

Anthony Albanese, shaggate & melongate

Applied kinesics: Linguists and anthropologists call the use of hand gestures as an accompaniment to speech (much associated with Italians): “gesticulations”.  Mr Albanese gesticulates (left) and Nova’s promotional banner for Nikki Osborne’s “Bushie” persona on Bush Deep (right).

Politics is unpredictable but even in the long tradition of "storm in a tea cup" scandals, few would have expected melons to play a role although, delightfully, Anthony Albanese (b 1963; prime-minister of Australia since 2022) managed a "storm in a D-cup", "melongate" the result of the second of his gaffes while in July 2026 appearing on the Bush Deep podcast.  Interviewed by comedian Nikki Osborne (b 1981), he was asked to play the “shag, marry, date” game, three Australian females from pop culture (singer Kylie Minogue (b 1968), actor Nicole Kidman (b 1967) & singer Rhonda Burchmore (b 1960)) offered as his options.  He started well by mentioning he was “newly married” (to his second wife) but Ms Osborne was tenacious and after boxing him into admitting “Kylie, clearly”, managed to press him into saying (with a slight giggle): “all of the above” (that apparently in answer to: You’d marry Kylie? And shag her? And date her?” rather than thoughts of intimacy (concurrent or otherwise), with all three nominees but Ms Osborne, seeming pleased, did conclude: "all right, a triple" so who knows?).  The public reaction wasn’t good (although muted compared with what would have been the outrage had the remarks been made by a conservative) and quickly his office issued a one-line statement: “I apologise unequivocally for the comments”.  Educated by the Congregation of Christian Brothers (a branch of the Roman Catholic Church), the Australian arm of which was dissolved after shifting the bulk of its assets to a related but legally separate entity to protect them from civil litigation brought by victims child sexual abuse by Christian Brothers, Mr Albanese (selectively) operates on the church's long-established principle of “confess and be forgiven”.  What he should have done was make the joke one of self-deprecation, telling his host a more interesting question would be to ask the trio if any of them would contemplate shagging him and all three were anyway “too good for him”.  His second wife, by now well-acquainted with politics, would have forgiven him.

Pampered crown melons in a Shizuoka hothouse.

It turned out to be an eventful podcast because he also told the tale of meeting Sanae Takaichi san (b 1961, Prime Minister of Japan since 2025) during her Australian visit in May 2026.  Knowing a comedian would likely be not interested in trade negotiations or maritime boundaries in the South China Sea, he instead described his surprise when presented with the gift of a pair of crown melons, a fruit grown only in the western region of Japan's Shizuoka Prefecture.  The nation’s most exalted and expensive melons, farmers tending the vines in climate-controlled greenhouses each season cut away all but the most obviously fecund bud so each plant’s energy & nutrients feed a single fruit, ensuring “perfect melons”.  Understandably, crown melons are a gift presented to someone as a mark of respect or appreciation, often in the intricately constructed packaging famously used in Japan for goods from sandwiches to stilettos.  Mr Albanese described the gift as “strange” but said he found them “quite good”.  While it's not reasonable to expect him to have been aware of the cultural significance in Japan of a fruit he’d have associated with the Aus$3.99 item familiar in Australian supermarkets, his office presumably was informed so it was bad staff work he wasn’t briefed on what to say.  An additional reason for the choice of gift was to mark the delectably honey-sweet” melons now being exported (tariff-free) to Australia.

Pamela Anderson (mostly real) on the cover of Playboy magazine, November 1994.

Things got worse.  Ms Osborne likened the melons to Canadian-US actor Pamela Anderson (b 1967) which must have amused Mr Albanese because almost instinctively he raised his hands to his chest and, making a cupping gesture, observed: “She brought two… as you do”.  There was laughter in the recording studio and it would have been a good joke in the locker room of the South Sydney Rabbitohs (the NRL (National Rugby League) club the prime minister takes every opportunity to remind the country he supports) but as the clip went around the world, he’d have understood he’d put his foot in it… again.  Well into the twenty-first century, it might be assumed politicians would by now be adept in handling the “new media” (social media, podcasts and such) but, beyond a certain age, many remain uncertain and often make the worst mistake of all: trying very hard to be “authentic” which is, of course, recognized instantly as “inauthentic”.  Politicians have before had to attempt to master “changes in platforms”.  In the nineteenth century, it was the shift from speeches being made on the floors of parliaments to public meetings; early in the twentieth it was the advent of radio (a medium better mastered by George V (1865–1936; King of the United Kingdom & Emperor of India 1910-1936) than most of his ministers), then in the post-war world it was television.  Social media & podcasts are just the latest “shock of the new” and hopefully the ALP’s operatives will arrange additional training.  Still, something good did come from the interview: Ms Osborne learning the Japanese prime minister is female.  As the first woman ever to gain the office, there had in 2025 been extensive international coverage of her accession but presumably that was something crowded out of Ms Osborne's news-feeds by the algorithms selecting matters of greater interest such as Ariana Grande's (b 1993) weight or Kylie Jenner's (b 1997) new hairstyle.

Lord Voldemort, played in this scene by Ralph Fiennes (b 1962).

Making the “melons quip” was a bit hypocritical because it hadn’t long before that Mr Albanese had issued a schoolmasteresque rebuke to a member of his shadow cabinet (Tanya Plibersek b 1969), saying she’d made “a mistake” in likening the Liberal Party’s Peter Dutton (b 1970; leader of the Liberal Party of Australia 2022-2025) to the villainous Lord Voldemort in the film adaptations of the Harry Potter children’s books.  Had the comparison been one of their political philosophy or methods (something that might still be worth pursuing) it would have been OK but in saying “I think there will be a lot of children who have watched a lot of Harry Potter films who will be very frightened of what they are seeing on TV at night” it did seem she was commenting on some physical similarity.  Asked to clarify, she said: “I am saying he looks a bit like Voldemort.  We will see whether he can do what he promised he would do when he was last running for leader, which is smile more.  Perhaps sensing danger, she added: “I am just saying he is not the warm and friendly face of the Liberal party and, if this last election taught us anything, it taught us that the Liberal party has moved too far to the extremes of politics.  Before long, a statement was issued from Ms Plibersek’s office saying she had “reached out” to Mr Dutton “unreservedly” to apologize, adding she acknowledged the remark should not have been made.  Mr Albanese went further, saying: “It was a mistake.  It shouldn’t have been said, we all make mistakes from time to time.  What we need to do is to move on from them and it is how we respond to them.  Tanya Plibersek responded appropriately. Tanya Plibersek did the right thing by apologising.  We should not refer to people’s appearance.

Mr Dutton at Mr Boswell’s funeral.

Mr Dutton called the comments “unfortunate” but said they were “water off a duck’s back” and there was no need for politicians to be “nasty and mean”, concluding the affair by saying “I’m not the prettiest bloke on the block but I hope that I’m going to be pretty effective.  Students of political phraseology enjoyed that last remark, the original used by John Howard (b 1939; Prime Minister of Australia 1996-2007) as an election campaign hook for the not at all photogenic Queensland National Party’s Senator Ron Boswell (1940–2026; senator for Queensland 1983-2014): “He may not be pretty but he’s pretty effective”.  That worked well and, in retirement, Mr Boswell wrote his memoirs, published as Ron Boswell: Not Pretty, But Pretty Effective (2023).  As leader of the opposition, Mr Dutton’s effectiveness was limited, suffering the ignominy of losing his own seat in parliament at the 2025 general election in which the Liberal party suffered its worst defeat since formation in 1944.  During the campaign, Mr Dutton limited his media appearances mostly to Mr Murdoch’s Sky News (now re-branded News24) where he could be asked “helpful” questions by other right-wing fanatics, the exchanges enjoyed by the channel’s small audience of the already converted, the only sceptical faction of which complained Mr Dutton was “not conservative enough”.  Had he dabbled in the anarchic world(s) of the Tiktokers and podcasters things might have been worse still so his handlers were right to “draw the line somewhere”.

The photogenic TERF Katherine Deves (left) and that tweet (right).

Mr Albanese’s reaction to the brief “Plibersek-Voldemort-Dutton affair” must have been something of a special case.  Although there are some things he’s done his best to forget (hoping others will do the same), otherwise his memory is typically ALP-sharp and he certainly remembered the occasions when Ms Plibersek told people she rather than him would have won the ballot for the party leadership had she chosen to contest.  Had a close factional ally pointed out Mr Dutton’s resemblance to Lord Voldemort, Mr Albanese’s reaction might have been limited to a quite chat (over a beer and a laugh) rather than a public censuring.  Sadly, the one who seemed to receive no sympathy was Lord Voldemort who was slighted by being called, by implication, “Duttonesque”; surely he had as much right to be offended by the comparison.  Amusingly, even within the Liberal Party, there are those who have seen the resemblance and commented.  Lawyer Katherine Deves (b 1978) is a (self-described) TERF (trans-exclusionary radical feminist) with a cult-following in the party and on Twitter (now X) on 1 December, 2021, while watching the televised proceedings of parliament, she tweeted: “New speaker [presiding officer of the House of Representatives] …struggles to keep order as Albo [Mr Albanese, then leader of the opposition) …calls Voldemort [Mr Dutton, then minister of defence] …‘boof head’  The tweet has since been deleted.

Harold Macmillan (1894–1986; UK prime-minister 1957-1963, left) being shown the Sinclair ZX Spectrum home computer by Sir Clive Sinclair (1940–2021, right), London, 1984.

Old Harold Macmillan had his problems with women (being bi-sexual, he may not have been wholly blameless for his wife’s infidelity) but was fortunate to be prime minister during the last days when journalists were still deferential towards politicians (at least until they smelled blood in the water).  Clearly, at least in his dealings with the press, he’d led a sheltered life because in his memoirs he compared the still polite English journalists to the breed he encountered in Australia during his Commonwealth tour (Jan-Feb 1958), noting they were as capable as the bowlers in the nation’s cricket team of “sending down a few fast deliveries”.  By the standards of 2026 the questions he received (and played mostly with a straight bat although there was the occasional square cut) would be thought “tame” and while it can’t be certain how the old Etonian would have handled TikTokers, podcasters and YouTubers, he’d doubtlessly have been appalled and thought them all vulgarians to be avoided.

Japanese Prime Minister Sanae Takaichi san: In what was obviously a misspent youth, she was a drummer in a heavy metal band and still sometimes "picks up the sticks".  A Deep Purple (a heavy metal band formed in 1968) fan-girl, she got to meet the band during their 2026 tour of Japan. 

Mr Albanese probably wishes he could avoid appearances on the “new media” but knows a significant chunk of those with a vote long ago tuned-out of the “old media” where he for decades honed to a high-level his skills of spin and obfuscation; his office also would prefer his appearances be restricted to “more easily managed” platforms but know they must play the cards dealt.  Those in his office take pride at being thought “political pros” but curiously, by August 2026 they appeared to have forgotten the wise adage from the Watergate affair (1972-1974) that claimed the scalp of Richard Nixon (1913-1994; VPOTUS 1953-1961 and POTUS 1969-1974) that in politics what’s lethal: “is not the crime, it's the cover-up”.  Just returned from holiday, Mr Albanese “furiously denied” making a crude joke about Sanae Takaichi san’s ‘melons’ in the anyway notorious ‘shag Kylie Minogue’ interview.  At this point, rather than digging deeper, it would have been a better tactic to apologize and hope for forgiveness but Mr Albanese learned his stuff in the “non-Trotskyite” wing of the ALP’s Socialist Left faction in which “never apologize” was less a mantra than a way of life.  In what was described as a “terse statement” a spokeswoman for Mr Albanese denied the comments were a joke about prime ministerial mammary glands, stating: “This assertion is wrong.”  Unfortunately, the "damn the torpedoes, full steam ahead!" approach is a tactic and not a strategy, the efficacy of "plausible deniability" depending not on the term's second element but the first. 

So the seeking of forgiveness option (if “workshopped”) must have been discarded, the office instead opting for attack, an approach perhaps ill-advised because the spokeswoman was responding to a opinion piece (published in Mr Murdoch’s national daily The Australian) by Tokyo’s former ambassador to Canberra, Shingo Yamagami san (Japanese ambassador to Australia 2020-2023) that criticized the comments as “insulting”, speculating even that they may have damaged Sanae Takaichi san’s reputation: “However light-hearted it was intended to be, the recent joke delivered by prime minister Anthony Albanese at the expense of Japanese prime minister Sanae Takaichi is how he might be remembered by Japanese who most value the friendship with Australia.  It is a time for toiling and not for crude jokes at another’s expense.  So, prime minister, please enjoy Japan’s sweet and juicy melons without thinking about a woman’s anatomy, and instead focus on what our two countries must do together.  As a former Director-General of the Intelligence and Analysis Service of the MoFA (Ministry of Foreign Affairs), Shingo Yamagami san was well-informed and concluded his opinion piece by reminding Mr Albanese of the special cultural significance of the revered fruit: “A crown melon is the most prized fruit in Japan and treasured as something special. Moreover, this particular fruit was painstakingly nurtured under intensive care in a special greenhouse. A single melon costs more than 30,000 yen (Aus$270).  Translation: “Albo has gained melons but has lost face.

Exhibit One: Shaggate.

While readers of The Australian mostly years ago made up their minds and concluded Mr Albanese “is a dud”, the reason Mr Murdoch continues to print and distribute the paper (despite large losses) is the content widely is reported on other media platforms (old and new) and while the influence is somewhat diminished, what appears can, on occasions, still “set the day’s agenda”.  However, it’s unlikely Shingo Yamagami san’s piece was written in an attempt to change many minds in Australia and was likely intended for “internal consumption” in Japan.  It’s improbable many Japanese voters would think their prime minister’s reputation much “damaged” by a foreign leader’s social ineptitude but, for a number of reasons (some geo-political but mostly economic), Sanae Takaichi san’s popularity has retreated from the stellar heights she enjoyed after assuming the presidency of the LDP (Liberal Democratic Party) and leading it to a stunning landslide in the 2026 general election (House of Representatives (lower house)) so the thought is the MoFA may have co-opted Shingo Yamagami san as a stalking horse to “muddy the waters”, seeking to exploit the “melons incident” for a bit of “blame-shifting”.  Of course, in diplomatic circles, it was hardly a secret Shingo Yamagami san was "not a big fan" of the ALP government and he may have been “freelancing”; certainly there's been from Tokyo no suggestion an apology has been sought or is expected and observers suspect  melongate will prove a “nine day wonder” that vanishes once Mr Murdoch's journalists conclude the story is "going nowhere" and will likely end up remembered as a “storm in a D-Cup.

Exhibit Two: Melongate.

One who seemed gleefully to relish the opportunity to defend Mr Albanese against accusations of having violated his own instruction to her (“We should not refer to people’s appearance”) was Tanya Plibersek (an unlikely but energetic Sancho Panzo to Mr Albanese’s Don Quixote) who appeared on morning TV with Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022 and now a convert from the National Party to One Nation), the latter not previously noted for his feminist credentials.  Echoing her leader’s thoughts on the matter, Ms Plibersek said she thought the former ambassador was “…100 per cent wrong, and we have an excellent relationship with Japan.  I think the former ambassador is wrong in his interpretation.  Now cast in the improbable role of the One Nation Party’s sole intellectual (he's a qualified accountant), Mr Joyce disagreed, saying it was “a really dangerous thing to say”, twisting the blade a little deeper by expressing some faux sympathy for his fellow panellist being bowled up to defend the indefensible: “I know you’re doing the best job you can on this, Tanya, but it’s just like the Kylie Minogue comment – completely wrong, completely trying to be clever. It wasn’t clever.  It just demeans the office of prime minister, and it certainly has created a massive problem with one of our major partners. I know in your heart, Tanya, you know it’s wrong.  Okay? And if you came out now and said, “Yeah, that was a stupid thing to say. You should have apologised for it. People say: ‘Tanya, it’s telling the truth.’

Lay theologian Mr Joyce conjuring (with no apparent hint of irony) an impromptu encyclical on “truthfulness” was one of the more amusing episodes in the “melon incident”.  Undeterred by that surreal moment, Ms Plibersek maintained focus and insisted it was a “complete misinterpretation by the former ambassador”, unwisely adding: “People watching it for themselves can make their own minds up.  Not one to miss a “full toss”, Mr Joyce responded: “They do, they do watch it, and they have made up their own mind.  And it is inappropriate.  In cricketing terms, the English would have called that “being bowled a pie” (ie an “easy hit”) but anyway, Harold Macmillan politely would have applauded Mr Joyce's riposte through the slips to the third man boundary.