Flute

Flute (pronounced floot)

(1) A woodwind instrument consisting of a tube with a row of finger-holes (or keys) which produce sound through vibrations caused by air blown across the edge of the holes, often tuned by plugging one or more holes with a finger; the Western concert flute, a transverse side-blown flute of European origin (in colloquial use, a recorder, also a woodwind instrument).

(2) An organ stop with wide flue pipes, having a flutelike tone.

(3) In architecture or engineering (particularly the manufacture of firearms), a semi-cylindrical vertical channel, groove or furrow, as on the shaft of a column, in a pillar, in plaited cloth, or in a rifle barrel to cut down the weight.

(4) Any groove or furrow, as in a ruffle of cloth or on a piecrust.

(5) One of the helical grooves of a twist drill.

(6) A slender, footed wineglass with a tall, conical bowl.

(7) A similar stemmed glass, used especially for champagne and often styled as "champagne flute".

(8) In steel fabrication, to kink or break in bending.

(9) In various fields of design, to form longitudinal flutes or furrows.

(10) A long bread roll of French origin; a baguette.

(11) In weaving, tapestry etc, a shuttle.

(12) To play on a flute; to make or utter a flutelike sound. 

(13) To form flutes or channels in (as in a column, a ruffle etc); to cut a semi-cylindrical vertical groove in (as in a pillar etc).

1350-1400; From the Middle English floute, floute & flote, from the Middle French flaüte, flahute & fleüte, from the twelfth century Old French flaute (musical), from the Old Provençal flaüt (thought an alteration of flaujol or flauja) of uncertain origin but may be either (1) a blend of the Provencal flaut or  flaujol (flageolet) + laut (lute) or (2) from the Classical Latin flātus (blowing), from flāre (to blow) although there is support among etymologists for the notion of it being a doublet of flauta & fluyt.  In other languages, the variations include the Irish fliúit and the Welsh ffliwt.  The form in Vulgar Latin has been cited as flabeolum but evidence is scant and all forms are thought imitative of the Classical Latin flāre and other Germanic words (eg flöte) are borrowings from French. 

Portrait of Archduchess Maria Antonia of Austria (later Queen Marie Antoinette of France (1774-1792)), circa 1768, oil on canvas by Martin van Meytens  (1695–1770).

Fluted & fluting both date from the 1610s while the verb (in the sense of "to play upon a flute") seems to bave been in use as early as the late fourteenth century.  The use to describe grooves in metalwork emerged in the 1570s and was applied to the tall, slender wine glass almost a century later although the term "champagne flute" didn't enter popular use until the 1950s.  The champagne flute is preferred by many to the coupé (or saucer) even though it lacks the (since unfortunately debunked) legend the shape of the latter was modelled on Marie Antoinette’s (1754-1793) left breast (historians gleefully recounting the tale all agree it definitely was the left).  Elegant though it is, the advantages of the flute are entirely functional, the design providing for less spillage than a coupé, something which comes to be more valued as lunch progresses to the third uncorking and the slender, tapered shape is claimed better to preserve the integrity of the bubbles, the smaller surface area and thus reduced oxygen-to-wine ratio longer maintaining aroma and taste.

Grand Cru's guide to the shape of champagne glasses.

Among musical instruments, there are a dozen or more distinct types of flute.  Early French flutes differed greatly from modern instruments in having a separate mouthpiece and were called flûte-a-bec (literally "flute with a beak").  The ancient devices were played directly, blown straight through a mouthpiece but held away from the player's mouth, the modern transverse (or "German") flute not appearing until the eighteenth century and the familiar modern design and key system of the concert flute were perfected 1834 by Bavarian court musician & virtuoso flautist Theobald Boehm (1794–1881), the fingering system known to this day as "Boehm system".  The architectural sense of "furrow in a pillar" dates from the mid-seventeenth century and was derived from the vague resemblance to the inside of a flute split down the middle.

Solidarity: Gay men supporting lesbians at the first “Dyke March”, Washington DC, April 1993.  The sign held by the protester at the far left uses the compound word for which the euphemism “playing the skin flute” was coined.

One imaginative linguistic re-purposing was the use in the 1940s (apparently first in the US) of “playing the skin flute” to mean “to perform fellatio” and while still in that sense used in certain LGBTQQIAAOP circles, in general use the meaning has shifted, no describing “a male engaged in the act of masturbation”.  Use shifted to fruit, either by virtue of use at the time being almost exclusively oral rather than written (linguistically, that’s classified as an example of an imperfect echoic) or because "fruit" was then in use as a gay slur.   The nouns flute-player, fluter & flutist can be used of flute players but the preferred term is flautist.  Presumably, someone employed to add flutes to an object could be designated “the fluter” but it’s doubtful such as specialist job-description has ever been written.  Flute is a noun & verb, flutiness, flautist, flutist & fluter are nouns, fluted is a verb & adjective, fluting is a noun, verb & adjective, flutelike is an adjective; the noun plural is flutes.  

Fluted grill on 1972 Series 1, 4.2 Litre Daimler Sovereign.

In British use, one who plays the flute is a flautist (pronounced flaw-tist (U) or flou-tist (non-U)), from the Italian flautista, the construct being flauto (flute) +‎ -ista.  The -ist suffix was from the Middle English -ist & -iste, from the Old French -iste and the Latin -ista, from the Ancient Greek -ιστής (-istḗs), from -ίζω (-ízō) (the -ize & -ise verbal suffix) and -τής (-tḗs) (the agent-noun suffix).  It was added to nouns to denote various senses of association such as (1) a person who studies or practices a particular discipline, (2), one who uses a device of some kind, (3) one who engages in a particular type of activity, (4) one who suffers from a specific condition or syndrome, (5) one who subscribes to a particular theological doctrine or religious denomination, (6) one who has a certain ideology or set of beliefs, (7) one who owns or manages something and (8), a person who holds very particular views (often applied to those thought most offensive).  The alternative forms are the unimaginative (though descriptive) flute-player and the clumsy pair fluter although the odd historian or music critic will use aulete, from the Ancient Greek αὐλητής (aulētḗs), from αὐλέω (auléō) (I play the flute), from αὐλός (aulós) (flute).  The spelling flutist is preferred in the US and it's actually an old form, dating from circa 1600 and probably from the French flûtiste and it replaced the early thirteenth century Middle English flouter (from the Old French flauteor).

Daimler, the flutes and US trademark law

1972 Daimler Double-Six Vanden Plas.

Originally Belgium-based and noted for both the sporty and large bodies built for the chassis of Rolls-Royce, Lagondas, Daimlers, Bentleys and such, the coach-building house Vanden Plas was in 1946 acquired by Austin and through the British industry’s M&As (mergers and acquisitions) in the following decades, by the early 1970s it was British Leyland’s in-house coach-builder, one of its projects being to add still more luxurious appointments to the anyway lavish Daimler Double-Six.  Vanden Plas completed only 342 of the Series 1 (1972-1973) Daimler Double Sixes, the later S2 (1973-1979) & S3 (1979-1992) cars much more numerous and, in deference to the oil crisis which was the prime economic force in the decade, the S2 & S3 were available with the 4.2 litre (258 cubic inch) XK-six as were as the heroically thirsty 5.3 litre (326 cubic inch) V12.  The flutes atop the grill dated from the early twentieth-century and were originally a functional addition to the radiator to enhance heat-dissipation but later became a merely decorative embellishment.  Although some sources claim there were 351 of the Series 1 Double-Six Vanden Plas, the factory insists the total was 342.  British Leyland and its successor companies would continue to use the Vanden Plas name for some of the more highly-specified Daimlers but applied it also to Jaguars because in some markets the trademark to the Daimler name came to be held by Daimler-Benz AG (since 2022 Mercedes-Benz Group AG), a legacy from the earliest days of motor-car manufacturing and despite the English middle class often pronouncing the name as van-dem-plarr, it should said as van-dem-plass.  It's an error with the same origin as that suffered by Moët & Chandon: to English speaking ears, mow-eh sounds "more French" than mow-et. 

1976 Daimler Double-Six Vanden Plas two door.

The rarest Double-Six Vanden Plas was a genuine one-off, a two door built reputedly using one of the early prototypes, a regular production version contemplated but cancelled after the first was built.  Jaguar would once have called such things a FHC (fixed head coupé) but labelled the XJ derivatives as "two door saloons" and always referred to them thus, presumably as a point of differentiation with the XJ-S (later XJS) coupé produced at the same time.  Despite the corporate linguistic nudge, everybody seems always to have called the two-door XJs "coupés".  Why the project was cancelled isn't known but it was for the company a time of industrial and financial turmoil and distractions, however minor, may have been thought unwelcome.  Although fully-finished, apart from the VDP-specific trim, it includes also some detail mechanical differences from the regular production two-door Double-Six but both use the distinctive fluted finish on the grill and trunk (boot) lid trim; the car still exists.  The two-door XJs (1975-1978) rank with the earliest versions (1961-1967) of the E-Type (XKE; 1961-1974) as the finest styling Jaguar ever achieved and were it not for the unfortunate vinyl roof visually, it would be as close to perfect as any machine ever made.

1975 Jaguar XJC: The design perfected.  Even Jaguar's usually uncompromising originality police seem to approve.

The orthodoxy is the gluing-on of the vinyl was a necessity imposed by the inability of the paint of the era to cope with the slight flexing of the roof.  As a two-door hardtop, there was no B-pillar so the expanse of un-supported metal was larger than that of the sedans and thus more subject to higher stress-loads, resulting in the paint being subject to crazing.  Modern chemistry means suitable paints have long been available and many owners have taken the opportunity to fix the cars one visual flaw.  However, not all accept the “flexing roof” theory and claim the vinyl was a deliberate aesthetic choice, noting the 1972 Double-Six Vanden Plas (which appeared in 1972, three years before the two-door XJ went on sale) was fitted as standard with a vinyl roof, despite obviously there been no paint-related imperative.  Possibly it may have been a way of reducing interior noise but some argue it appeared just because the covering was then undeniably fashionable.  The inexcusable lapse in taste had been seen (then using leather) as early as the 1920s but it was in the US in the mid-1960s the motif hit the mass-market to attract those who wanted “a convertible’s rakish vibe” but needed something more practical; things soon got out of hand, the trend spreading to the UK and Australia.  For up-market models, the Australians even emulated the US practice of the “padded vinyl roof” which was a bad idea made worse the closer one got to the tropics, the foam in the “vinyl-metal sandwich” trapping moisture and leading quickly to rust.  The Europeans proved commendably resistant and by the 1980s the moment had passed in the UK and Australia but the Americans doubled-down and, until the mid-1990s, Detroit’s designers devoted much energy to styling elaborate variations on the theme, the marketing department doing its usual bit by labelling them with fanciful names.

Using one of his trademark outdoor settings, Norman Parkinson (1913-1990) photographed model Suzanne Kinnear (b 1935) adorning a Daimler SP250, wearing a Kashmoor coat and Otto Lucas beret with jewels by Cartier.  The image was published on the cover of Vogue's UK edition in November 1959.

Although Daimlers had, in small numbers, been imported into US for decades, after Jaguar purchased the company in 1960, there was renewed interest and the first model used to test the market was the small, fibreglass-bodied roadster, probably the most improbable Daimler ever and one destined to fail, doomed by (1) the quirky styling and (2) the lack of product development.  It was a shame because what made it truly unique was the hemi-head 2.5 litre (155 cubic inch) V8 which was one of the best engines of the era and remembered still for the intoxicating exhaust note.  The SP250 was first shown to the public at the 1959 New York Motor Show and there the problems began.  Aware the small sports car was quite a departure from the luxurious but rather staid line-up Daimler had for years offered, the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast.  Unfortunately, Chrysler’s lawyers were faster still, objecting that they had already registered Dart as the name for a full-sized Dodge so Daimler needed a new name and quickly; the big Dodge would never be confused with the little Daimler but the lawyers insisted.  Imagination apparently exhausted, Daimler’s management reverted to the engineering project name and thus the car became the SP250 which was innocuous enough even for Chrysler's attorneys and it could have been worse.  Dodge had submitted their Dart proposal to Chrysler for approval and while the car found favor, the name did not and the marketing department was told to conduct research and come up with something the public would like.  From this the marketing types gleaned that “Dodge Zipp” would be popular and to be fair, dart and zip(p) do imply much the same thing but ultimately the original was preferred and Darts remained in Dodge’s line-up until 1976, for most of that time one of the corporation's best-selling and most profitable lines.  The name was revived between 2012-2016 for an unsuccessful and unlamented small sedan.

Leaper, growler and flutes on US market 1999 Jaguar Vanden Plas (X308).  The retractable, solid-timber picnic tables in the back of the front seats were much admired.

Decades later, US trademark law would again intrude, this time on Jaguar’s low-volume business of selling Daimlers in the US.  There, the company had after 1967 ceased offering the Daimler because, it being clear the trickle of safety & emission regulations was soon to be a flood, with capital scarce, it was decided resources needed to be devoted to compliance and one form of economy was to re-allocate the funds absorbed by maintaining Daimler as a separate brand, most of which were spent on advertising.  In Stuttgart, the Daimler-Benz lawyers took note and decided to reclaim the name, eventually managing to secure registration of the trademark and Daimlers have not since been available in the US.  However, there was still clearly demand for an up-market Jaguar and so the Sovereign name (used on Daimlers between 1966-1983) was applied to Jaguar XJ sedans which, although mechanically unchanged, were equipped with more elaborate appointments.

Lindsay Lohan with stainless steel Rolex Datejust (Roman numeral dial) with fluted white gold bezel.  Note the blue eyes; it's not known if the effect was achieved with colored contact lens or digital editing.

Sales of the up-market Sovereign were good and the profit margins fatter so the US market also received some even more luxurious Vanden Plas models and during the XJ’s X308 model run (1997-2003), the VDP cars were fitted with the fluted grill and trunk-lid trim as an additional means of product differentiation; it would be the last appearance of the flutes in North America and the only occasion on which the leaper and growler were used in conjunction with them.  Although some might dismiss the interior fittings of the Vanden Plas models as “bling”, there were nice touches.  The ones based on the X308 featured the fold-down picnic-tables once so beloved by English coach-builders (the affection in the 1960s trickling down to the middle-class as they began to appear on blinged-up mass-market vehicles) but, rather than the usual burl walnut veneer, the pieces were of solid timber.  The factory seems never to have discussed the rationale but it may be it was cheaper to do it that way, the veneering process being labor-intensive.

Pim Fortuyn in his chauffeur-driven Daimler Super V8, February 2002 (left), paramedics attending to him at the scene of his assassination (centre) a few paces from the Daimler, 6 May, 2002 (he died at the scene) and the car when on sale, Amsterdam, June 2018 (right).  His assassin, memorably, was described in press reports “deranged vegetarian”; perhaps it was the sight of meneer Fortuyn sprawled across those Connolly Leather hides which was triggering.

Jaguar became aware the allure of the flutes was real when it discovered a small but profitable industry had emerged in the wake of the company ceasing to use the Daimler name in European markets (by the 1990s, it was only in the UK, Japan, Australia & New Zealand they could be bought off the showroom floor).  Entrepreneurial types, armed with nothing more than a list of Jaguar part-numbers, had created kits containing the fluted trim pieces and Daimler-specific badges, these shipped to dealers or private buyers on the continent so Jaguar XJs could become “Daimlers”.  Being factory-supplied parts of no mechanical significance, their use did not affect warranties or insurance rates (though owners were required to inform registration authorities the badgework had changed) so, unlike many after-market modifications, administratively, it was a hassle-free process.  Jaguar took note of this uptick in the Daimler-demand curve and decided to meet it with supply, re-introducing the marque to Europe.  Because the company was, in effect, doing only what was being done by those buying the kits, it proved one of the industry's cheapest and quickest brand resurrections, Germany and the Netherlands especially receptive.  One notable owner of a real LWB (long wheelbase) Daimler Super V8 (X308) was the Dutch academic and politician Pim Fortuyn (1948-2002), assassinated by a left-wing environmentalist and animal rights activist during the 2002 national election campaign.

Doodlebug

Doodlebug (pronounced dood-l-buhg)

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

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

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

(4) As “doodlebugger”, a dowser (divining rod) or similar device supposedly useful in locating underground water, hydrocarbons, minerals etc.  By extension, the word was applied to geophysicists or geologists undertaking field work (especially oil prospecting or mineral exploration); they were said to be doodlebugging.

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

(6) In US rural slang, as “doodlebug tractor”, a car or light truck converted into tractor used (usually for small-scale agriculture), first noted as a type during the Great Depression years of the 1930s.  During World War II, the improvisation continued because new tractors were in short supply because most production was allocated to the military. 

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

(8) Any of various small, squat vehicles (as both nickname and official designation).

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

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

(11) In informal use, an idiot (as used casually rather than in its once codified sense in mental health).

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

1865-1870: A coining in US English, the construct being doodle + bug, the first known use as a US dialectal form (south of the Mason-Dixon Line) to describe certain beetles or larva.  Doodle dates from the early seventeenth century and was used to mean “a fool or simpleton”.  It was originally a dialectal form, from dudeldopp (simpleton) and influenced by dawdle (to spend time idly and unfruitfully; to waste time, pointlessly to linger, to move or walk lackadaisically; to “dilly-dally”), thus the later use of doodle to mean “a slackard (slacker) or time-waster”.  The German variants of the etymon included Dudeltopf, Dudentopf, Dudenkopf, Dude and Dödel (and there’s presumably some link with the German dudeln (to play the bagpipe)).  There is speculation the Americanism “dude” may have some connection and the now internationalized (and sometimes gender-neutral) “dude” has in recent decades become one of slang’s more productive and variable forms.  The song Yankee Doodle long pre-dates the American Revolutionary War (1775-1783) but it was popularized in the era by being used as a marching song by British colonial troops, the intention being to poke fun at their rebellious opponents; that didn't work out well.  From this use was derived the verb of the early eighteenth century (to doodle), meaning “to swindle or to make a fool of”.  The predominant modern meaning (the drawings regarded usually as “small mindless sketches”) emerged in the 1930s either from this meaning or (as seems to have greater support), from the verb “to dawdle” which since the seventeenth century had been used to mean “wasting time; being lazy”.  In slang and idiomatic use, doodles uses are legion including “the penis” and any number of rhyming forms with meanings ranging from the very good to the very bad.  The hyphenated doodle-bug has appeared and Urban Dictionary has the usual array of alternative, user-generated meanings.  Doodlebug, doodlebugging & doodlebugger are nouns; the noun plural is doodlebugs.

A doodled Volkswagen “bug” on Drawn Inside.

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

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

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

Doodles on a rendering of Lindsay Lohan by Stable Diffusion.

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

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

In the early twentieth century, a doodlebug was a self-propelled rail car, used on rail lines which were short in length and subject only to light traffic.  These were autonomous vehicles, powered both by gasoline (petrol) (in the US, it was the the pre-diesel era) and electricity; they were an attractive alternative for operators, being much cheaper to run than the combination of large locomotives & carriage cars, eminently suited to routes with lower passenger numbers.  The concept may be compared with the smaller (often propeller or turbo-prop) aircraft used for shuttle services or on regional & feeder routes where demand be sufficient to make viable the use of larger airliners.  Although the doodlebugs carried relatively few passengers, their operating costs were correspondingly lower so the PCpM (passenger cost per mile) was at least comparable with the full-sized locomotives.  While it may be a myth, the story is that one rail employee described the small, stumpy rail car as looking like a “potato bug” and (as English informal terms tend to do) this morphed into the more appealing doodlebug.

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

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

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

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

Although now what’s most remembered about the US cars of the post-war era are the huge and extravagantly macropterous creations, there were more than two dozen manufacturers in the 1940s & 1950s offering “micro-cars”, aimed at (1) female drivers, (2) inner-city delivery services and (3) urban drivers who wanted something convenient to manoeuvre and park.  The market however proved unresponsive and as the population shift to the suburbs accelerated, women wanted station wagons (in many ways the emblematic socio-economic symbol of suburban American of the 1950s) and the delivery companies needed larger capacity.  As the Volkswagen Beetle (Type 1, 1938-2003) and a few other niche players would prove during that decade’s “import boom”, Americans would buy smaller cars, just not micro-cars which even in Europe, where they were for a time successful, the segment didn’t survive to see the end of the 1960s (although various factors would see later revivals).  But there was the Brogan Doodlebug, made by the B&B Specialty Company of Rossmoyne, Ohio and produced between 1946-1950 although that fewer than three dozen were sold hints at the level of demand at a time when Detroit’s mass-production lines were every day churning out thousands of “standard sized” cars.

1946 Brogan Doodlebug.

Somewhat optimistically (though etymologically defensible) described as a “roadster”, the advertising for the Doodlebug exclusively featured women drivers and it certainly was in some ways ideal for urban use (except perhaps when raining, snowing, in cold weather or the sun was harsh).  It used a three wheeled chassis with the single wheel at the front, articulated so the vehicle could turn within its own length making parking easy, the thing barely 96 inches (2,440 mm) in length & 40 inches (1,020 mm) wide; weighing only some 442 lbs (200 kg), it was light enough for two strong men to pick it up and move it (a characteristic with both advantages and drawbacks).  Powered by either a single or twin-cylinder rear-mounted engine (both rated at a heady 10 HP (horsepower ), no gearbox was deemed necessary, thus no tiresome gear levers or clutch pedals intruded to confuse women drivers.   B&B claimed a fuel consumption up to 70 mpg (84 mpg in Imperial gallons) with a cruising speed of 45-50 mph (70-80 km/h).  All this for US$400 and remarkably, it seems it wasn’t until 1950 (after some 30 doodlebugs had been built over four years) the cost-accountants looked at the project and concluded B&B was losing about US$100 on each one sold.  A price-rise was ruled out so production ended and although B&B released the Broganette (an improved three-wheeler with the single wheel at the rear which provides much better stability); it was no more successful and the company turned to golf carts and scooters which proved much more lucrative.  B&B later earned a footnote in the history of motorsport as one of the pioneer go-kart manufacturers.

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

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

Panda

Panda (pronounced pan-duh)

(1) A black & white, herbivorous, bearlike mammal (in popular use sometimes as “giant panda”), Ailuropoda melanoleuca (family Procyonidae), now rare with a habitat limited to relatively small forested areas of central China where ample growth exists of the stands of bamboo which constitutes the bulk of the creature’s diet.

(2) A reddish-brown (with ringed-tail), raccoon-like mammal (in the literature often referred to as the “lesser panda”), Ailurus fulgens which inhabits mountain forests in the Himalayas and adjacent eastern Asia, subsisting mainly on bamboo and other vegetation, fruits, and insects.

(3) In Hinduism, a brahmin (a member of the highest (priestly) caste) who acts as the hereditary superintendent of a particular ghat (temple) and regarded as authoritative in matters of genealogy and ritual.

(4) In colloquial use (picked up as UK police slang) as “panda car” (often clipped to “panda”), a UK police vehicle painted in a two-tone color scheme (originally black & white but later more typically powder-blue & white) (historic use only).

(5) Used attributively, something (or someone) with all (or some combination of) the elements (1) black & white coloration, (2) perceptions of “cuteness” and (3) the perceived quality of being “soft & cuddly”.

1835: From the French (Cuvier), a name for the lesser panda, assumed to be from a Tibeto-Burman language or some other native Nepalese word.  Cuvier is a trans-lingual term which references the French naturalist and zoologist Georges Cuvier (1769–1832) and his younger brother the zoologist and paleontologist Frédéric Cuvier (1773–1838).  The term was use of any of the Latinesque or pseudo-Latin formations created as taxonomic names for organisms following the style & conventions used by the brothers.  Most etymologists suggest the most likely source was the second element of nigálya-pónya (a local name for the red panda recorded in Nepal and Sikkim), which was perhaps from the Nepali निँगाले (nĩgāle) (relating to a certain species of bamboo), the adjectival form of निँगालो (nĩgālo), a variant of निङालो (niṅālo) (Drepanostachyum intermedium (a species of bamboo)).  The second element was a regional Tibetan name for the animal, related in some way to ཕོ་ཉ (pho nya) (messenger).  The use in Hinduism describing “a learned, wise; learned man, pundit, scholar, teacher (and specifically of the Brahmin (a member of the highest (priestly) caste) who was the hereditary superintendent of a particular ghat (temple) and regarded as authoritative in matters of genealogy and ritual, especially one who had memorized a substantial proportion of the Vedas)” was from the Hindi पंडा (paṇḍā) and the Punjabi ਪਾਂਡਾ (pāṇḍā), both from the Sanskrit पण्डित (paṇḍita) (learned, wise; learned man, pundit, scholar, teacher).  The English word pundit (expert in a particular field, especially as called upon to provide comment or opinion in the media; a commentator or critic) entered the language during the British Raj in India, the use originally to describe native surveyor, trained to carry out clandestine surveillance the colonial borders.  The English form is now commonly used in many languages but the descendants included the Japanese パンダ (panda), the Korean 판다 (panda) and the Thai: แพนด้า.  Panda is a noun and pandalike (also as panda-like) is an adjective (pandaesque & panderish still listed as non-standard; the noun plural is pandas.

A charismatic creature: Giant Panda with cub.

As a word, panda has been productive.  The portmanteau noun pandemonium (the blend being panda +‎ (pande)monium was a humorous construct describing the reaction which often occurs in zoos when pandas appear and was on the model of fandemonium (the reaction of groupies and other fans to the presence of their idol).  The "trash panda" (also as "dumpster panda" or "garbage panda") was of US & Canadian origin and an alternative to "dumpster bandit", "garbage bandit" or "trash bandit" and described the habit of raccoons foraging for food in trash receptacles.  The use was adopted because the black patches around the creature's eyes are marking similar to those of the giant panda.  The Australian equivalent is the "bin chicken", an allusion to the way the Ibis has adapted to habitat loss by entering the urban environment, living on food scraps discarded in rubbish bins.

Lindsay Lohan with “panda” eye makeup (left) and a cat which manages the look "makeup free" (right).  The companion term is "reverse panda", a usually unintended effect caused by light makeup around the eyes appearing as white circles or patches.  The look sometimes is exaggerated in photographs because of the use of studio lighting or the camera flash.

The “panda crossing” was a pedestrian safety measure, an elaborate form of the “zebra crossing”.  It was introduced in the UK in 1962, the name derived from the two-tone color scheme used for the road marking and the warning beacons on either side of the road.  The design worked well in theory but not in practice and all sites had been decommissioned by late 1967.  The giant panda’s twotonalism led to the adoption of “panda dolphin” as one of the casual tags (the others being “jacobita, skunk dolphin, piebald dolphin & tonina overa for the black & white Commerson's dolphin (Cephalorhynchus commersonii).  “Reverse panda” is an alternative version of “raccoon eyes” and describes an effect achieved (sometimes “over-achieved”) with eye-shadow or other makeup, producing a pronounced darkening around the eyes, an inversion of the panda’s combination.  It’s something which is sometimes seen also in photography as a product of lighting or the use of a camera’s flash.

In English, the first known reference to the panda as a “carnivorous raccoon-like mammal (the lesser panda) of the Himalayas” while the Giant Panda was first described in 1901 although it had been “discovered” in 1869 by French missionary Armand David and it was known as parti-colored until the name was changed which evidence of the zoological relationship to the red panda was accepted.  The giant panda was thus once included as part of the raccoon family but is now classified as a bear subfamily, Ailuropodinae, or as the sole member of a separate family, Ailuropodidae (which diverged from an ancestral bear lineage).  The lesser panda (the population of which has greatly been reduced by collectors & hunters) is now regarded as unrelated to the giant panda and usually classified as the sole member of an Old World raccoon subfamily, Ailurinae, which diverged from an ancestral lineage that also gave rise to the New World raccoons, most familiar in North America.  As late as the early twentieth century, the synonyms for the lesser panda included bear cat, cat bear & wah, all now obsolete.

Panda diplomacy

Lindsay Lohan collecting Chinese takeaway from a Panda Express outlet, New York City, November 2008.

Although the first pandas were gifted by Generalissimo Chiang Kai-shek’s (1887-1975; leader of the Republic of China (mainland) 1928-1949 & the renegade province of Taiwan 1949-1975) Chinese government in 1941, “panda diplomacy” began as a Cold War term, the practice of sending pandas to overseas zoos becoming a tool increasingly used by Peking (Beijing after 1979) following the Sino-Soviet split in 1957.  Quite when the phrase was first used isn’t certain but it was certainly heard in government and academic circles during the 1960s although it didn’t enter popular use until 1972, when a pair of giant pandas (Ling-Ling and Hsing-Hsing) were sent to the US after Richard Nixon’s (1913-1994; US president 1969-1974) historic visit to China, an event motivated by Washington’s (1) interest in seeking Peking’s assistance in handling certain aspects of the conflict in Indochina and (2) desire to “move Moscow into check on the diplomatic chessboard”.  Ever since, pandas have been a unique part of the ruling Communist Party of China’s (CCP) diplomatic toolbox although since 1984 they’ve been almost always leased rather than gifted, the annual fee apparently as high as US$1 million per beast, the revenue generated said to be devoted to conservation of habitat and a selective breeding program designed to improve the line’s genetic diversity.  Hong Kong in 2007 were gifted a pair but that’s obviously a special case ("one country, two pandas") and while an expression of diplomatic favour, they can be also an indication of disapprobation, those housed in the UK in 2023 returned home at the end of the lease and not replaced.

It’s one of a set of such terms in geopolitics including  “shuttle diplomacy” (the notion of a negotiator taking repeated "shuttle flights" between countries involved in conflict in an attempt to manage or resolve things (something with a long history but gaining the name from the travels here & there of Dr Henry Kissinger (1923-2023; US national security advisor 1969-1975 & secretary of state 1937-1977) in the 1960s & 1970s)), “ping-pong diplomacy” (the use of visiting table-tennis teams in the 1960s & 1970s as a means of reducing Sino-US tensions and maintaining low-level cultural contacts as a prelude to political & economic engagement), “commodity diplomacy” (the use of tariffs, quotas and other trade barriers as “bargaining chips” in political negotiations), “gunboat diplomacy” (the threat (real or implied) of the use of military force as means of coercion), “hostage diplomacy” (holding the nationals of a country in prison or on (sometimes spurious) charges with a view to exchanging them for someone or something) and “megaphone diplomacy” (an official or organ of government discussing in public what is usually handled through “usual diplomatic channels”; the antonym is “quiet diplomacy”).

Panda diplomacy in action.  Panda up tree can be dubbed "Beijing" and one attempting climb, "Renegade".

A case study in the mechanics of panda diplomacy was provided by PRC (People’s Republic of China) Premier Li Qiang (b 1959; premier of the People's Republic of China (PRC) since 2023) during his official visit to Australia in June 2024.  Mr Li’s presence was an indication the previous state of “diplomatic deep freeze” between the PRC & Australia had been warmed to something around “correct but cool”, the earlier state of unarmed conflict having been entered when Beijing reacted to public demands (delivered via “megaphone diplomacy”) by previous Australian prime minister Scott Morrison (b 1968; Australian prime-minister 2018-2022) for an international enquiry into the origin of the SARS-Covid-2 virus which triggered the COVID-19 pandemic.  Such a thing might have been a good idea but underlying Mr Morrison’s strident call was that he was (1) blaming China and (2) accusing the CCP of a cover-up.  Mr Morrison is an evangelical Christian and doubtlessly it was satisfying for him to attend his church (one of those where there’s much singing, clapping, praising the Lord and discussing the real-estate market) to tell his fellow congregants how he’d stood up to the un-Christian, Godless communists but as a contribution to international relations (IR), it wasn’t a great deal of help.  His background was in advertising and coining slogans (he so excelled at both it was clearly his calling) but he lacked the background for the intricacies of IR.  The CCP’s retributions (trade sanctions and refusing to pick up the phone) might have been an over-reaction but to a more sophisticated prime-minister they would have been reasonably foreseeable.

Two years on from the diplomatic blunder, Mr Li arrived at Adelaide Zoo for a photo-opportunity to announce the impending arrival of two new giant pandas, the incumbent pair, Wang Wang and Fu Ni, soon to return to China after their 15 year stint.  Wang Wang and Fu Ni, despite over those years having been provided “every encouragement” (including both natural mating and artificial insemination) to procreate, proved either unable or unwilling so, after thanking the zoo’s staff for looking after them so well, the premier announced: “We will provide a new pair of equally beautiful, lovely and adorable pandas to the Adelaide Zoo.”, he said through an interpreter, adding: “I'm sure they will be loved and taken good care of by the people of Adelaide, South Australia, and Australia.”  The duo, the only giant pandas in the southern hemisphere, had been scheduled to return in 2019 at the conclusion of the original ten year lease but sometime before the first news of COVID-19, this was extended to 2024.  Although their lack of fecundity was disappointing, there’s nothing to suggest the CCP regard this as a loss of face (for them or the apparently unromantic couple) and Wang Wang and Fu Ni will enjoy a comfortable retirement munching on abundant supplies of bamboo.  Unlike some who have proved a “disappointment” to the CCP, they’ll be spared time in a “re-education centre”.

A classic UK police Wolseley 6/80 (1948-1954) in black, a staple of 1950s UK film & television (top left), Adaux era Hillman Minx (1956–1967) (top centre) & Jaguar Mark 2 (1959-1969) (top right), the first of the true "black & white" panda cars, Ford Anglia 105E (1958-1968) on postage stamp issued by the Royal Mail in 2013 (bottom left), in one of the pastel blues which replaced the gloss black, Rover 3500 (SD1, 1976-1984) (bottom centre) in one of the deliberately lurid schemes used in the 1970s & 1980s (UK police forces stockpiled Rover 3500s when it was announced production was ending; they knew what would follow would be awful) and BMW 320d (bottom right) in the "Battenburg markings" designed by the Police Scientific Development Branch (SDB).

Until 1960, the fleets of cars run by most of the UK’s police forces tended to be a glossy black.  That began to change when, apparently influenced by US practice, the front doors and often part or all of the roof were painted white, the change said to be an attempt to make them “more distinctive”.  The new scheme saw then soon dubbed “panda cars”, the slang picked up by police officers (though often, in their economical way, clipped to “panda”) and use persisted for years even after the dominant color switched from black to pastels, usually a duck-egg blue.  Things got brighter over the years until the police developed the high-visibility “Battenburg markings” a combination of white, blue and fluorescent yellow, a system widely adopted internationally.  Interestingly, although the black & white combination was used between the 1960s-1990s by New Zealand’s highway patrol cars (“traffic officers” then separate from the police), the “panda car” slang never caught on.

The Fiat Panda

Basic motoring, the 1980 Fiat Panda.

Developed during the second half of the troubled and uncertain 1970s, the Fiat Panda debuted at the now defunct Geneva Motor Show in 1980.  Angular, though not a statement of high rectilinearism in the manner of the memorable Fiat 130 coupé (1971-1977), it was a starkly functional machine, very much in the utilitarian tradition of the Citroën 2CV (1948-1990) but visually reflecting more recent trends although, concessions to style were few.  Fiat wanted a car with the cross-cultural appeal of its earlier Cinquecento (500, 1957-1975 and in some markets dubbed Bambino (in Italian, dating from the eighteenth century, "a child or baby, especially a representation in art of the infant Christ wrapped in swaddling clothes") which, like the BMC (British Motor Corporation) Mini (1959-2000) was “classless” and valued for its practicality.  The Panda was designed from “the inside out”, the passenger compartment’s dimensions created atop the mechanical components with the body built around those parameters, the focus always on minimizing the number of components, simplifying the manufacturing and assembly processes and designing the whole to make maintenance as infrequently required and inexpensive as possible.  One "retro-innovation" which seemed a good money-saving device was that all glass was flat, something which had fallen from fashion for windscreens in the 1950s and for side windows a decade later.  In theory, reverting to the pre-war practice should have meant lower unit costs and greater left-right interchangeability but no manufacturers in Italy had maintained the machinery to produce such things and the cost per m² proved eventually a little higher than would have been the case for curved glass.  Over three generations until 2024, the Panda was a great success although one which did stray from its basic origins as European prosperity increased.  There was in the 1990s even an electric version which was very expensive and, its capabilities limited by the technology of the time, not a success.

The name of the Fiat Panda came from mythology, Empanda, a Roman goddess who was patroness of travelers and controversial among historians, some regarding her identity as but the family name of Juno, the Roman equivalent of Hera, the greatest of all the Olympian goddesses.  Whatever the lineage, she was a better choice for Fiat than Pandarus (Πάνδαρος) who came from the city of Zeleia, Apollo himself teaching him the art of archery.  Defying his father’s advice, Pandarus marched to Troy as a foot soldier, refusing to take a chariot & horses; there he saw Paris & Menelaus engaged in single combat and the goddess Athena incited Pandarus to fire an arrow at Menelaus.  In this way the truce was broken and the war resumed.  Pandarus then fought Diomedes but was killed, his death thought punishment for his treachery in breaking the truce.

Press-kit images for the 2024 Fiat Grande Panda issued by Stellantis, June 2024.

In June 2024, Fiat announced the fourth generation Panda and advances in technology mean the hybrid and all-electric power-trains are now mainstream and competitive on all specific measures.  The Grande Panda is built on the new Stellantis “Smart Car platform”, shared with Citroën ë-C3, offering seating capacity for five.  Unlike the original, the 2024 Panda features a few stylistic gimmicks including headlights and taillights with a “pixel theme”, a look extended to the diamond-cut aluminium wheels, in homage to geometric motifs of the 1980s and the earlier Panda 4x4.

Panda scene from Homer vs Dignity.

Pandas (fake & real) have a role in Homer vs Dignity, (November, 2000, episode 5, season 12 of the animated television series The Simpsons (on the Fox network 1989-2024, on Disney+ since 2024)).  The plot line involved evil nuclear power-plant owner Montgomery Burns hiring Homer Simpson as his “prank monkey”, staging public antics and publicly humiliating himself, all for Mr Burns’ amusement.  The most controversial scene was the one in which Homer, dressed in a panda suit, sexually was violated by a real panda (presumably this was referred to and signed-off by the Fox lawyers).  On The Simpsons, there’d not before been a scene like it and despite the cartoon South Park (on Paramount+'s Comedy Central since 1997) raising (or lowering) the cartoon bar, there’s not been one like it since.

Psychological moment, Homer Simpson being dragged into the panda’s den.  In the age of #metoo, Fox’s lawyers might have suggested a script-revision.

Homer vs Dignity was at the time cited as a “jumping the shark” moment although it’s regarded now as an aberration and not a marker of terminal decline.  The idiomatic “jumping the shark” is a reference to some creative endeavor having worked the concept dry and resorting instead to gimmicks and absurdities.  The term dates from 1985 and was coined by US media personality Jon Hein (b 1957) as a belated response to an 1977 episode in the fifth season of the ABC sitcom Happy Days (1974-1984) in which a character, most incongruously, performs a water ski jump over a caged shark.  However, although Homer vs Dignity widely was panned, it appears not to appear in the various “top five worst episode ever” lists, headed usually by The Principal and the Pauper (September, 1997, episode 2, season 9) in which school principal Seymour Skinner is revealed to be an imposter and dismissed from his position.  Because Principle Skinner was needed as an ongoing character, the episode resolved things in a twist improbable even by cartoon standards with the entire population of Springfield declaring never again to speak of the matter.