Skeg

Skeg (pronounced skeg)

(1) In shipbuilding, a fin-like projection sometimes supporting a rudder and protecting the propeller(s) at its lower end, located abaft a sternpost or rudderpost.

(2) In the design of smaller boats, an extension of the keel, designed to improve steering.

(3) In the slang of naval architects (in certain contexts), a stump or branch (the after-part of a ship's keel).

(4) In the slang of the GM (General Motors) stylists, a “lower fin”, matching the, seen in embryonic form on the 1959 Pontiac and used on certain 1961 Oldsmobiles and the 1961-1962 Cadillacs.

(5) The fin which acts as a stabilizer on a surfboard.  To suffer some injury after being hit by one of these fins is to be “skegged”.

(6) In Australian slang, a surfer; a person who leads the lifestyle of a surfer (used also derisively in the form “fake skeg” of those who adopt the style an appearance without actually surfing.

(7) A type of wild plum (obsolete).

(8) A kind of oat (obsolete).

(9) In Northern English dialectal use, a look or glance.

(10) In some cultures, a slang term applied to youth suggesting slovenliness, a predilection to petty crime and other anti-social behavior; also used widely in Scottish slang for a surprising variety of purposes including legs, trousers, dirt, scotch eggs, sex and women of loose virtue.

1590–1600: From a dialectal term for a stump, branch, or wooden peg, from the Dutch scheg (cutwater), of Scandinavian origin and related to the Swedish skog and the Old Norse & Icelandic skegg (projection on the stern of a boat).  In some Nordic languages, skegg means “beard” and was from the Old Norse skegg, from the Proto-Germanic skaggiją, from the primitive Indo-European skek, kek-, skeg & keg- (to jump, skip, move, hurry).  In English slang, skeggy is (1) the coastal Lincolnshire town of Skegness or (2) an inhabitant of Skegness.  The name of the Skegness is though a construct of the Old Norse skegg (beard) + -nes (headland) and was thought a reference to the geography, the original settlement situated farther east at the mouth of The Wash (thus jutting out like a beard from a face).  A link with the Faroese skegg (to jump, skip, move, hurry (and source of the given name "Skeggi")) is thought unlikely.  Skeg is a noun and skegged is an adjective; the noun plural is skegs.

A gang of four Sceggs, Sydney, Australia.

The skegs of nautical architecture should not be confused with the homophone Sceggs, the acronym for students of S.C.E.G.G.S. (Sydney Church of England Girls Grammar School), seen also in the adjectival forms sceggesque & sceggish (one whose style suggests something similar to the stereotypical student of the school); Those adjectives exist because Scegg is also "a look" and there are students from schools other than S.C.E.G.G.S so described, often in the form "she's such a scegg".  

Lindsay Lohan in wet suit, with surfboard, Malibu, 2011.  The stabilizing skeg is the black protrusion at the back of the board.

On nautical vessels, skegs where they exist fulfil a significant function but they are not an essential part of hull design.  A skeg is an external structural feature, a vertical tapering projection permanently fixed at the aft, usually close to the centre-line.  Most are located in front of the rudder and structurally can often be considered a sternward extension of the keel (the internal, longitudinal members which lend much strength of the hull).  Although in military vessels there are additional functions, the most significant contribution of a skeg is in hydrodynamics, a skeg designed to influence the flow patterns and thus affecting the dynamics of both the rudder (which is usually in line with the skeg) and propeller(s).  The design is thus a finely tuned equation because while a skeg inherently induces drag, the way it alters the flow pattern can reduces the drag and resistance suffered by the rudder and propeller(s), essentially by transforming the turbulent characteristics of the flow to laminar at the stern.  Historically, skegs were a vital component in maintaining a course and that’s still an important consideration in smaller vessels but in larger craft, improved rudder and advanced navigational as well as stabilization technologies like thrusters have meant skegs are no longer of the same significance in maintaining directionality.

An USN (US Navy) Iowa class battleship, showing the inner set of propeller shafts wholly enclosed in a pair of skegs.  On the big ships, the skegs were designed also to be load-bearing supports while in dry-dock.

In the modern age, skegs became an unusual feature on warships, a relative few so equipped and the designs varied, some with only par of their shafts inside skegs while others encased all.  Although the traditional design imperatives were shared with other ships, for navies, they offered the advantage of affording some degree of protection for rudders and propellers against torpedo attack.  Historically, another important attribute of skegs was what they added to a hull’s structural strength, making the (inherently weaker) stern resistant to outside forces and all the last of the US Navy’s dreadnoughts (Iowa, New Jersey, Missouri & Wisconsin, launched 1943-1944 and in commission variously until in 1992 the last was struck the Naval Vessel Register) featured skegs.  Their hulls narrowed towards the stern and to save weight lacked the sternpost plates the British, German and Japanese navies always fitted to their battleships; the skegs compensated for this, offering a hull with similar rigidity.

The US Navy’s South Dakota class battleships (South Dakota, Indiana, Massachusetts & Alabama, launched 1941-1942 and in commission 1942-1947) were fitted with an unusual set of skegs, the design dictated by the relatively short hull, the large outboard skegs helping to reduce the adverse effects of fluid dynamics induced by the stern's abrupt end.

However, advantages in engineering and metallurgy meant much of the functionality afforded by skegs came to be achieved in other ways so skegs became unfashionable in naval architecture.  The modeling and simulations made possible by supercomputers meant hull designs could be rendered which mastered the turbulence caused by fluid dynamics so rudders and propellers were less affected, making skegs in many cases a source of performance-sapping skin-friction drag with little compensating benefit.  Indeed, not only did this hamper performance, in some cases excessive vibration was caused, something which could only to a degree be ameliorated by changes to the propellers’ configurations.

Cadillac’s Skegs, 1961-1962

Cadillac Coupe DeVille: 1959 convertible (left) & 1960 hardtop (right).

The 1959 Cadillac’s tail-fins are the best remembered and most emblematic of the brief, extraordinary era during which the absurdly macropterous flourished.  They’re rightly known as “peak-fin” but it’s a myth they were the tallest because, measured from the ground, those on the 1961 Imperial are about a half-inch (12 mm) more vertiginous.  The attractions of the style however were fading and from 1960, GM began to tone things down, Chrysler following the lead (Ford and AMC (American Motors Corporation) never really got involved in the big fin business).  Another cultural phenomenon is that because of the large number of pink 1959 Cadillacs which now exist, many assume they were a common sight when new, the things perhaps made memorable by the sight of the one owned by the admirable Jayne Mansfield (1933–1967).  However, the factory never made a pink 1959 Cadillac and in the era, it was only in 1956 such a color was on the option list and Ms Mansfield had one of those while her 1959 convertible received a custom re-paint.

An inspiration, a step in the evolution and the result: A captured German V2 rocket (1945, left), a full-size clay mock up of a design proposal for the 1961 Cadillac (1958, centre) and 1961 Cadillac Coupe de Ville convertible (left).  The V2 is on display at the Australian War Museum, Canberra, Australia and the clay mock-up Cadillac was photographed at the General Motors Technical Center, Warren, Michigan.

For the 1961 range, Cadillac further pruned the fins but as compensation, the design staff added a "lower fin" and these, informally, they called “skegs”.  While in a sense just another of the era's many extravagances, the outgrowths could have been part of something even stranger because among the design proposals which emerged from the GMADS (GM Advanced Design Studios) was one which clearly was the ultimate expression of the motif of the 1950s which borrowed so much from the aerospace industry.  The proposed fins essentially were those of ballistic missiles which for decades were an evolution from the German Vergeltungswaffen zwei (V-2), developed first by the German military with the code name Aggregat 4 (A4).  Vergeltungswaffen is translated variously as "retaliatory weapons" or "reprisal weapons" but in English use is often written as “vengeance weapons”.  Aerodynamically, what was proposed by the ADS may have had something to commend it and certainly, such was the placement and size of the fins they'd have in some way interacted with the air-flow.  Whether the design was ever subjected to wind-tunnel testing (this was years before computers could emulate such research) isn't know but the look was sufficiently favored for an expensive, full-sized clay model to be rendered.  Ultimately the longer, though perhaps more restrained, skegs seen on the 1961 & 1962 cars were preferred.

1959 Buick Invicta Concept.

Detroit's stylists in the 1950s not only sketched a car with a big dorsal fin but authorization was granted to build one to test public reaction.  There was a precedent for the "third fin" because the Czech manufacturer Tatra had for years used them (out of necessity) and they'd provided essential stability for many LSR (land speed record) vehicles.  The Invicta concept didn't proceed to production.

Those who think Detroit's cars of the late 1950s & early 1960s were sometimes bizarre should look at the design proposals that were rejected.  Despite the clear exuberance in the the imagination, there's never been anything to suggest the stylists were stimulated by anything stronger than an after work martini.  Compared with some of the clay mock-ups, what emerged from the production lines hinted at rather than emulated missiles but should it be thought what was rendered in clay was wild, the archives of the GMTC (GM Technical Center) contain a wealth of sketches of truly bizarre design studies which didn't make the cut to reach the hands of the modelers.  Presumably, those sketches which survive are those the stylists thought deserved to be remembered and there must of been those which even the designer concluded needed to be shredded.  As the archives also demonstrate, those who criticize the fins and "bullet" taillights on the 1959 Cadillac have reasons to be grateful even stranger things were rejected.

Cadillac’s “skeg years”: 1961 (left) and 1962 (right).  There was a time when this sort of thing was just a fork of Detroit's design orthodoxy. "The past is a foreign country: they do things differently there."

It was an era of annual styling changes and switching the orientation of taillights from the horizontal to vertical was typical of what stylists each season did to “refresh” the line, a process which came to be known as “facelifting” (ie a figurative use from cosmetic plastic surgery: altering the appearance while retaining the underlying structure).  Although this basic body would have a four-year life (1961-1964), the abandonment of the skegs for its final two seasons was, by facelift standards, a quite major update, one prompted by a change at the top of GM’s design’s studios.  Also of note is the roofline on the 1961 Cadillac four-window Sedan DeVille ((Body Style 6239, top left) which used an implementation of GM’s so-called “flat-top”.

1959 Chevrolet Impala Sport Sedan (Flat Top).  This was the year of the "bat-wings" and "cats eyes" taillights.

Along with the contemporary “bubbletop”, in its pure form, GM’s flat-top lasted only two seasons (1959-1960) but the two are now Detroit’s most admired rooflines of the post-war years.  The “bubbletop” was a direct tribute to fighter aircraft but the flat-top (it was also dubbed “Flying Wing” but GM internally referred to the blade-like structure as the “cantilevered top configuration”) was mid-century modernism.  Available exclusively on the four-door hardtops, each GM division (Chevrolet, Buick, Oldsmobile, Pontiac & Cadillac) offered the dramatic look (production-line rationalization made economically viable by all five sharing a single, core structure) although there were several designations.

1959 Cadillac Four Window Sedan (upper) and 1959 Pontiac Vista (lower).

Up-market Buick (Four-Door Hardtop), and Cadillac (Four Window Sedan) weren’t very imaginative while Chevrolet and Oldsmobile choose Sport Sedan; only Pontiac showed much imagination in picking Vista, an allusion to the unusually good 360^o visibility the style afforded (although the curves in the glass did produce some distortions).  Shamelessly, even after ceasing to offer flat-tops, Pontiac continued to use the Vista name.  Cadillac’s final flat-top fling came in 1961 with a modified version using less rear overhang but the market impact was muted, the more conventional six-window four-door outselling it by more than five-to-one margin as preferences shifted towards for formal lines.  However, the look didn’t at once die because it lingered on the four-door Chevrolet Corvair until 1965 and between 1962–1978 the motif appeared on the Alfa Romeo Giulia.

Cadillac’s take on the “long & slightly less long” of it: 1961 Cadillac Six Window Sedan de Ville (Body Style 6329L, left) and 1961 Cadillac Town Sedan (Body Style 6399C, right).  In the brochures, the terms “Town Sedan” and “Short Deck” both were used.

One quirk of Cadillac’s brief embrace of the skeg was there were two iterations: skeg long and skeg short.  Whether in response to dealer feedback or in anticipation of some owners preferring their Cadillac in a more conveniently sized package, between 1961-1963 a “short-deck” option was made available on certain body styles.  Offered first on the six-window Sedan de Ville (as the “Town Sedan”), an encouraging 3,756 were built so the option was in 1962 offered on the four-window de Ville Sedan (Body Style 6398 and now called “Park Avenue”) but sales dropped to 2600.  The coming of the 1963 models marked the retirement of the short-lived skegs which thus ended their brief moment as something decorative although they continued the functional role in marine architecture.

1963 Cadillac Four-Window Sedan de Ville (Body Style 6239, left) and 1963 Cadillac Sedan de Ville Park Avenue (Body Style 6398, right).

Although smaller cars were selling well in other market sectors, among Cadillac buyers, the decline of interest in anything smaller was confirmed in 1963 when only 1575 of the Park Avenues were sold.  The 129.5 inch (3289 mm) wheelbase was common to the whole Sedan de Ville range but the “short deck” models were shorter by 7 inches (178 mm) for the first two seasons and an even more obvious 8 inches (203 mm) in 1963.  Space utilization was obviously a little better but the market had spoken; fewer than 8,000 of the short-deck models sold while the standard editions shipped in the tens of thousands, the flirtation with (slightly) more efficient packaging abandoned for 1964; in the course of the following decade, the Sedan de Ville would grow another seven inches (178 mm) and gain over 400 lb (181 kg).  It should be noted that by international standards, the truck capacity of even the abbreviated models was still quite generous, able effortlessly to accommodate two sets of golf clubs, something which later became something of a de-facto standard used in assessing the practicality of sports cars.  Jaguar used this feature as a selling point when the XK8 (1996-2006) was introduced because it wasn’t possible with all versions of the old E-Type (1961-1974).

1958 Cadillac Series 62 : Extended Length Sedan (Body Style 6239EDX, left) and the standard Sedan (Body Style 6239, right).

There was in the early 1960s much criticism that “full-size” US cars had become too big but the “short deck” venture was a departure for Cadillac which had for some years been making things bigger and in 1958 the company had even included the “Series 62 Extended Length Sedan”.  The Series 62 Sedan was already an impressive 216.8 inches (5.5 m) long but the Extended Length version measured an even more imposing 225.3 (5.7), the additional 8.5 inches (216 mm) all in the rear deck, creating a more capacious trunk (boot).  Whether buyers just liked the look or there really were a lot of them with much luggage, the elongated sedan sold well, some one in five of the sedans having the big trunk and there was of course a healthy industry in jokes about Mafia functionaries and other figures in organized crime grateful finally to have more space to transport the corpses.  Surprisingly perhaps, despite mafia hit men contributing to to sales numbers of 20,952 of the 103,455 (excluding Eldorados and “chassis only” sales) Series 62s produced in 1958 (some 20%), the Extended Length Sedan proved a single-season one-off.

For 1963, the short-deck models might have re-appeared for another dismal season but the skegs were abandoned, never to return.  The fins the design studio found harder to forsake, conscious perhaps it was on the 1948 Cadillac they’d first appeared.  Then, modestly sized, they’d been an allusion to the tail-planes used on the twin-boomed Lockheed P-38 Lightning (1939) but the fashion had passed and the fins had to go so, inch by inch, there was a retreat from the heights and exuberance of 1959 until in 1966 they were vestigial, a hint which for decades would be retained.

1961 Oldsmobile Super 88.  The rear skegs were thought necessary to offset the “pointed-look” of the fenders and the front ones (the closest equivalent in nautical use being hydrofoils) were there just so the front bumper matched the lines of the rear, emulating Pontiac’s approach in 1959.

Within GM, the skegs were not exclusive to Cadillac, appearing also on the 1961 full-sized Oldsmobile 88 & 98 although the motivation of the designers differed.  What Cadillac in 1961-1962 did was nothing more than a styling gimmick, concocted at a time when it was obvious the moment of the big fins was passing but the motif still exerted such a pull that they were re-interpreted on the path to extinction.  In the Oldsmobile design office, the skeg had a different purpose, the protrusions deemed necessary as a device to counterbalance the rearward point of the quarter panel that terminated in a “cigar-shape”.  Mercedes-Benz had used a (more conventional) variation of the idea of a “balancing appendage” when in 1957 the 300d (W189, 1957-1962) appeared with rear fenders enlarged and re-shaped to disguise the pre-war style of the coachwork used on the W186 (300, 300b & 300c; 1951-1957) which came to be referred to as the "Adenauer" because several were used as state cars by Konrad Adenauer (1876–1967; chancellor of the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany, 1949-1990).

1969 Alfa Romeo Spider (Duetto).

Interesting, between 1966-1969, the Alfa Romeo Spider (Type 105/155 and known informally known as the Duetto) featured the memorable Osso di Seppia (round-tail, literally “cuttlefish”) coachwork which resembled what Oldsmobile did in 1961.  After 1970 and until the end of production in 1994, the Spider used variants of the Kamm tail which increased luggage capacity and presumably also conferred some aerodynamic advantage.  A professional designer could write a long, learned essay explaining why the later Kamm tail was a more accomplished achievement which avoided the Osso di Seppia's flaws but in the collector market it's the cigar-shaped original the purists covet.  Had the Italians added skegs as Oldsmobile did, they’d have had more about which to complain.

1959 Pontiac Bonneville Convertible.  In 1959 Pontiac’s big news was the “split grill” which would for decades be a brand signature and the five inch (125 mm) increase in the track, lending the division that year’s most memorable slogan: “Year of the Wide Track”.  Given all that, the modest skegs weren’t much noticed, especially because, at the rear, eyes were drawn to the pair of small blades adorning the upper surface.  The idea was first seen on the 1953 Chevrolet Corvette (where they’d appeared on the taillight nacelles (pods)) and although often referred to as “finettes”, in the documents of the GM Design Studio they were “taillight bezels” or “ornamental finlets”.

1959 Pontiacs: Bonneville (left) and Catalina (right).

The skegs were less noticeably skeggish than the later implementations by Oldsmobile and Cadillac because they were smaller and, at the rear, installed in the horizontal rather than the acute angle which made them so obvious on Cadillacs.  At the front, the angle was less than adopted by Oldsmobile.  Pontiac also used the “long rear deck” as a marker of a model’s place in the hierarchy, the Bonneville at 220.7 in (5,606 mm) in length being seven inches longer than the lower-priced Catalina at 213.7 in (5,428 mm).  While two inches (25 mm) of the difference was absorbed by the Bonneville’s longer wheelbase (124 in (3,150 mm) vs 122 inches (3,099 mm), the remaining bulk was found in eth rear deck.  However, unlike the Cadillacs, there were no “short & long skegs”, the bumpers of both Pontiacs being identical although there were other markers of “pricetaggery”, the Bonneville’s elliptical taillights noticeably elongated.

1955 Ford La Tosca.

A half-decade before Cadillac decided their customers needed skegs, Detroit had pondered the idea.  Shown in 1955, Ford’s La Tosca (named apparently after Giacomo Puccini’s (1858–1924) three act opera Tosca (1900) although the intended connection seems to have been a general sense of the “emotional and dramatic” rather than the fate of the doomed protagonist) was unusual in that it appeared not as a full-scale “concept car” but in the form of a ⅜ scale model, used to demonstrate the possibilities offered by a remote-controlled chassis, directed through the medium of radio waves.  To achieve this, rather than build custom components (as the Pentagon would have done), Ford’s engineers dipped into the corporate parts bin and wired together the regulator and relay from a power window apparatus, the electric motor used to lower a convertible’s soft-top, a power seat mechanism and a standard, 12 volt car battery.  The system worked flawlessly and, depending on the topography, La Tosca could remotely be controlled at distances greater than a mile (1.6 km).  According to Ford records, the project began simply as an “…internal exercise to show students in the Advanced Studio how hard it was, even for professional designers, to design a car” but so long did the model take to complete (the complex curves and canted structures challenging to render in what was then the still novel fibreglass) that “mission creep” intruded, thus the radio-controlled chassis.

1954 Lincoln Futura (1954) and Ford Mystere (1955).  In Detroit, these were at the time typical of what was authorized to be built as "concept cars", machines destined for the show circuit to gauge public reaction.  If they now seem rather wild, much of what never left the stylists' (they weren't yet "designers") sketch pads and drawing boards truly was bizarre.  

Stylistically, La Tosca was in the vein of the corporation’s other concept vehicles of the era such as the Lincoln Futura (1954) and Ford Mystere (1955), the trio reflecting the way the industry was applying motifs from missiles and jet-propelled aircraft such as Perspex bubble-tops, tubes, fins and exhaust nacelles.  Most of these proved to be brief, though memorable, fads of jet-age aesthetics although elements were easily recognizable in the 1958 Lincoln and GM of course would later take up the skegs.  The remote-control concept was ahead of its time though it did find a niche in model cars and aircraft.  In the twenty-first century, new versions of the technology are now mainstream with cranes, trucks and trains routinely operated from sometimes thousands of miles away although usually on mine-sites and other remote locations (experiments with vehicles on public roads are being undertaken).  Despite these advances, the industry regards the technology as transitional and intends as soon as practicable to remove the human (and thus costly and unreliable) element completely, re-allocating control to an entirely autonomous AI (artificial intelligence) model which, without complaint or toilet breaks, can be worked 24/7/365.

Handshake

Handshake (pronounced hand-sheyk)

(1) A gripping and shaking of (traditionally the right) hands by two individuals, as to symbolize greeting, congratulation, agreement or farewell.

(2) In digital communication, as handshaking, an exchange of predetermined signals between a computer and a peripheral device or another computer, made when a connection is initially established or at intervals during data transmission, in order to assure proper synchronization.

1801: The construct was hand + shake.  Hand was from the Middle English hond & hand, from the Old English hand, from the Proto-West Germanic handu, from the Proto-Germanic handuz (and related to the Dutch, Norwegian Nynorsk & Swedish hand, the Danish hånd, the German Hand and the West Frisian hân) of uncertain origin although there may be a link to the Old Swedish hinna (to gain), the Gothic fra-hinþan (to take captive, capture), the Latvian sīts (hunting spear), the Ancient Greek κεντέω (kentéō) (prick) and the Albanian çandër (pitchfork; prop).  Shake was from the Middle English schaken, from the Old English sċeacan & sċacan (to shake), from the Proto-West Germanic skakan, from the Proto-Germanic skakaną (to shake, swing, escape), from the primitive Indo-European skeg-, keg-, skek- & kek- (to jump, move).  It was cognate with the Scots schake & schack (to shake), the West Frisian schaekje (to shake), the Dutch schaken (to elope, make clean, shake), the Low German schaken (to move, shift, push, shake) & schacken (to shake, shock), the Old Norse skaka (to shake), the Norwegian Nynorsk skaka (to shake), the Swedish skaka (to shake), the Danish skage (to shake), the Dutch schokken (to shake, shock) and the Russian скака́ть (skakátʹ) (to jump”).  The present participle is handshaking and the familiar past participle handshaked but some dictionaries still list the rare handshook as an alternative; the noun plural is handshakes.

The handshake not a universal cultural practice (the Japanese famously favor the bow although in recent decades it’s executed often as more of a nod) but, in one form or another, it is global and involves usually two people grasping hands and moving them in a brief, up-and-down movement.  The right hand tends to be favored (left-handers sinister obviously) and this has been linked to the symbolism of that being the usual choice when wielding a weapon but that is speculative and the global preponderance of right-handedness may be of greater significance.  Quite when the handshake became a cultural practice isn’t known but it is certainly ancient, at least among those important enough to be depicted in forms of art because the oldest representations date back more than the-thousand years.

Some handshakes promised much; results were varied.  Clockwise from top left:  Mao Tse-tung & Richard Nixon (1972), Yitzhak Rabin & Yasser Arafat (1993), Mikhail Gorbachev & Ronald Reagan (1985), Donald Trump & crooked Hillary Clinton (2016), Martin McGuinness & Queen Elizabeth II (2012) and Nelson Mandela & FW de Klerk (1994). 

Handshake (hand-shake) is a surprisingly modern construction, dating only from 1801 and "hand-shaking" is attested from 1805; the phrases “to shake hands” & “shaking hands” have been in use since the sixteenth century and the use of the noun “grip” to mean "a handshake" (especially one of a secret society) dates from 1785.  Secret handshakes are created so members of clubs and societies may make their affiliation known to another person without needing to use words.  For a secret handshake to be effective it must be specific enough to be recognized by another member yet subtle enough that a non-member would not find the nature of the grip strange or unusual.  Because of the limited possibilities offered by fingers and thumbs, some secret handshakes involve also actions such as using the other hand to touch an earlobe in a certain way or a tapping a foot.  The concept has been documented since Antiquity and is most famously associated with the Freemasons but to speak of the “secret Masonic handshake” is misleading, some researchers claiming there are at least sixteen distinctly identifiable Masonic handshakes and most have speculated there will be dozens more.  Indeed, except in the early years, Freemasonry has never been monolithic and there are known cases of one faction (even within a lodge) developing their own so that they might discuss matter freely without the risk they may be spilling secrets to the other faction.  The mechanics of the secret handshakes used by members of the Secret Society of the Les Clefs d’Or are not known.

Lindsay Lohan meets Recep Tayyip Erdoğan (b 1954; prime-minister or president of the Republic of Türkiye (Türkiye Cumhuriyeti Cumhurbaşkanı) since 2003), Ankara, 2017.

The golden handshake is a clause in executive employment contracts that provides for a generous severance package in certain circumstances.  Created originally as a relatively modest inducement to attract staff to companies in a perilous financial position, they evolved to the point where multi-million dollar pay-outs were common and they became controversial because they appeared to reward failure and there were suggestions (not only by conspiracy theorists) they were used even as Trojan horses to entice a CEO to drive down a company’s share price (thus becoming eligible for a golden handshake) in the interest of asset strippers and others.  The best operators were able to engineer things so they enjoyed both a golden handshake and a golden parachute (the generous package payable upon retirement in the normal course of things).

In computer communications, a handshake is a signal exchanged between two or more devices or programs to confirm authentication and connection.  In the same way that the human handshake is a process: (1) an offer of a hand, (2) the taking of that hand and (3) the shaking of the hands, in computing, the sequence is (1) seeking a connection, (2) verifying the connection and (3) effecting the connection.  The breaking of the handshake and the termination of the connection in each case constitutes the final, fourth setup.  The purpose of handshaking is to establish the parameters for the duration of the session which involves the devices agreeing on vital stuff like (1) both being switched on, (2) both ready to transmit & receive and (3) that certain technical protocols will be used (familiar to many as famous strings like “9600,N,8,1”).  Handshaking historically was a process separate from the security layers which had to be satisfied once communication was established and again, this is analogous with the handshake in the process of human interaction.

The Duce emulates an illustrious Roman forebear.

As a cultural practice with a history known to date back at least ten thousand years, the handshake has proven a resilient tradition which has survived the vicissitudes of many millennia and even the preference of elbow-bumping and such during the Covid-19 pandemic seems only to have been a minor interruption.  Not all however approved.  The Duce (Benito Mussolini, 1883–1945; prime minister and Duce (leader) of Italy 1922-1943) thought handshaking effete and unhygienic (he was ready for pandemics) and preferred the fascist salute he thought (apparently on the basis of statues from Ancient Rome) more martial.  He certainly had plans to make Italy great again (MIGA) and men shaking hands with each other had to go; the Duce had expressed his disgust at the decadence of the modern Italian people, believing they had been seduced by French ways into “elevating cooking to the status of high art”, declaring he would never allow Italy to descend to the level of France, a country ruined by “alcohol, syphilis and journalism”.  Still, when meeting friends (even those forced on him by the brutishness of political necessity) he shook hands and a handshake was both his first and last interaction with the Führer (Adolf Hitler, 1889-1945; German head of government 1933-1945 and of state 1934-1945).  Their smiles when shaking hands always seemed genuine and conspicuously were warm when they parted after the attempt on Hitler’s life in July 1944.  Within a year, both would be dead.

One historian entitled his work on the relationship between Hitler and Mussolini The Brutal Friendship and that it was but it was certainly enduring and as he promised in 1938 when Rome proved helpful during the Nazi's annexation of Austria, "no matter what", the Führer stuck with the Duce through "thick and thin".  They shook hands on many occasions, the last of which would happen on the railway station platform close to where the attempt on the Führer's life failed.  At this time, Hitler was using his left hand to shake, the right arm injured in the blast.  After this, they would never meet again.  

For politicians, handshakes are a wonderful photo opportunity and some have been famously emblematic of the resolution of problems which have been intractable for decades or more.  However, such photographs can be unpleasant and sometimes embarrassing reminders of a past they’d prefer was forgotten.  When Donald Rumsfeld (1932–2021; US secretary of defense 1975-1977 & 2001-2006) shook hands with Saddam Hussein (1937–2006; president of Iraq 1979-2003) in Baghdad in December 1983, it was as a presidential envoy of Ronald Reagan (1911–2004; president of the US 1981-1989) and he was there to do business with the dictator.  Iraq at the time had started a war with Iran and was using chemical weapons while practicing abuses of human rights on parts of the Iraqi population and Saddam Hussein had even made known to the US administration Baghdad’s intention to acquire nuclear weapons.  Thus was special envoy Rumsfeld dispatched to offer Washington’s hand of friendship, anybody opposed to the ayatollahs held in high regard in Washington DC. 

Donald Rumsfeld and Saddam Hussein, Baghdad, 1983.

Despite what Mr Rumsfeld would claim twenty years on, he made no mention of chemical weapons or human rights abuses, his discussions instead focusing on the projection of US military force in the Gulf and the need to guarantee and protect the supply of oil.  Later, as international pressure increased on the US to condemn the use of chemical weapons by Iraq it responded with a low-key statement which made no mention of Iraq and actually stressed the need to protect Iraq from Iran’s “ruthless and inhumane tactics”.  When Mr Rumsfeld returned to Baghdad in 1984, during the visit the United Nations (UN) issued a report which stated chemical weapons had been used against Iran, something already known to both the Pentagon and state department.  In Baghdad, the matter wasn’t mentioned and when Mr Rumsfeld departed, it was with another warm handshake.  That's not a criticism or Mr Rumsfeld; it's just the way politics is done.

Nancy Pelosi and Bashar al-Assad, April 2007.

By virtue of her education in a Roman Catholic school, Nancy Pelosi (b 1940; speaker of the US House of Representatives 2007-2011 and since 2019, member of the house since 1987) was well acquainted with the Bible so after shaking hands with Bashar al-Assad (b 1965, President of Syria since 2000) in April 2007, to use the phrase “The road to Damascus is a road to peace” must have been a deliberate choice.  It might also be thought a curious choice given that at the time the president was providing shelter and protection to a range of terrorist groups involved in attacking US forces in Iraq.  As speaker of the house, Ms Pelosi would have received high-level intelligence briefings so presumably was acquainted with the facts and had she been uncertain, could have had aides prepare a summary from publicly available sources.  As recent events in the Far East have illustrated, the speaker’s forays into foreign affairs are not always a help to the State Department.

In cultural anthropology, greetings like handshakes, high fives, fist bumps and such are classed as “gesture-based greetings” or “physical greetings” and while there’s much cross-cultural overlap, some cam be specific.  As social gestures used variously to convey to greeting, respect, acknowledgment, agreement, celebration etc, they can be exclusively non-verbal or combined with either an ad-hoc or structured use of text or even an ancillary gesture such as the handshake plus bow combo or the salute plus a “clicking of the heels” (a sharp, audible snap of the heels together when coming to attention),  In popular culture, representations of the latter have made it much much associated with nineteenth & twentieth century German military tradition but it was not exclusively Prussian in origin or use.  Historians do however believe it was the Königlich Preußische Armee (Royal Prussian Army (1701–1919)) which institutionalized the practice as a part of formal drilling and from there it became part of everyday military life.  The joke in Europe was that “while most countries had an army, the Prussian army had a country”, and the practice widely was adopted by civilians although whether this was because the army was so admired or simply soldiers “taking it with them” even when not on duty isn’t documented.  It can though be said that following the unification of Germany in 1871 (essentially a Prussian takeover), the army’s traditions effectively were nationalized and military-style drills (including the heel click) were integrated into the education system.  During the Third Reich (1939-1945) the practice became exaggerated for dramatic effect, yet another aspect of the regime’s focus on spectacle.

Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945, left) training Rudolf Hess (1894–1987; Nazi Deputy Führer 1933-1941, right) in party etiquette, opening of the Nuremberg Party Congress, September, 1938.

There are many “body language greetings” and in the Western tradition they include (1) the handshake (used in both formal or informal settings to convey various sentiments), (2) the high five (a celebratory or friendly gesture popular in many sub-cultures) and (3) the fist bump (which was once an inherently informal practice in among the “cool” but may have been devalued when in 2022 footage appeared of Joe Biden (b 1942; US president 2021-2025) offering one to Saudi Arabia’s de-facto leader Crown Prince Mohammed bin Salman Al Saud (b 1985 and referred to colloquially as MBS), the problem being if Mr Biden did something it ceased to be “cool” and became associated with cognitive decline.  The elbow bump was recommended during the Covid-19 pandemic as a hygienic alternative to the handshake but never caught on because (1) the recommendation came from the same governments which were subjecting people to lock-downs, (2) it seemed a silly thing to do given the alternative (saying “hello”) solved the problem; if a gesture was thought necessary, a wave worked well.  Post-pandemic, hugs made a comeback although in the #metoo era many avoid them and men greeting women have started to use something between a respectful nod and a slight bow, a technique with some history because the conventions for shaking hands with women never became as standardized as was the long established practice between men.  The bow of course is highly cross-cultural and in the upper reaches of Western culture it can be obligatory for men to bow to certain individuals.  In East Asia, the bow remains in many circles a social convention but even in highly ritualistic Japan use has declined among the general population although the action, sometimes in an exaggerated form, remains a vital part of the “public apology” process when a politician, businessman, entertainer etc is compelled to “say sorry” for some transgression or loss of face.