Martini

Martini (pronounced mahr-tee-nee)

(1) A surname of Italian origin.

(2) A breech mechanism for a rifle (a clipping of “Martini-Henry”, a lever action, breech-loading single-shot rifle in service with the British Army 1871-1918).

(3) A rifle using similar features.

(4) A cocktail made with a mix of gin (or vodka) & dry vermouth, served usually with a green olive (the twist of lemon a more recent alternative and a dozen or more variations like peppermintini, chocolatini dirty martini and pornstar martini(!) have proliferated).

1885-1890:  Origin disputed; it may be an alteration of Martinez (an earlier alternate name of the drink) but is probably by association with the vermouth manufacturer Martini, Sola & Co. (later Martini & Rossi). Another theory holds it’s a corruption of Martinez, California, town where the drink was said to have originated.  Others claim it was first mixed in New York but then NYC claims lots of things happened there first.  Martini is a noun; the noun plural is martinis.

CCTV image capture, New York City, 24 July 2012.  Noted martini aficionado Lindsay Lohan enjoys a vodka martini.

By 1922 the martini had assumed its modern, recognizable form: London dry gin and dry vermouth in a ratio 2:1, stirred in a mixing glass with ice cubes, sometimes with addition aromatic bitters, then strained into a chilled cocktail glass.  Green olives were the expected garnish by the onset of World War II (1939-1945) with a twist of lemon peel often seen by the 1950s and from the 1930s, the amount of vermouth tended steadily to drop as the cult of the dry martini prevailed.  Today, a typical dry martini is made with a ration between 6:1 and 12:1.  Some were more extreme, the playwright Noël Coward (1899–1973) suggesting filling a glass with gin, then lifting it in the general direction of the vermouth factories in Italy.  The author Ian Fleming (1908–1964) had James Bond follow Harry Craddock's (1876–1963; long-time barman (now bar attendant) at London's Savoy Hotel) shaken, not stirred directive from The Savoy Cocktail Book (1930) but contemporaries, the author Somerset Maugham (1874–1965) and Franklin Roosevelt (1882–1945; US president 1933-1945), neither a stranger to a Martini, both recommended stirring although chemists observe the concept of “bruising the gin” has no basis in chemistry or any other branch of science.  The vodka martini came later.  It was first noted in the 1950s when known as the kangaroo cocktail, a hint at its disreputable colonial origins but normally reliable sources commend the blueberry vodka martini and purists concede this is the only martini to benefit from using sweet vermouth.  In 1966, the American Standards Association (ASA) released K100.1-1966, "Safety Code and Requirements for Dry Martinis," a humorous account of how to make a "standard" dry martini. The latest revision of this document, K100.1-1974, was published by American National Standards Institute (ANSI).  Flippant they may have been but they’re good guides to the classic method.

Compare & contrast: A classic gin martini (left) and a Stoli blueberry vodka martini (right)

Stoli Blueberry Vodka Martini Recipe

Ingredients

60 ml (2 oz) Stoli Blueberi Vodka
60 ml (2 oz) sweet vermouth
15 ml (½ oz) lemon Juice
3-5 fresh blueberries
Ice Cubes

Instructions

(1) Pour Stioli Blueberi Vodka, sweet vermouth and lemon juice into cocktail shaker and middle blueberries.
(2) Add ice cubes until shaker is two-thirds full.
(3) Shake thoroughly until mixture is icy.
(4) Strain and pour into chilled martini glasses.
(5) Skew blueberries with cocktail pick, garnish martini and serve.
(6) Add a little blueberry juice to lend a bluish tincture (optinal).

Martini Racing, the Porsche 917 and the Pink Pig

Porsche 917LH, Le Mans, 1970.

Unlike some teams which maintained a standard livery, Martini Racing sometimes fielded other designs.  One noted departure was the “hippie” or “psychedelic” color scheme applied to the Porsche 917LH (Langheck (Longtail)) which placed second at Le Mans in 1970 and proved so popular that the factory received requests from race organizers requesting it be entered.  Weeks later, across the Atlantic, the organizers of the Watkins Glen Six Hours wanted their own ‘hippie’ 917 but with the car in Stuttgart, Martini Racing took over another team’s car and raced in ‘hippie’ colors to ninth place on one day and sixth the next.

Porsche 917K, 1970.

Subsequently the scheme was reprised in another, even more lurid combination of yellow & red in another psychedelic design, this time to match the corporate colors of Shell, the teams sponsor.  This remains the only surviving psychedelic car, the factory’s Langheck 917 being converted to 1971 specifications and painted in Gulf Oil’s livery for Le Mans.  Like many other used 917s, subsequently it was scrapped by an unsentimental Porsche management.

Pink Pig Porsche 917-20, 1971.

Although it raced only once, the “Pink Pig” (917-20) remains one of the best remembered 917s.  In the never-ending quest to find the optimal compromise between the down-force needed to adhere to the road and a low-drag profile to increase speed, a collaboration between Porsche and France's Société d’Etudes et de Réalisations Automobiles (SERA, the Society for the Study of Automotive Achievement) was formed to explore a design combine the slipperiness of the 917-LH with the stability of the 917-K.  Porsche actually had their internal styling staff work on the concept at the same time, the project being something of a Franco-German contest.  The German work produced something streamlined & futuristic with fully enclosed wheels and a split rear wing but despite the promise, the French design was preferred.  The reasons for this have never been clarified but there may have been concerns the in-house effort was too radical a departure from what had been homologated on the basis of an earlier inspection and that getting such a different shape through scrutineering, claiming it still an “evolution” of the original 917, might have been a stretch.  No such problems confronted the French design; SERA's Monsieur Charles Deutsch (1911-1980) was Le Mans race director.  On the day, the SERA 917 passed inspection without comment.

Der Trüffeljäger von Zuffenhausen (The Trufflehunter from Zuffenhausen), a fibreglass display (some 45 inches (1150 mm) in length) finished in the Pink Pig’s livery.  It includes battery-operated LED (light emitting diode) fixtures within the nostrils, activated by a toggle switch under an access panel on the neck.  Weighing some 50 lb (23 kg), it measures (length x width x height) 45 inches x 20 x 32 (1140 x 510 x 810 mm).  In an on-line auction in 2024, it sold for US$3800.

Pink Pig Porsche 917-20, Le Mans, 1971.

At 87 vs 78 inches (2200 mm vs 2000 mm), the SERA car was much wider than a standard 917K, the additional width shaped to minimize air flow disruption across the wheel openings.  The nose was shorter, as was the tail which used a deeper concave than the “fin” tail the factory had added in 1971.  Whatever the aerodynamic gains, compared to the lean, purposeful 917-K, it looked fat, stubby and vaguely porcine; back in Stuttgart, the Germans, never happy about losing to the French, dubbed it Das Schwein (the pig).  Initially unconvincing in testing, the design responded to a few tweaks, the factory content to enter it in a three hour event where it dominated until sidelined by electrical gremlins.  Returned to the wind tunnel, the results were inconclusive although suggesting it wasn't significantly different from a 917K and suffered from a higher drag than the 917-LH.  It was an indication of what the engineers had long suspected: the 917K's shape was about ideal.

Pink Pig Porsche 917-20, Le Mans, 1971.

For the 1971 Le Mans race, the artist responsible for the psychedelia of 1970 applied the butcher’s chart lines to the body which had been painted pink.  In the practice and qualifying sessions, the Pig ran in pink with the dotted lines but not yet the decals naming the cuts; those (in the Pretoria typeface), being applied just before the race and atop each front fender was a white pig-shaped decal announcing: Trüfel Jäger von Zuffenhausen (the truffel hunter from Zuffenhausen); the Pink Pig had arrived.  Corpulent or not, in practice, it qualified a creditable seventh, two seconds slower than the 917-K that ultimately won and, in the race, ran well, running as high as third but a crash ended things.  Still in the butcher's shop livery, it's now on display in the Porsche museum.

Pink Pig Porsche 917-20, 1971.

Scuttlebutt has always surrounded the Pink Pig.  It's said the decals with the names of the cuts of pork and bacon were applied furtively were applied, just to avoid anyone demanding their removal.  Unlike the two other factory Porsches entered under the Martini banner, the Pink Pig carried no Martini decals, the rumor being the Martini & Rossi board, their aesthetic sensibilities appalled by the porcine lines, refused to associate the brand with the thing.  Finally, although never confirmed by anyone, it's long been assumed the livery was created, not with any sense of levity but as a spiteful swipe at SERA although it may have been something light-hearted, nobody ever having proved Germans have no sense of humor.

A coffee table in Pink Pig livery built on a M28 Porsche V8 engine (introduced in 1977 for use in the new 928 and, much updated, still in production).

Coffee tables in this form are not uncommon as display or promotional pieces and are sometimes advertised as “the gift for the man who has everything”; whether the pink paint will extend the attraction to many women seems improbable but, despite the perceptions, there are women who share the stereotypically male attachment to cars and their components.  Almost all coffee tables built around engine blocks use a glass top so the interesting bits are visible; if there’s thus a flat surface they are as functional as any of the same dimensions.  Some however have some of the mechanical bits protruding, usually just for visual impact although there have been some V8s and V12s where the heads are not installed, the open cylinders used as somewhere to place jars of sauces, dressings and such.  On this table, the intake manifold extends above the table-top through a surface cut-out so it reduces the usable area but the tubular intake rams are there to be admired.  Although all-aluminium, the M28 was built for robustness and was no lightweight: the table weighs some 240 lb (110 kg) and measures (length x width x height) 43 x 20 x 32 inches (1090 x 940 x 432 mm).  In an on-line auction in 2024, it sold for US$5300.

In the pink: 1983 Porsche 928S in  a “rauchquarzmetallic” wrap.  The 928 was the first Porsche to use the M28 V8. 

In production between 1977-1995, with a front-mounted, water-cooled V8, the 928 was a radical departure from the configuration of their previous road cars, all air-cooled flat fours or sixes and mostly with a true rear engine layout (the power-plant installed aft of the rear axle).  By the early 1970s the Porsche management team had come to believe (1) the fundamental limitations and compromises physics imposed on cars with so much weight at the rear extreme meant such engineering was a cul-de-sac, (2) demand for the by then decade-old 911 would continue to decline and (3) US regulators (then much in the mood to regulate) would soon outlaw rear engines and air-cooling, along with convertibles.  As things turned out, the election of Ronald Reagan (1911-2004; US president 1981-1989), a one-time Hollywood film star with fond memories of convertibles and some distaste for “excessive and intrusive regulations” was elected with the (never explicitly stated but well-understood) agenda to make America great again and a new mood prevailed in Washington, convertibles and much else surviving the expected fall of the axe.  The 928 was well-received by the press but like Toyota’s Lexus which never quite managed to achieve the reputation it deserved because it was “not a Mercedes-Benz” (actually perhaps “not what a Mercedes-Benz used to be”), the 928 suffered from being “not a 911”.  Although the 928 joined the list of machines out-lived by those which they were intended to replace, it was a success and in production for some eighteen years although in the twenty-first century depressed values in the after-market meant it became associated with drug dealers and people with maxed-out credit cards (at some points, certain used 928s were the cheapest 160 mph (260 km/h) cars on the market).  The perception has now improved and around the planet there are solid 928 communities although the members have nothing like the devotional feelings of the 911 congregation.

Porsche 917KH, 1971.

Using the 917KH (Kurz (Short)), the factory team in 1970 gained Porsche its first outright victory in the Le Mans twenty-four classic.  In the following year's race, Martini Racing won using a 917KH with a similar specification, running this time in the standard corporate livery.  The refinements to the 917K's aerodynamic properties had tamed whatever idiosyncrasies remained from the fast but unstable original and with still could have been extracted from the enlarged flat-12 but with the FIA (Fédération Internationale de l'Automobile (International Automobile Federation); international sport’s dopiest regulatory body), again changing the rules, the run in 1971 would be the 917’s last official appearance at Le Mans.

Porsche 917-10, 1972.

Although the bloodless bureaucrats at the FIA probably thought they'd killed off the 917, there was still much potential to be exploited and Porsche now devoted the programme to the Can-AM (Canadian-American Challenge Cup), conducted on North American circuits for unlimited displacement sports cars.  Run under Group 7 regulations, what few rules existed mostly were easy simultaneously to conform with while ignoring which is why the Can-Am between 1966-1973 is remembered as one of the golden eras of the sport.  Now turbocharged (as 917-10 & 917-30), in their ultimate form the cars were tuned in qualifying trim for some 1500 horsepower and raced usually with over 1000.  So dominant were the 917s that the previously successful McLaren team (their cars powered by aluminium big-block Chevrolet V8s as large as 509 cubic inches (8.3 litres) withdrew to focus on Formula One and there were doubts about the future of the series but as it turned out, the interplay of geopolitics and economics that was the first oil crisis meant excesses such as unlimited displacement racing was soon sacrificed.

Porsche 917K-81 (Kremer).

However, the 917 was allowed one final fling as an unintended consequence of rule changes for the 1981 sports car season.  It was a sort of revenge on the FIA because although never intended as a loophole through which the now ancient Porsche could pass, for one team the chance again to run the 917 at Le Mans proved irresistible.  The factory had retired the 917 after its win in the 1973 Can-Am, moving to the 936 platform for 1975 and while aware of the implications of the rule changes, weren't tempted by what they regarded a nostalgic cul-de-sac but those at Kremer Racing (founded in Cologne, FRG (Federal Republic of Germany, the old West Germany) by brothers Erwin (1937-2006) and Manfred Kremer (1940-2021)) were intrigued and, with factory support, built a new 917 to Group 6 specifications (enclosed bodywork and a 5.0 litre flat-12), labeling it the 917K-81.  Using Kremer own aluminium spaceframe, at the 1981 Le Mans 24 hour it was fast enough to qualify in the top ten and run with the leaders until a suspension failure forced retirement (the car eventually classified: 38th, DNF (did not finish).  The pace displayed was sufficiently encouraging for the car to be entered in that year's 1000 km event at Brand Hatch where it proved fast but, lacking the factory support, also fragile and it again recorded a DNF.  That was the end of the line for the 917 but, fast and loud, they remain a popular attraction whenever they appear.

Shtreimel

Shtreimel (pronounced stremm-ill)

A fur hat worn by many married Haredi Jewish men on the Sabbath, during Jewish holidays, weddings and other festive occasions.

Late 1500s: From the Yiddish שטרײַמל‎ (shtrayml) of unknown origin.  The plural form is either שטרײַמלעך (shtraymlekh) or שטרײַמלען (shtraymlen) and when rendered in English it should probably be shtreimlech but shtreimels is regularly seen and is now probably more prevalent in commerce.  Shtreimel is a noun; the noun plural is shtreimels.

A quartet of Jewish men in shtreimels.

In the sixteenth century, Eastern Europeans fought the Mongol hordes invading from the east, eventually driving them out.  The Mongols had worn a fur headgear akin to shtreimlach and, after the victory, the Europeans, never fond of the Jews whom they regarded as outsiders as foreign as the invaders, compelled them to wear similar hats to degrade and set them apart.  From this improbable origin came first the acceptance and later the actual code of dress adopted by European Jewry and Chassidim (also known as Hasidism or Hasidic Judaism, a strictly orthodox Jewish sect which opposed Hellenizing influences on their faith).  By the nineteenth century it had spread around the world.

A shtreimel is worn usually on Shabbat, Jewish holidays and other festive occasions and although typically restricted to married men, in some communities, it’s worn from the age of bar mitzvah.  Although it’s long been a custom for Jewish males to cover their heads, under Jewish law there is no special significance to the shtreimel compared to other head coverings but adopting two is thought to add spiritual merit, a shtreimel worn always over a kippah (or yarmulke, the Jewish skullcap).  Sometimes more controversial is the materialist aspect, the intricate craftsmanship of the more expensive shtreimlech does, for some, add to their appeal and they can be displayed as a status-symbol, a conspicuous consumption not approved by all .  The best shtreimlech are bespoke creations for the wearer, made from the tips of the tails of Canadian or Russian sable, stone marten, pine marten or American gray fox and, by tradition, a bride's father purchases a shtreimel for the groom upon his wedding.  These range in price from US$1,000-$6,000 although reproductions in synthetic fur can be bought for a fraction of this, the choice dependent on family circumstances rather than religious tradition.  Never part of everyday apparel, a shtreimel is worn only in conjunction with the clothes worn on the Shabbos (the Jewish Sabbath).  While there are no official rules as to when a shtreimel is worn, it’s usually restricted to religious holidays, weddings and at a brit milah (the Jewish religious male circumcision ceremony).

Democratic People's Republic of Korea (DPRK; North Korea): female soldiers.  Although the resemblance is striking, it's not believed the hats worn as part of the uniforms by female members of the Democratic People's Republic or Korea (DPRK; North Korea were modelled after the shtreimel and it's mere sartorial coincidence.  

Like his father (Kim Jong-il (1941–2011; The DPRK's Dear Leader, 1994-2011) and grandfather, (Kim Il-sung (1912-1994; The DPRK's Great Leader, 1948-1994), Kim Jong-un (b 1983; The DPRK's Supreme Leader (originally The Great Successor) since 2011) likes women in heels.  Because the whole DPRK military seems to be run by someone in the vein of General Scheisskopf (in German, literally "shit-head", the character in Joseph Heller's (1923-1999) Catch-22 (1961) who was obsessed with marching), the heels really are functional and better than combat boots.

The real fur shtreimels attracted the interest of the animal rights pressure group, People for the Ethical Treatment of Animals (PETA) which in 2013 supported Rabbi Shlomo Pappenheim (b 1926), leader of an ultra-Orthodox Jewish sect, when he delivered a speech at an animal rights conference in Israel, calling on Hasidic Jews to stop wearing real fur shtreimel hats.  According to the rabbi, each shtreimel, which demands the slaughter of up to thirty sables, minks, martens, or foxes, violates the Jewish law of tza’ar ba’alei chayim, which prohibits causing animals unnecessary pain adding that as a matter of Jewish law, flaunting real fur hats amounts to Chilul Hashem (desecration of God’s name) because the cruelty of the fur industry is so notorious.  He concluded his address by saying Jewish culture must evolve to the point where it becomes a matter of shame to wear “anything but a synthetic shtreimel.”

PETA honorary director Pamela Anderson (b 1967) in poster for PETA’s “I’d Rather Go Naked Than Wear Fur” campaign.  Ms Anderson’s involvement is said to have extended to making a personal appeal to then prime-minister Benjamin Netanyahu (b 1949; Israeli prime minister 1996-1999, 2009-2021 and since 2022).

Whether it was Rabbi Pappenheim’s thoughts or Ms Anderson’s persuasion which was most influential isn’t known but the campaign seemed to have some effect, Israel in 2021 becoming the first country to ban fur.  However, as cynics noted, it was a typical piece of cleverness by the Knesset (the Israeli parliament) in that the ban doesn’t apply to those most likely to wear the furry hats, the legislation still permitting the import of sable shtreimels, worn by many Haredi men, the amendment to the Wildlife Protection Law (1976) allowing permits for importation to be issued if the pelts are to be used for “religion, religious tradition, scientific research, education or teaching.”  As in many aspects of secular laws passed by the Knesset, this loophole effectively exempts ultra-Orthodox Jews from its operation although importers will now need to apply for special permits, something thought “not an obstacle.”  The law may thus have little practical effect; given its climate, garments using fur are rarely seen in Israel except as shtreimels.

Harold Macmillan (1894–1986; UK prime-minister 1957-1963) and comrade Nikita Khrushchev (1894–1971; Soviet leader 1953-1964), on the tarmac at Moscow airport, February 1959 (left) and Lindsay Lohan in Netflix's Falling for Christmas (2023).  In many religions, it's not uncommon for what were once purely functional or pragmatic garments or practices to become symbols of religious observance and it seems likely the origin of the shtreimel was in headgear designed to provide warmth.

Macmillan’s visit, the first to Russia by a British PM since Winston Churchill's (1875-1965; UK prime-minister 1940-1945 & 1951-1955) wartime trips, started with him making what he hoped would be a friendly gesture, wearing a Russian white fur hat (ushanka) but this was soon swapped for a black one because a foreign office advisor suggested the white, dating from his last visit to Russia during the Russo-Finnish War (the so-called "Winter War", 1939-1940) might cause offence, the conflict not a happy memory in the Kremlin.  The foreign office was correct but (and this does happen with the FO) for the wrong reason, the white fur purely a fashion faux pas.  When Macmillan's predecessor (Anthony Eden, 1897–1977; UK prime-minister 1955-1957), visited Moscow in 1941 while foreign secretary, comrade Vyacheslav Molotov (1890–1986; USSR foreign minister 1939-1949 & 1953-1956), showing an untypical concern for the details of protocol, told Eden "Á Moscou, Excellence, on ne porte pas la casquette de fourrure blanche" (In Moscow, Your Excellency, you don't wear a white fur hat).   

Twenty-odd years on however, the Russians seemed either not to notice or be unconcerned, the white fur attracting no comment on arrival and the prime-minister’s sartorial flourishes continued, choosing practical plus fours for his tour of collective farm, and, in a nice touch, a Guards Regiment tie when visiting a nuclear facility.  Lavish banquets followed around tables laden with champagne, vodka, caviar, salmon and Cuban cigars and all went well although, regarding the vodka, perhaps a little too well, as Macmillan would later note.

While the prime-minister was touring a Moscow research institute, comrade Khrushchev was in Berlin where he delivered a truculent speech intending use Macmillan’s visit to destabilize NATO.  The next day’s Anglo-Soviet discussions were “angry and fraught”, an atmosphere not helped by both delegations being “rather drunk”.  To express his displeasure with a snub, Khrushchev the next day issued a statement saying he was taking no part in that day’s activities because he had “toothache” and the Western press promptly, and gleefully, coined the phrase “diplomatic toothache”.  Just to add emphasis, despite being indisposed by his “toothache”, the Kremlin made it known comrade Khrushchev had spent the day in meetings with a visiting delegation from Iraq.  Macmillan rescued the situation with some typically cynical British diplomacy and comrade Khrushchev quickly resumed his role of genial host, telling everyone his toothache had been cured “…by a British drill”.  Although achievements had been modest, both sides considered the visit a success, something in this field measured less by anything attained than unpleasantness avoided.

The ushanka never goes out of style: Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) admiring the headgear of Crown Prince Wilhelm (1882-1951), Tag von Potsdam (Potsdam Day), 21 March 1933.  Potsdam day was a ceremony conducted on March 21, 1933 in Potsdam to mark the re-convening of the Reichstag, the fire which gutted the building on 27 February 1933 never fully explained although conspiracy theories suggesting the act of arson was a Nazi plot have little support among mainstream historians, the consensus being the regime simply took advantage of the unexpected event to conduct the first of many purges of their opponents. 

Heel & Heal

Heal (pronounced heel)

(1) To make healthy, whole, or sound; restore to health; free from ailment.

(2) To bring to an end or conclusion, as conflicts between people or groups, usually with the strong implication of restoring former amity; settle; reconcile.

(3) To free from evil; cleanse; purify:

Pre 900: From the Middle English helen, from the Old English hǣlan (cure; save; make whole, sound and well), from the Proto-Germanic hailijaną (to heal, make whole, save) from which Old Saxon picked up helian and Gothic gained ga-hailjan (to heal, cure), the literal translation of which was "to make whole", all of these from the primitive Indo-European koyl (safe; unharmed).  It was cognate with the Dutch helen, the Saterland Frisian heila, heilen & hela, the Danish hele, the Swedish hela, the Old High German heilen, the Old Norse heila, the Scots hale & hail and the Gothic hailjan, all derivative of hāl & hale (whole).  The Modern English health, healthy, healthily etc were later derivations.  Heal is a noun & verb, healing is a noun & verb and healed is a verb; the noun plural is heals.

Heel (pronounced heel)

(1) The back part of the human foot, below and behind the ankle.

(2) An analogous part in other vertebrates.

(3) In zoology, either hind foot or hoof of some animals, as the horse.

(4) The part of a stocking, shoe, or the like covering the back part of the wearer's foot.

(5) A solid, raised base or support of leather, wood, rubber, etc, attached to the sole of a shoe or boot under the back part of the foot.

(6) By analogy, things resembling the back part of the human foot in position, shape etc, such as the heel of a loaf of bread.

(7) The rear of the palm of the hand, adjacent to the wrist.

(8) The latter or concluding part of anything (now rare).

(9) In architecture, the lower end of any of various more or less vertical objects, as rafters, spars, sternposts of vessels or the exterior angle of an angle iron.

(10) In naval architecture, the after end of a keel or the inner end of a bowsprit or jib boom.

(11) The crook in the head of a golf club.

(12) In railroad construction, the end of a frog farthest from a switch.

(13) In horticulture, the base of any part, as of a cutting or tuber, that is removed from a plant for use in the propagation of that plant.

(14) A vile, contemptibly dishonorable or irresponsible person, one thought untrustworthy, unscrupulous, or generally despicable.

(15) In cock-fighting, to arm (a gamecock) with spurs.

(16) In admiralty jargon, the inclined position from the vertical when a vessel is at ten (or more) degrees of list.

Pre 850: From the Middle English helden, a variant of the earlier heeld and derived from the Old English hēla, heald & hieldan (to lean or slope).  It was cognate with the Dutch hiel, the Old Frisian hêl, the Old Norse hallr and the Old High German helden (to bow).  In the sense of “back of the foot”, root is the Old English hela, from the Proto-Germanic hanhilon which was cognate with the Old Norse hæll, the Old Frisian hel and the Dutch hiel), all derived from the primitive Indo-European kenk (heel, bend of the knee).  The meaning "back of a shoe or boot" is circa 1400 and features in a number or English phrases: Down at heel (1732) refers to heels of boots or shoes worn down when the owner was too poor to have them repaired; the Achilles' heel refers to only vulnerable spot in the figure from Greek mythology; in Middle English, fighten with heles (to fight with (one's) heels) meant "to run away."  The idiomatic phrase "he's a heel" began in professional wrestling, where it was used to describe a villainous character who breaks the rules, cheats, and generally behaves in an unethical manner to gain an advantage (sometimes as part of the script).  In modern use, "he's a heel" has be repurposed to disparage unsatisfactory dates, boyfriends & husbands.  The nautical, Admiralty and architectural forms are all derived (however remotely) from the earlier meanings related to slopes and angles.  Heeled & heeling are nouns & verbs, heelful is a noun and heeling is a verb & adjective; the noun plural is heels.

Heels in the military

United States Army Class A (Dress A) Uniform guide (women).

Heels in the shoes of women’s military uniforms are not unusual and the US Army guide is typical, specifying between ½ - 3 inch height on a closed-toe pump, essentially anything between a flat and a kitten heel.  With the formal dress uniforms worn for dinners and such, higher heels have long been worn.  In Western militaries, heels have never been worn with combat uniforms or when drill-marching although they’re not an unusual sight on parade grounds, worn with dress uniforms.  They have however in recent years been seen on female soldiers in both the DPRK (North Korean) and Russian armies although there seems to be no evidence of the practice during the Warsaw Pact era.

Democratic People's Republic of Korea (DPRK; North Korea): female soldiers.

Like his father (Kim Jong-il (1941–2011; The DPRK's Dear Leader, 1994-2011) and grandfather, (Kim Il-sung (1912-1994; The DPRK's Great Leader, 1948-1994), Kim Jong-un (b 1983; The DPRK's Supreme Leader (originally The Great Successor) since 2011) likes women in heels (note the big hats, a long tradition in the DPRK armed forces although the structural similarity to the Jewish Shtreimel is mere coincidence).  Because the whole DPRK military seems to be run by someone in the vein of General Scheisskopf (in German, literally "shit-head", the character in Joseph Heller's (1923-1999) Catch-22 (1961) who was obsessed with marching), the heels really are functional and better than combat boots.

Democratic People's Republic of Korea (DPRK; North Korea): female soldiers marching.

The use of any sort of heel (or conventional shoe) may seem a strange choice for military use but there's never been much to suggest it's footwear designed for the battlefield.  Actually, there are a number of analysts who maintain the whole DPRK military is not intended for actual deployment under battlefield conditions, especially in any conflict likely to extend beyond the few weeks their logistical support is thought capable of remaining effective.  However, as a well-drilled mass-formation able to march in public ceremonies, the DPRK's soldiers excel and the state's choreographed events have no match in the world, something emphasised by the cinematography, packaged quickly into slick productions for distribution to international news services.  For these purposes, women in heels works well because boots are heavy and some of the steps (including a few with some "wardrobe malfunction" potential) the women are required to perform for long duration marches would be impossible for some if they had to wear combat boots.

Russian female soldiers.

Women in the Russian military appear to use a variety of heel heights with dress uniforms including even stilettos which is interesting.  Presumably  the stilettos are used only when marching on smooth, regular surfaces; it would be very difficult to march on the cobble stones in Moscow's Red Square while in stilettos and traction & stability fragile at the margins.  That's of great significance when marching in formation because it works on the basis of "as strong as the weakest link in the chain" in that if one soldier in the line stumbles, it can trigger a chain reaction, disrupting the entire show.   

The Ukrainian minister for defense trying not to notice some stilettos.

The decision of the Ukraine's Ministry of Defense to train female soldiers to march in high heels attracted interest, much of it from Ukrainian politicians, little of it supportive, except for that expressed by female legislators.  Despite that, when in late June 2021 photographs emerged of women soldiers training in heels for a march scheduled for 24 August to mark the thirtieth anniversary of independence from the Soviet Union, an army spokesman reported the drilling to master the steps was "progressing well" although one soldier in an interview confirmed it was "...a little harder than in boots".  Social media soon went into action, one on-line petition demanding Ukraine's (male) defense minister don the not infrequently uncomfortable shoes to try marching in them and most critics (most volubly the female parliamentarians), accused the military of sexism and having a “medieval” mind-set.  The virtual protest was the next day brought into parliament when some of  his female colleagues arranged a line of high-heeled shoes before the defense minister and suggested he wear them to the anniversary parade, a joint statement from three cabinet ministers adding that the "...purpose of any military parade is to demonstrate the military ability of the army. There should be no room for stereotypes and sexism”.

Ukrianian female cadets practicing in heeled pumps.

The Defense Ministry initially declined to comment but did later issue as statement pointing out heels had been part of dress uniform regulations since 2017 and included pictures of female soldiers in the US military wearing heels during formal events and although they didn't mention it, Ukrainian soldiers regardless of gender all wear boots when deployed for combat or active training.  The great heel furor however didn't subside and the defense minister, after consultation with female military cadets, issued a joint statement with the military high command acknowledging the heels were inconvenient.  Later addressing a gathering of cadets, the minister pledged to look into the matter of “improved, ergonomic” footwear “in the shortest possible time”, although it wasn't made clear if the new shoes would be available for the August parade.  In another supportive gesture he also confirmed senior defense officials "would look into" improving the quality of women's underwear, this presumably in response to concerns raised by the cadets although the minister didn't go into detail of this, saying only that if the trial of the cadet's “experimental” footwear went well, they could be issued to all female members in the military.

Harder than it looks.

In recent years, women have played increasingly prominent roles in the Ukrainian military, especially in the ongoing conflict with pro-Russian separatists in eastern Ukraine, Kyiv allowing women to serve in combat units after Russia annexed the Crimean Peninsula in 2014.  Women now make up more than 15 percent of the country’s armed forces, a rate which has more than doubled since the conflict erupted and more than 13,000 women have been granted combatant status.  Some 57,000 women serve in the Ukrainian military and NATO standards are in the process of being introduced, membership of the alliance being described still as a "long term" goal.  Given Ukraine's long and often not untroubled relationship with both Russia and the Soviet Union, the lure of NATO is understandable but the Kremlin is opposed and there's now little enthusiasm in Western capitals.  The view from NATO HQ has for some time been that the relationship with Moscow will be easier to manage if a border which the Kremlin regards as hostile is not extended.

Pre-dating even the apparently abortive sartorial innovations of the Ukrainian Army, military camouflage has long attracted designers who like the juxtaposition of fashion and function (the fetching stiletto (bottom right) with the rakishly slanted heel is a Prada Camo Green Pump).  Although the purpose may not be overt, physics make the stiletto heel something of a weapon, even a 45 kg (100 lb) woman, at the point of the heel's impact, exerting a pressure 20 times that of the foot of a 2½ tonne (6000 lb) elephant.  Over the years, dance floors, the timber decks of cruise ships and many other surfaces have suffered damage.

Lindsay Lohan in Christian Louboutin Madame Butterfly black bow platform bootie with six-inch (150 mm) stiletto heel.

Vice Versa's convertible heel to flat.

Undeniably stiletto heels are attractive and, if worn by a skilled user, can lend a woman her most alluring posture but they can be uncomfortable, especially of worn for an extended duration, over long distances or on hard surfaces.  One solution (although it seems to unlikely to be adaptable to the most elevated of the breed) is a shoe with a "clamshell" design, a half-sole hinged from the instep, allowing the heel to use a folding mechanism so it can be transformed into a something like a ballet flat (ballet pump in some markets).  Greatly they will be valued by those who, after a long evening, have to walk a few blocks to find a taxi.

Fugue

Fugue (pronounced fyoog)

(1) In music, a polyphonic composition based upon one, two, or more themes, which are enunciated by several voices or parts in turn, subjected to contrapuntal treatment, and gradually built up into a complex form having somewhat distinct divisions or stages of development and a marked climax at the end.

(2) In psychiatry, as dissociative fugue (previously called a fugue state or psychogenic fugue), a period during which a person experiences loss of memory, often begins a new life, and, upon recovery, remembers nothing of the amnesic phase.

(3) In literature, poetry, painting etc, a composition which resembles a fugue in structure or in its elaborate complexity and formality.

(4) In cryptography, a hash function written by IBM.

1590-1600: From the French fugue, from the Italian fuga (flight; a running away, act of fleeing, ardor), from the Latin fugere (to flee) & fugare (to chase), from fuga (act of fleeing (literally “flight”)), from fugiō (to flee), the related word in Ancient Greek was φυγή (phugḗ); a doublet of fougue.  The current spelling in English is noted from the 1660s and is from the French version of the Italian word; the plural is fugues.  The (rare) related forms include fuguist, fuguing, fugued & fuguer but although the adjective is fugal, the more common way to convey the adjectival sense is “fugue-like”.

Most associated with music, a fugue is a composition founded upon one subject, announced at first in one part alone, and subsequently imitated by all the other parts in turn, according to certain general principles to be hereafter explained.  The idea behind the musical form “pertaining to a fugue; in the style of a fugue” is thought to be based in the metaphor that the first part starts alone on its course, and is pursued by later parts.  The variants include fughetta (literally, "a small fugue") and fugato (a passage fugue-like in structure interpolated into another work which is not a fugue).

JS Bach (1685–1750) was a German composer of the late Baroque and his unfinished The Art of (the) Fugue, written in the last years of his life, has since a twentieth-century revival of interest been part of the classical canon although many academics and professional composers accomplished in structural analysis maintain the fugues were actually part of his pedagogical output and reflected his long interest in monothematic instrumental works.  The most intriguing suggestion is Bach deliberately left the last of the fugues incomplete to provide aspiring composers with a chance to write their own conclusion, that which preceded either template or inspiration depending on one’s view.

The Unfinished Fugue: Fuga a 3 Soggetti (Contrapunctus XIV).

Like Bach’s other memorable work from his last decade, the Goldberg Variations (1741), the fugues came late to the canon, the first complete performance undertaken only in 1922 but it would have seemed strange to him for the works to be assembled and presented as a whole because collectively they don’t assume any thematic form; they’re more a technical exploration of the possibilities he had learned from the hundreds of fugues he’d earlier written.  The Goldberg Variations had a not dissimilar history; a technically challenging piece written for what became an unfashionable instrument, it lay neglected until a startling performance on the piano in 1955 made it famous.  US physicist’s Douglas Hofstadter's (b 1945) 1979 book Gödel, Escher, Bach: an Eternal Golden Braid invokes The Art of Fugue to illustrate the first incompleteness theorem of Austrian logician Kurt Gödel (1906-1978); it’s fun but it’s drawing a long bow.

In the fourth edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-IV 1994), dissociative fugue was listed as a separate a separate disorder while in DSM-5 (2013) it was re-classified as a subtype of dissociative amnesia, a condition which involves a wide spectrum of degrees of impairment in memory and consciousness.  When a separate disorder, the diagnostic criteria was (1) sudden or unexpected travel away from one's home or work, (2) an inability to recall past experiences, (3) confusion about identity or (in whole or in part) assuming a new one & (4), significant distress and impairment about these issues.  A little unusually in psychiatry, dissociative fugue was noted as typically diagnosed only retrospectively since the patient may not show outward signs and it was thus often difficult to recognize the condition.  So, it was usually only when the fugue ended, whether abruptly or as a gradual emergence, that a diagnosis was made.

Lindsay Lohan and her lawyer in court, Los Angeles, 2012.

The refinement in the DSM-5 was that, becoming a subtype of the disorder dissociative amnesia, a dissociative fugue became the state of purposeful travel or bewildered wandering attached to the symptoms of dissociative amnesia.  In this the dissociative fugue joined the other subtypes including (1) localized amnesia, (2), selective amnesia, (3), generalized amnesia, & (4), continuous amnesia & systematized amnesia.  A hint at the editor’s rationale for making the re-classification lies in the newly added diagnostic exclusions: (1) ingestion of psychotropic substances, (2) a general medication condition, (3), dissociative identity disorder, (4), diagnosis of delirium, (5), diagnosis of dementia, (6), head trauma, (7), ingestion of drugs or alcohol & (8), diagnosis of epilepsy.  Previously, in DSM-IV, the exclusions were limited to (1) the effects of drugs & medications and (2), a general medical condition.  Ominously, they add that while rare, a dissociative fugue may be faked by those seeking to escape the consequences for their actions.  So, the dissociative fugue (once the fugue state or psychogenic fugue) is a mental and behavioral disorder classified variously as a dissociative disorder or a somatic symptom disorder.  Rare and almost always temporary (although cases which last years are noted in the literature and durations of months are not uncommon) and now thought just one of the possible manifestations of dissociative amnesia.