Tuesday, March 10, 2020

Franchise

Franchise (pronounced fran-chahyz)

(1) A privilege of a public nature conferred on an individual, group, or company by a government.

(2) In commerce, the right or license granted by a company to an individual or group to market its products or services in a specific territory.

(3) A store, restaurant, or other business operating under such a license.

(4) The territory over which such a license extends.

(5) The right to vote (usually regarded as concurrent with the full rights of citizenship.

(6) A privilege arising from the grant of a sovereign or government, or from prescription, which presupposes a grant.

(7) In professional sport, the right to own or operate a team as a member of a league.

(8) In modern commercial cinema, a film that is or has the potential to be part of a series and lends itself to merchandising.

(9) In the marine insurance division of Admiralty law, a sum or percentage stated in a policy, below which the insurer disclaims all liability.

(10) An obsolete word for enfranchise.

1250-1300: From the Middle English, from Old French, derivative of franc (free) and franchir & franchiss (to set free).  In Old French, the twelfth century word franchise meant “freedom, exemption; right, privilege” but by early eighteenth century meaning had narrowed to "particular legal privilege," then, the post-revolutionary "right to vote" by 1790.  The meaning in the sense of commercial licencing is cited variously between 1959-1966, though actual word franchising was first noted in the 1570s.  Use in the film industry is most modern, emerging in the late twentieth century (although the concept pre-dated the use of the descriptor) and in law and commerce, forms have been coined as required including: overfranchised, disfranchisement, subfranchise, subfranchised & subfranchising.  Franchise & franchising are nouns & verbs, franchiser, franchisor, franchisement, franchisability & franchisee are nouns and franchised is a verb; the most common noun plurals are franchises and franchisers.

Jim's Mowing began in Australia literally as a one-man, part-time lawn-mowing created by a student to generate income while pursuing a history Ph.D.  It has since expanded into a franchise business which has been adapted to over 50 service industries in four countries (Australia, Canada, the UK & US) with some 4,000 franchises.

In popular culture, the most common use of franchise is in film and television where it's used to describe productions of media content that in some way share a common fictional universe (the characters or the theme).  The typical franchise is two or more films or television shows connected by shared elements, such as recurring characters, settings, storylines, or themes.  Although some are now planned according to a well-understood formula, historically franchises emerged from a films or TV show which generated a sufficient level of fan interest and revenue and the revenue generation streams extend beyond the original format(s) to include merchandizing opportunities as video games, books, comics and clothing.  Dating from 2006, The Real Housewives is an US "reality television" franchise which has thus far yielded 11 geographically different series (The Real Housewives of Dubai including the novelty of being set overseas), more than 20 international adaptations and some two-dozen "spin-offs", some successful, some not.  The Real Housewives of Dubai (RHODubai to the cognoscenti) debuted in mid-2022 but, unfortunately, does not feature noted Dubai resident Lindsay Lohan.  Perhaps it's only a matter of time.

Monday, March 9, 2020

Landau

Landau (pronouned lan-daw (U) or lan-dou (non-U))

(1) A light, four-wheeled, traditionally horse-drawn, two or four-seated (the original landau was for two passengers) carriage with a top made in two parts that may be let down or folded back, the two meeting over the middle of the passenger compartment; in four-seat versions, the front and rear passenger seats would face each other, an arrangement now often called “vis-a-vis seating”.

(2) By extension, a style of automobile based around the design of landau carriages, usually a limousine or sedan-like with a partially convertible roof arrangement, the most rearward part retractable.

(3) A model name for automobiles now with no precise definition but which is usually applied to vehicles with some variation in the treatment of the roof (though not necessarily a configuration).

1743 (1723 in the German): Traditionally thought named after the German city of Landau, where such carriages were first made and called landauers, following the model of the berliner, a carriage with origins in the city of Berlin.  The city of Landau in der Pfalz (Landach in the Palatine German and usually clipped to Landau) is an autonomous (kreisfrei) town in the southern Rhineland-Palatinate.  Land was from the common Germanic element land (land, territory (which obviously endures in English), from the Proto-Germanic landą, from the primitive Indo-European lend- (land, heath); it was cognate with the Proto-Celtic landā.  The origin of the second element is disputed.  The noun plural is landaus.

The Landau

Murkier still though is the opinion of some etymologists that the name of the carriage was really from the Spanish lando (a light four-wheeled carriage drawn by mules), from the Arabic al-andul and the claim by the Germans was just blatant commercial opportunism.  If one accepts the orthodox etymology, in 1723 when first displayed in the city of Landau, the description landauer meant one thing: a two-seater horse-drawn light carriage configured with four wheels on two sprung axles and with a fabric top which could be thrown back (ie lowered) to the rear.  It was a luxury vehicle and much admired but the reaction of customers suggested a larger market beckoned if a four-seat version was available.  Accordingly, production commenced on what was essentially two of the two-seaters joined together, the seats in the traditional (viv-a-vis) arrangement of two benches facing each other and the fabric roofs duplicated, one hinged from the rear, one from the from front and, when erected, meeting in the centre above the passengers.  Access to the compartment was provided by one or two side-doors, the upper section of which was a framed glass window which could be removed (and later even wound-down) and it is to these vehicles that the origins of the modern convertible may be traced, the sense being of something which easily may be converted from open to closed .  In the records of the time, there are drawings of these four-seat carriages with a single fabric roof (a la the two-seat original), hinged from the rear but it’s not clear how many, if any, were built.

Before there were landaus, another carriage had provided an entry in the etymological record.  Designed probably in the late 1660s by a Piedmontese architect under commission from the quartermaster-general to Frederick William (1620–1688; Elector of Brandenburg and Duke of Prussia 1640-1688), several of what came to be known as berliners were used by the elector to travel from Berlin to Paris, then a trip of 1,055 km (655 miles) and upon arrival, the elegant but obviously robust vehicles caused a sensation and immediately the design was copied by Parisian coachbuilders attracted by the ease of construction, efficiency of space utilization and critically, the economical use of materials which made them cheaper to build.  Lighter and with a lower centre of gravity which made them also safer, the French named them berlines in honor of their city of origin and quickly they began to supplant the less practical and frankly uncomfortable state and gala coaches which had been the definitive seventeenth century carriage.

The origin of the Berliner is undisputed but there have long been “alternative facts” contesting the genesis of the landau.  The orthodox history is that carriages in the style which came to be associated with the landau were first built in Landau and thus known as landauers, mentioned in Goethe's (Johann Wolfgang von Goethe, 1749–1832) epic-length poem Hermann and Dorothea (1796-1797):

Constantly, while he thus spoke, the crowds of men and of women
Grew, who their homeward way were over the market-place wending;
And, with the rest, there also returned, his daughters beside him,
Back to his modernized house on the opposite side of the market,
Foremost merchant of all the town, their opulent neighbor,
Rapidly driving his open barouche,—it was builded in Landau.
Lively now grew the streets, for the city was handsomely peopled.
Many a trade was therein carried on, and large manufactures.

A barouche was a large, open, four-wheeled carriage and historians of the industry suggest Goethe was describing a landauer and Jane Austen (1775-1817) in Emma (1816) spoke of a “barouche-landau” which combined “…the best features of a barouche and a landau" although the blend was apparently “not a popular innovation” and noting this critique, Austen scholar Jennifer S Ewing, Library Director at Southern California Seminary in El Cajon, pondered whether the “… choice of carriage itself speak to the elusiveness of the Sucklings in Emma, always promised, but never realized?  Such is the way of modern academic deconstruction but carriages were important in Austen’s writings, the size and style of a man’s carriage used to establish the measure of his wealth and social distinction so she was a keen observer of such things.

A more dramatic story is that associated with the epic journey by Austrian Archduke Joseph (1678–1711; Holy Roman Emperor & King Joseph I of Austria 1705-1711) who in 1702 arranged a fleet of 77 coaches to carry him and his entourage of 250 from Vienna to Landau, there to take the command at the siege of what was then the a French border fortress.  It’s claimed the feat of moving the 250 men in 14 daily stages was so extraordinary that the coaches were forever associated with the town of Landau, the French soldiers also so impressed they took the name back to Paris.  It’s a romantic story but Goethe and Austen are more persuasive.

The theory of an Arabic origin of the name is interesting, the argument being the Arabic al-andul (litter, cars (and related to the Sanskrit hindola (a swinging cradle or hammock; an ornamental swing or litter in which figures of kṛṣṇa are carried during the Swing-festival in the light half of the month śrāvaa))) came into Spanish as lando (four-seat cart drawn by mules) from which it migrated in the form landau into English & French and was only then brought into German by popular etymological reinterpretation with the place name Landau and formed into landauer.  The Arabic derivation has the advantage that there’s no reliance of anecdotal tales of military adventure or historically dubious claims of manufacturing innovation but it’s wholly inconsistent with the chronology of verified evidence.  The word as the name of a carriage was documented in German in 1723 (and in English by 1743), but there's no trace in Spanish until 1830 and most etymologists think even then likely that it is more likely from the French than the Arabic.

Landaulet and Landaulette

The landaulette was a body style developed early in the twentieth century by car manufacturers and specialist coachbuilders, the construct being landau(l) + -ette (from the Middle English -ette, a borrowing from the Old French -ette, from the Latin -itta, the feminine form of -ittus.  It was used to form nouns meaning a smaller form of something).  A landaulette was distinguished by the compartment being covered by a convertible top while the front remained enclosed (although a landaulette rear-section was sometimes combined with the sedanca de-ville coachwork which had an open section also at the front (sometimes with a detachable top), leaving only a central portion with a permanently fixed roof.  It was once a very popular style used in taxis (in the days before air-conditioning) and was a feature of many parade limousines used for figures such as heads of state when they wished to be more visible to large crowds.  This use is now rare because of concerns about security, some of the old state-cars used in the wedding business, most brides concerned with matters other than assassination.  In the UK, historically, landaulette was used when referring to motor vehicles while the older landaulet was reserved for horse-drawn carriages.

Landaulet, the construct being landau(l) + -et (from the Middle English -et, from the Old French –et & its feminine variant -ette, from the Late Latin -ittus (and the other gender forms -itta & -ittum).  It was used to form diminutives (loosely construed) and was, after the first few years of the twentieth century, always the form used on the continent and refers to the same coachwork as landaulette.  Both words are now rare and it’s only specialists who are likely to apply them correctly.

Mercedes-Benz 600 (W100) Landaulet (long-roof).

Mercedes-Benz, at a leisurely pace, produced 59 600 Pullman Landaulets, twelve with a convertible top which covered the entire rear passenger space, the remainder with a shorter top which exposed only the rear-most seat.  Purchased usually for parade use or other ceremonial occasions, most were built with the six-door coachwork but there were a few which used the four-door body and the vis-a-vis seating.

Mercedes-Benz 600 (W100) one-off landaulet on the short wheelbase (SWB) platform.

The factory for decades provided the Vatican with papal landaulets, used in parades and sometimes they travelled with popes to foreign lands.  After the assassination attempt on John-Paul II, the concept was refined, the convertible top replaced with bullet-resistant clear panels and popes now less frequently appear in open-top cars.  Clockwise from top left: 300d (W189) papal throne, 300d (W189), 600 (W100), 300SEL (W109), S500 (W140), 300GD (W460), G500 (W463), ML500 (W166).  Just about everybody quickly dubbed the new cars "popemobiles".

Rolls-Royce Phantom V (1959-1968) State Landaulet by Mulliner Park Ward (MPW).

Twenty years after: Queen Elizabeth II (1926-2022; Queen of England the UK and other places, 1952-2022) and Prince Philip (1921-2021) in Mercedes-Benz 600 Landaulet, Brandenburg Gate, Berlin, state visit, June 1965.  This 600 Landaulet is one of twelve "long roof" cars (often informally styled as the "Presidential") in which the folding fabric roof extended over the whole of the rear compartment.  The remaining 46 600 Landaulets were "short-roof" models where the metal roof extended further rearwards, the fabric over only the rear-seat area.

The 1961 Lincoln Continental (Secret Service code X-100) in which President John Kennedy (JFK, 1917–1963; US president 1961-1963) was assassinated could be configured as (1) a four-door convertible or, (2) a landaulet with a solid top attached above the driver’s compartment.  It was sometimes also used with a protective Perspex shield for the rear compartment but, infamously, this wasn’t used on the day of the assignation.  After the events in Dallas it was modified to include much more protective equipment and returned to the Secret Service’s White House fleet.

X-100 unprotected (left) and with an array of some of the roof accessories which enabled it to be configured as a four-door convertible, a landaulet or a sedanca de ville (although it was never seen as the latter) (right).  Coincidentally (presumably), Lincoln's companion division, Mercury, in 1969-1970, sold a version of its full-sized Marauder two-door hardtop as the X-100, nominally a high-performance model but actually using an un-modified (360 horsepower) 429 cubic inch (7.0 litre) version of the corporate 385-series V8.  Essentially, the X-100 was an attempt to be in 1965 what the "letter series" Chrysler 300s had been between 1955-1965 but the moment had passed and the days of the "banker's hot-rods" were done.  The X-100 was never replaced.

Rolls-Royce Phantom IV State Landaulet by Hooper.

A bespoke creation produced exclusively for heads of state and crowned royalty (the "crowned" bit an important status symbol in royal circles) and never offered for sale to the public (a distinction shared only with the Mercedes-Benz 770K (W150; 88 made 1939-1943) and the Bugatti Royale (7 made, 1927-1933), Rolls-Royce between 1950-1958 made only 18 Phantom IVs, one of which was a ute (a light pickup truck) used by the factory until it was scrapped.  The Phantom IV's other footnote in Rolls-Royce history is it was their first and last passenger car powered by a straight-8 engine.

Daimler DS420 Landaulet by Vanden Plas.

Vanden Plas made only two Daimler DS420 Landaulets but many have been converted by coachbuilders (and some folk less skilled), the results said to be variable.  Many of the converted landaulets were used in the wedding trade, there presumably being genuine advantages for brides with big hair.  The DS420 was in production between 1968-1992 and used the platform of the big Jaguar Mark X (1961-1970; in 1967 slightly revised and re-named the 420G), the sales of which had never met expectations, failing in the home market because it was just too big and in the US because the factory chose to use 3.8 & 4.2 litre versions of the XK-Six as the powerplant rather than the 4.6 litre Daimler V8.  The underpinnings of the Mark X (the advanced suspension design and the four-wheel disk brakes) were several generations ahead of the US competition but the XK-Six was underpowered and lacked the torque required in what was a heavy machine.  A 5.5 litre V8 version with a well-integrated air-conditioning system would likely have been a great success in the US.  However disappointing the Mark X might have been, the long and lucrative career of the DS420 meant that eventually, the platform proved one of Jaguar's most enduringly profitable.

Marriage of the Prince of Wales to Lady Diana Spencer, 29 July 1981 (left), marriage of Prince Andrew to Sarah Ferguson, 23 July 1986 (centre) and marriage of Prince William to Catherine Middleton, 29 April 2011.

Maintained in the Royal Mews, the state landau carriage was built in 1902 by Messrs Hooper for Edward VII (1841–1910; King of the UK & Emperor of India 1901-1910) and first used by him on the day of his coronation procession through London.  Extensively used since, it’s lasted well, unlike the marriages of some of the royal couples who have sat in it to and from the church.  Clearly not superstitious, the Duke and Duchess of Cambridge choose the 1902 Landau although Prince Harry and Meghan Markle decided not to risk the curse, riding instead in one of the five Ascot landaus in the Royal Mews.

The fifth generation Ford Thunderbird Landaus, 1967-1971

1969 Ford Thunderbird Landau Coupé (429).

In what was a case study of supply responding to demand, the Ford Thunderbird which in 1955 had debuted as a two-seat convertible, was re-designed for 1958 as a four-seater, sales immediately rising.  Having already made the correct decision in 1955 to position the T-bird as a “personal car” rather than a sports-car and being rewarded with something which outsold the Chevrolet Corvette more than twenty-fold, it was obvious to rely on (what probably still is) the biggest “big-data” metric of all: what people are prepared to pay for.  Thus the T-bird continued successfully until 1966 as a four-seat coupé and convertible.  By 1967 however, Ford needed to consider not just the competing products of other manufacturers but also the corporation’s own proliferating range, the wildly successful Mustang and its new, up-market derivative, the Mercury Cougar, both of which (and not just at the margins) overlapped the T-bird’s lucrative niche.  Additionally, Lincoln had released a two-door version of the Continental so the T-bird needed somehow to appeal to those considering competitor vehicles yet try to avoid excessive cannibalizing sales within the corporation.

1967 Ford Thunderbird Landau Sedan (428).

Thus the fifth generation Thunderbird (1967-1971), the convertible gone (not to return until the one-off retro-car of 2002-2005), the coupé was joined by a four-door sedan, suicide doors added not just as a novelty but because, as had been the case with the 1961 Lincoln, the wheelbase was just a little too short comfortably to accommodate conventional hinging.  With Lincoln’s four-door convertible in its last days because of declining sales, no such T-bird was offered.  Quite how sincere Ford was in trying not to impinge on Mercury and Lincoln attracted attention even at the time.  The 1967 Thunderbird was the most expensive car on Ford’s list, attracting buyers who ticked much on the option list and they tended to leave the showroom costing much more than any other Ford or Mercury, the most expensive, the four-door Landau Sedan, sitting within a few hundred dollars of an entry-level Lincoln.

1969 Ford Thunderbird Landau Sedan (390) with vinyl roof removed.  In the quest for good taste, removing vinyl roofs from cars of that era is popular but on the four-door T-birds, they really need to be maintained.

By 1967, the US industry had long come to regard words like “landau” and “brougham”, once technical terms from coach-building, as just handy marketing terms, a brougham now something with more bling and a landau, usually a car distinguished often by sometimes oddly-shaped windows added to the C-panel and the increasingly bizarre ways in which vinyl would be glued to the roof and Ford wasn’t alone in adding fake “landau irons” (sometimes called “landau bars”) to cement the association.  Actually last used as a functional device for a convertible top in 1962 on the Mercedes 300d Cabriolet D (w189), they’d come to be adopted as a decorative flourish on C-pillars, thought to impart come link with the big cabriolets of the 1930s with which they were most associated.  On the two-door T-bird Landaus, that’s how they were used but on the four-door, they gained a new functionally: Disguising unfortunate styling.

The much admired “wrap-around” rear compartment: 1971 Ford Thunderbird Landau Coupé (429).

Just as the suicide doors had been a necessity, so too were the landau irons (which some coachbuilders insist should be called "carriage bars"), used to conceal the ungainly way the desired shape of the C-pillar had been achieved on a wheelbase too short, the vinyl roof another unavoidable trick to draw attention from what would otherwise have been obviously extraneous metal if painted.  The four-door T-birds are probably the only car ever made where a vinyl roof improved rather than detracted from the appearance and the fake landau bars helped too.  Some hearses are built with large expanse of something solid to the rear rather than glass and on those, fake landau bars are added as a flourish to reduce the effect of the slab-sidedness.  Ford’s aesthetic trick was clever but didn’t much help in the showroom, the four-door a slow seller which wasn’t replaced when the sixth generation was released only as a (very big) coupé which went on to great success.

The Ford (Australia) Landau (P5;1973-1976)

Even at the time, to many the Ford Landau can't have seemed a good idea.  Sales of large (compact in 1973 US terms) coupés had dropped precipitously since their brief burst of popularity and the only thing on the market which might have been a competitor, the Chrysler by Chrysler hardtop, had been dropped earlier in the year after eighteen months of disappointing sales.  Ford's own hardtop, debuting late in 1972 had come too late to enjoy much of the earlier fad which probably was a warning of sorts but it also meant there was a warehouse full of hardtop shells for which demand had almost evaporated.  Thus the Landau, a two-door version of Ford Australia's new LTD, a (much) stretched and (much) blingified Falcon, the parts-sharing meaning the Landau could be brought into production at modest cost; from the Detroit parts-bin came Mercury hidden-headlight assemblies and Thunderbird wheel-covers, the later marvelously intricate but so vulnerable to impacts with Australia's high kerb-sides they were soon replaced with units which protruded less.  Underneath lay the familiar combination of Ford's 351 cubic inch (5.8 litre) Cleveland (335) V8 and FMX automatic transmission, the most notable mechanical innovation being the country's first locally produced (as opposed to assembled) car with four-wheel disk brakes, Ford even claiming the numbers of Landaus produced as counting towards the brakes being homologated for series-production racing, the rationale being the Landau's mechanical similarity to the Falcon GT hardtops used in competition.  It sounds improbable but that's how things used to be done.

The Landau's other "mechanical" difference from standard Falcon hardtops was some sheet-metal crudely welded into the rear-window apertures so a more "formal" roofline could be fashioned.  The welding seams were never finished to a fine standard because one feature of the LTD & Landau was a padded vinyl roof which, handily, covered the imperfections.  A padded vinyl roof is a really bad idea because it means a layer of porous foam rubber sits between the vinyl and the ferrous metal of the roof, the moisture accumulating and the rust soon starting, proximity to the coast and the tropics dictating how soon and ultimately to what extent.  It sounds improbable but that's how things used to be done.  Still, it was plush inside, lashings of (real) leather, much (fake) timber and four bucket seats (though despite the bulk of the thing the rear compartment was cramped and the cut-down windows made travel a claustrophobic experience) through the highlights were two real affectations, a twenty-four hour analogue clock and aviation inspired controls for the air-conditioning, recalling those installed rather more extravagantly on European machinery like the Facel Vega.  Just so people knew they were looking at something classy, pressed into the padded roof (about where the welding seams were being hidden) was a (wholly fake) coat of arms with lions rampant, two more escutcheons glued-on inside to comfort the passengers.

As a road car it was capable, even rapid by the standards of the time and the new brakes really were (pre-ABS) world class.  For commuting or touring it was a comfortable and effortless experience, at least for two although it could be hard to manage in urban conditions, the hardtop's already marginal rear-visibility further compromised by the loss of glass and the combination of the coupé's lowered roofline and almost flat rear window meant the rearward view was like looking through a slit.  That was unfortunate because the hardtops had been designed with series-production racing in mind so the rear fenders flared outwards allowing wide tyres to be fitted without modification to the bodywork.  Reversing a Landau could be a challenge but it was one not many took up, fewer than 1400 sold in a three-year run.  The timing of the release had been unfortunate for not only was it now in a dying market segment but within three months, the first oil shock hit.  The 351 V8, even it's more efficient (pre-emission control) form was always thirsty but in the Landau with all the luxury bits and pieces adding some 440 lb (200 KG) to the anyway hardly svelte Falcon Hardtop, it was worse.  When the P6 LTD was released in 1976, although one P6 Landau prototype had constructed for evaluation, the coupé was quietly dropped but now, the survivors are a collectable, one popular modification the removal of the vinyl roof and the proper finishing of the welded cover-plates.

1973 Ford Landau.  Ford added just about whatever could be added to justify the Landau's high price-tag.  The aviation-inspired sliding air-conditioning controls delighted many (although some dismissed them as "an affectation") and the turbine-style wheel-covers were imported from the Detroit parts-bin; while the intricate details were impressive, the "beehive" shape rendered then vulnerable to Australian kerbs and so much damage was reported they were soon replaced with flatter units.  The leather on the seats was real (and Australian grown) and the 24-hour clock was unique in the era but unfortunately, the budget didn't extend to real timber and the "woodgrain" on the instrument panel was plastic.

Sunday, March 8, 2020

Concerto

Concerto (pronounced kuhn-cher-toh or kawn-cher-taw (Italian))

(1) A composition for an orchestra and one or more principal instruments (ie soloists), usually in symphonic form. The classical concerto usually consisted of several movements, and often a cadenza.

(2) An alternative word for ripieno.

1519: From the Italian concertare (concert), the construct being con- + certō.  The Latin prefix con- is from the preposition cum (with) and certō is from certus (resolved, certain) + -ō; the present infinitive certāre, the perfect active certāvī, the supine certātum.  Concerto grosso (literally “big concert”; plural concerti grossi) is the more familiar type of orchestral music of the Baroque era (circa 1600–1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno). The titles of early concerti grossi often reflected their performance locales, as in concerto da chiesa (church concerto) and concerto da camera (chamber concerto, played at court), titles also applied to works not strictly concerti grossi.  Ultimately the concerto grosso flourished as secular court music.  Concerto is a noun; the noun plurals are  concertos & concerti.

The origin of the Italian word concerto is unclear although most musicologists hold it’s meant to imply a work where disputes and fights are ultimately resolved by working together although the meaning did change over the centuries as musical traditions evolved.  Concerto was first used 1519 in Rome to refer to an ensemble of voices getting together with music although the first publication with this name for works for voices and instruments is by the Venetian composer Andrea Gabrieli (circa 1532-1585) and his nephew Giovanni Gabrieli (circa 1555-1612), a collection of concerti, dated 1587. Up to the first half of the seventeenth century, the term concerti was used in Italy for vocal works accompanied by instruments, many publications appearing with this title although initially, the Italian word sinfonia (from the Latin symphōnia, from the Ancient Greek συμφωνία (sumphōnía) was also used.  It was during the Baroque era the concerto evolved into a recognizably modern form.

Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold: Concerto for Group and Orchestra, 24 September 1969.

Although pop groups playing with orchestras is now not rare, there’s never been anything quite like Jon Lord’s (1941-2012) Concerto for Group and Orchestra, performed on 24 September 1969 at the Royal Albert Hall by Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold (1921-2006).  The work was a true concerto in three movements: Energico, Lento and Con Fuoco; an attempt to fuse the sound of an orchestra with that of a heavy metal band.  It proved a modest commercial success and has been performed on several occasions.

Cover of the original Tetragrammaton pressing of Deep Purple's second album The Book of Taliesyn (1968).

Although something very different from what most rock bands were doing in 1969, Jon Lord's concerto really was a synthesis of some of the material two of the bands previous three albums, both of which contained threads in the tradition of the German classical music in which Lord Had been trained.  Recorded during their early quasi-psychedelic period, the title of their second album had been borrowed from The Book of Taliesin (Llyfr Taliesin in the Welsh), a fourteenth century manuscript written in Middle Welsh which contains some five dozen poems, some pre-dating the tenth century while the third owed some debt to the seventeenth & eighteenth.  The Concerto for Group and Orchestra was very much in the vein of Deep Purple's early output but what was at the time unexpected was that less than a year after the performance, the band released the album In Rock, a notable change in musical direction and one decidedly not orchestral.  Prior to In Rock, Deep Purple's output had been eclectic with no discernible thematic pattern, a mix of influences from pop, blues and psychedelia, delivered with the odd classical flourish so suddenly to produce one of the defining albums of heavy metal was unexpected in a way the Concerto was not.  For the band however, it was the performance at the Royal Albert Hall which proved the anomaly, In Rock providing the template which would sustain them, through personnel changes and the odd hiatus, well into the twenty-first century.

Cover of the original Harvest pressing of Deep Purple's fourth album: Concerto for Group and Orchestra (1969).

Lord wasn’t discouraged by the restrained enthusiasm of the music press, describing critics as “…an archaic, if necessary, appendage to the music business” and pursued variations of the concept for the rest of his life.  The most noted was Windows (1974), a collaboration with German conductor and composer Eberhard Schoener (b 1938) which included Continuo on B-A-C-H (B-A-C-B# in musical notation), a piece which built on the unfinished triple fugue that closed Johann Sebastian Bach's (1685–1750) Art of the Fugue, written in the last years of his life.  Although not included with the original release on vinyl, the band did perform some of their other material just before the concerto began including a song which would appear on In Rock.  That was Child in Time, a long and rather dramatic piece with some loud screaming which must have been quite unlike anything which some of that night's older critics might previously have enjoyed and perhaps it affected them.  Unlike pop music’s fusions with jazz, attempts to synthesize with classical traditions never attracted the same interest or approbation, the consensus seemingly that while a cobbler could create a hobnail boot for a ballerina, it was hard to imagine why.

Saturday, March 7, 2020

Hypergolic

Hypergolic (pronounced hahy-per-gaw-lik or hahy-per-gol-ik)

(1) In chemistry, a process in which one substance ignites spontaneously upon contact with a complementary substance (oxidizer).  Word applies especially to bipropellant (made of two components) rocket-fuel.

(2) Of or relating to hypergols.

1945: A backronym derived from the German hypergol, a construct of scientific use: hyp(er) + erg + ol + -ic.  Hyper is from the Ancient Greek πέρ (hupér) (over; extreme); erg from the Ancient Greek ργον (érgon) (work), ol both from from the chemical suffix ol from alcohol & the Latin oleum (oil) and ic, the adjectival suffix, variations of which are widely used in European languages (the Middle English ik, the Old French ique, the Latin icus, all thought derived from the primitive Indo-European ikos; oldest known forms are the Ancient Greek ικός (ikós), the Sanskrit (śa) &  (ka) and the Old Church Slavonic -ъкъ (-ŭkŭ)).  The hypergole terminology was coined by Dr Wolfgang Nöggerath (1908-1973) of the Technical University of Brunswick, Germany.  Few are as linguistically imaginative as scientists who plunder languages at will to produce the best or most memorable words to describe their creations.  Hypergolic is a noun & adjective; the noun plural is hypergolics.

The Messerschmitt Me-163 Komet

During the 1930s, almost all research into rocket propellants was undertaken in Germany, the military being interested in missiles with which to deliver warheads against long-range targets and, even then, some scientists were imagining space flight, usually with a manned visit to the moon in mind.  The experimental fuels were classed as:

Monergols: Single ingredient fuels.
Hypergols: Fuel which ignites upon constituents being combined.
Non-hypergols: Multi-constituent fuel requiring external ignition.
Lithergols: Solid / liquid hybrids.

Operational Me-163.

It was only military necessity that forced the Luftwaffe (the German air force) to commit to combat the only rocket-powered fighter ever deployed.  The Messerschmitt Me-163 Komet was powered by a rocket which burned a methanol hydrazine mix with hydrogen- peroxide as an oxidizer.  It offered a uniquely fast rate of climb and a speed in combat more than 100 mph (160 km/h) faster than allied fighters but was hard to handle and the fuel was both highly volatile and prone to spontaneous combustion in flight or on the ground.  In air engagements, the speed which was so advantageous in reaching a target made it difficult for a pilot to maintain contact, the long bursts of fire need usually to bring down the big bombers rarely sustained.  Most authorities estimate some 370 Me-163s were built but only 60-80 achieved operational status and they shot down only nine allied aircraft.  The Komet effectiveness was limited by its high fuel consumption which limited flight duration (the time available in the combat zone less than eight minutes) but the Luftwaffe's records confirm that on some days, such was the accident rate, not even half the little craft even reached operational height.  Not only was it a difficult machine to handle but, late in the war, resources were so strained that training was limited and few of the Komet's pilots had more than a few hours experience in the craft before deployment.  To make matters worse, although in powered flight its speed make it close to invulnerable to attack, once the fuel was burned, to return to base it had to glide down to the runway and of those lost to allied fighters, most were shot-down during landing or on the ground.

Early drawing of Me-163 prototype.

It was another example of the impressive wartime technology developed by German scientists and engineers which failed to realise the possibilities offered.  Had the resources expended on the Komet instead been devoted to improving the Wasserfall (waterfall) rocket, Allied air losses might have been significantly greater.  The Wasserfall was a surface-to-air missile explicitly designed to counter high altitude bombers and used a two-stage system: (1) a solid-fueled booster rocket for launch after which (2) a liquid-fueled rocket would propel the missile to its target.  A glimpse of the future, it was guided by a radar system that tracked the target & transmitted guidance commands and was designed to be integrated with other ground-based anti-aircraft defenses such as flak batteries.  Ultimately unsuccessful because the time and resources needed for development were never available, like the V1 (an early cruise missile) and V2 (the first operational ballistic missile), the hardware, personnel and data which fell into Allied hands at the end of the war essentially saved decades of peace-time work in projects including surface to air & air to air missiles, the space programme (notably the moon landing) and the the development of the big ICBMs (intercontinental ballistic missiles).  Historically, the Komet remains a one-off, no rocket-powered fighters since manufactured.  In action only between 1944-1945, tactically, it was a failure, losses far exceeding kills, but it influenced the next generation of military airframes being developed for supersonic flight.

Friday, March 6, 2020

Eponymous

Eponymous (pronounced uh-pon-uh-muhs)

(1) The giving of one's name to something.

(2) Of, relating to, or being the person or entity after which something or someone is named.

1833: The construct was eponym + -ous, from the Ancient Greek πώνυμος (epnumos), the construct being πί (epí) (upon) + νυμα (ónuma), a Doric and Aeolic variant of νομα (ónoma) (name).  The word seems first to have been used in the second millennium BC, when, for several decades, the Assyrians named each year after a prominent government official, the alternative form eponymal appearing first in the record in reference to the other classical eponymos, a title of certain magistrates in ancient Greece who gave their names to the years when they held office, a practice later adopted by the English to record statute law.  In England, until 1953, the naming conventions for recording the bills parliament passed used regnal years; a statute gazetted in the seventh year of the reign of George V would have been dated 7 George V and were the system still in use, one passed in 2021 would be sealed 69 Elizabeth II.  Widely used in English (the Victorian age, the Nixon doctrine, the Menzies era etc), eponymic has been used in the sense "name-giving; pertaining to eponymic myths" as well as "of or pertaining to a classical eponymos."  The Greek epnymos was derived from onyma (name) the root also of a number of English words, including synonymous, pseudonym and anonymous.   Most dictionaries seem to list the comparative as "more eponymous" and the superlative as "most eponymous" although its difficult to imagine how the terms could be used, something either eponymous or not, unlike a word like "unique" where modifiers ("most unique"; "quite unique" (are now generally accepted (grudgingly by some) although all seem to draw the line at the clumsy "very unique".  Eponymous is an adjective and eponymously is an adverb.

Lohan Nightclub, Athens

Lohan Nightclub is Lindsay Lohan’s eponymous operation in Athens.  Actual ownership seems murky but at least at one point she was said to hold some equity.

Address:      Iera Odos 30-32, Athina, Greece
Telephone:  +30 698 750 1825
Website:      http://lohanathens.com
Facebook:    www.facebook.com/lohannightclub/
E-mail:        info@lohanathens.com

Located in the Kerameikos region of Athens and featuring what’s described as an industrial baroque aesthetic, Lohan Nightclub is described as the only Athenian mega-club.  Opening hours vary with the season and the lighting and sound systems said to be state of the clubbing art.  An entry ticket is €15 (US$15) and VIP tables are available, subject to a minimum spend of around €600 (US$700).  Lohan is said to be a destination for clubbing in its most extreme iteration and it’s suggested if one isn’t wholly committed to all that that implies, one won’t enjoy things.  The Lohan Nightclub’s material on various platforms notes an atmosphere of decadence promising “something decidedly different”, the greeting of bright pink flowers and neon lights promoting the escapist experience within, the overall impression, loud, hedonistic and Lohanic.

Lohan Night Club, Athens, opening night, 15 October 2016.