Valkyrie

Valkyrie (pronounced val-keer-ee, val-kahy-ree, vahl-kerr-ee or val-kuh-ree)

(1) Any of the twelve beautiful war-maidens attendant upon Odin who rode over battlefields, gathering the souls of slain warriors chosen by Odin or Tyr and taking them to Valhalla, there to wait upon them.

(2) Code name for the civil-military conspiracy against the Nazi German government, culminating in the attempt coup d'état of 20 July 1944 during which an attempt was made to assassinate Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945).

(3) A frequently used name for high performance machinery (eg Aston Martin Valkyrie, North American XB70 Valkyrie).

1768: From the Old Norse valkyrja (literally "chooser of the slain") and cognate with the Old English wælcyrie (witch).  The construct was valr (those who fell battle, slaughter (and cognate with Old English wæl)) + kyrja (chooser (and cognate with Old English cyrie)).  Kyrja was from the ablaut root of kjosa (to choose), from the Proto-Germanic keusan, from the primitive Indo-European root geus- (to taste; to choose).  The Old English form wælcyrie, strangely was less prevalent in Anglo-Saxon tales than in Scandinavian myths although linguistic anthropologists have suggested this may be a consequence of the better preservation of old texts.  Köri was an alternative Norse form of kyrjam, from the ablaut root of kjosa, from the Proto-Germanic keusan, the earlier form of which was geus (to taste; to choose) from which English ultimately gained gusto.  Richard Wagner's (1813–1883) modern German Walküre was directly from the Norse while the word was first noted in English as a proper noun (valkyries) in the 1770s and as a common noun (valkyries) since the 1880s. Valkyrie is a noun & valkyrian is an adjective; the noun plural is valkyries.

Rides of some Valkries

Valkyries Riding into Battle (1838) by Johan Gustaf Sandberg (1782–1854).

The Valkyries now get quite good press but in heathen times they were thought rather more sinister.  The literal translation of their name (choosers of the slain), referred to them choosing who gains admittance to Valhalla, the Norse resting place of fallen warriors, but in some tellings of the myth they decided also who died in battle and used their malicious magic to ensure their preferences were brought to fruition.  The tales of them writing their ledger of death are recounted in Edda, (an Old Norse term that refers to the collective of two Medieval Icelandic literary works: the Prose Edda and an older collection of poems now known as the Poetic Edda.  Assembled in Ireland during the thirteenth century and written in Icelandic, they comprise material reaching back to the Vikings and are the main sources of medieval skaldic tradition in Iceland and Norse mythology), their most gruesome side illustrated vividly in the Darraðarljóð, a poem contained within Njal’s Saga.  In the saga are depicted a dozen Valkyries prior to the Battle of Clontarf, sitting at a loom and weaving the tragic fate of the warriors using intestines for their thread, severed heads for weights, and swords and arrows for beaters, all the while chanting their intentions with ominous delight.  That might delight some radical feminists but part of the myths is also that having carried the fallen to Valhalla, there the twelve beauties waited upon them hand and foot, attending to their every whim.  Readers have always been able to take from mythology what they will.  The artists of the nineteenth century however were always evocatively romantic when depicting the Valkyries, perhaps recalling the  Nietzschean visions in the thirteenth century Norse Saga of the Volsungs in which beholding a Valkyrie is compared with staring into a flame.

Valkyrie and a Dying Hero (circa 1877) by Hans Makart (1840-1884).

The imagery exists also in the folklore of other Germanic peoples.  In the Anglo-Saxon tradition, the valkyries (wælcyrie in the Old English) were female spirits of carnage and the Celts, with whom the Norse and other Germanic peoples associated for centuries, had in their mythology similar beings such as the war goddesses Badb and the Morrígan.  Whether in their loving or bloodthirsty modalities, the valkyries are part of the complex of shamanism that permeates pre-Christian Germanic religion. Much like the ravens Hugin and Munin, they’re projections of parts of Odin, semi-distinct entities part of his larger being.

Hitler’s other Valkyrie

Unity Valkyrie Mitford (1914–1948) was one six daughters of a right-wing father from the English aristocracy, five of whom, had they lived in the modern era would have been among the most prolific on social media and staples of celebrity gossip sites; they were “content providers” and “click bait” before their time.  Diana (1910–2003) became the wife of Sir Oswald Mosley (1896–1980), founder and leader of the British Union of Fascists and the mother of Max Mosley (1940–2021; president of the Fédération Internationale de l'Automobile (FIA) 1993-2009); on the day she died she was the last person alive to have known both Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955).  Jessica (1917-1996) became a communist, Nancy (1904-1973 an author of note and Deborah (1920–2014) ended her life as Dowager Duchess of Devonshire.  Only Pamela (1907-1994) enjoyed what might be thought a “normal” rural life.  The only brother (Tom, 1909-1945) was killed while on active service with the British Army in Burma, one of several theatres in which he fought, declining to take up arms against Nazi Germany, his choice of deployment the sort of indulgence the establishment were extended.

Adolf Hitler & Unity Mitford taking tea during the annual Wagner Festival, Bayreuth, Germany, July 1936.

Unity became besotted with admiration for Hitler and although various theories have been offered to account for the attraction which seems to date from her attendance at the 1933 Nuremburg Rally, there’s no doubt about her methods.  While the legend was that after taking up residence in Munich in 1934, she stalked him, making her presence known at the restaurants & cafés where he was a habitué until she gained an invitation to his table, she was a socialite who knew how the system worked and actually gained a meeting by more traditional “networking”.  Hitler was intrigued, not only by her obvious personal (the depth of her political knowledge is contested) devotion but also her family’s historic connections with notable figures of importance in German culture including the composer Richard Wagner (1813–1883) and the proto-Nazi author Houston Stewart Chamberlain (1855–1927).  Telling one confidant that being next to Hitler was “like sitting next to the sun”, she became part of the court circle which surrounded Hitler where the Wagnerian touch of her middle name gained her the nickname “the Valkyrie” and some historians have speculated the second (and rather-half-hearted) of Eva Braun’s (1912–1945) two suicide attempts during the 1930s was at least partially motivated by her jealousy of Unity.

Perhaps already mentally unstable, Unity was distraught at the thought of Britain and Germany being at war and on 3 September 1939 (the day the British declaration of war was delivered), shot herself in the head.  She joined the surprisingly long list of those who survived such an act although, badly injured, she was never again the same; repatriated to the UK via Switzerland, she died in 1948 from complications related to the bullet which remained lodged in her brain.  Even in the 1940s conspiracy theories were a thing and there were several about the already strange tale of Unity Mitford, something encouraged by veil of secrecy her family draped around her.  The most bizarre was that shortly after returning to England she was admitted to a private maternity hospital in Oxford where she gave birth to Hitler’s child.  The origin of the claim was said to have been the sister of the hospital’s former manager who passed it on to her daughter, the niece revealing it some years later.  Unfortunately, it appears the hospital “neglected to register” babies born during the war, something quite unusual and another element onto which the conspiracy theorists latched.  Historians have dismissed the possibility Hitler had a child.

North American XB-70 Valkyrie.

Even while the Boeing B-52 Stratofortress (1952-1962) was in still in production, the Pentagon was planning its successor.  The North American XB-70 Valkyrie was nuclear-armed, long-range, deep-penetration strategic bomber, capable of cruising at Mach 3+ (circa 2000 mph (3,200 km/h)) at an altitude of 70,000 feet (circa 24 km), performance which would have rendered it close to invulnerable to both ground-based anti-aircraft fire and short-range fighter interceptors.  However, by the late 1950s, while the XB-70 was still in the prototype stage, the introduction of surface-to-air missiles put this near-invulnerability in doubt and this, coupled with the advent of intercontinental ballistic missiles (ICBMs) meant the brief era of dominance by the big strategic bomber was over although the platforms, re-purposed, remain in use to this day.  In 1961, after two Valkyries had been built (one of which was lost in an accident), the project was cancelled, viewed as a flying dreadnought overtaken by technology.  President Dwight Eisenhower (1890-1969; US president 1953-1961), a practical military man who had over the decades seen many weapons rendered obsolete by advances in technology, thought the Valkyrie was like "bows and arrows in the gunpowder age".  The end of the dominance of the big strategic bomber had earlier been predicted by the man who more than any remains associated with the once often-expressed advocacy of the platform which alone could win wars: Marshal of the Royal Air Force Sir Arthur "Bomber" Harris (1892–1984; head of RAF Bomber Command 1942-1945) noted during World War II (1939-1945) the "...day of the heavy bomber will pass as it did for the cavalry charge and soon will for the battleship".  The admirals weren't best pleased to hear that but he was right although, seventy-odd years on, the B-52, much updated, remains in service but it has been re-purposed, no longer envisaged as something to fly over Russian or Chinese targets, dropping gravity bombs.     

North American XB-70 Valkyrie Specifications

Length: 189 ft 0 in (57.6 m)

Wingspan: 105 ft 0 in (32 m)

Height: 30 ft 0 in (9.1 m)

Wing area: 6,297 ft2 (585 m2)

Airfoil: Hexagonal; 0.30 Hex modified root, 0.70 Hex modified tip

Empty weight: 253,600 lb (115,030 kg; operating empty weight)

Loaded weight: 534,700 lb (242,500 kg)

Take-off weight: 542,000 lb (246,000 kg)

Fuel capacity: 300,000 pounds (140,000 kg) or 46,745 US gallons (177,000 L)

Powerplant: 6 × General Electric YJ93-GE-3 afterburning turbojets

Dry thrust: 19,900 lbf (84 kN) each

With afterburner: 28,800 lbf (128 kN) each

North American XB-70 Valkyrie Performance

Maximum speed: Mach 3.1 (2,056 mph (3,309 km/h))

Cruise speed: Mach 3.0 (2,000 mph (3,200 km/h))

Range: 3,725 nautical miles (4,288 mi (6,901 km)) on combat mission

Service ceiling: 77,350 ft (23,600 m)

Wing loading: 84.93 lb/ft2 (414.7 kg/m2)

Lift-to-drag: About 6 at Mach 2[116]

Thrust/weight: 0.314

End of an era: The Aston Martin Valkyrie

The days of such things may be numbered but the manufacturers of petrol-fueled hypercars are hastening, while they still can, to offer the rich a way amusingly (and given the aftermarket, often profitably) to spend the quantitatively-eased cash governments have given them this past decade.  In August 2021, Aston Martin unveiled the Valkyrie Spider, an open-roof version of the Formula One-inspired hybrid hypercar, the coupés produced in 2022, the Spiders the following year.  Revealed at the Pebble Beach Concours d’Elegance in California, the Valkyrie Spider differs from the coupé in having a removable carbon-fibre roof panel, two hinged polycarbonate side windows and front-hinged dihedral doors rather than the closed version’s gull-wings.

The powertrain of both is essentially the same, combining a 6.5 litre (397 cubic inch), Cosworth-designed, naturally-aspirated V12 and a single electric motor for a total output of 1160 bhp (865 kW) in the coupé and 20 bhp (15 kW) less in the spider, Aston Martin not commenting on the difference.  Drive is to the rear wheels through what’s described as a seven-speed “automated manual” transmission and though the coupé is slightly lighter, performance for both is said to be similar with a 0-60 mph (100 km) time around 2.5 seconds and a top speed around 217 mph (350 km/h) although it’s noted removing the roof sacrifices about 12 mph (20 km/h).  Eighty-five Valkyrie Spiders will be built, these in addition to one-hundred and fifty coupés and twenty-five race-track only specials and while pricing hasn’t been announced, leaks from the factory suggest something over US$3 million.  Interest is said to be strong although the loss of the lucrative Russian market presumably saw some adjustments in national allocations.  On the car's webpage, the factory summed up its estimate of the performance by concluding "Any faster and it would fly."

Less is more: Underside of the Aston Martin Valkyrie. 

Actually, even were it able to go faster it still might not leave the ground.  While the aerodynamic techniques visible in the bodywork are orthodox by contemporary standards, the Valkyrie also generates much "virtual downforce" by the sculpturing of the underside, significant parts of which are effectively "hollow", the channels using the fluid dynamics of the air-flow to "suck the car to the ground".  The technique has been used for decades but the Valkyrie is the most extreme implementation yet seen on a road car.

Combat

 Combat (pronounced kuhm-bat or kom-bat (verb); kom-bat (noun))

(1) To fight or contend against; vigorously to oppose.

(2) In military matters, certain parts of branches of the services which engage in armed conflict with enemy forces.

(3) An action fought between two military forces.

(4) As a descriptor (in the military and of weapos and weapons systems), a means to distinguish between an item design specifically for use in combat as oppose to one intended for other purpose.

1535-1540: From the Middle English intransitive verb combat (to fight, struggle, contend), from the sixteenth century French combat, from the twelfth century Old French combattre, from the Late Latin combattere, the construct being com (with (each other) (an an archaic form of cum)) + battuere (to beat, fight) (source of the modern English verb "batter").  The transitive sense dates from the 1580s; the figurative use from the 1620s.  The noun combat (a fight (originally especially "a fight between two armed persons" and later distinguished as single combat in the 1620s)), emerged in the 1560s and soon was applied in a general sense to "any struggle or fight between opposing forces".  Combat is a noun, verb & adjective, combater & combatant are nouns, combatted & combatting are verbs and combative is an adjective; the noun plural is combats.

Combative and dressed for combat: Lindsay Lohan in boxing gloves.

The phrase hors de combat (out of action; disabled; no longer able to fight (literally "out of combat")) was constructed from hors (out, beyond), from the Latin foris (outside (literally "out of doors")) + de (of) + combat.  It dates from 1757 and was related originally to battlefield conduct (the principle of which which would later be interpolated into the the rules of war) and is now a literary and rhetorical device.  It shouldn't be confused with the French expression hors concours (out of competition) which, dating from 1884, is applied to works of art in an exhibition but not eligible to be awarded a prize.  Given the sometimes nasty battles waged in galleries, perhaps hors de combat might sometimes be as appropriate but in exhibitions it's most often used of works which have either already won a prize or have been awarded the maximum number provided for in the competition rules.  Other sporting competitions sometimes use hors concours to describe entries which don't conform with the rules of the event but are for a variety of reasons permitted to run (notably in motorsport).  The adjective combative (pugnacious, disposed to fight) is from 1819 and by the mid nineteenth century had become much associated with the long discredited pseudo-science of phrenology, the related forms being combatively and the earlier (1815) combativeness.  Combatant (contending, disposed to combat) was an adjective by the mid fifteenth century and a noun (one who engages in battle) by circa 1855, both from the Old French combatant (which survives in Modern French as combattant) (skilled at fighting, warlike) where it had also been a noun.    The adjective combative (pugnacious, aggressive; disposed to engage in conflict (though not necessarily violence)) seems not pleasing to some because the incorrect spelling combatative is not uncommon.  

The Norton Commando 750 Combat

1968 Kawasaki 500 Mach III (H1).

British manufacturers once regarded competition from the far-east with little concern but by the late 1960s, Japanese motorcycles had become serious machines enjoying commercial success.  Kawasaki’s 500cm³ (H1, Mach III) two-stroke triple debuted in 1968 while Honda’s 750-Four was released a year later, the former fast but lethally unstable, the latter more refined.  Three years on, the release of Kawasaki’s z900 confirmed the maturity of the Japanese product and the era of British complacency was over though the realization was too late to save the industry.

Nothing ever quite matched the rawness of the original Kawasaki Mach III.  Riders of high performance machines had for decades distinguished between fast, well-balanced motorcycles and those which, while rapid, needed to be handled with caution if used in anything but a straight line and on a billiard table smooth surface but even in those circumstances the Mach III could be a handful, the engine's power band narrow and the entry to it sudden and explosive.  Many were soon noting that while rear tyre life was short, the front lasted well because it spent so little time in contact with the road.  Adding to the trickiness, lacking the rigidity needed to cope with such stresses, the frame design meant there was something of a gyroscopic tendency under hard acceleration which could at least be disquieting and the consequences were often worse.  Still, nobody denied they were quick.  Clearly, only crazy people would buy such a thing but fortunately for Kawasaki (and presumably this was part of their product planning), by 1968 the Western world was populated as never before with males aged 17-25 (peak craziness years) with sufficient credit or disposable income to indulge the madness of youth.  It helped that under the Bretton Woods system (1944) of fixed exchange rates, at ¥360 to the US$, the Mach III was quite a bargain; on cost breakdown, nothing on two wheels or four came close.

1973 Kawasaki 750 Mach IV (H2).

As a design, the Mach III obviously had its flaws but as a piece of engineering, it exhibited typical Japanese soundness and attention to detail.  They borrowed much and while little was genuinely innovative, they had started with a clean sheet of paper and buyers found, unlike the British bikes, electrics were reliable and mechanical parts were not subject to the oil-leaks which the British had for decades claimed were endemic to the breed; far-eastern engineering was now mass-producing bikes a generation or more advanced.  However, the British industry was chronically under-capitalized so, lacking resources to develop new models, resorted to "improving" existing models.  While they were doing that, the Japanese manufacturers moved on and Kawasaki were planning something which would match the Mach III for performance but deliver it in a more civilized (and safer) manner.  This project was a four-stroke, four cylinder 750, developed while the Mach III was being toned down (a little) while the good idea of a broader power band and a (slightly) stiffer frame was used on the Mach IV (750 H2), the ultimate evolution of the two-stroke triple which delivered best of the the Mach III experience while (somewhat) taming the worst of its characteristics.

1969 Honda 750-Four (the crankcases of the early 750s are (a little misleadingly) referred to as the "sandcast"; they were actually gravity cast).

However, in 1969 Honda, the largest in the Japanese industry and the company which in 1964 had stunned Formula One community when their 1.5 litre V12 car won a Grand Prix, released the motorcycle which threatened the very existence of the new big Kawasaki and the four-stroke Honda 750-Four was for a generation to set the template for its genre, as influential for big motorcycles as the Boeing 707 had in 1957 been for commercial airliners.  Kawasaki reviewed this disturbing intrusion on their planning, concluding the Honda was a touring machine and that the Mach III had proved there was demand machines orientated more to high-performance.  The board looked at the demographic charts and decided to proceed, enlarging their project to 900cm³ which, with double overhead camshafts (DOHC) was tuned more for top-end power than the more relaxed, single cam (SOHC) Honda.  Released in 1972, almost a year after the Mach IV, the z900 attracted praise for its quality and performance, all delivered while offering a stability the charismatic but occasionally lethal triples never approached.

1972 Kawasaki z900

The big Nortons, named Commando since 1967, had long been a benchmark for high-performance motorcycles and although the Mach III had (on paper) matched its speed, its handling characteristics were such that it could really be enjoyed only in a straight line and even then, was best handled by cautious experts.  The Honda 750-Four and Kawasaki z900 were both vastly better as road machines and clearly the future of the breed.  The long-serving big British twins, while their handling was still impeccable, were now outdated, no longer offered a performance premium and still leaked oil.  Norton’s response in 1972 was the hastily concocted Commando Combat, the engine tweaked in the usual British manner with a high compression ratio, bigger carburetors, larger ports and a high-lift, long-duration camshaft.  These modifications, quite usual for racing engines, are not suitable for the road and the “peaky” Combat’s only advantage was great top-end power though it was noted the clever isolastic engine mounting did work well to limit the extent to which the greater vibration transmitted through the frame.  Unfortunately, the gains high in the rev-range compromised the low and mid-range performance, just where a road-bike most often operates.  Indeed, at points, the torque-curve actually went the wrong way and the only obvious way to disguise this was to lower the gearing which (1) restricted the top-speed to something embarrassing low and (2) meant even cruising speeds demanded high engine revolutions.  Sadly, it wasn’t possible for many long to enjoy the pleasures of all that power because the Combat's specification exposed weaknesses in pistons, bearings and crankshafts.  Main bearing life could be as little as 4000 miles (7000 km) but plenty of engines succumbed to other failures long before.  As a consolation, even if the Combat wouldn’t keep going, it was easy to stop, the disk brake was the best in the industry.

1972 Norton Commando 750 Combat.

So the most of the things that were changed made things worse.  Other things stayed the same including the oil leaks (the joke being seals existed to keep the dirt out, not the fluids in) and the absence of electric starting, the right legs of Norton owners reputedly more muscular than the left.  For the engine's problems the solution lay in engineering and metallurgy, a combination of a self-aligning spherical roller bearing called a superblend and un-slotted pistons.  But, by the time things were fixed, the fiasco had had triggered irreparable damage to market perceptions and Norton quietly dropped the Combat, applying the improvements to their mainstream engines without trying to match its top-end power.  Norton went bankrupt within a few years but the name has been revived several times over the past decades.

Esquire

Esquire (pronounced es-kwahyuhr or e-skwahyuhr)

(1) An unofficial title of respect (usually with no precise definition or significance and sometimes self-conferred), placed (often in its abbreviated form), after a man's surname in formal written address (used with initial capital letter).

(2) In the US, an informal honorific used by lawyers (male & female).

(3) In the UK, a term applied to a commoner considered to have gained the social position of a gentleman (historically a man belonging to the order of English gentry ranking immediately below a knight).

(4) An alternative form for squire when that was used to mean “a youth who in the hopes of becoming a knight attends upon a knight” (obsolete).

(5) To raise to the rank of esquire; in medieval use the attendant and shield bearer of a knight (and subsequently sometimes knighted themselves), one practical significance of the title being it conferred the right to bear arms.

(6) In heraldry, a bearing similar in form to a gyron, but extending across the field so that the point touches the opposite edge of the escutcheon.

(7) To address as Esquire.

(8) A gentleman who attends or escorts a lady in public; a male escort (rare and long archaic except when applied humorously or euphemistically (as a sanitized alternative to “tame cat”, “rent boy” et al).

1425–1475: From the late Middle English esquier, from the Middle French escuyer & escuier (shield bearer; an attendant young man in training to be a knight), from the Old French esquiere, esquierre & esquarre (square), from the Latin scūtārius (“shield bearer”, “guardsman”, the construct being scūt(um) (shield) + -ārius (-ary).  The suffix -aris was a form of -ālis with dissimilation of -l- to -r- after roots containing an l (the alternative forms were -ālis, -ēlis, -īlis & -ūlis); it was used to form adjectives, usually from noun, indicating a relationship or a "pertaining to").  The form reached modern French as écuyer (shield-bearer, armor-bearer, squire of a knight, esquire, equerry, rider, horseman).  Rather (as some might reasonably suppose) than esquire being formed as e- + - squire, the word squire was a product of apheresis (the suppression or complete loss of a letter or sound (syllable) from the beginning of a word) from the earlier French & English.  Esquire is a noun & verb and esquired & esquiring are verbs; the noun plural is esquires.

Esquire began as a feudal rank ranking below a knight, the origin of the word in the role of a squire who attended upon a knight as a kind of combination of personal assistant, apprentice and servant.  For those not from established families, it was one of the few available paths to knighthood.  As the historic role of knights receded in the sixteenth century, the use broadened to encompass (1) the educated or professional class (especially those practicing in law) & (2) members of the gentry and their sons not otherwise entitled to some title.  In the US, esquire became attached to lawyers (both male & female), probably as an identifier to align in some way with the “Dr” granted to physicians because by convention, those with vocational doctorates (Doctor of Jurisprudence (J.D., JD, D.Jur., or DJur) don’t use the “Dr” like those with higher or research doctorates (Ph.D, D.Sc, DCL et al).  Reflecting the shared origin with lawyers as “men of letters” (the lawyers more anxious to acknowledge their past than the surgeons are to recall they came out of the barber shops) writers and journalists also long liked to adopt an “esq” though much derision means it’s now less common.

Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax KCB.

In England, for historic reasons, the history and current usage is complicated.  The title is granted to the eldest sons of knights, the elder sons of the younger sons of peers and their eldest sons in succession, officers of the king's courts and of the royal household, barristers, justices of the peace while in commission & sheriffs and is available to gentlemen who have held commissions in the military.  It thus enjoys a wide vista but even now a definitive listing of the correct use has never been codified and some view it as pretentious even when technically correct.  Littered in the history of honors are also curiosities like the right of a Knight of the Most Honourable Order of the Bath to appoint three esquires at the time of his installation, something which seems of ancient origin but was formalized in 1815 when the old order of knighthood (KB) was re-organized into three classes: Knight Grand Cross (GCB), Knight Commander (KCB) & Companion (CB).  One task a KCB’s helpful esquire might have performed was to assist translators in formal ceremonies.  In 1939, when Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax, KCB, DSO, JP, DL (1880-1967) was introduced at a ceremony in Moscow, diplomatic protocol required his honors be read out in full, the Russian translator rendering his KCB as рыцарь умывальник (rytsar' umyval'nik) (Knight of the Wash Tub).  The Russians couldn’t help but laugh and fortunately, the admiral shared their amusement.  In legal documents and in uses deemed formal, Esquire is usually written in full after the names of those using the designation.  It’s otherwise abbreviated to Esq or (the now less common) Esqr.  Those conventions should in theory be observed also when adding an address to an envelope and American lawyers settled on a post-nominal Esq. (almost always with the needless period (full-stop)) in their e-mail signature blocks.

Lindsay Lohan attending the Esquire and DKNY fashion show, London, June 2014.

Squire was a truncation of esquire, the process known technically linguistics as apheresis (the suppression or complete loss of a letter or sound (syllable) from the beginning of a word).  It too was thus from the Old French escuier, from the Late Latin scutarius (shield bearer) which is Old English was spelled scutifer.  The equivalent in the Classical Latin was armiger (arms bearer).  The early meanings of squire were essentially the same as those attached to esquire but it evolved in England by the mid seventeenth century also to describe (with some variations) “a substantial landholder in a town or village who is a landlord to most or many inhabitants”.  The less formal term “lord of the manor” was essentially analogous and given the nature of the class system and economic relations in England, the role of squire often overlapped with offices such as that or mayor or magistrate and that (linguistic) tradition continues in contemporary American use, “squire” the title used for justices of the peace or similar local dignitaries.  Although the attractive slang forms squirearchy & squiress seem not to have survived, in UK working class slang, “squire” is used in a respectful and friendly way between men, a democratic re-purposing of the earlier sense of “country gentlemen”, dating from 1828.  The meaning “a ruler; a carpenter's square; a measure” was derived from the Middle French esquierre (rule, carpenter's square) or the Old French esquire (another form of esquarre (square)) and is long obsolete.

Ford Country Squires: 1951 (with genuine wood, left), 1959 (centre) and 1971 (right).

Long replaced in public favor by even more commodious SUVs, vans and people-movers, mass-market station wagons were a post-war phenomenon and in the US popular until the late 1980s.  Consistently the best-selling of the full-sized breed were the big Fords, the top-of-the-range being the Country Squire which was available between 1950-1991.  Its most distinctive feature was the “woodgrain” Appliqué which adorned the sides and for most of the Country Squire’s life it was rendered in DI-NOC, (Diurno Nocturna, from the Spanish, literally “daytime-nighttime” and translated for marketing purposes as “beautiful day & night”), an embossed vinyl or polyolefin material with a pressure-sensitive adhesive backing produced since the 1930s and perfected by Minnesota Mining & Manufacturing (3M).  The early cars (1950-1951) though actually used genuine timber in a nod to earlier coach-building traditions which were actually an economic imperative, station wagons (until the suburban developments of the post-war years made them popular) never produced in sufficient volume to make viable tooling factories for production in metal.  Much cheaper, the plastic DI-NOC replaced the timber in 1952 (although the perimeter moldings remained timber until 1953, after which 3M produced an emulation) and other manufacturers copied the idea which eventually spread beyond station wagons.  It was very much a thing which suited US tastes, Ford’s attempt to tempt UK & Australian buyers short-lived.

One-off 1967 Ford Country Squire with Q-Code 428 V8 and four-speed manual transmission.

Like most big station wagons, almost all the Country Squires were built for function and although the engines might sometimes be large (in the 1970s they were available with 429 & 460 cubic inch (7.0 & 7.5 litre) V8s), they were configured to carry or tow heavy loads and were thus sold almost always with heavy-duty automatic transmissions.  In 1967 however, there was a one-off Country Squire built with the combination of a 428 cubic inch (7.0 litre) V8 in Q-Code configuration, the “Q” a reference to the four-barrel (quad) carburetor, the most powerful offered that year in full-sized Fords (except for 12 Ford XLs with the 427 cubic inch V8 built mostly for competition).  Such vehicles are usually unicorns, often discussed and sometimes even created as latter-day “tributes” and are thus rarely "real" but the 1967 Country Squire is a genuine one-off and as a type may be unique not only among Fords but also the entire full-size ecosystem of the era.  The tale is sometimes still repeated that Plymouth built a special order Belvedere station wagon at the request of Bill Harrah (1911–1978) of Harrah's Hotel and Casinos in Nevada (now part of Caesars Entertainment) with the 426 cubic inch (7.0 litre) HEMI V8 for the rapid transport of cash across the desert but that is a myth and the coda (that Harrah decided instead to build his own) is just as unverified.  So the 1967 Country Squire is a curious period piece and a collectors’ item; despite its dilapidated appearance, in 2020 it sold at auction in the US for almost US$50,000.

Lindsay Lohan in Esquire (Middle East).

Basketweave

Basketweave (pronounced bah-skit-weev (U) or bas-kit-weev (non-U))

(1) A plain woven pattern with two or more groups of warp and weft threads are interlaced to render a checkerboard appearance resembling that of a woven basket; historically applied especially (in garment & fabric production) to wool & linen items and (in furniture, flooring etc), fibres such as cane, bamboo etc.

(2) Any constructed item assembled in this pattern.

(4) In the natural environment, any structure (animal, vegetable or mineral) in this pattern.

(5) In automotive use, a stylized wheel, constructed usually in an alloy predominately of aluminum and designed loosely in emulation of the older spooked (wire) wheels.   

1920–1925: The construct was basket + weave (and used variously as basketweave, basket-weave & basket weave depending on industry, product, material etc).  Basket was from the thirteenth century Middle English basket (vessel made of thin strips of wood, or other flexible materials, interwoven in a great variety of forms, and used for many purposes), from the Anglo-Norman bascat, of obscure origin.  Bascat has attracted much interest from etymologists but despite generations of research, its source has remained elusive.  One theory is it’s from the Late Latin bascauda (kettle, table-vessel), from the Proto-Brythonic (in Breton baskodenn), from the Proto-Celtic baskis (bundle, load), from the primitive Indo-European bhask- (bundle) and presumably related to the Latin fascis (bundle, faggot, package, load) and a doublet of fasces.  In ancient Rome, the bundle was a material symbol of a Roman magistrate's full civil and military power, known as imperium and it was adopted as the symbol of National Fascist Party in Italy; it’s thus the source of the term “fascism”.  Not all are convinced, the authoritative Oxford English Dictionary (OED) noting there is no evidence of such a word in Celtic unless later words in Irish and Welsh (sometimes counted as borrowings from English) are original.  However, if the theory is accepted, the implication is the original meaning was something like “wicker basket”, wicker one of the oldest known methods of construction.  The word was first used to mean “a goal in the game of basketball” in 1892, the use extended to “a score in basketball” by 1898.  In the 1980s, as operating systems evolved, programmers would have had the choice of “basket” or “bucket” to describe the concept of a “place where files are stored or reference prior to processing” and they choose the latter, thus creating the “download bucket”, “handler bucket” etc.  On what basis the choice was made isn’t known but it may be that baskets, being often woven, are prone to leak while non-porous buckets are not.  Programmers hate leaks.

A classic basketweave pattern.

Weave was from the Middle English weven (to weave), from the Old English wefan (to weave), from the Proto-West Germanic weban, from the Proto-Germanic webaną, from the primitive Indo-European webh (to weave, braid).  The sense of weave as “to wander around; not travel in a straight line” was also in the early fourteenth century absorbed by the Middle English weven and was probably from the Old Norse veifa (move around, wave), related to the Latin vibrare, from vibrō (to vibrate, to rattle, to twang; to deliver or deal (a blow)), from the  Proto-Italic wibrāō, denominative of wibros, from the primitive Indo-European weyp- (to oscillate, swing) or weyb-.  The root-final consonant has never been clear and reflexes of both are found across Indo-European languages.  The verb sense of “something woven” dates from the 1580s while the meaning “method or pattern of weaving” was from 1888.  The notion of “to move from one place to another” has been traced to the twelfth century and was presumably derived from the movements involved in the act of weaving and while it’s uncertain quite how the meaning evolved, it’s documented from early fourteenth century as conveying “move to and fro” and in the 1590s as “move side to side”,  In pugilism it would have been a natural technique from the moment the first punch was thrown but formally it entered the language of boxing (as “duck & weave”) in 1918, often as weaved or weaving.  By analogy, the phrase “duck & weave” came to be used of politicians attempting to avoid answering questions.  In the military, weave was also used to describe evasive maneuvers undertaken on land or in the air but not at sea, the Admiralty preferring zig-zag, as the pattern would appear on charts.  The fencing method known as teenage is a kind of basketweave.  Basketweave is a noun & adjective and (in irregular use) a verb and basketweaver is a noun; the noun plural is basketweaves.

Attentive basketweavers: Students in a lecture  (B.A. (Peace Studies)) at Whitworth University, Spokane, Washington, USA.

A basketweaver is of course “one who weaves baskets” but in idiomatic use, basketweaver is used also to mean “one whose skills have been rendered redundant by automation or other changes in technology”.  The term “underwater basketweaving” is used of university course thought useless (in the sense of not being directly applicable to anything vocational) and is applied especially to the “studies” genre (gender studies, peace studies, women’s studies et al).  Beyond education, it can be used of anything thought “lame, pointless, useless, worthless, a waste of time etc”.  Basketweaving is also a descriptor of a long and interlinked narrative of lies, distinguished from an ad-hoc lie in that in a basketweave of lies, there are dependencies between the untruths and, done with sufficient care, each can act to reinforce another, enabling an entire persona to be constructed.  It’s the most elaborate version of a “basket of lies” and can work but, like a woven basket, if one strand becomes lose and separates from the structure, under stress, the entire basket can unravel, spilling asunder the contents.

Official portrait of Representative the honorable George Santos.

A classic basketweaver is George Anthony Devolder Santos (b 1988) who, in the 2022 mid-term elections for the US Congress, was elected as a representative (Republican) for New York's 3rd congressional district.  Although he seems to have passed untroubled through the Republican Party’s candidate vetting process, after his election a number of media outlets investigated and found his public persona was almost wholly untrue and contained many dubious or blatantly false claims about, inter-alia, his mother, personal biography, education, criminal record, work history, financial status, ancestry, ethnicity, sexual orientation & religion.  When confronted, Mr Santos did admit to lying about certain matters, was vague about some and ducked and weaved to avoid discussing others, especially the fraud charges in Brazil he avoided by fleeing the country.  Although a life-long Roman Catholic, Mr Santos on a number of occasions claimed to be Jewish, even fabricating stories about his family suffering losses during the Holocaust.  Later, after the lies were exposed, he told a newspaper “I never claimed to be Jewish.  I am Catholic. Because I learned my maternal family had a Jewish background I said I was ‘Jew-ish.”  In the right circumstances, delivered on-stage by a Jewish comedian, it might have been a good punch-line.

Few are laughing however and Mr Santos is under investigation by both Brazilian and US authorities.  However, despite many calls (from Republicans and Democrats alike) that he resign from Congress, Mr Santos has refused and the Republican house leadership, working with an unexpectedly paper-thin majority, has shown no enthusiasm to pursue the matter.  What Mr Santos has done is expose the limitations of the basketweaving technique.  While a carefully built construct can work, it relies on no loose threads being exposed and while this can be manageable for those not public figures, for anyone exposed to investigation, in the twenty-first century such deceptions are probably close to impossible to achieve and Mr Santos was probably lured into excessive self-confidence because, in relative anonymity, he had for years managed to deceive, fooling many including the Republican Party and perhaps even himself.  In retrospect, he might one day ponder how he ever thought he’s get away with it.  One thing that remains unclear is how he should be addressed.  Members of the House of Representatives typically are addressed as "the honorable" in formal use but this is merely a courtesy title and is not a requirement.  The use is left to individual members and as far as is known, Mr Santos has not yet indicated whether he wishes people to address him as “the honorable George Santos”.

Borrani wire wheels on 1972 Ferrari 365 GTB/4 (Daytona) coupé (far left), “Hotwire” wheels on 1974 Holden Torana SL/R 5000 (centre left), “Basketweave” wheels on 1990 Jaguar XJS coupé (centre right) & 1986 Holden Piazza (far right).

Basketweave wheels remain popular (although some feelings may be strained when it comes time to clean the things) but the use of “basketweave” to describe the construction was a bit of a stretch and some prefer “lattice” which seems architecturally closer.  Were the motif of the classic basketweave to be applied to a wheel it would look something those used on the Holden Piazza, briefly (1986-1989) available on the Australian market.  Because it’s not easy successfully to integrate something inherently square or rectangular into a small, circular object, such designs never caught on although variations were tried.  The “basketweave” wheels which did endure owed little to the classic basketweave patters although there are identifiable hints in the construction so people understand the connection and rather than thought of as a continuation of the design elements drawn from the traditions of weaving, the wheels really established a fork of the meaning.  As a design, they were an evolution of the “hotwire” style popular in the 1970s when was a deliberate attempt to echo the style of the classic spoked (wire) wheels which, being lighter and offering better brake cooling properties than steel disk wheels, were for decades the wheel of choice for high performance vehicles.  That changed in the 1960s as speeds & vehicle weight rose and tyres became wider and stickier, a combination of factors which meant wire wheels were no longer strong enough to endure the rising stresses.  Additionally, the wire wheel was labor intensive to make in an era when that beginning to matter, wheels cast from an alloy predominately of aluminum were cheaper to produce as well as stronger.

Lindsay Lohan in Miami, clothes by Amiparism, Interview Magazine, December 2022.  The car is a Jaguar XJS convertible with the factory-fitted basketweave (or lattice) wheels.

1988 Porsche 911 (930) Turbo Cabriolet (left) and Hans Stuck (1900–1978) in Auto Union Type C (6.0 litre V16), Shelsley Walsh hill climb, Worcestershire, England, June 1936 (right).

The Porsche is fitted with three-piece, 15 inch BBS RS basketweave wheels with satin lips: The rear units are 11 inches in width (running 345/35 tyres) while at the front the wheels are 9 inches wide (mounted with 225/50 tyres).  Although advances in electronics since 1988 have made the behaviour of the most powerful rear-engined Porsches easier to tame, in 1988, the best way to ameliorate the inherent idiosyncrasies of the configuration was to fit wider wheels, increasing the rubber’s contact area with the road.  The idea was not new, both the straight-eight Mercedes-Benz W125 and the V16 Type C Auto-Union Grand Prix cars of 1937 using twin rear tyres when run in hill climbs.  The Porsche 930 (1975-1989) quickly gained the nickname “widow maker” but the Auto Union, which combined 520 horsepower and a notable rearward weight bias with tyres narrower than are these days used on delivery vans, deserved the moniker more.  Fitting the second set of rear wheels did help but the handling characteristics could never be made wholly benign and it wasn’t until the late 1950s that mid-engined Grand Prix cars became manageable and notably, they had about half the power of the German machines of the 1930s.