Rune

Rune (pronounced roon)

(1) Any of the characters of certain ancient Germanic alphabets (derived from the Roman alphabet), as of a script used for writing the Germanic languages, especially of Scandinavia and Britain, circa 200-1200 AD, or a script used for inscriptions in a Turkic language between the sixth and eighth centuries from the area near the Orkhon River in Mongolia.  Each character was ascribed some magical significance.

(2) Something written or inscribed in such characters.

(3) An aphorism, poem, or saying with mystical meaning or for use in casting a spell; any obscure piece of writing using mysterious symbols; a spell or incantation.

(4) In literary use, a poem, song, or verse.

(5) A Finnish or Scandinavian epic poem, or a division of one, especially a division of the Kalevala.

(6) A roun (secret or mystery) (obsolete).

(7) In computing, in the Go programming language, a Unicode code point.

1675–1685: From the Old Norse rūn & rún (a secret, writing, runic character), cognate with the Old English rūn, the Middle English rune, the obsolete English roun and the Finnish runo (poem, canto).  All were related to the Old Saxon, Old High German and Gothic runa which, like the Old Norse rūn & rún is from the Proto-Germanic rūnō (letter, literature, secret), which is borrowed from either the Proto-Celtic rūnā or from the same source as it.

Of the Runic

Runologists squabble over details of the historical origins of runic writing but there’s a general consensus runes were derived from one of the many Old Italic alphabets in use among the Mediterranean peoples of the first century AD, those who lived to the south of the Germanic tribes.  Earlier Germanic sacred symbols, such as those preserved in northern European rock carvings, also may have influenced the development of the script.  The transmission of writing from southern to northern Europe appears to have been spread by Germanic military formations which would have encountered Italic writing during campaigns amongst their southerly neighbours.  This hypothesis is supported by the association runes have always had with the god Odin, who, in the Proto-Germanic period (under his original name Woðanaz), was the divine model of the warrior leader. The Roman historian Tacitus noted Odin (Mercury in the interpretatio romana) was already established as the dominant god in the pantheons of many Germanic tribes by the first century AD although whether the runes and the cult of Odin arose together or one predated the other remains in dispute.  In Norse mythology however, the runes came from nothing as mundane as an old alphabet.  The runes were never invented or a product of evolution but are eternal, pre-existent forces Odin himself discovered by undergoing a tremendous ordeal.

The Hávamál

The Hávamál (Sayings of Hár, Sayings of the high one) is one of the poems of the Poetic Edda.  A kind of survival guide to for those seeking to live a good life, the form of verse varies, the most notable being where the text shifts to discuss how Odin (Odhins) gained the secret of the magical runes and came to learn the spells.  A work thus both pragmatic and philosophical, the poem’s only known source the Codex Regius, thought to date from circa 800.

The Rúnatal (Rúnatáls-tháttr-Odhins or Odins Rune Song) contains the stanzas in which Odin reveals the secret of the Runes.

I know that I hung on a windy tree

nine long nights,

Wounded with a spear, dedicated to Odin,

myself to myself,

on that tree of which no man knows

from where its roots run.

No bread did they give me nor a drink from a horn,

downwards I peered;

I took up the runes, screaming I took them,

then I fell back from there.

The Hávamál concludes with the mystical Ljóðatal, which dwells on knowledge and the knowing of the Odinic mysteries.  A kind of dictionary which lists and provides a legend creating keys to a sequenced number of runic charms, there are linkages with the Sigrdrífumál (known often as Brynhildarljóð, a section of the Poetic Edda text in Codex Regius) in which the valkyrie Sigrdrífa details a number of the runes at her command.  In stanza 151, there’s an allusion to the sending of a tree root carved with runes, a noted motif in Norse mythology and the cause of death of Grettir the Strong.

I know a sixth one if a man wounds me

with the roots of the sap-filled wood:

and that man who conjured to harm me,

the evil consumes him, not me.

The runic-themed imagery used for the cover art of Lindsay Lohan's A Little More Personal (Raw) (2005).

Historians and archivists have devoted much attention to the Codex Regius, reconstructing its timeline from the many fragmentary sources.  The earliest writings appear to have been collections of proverbs, sayings and advice attributed to Othin, probably in the manner so much in the Bible is said to have been the words of Solomon; other dubious claims of connection exist in the texts of the Buddha, Confucius, the Prophet Muhammad and others where the documentary record can never be conclusive.  The collection was thus, probably from its earliest times, elastic in content though always known as "The High One's Words", others taking advantage of the authority Othin’s imprimatur conferred to add such poems or other sayings of wisdom they thought appropriate.  In the nature of such things, the style of writing displays a consistency, important when seeking to imply that the speaker was Othin, a process which is something of a gray area in the history of literary forgery, the later authors perhaps assured what they were adding was what Othin might have said or with which he would anyway have concurred.  So, a catalogue of runes, or charms, was later bolted-on, along with new sets of proverbs, differing in content but not in style from those in the original document.  There are some stylistic variations in form in that some verses verge upon the narrative but the structure of the whole is loose, accommodating the odd innovation without jarring effect.  It’s agreed that structurally the text exists in five parts:

(1) The Hovamol proper (stanzas 1-80): The sayings and proverbs to guide the living of life, a kind of early self-help manual.

(2) The Loddfafnismol (stanzas 111-138): Another collection similar to the first, but these more a discourse on ethics and morality and addressed specifically to a young man known as Loddfafnir.

(3) The Ljothatal (stanzas 147-165): A listing of charms.

(4) The love-story of Othin and Billing's daughter (stanzas 96-102): The love story is something of a cautionary tale, beginning as it does with a dissertation on the faithlessness and general unreliability of women (stanzas 81-95).  Scholars suggest the warning words were the first written with the rest of the poem created as an apt illustration.

(5) This is the story of how Othin got the mead of poetry, the draft document which delivered to him the gift of tongues, an indulgence from the maiden Gunnloth (stanzas 103-110).  Added to this (and obviously later) is the brief passage (stanzas 139 146) recounting Othin’s winning of the runes.  Structurally, the poem needs this section as an introduction to the Ljothatal and any good editor would have insisted on its inclusion.

Of the authorship or even the dates of the accretions, nothing can for sure be known.  All than can be said is that some is very old and some more recent which isn’t a great deal of help but anything else is merely speculative.  The text instead needs to be read as it is: a gnomic collection of the wisdom a violent race living in a brutish world written to help people survive in an unforgiving time when, days when wherever one went, one would be ill-advised to assume one was among friends.  Tellingly, women are not mentioned in the non-narrative sections of the poem, not even a nod to the advantage of having someone to cook and clean for this is very much a work about the world of men on earth, the threats and their consequences.  There’s no discussion of heaven and hell or any after-life, no judgement beyond that of one's fellow men.

Twilight

Twilight (pronounced twahy-lahyt)

(1) The soft, diffused light from the sky when the sun is below the horizon, either from daybreak to sunrise or, more commonly, from sunset to nightfall.

(2) The period in the morning or, more commonly, in the evening during which this light prevails.

(3) A terminal period, especially after full development, success, etc.

(4) A state of uncertainty, vagueness, or gloom.

(5) Of or relating to, or resembling twilight; dim; obscure:

(6) Appearing or flying at twilight; crepuscular.

(7) The period of time during which the sun is a specified angular distance below the horizon (6°, 12° and 18° for civil twilight, nautical twilight, and astronomical twilight respectively)

1375-1425: From the Middle English twyelyghte (twilight) from the Old English twēonelēoht (twilight), the construct being twi (double, half) +‎ light, literally “second light, half-light”.  Light was from the Middle English light, liht & leoht, from the Old English lēoht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom, from the root lewk- (light).  It was cognate with the Scots licht (light), the West Frisian ljocht (light), the Dutch licht (light), the Low German licht (light) and the German Licht (light).  It was related also to the Swedish ljus (light), the Icelandic ljós (light), the Latin lūx (light), the Russian луч (luč) (beam of light), the Armenian լույս (luys) (light), the Ancient Greek λευκός (leukós) (white) and the Persian رُخش‎ (roxš).  It was cognate with the Scots twa licht, twylicht & twielicht (twilight), the Low German twilecht & twelecht (twilight), the Dutch tweelicht (twilight, dusk) and the German zwielicht (twilight, dusk).  The exact connotation of twi- in this word remains unclear but most etymologists link it to "half" light, rather than the fact that twilight occurs twice a day.  In that twilight may be compared with the Sanskrit samdhya (twilight, literally "a holding together, junction") and the Middle High German zwischerliecht (literally "tweenlight").

Enjoying the crepuscular: Lindsay Lohan at twilight.

The meaning "light from the sky when the sun is below the horizon at morning and evening" dates from the late fourteenth century, used often in the form "twilighting").  It was used originally (and most commonly) in English with reference to evening twilight but occasionally, beginning in the fifteenth century, referred also to the light of dawn.  The figurative extension dates from circa 1600.  The "twilight zone" is from 1901 (in a literal sense of the part of the sky lit by twilight), the use extended after from 1909 to refer to topics or cases where authority or behavior is unclear, the origin of that probably the 1909 novel In the Twilight Zone by Roger Carey Craven, the reference is to the mulatto heritage of one character, the idea of what used to be called the "half-breed", one who might be equally be claimed or disowned by either race.  The name was re-used in 2016 by Nona Fernández (b1971) (translated into English by Natasha Wimmer (b 1973)) in a novel about Chile under the dictatorship (1973-1990) of General Augusto Pinochet (1915–2006).  The US TV series of that name is from 1959.  The connotation of “twi” in this context is uncertain with most etymologists concluding it appears to refer to "half" light, rather than the state of twilight which occurs twice a day although in Sanskrit samdhya (twilight) was literally "a holding together” or “junction”, a formation known also in the Middle High German zwischerliecht, literally "tweenlight".  Twilight today is most commonly used with its original meaning of the evening light but from the mid-fifteenth century to the mid-twentieth, it was used also to refer to the morning twilight.  The figurative extension is first recorded circa 1600.

Götterdämmerung

Richard Wagner (1865) by August Friedrich Pecht (1814–1903), oil on canvas, Metropolitan Museum of Art, Ney York.

Götterdämmerung (Twilight of the Gods), is the fourth and final part of Richard Wagner's (1813-1883) Der Ring des Nibelungen (The Ring of the Nibelung, usually known as The Ring or Ring Cycle).  Lasting some fifteen hours and usually presented over several days, its debut performance was at the Bayreuth Festival on 17 August 1876.

A great set piece drama and the grandest moment in Opera, the Ring Cycle is about the destruction of the gods and in a final battle with evil powers and although based on an old Norse myth, a dubious translation of the Old Icelandic Ragnarǫk (fate of the gods) meant it entered Modern German as Ragnarökkr (twilight of the gods).  In the Norse, the story was of "ancestral voices prophesying war" between mortals and the gods, a conflict ending in flames and flood but leading finally to the renewal of the world.  Wagner's work differs much from the Old Norse.

Part 1: Das Rheingold (Rhinegold)

The Rig Cycle begins with the dwarf Alberich seizing the gold of the Rhinemaidens. Alberich denounces love to gain possession of the magic ring which gives its wearer ultimate power; the ring is the world’s most desired object.  Rhinegold is the story of the gods; one learns of the suffering of Wotan and the problems the gods have in repaying Fafner and Fasolt, the giants who built Valhalla.

Part 2: Die Walkure (The Valkyries)

Brunnhilde and her father Wotan struggle with their pride to decide the ultimate destiny of mortals, the Valkyries being about the deep, tortured relationship between gods and mortals.  The gods also war with each-other but nobleness, especially in love, prevails over the oaths and the divine promises of the gods. Siegmund, the mortal hero, dies because his father, Wotan, is obliged to obey his wife, Fricka.

Part 3: Siegfried

This is the story of the hero, Siegfried, how he grows to manhood, how he discovers love and loss.  Raised by the Nibelung Mime, Siegfried is young, innocent and fearless and with help from a mysterious wanderer (Wotan in disguise), Siegfried finds the pieces of his father's sword.  Notung reforges the blade and Siegfried kills the dragon Fafner who guards the hoard of Nibelung gold stolen from the Rhinemaidens, taking possession of Alberich's cursed ring.  Siegfried is then drawn to follow a birdsong to find the sleeping Brunnhilde whom fate has destined him to awaken and fall in love with.  Waking her, Siegfried gives the ring to Brunnhilde to symbolize his oath of undying love and fidelity.

Part 4: Götterdämmerung (Twilight of the Gods)

Under an ambiance impending doom, all face the consequences of their choices; the Nibelung Alberich's curse upon the Ring proving prophetic for whoever holds the ring is ultimately destroyed.  Although Wotan's disempowerment was, in part three, foreshadowed by Siegfried breaking his spear, the doomed fate of the gods is sealed when Alberich's evil son, Hagen dupes and cruelly murders the brave mortal hero Siegfried.  Devastated, Brünnhilde has a huge funeral pyre built by the river, takes the ring and tells the Rhinemaidens to claim it from her ashes.  Brünnhilde then mounts her horse and rides into the flames.  As she burns, the Rhine overflows, quenching the fire and the Rhinemaidens swim in to claim the ring.  Hagen tries to stop them but they drag him to his death in the depths.  As they celebrate the return of the ring and its gold to the river, a red glow fills the sky for Valhalla, the last resting place of the gods is ablaze and the gods are consumed by the flames.

Sedulous

Sedulous (pronounced sej-uh-luhs)

(1) Of a person: diligent in application or pursuit or attention; constant and persevering; steadily industrious; assiduous.

(2) Of an activity: carried out with diligence.

(3) Persistently or carefully maintained.

1530–1540: From the Latin sēdulus (diligent, industrious, sedulous; solicitous; unremitting; zealous), an adjectival derivative of the phrase sē dolō (diligently (literally “without guile”) which replaced sedulious.  The origin of sēdulus is murky but it was probably from sēdulō (diligently; carefully; purposely; zealously) and the construct may have been sē- (the prefix meaning “without”) + dolō (singular of dolus (deceit, deception; evil intent, malice (and cognate with the Ancient Greek dolus (ruse; snare), ultimately from the primitive Indo-European del- (to count, reckon) + -us (the suffix forming adjectives).  In English the form was created with the suffix –ous.  The –ous suffix was from the Middle English -ous, from the Old French –ous & -eux, from the Latin -ōsus (full, full of); a doublet of -ose in an unstressed position.  It was used to form adjectives from nouns, to denote possession or presence of a quality in any degree, commonly in abundance.  In chemistry, it has a specific technical application, used in the nomenclature to name chemical compounds in which a specified chemical element has a lower oxidation number than in the equivalent compound whose name ends in the suffix -ic.  For example sulphuric acid (H₂SO₄) has more oxygen atoms per molecule than sulphurous acid (H₂SO₃).  The noun sedulity (diligent and assiduous application, constant attention) sates from 1542.  The synonyms include diligent & assiduous and words which hint at the meaning include constant, untiring & tireless.  Sedulous is an adjective, sedulousness & sedulity are nouns and sedulously is an adverb.

Lindsay Lohan and her lawyer in court, Los Angeles, 2011.

Because of the variations in spelling in Medieval Latin, scholars have debated whether the correct form is sedeō or sē dolō, those of the former citing assiduus, some of the latter insisting even that the construct can only be sē dolus.  It carries the whiff of linguistic snobbery.  Medieval Latin (perhaps better understood by an alternative descriptor: Church Latin), never universally adopted the forms or rules of Classical Latin and within Europe, variations in form were common.

Carp

Carp (pronounced kahrp)

(1) To find fault or complain querulously or unreasonably; be niggling in criticizing; cavil.

(2) A peevish complaint; to find fault with; to censure; to complain about a fault.

(3) A large, freshwater teleost (of, or relating to the Teleostei (fish with bony skeletons)) food fish of the family Cyprinidae (Cyprinus carpio), characterized by a body covered with cycloid scales, a naked head, one long dorsal fin, and two barbels on each side of the mouth.  It was native to Asia but was widely introduced in tropical and temperate waters; an important food fish in many countries and an introduced invasive pest in others.  There is one .cyprinid genus which tolerates salt water although many at times inhabit brackish water.

(4) Any of various other fishes of the family Cyprinidae; a cyprinid.

(5) In botany, a combining form occurring in compounds that denote a part of a fruit or fruiting body (best known in the form endocarp (the woody inner layer of the pericarp of some fruits that contains the seed).

(6) To say; to tell (obsolete).

1200-1250:  From the Middle English carpen (talk; to speak, to tell (someone something)), from the Old Norse karpa (to brag, wrangle) & karp (bragging) of unknown origin but linked to the Vulgar Latin carpere because of the meaning shift to “find fault with”, under the influence of the Latin carpō.  By the late fourteenth century, the sense had been further refined to mean “complain excessively about minor faults, often petulantly or without reason.  The Latin carpere (literally “to pluck” was used to convey the idea of "to slander or revile”), from the primitive Indo-European root kerp- (to gather, pluck, harvest).  The original sense in English (talk; to speak, to tell (someone something)) was between the mid-fifteenth and early sixteenth centuries maintained in the noun carper (talker), an agent noun from the carp; the modern sense of “a fault-finder” began to prevail from the 1570s.  Thus carping, which in the late thirteenth century was recorded as meaning “talk, speech; talkativeness, foolish talk” and was a verbal noun from the verb also by the 1570s came to be used to impart the idea of “unreasonable criticism or censure”.  The botanical use was from the New Latin -carpium, from the Greek -karpion, a derivative of karpós (fruit).

Among critics, there are clappers and carpers.

The name of the fish was from the late fourteenth century Middle English carpe, via the Old French carpa (the source also of the Italian & Spanish carpa), from either the Middle Dutch or the Middle Low German karpe and cognate with the Old High German karpfo, the Middle Dutch carpe, the Dutch karper, the Old High German karpfo & the German Karpfen (carp).  Although documentary evidence is lacking, some etymologists suggest the origin may be East Germanic (perhaps the unrecorded Gothic karpa) because the fish was in the fourteenth century introduced into English waterways from the Danube.  The Lithuanian karpis and the Russian karp are Germanic loan words but the most attractive name for the fish is doubtlessly the Japanese koi, first noted in 1727.  The ubiquitous goldfish is a type of carp and was introduced to Europe from China where it was native, their natural dull olive skins rendered by selective breeding into silver, red & black as well as the familiar orange.  The phrase “living in a goldfish bowl” dates from 1935 and was used figuratively to suggest a “lack of privacy”, based on the circular bowls in which the domestic pet fish were often kept, affording all a 360^o view of their activities.  The use of the noun gallimaufry (a medley, hash, hodge-podge) to describe various recipes of carp stews is mysterious but presumably related to the many other ingredients included to make the dish more palatable, the freshwater carp not highly regarded compared to the alternatives.  Carp convey a specific sense of the way a criticism is delivered and is subtly different from words like deprecate, condemn, censure, grumble, quibble, complain, criticize or reproach is that it’s held to be something nit-picking or pedantic.  Carp & carper are nouns; carped is a verb and carping is a verb, adjective & noun; the noun plural is carps although, of the fish, carp tends to be used when speaking collectively except when it’s regarding two or more species in which case it’s carps.

In some Australian waterways, carp have become a notable environmental threat, crowding out native species and adversely affecting water-quality because of their mud-sucking ways, causing erosion and killing of trees close to the water’s edge.  Although some water birds benefit from the abundant food source, they’re a rare winner.  The invasive species was introduced to the countries over a hundred years ago but the populations spiked massively after the 1960s when one genetic strain escaped from a fish farm in Victoria and in some places carp now constitute some 90% of the aquatic biomass.  As filter feeders (mud-suckers), they forage in the riverbeds, damaging aquatic plants, a feeding style which induces turbidity in the water, something unsuitable for many native fish.  Carp reproduce quickly, lack natural predators and are highly adaptable, able to take over ecological niches adding further stress to local flora & fauna.

In October 2022, a six-year research project to investigate the potential to introduce a herpes virus to control the carp delivered a final report to the Commonwealth & state governments.  In the national parliament, then deputy prime-minister and minister for Agriculture Barnaby Joyce MP (b 1967; thrice deputy prime-minister of Australia, 2016-date (the gaps due to “local difficulties”)) warmed to the idea of unleashing a venereal disease on “disgusting, mud-sucking carp”.

Caprice

Caprice (pronounced kuh-prees)

(1) A sudden, unpredictable change, as of one's mind or the weather.

(2) A tendency to change one's mind without apparent or adequate motive; whimsicality; capriciousness; a disposition to be impulsive.

(3) In music, as capriccio, a term for a kind of free composition.

(4) A brief (and hopefully torrid) romance; a fling

(5) A model name used by General Motors (GM) in several markets.

1660-1670: From the French caprice (whim) & capricieux (whimsical), from the Italian capriccioso from capriccio (a shivering), possibly from capro (goat), from the Latin capreolus (wild goat).  Another theory, drawn from folk etymology, connects the Italian compound capo (head) + riccio (hedgehog) suggesting a convulsive shudder in which the hair stood on end like a hedgehog's spines.  The application in musical composition to describe a kind of free composition dates from the 1690s, the sense drawn from the Italian capriccio (the music characterized by a “sudden start or motion”); earlier it meant "a prank, a trick".  The closest synonym is probably whim but vagary, notion, fancy & fling can, depending on context, summon a similar meaning.  An act of caprice differs from a fiat in that the latter, although it may be arbitrary, is an authoritative sanction issued by those vested with a certain legal authority.  The descendents include the Danish kaprice, the German Caprice and the Romanian: capriciu.  Caprice & capriciousness are nouns, capricious is an adjective and capriciously is an adverb; the noun plural is caprices.

Infamously capricious in her youth, Lindsay Lohan is now a mature and responsible mother.

Ford, and the rest of the industry, learned much from the Edsel debacle of the late 1950s.  Although unlucky to be launched into the teeth of the worst recession of the post-war boom, mistakes in conception, design and production had been many and may anyway have been enough to kill the thing.  The lessons learned had been expensive, depending on the source, a loss between US$250-300 million is usually quoted and that was at a time when a million dollars was a lot of money although how much of that loss was real or a product of taking advantage of accounting rules has never been clear.  None of the most expensive aspects to design and build (1) engine, (2) transmission, (3) suspension, (4) body platforms and (5) assembly plant production lines were unique to the Edsel, all being shared variously with other Ford, Mercury and Lincoln models; surprisingly little was exclusive to the Edsel, indeed that sameness was one of the complaints about a car which Ford had puffed-up as “all new”.  That essentially left interior and exterior trim, body panels, marketing and the distribution network to pay for.  Ford certainly lost a lot of money on the Edsel but perhaps not quite as much as the books suggest.  Still, it was a big loss and the corporate capriciousness wasn’t repeated in the 1960s.  The Edsel had been a bad implementation of a sound concept: a spread of brand-identities across a market with a wide price-spread so a corporation can achieve economies of scale using many of the same resources to produce products which to compete both at the low-end on cost-breakdown and in segments where prestige or exclusivity matters.  Ford’s notion was that General Motors (GM) and Chrysler were at the time better able to cover the market because both had more brand-names, GM having five: Chevrolet, Pontiac, Oldsmobile, Buick & Cadillac as did Chrysler: Plymouth, Dodge, De Soto, Chrysler & Imperial.  Ford had only three: Ford, Mercury & Lincoln (the short-lived Continental Division (1956-1957) a failure).

Thus the attraction of adding another, an idea which worked well with products like washing powder although, in the auto industry, costs tended to be higher and the model wasn’t essential to cover a broad market, Mercedes-Benz for decades successfully using the one brand for diesel taxis, trucks small and large, Formula One racing cars and cars up to the grandest limousines.  Indeed, the idea by Daimler-Benz to resurrect adopt the long moribund Maybach name to sit atop the range was a failure, reflecting the misunderstanding by the MBA-types involved of the value of the Mercedes-Benz brand which had been acceptable for kings, queens, popes, presidents and potentates.  Only salesmen with no background would think dotcom millionaires and the other newly-rich would be more attracted to Maybach than Mercedes.  Another brand might not have been a bad idea but Maybach should have been positioned as a platform for the front wheel drive and other categories which, frankly have only devalued the three-pointed star; while some have been good cars, they simply were not Mercedes-Benz as they once were understood. 

Nor is the idea infinitely scalable.  GM at one time had nine divisions and the pattern evolved that the brand names tend to appear in times of economic buoyancy (al la Edsel) and disappear during or after recessions (Edsel & De Soto after 1958; Imperial after the first oil shock, Oldsmobile, Pontiac, Mercury and Plymouth in the wake of the global financial crisis from 2008).  So, while the 1960s were about the most buoyant years yet, Ford didn’t repeat quite the mistake though they certainly repeated one aspect of the Edsel debacle although the implications of that wouldn’t play out for decades.

1965 Ford LTD.

In 1965, Ford reverted to the business model which had worked in pre-Edsel times and introduced the LTD as an up-market option for their full-sized Galaxie.  It seemed a good idea at the time and it was, the option proving popular with customers and lucrative for Ford, the option package costing about US$175 to install yet it added some US$335 to the sticker price and the psychology of turning the mainstream Ford into a “luxury car” seemed also to exert a pull on the buyers’ wallets because it was possible to work through the option list and add some 30% to the bottom line.  Unlike most Galaxie customers, LTD buyers were inclined to tick the boxes.  Even at the time, although generally impressed with the thing (and in fairness to Ford much attention had been devoted to some basic engineering to ensure it was quieter and smoother than before), reviewers did ponder quite what the effect of moving a Ford up-market would be on the companion Mercury Division, positioned since 1938 as up-market from Ford, yet well short of Lincoln.  The corporation aimed to solve that problem by maintaining some differentiation between the two brands and to some degree this worked for decades but eventually the point of maintaining three distinct layers had ceased to have value for Ford and in 2011 Mercury was shuttered.

1965 Ford LTD.

The LTD (it apparently meant “Lincoln Type Design” and not “Limited”) did though have quite an effect on the completion with the entry level ranges of others soon augmented with similar options.  Chevrolet called their effort the “Caprice”, Plymouth, like Ford” preferred a TLA (three letter acronym) and opted for “VIP” while AMC used “DLP” which apparently stood for “Diplomat”.  Of them all, only the Caprice and the LTD endured but the concept overtook the industry which switched increasingly to adding variations of their basic models with as many “luxury” fittings added as the budget would permit.  There were critics at the time who criticized all this as “gingerbread” but buyers responded and soon tufted, pillowed upholstery in crushed velour or even leather could be had in even the most humble showrooms.  A popular name for such models was “Brougham”, borrowed from a nineteenth century horse-drawn carriage named after a member of the UK’s House of Lords and even if most weren’t aware of the etymology, they knew it sounded suitably aristocratic which was all that mattered.  What came in retrospect to be known as the “brougham era” lasted into the 1980s.

1969 Chevrolet Caprice four-door hardtop.

While never the biggest sellers, dealers liked to have four-door hardtops on display because of the perception they generated showroom traffic and although the collector market prefers two-doors (especially convertibles), the four-door hardtops were often Detroit’s most ascetically successful coachwork for full-sized cars.  In 1969, Chevrolet restricted the Caprice range to two & four door hardtops because the more elaborate interior trim (compared to the cheaper Biscayne, Bel Air & Impala) was more susceptible to sun damage which precluded offering a convertible.  That may have been the reason why in the same era some European manufacturers switched from timber veneer to leather for some vulnerable surfaces in a few convertibles although the published explanations were sometime different.  Improvements in the durability of materials meant that when the revised range was released in 1973, a convertible Caprice was added to the range.

1981 Holden WB Caprice.

Holden, the General Motors operation in Australia began selling their own Caprice in 1974.  In the usual way it was a more elaborately-appointed version of an existing model and in GM tradition replaced an existing badge as the top-of-the-range, the Statesman de Ville relegated to become the entry-level of the long-wheelbase cars, the basic Statesman (always aimed at the hire-car business) retired, mirroring Ford which dropped its Fairlane Custom and, added the Marquis (a name borrowed from Mercury) as a Caprice competitor atop the Fairlane 500.  The early Statesman & Caprice never quite matched the appeal of the competition but it did go out in surprisingly fine style, the WB range (1980-1984) a remarkably successful re-styling of the HQ-HJ-HX-HZ platform (1971-1980) which endured for almost half a decade after the smaller, Opel-based Commodore had replaced the mainstream models.  Developed in unusual secrecy, Holden were miffed to learn Ford’s ZJ Fairlane & FC LTD (released in 1979) had beaten them to the market by six months and included the additional side window they’d hoped would make such a splash on the WB.  Instead, they made much of the Caprice having a grill made from steel.  Not that long before, all grills had been made from steel but most had long switched to extruded plastic so to have one genuinely hand-assembled in steel was a point of differentiation although the public response was muted.  Despite the age of the platform, the attention to the underpinnings which began to be taken seriously after 1977 meant the thing was a capable, if thirsty road car and among the dedicated customer base, there was genuine regret when production ended in 1984.  In 1990, Holden revived the name for a stretched Commodore (some of which were even exported to the US and the Middle East to be sold as Chevrolets) and production continued until the Australian operation was shuttered in 2017.

Sneaker

Sneaker (pronounced snee-ker)

(1) A high or low shoe, notionally intended to be worn when playing sport or other recreational activities, usually with a rubber or synthetic sole and uppers of canvas, leather or a synthetic material (sold as “a pair of sneakers”).

(2) One who sneaks; a “sneak”.

(3) A vessel of drink (a now archaic UK dialect form).

(4) A large cup (or small basin) with a saucer and cover (Indian English, now largely archaic).

(5) In biology, as “sneaker male”, a male animal which pretends to be a female to get close to a female, thereby increasing their chance of mating.

(6) In marine hydrology, disproportionately large coastal waves which can without warning appear in a wave train.

1550s: The construct was sneak + -er.  The origin of sneak is uncertain.  It may be from the thirteenth century Middle English sniken (to creep, to crawl), from the Old English snīcan (to creep, to crawl), from the Proto-West Germanic snīkan, from the Proto-Germanic sneikanan or snīkaną (“to creep, to crawl”) which is related to the root of both snail & snake.  Similar forms include the Danish snige (to sneak), the Swedish snika (to sneak, hanker after) and the Icelandic sníkja (to sneak, hanker after).   Alternatively, there may be a link with snitch, also of uncertain origin.  Snitch may be an alteration of the Middle English snacche (a trap, snare) or snacchen (to seize (prey)), the source of the modern English snatch.  A parallel evolution in Middle English was snik & snak (a sudden blow, snap).

The alternative etymology is as a dialectal variant of sneak.  The noun emerged in the 1590s as a development of the verb (as implied in “sneakish” in the sense of “creep or steal about privately; move or go in a stealthy, slinking way” and most etymologists have concluded it was probably a dialectal survivor from the Middle English sniken from the Old English snican, from the Proto-Germanic sneikanan.  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Sneaker is a noun; the noun plural is sneakers.

Reader's Digest published a number of maps illustrating regional variations in the way things are described in the US.  While they didn't seem to indicate there was a costal v flyover linguistic divide, the Mason-Dixon line did seem to have some influence and there was something of an east-west divide.  One outlier however was "sneakers" which was found predominately to be prevalent only around the north & south Atlantic coasts, the rest of the country preferring "tennis shoes" while there were pockets in the Mid-West where "gym shoes" had traction.  The publication noted their map represented only the dominant form and that all forms (and other) could be found throughout the land.

According to Google Trends, in on-line shopping, while the numbers bounce around, they do so within a range and "sneakers" remains statistically dominant.

The noun sense of sneak as “a sneaking person; person of selfish and cowardly temper and conduct” dates from the 1640s a development from the verb; by 1700 it was used to describe “the act or practice of sneaking”.  The transitive sense of “stealthily to insert” was known by the mid-seventeenth century while that of “partake of or get surreptitiously” dates from 1883.  The phrase “to sneak up (on someone or something)” was in use by 1869.  As an adjective (in reference to feelings, suspicions etc) it was used in the sense of “not openly vowed, undemonstrative” from 1748 while the “sneak-thief” (one who enters through unsecured doors and windows to steal) was first so describe in 1859.  “Sneak previews” were originals viewings of movies held before their public release for friendly critics and others likely to provide helpful publicity, the phrase first used in 1938.

Nike Dunk SB Low Freddy Kruger (US$30,000), a tribute to the villain (or hero; opinions differ) in the Nightmare on Elm Street films, the Nike swoosh a nice allusion to the blades in the famous gloves.

The noun use of sneaker to describe certain rubber-soled shoes was in use by at least 1895 and thus (even if tangentially) linked to the use in the 1590s sense of “a sneak; one who sneaks around”).  The use for shoes was of course based on rubber-soled shoes being essentially noiseless in contrast to those which leather soles which were usually fitted with protective metal heel & toe plates to reduce wear.  A slang term for any soft-soled (usually rubber) shoe was “brothel creeper”, based on the idea that men who frequented such places preferred to do so silently so as not to be conspicuous.  The original term was actually “sneak”, first documented in accounts of prison life in 1862 as prisoners’ slang for both the wardens who at night wore “India-rubber shoes” and the shoes themselves.  The same issue was noted by the Nazi war criminals held in Spandau Prison between 1947-1987.  The prisoners had complained the heavy boots worn by the guards disturbed them but when the authorities issued rubber-soled footwear they found it harder to undertake un-noticed their many surreptitious activities.

There are a number of alternative names for the shoes.  Some are obvious such as “basketball shoes” or “tennis shoes” and “sports shoe” is a classic generic but plimsole has also endured in some places.  That was based on the “Plimlsoll Line” (originally Plimsoll’s Mark) which was a line painted on the hull of British ships to mark the point the waterline was allowed to reach before the vessel was declared overloaded.  It was named after English Liberal MP Samuel Plimsoll (1824-1898), a strident advocate of shipping reforms (many of which were codified in the Merchant Shipping Act (1876) including the “Plimsoll mark”).  Plimsoll came into use in 1907 to refer to rubber-soled, canvas shoe because the band around the shoes holding together the two parts evoked an image of the line on ships.  The spelling quickly shifted to “plimsole” because of the sound association between “soll” and “sole”.  An earlier form was “tacky” (also as “tackie”) which was probably of Dutch or Afrikaans origin, or else from tacky (slightly sticky), a quality associated with rubber, especially before the introduction of vulcanization.  In South Africa, tacky is used not only of rubber-soled shoes but also of car type and often other things made from rubber.

Lindsay Logan, nueva embajadora de Allbirds (the new Allbirds ambassador), possibly on a Wednesday.

In 2022, Allbirds appointed Lindsay Lohan as an ambassador for its "Unexpected Athlete" campaign, focusing on her for the new limited edition of its most successful sneakers (they seem to prefer "running shoe") to date, the Tree Flyer.  The promotional video issued for the announcement was nicely scripted, beginning with Ms Lohan’s perhaps superfluous admission that as an ambassador for running “I am a little unexpected" before working in a few references to her career in film (showing again a rare sense of comedic timing), fondness for peanut butter cookies and the odd social media faux-pas, many of which she's over the years embraced.  The feature shoe is the "Lux Pink" which includes no plastics.  As a well-known car driver and frequent flyer who has for years lived in an air-conditioned cocoon in Dubai, it’s not clear how far up the chart of conspicuous consumption Ms Lohan has stamped her environmental footprint but US-based footwear and apparel company Allbirds claims its design, production & distribution processes are designed to make its products as eco-friendly as possible.  It is a certified “B Corporation”, a system of private certification of for-profit companies of their "social and environmental performance" conferred by B Lab, a non-profit organization which aims to provide consumers with a reliable way to distinguish the genuinely environmentally active from those which cynically “greenwash”.

Lindsay Lohan, Allbirds “Unexpected Athlete Ambassador”.

They’re known also as “gym shoes”, “leisure shoes”, “sandshoes”, “kicks”, “trainers”, “training shoes” and running shoes and in Australia, until the 1990s, one big-selling (and still manufactured) model (the Dunlop Volley) almost universally known as “the Dunlop” and shoe shops do document the difference between “basketball shoes” and “basketball boots”, the latter with an upper built higher to afford greater protection for the ankles.  Interestingly, sneakers (however described) have become something of a cult and many expensive variations are available although analysts see to believe much of the price-tag is can be attributed to profit rather than development or production costs and, like the luxury handbag market, there are claims of “limited availability” and “restricted customer list” but most conclude that usually the only “limit” is demand although some genuine short production runs have been verified, usually for promotional purposes.  They’ve become also an item frequently stolen and among certain demographics, being assaulted so one’s sneakers can be stolen is a not uncommon experience.  Somewhat related to that cultural phenomenon has been the emergence of an after-market for “collectable” or “vintage” sneakers never to be worn and preferably still in their original packaging.  The record price paid at auction is apparently US$2.2 million but some new sneakers associated with celebrities list at as much as US$25,000, intended presumably endlessly to be traded as collectables rather than worn, much in the manner of some of the rarest exotic cars which even the manufacturers admit are produced for just that market.