Corinthian

Corinthian (kuh-rin-thee-uhn)

(1) Of, pertaining to, or characteristic of Corinth, the ancient Greek city-state.

(2) One of the five styles of classical architecture in Ancient Greece (the others being Doric, Composite, Tuscan & Ionic).

(3) Something ornate and elaborate

(4) In literacy criticism, an ornate style.

(5) Something luxurious or licentious.

(6) A native or inhabitant of Corinth.

(7) Someone given to living luxuriously; dissolute.

(8) An amateur sportsman (archaic).

(9) A phony descriptor of a type of leather used by Chrysler Corporation in the US during the 1970s.

1350–1400: From the Middle English Corinthi(es) (the men of Corinth) from the Latin Corinthiī from the Greek Korínthioi.  The sense “of or pertaining to Corinth" the ancient Greek city-state is from the 1590s, gradually replacing the mid-fifteenth adjective Corynthoise.  The sense as a classification in what was becoming a formalised architectural order is from the 1650s.  The noun meaning literally "inhabitant of Corinth" dates from the 1520s; Corinthies was attested from the late fourteenth century.  During Antiquity, other Greek cities regarded the inhabitants of Corinth as a bit gauche, noting their preference for ornate, almost ostentatious architecture and their notorious fondness for luxury and licentiousness.  There was intellectual snobbery among the Athenians too, the Corinthians thought too interested in commerce and profit and not sufficiently devoted to thought and learning.  Corinthian the noun and adjective thus, in various slang or colloquial senses in English, came to be associated with extravagance, sin and conspicuous consumption, especially in the decades after the 1820s.

In scripture, the implications of that association were later reflected in the New Testament, most memorably in Paul’s Second Letter to the Corinthians (2 Corinthians 1).  The second letter is thought to have been written circa 56 AD, shortly after he penned the first and was addressed to the Christian community in city of Corinth, a major trading centre which, although by then noted for its rich artistic and philosophic traditions, was a place also of vice and depravity.  It was this last aspect that compelled Paul’s first letter to the Corinthian church and in it he sharply rebuked them for permitting immoral practices in the community.  In response, the Corinthians had cracked-down on some of the worst excesses and Paul wrote his second letter to congratulate them on their reforms and even commended forgiving sinners and welcoming them back to the flock.  Harsh though his words could be, Paul’s preference is always restoration, not punishment.  The letter then discusses some sometimes neglected characteristics of the Christian church such as generosity to others and devotes some time to defending himself against attacks on his ministry, reminding the Corinthians both of his own poverty and the harsh reality of what it meant to be a minister of Christ in the Roman empire: beatings, imprisonment, hunger, and the constant threat of death.

The triangle tattoo Lindsay Lohan had inked in 2013 was inspired by 1 Corinthians 13:4-8.  In the King James Version (KJV; 1611) it read:

4 Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up,

5 Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil;

6 Rejoiceth not in iniquity, but rejoiceth in the truth;

7 Beareth all things, believeth all things, hopeth all things, endureth all things.

8 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away.

Most quoted now are modern translations which are more accessible such as the International Bible Society's (now Biblica) New International Version (NIV; 1978):

4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud.

5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs.

6 Love does not delight in evil but rejoices with the truth.

7 It always protects, always trusts, always hopes, always perseveres.

8 Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away.

In Paul’s prescriptive way, verses 4-7 details the workings of love in three steps.  There are firstly the positive aspects of love being patient and kind but then elaborated are the eight negatives love must never be: not jealous, boastful, arrogant, rude, irritable or resentful, nor does it insist upon its own way or glat at wrong.  Finally, Paul notes the five positive ways in which love reacts, joining in rejoicing at truth, supports, believes, hopes and endures all things.  Verse 8 returns to the theme of superiority of love but explicates the contrast between love and spiritual gifts as the contrast between permanence and transience; spiritual gifts which are incomplete will pass when wholeness comes whereas love will not.  The contrast is thus between the imperfect and the perfect.

United States Supreme Court, looking towards the West Pediment.

The Corinthian style of architecture was one of the five classical orders created in Ancient Greece.  Similar in many ways to the Ionic, the points of difference were (1) the unusually slender proportions, (2) the deep capital with its round bell, decorated with acanthus leaves and a square abacus with concave sides.  The Corinthian capital typically has two distinct rows of acanthus leaves above which appear eight fluted sheaths, from each of which spring two scrolls (helices), one of which curls beneath a corner of the abacus as half of a volute while the other curls beneath the centre of the abacus.  The marble pillars used on the east and west pediments of the United States Supreme Court building, constructed between 1932-1935, are a fine example of the Corinthian style.

United States Supreme Court, East Pediment.

Much less known than the more frequently photographed West Pediment, the East Pediment of the Supreme Court Building is at the rear of the structure and is much admired by architects because of the elegance of the thirteen symmetrically balanced allegorical figures in the sculptural group designed by Hermon A MacNeil (1866–1947).  The ornate details in the two rows of acanthus leaves are the defining characteristic of the Corinthian pillar.

Publicity shot for Chrysler Corporation's 1974 Imperial LeBaron four door hardtop finished in chestnut leather (right), the tufted “pillowed” upholstery a signature of the US luxury cars during an era in which they were forced to abandon high-performance.  Imperial's advertising copy noted of the brochure’s photograph: “...while the passenger restraint system with starter interlock is not shown, it is standard on all Imperials.” (the marketing types didn't like seat-belts cluttering up their carefully composed shots).  Although Chrysler mostly used the term “fine Corinthian leather” in the sales material for the Cordoba (1975-1983), it did appear is the brochures for the 1975 Imperial and later became common to refer thus to the leather in any of the corporation's cars of the era.  Some did with a sense of irony while some innocent souls actually believed it.

Corinthian leather was a term coined by the Bozell advertising agency in 1974 to describe the tufted upholstery available as an alternative to the standard velour in the Imperial LeBaron.  Although merely a term of marketing, the Imperials trimmed with the same leather produced by the Radel Leather Manufacturing Company of New Jersey the corporation used in its other up-market offerings, the name successfully conveyed the association of something rich in quality, rare, luxurious and, doubtlessly, "European".  Religiosity in the US somewhat more entrenched than elsewhere in the West, it’s likely many were sufficiently well-acquainted with the New Testament to understand the reference but for those less pious, Corinthian was one of those words which somehow carried the desired connotations, even among those with no idea of its associations.  Perhaps it was because it sounded European that some assumed the leather came from Spain, Italy or some such place where lots of words end in vowels.  Richard Nixon (1913-1994; US president 1969-1974) noted that linguistic phenomenon when he discussed the circumstances in which Dwight Eisenhower (1890-1969; US president 1953-1961) was compelled to dismiss his chief of staff (Sherman Adams (1899-1986)), who had accepted as a gift, inter alia, a vicuña coat.  Nixon observed that while there was no doubt most Americans had no idea whether vicuña was animal, vegetable or mineral, just the perceived mystique of the word was enough to convince them it was something expensive and therefore corrupting.

Ricardo Montalbán in 1975 Chrysler Cordoba advertisement.  The word "small" is relative, the significance being the departure from the corporation's long-standing policy of the Chrysler brand never appearing on anything but full-sized cars.

Whether the association with the Cordoba's “fine Corinthian leather” generated many sales in Chrysler's other divisions (Plymouth, Dodge & Imperial) isn’t known but the the phrase certainly gained a remarkable traction amid the cacophony of exaggeration and puffery which sustains modern capitalism.  The Cordoba was introduced in 1975 as a "down-sized" model for consumers suddenly interested in fuel economy in the post oil-crisis world and the manufacturers knew those who felt compelled to buy smaller cars didn’t necessarily want them to be any less luxurious and that became the theme for the promotional campaign, led this time on television and fronted by a celebrity spokesperson, the actor Ricardo Montalbán (1920-2009).  Born in Mexico of Spanish descent, Montalbán looked distinguished and spoke in cultivated English with just enough of a Spanish accent to make plausible the link of “fine Corinthian leather” with cattle on the plains of Spain.

1975 Imperial LeBaron four door hardtop.

In the advertising, Mr Montalbán spoke of “the thickly-cushioned luxury of seats, available even in fine Corinthian leather” and although sometimes he’d call it  “soft” instead, all people seemed to remember was the leather was Corinthian.  So successful was the campaign that Chrysler decided to make the Corinthian label exclusive to the Cordoba and when Mr Montalbán was later assigned to advertise other Chryslers, in the same mellifluous tone, he commended only the “rich leather".  Later, when interviewed on late night television, cheerfully he admitted that the term meant nothing but that wasn't quite true: it meant whatever people who heard it wanted it to mean and that made it a perfect word for advertising.

The Rolls-Royce Camargue

Although it’s never been confirmed by the factory, one source claims that a consequence of Chrysler in 1974 conjuring up “fine Corinthian leather” was that Rolls-Royce was forced to abandon the idea of calling their new model the Corinthian, adopting instead Camargue, (a region on the Mediterranean coast in the south of France).  For Rolls-Royce, Camargue was probably a better choice, tying in with their existing Corniche two-door saloon (which many might have called a coupé) and convertible (by the 1970s factory (mostly) had ceased to use the historic terms FHC (Fixed-Head coupé) and DHC (Drop-Head Coupé (DHC) although there was in 2007 a nostalgic, one-off revival for the Phantom Drophead Coupé).  The French word corniche has certain technical meanings in geology and architecture but Roll-Royce used it in the sense of “a coastal road, especially one cut into the face of a cliff”, specifically using the imagery of the Grande Corniche on the French Riviera, just north of the principality of Monaco.  The factory had first used the Corniche name in 1939 for a prototype light-weight, high-performance car which could match the pace of the big, supercharged, straight-eight Mercedes-Benz able to explore Germany’s newly built autobahns at sustained high speeds never before possible.  The car was damaged during testing in France and was abandoned there after the outbreak of hostilities, only to be destroyed in a bombing raid although whether the Luftwaffe (the German air force) or the RAF (the UK's Royal Air Force) was responsible isn’t known.

1968 Bentley T1 Coupe Speciale by Pininfarina (chassis CBH4033).  It wasn’t as if Rolls-Royce weren’t aware of how Italians thought a Rolls-Royce or Bentley coupé should look.  The Speciale should have been a warning heeded although, to be fair, it probably is better than the Camargue.

So whether as some minor ripple of chaos theory or the factory always intended to continue allusions to continental geography, in 1975 the Camargue was released with few technical innovations of interest other than the automatic split-level climate control system which was an industry first and said alone to cost about as much to produce as a middle-class buyer might spend on a whole vehicle.  Other footnotes included it being the first Rolls-Royce designed and produced (except for the odd carry-over component) using metric measurements and the first with the famous grill inclined at (for mid-century Rolls-Royce), a rakish 7^o rather than the perfectly vertical aspect always before used although the now noticeably lower grill was built still using the same technique the architects of Antiquity employed to create the clever optical illusion making the columns appear to the naked eye to be of identical dimensions although it wasn't the similar math of entasis, used for thousands of years to make slightly curved Corinthian pillars appear perfectly perpendicular.

The Pantheon Temple, Rome (left) and 1985 Rolls-Royce Camargue (right).

The Pantheon's Latin inscription M·AGRIPPA·L·F·COS·TERTIVM·FECIT actually isn't all that poetic and reads like a note the draftsman might have put on the blueprint (had there then been blueprints): it translates as "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time.", crediting the Roman statesman & general, Marcus Vipsanius Agrippa (circa 63 BC–12 BC) who originally commissioned the construction during his third consulship in 27 BC.  The Pantheon that stands today was rebuilt by Emperor Hadrian (Publius Aelius Hadrianus, 76–138; Roman emperor 117-138) circa 126 AD after the original structure suffered severe damage in a blaze.  Hadrian chose to retain Agrippa's inscription as a tribute (not all the emperors were narcissists).  Since AD 609, the Pantheon has been a Roman-Catholic church and is known as the Basilica Santa Maria ad Martyres (Basilica of St. Mary and the Martyrs).

Despite the popular perception, what Rolls-Royce describes as their "Pantheon grill" doesn't feature a classic entasis (slight swelling in the middle of a column to counteract the illusion of concavity), the design does incorporate a similar visual effect: there is a (very) slight curvature which in the factory's vernacular is known as the "waftline".  Although there are, understandably, many references to the grill being the "Parthenon grill" (and there is a well-reviewed Greek restaurant in Murfreesboro, Tennessee called the Parthenon Grille), the factory has never used the term and say the designed was inspired by "Rome’s imposing Pantheon temple", a structure "...purposefully built with wider middle sections so the human eye perceives each long pillar to be completely straight."  What the architects of Antiquity did was use use an optical illusion as a "corrective" to achieve perfect visual symmetry and the Rolls-Royce engineers replicated the approach, the grill's columns wider towards the edges.  The waftline is used elsewhere, notably the gentle, upswept sweep along the sill-line which Rolls-Royce says "creates a powerful, poised stance and makes the car appear to be moving when stationary...", creating the impression of "calm perfect motion and accelerating quickly without fuss".  They clearly like the word "waft" because they coined the neologism "waftability" which is said to be "the essence of the brand".

1973 Rolls-Royce Corniche Saloon (left) and 1975 Rolls-Royce Camargue (right).

In 1975 however, it's wasn't the almost imperceptible rake of the grill or the adoption of metric measurements which attracted most comment when the Camargue made its debut.  What was most discussed was (1) it being the world’s most expensive production car and (2) the appearance.  At that end of the market, the 30%-odd cost premium against the mechanically similar Corniche wasn’t going to produce the same effects in the elasticity of demand as would be noted lower in automotive pecking order and indeed, the Veblen effect can operate to make the more expensive product more desirable.  The consensus was the Corniche, although by then a decade-old shape, was better balanced and more elegant so for success to ensue, Rolls-Royce really were counting on Veblen to exert its pull.

Lancia Florida II (1957, left), Fiat 130 Coupé (1971, centre) & Rolls-Royce Camargue (1975, right).  The origin of the shape is most discernible in Pininfarina’s Lancia Florida, a different approach to the big coupé than would be taken in the 1950s by the Americans.  The late Fiat 130 coupé was one of those aesthetic triumphs which proved a commercial failure while the Camargue is thought a failure on all grounds although, for those who prize some degree of exclusivity, it remains a genuine rarity.  As it was, between 1975-1986, only 531 Camargues were sold (including a one-off Bentley version which was a "special order") while the Corniche lasted from 1971 until 1995, 6,823 leaving the factory including 561 Bentleys, the latter now much sought.  In a sense, the Camargue was ahead of its time because Rolls-Royce in the twenty-first century began offering some quite ugly cars and they have sold well, the Veblen effect working well.  

Unfortunately, the Camargue, while it did what it did no worse than a Corniche saloon, while doing it, it looked ungainly.  Styled by the revered Italian studio Pinninfarina, the look was derided as dated, derivative and clumsy and it’s this which has usually been thought to account for production barely topping 500 over the decade-odd it remained available.  In the years since, some tried to improve things and a number have been made into convertibles, an expensive exercise which actually made it worse, the roof-line one of the few pleasing aspects.  One buyer though was sufficiently impressed to commission a one-off Bentley version, one of the few instances of a model which genuinely can be claimed to be unique. The same designer at Carrozzeria Pininfarina who signed off on the Camargue was also responsible for the earlier Fiat 130 coupé, something in the same vein but on a smaller scale and the Fiat is a rectilinear masterpiece.

Platform by Mercedes-Benz, coachwork by Pininfarina.  1956 300 SC (left), 1963 230 SL (centre) & 1969 300 SEL 6.3 (right).

Whether the knife-edged severity of the 130 coupé could successfully have been up-scaled to the dimensions Rolls-Royce required is debatable but Pininfarina had lying around a styling exercise done years earlier, based on a Mercedes-Benz 300 SEL 6.3 and it was this which seems to have inspired the Camargue.  The Italian studio’s interest in Mercedes-Benz had in preceding decades produced some admired designs although the occasional plans for limited production runs were never realized.  In 1955, a coupé based on the 300b saloon had been shown, followed a year later by a 300 SC which most thought better executed, and certainly more contemporary, than the Germans' own effort.  The best though was probably the 1963 230 SL which lost both the distinctive pagoda roof and some of leanness for which the delicate lines are most remembered but it was thought a successful interpretation.  Mercedes-Benz should of course have produced a two-door 300 SE 6.3 because the W111/W112 two door body (1961-1971) was their finest achievement but the planet lost nothing by Pininfarina's take on the idea being rightly ignored.  In retrospect Rolls-Royce probably wished they too had "failed to proceed" and when the time came to do another big coupé, the job was done in-house, the Bentley Continental (1991-2003) an outstanding design and neither Rolls-Royce nor Bentley have since matched the timeless lines.

Boulevard

Boulevard (pronounced bool-uh-vahrd or boo-luh-vahrd)

(1) A broad avenue in a city, usually with areas at the sides or in the center planted with trees, grass, or flowers, often used as a promenade.

(2) A strip of lawn between a sidewalk (footpath) and the curb (a regionalism from the upper Midwest US & Canada, also called a boulevard strip).

(3) As loosely applied in street names in many cities, usually for wide thoroughfares.

(4) The centre strip of a road dividing traffic travelling in different directions (rare and sometimes applied also to the landscaped sides).

1769: From the French boulevard (broad street or promenade planted with rows of trees), from the Middle French boulevard, bollevart, boulevars, bolevers & bollewerc (promenade, avenue, rampart), either from the Middle High German bolewerc & bolwerc (which endures in modern German as Bollwerk) or the Middle Dutch bolwerc & bollewerc (“bulwark, bastion”), the latter from the Picard, Walloon in the sense of “rampart, avenue built on the site of a razed rampart”, so called because the structures were originally often built on the ruins of old ramparts.  The apparently strange transition from the Middle Dutch bolwerc (wall of a fortification) to the French boulevard, originally (top surface of a military rampart, used as a thoroughfare) is explained by the linguistic tangle of translation, the French language at the time having no “w”, hence the early attempts including boloart, boulever, boloirque & bollvercq.

Lindsay Lohan leaving Boulevard3 nightclub, Los Angeles, 2009.

Although there’s now usually no direct relationship, the idea of boulevards being wider than most streets and with associated landscaping dates from the early promenades being laid out atop demolished city walls, structures which were much wider than the usually narrow urban streets.  The word was adopted in English because there was a frank admiration of the layout of Paris and the Americans picked it up as an obvious differentiation for some of the widest streets of their newer cities although there was sometimes also an element of a wish to emulate European style.  The word is used in many countries with the same French spelling adopted in English although there are variants including the Spanish bulevar and the Turkish bulvar and in Italian the word is sometimes used in the otherwise archaic sense of embankment (a direct inheritance of the sense of “rampart”).  The noun boulevardier dates from 1856 and deconstructed literally means “one who frequents the boulevard”, the implication being ”man-about-town, a city dweller, part of café society”.  Boulevardier was later adopted (also as boulevard cruiser & boulevard car) to describe cars which ape the style of high-speed machines but sacrifice performance for comfort and ease of operation.  In urban cartography & town planning the most common abbreviation is blvd. but bd. & bl. are also used.  Boulevard is a noun and boulevardier is a noun & adjective; the noun plural is boulevards.

The Boulevardier cocktail

Erskine Gwynne (1898-1948) between 1927-1932 was the publisher of Paris Boulevardier, an English-language magazine in the vein of the New Yorker, its market the then quite large colony of Anglo-American expats living in Paris.  While in Paris, Gwynne created a cocktail called the Boulevardier which he suggested was the ideal drink for his readership but it was after it was included in Harry MacElhone’s (1890-1958) book Barflies and Cocktails (1927), that it became popular on both sides of the Atlantic.

Made with whiskey, sweet vermouth and Campari, the Boulevardier is a variation of the classic Negroni, renowned when properly mixed for its deft balance of bitter, boozy and sweet (although some anthologies of cocktails asterisk a proviso that women often prefer them with more vermouth and thus sweeter).  However, while the gin-based Negroni is crisp and refreshing, the whiskey-rich Boulevardier is rich and warming, very much a drink for dark evenings.  Traditionally, it was made with bourbon but there are recipes which use the spicier rye whiskey and, unlike a Negroini where classically the ingredients are in equal parts, a Boulevardier mixes the whiskey in a slightly higher proportion.  It’s served on ice, stirred and garnished with an orange twist.

Ingredients

1 ¼ ounces bourbon whiskey

1 oz Campari

1 oz sweet vermouth

Garnish: orange twist

Instructions

Add bourbon, Campari and sweet vermouth into a mixing glass with ice and stir until well-chilled.  Strain into a rocks glass over fresh ice.  Garnish with an orange twist.

Boulevard cars

1961 Chevrolet Impala SS.

The idea of the “boulevard car” was concocted to describe cars which ape the style of high-speed machines but sacrifice performance for comfort and ease of operation, usually at a lower price; for show rather than go as it were.  Chevrolet actually institutionalized the concept in 1962 with their popular SS (Super Sport) option pack.  The option had first appeared in 1961 and was available for any Impala and although much admired, that Chevrolet that year built close to half a million Impalas and only 453 buyers opted for what was (at US$53.80) the bargain-priced SS package was an indication the marketing needed to be tweaked.  The problem was that Chevrolet had intended the 1961 SS lived up to its name and it was available only with the 348 & 409 cubic inch (5.7 & 6.7 litre) V8s coupled with a robust four-speed manual transmission, combinations which could be quite raucous and were notably thirstier than many were prepared to tolerate.  The dealers noted how buyers were drawn to the style but were put off by the specification which demanded much more from the driver that the smaller-engined models which wafted effortlessly along, automatic transmissions by now the default choice for most Impala buyers.

1967 Chevrolet SS427

Chevrolet’s solution was to become a template for the whole industry which would spend the next decade making, advertising (and, in relatively small numbers, selling) the so-called "muscle cars" which would become so storied.  The muscle-car ecosystem of those years is better documented and more celebrated than any other phase through which Detroit passed yet the numbers of the genuine high performance machines produced was tiny compared to total production of the models upon which they were based.  The experience of 1961 convinced Chevrolet that what most people wanted was not a tyre-melting muscle car (which came with a thirsty, noisy and sometimes cantankerous engine along with what would become prohibitively expensive insurance rates) but one which looked like one.  Thus after 1962 the SS option became widely available and consisted mostly of fancy trim and sporty accessories, able to be ordered with even the most modest engines.  Splitting the market between drag-strip monsters and boulevard cruisers which could be made to look much the same proved a great success.  For some reason though, late in the decade Chevrolet briefly offered the stand-alone SS427 in an Impala body but without the Impala badge while, confusingly, the actual Impala could be ordered with both the SS package and the 427 cubic inch (7.0 litre) V8.  Thus there was the SS427 and the Impala SS 427, the former rather more special and much sought after today.

1958 Mercedes-Benz 300 SL Roadster. 

Manufacturers had been pursuing the concept even before Chevrolet formalized it in the marketing manual.  Even in the interwar years the coincidently named SS cars (which after 1945 become Jaguar) offered essentially the same racy looking machines in a variety of configurations, some of which delivered the performance the lines promised and some did not, the former thought of as genuine sports cars, the latter we would now call boulevard cruisers.  Jaguar considered pursuing the strategy in the early post-war years before deciding sports cars really should all be sporty and although their saloons would come with engines small and large, the roadsters and coupés would be about both show and go.  Mercedes-Benz understood the attraction the 300SL gullwing (W198) had for buyers but knew also it, and the planned roadster version which would be its replacement, were always going to be too expensive for most and that few of them anyway needed a car which could hit what was in the 1950s a most impressive 150 mph (240 km/h).  What they wanted was a stylish machine which recalled the 300SL in which to cruise along wide boulevards.

1955 Mercedes Benz 190 SL.

Thus was crafted the 190 SL (W121; 1955-1963), built on the modest platform of the company’s small, four cylinder saloon rather than the exotic space-frame of the 300 SL.  Eschewed too were costly features like dry-sump lubrication and fuel-injection and the engine was barely more powerful than in the saloon but for a boulevard cruiser that was perfect and over an eight-year run, it out-sold the expensive 300 SL roadster a dozen-fold.  There were plans even for a 220 SL, using the 2.2 litre (134 cubic inch) six cylinder from the “pontoon” saloon and prototypes were built but the continuing success of the 190SL and capacity constraints first postponed and finally doomed the project.  Even this had been an attempt not to create a true sports car but instead make the little roadster cruise the boulevards more smoothly and, in the decades which followed, this indeed was the historic course subsequent generations of the SL would follow.  It would not be until the twenty-first century that the factory would again make an SL for which a racetrack would seem a native environment.

Moist

Moist (pronounced moyst)

(1) Moderately or slightly wet; damp.

(2) Tearful.

(3) Accompanied by or connected with liquid or moisture.

(4) Prevailing high humidity.

(5) In informal (though not infrequent) use (1), of the vagina: sexually lubricated due to sexual arousal & (2) of a woman: sexually aroused, turned on.

(6) In medicine, characterized by the presence of some fluid such as mucus, pus etc; of sounds of internal organs (especially as heard through a stethoscope): characterized by the sound of air bubbling through a fluid.

(7) Historically, in science (including alchemy), pertaining to one of the four essential qualities formerly believed to be present in all things, characterized by wetness; also, having a significant amount of this quality.

1325-1375:  From the Middle English moist & moiste which has the senses of (1) damp, humid, moist, wet, (2) well-irrigated, well-watered, (3) made up of water or other fluids, fluid, (4) figuratively) (of ale), fresh, (5) carnal, lascivious; undisciplined, weak & (6) in alchemy, medicine, physics: dominated by water as an element.  It was from the Anglo-Norman moist, moiste & moste, from the Middle French moiste and the Old French moiste (damp, wet, soaked) & muste (damp, moist, wet (which endures in the thirteenth century modern French moite, perhaps from the Vulgar Latin muscidus (moldy) & mūcidus (slimy, moldy, musty), from mucus (slime).  Doubts have always surrounded the alternative etymology which suggested a link with the Latin musteus (fresh, green, new (literally “like new wine" from mustum (unfermented or partially fermented grape juice or wine, must).  The noun was derived from the adjective.  The noun moisture (diffused and perceptible wetness) dates from the mid-fourteenth century, from the Old French moistour (moisture, dampness, wetness (which endures in the thirteenth century modern French moiteur), from moiste.  The verb moisten (make moist or damp) emerged in the 1570s, from moist, which until the mid-fourteenth century was used as a verb.  Moist is a noun, adjective & (mostly obsolete) verb, moisten is a verb, moistened & moisty are adjectives, moistener is a noun and moistly an adverb; the verb moistify is classified as a jocular creation of Scottish origin.

Making moist look good: Lindsay Lohan, hot and damp in white bikini at the swimming pool, Los Angeles, 2009.

In general use it was from the fourteenth century applied to the tearful or eyes wet with tears, due either to crying, illness or old age; since the mid-twentieth century use in this context has increasing been restricted to literature or poetry, probably because of the influence of the increased lining of the word with the bodily fluids associated with sexual arousal.  As a poetic device, between the fourteen and eighteenth centuries, moist (sometimes as “the coming moist”), was used to suggest impending rain and a gathering storm was “the moist”.  Some older usage guides suggested moist was mostly used for agreeable or neutral conditions (moist chocolate cake; moist garden) while damp was applied to something undesirable (damp clothes; damp carpet) but this seems dated, given the current feelings of linguistic disapprobation.  The synonyms depend for meaning on context and can include (of the eyes) dewy-eyed, misty, teary, weepy, wet, (of the weather) damp, muggy, humid, rainy, & (of the built environment) wet & dank.

The language’s most hated word.

Moist appears to be the most disliked word in the English language.  In 2012 The New Yorker asked its readers to nominate a word to scrub from the English language and an overwhelming consensus emerged to ditch "moist".  Even in surveys where it doesn’t top the disgust list, moist seems always to score high (or low depending on one’s view) and most of the words with which it competes have about them some quality of moistness including pus (a white to yellowish liquid formed on the site of a wound or infection), phlegm (a liquid secreted by mucous membranes), seepage (the slow escape of a liquid or gas through small holes or porous material), splooge (an abrupt discharge of fluid, fester (of a wound or sore that becomes septic; suppurate), mucus (a slippery secretion produced by and covered by mucous membranes), ooze (fluid slowly trickle or seep out of something), putrid (organic matter decaying or rotting and emitting a fetid smell) & curd (a dairy product obtained by curdling milk (or soy).  Others have conducted similar surveys and found other words which attracted little fondness (not all of which literally involved any sort of wetness but had a spelling or pronunciation which seemed to hint at moistness) included festering, lugubrious, smear, squirt, gurgle, fecund, pulp and viscous.  Surprisingly perhaps, "rural" often rates a high disapprobation count, perhaps reflecting the urban bias of surveys (something presumably true of The New Yorker's erudite readership).  

Practitioners of structural linguistics provided another layer of interest, noting some correlation between the offending words and their use of the "phonetically abrasive" letters (“b”, “g”, “m”, “u” & “o”).  That would seem tom make “gumbo” at least a linguistic micro-aggression but it deserves to be defended.  Gumbo is a soup or stew (depending on how it’s prepared) especially popular in Louisiana and made with an intense stock, meat or shellfish, a thickener (historically always okra), and the so-called “holy trinity” of celery, bell peppers and onions; it’s said to be delicious.  The origin of the use of the word gumbo to describe the dish is uncertain but it was first recorded in 1805 as a part of Louisiana French and etymologists conclude it was probably from the Central Bantu dialect.  In the associative way such things work, Gumbo was used also of the creole patois of Louisiana; that use dating from 1838.  A patois is one of the layers of language and while a creole is recognized as a stand-alone language, a patois is considered a variation of a “real” language.  It’s a highly technical aspect of structural linguistics and the mechanics of differentiation used by linguists to distinguish between creoles, patois, and pidgins (many of which remain permanently in flux) are intricate and understood by few, the rules (about which not all agree) including arcane discussions about the situations in which patois is properly capitalized and those in which it’s not.  Less controversial is the use of gumbo in hydrology where it’s used of “fine, silty soils which when wet becomes very thick and heavy” (a use obviously redolent with moistness and thus likely to elicit disgust from delicate types).  For those who wish further to be disgusted, a usually reliable source (Urban Dictionary) has several pages of real-world definitions of gumbo, many of which rate high on the moistness index.   

Researchers from Oberlin College in Ohio and Trinity University in San Antonio ran three different experiments to figure out how many people hate the word "moist" and work out why.  They found more than one person in five loathed moist and it seems people associate it with bodily functions, whether they realize it or not.  The researchers said their subjects’ responses were typified by an answer such as “It just has an ugly sound that makes whatever you’re talking about sound gross”.  The younger (or more neurotic) the study participants were, the more likely they were to dislike the word and the more disgust bodily functions provoked, the less they liked moist.  Still, although the researchers didn’t try to prove it, it’s doubtful many would have declined a slice of a nice, moist chocolate cake.

Moist dark chocolate cake

Using dark chocolate makes for the ultimate moist chocolate cake and it’s ideal to serve with brandy infused cream.  The preparation time is between 30-40 minutes, cooking takes 60-90 minutes and it’s ready to serve as soon as cooled.  This recipe will yield a cake of 12-14 slices.

Ingredients (chocolate cake)

200 g dark chocolate (about 60-75% cocoa solids), chopped
200 g butter, cubed
1 tablespoon instant coffee granules
85 g self-raising flour
85 g plain flour
¼ teaspoon bicarbonate of soda
200 g light muscovado sugar
200 g golden caster sugar
25 g cocoa powder
3 medium eggs
75 ml buttermilk
50 g grated chocolate or 100 g curls, to decorate

Ingredients (ganache)

200 g dark chocolate (about 60% cocoa solids), chopped
300 ml double cream
2 tablespoons golden caster sugar

Instructions

(1) Heat oven to 160C (fan-forced) / 140C (gas level 3).  Butter and line a 300 mm round (75 mm deep) cake tin.

(2) Put 200g chopped dark chocolate in medium pan with 200g butter.

(3) Mix 1 tablespoon instant coffee granules into 125 ml cold water and pour into pan.

(4) Warm over a low heat just until everything is melted (DO NOT overheat). Alternatively, melt in microwave (should take 3-5 minutes), stirring after 2 minutes.

(5) Mix 85 g self-rising flour, 85 g plain flour, ¼ teaspoon bicarbonate of soda, 200 g light muscovado sugar, 200 g golden caster sugar and 25 g cocoa powder; squash mix until lump-free.

(6) Beat 3 medium eggs with 75 ml buttermilk.

(7) Pour melted chocolate mixture and egg mixture into the flour mixture and stir everything to a smooth (quite runny) consistency.

(8) Pour this into tin and bake for 85-90 minutes.  To test, push a skewer into the centre and (1) it should come out clean and (2) the top should feel firm (surface cracking is normal and indicates perfectly cooked).

(9) Leave to cool in tin (during this, it will likely dip a little), then turn out onto a wire rack to cool completely. Cut cold cake horizontally into three.

(10) To make the ganache, put 200 g chopped dark chocolate in a bowl. Pour 300 ml double cream into a pan, add 2 tablespoons golden caster sugar and heat until mix is at the point of boiling.

(11) Immediately remove mix from heat and pour it over the chocolate.  Stir until the chocolate has melted and the mixture is smooth.  Cool until it becomes a little cooler but remains pourable.

(12) Sandwich the layers together with just a little of the ganache. Pour the rest over the cake letting it fall down the sides; smooth over any gaps with a palette knife.

(13) Decorate with 50 g grated chocolate or 100 g chocolate curls. The cake will keep “moist and gooey” for 3-4 days.

Soda

Soda (pronounced soh-duh)

(1) In science and industry, a common verbal shorthand for various simple inorganic compounds of sodium (sodium carbonate (washing soda), sodium bicarbonate (baking soda), and sodium hydroxide (caustic soda) et al).

(2) A common clipping of soda water.

(3) A fizzy drink made with carbonated water (water impregnated with pressurized carbon dioxide, originally made with sodium bicarbonate), flavoring (such as fruit or other syrups) and often ice cream, milk etc (once exclusively North American use, now more common); technically, a shortening of soda-pop.

(4) In the game of faro, the top card in the pack, discarded at the start, the game played with 51 cards.

(5) In Australian slang, something easily done (obsolete).

1490s:  From the Italian sida (sodium carbonate; an alkaline substance extracted from certain ashes), from the Medieval Latin soda (a kind of saltwort (sodanum barilla; a plant burned to obtain a type of sodium carbonate)) of uncertain origin.  It was once thought to have been from the Arabic suwwādah (a similar type of plant) but this is now discounted by most but may be from the Catalan sosa, first noted in the late thirteenth century.  There is also the speculative suggestion there may be some connection with the Medieval Latin sodanum (a headache remedy), ultimately from the Arabic suda (splitting headache).

Soda is found naturally in alkaline lakes, in deposits where such lakes have dried, and from ash produced by burning various plants close to sources of salt-water.  It was one of the most traded commodities in the medieval Mediterranean and manufacture of it at industrial scale began in France in the late eighteenth century and the smaller operations gradually closed as transportation links improved.  .  The metallic alkaline element sodium was named in 1807 by English chemist Humphry Davy (1778-1829), so called because the element was isolated from caustic soda (sodium hydroxide); the chemical symbol Na is from natrium, the alternative name for the element proposed by Swedish chemist Jöns Jacob Berzelius (1779–1848) from natron (a naturally occurring mixture of sodium carbonate decahydrate (Na₂CO₃·10H₂O).

A "soda spiral".

The soda-cracker, first sold in 1863, has baking soda as an ingredient.  Although modern, commercially bottled soda water now rarely contains soda (in any form), the name is a hangover from 1802 when “soda water” was first used to describe water into which carbonic acid had been forced under pressure, the meaning “"carbonated water" dating from 1834.  In the mid-nineteenth century, it became popular to flavor soda water with various sweetened concoctions (typically fruits rendered with sugar syrup) and after 1863 these were often called soda pop, the clipping “soda” (flavored, sweetened soda water) the most common use of the word in North America (it quickly supplanted “pop”, one of the occasions where a two-syllable slang was preferred over a shorter form).  The soda fountain dates from 1824 and originally described a counter in a shop at which sodas, ice-creams etc were prepared and served; later it was used of the self-serve machines which dispensed fizzy drinks at the push of a button.  Someone employed to run such a counter was described first (1883) as soda-jerker, the slang clipped to soda-jerk in 1915.  The colloquial pronunciation sody was noted in US Midwestern use at the turn of the twentieth century.  Synonyms for the drink includes: carbonated drink, fizzy drink, fizz (UK), (fizzy) pop (Northern US, Canada), soda pop (US), soft drink, lemonade and (the colloquial) thirst-buster.

The extraordinary range of derived terms (technical & commercial) includes: soda glass, Club Soda, cream soda, Creaming Soda, ice-cream soda, muriate of soda, nitrate of soda, soda-acid, soda ash, soda biscuit, soda cracker, soda bread, soda cellulose, soda counter, soda fountain, sodaic, soda jerk, soda jerker, soda lake, soda-lime glass, sodalite, soda lye, sodamide, soda niter, soda nitre, diet soda, soda paper, soda pop, lite soda, soda prairie, ginger soda, soda process, soda pulp, soda siphon, Soda Springs, soda waste, soda water, sodium, sulfate of soda, sulphate of soda, sulfite of soda, sulphite of soda, washing soda, baking soda & caustic soda.

The Soda Geyser Car.

For girls and boys who wish to explore the possibilities offered by the chemical reaction between soda and Mentos®, the Soda Geyser Car is available for US$22.95, offering both amusement and over a dozen experiments with which to demonstrate Newton's laws of motion.  In its default configuration it will travel over 200' (60 m) (the warning label cautioning it's not suitable for those aged under three and that it may upset pet cats etc) but for those who want more, it's possible to concoct more potent fuels, a recipe for the ominous sounding “Depth Charger” included.  Tinkerers can adapt this technology to experiment with their own rockets and the kit includes:

Mentos® Soda Car
Turbo Geyser Tube.
Roll of Mentos®
2 Liter Bottle.
Inflation Needle.
Nose Cone.
Geyser Rocker Car Frame.
Flagpole.
Decals.
Velcro Straps.
Experiment and activity guide.

Dirty Soda

The Doctrine and Covenants (the D&C (1835) and usually referred to as the Word of Wisdom) is the scriptural canon of the Church of the Latter Day Saints (the Mormons), section 89 of which provides dietary guidelines which prohibit, inter-alia, the consumption of alcohol, tobacco, and hot drinks (ie tea & coffee).  This index of forbidden food accounts not only for why noted Mormon Mitt Romney usually looks so miserable but also why manufacturers of chocolate, candy & soda have long found Utah a receptive and lucrative market; other than joyful singing, the sugary treats are among their few orally enjoyed pleasures.

It therefore surprised few that it was between two Utah-based operations that law suits were exchanged over which owned the right to sell “dirty sodas”.  Mormons aren’t allowed to do anything “dirty” (though it's rumored some do) so the stakes obviously were high, a dirty soda as close to sinfulness as a reading of the D&C will seem to permit.  A dirty soda is a soda flavored with “spikes” of cream, milk, fruit purees or syrups and is a kind of alcohol-free mocktail and the soda shops Sodalicious and Swig had both been active promoters of the sugary concept which has proven increasingly profitable.

Mitt Romney (b 1947; Republican nominee in the 2012 US presidential election, US senator (Republican-Utah) since 2019), buying 12-packs of Caffeine Free Diet Coke and Wild Cherry Diet Pepsi, Hunter's Shop and Save, Wolfeboro, New Hampshire, August 2012.  Mitt knows how to have a good time.

In documents filed in court in 2015, Swig had accused Sodalicious of copying their trademarked “dirty” idea, even replicating the frosted sugar cookies sold alongside the spiked drinks.  Both shops had become well-known for their soda mixology, Swig’s concoctions including the Tiny Turtle (Sprite spiked with green apple and banana flavors) and the company sought damages and a restraining order, preventing Sodalicious from using descriptions or signage with any similarity to Swig’s.  Sodalicious counter-sued, claiming “dirty” is a longtime moniker for martinis and other cocktails, noting the product differentiation in their names for dirty sodas such as “The Second Wife” (a daring allusion to the polygamous past of the Mormons) and the “The Rocky Mountain High”, made by adding cherry and coconut added to Coca-Cola.  The case concluded with an out-of-court settlement, neither side seeking costs and no details of the terms were revealed.

Long time Pepsi consumer, Lindsay Lohan.

In December 2022, as a holiday season promotion, the Pepsi Corporation teamed with Lindsay Lohan to promote Pilk.  A Pilk is a mix of Pepsi Cola and milk, one of a class of dirty sodas created by PepsiCo which includes the Naughty & Ice, the Chocolate Extreme, the Cherry on Top, the Snow Float and the Nutty Cracker.  All are intended to be served with cookies (biscuits) and although Ms Lohan confessed to being “…a bit skeptical when I first heard of this pairing”, she was quickly converted, noting that “…after my first sip I was amazed at how delicious it was, so I’m very excited for the rest of the world to try it.”  Tied in nicely with her current Netflix movie “Falling for Christmas”, the promotional clip explores the pilk as a modern take on the traditional milk & cookies left in thanks for Santa Claus and the opportunity to don the Santa outfit from Mean Girls (2004) wasn’t missed, the piece concluding with the line : “This is one dirty soda Santa”.

Santa Redux: A Mean Girls moment celebrated with a pilk, PepsiCo dirty soda promotion, 2022.   

PepsiCo provided other dirty soda recipes:

(1) The Naughty & Ice: For a pure milk taste that's infused with notes of vanilla, measure and combine 1 cup of whole milk, 1 tbsp of heavy cream and 1 tbsp of vanilla creamer.  From there, pour the mixture slowly into 1 cup of Pepsi – the brand's hero product – and consume it alongside a chocolate chip cookie.

(2) The Chocolate Extreme: Blend 1/3 cup of chocolate milk and 2 tbsp of chocolate creamer together, transfer the mixture to 1 cup of smooth & creamy Pepsi Nitro to enjoy the richness of the flavor atop of a frothy foam head.  This "Pilk" will satisfy the chocoholic in you, especially by pairing it with a double chocolate cookie.

(3) The Cherry on Top: A hint of cherry always sweetens the deal.  Combine ½ cup of 2% milk, 2 tbsp of heavy cream and 2 tbsp of caramel creamer.  To bring the complex flavors to life, place the mixture into 1 cup of Pepsi Wild Cherry while pairing the drink with a gingerbread cookie.

(4) The Snow Fl(oat): An oatmeal-based cookie loaded with raisins is sure to complement an oat milk "Pilk".  Start by taking ½ cup of oat milk and adding 4 tbsp of caramel creamer.  Then, slowly pour the sweet mixture into a glass filled with 1 cup of Pepsi Zero Sugar.

(5) The Nutty Cracker: Combine ½ cup of almond milk and 4 tbsp of coconut creamer and place the mixture atop a pool of smooth & creamy Nitro Pepsi Vanilla.  For true richness, pair with a coated peanut butter cookie.

Historically, PepsiCo’s advertising always embraced DEI (diversity, equity and inclusion), depicting blondes, brunettes and redheads.  They needed just to be white, slender and attractive.

PepsiCo dirty soda promotion, 2022.

7up advertising from the 1950s.

The idea of combining milk and soft-drinks has a history in the US and it may have been a cultural practice although given there seems nothing to suggest it ever appeared in depictions of popular culture, it may have been something regional or occasionally faddish.  The 7up corporation in the 1950s used advertising which recommended adding the non-carbonated drink to milk as a way of inducing children who "won't drink milk" to up their dairy intake.  The reference in the copy to "mothers know" does suggest the idea may have been picked up from actual practice and although today nutritionists and dentists might not endorse the approach, there are doubtless other adulterations of milk which are worse still for children to take.

Hilt

Hilt (pronounced hilt)

(1) The handle of a sword or dagger.

(2) The handle of any weapon or tool.

(3) To furnish with a hilt.

(4) As the idiom “to the hilt”, to the maximum extent or degree; completely; fully.

Pre 900:  From the Middle English, from the Old English hilt & hilte (handle of a sword or dagger); cognate with the Middle Dutch hilt & hilte, the Old Norse hjalt, the Old Saxon helta (oar handle) and the Old High German helza (handle of a sword).  Source was the Proto-Germanic helt, heltą, heltǭ, heltō & hiltijō, probably from the primitive Indo-European kel- (to strike, cut).  One form of the idiom which died out was “up to the hilts”, the plural having exactly the same meaning as the still familiar singular; first noted in the 1670s, it was extinct by the mid-eighteenth century except in Scotland and the border regions of northern England where it survived another hundred-odd years.  The vivid imagery summoned by the expression “to the hilt” is of a dagger stabbed into someone’s heart, the blade buried all the way to the hilt.  The phrase is used to suggest one’s total commitment to something although those training British commandoes in such things during World War II did caution that a blade buried in a victim "to the hilt" could be "difficult to get it out", such were "the contractions of the sinews".

Hilt is a European swordsmith’s technical name for the handle of a knife, dagger, sword, or bayonet; the once used terms haft and shaft have long been obsolete.  The hilt consists of a pommel, grip and guard.

Lindsay Lohan with saw-tooth edged dagger held at the hilt; from a Tyler Shields (b 1982) photo session, 2013.

The pommel is the large fitting at the top of the handle, originally developed to prevent the weapon slipping from the grasp but during the late medieval period, swordsmiths began to add weight so they were sufficiently heavy to be a counterweight to the blade.  This had the effect of shifting the point of balance closer to the hilt, the physics of this assisting swordsmanship.  The pommel could also be used as a blunt instrument with which to strike an opponent, something from the German school of swordsmanship known as the Mordhau (or Mordstreich or Mordschlag (literally "murder-stroke" or "murder-strike" or "murder-blow") method, a half-sword technique of holding the sword inverted, with both hands gripping the blade while striking one's opponent with the pommel or crossguard.  The technique essentially makes as sword function as a mace or hammer and in military training was envisaged for use in armoured combat although in the hands of a skilled exponent it could be deadly in close combat.  Some hilts were explicitly designed for this purpose.  The word pommel is from the Middle English pommel (ornamental knob or ball, decorative boss), from the Old French pom (hilt of a sword) & pommel (knob) and the Medieval Latin pumellum & pōmellum (little apple), probably via the Vulgar Latin pomellum (ball, knob), diminutive of the Late Latin pōmum (apple).  The use in weaponry came first, the sense of "front peak of a saddle" dating from the mid 1400s and in fifteenth and sixteenth century poetry it also sometimes meant "a woman's breasts".  The gymnast's pommel horse (vaulting horse) is so called by 1908, named for the removable handles, which resemble pommels of a saddle, the use in saddlery noted first in 1887.

Grips are still made almost always of wood or metal and once were usually wrapped with shagreen (untanned tough leather or shark skin) but this proved less durable in climates with high-humidity and in these regions, rubber was increasingly used from the mid-nineteenth century.  Whatever the material, it’s almost always both glued to the grip and wrapped with wire in a helix.  The guard sits between grip and blade.  The guard was originally a simple stop (a straight crossbar perpendicular to the blade (later called a quillon)) to prevent the hand slipping up the blade but later evolved into an armoured gauntlet to protect the wielder's entire hand from an opponent’s sword.  By the sixteenth century, guards became elaborate, now often decorative as well as functional, the innovation of this time being a single curved piece alongside the fingers (parallel with the blade and perpendicular to any cross-guards); it became known as the knuckle-bow.