Mongoose

Mongoose (pronounced mong-goos or mon-goos)

(1) Slender, ferret-like carnivores, any small predatory viverrine mammal of the genus Herpestes edwardsi and related genera, occurring in Africa and from southern Europe to South-East Asia, typically having a long tail and brindled coat; feeds on rodents, birds, and eggs, noted especially for its ability to kill cobras and other venomous snakes; known in Italian as the mangusta.

(2) Any of several other animals of this genus or related genera.

(3) Any species of the Malagasy mongoos; only distantly related to the Herpestidae, these are members of the family Eupleridae; they resemble mongooses in appearance and habits, but have larger ears and ringed tails.

1698: From the Portuguese mangusto, from the Marathi मुंगूस (muṅgūs), from the Old Marathi muṁgusa, from the Telugu ముంగిస (muṅgisa).  The Portuguese mangusto was concocted to refer to the "snake-killing ichneumon of India, from an Indic language (of which the Mahrathi variations are the best known), probably ultimately from Dravidian.  Other Indian forms documented during the Raj were the Telugu mangisu, the Kanarese mungisi and the Tamil mangus.  The English form is mongoose but in most languages where the word exists, it’s as a variation of the Portuguese mangusto (mangusta the spelling in Italian, Polish and Lithuanian).  In the eighteenth & nineteenth centuries, the spelling in English was mungoose, derived from the names used in India including the Hindi muṅgūs (maṅgūs in the classical Hindi), the Marathi muṅgūs, the Telugu mungisa and the Kannada munguli, mungi & mungisi, the form displacing the native Old English nǣderbita (literally “snake biter”). The spelling mungoose emerged in 1698, the “-goose” part adopted by virtue of folk etymology with goose and the noun plural is mongooses, not the occasionally seen mongeese, the mistake an understandable by-product of the example of "goose" and an example of why English must sometimes seem strange to those learning the language. There is no accepted collective noun, suggestions including troop, committee and delegation.  The correct plural is mongooses because of the origin in India; the plural thus built in the regular English way.  Goose is different and one of only seven common nouns (all of which can be traced back to the Old English) in which changing a vowel in the middle is involved in the construction of a plural.  Three are beasts (louse/lice; mouse/mice & goose/geese) two are body parts (foot/feet & tooth/teeth) and two are humans (man/men & woman/women).  The woman/women this is unique in that the first vowel also changes sound, even though the “o” stays in place.

The mongoose is a small terrestrial carnivorous mammal of the family Herpestidae, split into two subfamilies, the Herpestinae and the Mungotinae; in the former there are some two-dozen species native to southern Europe, Africa and Asia while the later exists in half that number, all native to Africa.  A famously efficient hunter of snakes, in the 1870s, mongooses were introduced to the Caribbean colony of St Lucia as a control measure against the deadly fer-de-lance (from either the French or Créole and translated variously as “iron of the lance”, “iron spear point”, “lancehead” or “spearhead”), the local name for the Terciopelo (Bothrops asper), a species of pit viper.  The voracious little killers proved more effective than the Governor's bounty of sixpence per fer-de-lance which had yielded a disappointing 1200 victims in seven months.

Mongooses enjoying morning tea, Queen Elizabeth National Park, Uganda: The interaction between the mongoose and the usually disagreeable common warthog (Phacochoerus africanus; an un-domesticated member of the pig family (Suidae) endemic in the savanna & forests of sub-Saharan Africa) is an example of symbiosis in nature.  In what behavioral zoologists call a "mutualistic partnership", a resting warthog will allow mongooses to gather and perform some grooming, snacking on the annoying biting ticks which infest their coats.  

The De Tomaso Mangusta

Dance of death: Cobra and Mongoose.

Argentine-born Alejandro de Tomaso (1928-2003) in 1955 fled to his father’s native Italy after being linked to a plot to overthrow President Juan Perón (1895–1974; Argentine president 1946-1955 & 1973-1974).  In Latin America, that wasn’t something at the time unusual, young, middle-class men having long been attracted to scheming against left-wing rulers to the point where in some families, it was a calling.  In Italy, he married a rich heiress, spending her money to go racing (without notable success) and, (rather more productively), building fast cars.

Shelby Cobra: Fiftieth Anniversary 427 SC Continuation (2014, 50 of which were built, allocated serial numbers between CSX4500-CSX4599).

In 1964, he met Le Mans winner, Carroll Shelby (1923–2012), famous also for his Anglo-American hot-rod, the AC Shelby Cobra.  They entered into an agreement to build racing cars for the up-coming Can-Am series but squabbles between the two ensued, the arrangement ending in acrimony.  De Tomaso continued to develop the vehicle, this time as a road car which, in revenge, he named Mangusta (mongoose), a beast renowned for its skill in hunting and killing snakes including Cobras.  Designed by Giorgetto Giugiaro (b 1938) of Ghia, between 1967-1971 some four-hundred Mangustas were produced and although the details are contested, the 150-odd are said to have been powered by the same highly-tuned 289 cubic-inch (4.7 litre) Ford (Windsor) V8 as the most numerous of Shelby’s Cobras, the remainder using a more mildly-tuned 302 (4.9 litre) Windsor for the lucrative US market, the 302 compliant with their more onerous emission regulations.

1969 De Tomaso Mangusta (289).

Achingly lovely though it was, adapting a race car for the road necessitates compromises and the Mangusta had not a few.  A 32/68% front/rear weight distribution delights racing-car drivers but induces characteristics likely to frighten everybody else and the interior was cramped, something tolerated in competition vehicles but not endearing to buyers looking for something with which to impress the bourgeoisie.  However, it sold well enough to encourage de Tomaso to pursue the concept and the better designed (if less beautiful) replacement, the Pantera (Italian for "panther"), lasted from 1971 to 1993, over seven-thousand being sold, some with the Australian-built Ford 351 (5.8 litre) V8 (which continued usually to be referred to as the "Cleveland" (a reference to the Ohio plant where the US versions were first built) even though the blocks were cast in the foundry attached to Ford Australia's manufacturing facility in Geelong, Victoria.  The idea of a "351 Geelong" never caught on but a footnote in Ford's V8 history is the Australians also concocted a unique "302 Cleveland" (all other 302s being Windsor-based).

1970 De Tomaso Mangusta (289).

As a road car, the Mangusta was fundamentally so flawed it really couldn’t be fixed; seen first in 1966, it came from those innocent times before Ralph Nader got politicians interested drawing up rules.  However, even had it been possible to re-engineer the thing into something well-behaved enough for real people safely to drive (and what Porsche's engineers achieved with the 911 proved such things could be done), there was no way it could have been adapted to conform to the laws which began with severity to be imposed in the 1970s.  The solution was the Pantera, designed with a copy of the regulations in one hand and a cheque from the Ford Motor Company in the other, FoMoCo interested in having in their showrooms a competitor for Chevrolet’s Corvette.  Although the sales volumes never challenged those of the Corvette, in the four years it was available in the US, well over five-thousand were sold although Ford was required significantly to inject resources to ensure quality control was maintained.

1972 De Tomaso Pantera.

This time, De Tomaso used the 351 cubic inch version of Ford's new 335 series (Cleveland) V8, which, although somewhat bigger and heavier than the earlier Windsor, did offer some advantages in that it was designed with emission controls in mind and used a more efficient cylinder head.  None of that much helped in the market conditions which prevailed in the recession induced after the first oil shock in 1973 and sales declined to the point where Ford concluded any continuing investment was no longer viable and in 1975 terminated the agreement with De Tomaso.  After the withdrawal from the US market, De Tomaso maintained production on a smaller scale, the majority sold in Europe and it enjoyed a long Indian summer, the final examples not leaving the factory until 1993 by which time the output had slowed to a trickle.  There was also, after 1988, a reversion to the Windsor power-plant because Ford Australia (where Cleveland production moved after 1974), reacting to both the second oil shock in 1979 and changing customer behavior, in 1983 closed V8 production line (they would later realize that had been a mistake and in 1991 began importing US built V8s which would remain available until the Australian operation was closed in 2016).  De Tomaso accordingly sourced first 351s and later 302 Windsors to see out the Pantera's final years after their stockpile of Clevelands was exhausted.

1985 De Tomaso Pantera GTS.

Disappointingly, despite on paper appearing to possess a promising specification, there was never a stellar career in competition although factory support was offered and private teams ran regular campaigns.  Conspiracy theorists have long attributed the paucity of success to the more established players like Ferrari and Porsche having undue influence on the regulatory bodies (such as the habitually dopey Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation)), nudging them always in directions favouring their machines.  It had been done before.  Doubts had always been expressed about the suitability of the Cleveland engine for competition because the lubrication system lack the robustness of the Windsor but there were work-arounds for that and the factory arranged small runs of Panteras which conformed to the FIA's Group 3 and Group 4 racing regulations (some of which owners later converted to Group 5 specifications) but consistent success proved elusive.  De Tomaso however knew his market.  Even if he couldn’t often beat the Porsches and Ferraris on the track, as the years went by the Panteras adopted increasingly wild styling and they certainly looked the part although it'll always be remembered as a car for the boulevard rather than the track, one in 1972 memorably awarded to Playboy's playmate of the year (PotY), finished in the magazine's then traditional pink.

Scoop

Scoop (pronounced skoop)

(1) A ladle or ladle-like utensil, especially a small, deep-sided shovel with a short, horizontal handle, for taking up flour, sugar etc.

(2) A utensil composed of a palm-sized hollow hemisphere attached to a horizontal handle, for dishing out ice cream or other soft foods.

(3) A hemispherical portion of food as dished out by such a utensil.

(4) The bucket of a dredge, steam shovel etc.

(5) In medicine, a spoon-like surgical apparatus for removing substances or foreign objects from the body; a special spinal board used by emergency department staff that divides laterally (ie literally “scooping up” patients).

(6) A hollow or hollowed-out place.

(7) The act of ladling, dipping, dredging etc.

(8) The quantity held in a ladle, dipper, shovel, bucket etc.

(9) In journalism, a news item, report, or story revealed in one paper, magazine, newscast etc before any other outlet; in informal use, news, information, or details, especially as obtained from experience or an immediate source.

(10) A gathering to oneself, indicated usually by a sweeping motions of the hands or arms.

(11) In informal use, a big haul of something.

(12) In television & film production, a single-lens large floodlight shaped like a flour scoop and fitted with a reflector.

(13) To win a prize, award, or large amount of money.

(14) In bat & ball sports, to hit the ball on its underside so that it rises into the air.

(15) In hydrological management, a part of a drain used to direct flow.

(16) In air-induction management (to the engines in cars, boats, aircraft etc), a device which captures external the air-flow and directs it for purposes of cooling or combustion.

(17) In Scots English, the peak of a cap.

(18) In pinball, a hole on the playfield that catches a ball, but eventually returns it to play in one way or another.

(19) In surfboard design, the raised end of a board.

(20) In music (often as “scoop up”), to begin a vocal note slightly below the target pitch and then to slide up to the target pitch, prevalent particularly in country & western music.

1300–1350: From the Middle English scope & schoupe, from the Middle Dutch scoep, scuep, schope & schoepe (bucket for bailing water) and the Middle Dutch schoppe, scoppe & schuppe (a scoop, shovel (the modern Dutch being schop (spade)), from the Proto-Germanic skuppǭ & skuppijǭ, from the primitive Indo-European kep & skep- (to cut, to scrape, to hack).  It was cognate with the Old Frisian skuppe (shovel), the Middle Low German schōpe (scoop, shovel), the German Low German Schüppe & Schüpp (shovel), the German Schüppe & Schippe (shovel, spade) and related to the Dutch schoep (vessel for baling).  The mid-fourteenth century Middle English verb scōpen (to bail out, draw out with a scoop) was from the noun and was from the Middle Low German schüppen (to draw water), from the Middle Dutch schoppen, from the Proto-Germanic skuppon (source also of the Old Saxon skeppian, the Dutch scheppen, the Old High German scaphan and the German schöpfen (to scoop, ladle out), from the primitive Indo-European root skeubh- (source also of the Old English sceofl (shovel) and the Old Saxon skufla.

Sherman L Kelly's (1869–1952) ice-cream scoop (the dipper; 1935) was a masterpiece of modern industrial design and thought sufficiently aesthetically pleasing to be a permanent exhibit in New York's Museum of Modern Art (MoMA).  Its most clever feature was the fluid encased in the handle; being made from cast aluminum, the heat from the user's hands was transferred to the cup, obviating the need for the moving parts sometimes used to separate the ice-cream for dishing out.  The dipper is like the pencil, one of those designs which really can't be improved.  In the industry, the technical term for the small but annoyingly intrusive globule of ice cream which appears at the base of a scoop is “skirt”.  Some manufacturers of ice cream scoops (the advertising folk also like “scooper”) promote their product's ability to avoid “over-serving & wasteful skirt”.

The meaning “hand-shovel with a short handle and a deep, hollow receptacle” dates from the late fifteenth century while the extended sense of “an instrument for gouging out a piece” emerged by 1706 while the colloquial use to mean “a big haul” was from 1893.  The journalistic sense of “the securing and publication of exclusive information in advance of a rival” was an invention of US English, first used in 1874 in the newspaper business, echoing the earlier commercial verbal slang which imparted the sense of “appropriate so as to exclude competitors”, the use recorded in 1850 but thought to be considerably older.  The meaning "remove soft or loose material with a concave instrument" dates from the early seventeenth century while sense of “action of scooping” was from 1742; that of “amount in a scoop” being from 1832.  The noun scooper (one who scoops) was first used in the 1660s and the word was adopted early in the nineteenth century to describe “a tool for scooping, especially one used by wood-engravers”, the form the agent noun from the verb scoop.  Scoop is a noun & verb, scooper & scoopful are nouns and scooped & scooping are verbs; the noun plural is scoops.

XPLR//Create’s fluid dynamics tests comparing the relative efficiency of ducts (left) & scoops (right).

In air-induction management (to the engines in cars, boats, aircraft etc), a scoop is a device which captures external the air-flow and directs it for purposes of cooling or combustion.  An air scoop differs from an air duct in that a scoop stands proud of a structure's surface allowing air to be "rammed" into its ducting while a duct is an aperture integrated into the structure, "sucking" air in from the low pressure zone created by its geometry.  For a given size of aperture, a scoop can achieve an airflow up to twice that of a duct but that doesn't of necessity mean as scoop is always preferable, the choice depending on the application.  In situations where optimal aerodynamic efficiency is desired, a duct may be chosen because scoops can increase frontal area and almost always, regardless of placement, leave a wake of turbulent air, further increasing drag.  It's thus one of those trade-offs with which engineers are familiar: If a scoop is used then sufficient air is available for purposes of cooling & combustion but at the cost of aerodynamic efficiency while if a duct is fitted, drag is reduced but the internal air-flow might be inadequate.

NACA Ducts: 1969 Ford Shelby Mustang GT500 (left), 1971 Ford Mustang Mach 1 351 (centre) & 1972 Ford Falcon GTHO Phase IV (Right).

When Ford introduced NACA ducts on the 1971 Mustangs (subsequently adopted by Ford Australia in 1973 for the XB Falcon), whether in error or to take advantage of the public’s greater “brand-awareness” of the National Aeronautics & Space Administration (NASA), they were promoted as “NASA ducts”.  In fairness, the two institutions were related, NASA created in 1958 after the National Advisory Committee for Aeronautics (NACA) was dissolved, the process essentially a name change although much had changed since the NACA’s formation in 1915, the annual budget then US$5000 and the dozen committee members unpaid.  The NACA duct was one of many innovations the institution provided to commercial and military aviation and in the post-war years race cars began to appear with them, positioned variously to channel air to radiators, brakes and fuel induction systems as required.

Scoops: 1969 Ford Mustang Boss 429 (left), 1969 Ford Mustang Mach 1 428 CobraJet (with shaker scoop) (centre) & 1974 Pontiac Trans Am 455 SD (with rearward-facing scoop) (right).

From those pragmatic purposes, the ducts migrated to road cars where often they were hardly a necessity and, in some cases, merely decorative, no plumbing sitting behind what was actually a fake aperture.  Scoops appeared too, some appearing extravagantly large but there were applications where the volume of air required was so high that a NACA duct which would provide for the flow simply couldn’t be fashioned.  That said, on road cars, there were always suspicions that some scoops might be fashionably rather than functionally large, the lines drawn in the styling and not the engineering office.  There was innovation in scoops too, some rearward facing to take advantage of the inherently cool, low pressure air which accumulated in the cowl area at the base of the windscreen although the best remembered scoops are probably the “shakers”, assemblies protruding through a hole in the hood (bonnet) and attached directly to the air-cleaner which sat atop the carburetor, an arrangement which shook as the engine vibrated.  By such things, men are much amused.

The inaugural meeting of the National Advisory Committee for Aeronautics (NACA), 23 April 1915.

A New York Post scoop, 29 June 2007.  This was the Murdoch press's biggest scoop since the publication in 1983 of the "Hitler Diaries".  The "diaries" turned out to be forgeries; the picture of Lindsay Lohan resting in a Cadillac was genuine.

Japanese gold-lined sugar scuttle & sugar scoop with laurel leaf detailing (circa 1970s, left) and William IV Sterling Silver Sugar Bowl, John Fry II, London, England, 1832 (right).  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.

upper speed ranges.

Jaguar E-Type: S1 with covered headlight light (left), S1.25 with early "sugar scoop" (centre) and S2 with later "sugar scoop" (right). 

After the Jaguar E-type's (1961-1974; sometimes known in the US as XK-E or XKE) lovely headlight covers were legislated to extinction, the replacement uncovered apparatus came to be called “sugar scoops”, a term earlier used for the Volkswagens & Porsche sold in North America US market which had to be fitted with sealed-beam headlights because of protectionist rules designed for the benefit of US manufacturers.  The use of “sugar scoop” for the E-Type was appropriate because the visual link with the original utensil was much more obvious than on the Volkswagens & Porsches.

A US market 1977 Porsche 911 (1964-1989), fitted with the front bumper assembly of a later 911 (964 (1989-1994)):  The original “sugar scoops” are seen on the left and the replacement Hella H4 lights are to the right (in RoW cars both H2 & H4 units were fitted).

Objectum

Objectum (pronounced ob-jikt-tum or ob-jekt-tum)

(1) In the categorization of human sexuality (also as object sexuality or objectophilia), a form of interest focused on one or a number of particular inanimate objects.  It must not be confused with sexual objectification.

(2) In philosophy, a now mostly obsolete descriptor of that towards which cognition is directed, as contrasted with the thinking subject; anything regarded as external to the mind, especially in the external world.

Pre 1000:  From the Medieval Latin objectum (something thrown down or presented (to the mind)), noun use of the neuter of objectus (past participle of objicere) from obicere, the construct being ob- (against; facing (a combining prefix found in verbs of Latin origin)) + jec- (combining form of jacere (to throw)) + -tus (past participle suffix) and a gloss of the Ancient Greek ἀντικείμενον (antikeímenon).  From this Middle English gained objecten (to argue against), from the Middle French objecter & objeter from the Latin objectāre (to throw or put before, oppose) and later (circa 1325-1375), the more familiar object (something perceived, purpose, objection).  The sense of object describing a “tangible and visible thing” emerged in the late fourteenth century from the Old French object and directly from Medieval Latin obiectum (thing put before (the mind or sight)).  Objectum is a noun & adjective and objectism is a noun; the noun plural is objectums. 

The O in LGBTQQIAAOP

Objectum Sexuality (OS) and objectum romanticism (OR), both often clipped to "objectum", is the attraction to inanimate objects, a feeling which can be sexual, romantic or both and can be a form of tertiary attraction.  The objects to which an objectum individual is attracted are often called "beloved objects" and not infrequently have names and personalities given to them by their objectum lover.  Beloved objects have included buildings, light fittings, bridges, cars, statues, fences, water, musical instruments, articles of clothing, and amusement park rides although objects do not have to be tangible and can include logos or letters, thus the linking by some psychiatrists to synesthesia.  Some objectum people are poly-amorous, dedicated to many objects, some are devoted to a single thing and both may either be also attracted to people or drawn exclusively to objects.  Objectum sexuality is different from a sexual paraphilia as a paraphilia does not imply a devoted personal relationship, feeling mutual and reciprocal attraction, and usually does not include animistic beliefs.  Academic work has developed a spectrum defining the differences between object fetishism and objectum orientation, the most interesting interactions presumably at the margins.

The modern, somewhat opportunistic, adoption of objectum by the OS/OR community wasn’t widely embraced by the medical profession which preferred first objectophilia and later, object sexuality although, in American psychiatry, prior to the publication of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM), objectophilia was regarded as just another example of "psychopathic personality with pathologic sexuality".  The DSM-I (1952) included sexual deviation as a personality disorder of a sociopathic subtype although objectophilia attracted little professional interest, probably, and quite reasonably, because the “victims” were inanimate.  The DSM-II (1968) and subsequent DSM editions, up to DSM-IV-TR (2000) continued this neglect of the topic, DSM-IV-TR noting a paraphilia is not diagnosable as a psychiatric disorder unless it causes distress to the individual or harm to others.  The DSM-5 (2013) formalised this approach, both the definitional and clinical distinctions now focused on harm to individuals rather than deviations from defined norms.

Some objects are so beautiful, people fall in love.  Ferruccio Lamborghini (1916-1993) looking at the Lamborghini Miura, Sant’Agata, Italy, 1966.

The Lamborghini Miura (1966-1973) first appeared (without the bodywork) at the 1965 Turin Motor Show when a rolling chassis was displayed, the packaging intriguing knowing onlookers, the mid-mounted transverse V12 engine the highlight of what was clearly a revolutionary design though even at the time, engineers speculated about how layout would affect its driving characteristics.  The interest at Turin however was nothing like the reaction the following year when the Miura was displayed at the Geneva Motor Show.  It had been at Geneva half-a-decade earlier when the Jaguar E-Type (XK-E) had created such a sensation but while the E-Type was the final stylistic evolution of the 1930s-1950s roadster, the Miura was a glimpse of the future, the influence of its lines seen still in the hypercars of the twenty first century.  Built in three distinct versions, the factory introduced changes designed to ameliorate some of the characteristics induced by the physics of unusual layout and while the behavior (laterally and at the very high speed of which it was capable) was to some extent tamed, a Miura at the limits was never a thing predictable in the manner of contemporary Ferraris.  None of that now much matters because the Miura is achingly beautiful and were it not contrary to the laws of man and God, there would be those who would marry one.

In the spirit of the rainbow banner which began as the symbol of the gay liberation movement (though it's now used generally by a number of the sub-sets in the LGBTQQIAAOP aggregation), the objectum community has its own flag.  Blue represents physical objects, whether man-made or nature based; gray references abstract or non-tangible inanimate objects; yellow is eye catching and bright, representing public objects; purple is muted and calming, representing personal objects; white represents the animistic belief held by many of the OS & OR; the red circle represents the objectum community and is filled in with the flag’s core color of white to represent the spirit the objectum sense in their beloved objects.

A tactile relationship: Mr & Mrs Eiffel.

Erika Eiffel (née LaBrie) was probably the woman who brought objectum sexuality to a wider (if not wholly receptive) audience when in 2008 the documentary Married to the Eiffel Tower appeared online.  It "celebrated" a long-term relationship which dated back a decade although Mrs Eiffel changed her surname only in 2007 after a commitment ceremony and she heads Objectum Sexuality Internationale (OSI), a 400-strong association of object-oriented individuals.  The documentary might have been interesting had it not focused on the least interesting aspects of OS & OR: The sexual nature of the relationships and the notion that the inclination is a quest for control attributable to prior abuse and mental illness.

Just good friends: Lindsay Lohan in polka dots with la tour Eiffel, Paris Fashion Week, 2019.

Being click-bait, that was of course as inevitable as the ferocity of the reaction but whatever the feelings of YouTube viewers, the profession has moved on and for some time has not diagnosed objectum sexuality as a psychiatric disorder and both the definitional and clinical distinctions now focus on harm to individuals rather than deviations from defined norms.  The basis for the change in view appears to be that OS & OR should be thought of as just another fork of the human condition, the logical (if not commonly pursued) conclusion for those (like Henry Ford (1863-1947) and others) happy to admit they are at their most content when alone with a machine.  That was certainly Mrs Eiffel’s profile.  A world-class recurve archer, while never attracted to romantic associations with people in her lifetime there have been many significant relationships with inanimate objects including a Japanese sword, her archery bows, a bridge, machinery she’s operated and of course, la tour Eiffel.

Golconda

Golconda (pronounced gol-kon-duh)

(1) A ruined fortress city in Telangana in West Andhra Pradesh near Hyderabad city, India, capital of one of the five Muslim kingdoms of the Deccan (1512-1687) which was then annexed to the Mogul empire; it was once famed as a centre of diamond cutting.

(2) A rich mine or other source of great wealth (usually without initial capital).

(3) An ostentatious display of jewelry (usually without initial capital).

(4) As Golconda diamond, either a diamond with an origin in the Golconda region or (informally), a diamond of the highest quality (graded Type IIa, of pure carbon and devoid of nitrogen, large and of the highest clarity.

Pre 1200: The Urdu گولکنڈہ‎ (Golkaṇḍa), an Urduization of the the Telugu గొల్లకొండ (gollakoṇḍa (literally “shepherd’s hill)), the construct being గొల్ల (golla) (of or pertaining to shepherds) + కొండ (koṇḍa) (hill); it was Romanized as Gullakōnḍa.  The first Golconda fort was erected during the eleventh century, and, modest by later standards, was originally a small mud-brick structure built as a military outpost of the Kakatiya Empire.  On the basis of archaeological excavations, it’s believed the Kakatiya ruler Ganapatideva (1199–1262) re-constructed the fort in stone and on a larger scale although it’s not clear when the name “Golconda fort” came into use, the earliest known written records dating from the mid-1400s.  In the early sixteenth century, the fort was transformed into a fortified citadel by Sultan Quli Qutb-ul-Mulk (1485–1543), founder of the Qutb Shahi dynasty, which ruled the Sultanate of Golconda between 1518-1687 with Golconda its capital city.  Golconda has been borrowed as a locality name in the US (Illinois New York & Nevada), Trinidad and Tobago and Australia (Tasmania).  Golconda is a noun, proper noun, golcondic is an adjective; the noun plural is plural golcondas.

Before the nineteenth century, India’s mines were the world’s only known source of diamonds and those found in the Golconda region remain among the finest known.  Because of geographic convenience and the existence of the fortified citadel as a secure facility, Golconda was for more than a century the world’s preeminent centre for diamond cutting and polishing.  It was these associations which led to the word Golconda becoming (1) a descriptor of the finest diamonds, (2) a metonym for a rich mine or other lucrative venture and (3) an ostentatious display of jewelry (as both noun “a golconda of ropes and gems”) and adjective (“a golcondic array”)).

A golcondic display: Mary, Crown Princess of Denmark (b 1972) wearing the Danish parure including the Ruby Tiara.

The grand ruby and diamond wreath tiara from the Danish ruby parure is an illustrious piece with a notable provenance.  Worn by generation of women from the Swedish and Danish royal houses, it was constructed from hair ornaments worn at Napoleon Bonaparte’s (1769–1821; leader of the French Republic 1799-1804 & Emperor of the French from 1804-1814 & 1815) imperial coronation, a grand event befitting the status of an emperor who saw himself as Charlemagne’s successor albeit one who would preside over something more dynamic than the recently dissolved Holy Roman Empire.  Attuned to the importance of spectacle, Napoleon actually provided funds for his marshals to purchase jewels for their wives so his coronation procession at Notre-Dame would glitter.  That wasn’t an inexpensive matter because in the euphoria of victory, Napoleon had created a remarkable (though politically shrewd) eighteen, topping even the dozen batons a similarly intoxicated Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945) would hand out in 1940.

One of the wives ended up with a suite which included a necklace, girandole earrings, a large corsage brooch and two hair ornaments in the shape of branches, with pavé-set diamond leaves & ruby berries.  In the way the royal families of Europe operated, jewels often accompanied daughters and nieces as they were passed from palace to palace, country to country as marriage arrangement demanded and the coronation suite moved for some time to Sweden before, in 1869 arriving in Denmark where they’ve since remained, their destination chosen because the ruby set is red & white, the colors of the Danish flag.  In 1898 the ornaments were connected to become a kind of bandeau which, in 1935, was re-modelled into a full wreath tiara which, in an unusual disposition, Ingrid of Sweden (1910–2000; Queen of Denmark 1947-1972) didn't include in the many jewels she left to her three daughters but bequeathed instead to her grandson, Crown Prince Frederik of Denmark (b 1968).  The ruby parure was thus earmarked for his spouse although at law, the arrangement had the historically unusual effect of meaning the title to a tiara passed to a man rather than a woman.

Golconda (1953), oil on canvas by René Magritte (1898–1967), The Menil Collection, Houston, Texas.

Depicting a vision of almost identically dressed figures against a background of ordinary Belgium suburban architecture, the men in bowler hats and dark overcoats may be falling like rain drops, floating upwards or suspended in mid-air, indeed, some may be in one state and others in another, the painter giving no hint, movement neither implied nor denied.  The bowler hat was a favourite motif of Magritte and is best known from his later The Son of Man (1964) and although his work is most associated with the traditions of impressionism and surrealism, Magritte was of bourgeois origin and often wore a bowler hat, critics making of that and its relationship to his art what they chose.  The title Golconda was suggested by Magritte’s friend, the poet Louis Scutenaire (1905-1987) and it’s been the subject of much interpretation, commentators variously finding themes of alienation, individualism, repression and economic exploitation.

Especial

Especial (pronounced ih-spesh-uhl)

(1) Special; exceptional; outstanding.

(2) Of a particular kind, or peculiar to a particular one; particular.

1350-1375: From the Middle English especial, from the Old and Middle French especial (pre-eminent, important) from the Latin speciālis (pertaining to a particular kind or species) from species (appearance, form, beauty), from specere (to look).  In French, the forms differed: Latin words with initial sp-, st- and sc- usually acquired an e- when borrowed by Old French whereas Modern French has restored the word to spécial.  The adverb especially emerged in the late fourteenth century, shortly after the adjective.  Especial is an adjective and (in commerce with an initial capital) a proper noun, the rare especialness is a noun and especially is an adverb; the proper noun plural is Especials.

Meanings of special and especial are essentially the same yet usage differs.  Special is common, especial rare, specially is rare, especially common.  Most dictionaries however maintain especial and especially should have a more limited use than special and specially.  Special is always used in preference to especial when the sense is one of being out of the ordinary.  Special is also used when something is referred to as being for a particular purpose.  Where an idea of pre-eminence or individuality is involved, either especial or special may be used,  In informal English however, special is usually preferred in all contexts but especially tends to prevail, probably because it’s a sound which more easily rolls of the tongue.  Special is by far more common than especial; the Corpus of Contemporary American English (COCA) claims special is used some six-hundred times for every time especial is used.  It’s more economical too for unlike especial, special does not demand to be followed by a noun.  However, all of this applies to English and in Spanish the adjective especial is common.  To purists, use of especial should be rare and use confined to particular contexts where it collocates with particular nouns and especially where it avoids conflicts with other specific meanings: An especial interest or an especial value meaning something different than a special interest or special value.  In A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) observed the characteristic sense of especial & especially was "pre-eminence of the particular as opposed to the ordinary" whereas special & specially were used to convey the idea of the "particular as opposed to the general".  However, he proceeded to acknowledge modern practice which tended to use such special for all such purposes, leaving it for the recipient to pick up the meaning from the context, something he seemed to concede was "possible" if not "preferable" and he noted the continuing popularity of especially, lamenting only that it appeared to encourage tautology, constructions like "more especially" condemned.      

Special relativity: Being especially special

Holden, the General Motors (GM) Australian subsidiary, for over a decade had it pretty easy, enjoying a fifty-percent market share despite by the early 1960s its products being, whatever their other virtues, outdated and underpowered.  GM would later respond but in the short-term, resorted to a bit of tarting-up.  Holden had for ten years used the Special designation for their up-market offering but in 1962 added a new top of the range model called the Premier, meaning the Special was no longer so special.  Despite this, the name endured another six years before becoming the Kingswood which was no more special, the new name meaning nothing in particular.  Confusing things still further, for most of the years it existed, the Special was actually the best-selling Holden, the other models, the Standard and the shorter-lived Business, enjoyed lower sales so in that sense, the Special was the standard model rather than the Standard.

So, by 1968, GM had in Australia ceased to call anything Special though much of their advertising continued to suggest everything they sold was special in some way.  In the US, GM's use of the Special badge started sooner and lasted longer, Buick using it first in 1936, curiously for their lowest-priced model, a placement similar to that seen sometimes in education where it was applied to classes or schools for those with learning difficulties (although that use has ceased, falling foul of the linguistic treadmill).  Buick of course no more wanted their customers to make a connection with "special education" any more than with Albert Einstein's (1879-1955) theory of special relativity which explains how space and time are linked for objects moving at a consistent speed in a straight line.  Buick's interest in relativity was probably limited to that between the models in its line-up and Special really meant nothing other than being a word thought to have generally positive associations.  Additionally, Buick buyers didn’t like change then any more than now.

The 1969 Buick GS Sport Wagon was much more special than that year’s rather mundane Special Deluxe.  Like the similar model from Oldsmobile, the Sport Wagon was notable for the roof-mounted skylights.

After a brief hiatus, the Buick Special returned in 1938, its run in cars of various sizes almost uninterrupted until 1970.  In 1968 however, Buick must have had a moment of doubt that the Special may no longer be special enough and the range was renamed Special Deluxe, a change that lasted but two years.  In the 1970s and 1990s, there would be two half-decade long revivals but in 1996, the Special finally went extinct, not even Buick's entry into the Chinese market enough to encourage a revival.

1966 Ferrari 365 P Berlinetta Speciale.  Probably everything sounds better in Italian than English.  To the ears of English-speakers, a reading in Italian from a lawn-mower repair-manual sounds like the words of a lyric poet.

The Ferrari 365 P Berlinetta Speciale was a design by Pininfarina shown in 1966 and was both a test bed for a racing project and an exploration of the possibility of a mid-engined V12 road car, the styling taking cues from the designer’s smaller Dino 206 Berlinetta Speciale, built in 1965.  Reflecting the origin of its race-car chassis, the 365 Speciale was configured with three-abreast seating and a central driving position, a layout seat McLaren would later adopt for their F1 (1992-1998).  In a nod to the seating, the car is sometimes referred to as the 365 Berlinetta Tre-posti (three seater).  Ferrari still use speciale as a name.

1965 Dino 206 Berlinetta Speciale.

The Dino Speciale would influence the later Dino 206 & 246 road cars, produced by Ferrari between 1967-1974.  The relationship with the 365 is obvious but, being scaled up to accommodate the big V12, the lines aren’t as harmonious as the dainty V6 Dino, reflecting the difficulties stylists had applying the layout when using bulky engines.  Still, the 365 P Speciale provided the factory with valuable experience in the then novel concept and traces of the shape are evident in what did in 1971 emerge as the 365 GT/4 Berlinetta Boxer, the prototype which would become Ferrari’s first mid-engined twelve-cylinder car to reach production.  The Boxer's svelte shape was however made possible by flattening the vee to 180^o, something which proved a more satisfactory solution to the problem than the transverse location of the 60^o V12 Lamborghini used in 1966 for the Miura.  Achingly beautiful though the Miura was, its behaviour at speed could be tricky, exactly the reason Ferrari chose not to make the Stradale.       

1965 Ferrari 250 LM Stradale.

The 365 Speciale was actually the second mid-engined V12 road car Ferrari built; in 1965, the 250 LM Stradale (road) had been displayed at the Geneva Motor Show.  Based on the Le Mans winning 250 LM, it was a prototype for what was planned to be a small batch of road cars but Enzo Ferrari (1898-1988), then anyway dubious about the very idea of mid-engined V12s with all-independent suspension falling into the hands of amateurs, vetoed the project, the Stradale still just too much a racing car to let the unskilled rich unleash one on the streets.

Mean Girls Special Collector's Edition (2004) on DVD, Paramount Pictures (part number D341604D).

There’s no defined standard for what is included in “special” editions of commercially released films but unlike “director’s cut” versions which to some extent change the actual content of the original releases (cinema, optical, TV or streaming), “special editions” tend to be the original plus a bundle of “extras”.  Assembled usually as “featurettes”, typically, the additional content will consist of interviews with the cast, director or writers, out-takes, bloopers, deleted scenes, advertising and other promotional material and sometimes commentaries from critics or commentators with expertise in some issue of interest.  For nerds, there’s sometimes even content about technical aspects of production, an addition most often seen with product made with much use of special effects but discussions about matters such as fashion or history might also appear.

The Mean Girls Special Collector's Edition included (1) discussions about casting, (2) an interview with Rosalind Wiseman (b 1969), author of Queen Bees and Wannabes (2002) on which the Mean Girls screenplay was based, (3) commentary by the writers and producers, (4) “Word Vomit” (the Blooper Reel), (5) deleted scenes with commentary, (6) “Plastic Fashion” (a discussion about costume design and the use of clothing as a metaphor for character development), (7) interstitials (advertising material created with original material not used in the final cut) and (8) promotional trailers for other Paramount films.