Grand

Grand (pronounced grand)

(1) Impressive in size, appearance, or general effect.

(2) Stately, majestic, or dignified.

(3) Highly ambitious or idealistic.

(4) Magnificent or splendid.

(5) Noble or revered.

(6) Highest, or very high, in rank or official dignity.

(7) Main or principal; chief; the most superior.

(8) Of great importance, distinction, or pretension.

(9) Complete or comprehensive (usually as the “grand total”).

(10) Pretending to grandeur, as a result of minor success, good fortune, etc; conceited & haughty (often with a modifier such as “rather grand”, awfully grand” or “insufferably grand”).

(11) First-rate; very good; splendid.

(12) In musical composition, written on a large scale or for a large ensemble (grand fugue, grand opera etc) and technically meaning originally “containing all the parts proper to a given form of composition”.

(13) In music, the slang for the concert grand piano (sometimes as “concert grand”).

(14) In informal use, an amount equal to a thousand pounds or dollars.

(15) In genealogy, a combining (prefix) form used to denote “one generation more remote” (grandfather, grand uncle etc).

1350–1400: From the Middle English graund, grond, grand, graunt & grant, from the Anglo-Norman graunt, from the Old French grant & grand (large, tall; grown-up; great, powerful, important; strict, severe; extensive; numerous), from the Latin grandis (big, great; full, abundant; full-grown (and figuratively “strong, powerful, weighty, severe”, of unknown origin.  Words conveying a similar sense (depending on context includes ambitious, awe-inspiring, dignified, glorious, grandiose, imposing, large, lofty, luxurious, magnificent, marvelous, monumental, noble, princely, regal, royal, exalted, palatial; brilliant, superb opulent, palatial, splendid, stately, sumptuous, main, large, big & august.  Grand is a noun & adjective, grander & grandest are adjectives, grandness is a noun and grandly an adverb; the noun plural is grands.

In Vulgar Latin it supplanted magnus (although the phrase magnum opus (one’s great work) endured) and continued in the Romanic languages.  The connotations of "noble, sublime, lofty, dignified etc” existed in Latin and later were picked up in English where it gained also the special sense of “imposing”.  The meaning “principal, chief, most important” (especially in the hierarchy of titles) dates from the 1560s while the idea of “something of very high or noble quality” " is from the early eighteenth century.  As a general term of admiration (in the sense of “magnificent or splendid” it’s documented since 1816 but as a modifier to imply perhaps that but definitely size, it had been in use for centuries: The Grand Jury was an invention of the late fifteenth century, the grand tour was understood as “an expedition around the important places in continental Europe undertaken as part of the education of aristocratic young Englishmen) as early as the 1660s and the grand piano was name in 1797.  In technical use it was adapted for use in medicine as the grand mal (convulsive epilepsy with loss of consciousness), borrowed by English medicine from the French grand mal (literally “great sickness”) as a point of clinical distinction from the petit mal (literally “small sickness”) (an epileptic event where consciousness was not lost).

The use of the prefix grand- in genealogical compounds is a special case.  The original meaning was “a generation older than” and the earliest known reference is from the early thirteenth century in the Anglo-French graund dame (grandmother) & (later) grandsire (grandfather), etymologists considering the latter possibly modeled on the avunculus magnus (great uncle).  The English grandmother & grandfather formally entered the language in the fifteenth century and the extension of the concept from “a generation older than” to “a generation younger than” was adopted in the Elizabethan era (1558-1603) thus grandson, granddaughter et al.  Grand as a modifier clearly had appeal because in the US, the “Big Canyon” was in 1869 re-named the Grand Canyon and the meaning "a thousand dollars" dates from 1915 and was originally US underworld slang.  In the modern era grand has been appended whenever there’s a need economically to convey the idea of a “bigger or more significant” version of something thus such constructions as grand prix, grand slam, grand larceny, grand theft auto, grand unification theory, grand master (a favorite both of chess players and the Freemasons) etc.

The Grand Jury

Donald Trump in Manhattan Criminal Court, April 2022.

The Manhattan grand jury which recently indicted Donald Trump (b 1946; US president 2017-2021) on 34 felony counts of falsification of business records in the first degree is an example of an institution with origins in twelfth century England although it didn’t generally become known as the “grand jury” until the mid-1400s.  At least some of the charges against Mr Trump relate to the accounting associated with “hush-money” payment made in some way to Stormy Daniels (b 1979; the stage name of Stephanie Gregory although Mr Trump prefers “horseface” which seems both ungracious and unfair) but if reports are accurate, he’ll have to face more grand juries to answer more serious matters.

A grand jury is a group of citizens (usually between 16-23) who review evidence presented by a prosecutor to determine whether the case made seems sufficiently compelling to bring criminal charges.  A grand jury operates in secret and its proceedings are not open to the public, unlike a trial before a jury (a smaller assembly and classically a dozen although the numbers now vary and once it was sometimes called a petit jury).  It is this smaller jury which ultimately will pronounce whether a defendant is guilty or not; all a grand jury does is determine whether a matter proceeds to trial in which case it will issue an indictment, which at law is a formal accusation.  The origins of the grand jury in medieval England, where it was used as a means of investigating and accusing individuals of crimes was to prevent abuses of power by the king and his appointed officers of state although it was very much designed to protect the gentry and aristocracy from the king rather than any attempt to extend legal rights to most of the population.

The grand jury has been retained in the legal systems of only two countries: the US and Liberia.  Many jurisdictions now use a single judge or magistrate in a lower court to conduct a preliminary hearing but the principle is the same: what has to be decided is whether, on the basis of the evidence presented, there’s a reasonable prospect a properly instructed (petit) jury would convict.  In the US, the grand jury has survived because the institution was enshrined in the Fifth Amendment to the Constitution: “No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger.”  The grand jury was thought a vital protection against arbitrary prosecutions by the government, and it was included in the Bill of Rights (1689) to ensure individuals would not be subject to unjustified criminal charges.  There is an argument that, by virtue of England’s wondrously flexible unwritten constitution, the grand jury hasn't been abolished but they're merely no longer summoned.  It's an interesting theory but few support the notion, the Criminal Justice Act (2003) explicitly transferring the functions to the Crown Prosecution Service (CPS) and the model of the office of Director of Public Prosecutions (DPP) has been emulated elsewhere in the English-speaking world.  Presumably, a resuscitation would require the DPP to convene a grand jury and (if challenged on grounds of validity) the would courts have to concur but as late as 1955 an English court was prepared to hold a court which had not sat for centuries was still extant so the arguments would be interesting.

The “Grand Mercedes”: The Grosser tradition

Der Grossers: 1935 Mercedes-Benz 770 K (W07) of Emperor Shōwa (Hirohita, 1901–1989, emperor of Japan 1926-1989 (left)), Duce & Führer in 1939 Mercedes-Benz 770 K (W150) leading a phalanx of Grossers, Munich, 1940 (centre) and Comrade Marshal Josip Broz Tito (1892–1980) in 1966 Mercedes-Benz 600 Landaulet (W100), Belgrade, 1967 (right).

Produced in three series (770 K (W07 1930–1938 & W150 1939-1945) & 600 (W100 1963-1981)) the usual translation in English of “Grosser Mercedes” is “Grand Mercedes” and that is close to the German understanding which is something between “great”, “big” and “top-of-the-line”.  In German & Austrian navies (off & one) between 1901-1945, a Großadmiral was the equivalent to the (five star) Admiral of the Fleet (UK) or Fleet Admiral (US); it was disestablished in 1945.  When the 600 (driven to extinction by two oil crises and an array of regulations never envisaged when it was designed) reached the end of the line in 1981, it wasn’t replaced and the factory didn’t return to the idea until a prototype was displayed at the 1997 Tokyo Motor Show.  The specification and engineering was intoxicating but the appearance was underwhelming, a feeling reinforced when the production version (2002-2013) emerged not as an imposing Grosser Mercedes but a Maybach, a curious choice which proved the MBAs who came up with the idea should have stuck to washing powder campaigns.  The Maybach, which looked something like a big Hyundai, lingered for a decade before an unlamented death.

Grand, Grand Prix & Grand Luxe

1967 Jaguar 420 G (left), 1969 Pontiac Grand Prix J (centre) and 1982 Ford XE Falcon GL 5.8 (351) of the NSW (New South Wales) Highway Patrol (right).

Car manufacturers were attracted to the word because of the connotations (bigger, better, more expensive etc).  When in 1966 Jaguar updated their slow-selling Mark X, it was integrated into what proved a short-lived naming convention, based on the engine displacement.  Under the system, with a capacity of 4.2 litres (258 cubic inch) the thing had to be called 420 but there was a smaller saloon in the range so-named so the bigger Mark X was renamed 420 G.  Interestingly, when the 420 G was released, any journalist who asked was told “G” stood for “Grand” which is why that appeared in the early reports although the factory seems never officially to have used the word, the text in the brochures reading either 420 G or 420 “G”.  The renaming did little to encourage sales although the 420 G lingered on the catalogue until 1970 by which time production had dwindled to a trickle.  The tale of the Mark X & 420 G is emblematic of the missed opportunities and mismanagement which would afflict the British industry during the 1970s & 1980s.  In 1961, the advanced specification of the Mark X (independent rear suspension, four-wheel disk brakes) made it an outstanding platform and had Jaguar fitted an enlarged version of the Superb V8 they had gained with their purchase of Daimler, it would have been an ideal niche competitor in mid-upper reaches of the lucrative US market.  Except for the engine, it needed little change except the development of a good air-conditioning system, then already perfected by Detroit.  Although the Daimler V8 and Borg-Warner gearbox couldn't have matched the ultimate refinement of what were by then the finest engine-transmission combinations in the world, the English pair certainly had their charms and would have seduced many.    

Pontiac’s memorable 1969 Grand Prix also might have gained ("Grand Prix" most associated with top-level motorsport although it originally was borrowed from Grand Prix de Paris (Big Prize of Paris), a race for thoroughbred horses staged at the Longchamps track) the allure of high performance, something attached to the range upon its introduction as a 1962 model (although by 1967 it had morphed into something grand more in size than dynamic qualities).  The 1969-1970 cars remain the most highly regarded, the relative handful of SJ models built with the 428 cubic inch (7.0 litre) HO (High Output) V8 a collectable, those equipped with the four-speed manual gearbox the most sought-after.  It was downhill from the early 1970s and by the next decade, there was little about the by then dreary Grand Prix which seemed at all grand.

During the interwar years (1919-1939) “deluxe” was a popular borrowing borrowed from the fashion word, found to be a good label to apply to a car with bling added; a concept which proved so profitable it remains practiced to this day.  Deluxe (sometimes as De luxe) was a commercial adaptation of the French de luxe (of luxury), from the Latin luxus (excess), from the primitive Indo-European lewg- (bend, twist) and it begat “Grand Luxe” which was wholly an industry invention.  Deluxe and Grand Luxe eventually fell from favour as model names for blinged-up creations became more inventive but the initializations L, DL & GL were adopted by some, the latter surviving longest by which time it was understood to signify just something better equipped and thus more expensive; it’s doubtful many may a literal connection to “Grand Luxe”.

In the matter of Grand Theft Auto (GTA5): Lindsay Lohan v Take-Two Interactive Software Inc et al, New York Court of Appeals (No 24, pp1-11, 29 March 2018)

In a case which took an unremarkable four years from filing to reach New York’s highest appellate court, Lindsay Lohan’s suit against the makers of video game Grand Theft Auto V was dismissed.  In a unanimous ruling in March 2018, six judges of the New York Court of Appeals rejected her invasion of privacy claim which alleged one of the game’s characters was based on her.  The judges found the "actress/singer" in the game merely resembled a “generic young woman” rather than anyone specific.  Unfortunately the judges seemed unacquainted with the concept of the “basic white girl” which might have made the judgment more of a fun read.

Beware of imitations: The real Lindsay Lohan and the GTA 5 ersatz, a mere "generic young woman".

Concurring with the 2016 ruling of the New York County Supreme Court which, on appeal, also found for the game’s makers, the judges, as a point of law, accepted the claim a computer game’s character "could be construed a portrait", which "could constitute an invasion of an individual’s privacy" but, on the facts of the case, the likeness was "not sufficiently strong".  The “… artistic renderings are an indistinct, satirical representation of the style, look and persona of a modern, beach-going young woman... that is not recognizable as the plaintiff" Judge Eugene Fahey wrote in his ruling.  Ms Lohan’s lawyers did not seek leave to appeal.

Escutcheon

Escutcheon (pronounced ih-skuhch-uhn)

(1) In heraldry, an individual or corporate coat of arms.

(2) In heraldry, a shield or shield-like surface upon which is depicted a coat of arms (a small shield used to charge a larger one).

(3) An ornamental or protective plate around a keyhole, door handle, drawer pull, light switch etc.

(4) In admiralty and other nautical architecture, a panel on the stern of a vessel bearing the registered name and port of registry.

(5) In medicine, the pattern of distribution of hair upon the pubic mound.

(6) In medicine as escutcheonectomy, the surgical removal of tissue from the pubic mound, a treatment for the unfortunate condition of "buried penis".

(7) In veterinary history, a marking upon the back of a cow's udder and the space above it (the perineum), formed by the hair growing upward or outward instead of downward.  It was once (apparently erroneously) used as an index of milking qualities and known informally among dairy farmers as the "milk mirror".

(8) The depression behind the beak of certain bivalves (a class of marine and freshwater mollusks); the ligamental area.

(9) As escutcheon pin, a decorative nail with a round, domed head, usually made of, or plated with, brass or copper, and used for fastening escutcheons, label-card holders, or other decorative surface hardware to wood surfaces.

(10) A decorative and/or protective plate or bezel which fills any gap between a switch, pipe, valve, control knob etc and the surface from which it protrudes.

(11) The insignia around a doorknob's exterior hardware or a door lock's cosmetic plate.

1470-1480: From the Middle English scochon (shield on which a coat of arms is depicted), from the Anglo-Norman (and the Old Northern French) escuchon, from the Old French escusson (half-crown (coin); coat of arms, heraldic escutcheon) (which endures in modern French as écusson), from the from Vulgar Latin scutionem, ultimately from the Latin scūtum (shield), from the primitive Indo-European skoito- (piece of wood, sheath, shield) (and the source also of the Old Irish sciath, the Welsh ysgwyd, the Breton scoed (shield), the Old Prussian staytan (shield) and the Russian ščit (shield), probably a noun derivative of a variant of primitive Indo-European root skei- (to cut, split) on the notion of "board".  The curious use of the term in dairy farming sounds medieval but was not documented until 1867 although it's possible it had long been in oral use.  The alternative spellings escocheon & scutcheon are both long obsolete.  Escutcheon is a noun and escutcheoned is an adjective (and has been used as a (non-standard) verb; the noun plural is escutcheons.

In heraldry, the technical term "an escutcheon of pretense" describes a shield or emblem displayed alongside the shield of a married woman to indicate her husband's family name and coat of arms.  It is also sometimes referred to as an "impalement" because the two coats of arms are "impaled" or joined together side by side.  The purpose of the escutcheon of pretense is to indicate the woman's marital alliance and to ensure her husband's family name and coat of arms are displayed alongside hers.  In cases where the woman has a higher rank or a more prestigious coat of arms than her husband, the escutcheon of pretense may be used to display her own coat of arms in a more prominent position.  Between heraldic systems there are various rules and conventions which dictate the exact design and in some cases there are no precise rules.  The most common designs are (1) the escutcheon may divided vertically down the center-line with the husband's coat of arms to the left and the wife's to the right & (2) the escutcheon being quartered, this affording the advantage of both sets of arms appearing more prominently.  In centuries past, an escutcheon of pretense was also evidence of the assertion of a legal claim to some distinction or an estate, armorial bearings etc to which he was not entitled by strict right of descent, something which often arose in marriages to heiresses.  It was known also as the inescutcheon.

Escutcheons of the Holy See (left) and the Secret Society of the Les Clefs d’Or (right).

The international association of hotel concierges is the Secret Society of the Les Clefs d’Or (The Golden Keys) and the similarities between their escutcheon and that of the Holy See are quite striking.  According to the Roman Catholic Church's Inquisition (the old Holy Office, now officially known as the Dicastery for the Doctrine of the Faith (DDF)), the crossed keys are a symbol of the Papacy's authority and power. The keys represent the "keys of heaven" that were in the New Testament passed from Jesus Christ to Saint Peter.  In Roman Catholic tradition, Peter was appointed by Jesus as the first Pope and given the keys to symbolize his authority to forgive sins and to make decisions binding on behalf of the Church (this the theological basis of what in canon law was codified in the nineteenth century as papal infallibility).  The two keys thus symbolize the pope's two powers: (1) spiritual power (represented by the silver key) and (2) temporal power (represented by the gold key).  The latter power manifested in a most temporal manner during the thousand-odd years (between the eighth & nineteenth centuries) when the authority of the papal absolute theocracy extended to rule and govern the Papal States (which were interpolated into the modern state of Italy upon Italian unification (1859-1870).

Claiming (officially) only temporal dominion, the Secret Society of the Les Clefs d'Or logo depicts both their keys in gold, one said to symbolize the concierge's role in unlocking the doors to the world for their guests, the other their ability to unlock the secrets of their destination and provide insider knowledge and recommendations (restaurant bookings, airport transfers, personal service workers of all types etc).  However, neither the Vatican nor the Les Clefs d’Or have ever denied intelligence-sharing, covert operations, common rituals or other links.

The escutcheon of Lindsay Lohan's family crest.

The Lohan family motto is Hoc majorum virtus (This is the valour of my ancestors) but it wasn't until well into the seventeenth century it because at all common for mottos to appear on coats of arms.  Older coats of arms therefore never originally included a motto and in most jurisdictions they remain still optional (some European registries actually proscribe their use) and technically are separate from the grant, the inclusion the choice of the family or individual concerned.  Coats of arms however are legally registered designs and must conform to certain rules whereas a motto can on a whim be changed.

CONELRAD

CONELRAD (pronounced kon-ill-rad or kon-ill-rid)

The short form of CONtrol of ELectromagnetic RADiation.

Exclusive to the US, CONELRAD was a nationally standardized system of emergency public broadcasting (on the AM (amplitude modulation) medium-wave band at 640 & 1240 KHz) intended to operate in the event of enemy attack during the Cold War.  The original specifications for what emerged as CONELRAD was first discussed in March 1951 at the Informal Government-Industry Technical Conference and later published by the FCC (Federal Communications Commission):

"The primary plan for alerting broadcast stations that is currently being considered by the FCC Study Group is known as the Key Station System.  The arrangement requires certain telephone circuits (private wire or direct line to Toll Board) between the Air Defense Control Centers (ADCC) and specified radio stations to be known as Basic Key Stations & Relay Key Stations”.

The essence of the system was each Basic Key Station upon receiving an alert or warning signal from the ADCC would, upon instruction, broadcast a predetermined message and also relay the message by telephone to all Relay Key Stations assigned to each Basic Key Station.  As a diversified network designed to be able to continue functioning even if various parts were destroyed, it was conceptually similar to a later US military project which would later evolve into the internet.  Intended to be simple, robust and able to reach as wide a possible audience in the shortest possible time, CONELRAD used simple protocols for alerting the public and other "downstream" stations, consisting of a sequence of shutting the station off for five seconds, returning to the air for five seconds, again shutting down for five seconds, and then transmitting a tone for 15 seconds.  Key stations would be alerted directly and all other broadcast stations would monitor a designated station in their area.

In the event of an attack on the US, all domestic television and FM (frequency modulation) radio stations were required instantly to cease broadcasting and upon alert, all most AM stations shut down, those remaining on-air transmitting either on 640 or 1240 kHz.  No transmission would last more than a few minutes and upon one going “off-air” another would take over the frequency on a ”round robin” chain, this to confuse enemy aircraft which might be navigating using Radio Direction Finding (RDF), a technique first widely used in the early days of World War II (1939-1945).  In the US, all radio sets manufactured between 1953-1963 were required to have the two frequencies marked by the triangle-in-circle (CD Mark), the symbol of Civil Defense organizations.

Wiggle

 Wiggle (pronounced wig-uhl)

(1) To move or go with short, quick, irregular movements from side to side.

(2) To cause to wiggle; move quickly and irregularly from side to side.

(3) A wiggling movement or course.

(4) A wiggly line.

(5) In (mostly northern) US cooking, a form of tuna casserole (usually made with tinned peas or carrots and used also to describe describe creamed tuna on toast; known as a bechamel sauce, especially in the New England states.

1175–1225: From the Middle English wiglen; akin to the Old English wegan (to move), wēg (motion) & wicga (insect) and probably related to the Norwegian vigla (to totter), frequentative of vigga (to rock oneself).  The Dutch and Middle Low German was wiggelen, though to be from the Middle Dutch wigelen (to wiggle) and perhaps the Middle Low German wigelen, frequentative of wiegen (to rock) from wiege (cradle).  The most common idiomatic form is “get a wiggle on”, an informal, usually friendly, suggestion to hurry.  Synonyms include twist, squirm, jerk, wag, writhe, jiggle, wave, wriggle, shimmy, zigzag, waggle, twitch & worm and forms are created as required including the intriguing outwiggled & outwiggling.  Wiggle is a noun & verb, wiggler is a noun, wiggly is an adjective and wiggled & wiggling are verbs; the noun plural is wiggles.  

Donald Trump meets the Wiggles.

Formed in Australia in 1991 as a television musical quartet, The Wiggles were noted for their distinctive and brightly colored skivvies (red, yellow, blue and purple).  Although there were personnel changes (which sometimes attracted controversy), during its first two decades, the membership was exclusively male but in 2012, Emma Watkins (b 1989), previously performing anonymously as Dorothy the Dinosaur, became the Yellow Wiggle and the group dynamics changed, such was her popularity with the audience that almost instantly she dominated, the male members now barely noticed except as her performing backdrop.  This had the advantage of rendering the red, blue and purple wiggles essentially commodities and thus easily replaced without adverse audience reaction but did seem to create a dependence on her which some suggested might might threaten the longer-term survival of the brand.  Those concerns will soon be tested by a raft of changes in the wake of the Yellow Wiggle's announcement in October 2021 she was passing on the skivvy, retiring from the group to pursue a Ph.D in sign language and dance.  For students of branding and marketing that would have been interesting enough but it coincided with the Wiggles deciding to revamp the line-up to encompass a more ethnically diverse range of performers, presumably to entice interest from the parents of more ethnically diverse families, the theory being they too have disposable income to spend on concerts and merchandize.  For all sorts of reasons, the outcome will be interesting.

In the jargon of fashion, a “wiggle dress” is a garment with a hem is narrower than the hips, the cut inducing the wearer to walk in short strides with the legs close together, the sway producing a wiggle of the hips.  A “wiggle” is subtly different from a “wobble” as Lindsay Lohan illustrates.

Duet

Duet (pronounced doo-et or dyoo-et (non-U))

(1) In music, a composition for two voices or instruments.

(2) An action or activity performed by a pair of closely connected individuals.

(3) A pair or couple, especially one that is harmonious or elegant.

1730–1740: From the Italian duet (a short musical composition for two voices), from duo (two) and a diminutive of the earlier duett & duetto, the construct being du(o) (duet) + -etto (from the Late Latin -ittum, accusative singular of –ittus, an alternative suffix used to form melioratives, diminutives, and hypocoristics).  The ultimate source was the Proto-Italic duō, from the primitive Indo-European dwóh.  The French adopted duet before the English in 1740 although the noun may have been used in English from circa 1724; as a verb (to perform a duet), use was first noted in 1822.  The technical form duettino (short, unpretentious duet) emerged by 1839.  Duet is a noun & verb, duetting & duetted are verbs and duettist is a noun; the noun plural is duets.

Madam Butterfly

One of opera’s most memorable duets is the long and rapturous love aria in Giacomo Puccini's (1858–1924) Madama Butterfly (1905).  Among the most performed works in the canon, a number are available on disc, the most radiant surely Herbert von Karajan's (1908–1989) 1974 recording for Decca (Decca 417 577-2DH3).  The lustre of the cast Karajan assembled to perform with the Vienna Philharmonic Orchestra and State Opera Chorus has not since been matched; with Mirella Freni (1935-2020) as Butterfly, Luciano Pavarotti (1935–2007) as Pinkerton and Christa Ludwig (1928–2021) as Suzuki, expectations were high but Karajan conducted a lush high-drama which disappointed few.  Freni was of course a standout but Pavarotti, though not yet the superstar he would soon become, was at his peak and took to the role in a way that influences tenors to this day; Ludwig’s Suzuki remains unsurpassed in its style and by then, Karajan had been forgiven for everything.

Although Maria Callas (1923-1977) seemed even then an improbable Butterfly, her 1955 appearance at La Scala (Warner B00NMQTE4C) must have been extraordinary but, because of the mono technology of the age and some unsympathetic cutting, the recording can only hint at the power and passion of what critics at the time hailed a classic performance; Callas at her brilliant best, diction of cut crystal.  She may never have been the most refined of sopranos but she brought to her roles a thrilling intensity; just as other singers have delivered a more technically accomplished Lucia di Lammermoor, it’s Callas’ version all remember because it was spine-chilling and her Butterfly is similarly unique.

Two famous reality TV stars performing the "long and rapturous" love duet in the 2016 production of Madam Crooked.

1969 Alfa Romeo Spider Veloce (the Duetto) with coda lunga (round tail).

Although The Alfa Romeo (type 105/115) Spider was continuous production between 1966-1993, it was only during the first three years the bodywork featured the memorable Osso di Seppia (round-tail, literally “cuttlefish”) coachwork.  After 1970, the Spider gained a Kamm tail which increased luggage capacity and presumably also conferred some aerodynamic advantage but purists have always coveted the cigar-shaped original.  One often misunderstood aspect of the Kamm tail is that the aerodynamic benefits are realized only if the flat, vertical surface created was no more than about 50% of the total area of the vehicle (as viewed directly from the back).  That’s why even designs which don’t conform to the requirements are often casually referred to as “Kamm tails”.

The Kamm tail (also known as the Kammback) was named after German engineer & aerodynamicist Professor Wunibald Kamm (1893–1966) who during the 1930s pioneered the shape, his work assisted greatly by some chicanery within the Nazi military-industrial complex which enabled the FKFA (Forschungsinstituts für Kraftfahrwesen und Fahrzeugmotoren Stuttgart (Research Institute of Automotive Engineering and Vehicle Engines Stuttgart) institute he established in 1930s to secure funding to construct a full-sized wind tunnel equipped with a two-part steel treadmill in the floor and an 8.8 metre (350 inch) diameter axial fan, able to drive air at up to 400 km/h (250 mph).  What the two concentric floor turntables allowed was that as well as enabling turbulence to be studied from the side on the running steel belt, but slip angles were also possible.   At the time, it was the most modern structure of its kind on the planet and its very existence was owed to the priority afforded by the Nazis to re-armament, especially the development of modern airframes, most of the money eventually coming from the Reichs-Luftfahrt-Ministerium (RLM, the State Air Ministry).

While Professor’s Kamm’s work on automobile shapes continued, increasingly the facility became focused on military contracts, contributing to the extraordinary range of novel aircraft designs, some revolutionary and most of which would never reach production.  All of this ceased in July 1944 when the facility was severely damaged in air-raids by Royal Air Force (RAF) Bomber Command, a costly campaign which one mission incurred a loss-ration of 20% and it wasn’t until the late 1940s that reconstruction began after it was acquired by Daimler-Benz AG which enlarged and modernized the machinery, the early fruits including the 300 SL (the W194, first gullwing coupé) which won the 1952 Le Mans 24 hour race and the W196R “streamliner” Grand Prix race cars which created such a sensation in 1954.  Although he wasn’t part of “Operation Paperclip” (the US project which secured (by various means including the military “smuggling” them into the country despite many being wanted by those investigating war crimes and crimes against humanity) Professor Kann was acknowledged as one of the world’s leading authorities on turbulence and between 1947-1953 was part of the team working at Wright-Patterson Air Force Base in Dayton, Ohio.  Some of what was undertaken then remains classified but it can be assumed it was all related to military projects and what would later become the space program.

Alfa Romeo in 1965 conducted a competition to find a suitable name for the little roadster and in those days that meant running advertisements in newspapers (which people actually paid for and read) to which readers responded by cutting out and filling in the coupon, writing in their suggestion, putting it in an envelope on which they wrote the address, buying and affixing a stamp and putting envelope in mailbox.  The winning entry was "Duetto" which Alfa Romeo's directors liked because it summed up the romantic essence of a machine definitely built for a couple.  Unfortunately, for some tiresome legal reason relating to an existing trademark, it couldn't officially be used but for decades, among the cognoscenti, it's always been called the Duetto.

Track of the Kamm, Alfa Romeo Spiders: 1973 Series 2 (1970-1983, left), 1984 (Series 3 (1983-1990, centre) and 1992 Series 4 (1990-1993, right).  Things got worse before they got better. 

To keep the tiresome lawyers at bay, when released at the Geneva Motor Show in March 1966, the car was known as the Spider 1600, the advertising making clear it was intended to be a practical sports car, usable year-round rather than something intended for competition.  Among those who like to call them Duettos, there’s a sub-set of pedants who like to point out that while all Duettos are round-tails, not all round-tails are Duettos because in 1967, Alfa Romeo introduced the more powerful 1750 Spider Veloce and the less potent 1300 Junior, the former positioned a notch above the original, the latter one below.  That’s too nerdy for most who prefer to form factions based upon the tail treatment and surprisingly perhaps, many do seem to prefer the appearance of the abbreviated Kamm-tail and, again surprisingly, that included even the editors of the US magazine Road & Track (R&T), a publication in the 1960s inclined to see anything Italian through a rose-tint, called the coda lunga (round tail) “a contrived design with meaningless styling gimmicks.”  Probably much of the appeal of the original is as a period piece in the same way the exaggerated fins on the early Sunbeam Alpines have some allure although few would claim their pruning didn’t improve the look.

Lindsay Lohan duetting: On stage with Duran Duran (left) and spinning the vinyl with former special friend, DJ Samantha Ronson.

Camisole

Camisole (pronounced kam-uh-sohl)

(1) A short garment worn underneath a sheer bodice to conceal the underwear; also called cami (pronounced kam-ee).

(2) A woman's dressing jacket or short negligée.

(3) A sleeved jacket or jersey once worn by men (now obsolete but occasionally revived as a catwalk novelty).

(4) As camisole de force, a straitjacket with long sleeves (mostly historic references).

1816: From the French and the Old Occitan (also called Old Provençal) camisola, the construct being camis(a) + -ola; the Late Latin camīsa (shirt) was also the source of chemise and the Latin suffix -ola was added to a noun to form a (sometimes pejorative) diminutive of that noun; a variant was the Late Latin camisia (shirt or nightgown).  The thread was well-known in romance languages, the Old Portuguese camisa (shirt) was from the Late Latin camisia (shirt), from Transalpine Gaulish (of Germanic origin) from the Proto-Germanic hamiþiją (clothes, shirt, skirt), from the primitive Indo-European ḱam- (cover, clothes).  The modern use meaning a “sleeveless undergarment for women” dates from circa 1900 but for most of the late nineteen the century it generally meant "straitjacket” (a restraint for lunatics). Camisole is a noun & verb and camisoled is a verb & adjective; the noun plural is camisoles.

Camisole de force: The straitjacket

Crooked Hillary Clinton in Camisole de force (digitally altered photo).

Although ad-hoc wearable physical restraints had existed long before, the camisole de force (straitjacket) was invented circa 1772 by Irish doctor David MacBride (1726-1778), the more romantic story of it being a creation of a Monsieur Guilleret, a tapestry maker at Bicêtre Hospital, apparently a myth.  The basic concept endures to this day although they are now less used, having largely been supplanted by camisoles chimiques (or neuroleptics (a class of psychotropic drugs used to treat psychosis)).  The only fundamental change in design is that modern camisoles de force are made with sleeves, the early types restraining the arms directly under the fabric were found to be most uncomfortable.

Camisole de force on the catwalk: Straitjacket chic by Gucci and others.

Catwalks were once a place where fashion existed for fashion's sake and while there could be social or political implications in what was worn, the messaging usually had to be some sort of overt threat to the establishment for much of a protest to be raised.  However, we live now in more sensitive times and designers have to be aware of factors as diverse as religion, ethnicity, skin color, sexual orientation, age, body mass index (BMI) and the seemingly all-encompassing "cultural appropriation".  Gucci recently had to withdraw from sale a jumper (US$890, Stg£715) after critics found it too reminiscent of blackface minstrels, the connection being the built-in half-balaclava with knitted plump red lips.  That fixed, the fashion house was then accused of cultural appropriation because one of their headpieces (US$790, Stg£635) too closely resembled a Sikh turban.   To clarify the extent of the sin, the US-based Sikh Coalition issued a statement: "The Sikh turban is not just a fashion accessory, but it's also a sacred religious article of faith."

Madness (an now unfashionable word banned in polite company; the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) recommending "mental disorder" or "psychiatric disorder") may also be on fashion's banned list after Ayesha Tan-Jones (b 1993, who is non-binary and uses they/them pronouns) staged a non-oral, verbal protest while on the catwalk (they might prefer the less exploitative "runway") in the Gucci show at Milan Fashion Week 2019.  Tan-Jones and other models were dressed in white jumpsuits for the show (and it can't be long before even the use of white is declared "problematic"), some of which used the motif of the straitjacket.  On their hands, Tan-Jones had written the words "Mental health is not fashion", clearly not accepting Gucci's rationale the designs were meant to represent "how through fashion, power is exercised over life, to eliminate self-expression".  That has some linguistic tradition because women have in the past not infrequently described demands to be fashionable as "a straitjacket" but Tan-Jones presumably would prefer the notion remain a simile rather than a publicity stunt.

Ayesha Tan-Jones on the catwalk, Milan Fashion Week, September 2019. 

After the show, Tan-Jones issued their own statement, writing "Straitjackets are a symbol of a cruel time in medicine when mental illness was not understood, and people's rights and liberties were taken away from them, while they were abused and tortured in the institution.  It is in bad taste for Gucci to use the imagery of straitjackets and outfits alluding to mental patients, while being rolled out on a conveyor belt as if a piece of factory meat."  That was followed up with another post which added they, along with some of the other models in the show, were donating to mental health charities a portion (% not mentioned) of the modeling fees paid by Gucci.  "Many of the other Gucci models who were in the show felt just as strongly as I did about this depiction of straitjackets, and without their support I would not have had the courage to walk out and peacefully protest" they said.  In response, the fashion house didn't address the substantive issued raised but did confirm straitjacket chic was just "...a statement for the fashion show and will not be sold", adding the line was intended as "...an antidote to the colourful designs in the rest of the Spring/Summer 2020 show".

Lindsay Lohan in camisole.

Snood

Snood (pronounced snood)

(1) A headband once worn by young unmarried women in Scotland and northern England.

(2) A headband for the hair.

(3) A pouch or net-like hat or part of a hat or fabric that holds or covers the back of a woman's hair.

(4) In zoology, a long fleshy appendage of pendulous red skin that hangs over the upper beak of male turkeys.

(5) A short line of horsehair, gut, monofilament etc, by which a fishhook is attached to a longer (and usually heavier) line; a snell.

(6) A piece of clothing to keep the neck warm; a neck-warmer.

(7) To bind or confine (the hair) with a snood or (in other contexts) to put on a snood.

Pre 900: From the Middle English snod (fillet, ribbon (the plural was snoden)), from the Old English snōd (headdress, fillet, ribbon for the hair), from the Proto-Germanic snōdō (rope, string), from the primitive Indo-European snohtéh (yarn, thread), from sneh & snehi- (to twist, wind, weave, plait).  It was cognate with the Scots snuid (snood) and the Swedish snod & snodd (twist, twine) and related in various ways to the Old Saxon snōva (necklace), the Old Norse snúa (to turn, twist) & snúðr (a twist, twirl), the Old Irish snathe (thread) and the English needle.  The alternative spellings were snod & sneed, both now obsolete.  In Dutch, snood means “villanous and criminal.  The Dutch form was from the Middle Dutch snôde, from the Old Dutch snōthi, from the Proto-Germanic snauþuz (bald, naked, poor), from the primitive Indo-European ksnéw-tu-s, from the root ksnew- (to scrape, sharpen) and cognates included the German schnöde and the Old Norse snauðr.  Snood is a noun & verb and snooding & snooded are verbs; the noun plural is snoods.

In the Medieval period, snoods were most associated with young unmarried girls, the implication being “in a state of maidenhood or virginity” so were something like advertising one’s status on Facebook as “single”.  Merely adorning one’s hair with a snood was of course no guarantee of chastity so the system was open to abuse but social media profiles can be misleading so in a thousand or more years little seems to have changed.  Modern adaptations of the word have been opportunistic.  Since 1938 snood has been used to describe the pouch or net-like “bags” use to contain hear at the back of the scalp and these were well-documented as widely worn in the Middle Ages but nobody seems to have thought them snoods which were culturally specific.  The accessories dating from the late 1930s were sold in parallel with conventional hairnets and were worn almost exclusively by women, long hair for men not then a thing in the West.  Typically, they were a close-fitting hood worn over the back of the head but differed from a hairnet proper in that the fit was looser, and they were constructed with a noticeably thicker yarn, weaved in a coarser mesh.  The way they were worn varied greatly according to the preference of the user and the nature of the hair to be contained.  Sometimes, a tighter-mesh band around the forehead or crown, running over or behind the ears and under the nape of the neck held things in place, the woven “bag” containing the hair dangling at the back.  There were also snoods fashioned from a solid fabric, but the advertising of the era suggests these were for fashion rather than function and tended to be colored to match an outfit.  Snood-like constructions are also worn by some women in a variety of religions which demand some form of hair-covering although the interpretation varies.  In the post-war years as health regulations began more rigorously to be imposed in food production and other sensitive facilities, snood seems briefly seems to have been used to describe the hairnets which were being mandated for employees and others in the space.  There were “hair snoods” and “beard snoods” but it was a brief linguistic phenomenon and soon it was hairnets all the way down.

Samir Nasri (b 1987) in football snood.

In Association football (soccer), the word was for some years used to describe the specialized garments players used as “neck-warmers”.  Popular with some players and understandably so in a sport played in the depths of the northern winter, the team managers were divided on their desirability and there were reports that as recently as 2009, (male) media commentators (presumably from a nice warm commentary position) were recorded as saying snoods as neck-warmers were “unmanly”.  Use of such as word would now probably see a commentator cancelled (or worse) and if may be that if a player chose again to wear one on grounds of the ubiquitous H&S (health & safety), they might find officialdom too timid to react. 

Nike Football Snood.

Demand clearly exists because manufacturers continue to maintain the product lines despite bans on their use at the professional level, the International Football Association Board (IFAB) and the Fédération internationale de football association (FIFA, the International Association Football Federation) acting in 2011.  The concern apparently was on grounds of player safety, the suspicion that injuries might result from a snood being pulled from behind and in those circumstances the awarding a penalty for the infringement would not be sufficient because the need was to avoid injuries, not simply punish transgressors.  However, there was no empirical data and the risks were all theoretical so both authorities outlawed the things on the technical basis of them being “not an approved part of the football kit”.  The football snoods aren’t actually exclusively “neck-warmers” because, fully unfolded, they actually can cover the nose and ears, both vulnerable areas in cold conditions and in competitions where they’re not banned, they’re popular with goalkeepers, usually the most static position on the pitch.  So, instead of being thought of as neck-warmers, they’re really half-balaclavas and in the US, where “football” is something different, they’re often called “soccer scarfs”.

Lindsay Lohan illustrates the difference in a muffler (designed for warmth, left) and a scarf (designed to be decorative, centre).  A football player is a fully extended football snoot, worn in extended, half-balaclava style (right); in the US these are sometimes called “soccer scarfs”.

There is a logic to that although “soccer muffler” might be more precise although, lacking the alliterative punch, it’s unlikely to catch on.  Until well into the twentieth century, muffler and scarf were used interchangeably but with the introduction of the baffled mechanical device used to reduce the noise from car engines, the automotive use swamped the linguistic space and muffler became less associated with the neck accessory.  Historically, muffler was mostly British in use, Americans always preferring scarf but scarf is now almost universal although in the upper reaches of the fashion business however, the distinction is sometimes still drawn between the two, a scarf defined as an accessory to enhance the look and made from fabrics like silk, cotton or linen whereas a muffler is more utilitarian, bulkier and intended to protect from the cold and thus made from wool, mohair or something good at retaining body-heat.  Confusingly, muffler occasionally is used in commerce as a label of something which looks like a small blanket, worn over the shoulders and resembling an open poncho.

Dilettante

Dilettante (pronounced dil-i-tahnt, dil-i-tahnt, dil-i-tahn-tey or dil-i-tan-tee)

(1) A person who takes up an art, activity, or subject merely for amusement, especially in a desultory or superficial way; dabbler.

(2) A lover of an art or science, especially of a fine art.

1733: From the Italian dilettante (a lover of music or painting), noun use of present participle of dilettare (to delight) from the Latin dēlectāre (to delight; to allure, charm or please).  From this root, English gained delight, from the Middle English deliten, from the Anglo-French deliter, from Latin dēlectāre (to delight; to allure), frequentative of dēlicere (to allure), the construct being dē - (the Latin suffix “of”, “from”) + lacere (to allure).  In English, the earlier meaning was borrowed from the Italian quite literally and without any pejorative association: "an admirer of a fine art, literature or science; a devoted amateur who cultivates an art or literature for pleasure and amusement.  The negative sense of a "superficial and affected dabbler" or "one who maintains fitful interests in various fields" emerged in the late eighteenth century as a deliberate contrast with the actions and interest of the seriously minded or the professional.  The noun dilettantism was first used in 1809.  Dilettante is a noun & adjective, dilettanteism is a noun and dilettanteish an adjective; the noun plural is dilettantes.

Society of Dilettanti

The artist moved to despair at the grandeur of antique fragments (circa 1778), a drawing in red chalk with brown wash by Henry Fuseli (Johann Heinrich Füssli (1741–1825)).

Founded circa 1734, the Society of Dilettanti was established as a gentlemen's club which aimed to correct and purify the public taste of the country and would later sponsor serious archaeological expeditions, assemble celebrated collections of antiques and art and advance the study of classical art, architecture and music and science.  Remembered especially for the promotion of Italian opera, it was a club for amateurs with some interest in these matters, its early membership exclusively rich, white men, many of who had met in their youth while in Italy on the grand tour.  One critic of the time described it as "...a club, for which the nominal qualification is having been in Italy, and the real one, being drunk: the two chiefs… were seldom sober the whole time they were in Italy."  Others hinted at actual depravity.  The best known member of the society also revived the Hellfire Club and, in the remains of an abbey he revived as a picturesque ruin, he build a shrine dedicated to the erect penis.  The sign above the doorway read: Fais ce que tu voudras, a shortened version of the words of St Augustine (love and do what you want).  The society, now a most respectable outfit, still exists and has sixty members.

6126 official campaign advertising. 

Lindsay Lohan's occasional forays into the fashion business have been described as dilettanteish.  In 2008, there was a line called 6126 and allusion to Marilyn Monroe’s (1926-1962) birthday (6/1=1 June in US use) but the label fell victim to her well publicized troubles in 2010.  There there was a brief sojourn as an artistic advisor with Paris fashion house Emanuel Ungaro, the result of which were reviews which ranged from unenthusiastic to damning.  Not discouraged, in 2014 she partnered with streetwear label Civil Clothing for a men’s line that sold at PacSun, and in 2015  worked with the UK's Lavish Alice on a capsule collection that included quirky pieces such as a striped cape, a fringed minidress, and flared knit pants.  That to date the last of the collaborations with the fashion houses but in 2016 there was also the one-off release of a line of T-shirts & tops printed with the slogan I Only Speak LiLohan, an allusion to her earlier use of an accent of indeterminate origins.  Although I Only Speak LiLohan was grammatically dubious (I Speak Only LiLohan presumably the message), it was for a good cause.

I Only Speak LiLohan, 2016.