Valhalla

Valhalla (pronounced val-hal-uh or vahl-hah-luh)

(1) In Norse mythology, a dwelling in Asgard, the Norse heaven, the hall of Odin, reserved to receive the souls of those who fell in battle and others who died heroic deaths.

(2) In casual use, by extension from the classic meaning, an abode of the gods or afterlife in general.

1696: From the New Latin Vahalla, from the Old Norse Valhöll, the construct being val(r) (the slain in battle (and cognate with the Old English wæl)) + höll (hall).  The heavenly hall in which Odin receives the souls of heroes slain in battle appears often in Norse mythology and the word Vahalla was introduced into English in Archdeacon William Nicolson’s (1655–1727) English Historical Library (1696).  Valr (those slain in battle) was from the Proto-Germanic walaz (source also of Old English wæl (slaughter, bodies of the slain)) from the Old High German wal (battlefield, slaughter), from the primitive Indo-European root wele (to strike, wound (source also of Avestan vareta- (seized, prisoner), the Classical Latin veles (ghosts of the dead), the Old Irish fuil (blood) & the Welsh gwel (wound)). Höll (hall) is from the primitive Indo-European root kel- (to cover, conceal, save).  Nicolson’s work was long known only to scholars and it wasn’t until the word was re-introduced in the eighteenth centuries by antiquaries there was any revival of interest but it was the work of Richard Wagner (1813–1883) in the next century that popularised the Norse myths and, in some circles, made Valhalla a cult.  The familiar figurative sense has been used since 1845.  Vahalla was also spelled Valhall, Walhalla & Walhall; the plural is Valhallas (and not always with the initial capital).

Hermann Burghart's (1834-1901) design of Valhalla and the rainbow bridge for the staging of Das Rheingold, Bayreuth, 1878.

Valhalla is the great hall where the god Odin houses the dead whom he deems worthy of dwelling with him.  In the Old Norse poem Grímnismál (The Song of the Hooded One), the architecture of Valhalla is described as honouring military tradition, the roof of the “gold-bright” Valhalla made from the shields of fallen warriors with their spears its rafters.  Around the many feasting tables are chairs made from breastplates and the gates are guarded by wolves, eagles circling above but there are different depictions and there's no one view of where Valhalla was.  In some Old Norse literature, it’s said to be located in Asgard, the gods’ celestial fortress yet other texts suggest it was underground, one of the many places of the underworld.

The dead who reside in Valhalla, the einherjar (the ɛinˌherjɑz̠, (those who fight alone, literally "army of one")), live on as warriors, fighting among each-other and enjoying vivid adventures during the day.  Yet every evening, their wounds are healed, and, restored to full health, they feat on roasted wild boar (Saehrimnir (from the Old Norse Sæhrímnir of unknown origin)) and a mead from the udder of the goat Heidrun (from the Old Norse Heiðrun of unknown origin), all the while waited on by the same beautiful Valkyries who circled the battlefields on which they were slain.  But the einherjar are doomed because Odin has recruited only the bravest soldiers for he wants them for his army in his struggle against the wolf Fenrir during Ragnarok, a battled which Odin and the einherjar are fated to lose.

Robert Lepage's (b 1957) design of Valhalla for the staging of Das Rheingold, Met Opera, New York, 2010.

Like the mythology of Greek and Roman antiquity, it’s possibly some of what was passed down during the middle ages is just one variation of the original myth(s) and it’s only in the poetry of Icelandic historian Snorri Sturluson (1179–1241) that there’s a statement of the path of the fallen to Valhalla.  Snorri’s Prose Edda (circa 1220), a four-volume work drawn from many sources remains the most complete and extensive collection of the Norse mythology known still to exist but the author was also a lawyer and politician and scholars have noted he wrote long after the old Norse paganism had been replaced by Christianity; there’s the suspicion this may have been an influence in the way he synthesized strands from earlier traditions with Christian teaching.  Snorri said those who fell on the field of battle ascend to Valhalla, while those who die a less heroic death are consigned to hell, the underworld.  That does seem unfair (and probably bad public policy) and elsewhere in the Edda, he’s not above allowing the odd fudge, just as Roman Catholic theologians would invent limbo, their own medieval conjecture to tidy up the margins of God’s mysterious ways.  Snorri makes no attempt to justify his (actually quite blatant) contradictions and it’s thought what he wanted to achieve was a kind of lineal alignment between the pagan ways and the Christian, Valhalla and Hel the same diametric opposite as Heaven and Hell in Christian eschatology.  However, as many surviving fragments from earlier texts attest, the tidy, systematized paganism described by Snorri was not entirely that which had been practiced.

Deadline

Deadline (pronounced ded-lahyn)

(1) The time by which something must be finished or submitted; the latest time for finishing something.

(2) A line or limit that must not be passed; a time limit for any activity.

(3) Historically, a boundary around a military prison beyond which a prisoner could not venture without the risk of being shot by the guards.

(4) A guideline marked on a plate for a printing press, indicating the point beyond which text would not be printed (archaic).

(5) Historically, a fishing line that has not for some time moved (indicating it might not be a productive place to go fishing).

(6) In military use, to render an item non-mission-capable; to remove materiel from the active list (available to be tasked); to ground an aircraft etc.

1864: The construct was dead + line.  Dead was from the Middle English ded, from the Old English dead (having ceased to live (also “torpid, dull” and of water “still, standing, not flowing”), from the Proto-Germanic daudaz (source also of the Old Saxon dod, the Danish død, the Swedish död, the Old Frisian dad, the Middle Dutch doot, the Dutch dood, the Old High German & German tot, the Old Norse dauðr and the Gothic dauþs), a past-participle adjective based on dau-, which (though this is contested by etymologists) may be from the primitive Indo-European dheu- (to die).  Line (in this context) was from the Middle English line & lyne, from the Old English līne (line, cable, rope, hawser, series, row, rule, direction), from the Proto-West Germanic līnā, from the Proto-Germanic līnǭ (line, rope, flaxen cord, thread), from the Proto-Germanic līną (flax, linen), from the primitive Indo-European līno- (flax).  The development in Middle English was influenced by the Middle French ligne (line), from the Latin linea (linen thread, string, plumb-line (also “a mark, bound, limit, goal; line of descent”)).  The earliest sense in Middle English was “a cord used by builders for taking measurements” which by the late fourteenth century extended to “a thread-like mark” which led to the notion of “a track, course, direction; a straight line.  The sense of a “limit, boundary” dates from the 1590s add was applied to the geographical lines drawn to divide counties.  The mathematical sense of “length without breadth” (ie describing the line drawn between points (dimensionless places in space)) was formalized in the 1550s and in the 1580s the “equatorial line was used to describe the Earth’s equator."  Other languages including Dutch, Finnish, Italian & Polish picked up deadline from English in unaltered form while the word also entered use in many countries for use in specific industries (journalism, publishing, television, printing etc).  Deadline & deadliner are nouns; deadlining & deadlined are verbs and postdeadline is an adjective; the noun plural is deadlines.

In the oral tradition, a deadline (which probably should be recorded as “dead line”) was a fishing line which for some time after being cast, hadn’t moved, indicating it might not be a productive place to go fishing.  The source of the first formalised meaning (a line which must not be crossed) was a physical line, the defined perimeter boundary line of prisoner of war (PoW) caps during the US Civil War (1861-1865): Any prisoner going beyond the “deadline” was liable to being shot (and thus perhaps recorded as “SWATE” (shot while attempting to escape).  Despite the name, the Civil War records indicate the deadline was rarely marked-out as a physical, continuous line but was instead defined by markers such as trees, signposts or features of the physical environment.  However, the word appears not to have caught on in any sense until 1917 when it was used to describe the guideline on the bed of printing presses which delineated the point past which text would not print.  It seems that the word migrated from the print room to the news room because by 1920 it was used in journalism in the familiar modern sense of a time limit: Copy provided after a specified time would not appear in the printed edition because it has “missed the deadline”.  From this use emerged “postdeadline” (after the deadline has passed) which sometimes existed on a red stamp an editor would use when returning copy to a tardy journalist, “deadliner” (a journalist notorious for submitting copy only seconds before a deadline) and the “deadline fighter” (a journalist who habitually offered reasons why their postdeadline copy should be accepted for publication).  Writers often dread deadlines but there are those who become sufficiently successful to not be intimidated.  The English author Douglas Adams (1952–2001), famous for The Hitchhiker’s Guide to the Galaxy (1979-1992) wrote in the posthumously published collection The Salmon of Doubt: Hitchhiking the Galaxy One Last Time (2002): “I love deadlines. I love the whooshing noise they make as they go by”.  Few working journalists enjoy that luxury.  Other similar expressions include “zero hour”, “cut-off date” and the unimaginative “time limit”.  Deadline was unusual in that it was one of the few examples of the word “dead” being used as a word-forming element in its literal sense, another being “deadman”, a device used mostly in railways to ensure a train is graceful brought to a controlled stop in the event of the driver’s death on incapacitation.

The meaning shift in deadline was an example of an element of a word used originally in its literal sense (dead men SWATE) changing into something figurative.  Other examples of the figurative use of the element include “dead leg”, deadlock, dead loss, dead load, dead lift, dead ringer, dead heat and dead light.  The interesting term “dead letter” has several meanings.  In the New Testament it was used by the Apostle Paul in his second letter to the Corinthians (2 Corinthians 3:6) to contrast written, secular law with the new covenant of the spirit.  Paul’s argument was that legal statutes, without the Spirit, were powerless to bring about salvation and were therefore “dead letter” whereas the new covenant, based on the Spirit, brings life:  “He has made us competent as ministers of a new covenant--not of the letter but of the Spirit; for the letter kills, but the Spirit gives life.” (2 Corinthians 3:6).  So, law devoid of the power of the Holy Spirit to interpret and apply it is a “dead letter” that can never be transformative, unlike the new covenant which is based on a living relationship with God through the Holy Spirit.

In a post office, a “dead letter” (which can be a “dead parcel”) is an item of mail which can neither be delivered to its intended recipient nor returned to the sender, usually because the addresses are incorrect or the recipient has moved without leaving a forwarding address.  Within postal systems, there is usually a “dead letter office” a special department dedicated to identifying and locating the sender or recipient.  If neither can be found and the item is unclaimed after a certain time (and in many systems there are deadlines), it may be opened and examined for any identifying information that could be used to identify either and if this proves unsuccessful, depending on its nature, the item may be destroyed or sent to public auction.  Beyond the Pauline and the postman, “dead letter” is a phrase which refers to (1) a law or regulation which nominally still exists but is no longer observed or enforced and (2) anything obsolescent or actually obsolete (floppy diskettes, fax machines et al).  In law, some examples are quite famous such as jurisdictions which retain the death penalty but never perform executions.  There have also been cases of attempting to use the “dead letter” law as an expression of public policy: In Australia, as late as 1997, the preferred position of the Tasmanian state government was that acts of homosexuality committed by men should remain unlawful and in the Criminal Code but that none would be prosecuted, the argument being it was important to maintain the expression of public disapproval of such things even if it was acknowledged criminal sanction was no longer appropriate.  There may have been a time when such an approach made political sense but even before 1997, that time had passed.  As is often the case, law reform was induced by generational change.

Founded in 2009 (an earlier incarnation Deadline Hollywood Daily had operated as a blog since 2006), deadline.com is a US film and entertainment news & gossip site now owned by Penske Media Corporation.

Limelight

Limelight (produced lahym-lahyt)

(1) In the lighting systems of live theatre, prior to the use of electricity, a lighting unit for spotlighting the front of the stage, producing illumination by means of a flame of mixed gases directed at a cylinder of lime and having a special lens for concentrating the light in a strong beam.

(2) The light produced by such a unit (and subsequently by lights using other technology.

(3) In theatre slang (1) a lighting unit (also clipped to “limes”), especially a spotlight & (2) by extension, attention, notice, a starring or central role, present fame (source of the general use of the word).

(4) The center of public attention, interest, observation, or notoriety.

1826:  The construct was lime + light.  Lime (in this context) was from the Middle English lyme, lym & lime, from the Old English līm, from the Proto-Germanic līmaz, from the primitive Indo-European sley- (smooth; slick; sticky; slimy).  It was cognate with the Saterland Frisian Liem (glue), the Dutch lijm, the German Leim (glue), the Danish lim (from the Old Norse lím) and the Latin limus (mud).  In chemistry, the word described any inorganic material containing calcium (usually calcium oxide (quicklime) or calcium hydroxide (slaked lime).  In literary or poetic use, it was used of any gluey or adhesive substance, usually in the sense of “something which traps or captures someone” and sometimes as a synonym for birdlime.  It was used as a verb to mean (1) to apply to some surface a coasting of calcium hydroxide or calcium oxide (lime) & (2) to smear with birdlime or apply limewash.

Light (in this context) was from the Middle English light, liht, leoht, lighte, lyght, & lyghte, from the Old English lēoht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom, from the root lewk- (light).  It was cognate with the Scots licht (light), the West Frisian ljocht (light), the Dutch licht (light), the Low German licht (light) and the German Licht (light) and related also to the Swedish ljus (light), the Icelandic ljós (light), the Latin lūx (light), the Russian луч (luč) (beam of light), the Armenian լույս (luys) (light), the Ancient Greek λευκός (leukós) (white) and the Persian رُخش‎ (roxš).  The early uses (in this context) all were related to the electromagnetic radiation in the spectrum visible to the human eye (ie what we still commonly call “light”).  Typically, the human eye can detect radiation in a wavelength range around 400 to 750 nanometers and as scientific understanding evolved, the shorter and longer (ultraviolet light and infrared light) wavelengths, although not visible, were also labeled “light” because, as a matter of physics, they are on the spectrum and whether or not they were visible to the naked eye was not relevant.  “Light” in the sense of illumination was literal but the word was also productive in figurative and idiomatic generation (the “Enlightenment”; “leading light”; “negative light”; “throw a little light on the problem”; “bring to light”; “light the way” et al).  Limelight is a noun & verb, limelighting is a verb, limelighted & limelit are adjectives and limelighter is a noun; the noun plural is limelights.

Lime (chemical formula: CaO) is composed primarily of calcium oxides and hydroxides (typically calcium oxide and/or calcium hydroxide) and the origin of the word lies in its early use as building mortar (because of its qualities of sticking or adhering).  It was the interaction of lime with other substances which lent the concrete mixed in Ancient Rome (known to engineers as “Roman concrete”) unique properties that made it remarkably durable and long-lasting (though despite the legend, it was no more “sticky” that other concrete using the same quantity of lime).  A critical ingredient in Roman concrete was a type of volcanic ash called pozzolana (abundant in the environs of Rome) which was mixed with lime and small rocks or rubble to create a paste that could be molded into various shapes and sizes.  What created uniqueness was the chemical reaction between pozzolana and lime when the mix was exposed to water, this creating a mineral called calcium silicate hydrate, the source of Roman concrete’s durability and strength.  Unusually, it was able to harden underwater and for centuries resist the effects of saltwater (indeed such exposure triggered a kind of “self repair reaction), making it ideal for building structures like harbors and aqueducts and in a happy coincidence, the easy accessibility of pozzolana meant Roman concrete could be produced at a lower cost than other building materials.

The term “limelight dress” was coined to describe a garment designed to attract the eye, making the wearing the “centre of attention” in the manner of a stage performer in the limelight: Rita Ora (left), Ariel Winter (centre) and Lindsay Lohan (right) illustrate the motif.  It's become something less easy to achieve because of the emergence in the past two decades of the "nude dress" and it may be that a more modest cut, if well executed, might work better for clickbait purposes, just because of the novelty.  Of late, “limelight” has also been used in mainstream fashion to refer to dresses made with neon-like fabrics which resemble a color under a bright light.

In the limelight: In a marquisette dress, Marilyn Monroe (1926–1962) sang happy birthday Mr President to President John Kennedy (JFK, 1917–1963; US president 1961-1963) at a Democratic Party fundraiser at New York's Madison Square Garden on 19 May 1962, ten days before his actual birthday.  Within three months, she would be dead.

Limelight was the common name for the Drummond light (or calcium light), a lamp of then unprecedented luminosity created by the burning of calcium oxide (lime).  The process of creating light by burning lime augment by oxygen & hydrogen had been invented in the early 1920s and, generating an intense white light, it was developed in 1925 for use in mining and surveying by Scottish army engineer Captain Thomas Drummond (1797-1840) and soon adopted for lighthouses although it became famous from the use in live theatre where directional spot-lights were used to illuminate the principal actors on stage and although the technology has moved on, in theatre, film & television production, catwalks etc, “limelight” is still often used to describe both the physical lighting equipment and the effect produced.  In popular entertainment, limelight came into use in the UK in the mid-1830s and, cheap to produce and easily exported, were soon in use around the world, even the military finding them useful, the army to assist the targeting of artillery (an early example of applying technology to fire-control systems) and the navy found they were vastly more effective than any other spotlight.  Limelights remained in widespread use until replaced by electric devices in the late nineteenth century but in some far-flung outposts of the British Empire, they were still in use even after World War II (1939-1945).

Lindsay Lohan (1) in the limelight, on stage with Duran Duran, Barclays Center in New York, April 2016 (left) and (2) in the glare, arriving at LA Superior Court, Los Angeles, February 2011 (right) during her "troubled Hollywood starlet" phase.  Although the glare doesn’t carry quite the cachet of the limelight, Ms Lohan illustrated how the catwalk was but a state of mind, pairing a white bandage dress (it’s not clear if wearing the color the Bible associates with purity influenced the judge but channelling the fashion choice of the 24 elders in Revelation 4:4 and the pope may have helped) with a pair of Chanel 5182 sunglasses.  Speculatively, it’s at least possible a strut under the limelight on the catwalk wouldn’t have had the same simulative commercial effect as the stroll to an arraignment, the the US$575 Glavis Albino dress from Kimberly Ovitz's (b 1983) pre-fall collection selling-out worldwide that very day.

From the idea of the character on stage being highlighted by the limelight came the figurative use of the phrase “in the limelight” (noted since 1877) to refer to anyone on whom attention is focused.  This begat the related phrases “steal the limelight”, “bask in the limelight” & “hog the limelight”, all from the world of theatre but later adopted as required just about anywhere (in sport, corporate life etc).  “In the limelight” tends to be used only positively; those who are the focus of attention for reasons such as being accused of committing crimes or some transgression which might lead to cancellation are usually said to be “in the glare”.

1970 Plymouth Hemi 'Cuda in Limelight (left) and 2023 Dodge Challenger SRT Hellcat Redeye Jailbreak in Sublime (right). 

Like the other manufacturers, Chrysler had some history in the coining of fanciful names for colors dating from the psychedelic era of the late 1960s when the choices included Plum Crazy, In-Violet, Tor Red, Limelight, Sub Lime, Sassy Grass, Panther Pink, Moulin Rouge, Top Banana, Lemon Twist & Citron Yella.  Although it may be an industry myth, the story told is that Plum Crazy & In-Violet (lurid shades of purple) were late additions because the killjoy board refused to sign-off on Statutory Grape.  Plymouth called their lime green Limelight while Dodge used Sub Lime.  The lurid shades so associated with the era vanished from the color charts in the mid-1970s, not because of changing tastes but in response to environmental & public health legislation which banned the use of lead in automotive paints; without the additive, production of the bright colours was prohibitively expensive.  Advances in chemistry meant that by the twenty-first century brightness could be achieved without the addition of lead so Dodge revived psychedelia for a new generation although Sub Lime became Sublime.  There was still a price to be paid however, Sublime, Red Octane, Sinamon Stick and Go Mango all costing an additional US$395 while the less vivid shades listed at US$95.

Entasis

Entasis (pronounced en-tuh-sis)

(1) In architecture, a slight convexity given to a column or tower, as to correct the optical illusion of concavity and create the perception of straight lines.

(2) In medicine and physiology, an involuntary or spasmodic muscular contraction (also called entasia (from the Greek ɛnˈteɪzɪə)).

(3) In typography & calligraphy, the thinning in the waist of a stroke, the technique used to compensate for the visual perception of a stroke with perfectly straight sides appearing slightly to bulge.

1745–55: From the Latin entasis, from the Ancient Greek ἔντασις (éntasis) (tension, straining), from εντείνω (enteínō) (to stretch or strain tight), the construct being enta, variant stem of enteínein (to stretch tight) + teínein (to stretch) + sis.  The –sis suffix was from the Ancient Greek -σις (-sis) and was attached to words in English often via Latin or French.  It was identical in meaning with the Latin –entia and the English –ing and was used (1) to form nouns of action or process (catharsis, dialysis, diagnosis, crisis etc), (2) in medicine to form nouns of condition (psoriasis, sepsis, tuberculosis, psychosis etc) and more generally (3) nouns as required (basis, oasis, thesis, stasis etc).  Entasis is a noun; the noun plural is entases.

The Entasis or Parthenon Principle

Parthenon in Athens.

In modern architecture, entasis is the application of a convex curve to a surface for aesthetic purposes.  Its best-known use is in the columns from antiquity which curve slightly as their diameter is decreased from the bottom upward.  Because no relevant documents have yet been discovered, it’s not known whether the architects in antiquity applied the technique for aesthetic effect or as an engineering technique to enhance strength.  The latter is suggested by the design principle being described by Roman architect Marcus Vitruvius Pollio (circa 75 BC–circa 20 BC) using the Greek word enteino meaning "to stretch or strain tight", suggesting some emphasis on structural strength rather than appearance.  However, until contemporary records are uncovered, their reasons for using entasis remain mysterious, hence the two-thousand odd years of conjecture.  The most celebrated construction is the Parthenon in Athens.

1964 Rolls-Royce Silver Cloud III Flying Spur; coachwork by HJ Mulliner Park Ward.

The earliest known documented view of the matter was that written by Greek mathematician and engineer Hero of Alexandria (circa 10-circa 70), is that entasis corrects the optical illusion of concavity in the columns that the human eye would create if the correction were not made.  That’s the reason Roll-Royce have always used a variation of the  technique in their upright grilles; it’s to make it appear as if built with columns of identical dimensions.

Basilica's western front of the Second Temple of Hera, a Greek temple in Paestum, Campania, Italy.

The Second Temple of Hera was built in the Doric order circa 455 BC, just north of the first.  For the visual effect of entasis to work, the convex curve has to be so slight as to be imperceptible and it's not known why the Second Temple of Hera has an entasis so pronounced it creates an obvious curvature, not an illusion of straightness.  The proportions are such that historians have speculated it must have been deliberate, presumably purely for structural strength but it's at least possible the architect was afflicted by the desire many of his modern contemporaries share: The wish to produce something "original" and "new", the reason why so many modern buildings are so unpleasing to the eye.

Lindsay Lohan in Rolls-Royce Phantom Drophead Coupé (2007-2017).  By the 1970s factory (mostly) had ceased to use the historic terms FHC (Fixed-Head coupé) and DHC (Drop-Head Coupé (DHC) although and the revival in 2007 for the Phantom Drophead Coupé proved (thus far) a nostalgic one-off.

Over the decades, the designers generally were successful in their adaptations as they were required to make the grille wider and lower but the Phantom would have benefited aesthetically if a more traditional approach had been taken with the headlamps (centre) and even hidden units (right) would have been more pleasing.  Still, twenty-first century customers seem more accommodating of stylistic innovation than earlier generations.  In 1975, when the Camargue (1975-1986) was released, the novelty of it being the first Rolls-Royce designed using exclusively metric measurements (except for the odd carry-over component) attracted little attention but there was much comment about it being the first built with anything but a perfectly vertical grille.  The Camargue's grille was slanted at a (for mid-century Rolls-Royce) rakish 7^o.

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

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

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

The math of entasis.

Kakistocracy

Kakistocracy (pronounced kak-uh-stok-ruh-see)

Government by the worst persons; a form of government in which the worst persons are in power.

1644: From the Ancient Greek κάκιστος (kákistos (worst)), superlative of κακός (kakós (bad) +‎ κρατία (kratía (power, rule, government).  The word may have long existed in casual use but the earliest known use dates from 1644 in Paul Gosnold's A sermon Preached at the Publique Fast which included the fragment:  "... transforming our old Hierarchy into a new Presbytery, and this againe into a newer Independency; and our well-temperd Monarchy into a mad kinde of Kakistocracy. Good Lord!".  Re-coined, it appeared in the 1829 novella The Misfortunes of Elphin by English author Thomas Love Peacock (1785–1866).  The word spread, presumably because Spanish is kakistocracia, French kakistocratie, German Kakistokratie, and Russian kakistokratiya (какистократия).  The almost never used alternative spelling is cacistocracy.  Kakistocracy & kakistocrat are nouns and kakistocratical is an adjective; the noun plural is kakistocracies.

The possibility of a Lindsayocracy: In 2017 Lindsay Lohan posted on Instagram the possibility of running for President of the United States (POTUS) in 2020.  Among political scientists, there was no consensus about whether a Lindsayocracy would be (1) better, (2) worse or (3) pretty much the same as a Crookedhillaryocracy.  Her announcement was noted by the state-owned Russian News Agency Sputnik News but there was no comment from the Kremlin.  

Despite a history of governments of varying quality, usage outside of political science circles was rare until a 1980s spike associated with attacks on Ronald Reagan (1911-2004, US president 1981-1989) and Margaret Thatcher (1925–2013; UK prime-minister 1979-1990).  Later, perhaps surprisingly, George W Bush (George XLIII, b 1946; US president 2001-2009) appears not to have induced a twentieth-first century revival; that had to wait.  One Fox News commentator liked applying kakistocracy to the administration of Barack Obama (b 1961; US president 2009-2017) although the rest of the crew seemed better to understand Fox’s audience should be spoken to with short, simple, repetitive words and phrases and it was Donald Trump's (b 1946; US president 2017-2021) election which brought the word a new popularity.

Variations on the Greek theme

Aristocracy: rule by the highest class
Barbarocracy: government or rule by barbarians
Bestiocracy: the rule of beasts
Chrysocracy: rule of the wealthy
Corporatocracy: rule or undue influence by commercial interests
Dementiaocracy: governmet by the senile
Dulocracy: government by slaves
Ergatocracy: government by the workers
Femocracy: government by feminists or femocrats
Gayocracy: government by the gays
Gerontocracy: the system of government by old men
Graocracy: government by an old woman or old women
Gynaecrocracy (or gynocracy): government by a woman or women
Hagiocracy: government by persons esteemed holy
Harlotocracy: government by harlots
Hetaerocracy: (1) rule of college fellows or (2) rule of courtesans
Jockocracy: government by the Scots or by former sports stars
Kakistocracy: the government of a state by the worst citizens
Khakistocracy: rule or undue influence by the military
Kleptocracy: government by thieves
Lindsayocracy: government by Lindsay Lohan (think about it)
Madocracy: government by the mad
Masonocracy: Government unduly influenced by the Freemasons
Mogocracy: a system of government in which words are the ruling powers
Mediocracy: government by the mediocre
Meritocracy: Government by the most able
Mesocracy: government by the middle classes
Ochlocracy: government by the populace, mob rule
Papyrocracy: government by excessive paperwork
Pedantocracy: the rule of pedants
Pornocracy: rule by prostitutes
Ptochocracy: a government elected by or consisting of the poor
Strumpetocracy: government by strumpets

Rounding up the recent suspects.

In politics, the term kakistocracy has become, like "fascist", one of those words used to convey a general disapproval of administrations rather than anything too specific.  Still, given the standard of some of the governments seen in recent decades, there may be a case to consider it as a literal descriptor and whether there was any better word to use of the brief, troubled administration of Liz Truss (b 1975; UK prime-minister Sep-Oct 2022) remains at least debatable.  However, one curious consequence of recent advances in technology might mean Joe Biden's (b 1942; US president since 2021) administration attracts the label less than might be expected.  The "deep fakes" had been around for a while but with artificial intelligence (AI) systems now able to generate convincing audio-visual content, such has been the proliferation of clips purporting to demonstrate the president's senility that people now seem to give him the benefit of the doubt because it's difficult to tell the difference between the fake news produced by AI and actual footage of examples of his cognitive decline.

Mach

Mach (pronounced mak, mahk or moch)

A number indicating the ratio of the speed of an object to the speed of sound in the medium through which the object is moving.  Also known as the Mach number; standard abbreviation is M.

1937: Named after Austrian physicist and philosopher Dr Ernst Waldfried Josef Wenzel Mach (1838–1916) who devised the system of speed measurement based on the Mach number. He’s remembered also as the founder of logical positivism, asserting the validity of a scientific law is proved only after empirical testing.  The Mach number is important in the understanding of fluid dynamics and represents the ratio of flow velocity past a boundary to the local speed of sound (Mach 1.0).  It’s most applied to aircraft which are classified:

Subsonic      Mach <1.0
Transonic     Mach =1.0
Supersonic   Mach >1.0
Hypersonic   Mach >5.0

The speed of sound varies, reducing at higher altitudes and if aircraft exceed about 250 mph (400 km/h), air near the aircraft is disturbed, locally changing the density.  This compression, increasing with speed, alters the force on the aircraft and is of great importance to aerodynamicists and structural engineers.  The Mach number is within the science of fluid dynamics because air is fluid and, at hypersonic speeds, the energy of the airframe affects the chemical bonds which hold together the nitrogen and oxygen molecules of air, the heated atmosphere becoming an ionized plasma of gas.  That’s why spacecraft re-entering earth’s atmosphere need to be insulated from high temperatures.  Mach 1 was first exceeded by an aircraft in level flight in 1947 but man-made objects travelling at that speed had long-existed, even before modern ballistics.  The crack of a whip is actually the sonic boom caused by the tip exceeding Mach 1.

The 1969 Ford Mustang Mach 1

Unlike Ford’s later Boss 302 and Boss 429 Mustangs, both powered by genuine racing engines, 1969’s outwardly similar Mustang Mach 1 was a less ambitious machine for street and strip and available with a variety of engines, one of which, thanks to a little Dearborn mendacity, was very competitive in the then highly popular sport of pro-stock drag-racing.  A moniker like Mach 1 is known in contract law as mere puffery, the notion being that in advertising it's possible to assert things which (1) can be neither proven nor disproven or (2), are so absurd no reasonable person would take them seriously.  In 1969 nobody took literally the idea a Mustang could break the speed of sound which was just as well because, at ground level, Mach 1 is 767 mph (1235 km/h) while the top speed of the most powerful Mustang Mach 1 was about 130 mph (210 km/h) or Mach 0.171.  Actually, most were built for drag-racing and geared for acceleration rather than top-end speed so few were capable of more than around 115 mph (185 km/h) or Mach 0.151.

1969 Ford Mustang Mach 1 with 428 (FE Series) CobraJet V8.

Hankering for a seven litre (427 cubic inch) version, Ford had added their 427 V8 (FE Series) to the Mustang’s option list for 1968 but none were built (although Shelby did one (or two depending on how such things are counted) and an uncertain number were fitted by dealers pursuant to customer request.  Probably now most remembered from service in the Ford GT40 and the AC Shelby Cobra, the 427 was a famously powerful and robust unit, a trophy winner on circuits from Daytona to Le Mans but was also cantankerous, noisy, an oil-burner and, perhaps most importantly for Ford, expensive to build because of its complex lubrication and cylinder width at the extreme limit of the block’s capacity.  It had also reached the end of its development so, until their new Boss 429 V8 (385 series) became available, Ford hotted-up the previously unremarkable 428 V8 (FE), used until then smoothly to propel big luxury cars like the Thunderbird and LTD.  Pleasingly for Ford, the 428 developed for the Mach 1 gained its increased output from bolt-on bits and pieces and was cheap to produce.

1969 Ford Mustang Mach 1 with 351 (Windsor Series) V8.

Belying its dramatic appearance, the nose-heavy 428 Mach 1 was actually pretty bad at just about everything except the straight-line, quarter-mile sprints at which it excelled though Ford cheated to achieve even these 400 metre-long successes.  Upon its debut in 1968, the National Hot Rod Association (drag-racing’s sanctioning body) allocated vehicles to competition classes on the basis of manufacturers’ declared power-outputs.  Ford claimed the new 428 CobraJet generated 335 horsepower which was quite an understatement, something which allowed it to dominate that year’s national championships.  After that, the authorities cracked down and used their own assessments but by then the 428 CobraJet had done its job and such was the glow of the reflected glory that Ford sold over 70,000 Mach 1 Mustangs in 1969.  Not all were equipped with the big block 428 (a 390 cubic inch (6.5 litre) FE was also available which was about as heavy as the 428 but less powerful) and as road cars, those fitted with the small block (Windsor) 351 cubic inch (5.8 litre) V8 were probably more suited to what most people did most of the time.  Ford produced the Mustang Mach 1 between 1969 and 1978 although the 1974-1978 models are not well regarded, the name revived in 2003-2004 for a small production run and in 2021 the Mach 1 returned to the Mustang range.

Thrust SST, Nevada, 1997.

Almost fifty years to the day after US Air Force (USAF) pilot Chuck Yeager (1923-2020), flying a rocket-powered Bell X-1 aircraft, broke the sound barrier in Earth's atmosphere, RAF Pilot Andy Green (b 1962) set the absolute land speed record (LSR) driving the Thrust SST to a speed of 763.035 mph (1,227.985 km/h) over the stipulated flying mile (1.6 km).  It was the first time a land vehicle officially broke the sound barrier.  Powered by two afterburning Rolls-Royce Spey turbofan engines (the same type used by the British version of the F-4 Phantom II jet fighter) developing a net thrust of some 50,000 lb/f (223 kN) which equates to something in excess of 100,000 bhp (76 MW), the Thrust SST's record still stands.  Weighing a impressive 10 tons, at full throttle the fuel burn-rate was some 4.0 gallons (4.8 US gallons; 18 litres) per second or a tiny fraction of a mile per gallon.  Under the LSR rules mandated by the World Motor Sport Council, for a record officially to be sanctioned, there must be two runs in opposite directions within a certain elapsed time and the council confirmed the speed of sound was exceeded on both runs on 15 October 1997 at Black Rock Desert, Nevada (USA).

The only known photograph of the Anglo-French Concorde flying at Mach 2 (at 25,000 feet (7600 m) Mach 2 is 1,356 mph; 2,186 km/h; 1,185 knots), taken from a Royal Air Force (RAF) Panavia Tornado fighter while over the Irish Sea, April 1985.

Machboos

Lindsay Lohan in an interview published in the November 2022 edition of Cosmopolitan magazine revealed her favorite Middle-Eastern dish to cook was machboos, part of Arab cuisine throughout the region and prepared almost always with chicken with rice and vegetables.  A kind of blend of biryani and risotto, the rice is cooked in the spiced broth of the meat or chicken, melding the spices and ingredients.  Rice is a core component of Arabic cooking and interestingly, in Arabic it’s known as ruz but in the Khaleeji dialect it is aish (life) while in Egyptian Arabic, aish refers to bread, an indication of its centrality to the diet.  Like hummus, between nations (and even families) in the Middle East, there’s often disagreement about how machboos should be prepared, most of the arguments revolving around the bzar (the spice mix) but it’s certainly adaptable, able to be served with achaar (mango or lime pickle), daqoos (a spicy tomato sauce), or yoghurt with chopped cucumber and mint.

Ingredients (for serving 4-6) (from Table Tales: Exploring Culinary Diversity in Abu Dhabi (Rizzoli)).

6 tablespoons plain yogurt, divided
2 tablespoons Emirati bzar spice mix, divided
1½ kg chicken, cut into pieces
500 g basmati rice
80 mls vegetable oil
5 cardamom pods, crushed
1 cinnamon stick
10 black peppercorns
2 whole lumi, cracked
450 grams onions, chopped
1 tablespoon ginger, crushed
1 tablespoon garlic, crushed
4 small green chilies, halved
1 teaspoon turmeric
1 teaspoon cumin
1 teaspoon coriander powder
285 grams canned tomatoes, chopped
1 teaspoon salt
Cooking oil as required
450 grams potatoes, peeled and cubed
Handful of fresh coriander, chopped

Garnish

3 tablespoons cooking oil
2 onions, thinly sliced
85 grams raw cashews
55 grams raisins
Fresh coriander, chopped

Instructions

(1) Combine 4 tablespoons of yoghurt with 1 tablespoon of the bzar in a large bowl.  Coat the chicken and then marinade for 1 hour or longer.  Rinse the rice and soak in enough water to cover for 1 hour; drain.

(2) Heat the oil in a Dutch oven over medium heat. Add the cardamom pods, cinnamon stick, peppercorns and lumi and stir for 2 minutes.  Add the onions and sauté until golden.  Add ginger, garlic, and green chilies and stir for 2 minutes.

(3) Add the chicken and marinade and then cook for a few minutes on each side.  Sprinkle in the turmeric, the remaining bzar, cumin, and the coriander powder.

(4) Add the tomatoes, salt, and 2 cups of water; bring to a boil.  Cover, lower the heat, and simmer for 30 to 45 minutes, until the chicken is done.  Transfer the chicken to a roasting pan.

(5) Remove the cinnamon stick and lumi from the stock and discard.  Add the potatoes and fresh coriander and boil until the potatoes are just tender.  Adjust the stock to get a one-to-one ratio with the rice.  Stir in the remaining yoghurt until dissolved and then add the rice.  Seal the Dutch oven with aluminum foil, cover, and cook over low heat for 30 minutes until the rice is done.

(6) Turn on the oven broiler.  Brush the chicken with some oil and broil until golden.  Serve the rice on a platter with the chicken pieces on top.  Garnish with sautéed onions, cashews, raisins, and fresh coriander.

Garnish Instructions

(7) Place a large skillet over medium-high heat and add the oil and onions; sauté until they are dark brown, but not burnt.  Remove the onions with a slotted spoon and drain on paper towels.  Sauté the cashews in the same oil until golden brown.  Finally, add the raisins during the last few minutes to complete.