Muliebrity

Muliebrity (pronounced myoo-lee-eb-ri-tee)

(1) The condition of being a woman.

(2) Femininity; womanly nature or qualities.

(3) Effeminacy, softness

(4) In physiology, the state of puberty in the human female (rare).

1585–1595: From the Late Latin muliēbritās (womanhood) from muliēbris (womanly) from mulier (woman).  The original meaning in the 1590s was "womanhood, state of puberty in a woman", this corresponding to virility in men.  The Latin source mulier (a woman) has for centuries been held to be comparative to the stem of mollis (soft, weak) to which there have long been phonetic objections, but no alternative theory has been offered.  This was the source also in the oldest known customary and common law texts of the sense of mulier being "a woman; a wife" and, as an adjective, "born in wedlock."  Related was muliebral (of or pertaining to a woman) and muliebrious (effeminate), both documented from the 1650s.  The later mulierosity (an excessive fondness for women) is perhaps a more attractive term than those many would prefer.  In pre-modern medicine, in early anatomy and medical texts, the pudenda muliebria was euphemistic for "vagina"; in later use in physiology it came to refer simply to the state of puberty in a female.  In early literary use it had the sense of “the state of attainment of womanhood following maidenhood” but well before the twentieth century had come instead to be a general expression of youthful feminine beauty.  The –ity suffix was borrowed from the French -ité, from the Middle French -ité, from the Old French –ete & -eteit (-ity), from the Latin -itātem, from -itās, from the primitive Indo-European suffix –it.  It was cognate with the Gothic –iþa (-th), the Old High German -ida (-th) and the Old English -þo, -þu & -þ (-th).  It was used to form nouns from adjectives (especially abstract nouns), thus most often associated with nouns referring to the state, property, or quality of conforming to the adjective's description.  Muliebrity is a noun and muliebral & muliebrile are adjectives, the noun plural is muliebrities.  Muliebrity long ago shifted in meaning from its late sixteenth century origins and is now probably most seen (or un-seen) in the diary entries of young ladies who read Wuthering Heights at a young age and never quite recovered.

Shakespeare on difficult women

There is in William Shakespeare (1564–1616), much to be found, one modern critic said even to have claimed him as “the noblest women’s rightist of them all”.  There may be something in this and Shakespeare created some memorably defiant women who asserted themselves in ways we don’t, erroneously or not, associate with the social mores of his age but, while some flourish, not all go unpunished for their transgressive behavior, although some didn’t need to be that difficult to be punished; few who try to map proto-feminism onto Shakespeare mention Katherine (The Taming of the Shrew; circa 1590) who apparently suffered her fate just for being a funny, fierce man-hater.  Seemingly, at least sometimes in Shakespeare, the more muliebrious the better.

Olivia Hussey (b 1951) as Juliet in Franco Zeffirelli's (1923-2019) film of Romeo and Juliet (1968).

He certainly didn’t stick to the defined role-models of his time, Helena (All's Well That Ends Well; circa 1600), although she spends most of her time moping about in anguish at the indifference of a man she wants, was a talented doctor who delicately repairs the king's anal fistula.  So, in Shakespeare, there’s sometimes ambivalence.  Juliet (Romeo & Juliet; circa 1595) got equal billing with Romeo and while they’re both equally vital to the plot, Juliet, while head over heels in love, at least remains a bit more grounded than the poetic Romeo, a bit of an emo who likes talking about the moon.  Romantic she may be but it’s Juliet to whom the bard gave the long soliloquy about how much she lusts for sex with her lover-to-be and there’s no sense she’s demonized for having normal womanly, human longings.

Crooked Hillary Clinton (b 1947).

Lady Macbeth (The Tragedie of Macbeth; 1606) draws actresses like few other characters of the stage; Shakespeare’s most fierce female, it’s not hard to see the attraction.  Lady Macbeth is childless, probably less a statement of proto-feminism or a rejection of societal expectations than the bard constructing her as one noted more for manipulation than muliebrity and just so the audience gets it, there’s her monologue (Act 1, scene 5) imploring the spirits to “Stop up the access and passage to remorse” (gender dysmorphia and commitment issues) and “Come to my woman’s breasts, and take my milk for gall” (less succorance; more bile).  Without these womanly distractions, Lady Macbeth knows she’ll have the strength herself to murder King Duncan even if her husband does not.  Though it is Macbeth who murders Duncan, it was the wife who put the blade in his hand and in the end, Shakespeare punishes her too.

Imogen Stubbs (b 1961) as Viola in Trevor Nunn's (b 1940) film of Twelfth Night (1996).

Although both survive a shipwreck, Viola (Twelfth Night; circa 1601) and her twin brother Sebastian each believe the other dead and, once ashore, everyone thinks she is her brother and her brother is her.  Making the best of a bad situation Viola, in an act of feminist temerity, anticipates changes in the nature of female workforce participation (which won’t be seen for centuries) by, rather than enduring the misery of domestic servitude, dresses as a boy and goes to work for the Duke of Orsino (with whom she falls in love).  That’s where it gets complicated because the duke sends Viola to court the Countess Olivia on his behalf but Olivia falls for Viola and, with the twin Sebastian having shown up, a flood of mistaken identity ensues, and, after a few shenanigans, Sebastian and Olivia wed.  Viola then reveals she really is a girl and marries the duke.  If Shakespeare hadn’t had something else in mind, he might have called Twelfth Night, All’s well that ends well.

Lindsay Lohan as Elizabeth Taylor (1932-2011) as Cleopatra in Lloyd Kramer's (b 1947) made-for-TV Liz & Dick (2012).

Although Cleopatra (The Tragedie of Anthonie, and Cleopatra; circa 1607) was another of Shakespeare’s women who ended up dead, while she lived she was quite something, a woman with her own bank account who ruled a nation.  Complex, strong and vulnerable, she’s another one actresses like to play, her tragedy in death offering a bit more scope that Portia’s triumph in victory.  Cleopatra explored Mediterranean sexual realpolitik too, toying with an Antony who is just one of the many men she outsmarts; no stereotypes of subservience there.  Still, things do end badly for her, even if in her noble death she denies Caesar Octavius one more triumph, his primacy assured is by the play’s extraordinary death-toll and, with no political foes left standing, he sails for Rome to be crowned Emperor.

Katharine Hepburn (1907-2003) as Portia in American Shakespeare Theatre's production of The Merchant of Venice (1957).

Portia (The Merchant of Venice; circa 1597) seems at first an improbable feminist model, the first scene one in which the heiress watches potential suitors sit the tests devised by her father to find one worthy of her hand in marriage.  But the patriarchy is no match for Portia who twists the tests to ensure the winner is her preferred beau, one who would never otherwise have attracted her father’s approval; Portia is smart and tough.  She undermines gender-stereotyping and the patriarchy beyond the family too, cross-dressing to appear in court at a time when women weren’t permitted to be counsel.  For feminist anti-Semites too there’s a strong role-model, Portia’s legal sophistry rescuing good Christian Antonio from the grim fate demanded by the Jewish money-lender.

Elisabeth Bergner (1897-1986) as Rosalind in Paul Czinner's (1890-1972) film of As You Like It (1936).

After being exiled, strong-willed Rosalind (As You Like It ;circa 1599) adopts the disguises of the male shepherd Ganymede and goes to live in the Arcadian forest of Ardenne.  There, inter alia, she becomes a sort of life-coach, focused on teaching men to be more progressive in their attitudes towards women; not exactly making them metrosexuals but certainly less late-medieval.  It works for her too for the previously uncouth Orlando learns better how to woo her and they wed in the happy group marriage at play’s end and in being taught by Rosalind to get in touch with his female side, Orlando takes part is what is probably Shakespeare’s most overt deconstruction of gender roles.  There is however an undercurrent of class awareness in the allocation of happiness.  Of the four couples, it’s the peasant pair, Phoebe & Silvius, who end up married even though his love for her remains surely unrequited; Shakespeare may have felt his clever women of the better classes deserved happiness more than peasant shepherdesses.  Structurally it’s interesting too for in As You Like It, it’s Rosalind who delivers the play’s epilogue, a thing Shakespeare traditionally reserved for a man and that may be Rosalind’s most post-modern transgression.

Combo

Combo (pronounced kom-boh)

(1) In informal use, a small jazz or dance band (as distinct from a big band).

(2) In informal use, many forms of combined items (bundled “meal deals”; products sold with a collection of options offered at a nominal discount against the price calculated on the basis of the extended value etc).

(3) In informal use, to combine.

(4) A sequence of actions combined as one for certain purposes.

(5) In informal use, the combination (the numerical sequence) of a combination lock.

(6) In video gaming, an action composed of a sequence of simpler actions, especially a composite attacking move in a fighting game; two or more game-play elements (characters, items, options etc) which are powerful when used together.

(7) In collectible card games, a strategy under which the objective is to win by playing a specific combination of cards (or similar), usually in a single play.

(8) In historic Australian (derogatory) slang, a white man (1) who lives among Aboriginal people and adopts Aboriginal culture or (2) has entered into an ongoing sexual relationship with an Aboriginal woman or (3) has taken an Aboriginal wife, usually in a common-law marriage (all now archaic).

(9) In computing (in the design of graphical user interfaces (GUI)), in the informal use “combo box” (A GUI widget that is a combination of a dropdown list or list box and a single-line textbox, allowing the user either to type a value directly into the control or choose from the list of existing options).

1924: A clipping of comb(ination) + -o.  Combination (the act of combining, the state of being combined or the result of combining) was from the Middle English combinacioun & combynacyoun, from the Old French combination, from the Late Latin combīnātiō.  The colloquial -o suffix (wino, ammo, combo, kiddo etc) appears widely in English but is most common in Australia where in certain sub-cultures it appears to be obligatory (they have names like Shaneo, Toddo, Wayneo etc).  The first use was of small jazz groups and dance bands and was used to differentiate the smaller ensembles from the then popular “big bands”, the implication also that while combos were often ad-hoc things with the membership varying from evening to evening whereas big bands had a more stable (usually salaried) membership and usually took the name of the band leader.  Combo is a noun, comboing & comboed are verbs and comboable is an adjective; the noun plural is combos or comboes.

The VW Kombi and the Samba

1951 VW Kombi.

Although there was for years in English-speaking markets something of a tendency to call all the Volkswagen Type 2s Kombis, the Kombi was just one configuration in a range which eventually extended beyond a dozen distinct types.  Kombi was a clipping of the German Kombinationskraftwagen (combination motor vehicle), another of those compound nouns at which they excel.  The Kombi coachwork featured side windows and removable seats in the rear compartment, permitting the thing thus to be used either for passengers, freight or a combination of the two.  Other types in the range included pure delivery vans (no rear seats) with a variety of door options, a high-roof version best suited to transporting cargo which was bulky but not especially heavy, pick-ups (Transporters) with either a single or double passenger cabin and the other classic, the Microbus, intended purely for people and thus configured with fixed seats in the rear.  It was the Microbus which made its mark with the US surfing community in the 1960s and it became identified with the counter culture, something perhaps assisted by its large, flat surfaces which lent themselves to the psychedelic paint schemes associated with the era.

Not a Kombi: 1959 VW Microbus Deluxe (Samba).  Such was the enduring appeal of the shape, VW in the 2020s used it for an electric van.

Between 1951-1967, the Microbus was also offered as the Kleinbus Sonderausführung (small bus, special version) which was marketed variously as the Microbus Deluxe, Sunroof Deluxe & Samba; the most obvious distinguishing features were the folding fabric sunroof and the unusual “skylight” windows which followed the curve of sides of the roof, a technique borrowed from tourist train carriages, busses and boats.  Available in 21 & 23 window versions, these are now highly collectable and such is the attraction there’s something of a cottage industry in converting Microbuses to the be-windowed specification but it’s difficult exactly to emulate the originals, the best of which can command several times the price of a fake (one restored with studious devotion to the maintenance or replication of originality in 2017 selling at auction in the US for US$302,000 although for various reasons the market has since cooled).  Such was the susceptibility to rust, the survival rate wasn’t high and many led a hard life when new, popular with the tour guides who would conduct bus-loads of visitors on (slow) tours of the Alps, the sunroof & skylights ideal for gazing at the peaks.  To add to the mood, a dashboard-mounted valve radio was available as an option.  The Microbus Deluxe is actually rarely referred to as such, being almost universally either “21 Window”, “23 Window” or “Samba”, the first two deterministic and the origin of the latter uncertain.  One theory is it was a borrowing from the Brazilian dance and musical genre associated with things lively, colorful, and celebratory, the link being that as well as the sunroof and windows, the Deluxe had more luxurious interior appointments, came usually in bright two-tone paint (other Type 2s were usually more drab in appearance) and featured (by German if not US standards) lashings of external chrome.  It’s an attractive story but some prefer something more Germanic: Samba as the acronym for the business-like phrase Sonnendach-Ausführung mit besonderem Armaturenbrett (sunroof version with special dashboard).  However it happened, Samba was in colloquial use by at least 1952 and became semi official in 1954 when the distributers in the Netherlands added the word to their brochures.  Production ended in July 1967 after almost 100,000 had been built.

Combo in nature but not Kombi in name: 1959 VW Double passenger cabin Transporter (which the factory called the Doka, from Doppelkabine (double cabin).

The very existence of the VW Type 2 (the Beetle was the Type 1) was an act of serendipity, one entrepreneurial dealer from the Netherlands in 1947 noting during a visit to the factory the use of a rather cobbled-together “pick-up” based on a Beetle chassis.  With Europe in the throes of post-war rebuilding and so much industrial production still disrupted, there was a shortage of such vehicles and he sketched what would now be called a “forward control van” which the factory agreed to develop.  However, such was the demand for the Beetle that it wasn’t until 1950 than production of the Type 2 began and, despite the legend that the two share underpinnings, that’s only partially true because to gain the necessary strength, a different floor plan was required.

One of the Wolfsburg factory's original Plattenwagens (best translated as "flat bed carrier"), improvised atop a Type 1 (Beetle) chassis; it inspired the sketch of the original Volkswagen Type 2.

Still, with many mechanical components there was much interchangeably between Types 1 & 2, something which added greatly to its appeal and immediately it was successful, the first generation staying in production until 1966 and although in most of the world the classic air-cooled / rear-engine configuration was in subsequent decades replaced, Type 2 in that specification were made in Brazil until 2013.  Even then, demand in South America was was still strong and the line profitable but Brazil was about the last developed market in the world to introduce the safety regulations which driven old Kombis elsewhere extinct.  The South American line had been the last link with the Nazi’s Kdf-Wagen (which became the Beetle, the first prototype of which dated from 1935, renamed to the snappier Volkswagen (literally “people’s car”).  Kdf (Kraft durch Freude, literally “Strength Through Joy” was the Nazi state’s leisure organization which was involved in everything from holiday resorts and cruise liners to the regulation of workplaces (the classic Nazi “carrot & stick” approach) but it was also used as a slogan an in that sense joy was compulsory and the state had ways to punish those not thought sufficiently joyful.

1978 Mercedes Benz 280 TE (S123).

One of the last of the “chrome Mercedes”, the W123 range was in production between 1975-1986 and the station wagon appeared in 1977 with the internal code S123 (only nerds use that and to the rest of the world they’re “W123 wagons”).  The designation was “T” (the very Germanic Tourismus und Transport (Touring and Transport)) or TD for the diesel-powered cars and the S123 was the company’s first station wagon to enter series production, previous such “long roof” models coming from coach-builders including many hearses & ambulances as well as station wagons.  The English still call station wagons "estates" (a clipping of "estate car") although a publication like Country Life probably still hankers after "shooting brake" and the most Prussian of the German style guides list the compound noun Kombinationskraftwagen which for decades has usually been clipped to the semi-formal Kombiwagen, (plural Kombiwagen or Kombiwägen) or, in general use: Kombi.  That Mercedes-Benz in the mid-1970s decided their first station wagon in regular production should be a “T” (and understood as a Tourenwagen (touring car) rather than a “K” (ie Kombiwagen, the designation used by other manufacturers) reflected the prevailing German view of such cars.  Unlike the US where station wagons had long been emblematic of middle-class respectability (often as a family’s second car for the wife & mother) or England where the style enjoyed an association with the upper class HFS (huntin’, fishin’ & shootin’) set, to Germans the utilitarian long-roofs had a down-market image, bought only by those unable to afford separate vehicles for business & pleasure.  Coach-builders had of course used Mercedes-Benz saloons as the basis for station wagons, ambulances and hearses but these were always expensive and thus not tainted by association with thriftiness by necessity.  In their alphanumeric system of model designations, Mercedes-Benz had previously used “K” to mean either Kompressor (supercharged) (eg 770 K) or Kurz (short) (eg SSK) and other letters had also done double-duty, “L” standing for either Lang (long) (eg 600 SEL) or Licht (light) (eg SSKL) and “S” could mean both Super (300 SL) or Sports (300 SLR) so for the S123 “K” wasn’t avoided because of fears of confusing folk; it was just an image thing: "Don't mention the kombi".  That all changed in the 1980s when the Germans decided wagons were sexy after all, the high performance arms of Audi, BMW & Mercedes-Benz all producing some remarkably fast ones.   

Combo cards: 3Com Ethernet XL PCI 3c900 NIC (RJ45-AUI-BNC) (left), NVidia GPU (HDMI-VGA-DVI) (centre) & Startech AT (Advanced Technology (or ISA (Industry Standard Architecture)) 2S1P (2 x DB9 Serial-1 x DB25 Parallel) (right).

In personal computer hardware, combo devices have existed almost as long as the industry.  When, with rather modest expectations, IBM released the PC-1 in 1981, it cost as much as US$5000 and was, even by the standards of the time, neither fast nor particularly capable but (1) it was an IBM and that really gave it a legitimacy no other name could and (2) it was delivered with lots of “open architecture” slots which meant third-party manufacturers could (license and royalty-free) produce all sorts of plug-in cards which extended the functionally.  Soon, there were cards offering sound, support for color monitors (IBM liked people to watch acid-green text displays because they thought the PC-1 would be used mostly as a way to hook into their big mainframes), higher definition graphics, additional ports soon including various adapters which could be used to connect to networks.  Things advanced rapidly however and before long there were many ways of connecting to stuff and, with "standards' still emerging, such were the realities of production-line economics that for manufacturers it often made sense to combine different things on the one card.  While for example a manufacturer could offer three different NICs (network interface cards) to support three different connections, what proved most popular was the combo card which included the three most common types.  The approach also suited customers who might want an additional serial & parallel port but found a combo card with both a better deal than buying two cards.  The approach is still followed today by the GPU (graphical processing unit) manufacturers which have at various times offered combo card with ports for VGA (technically “Video Graphics Array” but really long a reference to the pin-layout), HDMI (High Definition Multimedia Interface), DVI (Digital Video Interface, of which there were many) & DP (DisplayPort).

Just about any combination of stuff can be a combo including mix & match makeup.  Lindsay Lohan also was part of Pepsi’s promotional campaign for a “dirty soda”, a concoction of Pepsi Cola & milk (Pilk), served with cookies; on the internet, opinion was divided.  One of the most prolific users of combo seems to be the fast food industry, a combo meal (there are often variations) two or more components (typically a burger, a soda and fries) bundled at a price lower than purchasing the items separately.  For the industry, the combos are a high profit item because they stimulate demand, increasing volume with only a marginal increase in labour costs.

Before the release of the Barbie movie in July 2023, it had probably never occurred to the industry there would one day be demand for a burger with hot-pink sauce but it’s now at Burger King, available as part of a combo meal.  First to make the Barbie-themed meal available was Burger King Brazil, the combo including a cheeseburger topped with bacon bits and dressed with a hot pink sauce, said to have a “smoky” flavor.  Also included is a pink vanilla milkshake with strawberry Nesquik powder mixed in and when the straw is put in, it’s topped with a pink frosted donut.  Barbie being the star, the side order of “Ken’s potatoes” is just a plain order of fries, a sly nod to the “he’s just Ken” message.

Delivery

Delivery (pronounced dih-liv-uh-ree (U) or dee-liv-er-ree (non-U))

(1) The carrying and turning over of letters, goods, etc to a designated recipient or recipients.

(2) A giving up or handing over; surrender.

(3) The utterance or enunciation of words.

(4) Vocal and bodily behavior during the presentation of a speech.

(5) The act or manner of giving or sending forth.

(6) The state of being delivered of or giving birth to a child; parturition.

(7) Something delivered.

(8) In commerce, a shipment of goods from the seller to the buyer.

(9) In law, a formal act performed to make a transfer of property legally effective.

(10) In printing, the part of a printing press where the paper emerges in printed form (also called delivery end).

(11) The act of rescuing or state of being rescued; liberation.

(12) In various ball sports, the act or manner of bowling or throwing a ball

(13) In machinery design, the discharge rate of a compressor or pump.

1400–1450: From the late Middle English delyvere & delyvery from the Anglo-Norman delivrée, from the Old French delivrer, from the Latin līberō, from līber (free), from the Old Latin loeber, from the Proto-Italic louðeros, from the primitive Indo-European hléwdheros, from hlewdh- (people) + the prefix de- (from the Latin dē-, from the preposition dē (of, from).  It was cognate with the Ancient Greek ἐλεύθερος (eleútheros), the Sanskrit रोधति (ródhati), the Dutch lieden, the German Leute and the Russian люди (ljudi) (people); the Old English æf- was a similar prefix.  The word was a noun use of the feminine past participle of delivrer (to deliver) with the suffix assimilated to –ery.  Delivery, deliverer, deliveree, deliverance & deliverability are nouns, deliver & delivered are verbs & adjectives, deliverable is a noun & adjective, delivering is a noun & verb; the noun plural is deliveries. 

Delivery systems

The definition of delivery systems tends to be elastic, ranging from simple, single-se devices to entire trans-national human and industrial processes.  A hypodermic syringe can be thought a delivery system for a vaccine yet that vital machine is just one, small, inexpensive part in the delivery system for a vaccination programme in response to a pandemic.  Such a global programme demands a delivery system with many human and mechanical components: research, development, testing, multi-jurisdiction legal & regulatory compliance, production, distribution, software, hardware, refrigeration, storage and administration, all before the first nurse has delivered even one injection.

The Manhattan Project's uranium-based Little Boy (left & dropped on Hiroshima) and the plutonium implosion-type Fat Man (right & dropped on Nagasaki).  So confident was the project team in the reliability of the uranium bomb it wasn't tested prior to use while the worlds first nuclear explosion was the "Trinity Test" conducted in the New Mexico desert on 16 July 1945 when a plutonium device was detonated.  For decades, as a uranium device, the Hiroshima was a genuine one-off, all the nuclear weapons built using plutonium but it's possible that more recent entrants to the club such as the DPRK (North Korea) and Pakistan may have been attracted to uranium because of the speed and simplicity of construction. 

Delivery systems can thus be very expensive and it's not uncommon for the cost vastly to exceed whatever it is they were created to deliver.  The Manhattan Project (1942-1947) which produced the first nuclear weapons officially cost some two billion dollars ($US2,000.000,000) at a time when a billion dollars was a lot of money.  Expressed as pre-pandemic (2018-2019) money, the A-bomb project probably cost the equivalent of some US$30 billion and somewhat more once adjusted for recent inflation.  Given the physics and engineering involved, the cost seems not unexceptional but remarkably, the development of the best-known component of the bomb's delivery system was more expensive still.  Between the first studies in 1938 and its eventual commissioning in 1944, Boeing’s B29 Superfortress absorbed over three billion dollars even though, unlike the bomb which was revolutionary and startlingly new, conceptually, the bomber was an evolution of the existing B17.  It was however a collection of challenges in engineering which grew in extent and complexity as the project progressed and it was soon realized the initial specifications would need significantly to be upgraded to produce a machine which reliably could carry the desired bomb-load at the necessary altitude over the vast distances missions in the Pacific would demand.

The Boeing B29 (Enola Gay) used to deliver "Little Boy" to Hiroshima.  It was one of the "Silverplate" run which integrated a number of weight-saving measures and aerodynamic improvements as well as the modified bomb-bay.

It was the B29's engines which were the cause of much of the effort.  Early modelling suggested the use of six or even eight engines was viable in terms of a flyable airframe but the approach would so compromise the range and load capacity it would render the thing useless for the intended purpose so the four-engine configuration had to be maintained.  Jet engines would have been the answer but at that stage of their development, they lacked power, reliability and their fuel consumption was too high so a new piston engine was needed and that it would need to be of larger capacity was obvious.  However, it needed also to be of a design which didn't significantly increase frontal area so the only solution was effectively to couple two engines, one sitting behind the other.  That delivered the necessary power and the weight increase could be tolerated but induced a tendency to overheat because the rearward components received so much less of the cooling air-flow.  What made the consequences of that worse was the use of so much weight-saving but highly combustible magnesium and although ameliorated during development and in service, the inherent problem was never entirely solved and it was only in the post-war years when a different engine was fitted that the issue vanished.  As a quirk of history, although now thought of as the A-bomb's delivery system, the B29 was obviously never designed with it in mind and when the time came, it was found it didn't fit in the bomb-bay.  The Royal Air Force's (RAF) Avro Lancaster could have carried it but the US military declined to consider that option and a special run (the "Silverplates") of B29s was constructed with the necessary modifications.

The 18-cylinder, two-row Wright R-3350 Duplex-Cyclone radial used in the war-time B-29s (left) and the 28-cylinder four-row Pratt & Whitney R-4360 Wasp Major radial adopted post-war.    

However, although a wartime necessity, the big piston engines were a military cul-de-sac but an innovation in the B-29 which was influential was the use of what would now be understood as a "computer-directed" (not "computer-controlled" as is sometimes stated) fire control systems which allowed two crew remotely to operate the four-turret defensive armament.  Systems like that, of which there were a few, were a reason the B-29 venture was so expensive but there have been analysts who have looked at the records of both it and the Manhattan Project and concluded the costs of the latter were probably understated because, as something for years top-secret until the bombing of Hiroshima was announced in August 1945, a significant proportion of the real expenses were charged elsewhere (notably distributed among the military's many other activities) to hide things from congressional view, everyone involved knowing that if something needs to be kept secret, the last people who should be told are politicians.  Estimates of the extent of the accounting slight-of-hand have varied but it has been suggested it may have been as high as 25%.  In industry, such thing are far from unknown.  It's long amused some that the failure of Ford's doomed Edsel (1958-1960) could be attributed to it being little more than a superficial variation of existing Ford & Mercury models (sharing engines, transmissions, platforms & assembly plants) yet when the brand was dumped Ford booked a loss of US$250 million (US$2.6 billion in 2023 dollars).  There were all sorts of corporate advantages in stating the loss as it was done and it involved things like charging the cost of developing one of the engines used wholly against the Edsel programme, even though it would serve in millions of Fords and Mercury models until 1976.

Beware of imitations: The US Boeing B-29 and the Soviet Tupolev Tu-4 clone.

One unintended beneficiary of the huge investment in the B29 was the Soviet Air Force.  Three B29s had fallen into Russian hands after emergency landing on Soviet territory and these, despite repeated requests, Moscow declined to return to their rightful owners, instead taking one apart and meticulously, part-by-part, duplicating every piece and from this, assembled their own which was released as the Tupolev Tu-4 (NATO reporting name: Bull).  In production between 1949-1952, the reverse-engineered clone remained on the active list of the Soviet military until 1964 and some were still in service with the Chinese PLA (People's Liberation Army) in 1987.  Although the Tupolev lacked some of the Boeing's advanced electronics, the Russian engineers managed to deliver an aircraft close in weight to the original despite not have access to some of the more exotic metals although it was later admitted to achieve that there were some compromises in the structural redundancies fitted.

The German V2 (one of the Vergeltungswaffen ("retaliatory weapons" or "reprisal weapons")), the worlds first ballistic missile.  As a delivery system, although inaccurate, even in 1945 it would have been effective had a nuclear warhead been available but its small payload limited its application as a strategic weapon and it was able to be produced at scale only because of the use of expendable slave labor. 

In a more conventional use of the spoils of war, the Americans were also the beneficiaries of the development of someone else's delivery system.  Nazi Germany’s big V2 (A4) rockets were (more-or-less) perfected at a cost which after the war was revealed to be higher even than the official number booked against the Manhattan project and that was not surprising given it was in its way just as ambitious.  In what was a hastily organised effort, the Allied occupation forces in 1945 rushed to grab as much of the material associated with the V2 as they could lay their hands on, train-loads of components, drawings, machine tools and test rigs sent westward from territory which, under the terms agreed at the Yalta Conference (February 1945) were to be handed to the Russian.  Just as significantly, there was a major round-up of German scientists, engineers and technicians who has worked on the V2, most of whom were anxious to be "rounded-up" by the Americans, the alternative being a career in Russian "employment".  The round-up (operation paperclip) remains controversial because matters like a Nazi past or complicity in the use of slave labor were often overlooked if an individual's contribution to the Cold War was thought to be of value and the V2 certainly saved the US from having to spend much money and perhaps a decade or more developing its own delivery system for nuclear warheads and not only were the ICBMs (intercontinental ballistic missiles) lineal V2 descendents, so was the Saturn V delivery system for the Apollo missions which enabled a dozen men to walk on the moon.

Post delivery: Lindsay Lohan's nursery in a theme of aquatic blue & white.

In humans, the female of the species is final component of the delivery system and on 17 Jul 2023 Lindsay Lohan announced she had delivered a baby boy, named Luai (an Arabic name which can be translated as “shield” or “protector”).  The child’s career in commerce has already begun, Ms Lohan partnering with Nestig to design not only her nautically-flavored nursery, but also a collection of baby products inspired by the imagery of the sea.  The nursery is a functional space in that the brand’s Wave dresser is adaptable to dual-use as a changing table and Nestig's cloud crib is modular and may later be converted into a toddler bed.

Lindsay Lohan with Nestig Aviator Mobile.  The aviator mobile was said to be “designed in partnership with Lindsay Lohan” and “handcrafted and hand-assembled by artisans in Brazil from wood, felt and locally-sourced wool” each “thoughtfully packaged in a Nestig gift box” (US$85; attachment arm sold separately).

Protocol

Protocol (pronounced proh-tuh-kawl, proh-tuh-kol or proh-tuh-kohl)

(1) In government (applied especially to the diplomatic service), the customs and regulations dealing with diplomatic formality, precedence, and etiquette.

(2) By extension, an accepted code of conduct; acceptable behavior in a given situation or group.

(3) In diplomacy or other intra- & inter-governmental relations, an original draft, minute, or record from which a document, especially a treaty, is prepared.

(4) An agreement between states (or other national or international entities) or a supplementary international agreement (some notably being secret).

(5) An annex to a treaty containing technical data, definitions etc.

(6) In clinical medicine, the plan of a patient's treatment regimen (which can be a generalized document).

(7) In academic research (especially in medical trials including living subjects), the details, standards & safeguards etc.

(8) In computing, a set of rules governing the format in which data must exist to communicate between devices.

(9) In philosophy, a statement reporting an observation or experience in the most fundamental terms (ie without any commentary or other interpretative layers (and sometimes taken as the basis of empirical verification, as of scientific laws).  It’s known also as the protocol statement, protocol sentence & protocol proposition

(10) To draft, submit for consideration or issue a protocol; to make a protocol of; to make or write protocols; to issue protocols (actual use now probably extinct although such forms do still exist in some diplomatic manuals).

(11) In the Roman Catholic Church, (1) the introduction of a liturgical preface, immediately following the Sursum corda (lift up your hearts) dialogue & (2) an official list (technical details or consequential documents) which, since the late nineteenth century have sometimes been appended (at the beginning or end) to documents such as charters and papal bulls.

1535–1545: From the earlier protocoll, from the Middle French protocolle & protocole (document, record), from the Medieval Latin prōtocollum, from the Byzantine Greek πρωτόκολλον (prōtókollon) (the first kóllēma (a leaf or tag) glued to a rolled papyrus manuscript, listing the contents), the construct being πρῶτος (prôtos) (first) + κόλλα (kólla) (glue).  A kóllēma was “something bound or glued together”.  Proto- was a learned borrowing from the Ancient Greek πρωτο- (prōto-) from πρῶτος (prôtos) (first), superlative of πρό (pró) (before).  In the mid-fifteenth century the spelling prothogol had been used (meaning literally “prologue”) and by the 1540s prothogall (draft of a document, minutes of a transaction or negotiation, original of any writing”, again from the thirteenth century French prothocole (which in Modern French persists as protocole) was in use.  Protocol is a noun & verb, protocolar is a noun, protocoled & protocolled are verbs and protocolary & protocolic are adjectives; the noun plural is protocols.

The plural form was kollēmata (sheets of papyrus glued together to form a roll) and on the basis of those extant or referenced elsewhere, each was typically between 16-24 sheets which, when un-rolled, extended to between 18-30 feet (5.5-9 m).  It’s not clear when use began but the earliest documented evidence of use is from the early medieval period.  A tube-like prōtókollon (usually of a rougher form of parchment but some seem to have been made from tree bark) protected a rolled-up scroll and the original was similar to what in modern publishing came to be called the colophon (containing variously copyright details, a mark of authentication, the date of publication, the font and typesetting data and the name of the author) although the usual function was to list a summary of the contents, any errata or the purpose of the work.

The Protocols of the Elders of Zion (with preface and explanatory notes), The Patriotic Publishing Co., Chicago, 1934.  Ludwig Rosenberger Library of Judaica.

All such things were of course those which comprised the framework of government & diplomacy and, by the mid-nineteenth century, French bureaucrats had formalized the protocol as (1) “an official record of a transaction & a diplomatic document” (especially an agreement between states to achieve certain things by peaceful means) and (2) “official norms of behavior or etiquette to be maintained between states and their ministers”.  The later sense was understood in English by at least 1896 and by 1952 it was in common use to describe “civilized behavior” in society generally, becoming a popular word in the etiquette guides which proliferated (along with the middle class) in the post-war years.  Long in thrall to all things French, the use relating to matters etiquette was late in the nineteenth century picked up by Russian diplomats and from the Tsar’s court it entered various state apparatuses (of which the Tsar had many), the foreign ministry creating protokóls for everything from the thickness of the carpet allowed in offices according to the rank of the occupant to the form of words to be used when declaring war.  The police used protokól as a heading of “official police records of a case, interview or incident” although the use in Russia will forever be associated with the infamous forgery Протоколы сионских мудрецов (Protokoly sionskikh mudretsov) (The Protocols of the (Learned) Elders of Zion (1903)), an anti-Semitic tract published in English under the title The Jewish Peril (1920).  Although debunked as a forgery as early as 1921, The Protocols of the Elders of Zion enjoyed a remarkable life in the twentieth century, accepted as authentic even by some otherwise respectable professors and it remains widely available.  It purports to be the minutes of a secret meeting held by Jewish leaders (known as the Elders of Zion), who met allegedly to conspire to control the world, manipulate governments, and establish a global Jewish domination.  There have been a number of theories about the origin of the protocols and its spread has been compared to the conspiracy theories published by QAnon on 4Chan and other places in that such things rely less on the authenticity of their content than the accessibility to an audience which, even in embryonic form, already maintains those views.

In computing, the terms "protocol" and "parameter" are (casually) sometimes used interchangeably and while it is true protocols contain many parameters, correctly, the two words refer to different concepts.  A protocol is a set of rules and conventions, the best known of which are those which govern the communication between devices in a network; it defines the format, timing, sequencing, and error control of the data packets which are the messages exchanged between these entities.  The significance of protocols is that they ensure diverse devices and systems can interact effectively, removing the need for the hardware to be substantially similar and in that they can be compared with operating systems which sit atop sometimes very different hardware.  The best known network protocols include HTTP (Hypertext Transfer Protocol), TCP/IP (Transmission Control Protocol/Internet Protocol) and SMTP (Simple Mail Transfer Protocol) although two of the oldest (RS-232, RS-422 & RS-485) serial communications protocols are still in use in the odd niche. By contrast, a parameter is a variable, a value passed to a function, procedure, or command in order to customize its behavior or provide input for its execution.  Parameters are helpful because they allow software to be flexible and adaptable by accepting different inputs without demanding changes to the code.  Parameters may be compared to the range of adjustments offered by the driver’s seat in a car.  Were no adjustments available, manufacturers would have to produce different models for people of different heights.

Lindsay Lohan released NFTs based on Trons’s TRC-721 protocol (functionally similar to Ethereum’s ERC-721).

The recent collapse in the non fungible token (NFT) market surprised few of the analysts who had predicted a bubble market based on selling something “non-fungible” which merely referenced something inherently fungible and infinitely duplicable wouldn’t long last and would be among the first victims of any instability in the wider economy.  Analysts always enjoy being able to say “I told you so”.  Still, the NFTs themselves (in the sense of the object on a blockchain) have a robustness which offers much promise as a kind of macro-title document and, if regulators can agree, the concept may have a future in fields like land title or ownership certificates for traded, high-value collectables.  The infrastructure is certainly beyond the embryonic because a number of blockchains have added support for NFTs since Ethereum created its ERC-721 standard.  ERC-721 is an “inheritable” protocol which means developers can create contracts by copying from a reference implementation, a contract able to be tracked to the owner of a unique identifier and it includes a mechanism by which ownership can be transferred.  Ethereum also developed the ERC-1155 protocol which (a little misleadingly), they described as offering a “semi-fungibility” whereby a token represents a class of interchangeable assets.  Ethereum did however demonstrate the inherent flexibility of the NFT approach even if they did little to improve the transactional speed although, if the protocols have a future in low-volume, high-value items such as land or collectable physical objects, that really matters little.  There were though other approaches and the Tron Network released their NFT model using Proof-of-Stake (PoS) which differs from Ethereum’s Proof-of-Work (PoW) based blockchain.  PoS & Tron’s TRC-721 protocol, cheaper and faster to use, attracted Lindsay Lohan when she released some “collectables” as NFTs.