Breakaway

Breakaway (pronounced breyk-uh-wey)

(1) An act or instance of breaking away; secession; separation.

(2) A departure or break from routine or tradition.

(3) A person, thing or institution which breaks away.

(4) An object, used in theatrical productions as a prop, constructed easily to break or fall apart (also used to describe costumes designed quickly to be change and thus easily removed), especially upon impact; by extension, anything deliberately constructed of lightweight material or in such a way as to shatter or come apart easily, sometimes as a safety feature.

(5) In ice hockey, a sudden rush down the ice by a player or players in an attempt to score a goal, after breaking clear of defending opponents.

(6) In various codes of football, a run by an offensive player breaking through the defense for a long gain.

(7) In basketball, a term for the fast break.

(8) In rugby union, two forwards positioned at the side of the scrum (also called flankers).

(9) In Australian rural slang, an animal that breaks away from the herd or flock or a synonym for a stampede of a number of beasts.

(10) In Australian geographical slang, an eroding steep slope on the edge of a plateau; an escarpment; a channel of floodwater that has burst from its usual course; or the track or channel eroded by the water (archaic).

(11) Of, relating to, or being that which separates or secedes.

(12) In horse racing, a premature start.

(13) In bicycle racing, a individual or group of riders which has gone ahead of the peloton (the main group).

(14) In the entertainment industry, enjoying sudden & rapid popular success as a result of one role, release etc (archaic, now called “break-out”).

(15) In geopolitics, a sometimes used alternative descriptor for the renegade province of Taiwan. 

1885–1895: A noun & adjectival form based on the (verb) phrase “break away”.  Break was from the Middle English breken, from the Old English brecan (to break), from the Proto-West Germanic brekan, from the Proto-Germanic brekaną (to break), from the primitive Indo-European breg- (to break).  Away was from the Middle English away, awey, awei, oway, o wey & on way, from the Old English āweġ & onweġ (away), the original form being on weġ (on one's way; onward; on), the construct being a- (on) +‎ way (a road; direction).  It was cognate with the Scots awa & away (away), the Old Frisian aweg & awei (away), the Saterland Frisian wäch & wääge (away), the Dutch weg (away), the German weg (away), the Danish væk (away) and the Swedish i väg (away; off; along).

The phrase “break away”, in the sense "disengage oneself abruptly, escape" dates from the 1530s.  The late nineteenth century breakaway was used to describe physical objects, especially specifically engineered theatre props.  The use in sport was noted first in 1906 while the hyphenated break-away seems initially to have been used to describe those individuals associated with breakaway movements but a convention of use never emerged.  The use to describe splinter groups or anything schismatic began in the adjectival sense in the 1930s and was so joined by the noun and in that context the synonyms include breakup, separation, defection, dissension, disunion, division, parting, rift, rupture, schism, split, disaffiliation, & splinter group.

All Blacks vs the Barbarians, Cardiff Arms Park, 1973.

Rugby Union is noted, inter alia, for some inconsistencies in the names applied to positions.  The reasons for this are historical as the game’s origins lie in the early nineteenth century at a time when communication was slow and irregular between the parts of the British Empire (and the US) where it was played.  Nomenclature thus evolved in bubbles (as did some rules) and it seems that in Australia and New Zealand, the terminology could differ even between provinces.  Despite professionalism, some of the differences persist to this day which is why mysterious terms like “second five-eight” and “wing three quarter” still sometimes baffle neophyte audiences.  The breakaway is now more commonly called the “flanker” and there are blindside flankers (No 6) and openside flankers (No 7), the distinction being that the No 7 attaches (loosely) to the scrum on whichever side is further from the nearer touchline.  Breakaways are there to tackle the opposition and hopefully steal the ball and, although not tightly bound to the scrum, do contribute to its rigidity by applying lateral force.  The breakaways are the most obvious variation from the formation used in the breakaway (the split from rugby union dating from 1895) code of rugby league which otherwise uses the same positions and field placements, although, reflecting the later, more codified origin, the terminology tends to be more consistent between nations.

Breakaways: GAFCON and the Diocese of Southern Cross.

Belonging to a long tradition of splits, squabbles, schisms and general fissiparousness in Christianity and other faiths, congregations of Australia’s breakaway faction of the Anglican Church this week began meeting in suburban clubs and halls.  Modest though the surrounds might have been, the turbulent priests are not all that lonely in their walk, joining the Global Anglican Future Conference (GAFCON), an umbrella breakaway group dividing the Anglican Church in many countries.

GAFCON’s core objections are to the “revisionist interpretations” of the Bible by Anglican bishops, a slippery slide of “heresies” which have permitted the ordination of women, the blessing of same-sex marriages and a permissive attitude towards divorce.  Accordingly, the Diocese of Southern Cross was recently launched at a GAFCON conference in Canberra, the announcement made by its new bishop, Glenn Davies (b 1950; Archbishop of Sydney 2013-2021), the Anglican church’s former archbishop of Sydney.  In a statement which was a lament rather that a celebration, the bishop noted it was “…a sad day, in many ways”, adding that “…if the leadership would repent and turn back to the teachings of the bible, we wouldn’t need the Diocese of Southern Cross. I’d shut it down and come back.”  He denied procuring worshipers from other congregations, saying “I’m not luring people in, I’m not recruiting; I’m providing a safe haven and they can come to me.”

The way things used to be done.  St George's Anglican Church, Beenleigh, Queensland, Australia.

The Australian event is the latest expansion of a movement that is dividing the communion in many countries with rebel dioceses having already been formed in North America, South America, Africa and Europe and there are many who concede the schism has already evolved to the point where it must be acknowledged there are now two Anglican Churches in the US.  The nature of religiosity among Christians in Australia is however different from the US experience, both qualitatively and quantitatively.  Anglicanism was between white settlement in 1788 and the twenty-first century, at least nominally, most numerous denomination in Australia but the most recent census data revealed Anglican affiliation dropped more than any other religion in the past five years, from 3.1 to 2.5 million people, almost one in five and fewer than 10% of the population now self-identify as Anglican.  Of this declining sect of Christianity, many predict the breakaway Diocese of Southern Cross will grow but it’s unlikely to assume the critical mass such movements can attain in Africa and the Americas, simply because there simply aren’t enough folk who take religion that seriously.

The new way.  The first service of the Diocese of Southern Cross was held in a meeting room of the Beenleigh RSL (Returned Services League) & Golf Club.

 The breakaway GAFCON is not a new formation.  The culmination of the internal stresses visible in the Anglican communion since the 1968 Lambeth Conference, GAFCOM coalesced over three conferences held between 2008-2018, convened by conservative Anglican bishops and leaders concerned about the establishment’s positions on issues such as the ordination of women, secularism, HIV/AIDS , the matter of gay clergy and marriage equality.  Provocatively held one month prior to the 2008 Lambeth Conference, GAFCON made clear it existed because of heresy, the revisionist "false gospel" which since the 1960s had become part of Anglican orthodoxy, claiming it denied the uniqueness of Jesus Christ and promoted a corrosive cultural relativism which accepted a "variety of sexual preferences and immoral behavior as a universal human right".  These matters had been debated by the factions for years but it was the consecration of the confessed (and non-celibate) homosexual Vicky Gene Robinson (b 1947; Bishop of the Episcopal Diocese of New Hampshire 2004-2013) as a bishop by the Episcopal Church in the US which induced the conservative faction be explore an institutional formation, either to “march through the institution” or form a separate church, depending on how the numbers fell.

As things turned out in 2008, it seemed clear a takeover wasn’t (yet) a practical proposition but that GAFCON would continue as a concept.  What was decided was to create in North America, where the threat seemed greatest, a kind of parallel church, an ecclesiastical structure which would cater for conservative Anglicans, a mechanism possible the communiqué asserted because the Archbishop of Canterbury is not a pope and his recognition of an institution is not required to secure a presence within the Anglican Communion.  In a nice touch, the 1662 Book of Common Prayer was called "a true and authoritative standard of worship and prayer”.  Lambeth Palace, predictably, while noting the breakaway’s position was fraught with theological and structural difficulties, otherwise did nothing.  Schisms sometimes flourish, sometimes fade away, sometimes are re-absorbed by the establishment and sometimes cause wars.  With the Lambeth Conference having just concluded, attention will now turn to at least three of those options.

The word “breakaway” can be used of used of Hollywood starlets who wish to break away from the innocent persona of their youth (left), chocolate bars with a wafer centre (a la the Kit Kat) (centre) and devices designed to break away from their connection at a certain stress point (right).

Alligate

Alligate (pronounced al-i-geyt)

To attach; to bind together (obsolete).

1535–1545: As alligāte, from the Latin alligātus (tied, bound), past participle of alligāre & second-person plural present active imperative of alligō (I bind), the construct being al- + lig- (bind) + -ate.  In Latin, the al- prefix was a euphonic alteration of ad-, assimilating the D into the initial L of the word the prefix is applied to.  The English form was from the Middle English al-, from the Old English eal- & eall- (all-).  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  The only word with which alligate might have been confused was the early thirteenth century allgate (all of the time, on all occasions (and by mid century "in every way")), probably from the Old Norse phrase alla gotu (a way); it picked up the adverbial genitive -s from the late fourteenth century to become allgates.  Fortunately though, both alligate & allgate are obsolete although alligate does occasionally appear in literary fiction, something which delights some and annoys others.  Alligate, alligating & alligated are verbs and alligation is a noun; the noun plural is alligations.

Alligators and crocodiles

The reptile alligator is a crocodilian in the genus Alligator of the family Alligatoridae, two species of which remain extant, the American alligator (A. mississippiensis) and the Chinese (A. sinensis), a number of extinct species known from the fossil record, the first dating from the Oligocene epoch, some 37 million years ago.  The word alligator is thought to be an anglicized form of the mid-sixteenth century Spanish el lagarto (the lizard), the construct being el (the) + lagarto (lizard), from the Vulgar Latin lacertus (lizard), the term adopted by early Spanish explorers in Florida and reflecting this, the early (an now extinct) spellings in English included alligater, alligarta, aligarto, alegarto & alagarto, many probably the result of transcription from oral sources.  It wasn’t until 1807 that the spelling in English was settled as alligator and that was thought to be influenced by the previously unrelated Latin alligāte (to attach; to bind together), those involved in the early taxonomy of zoology and botany always anxious to maintain a Classical connection.  In that it was probably alligāte’s last contribution to English.

A difference best assessed at a safe distance.

Looking very similar to untrained eyes, alligators and crocodiles are both large, lizard-like reptiles famous for their large, powerful jaws, sharp teeth, long tails, and skin which varies from the thick and plated protective covering on the upper body and the softer skin on the belly, the much sought-after examples being those with the patterns and colours best suited to handbags, shoes and upholstery.  Alligators tend to be darker and have broader snout and when in the water, usually lurk under the surface, with only the eyes visible.  In contrast, crocodiles typically hold the top of their head out of the water and a distinguishing physical difference is visible when the jaws are closed, only the only their upper teeth of an alligator displayed but both the upper and lower teeth of crocodiles remain exposed .  Alligators now live almost exclusively in the south-eastern US and eastern China whereas crocodiles are found in the tropical areas of Africa, Asia, the Americas, and Australia.  The once common co-habitation of the species in the wild is now rare but has been documented in southern Florida.  Taxonomically, alligators and crocodiles are not only separate  species but belong to different genera (alligators belong to the genus Alligator, crocodiles belong to the Crocodylus) but both are of the order Crocodylia, so to refer to them all as crocodilians is correct, reflecting the divergence long ago from the last common ancestor (LCA).  They behave differently, crocodiles usually more aggressive than alligators although in Australia there are the “freshwater crocodiles” which are notably more passive though the terminology can be dangerously misleading, “saltwater crocodiles” inhabiting rivers and lakes.  Along with birds, they are the only living descendants of the ancient archosaurs.

The alligator clip

It’s a charming linguistic coincidence that the alligator clip (which attaches things together), named apparently because of the visual similarity to the reptile’s jaws, seems also linked to the Latin alligāte (to attach; to bind together).  That’s almost certainly not true but, if it did at the time occur to anyone, it definitely was alligāte’s last contribution to English.  Curiously, in some markets they’re called crocodile clips although internationally, there’s no difference in technical specification noted between the two and it seems only localized traditions of use which account for the two names (a la cantaloupe v rock melon, aubergine v eggplant etc).

Despite that, had the industry wished, product differentiation would have been possible because in the products available, there are variations in design which align with the anatomical variations between the reptiles.  There are clips with U shaped and V shaped jaws so they could have been named differently although the manufacturers don’t respect the variations in dental anatomy, both types produced with one or both rows of teeth visible when the jaws are closed and there are specialized clips with one row or none.  One noted adaptation is the alligator hairclip with elongated, curved, jaws.

Lindsay Lohan with alligator hair clips in place (left) and an alligator hair clip in three aspects (left).  Ms Lohan recommends using alligator clips to keep hair temporarily restrained while one is performing one's skin-care routine.

Flamingo

Flamingo (pronounced fluh-ming-goh)

(1) Any of several aquatic birds of the family Phoenicopteridae (order Ciconiiformes), having very long legs and neck, webbed feet, a bill bent downward at the tip and pinkish to scarlet plumage; they tend to inhabit brackish lakes.

(2) In the color spectrum, a shade of reddish-orange but in commercial use, usually a bright pink.

1555–1565: From the Portuguese flamengo, from the Old Occitan (Old Provençal) flamenc, (flame colored) from the Latin flamma (flame) to which was appended the Germanic suffix –enc (ing) denoting descent from or membership of.  Both the Portuguese flamengo (related to chama & flama) and the Spanish flamengo translate literally as "flame-colored" (the Greek phoinikopteros (flamingo) is literally translated as “red feathered").  Of the Belgium region, Fleming (from the Spanish flamenco) appears originally to have been a jocular name, coined because of the conventional Romance image of the Flemish as ruddy-complexioned.  The more serious types among the ornithologists say the collective noun is "a stand" but most favor the more evocative "flamboyance of flamingos".  One suspects the birds would prefer it too. 

Lindsay Lohan with yoga mat in flamingo pink tracksuit in Dubai.  The term "flamingo pink" is often a bit opportunistic given the coloring of the birds varies so widely depending on their diet, many often more of an orange hue than red or pink.  Most manufacturers seem to position "flamingo pink" as a shade somewhat toned-down from "hot-pink" or fuchsia.

Safety in numbers: Wildlife photographer Ron Magill's (b 1960) image of flamingos in the "Miami Zoo Public Bathroom", sitting (standing) out Hurricane Andrew, the Category 5 Atlantic hurricane which struck Florida in August 1992.  It remains the most destructive weather event recorded in Florida.  The flamingos survived.

Flamingos are omnivores, filter-feeding on brine shrimp and blue-green algae as well as larva, small insects, mollusks and crustaceans, their vivid pink or reddish feathers a product of the beta-carotenoids of this diet.  The birds usually stand on one leg with the other tucked beneath and why they do this is not understood.  One theory is that standing on one leg allows them to conserve more body heat, given that they spend a significant amount of time wading in cold water, but the behavior is also observed in warm water and among birds ashore.  The alternative theory is that standing on one leg reduces the energy required for the muscular effort to stand and balance and flamingos demonstrate substantially less body sway in a one-legged posture.

Perhaps the world's only black flamingo.

In 2015, during a routine "flamingo count",  a black flamingo was observed on the salt lake at the Akrotiri Environmental Centre on the southern coast of Cyprus, zoologists noting it may not merely be rare but perhaps the only one in existence and it's assumed to be the same bird seen in Israel in 2014.  Greater Flamingo flocks are known regularly to fly long distances.  The black feathers are a result of melanism, a genetic condition in which the pigment melanin is over-produced, turning the plumes black during development.  The opposite of melanism is albinism, when no melanin is made and the animal is colorless except for a faint hue (from red blood vessels) in the eyes.  There are many intermediate stages between melanism & albinism where various pigments partially are missing, resulting the patchy coloration known as leucism but albino and leucistic (partial albino) birds are not uncommon, unlike the genuine rarity of the melanistic flamingo.  Why flamingos are so rarely affected while black owls, woodpeckers, herons and many others often observed isn't known but the condition appears to be most common in a some species of hawk species, jaegers and some seabirds.  Pedants noted the much-travelled black flamingo actually had a few white tail feathers but the zoologists said they were too few for it not to be regarded as melanistic.

RAF de Havilland DH.95 Flamingo Mark I.

First flown in 1938 and entering service in 1939, the de Havilland DH.95 Flamingo was a twin-engined, high-wing monoplane airliner, the design reflecting the then current thinking on short-haul civil aviation, the emphasis on passenger comfort and economy of operation.  De Havilland’s designers used the US Douglas DC-3 (the Dakota, then the dominant airframe in civil use), as a model, the Flamingo scaled-down slightly better to suit the economics of European operations.  Although never envisaged as a military platform, the Air Ministry placed an order for a small run to be used as transport and communications aircraft but production plans were interrupted by the outbreak of war and it was decided de Havilland’s capacity should be utilized building machines urgently needed for the war.  Eventually, only twelve Flamingos were built and those used by the military were all struck from the active list before the war was over, some returned to civil use, the last remaining in service until the early 1950s.  The Flamingo is however over-represented in the wartime photographic record because it was a Royal Air Force (RAF) Flamingo which was Winston Churchill’s (1875-1965; UK prime-minister 1940-1945 & 1951-1955) preferred short-haul transport and in one he made his famous flights to France in May 1916 as he attempted to stiffen the resolve of the French cabinet to remain in the war.

The Flamingo Pose

Among humans, the reason for the flamingo pose is well understood: Instagram.  It’s in the tradition of earlier "duck face", "fish gape pose", "t. rex selfie hand", "bambi pose", "ear scratch" and "migraine pose".  Technically sometimes challenging if attempted while standing, models suggest using a wall or handrail for balance if the photo session is at all protracted.  A better alternative can be to pose while sitting, one leg extended, the other bent or tucked away in some becoming manner.

The flamingo pose, perfected by Gigi Hadid (b 1995).  Note the hand braced against the wall, a technique borrowed from structural engineering which lowers the centre of gravity, enhancing stability.

Tape

Tape (pronounced teyp)

(1) A long, narrow strip of linen, cotton, or the like, used for tying garments, binding seams or carpets etc.

(2) A long, narrow strip of paper, metal etc.

(3) A strip of cloth, paper, or plastic with an adhesive surface, used for sealing, binding, or attaching items together; adhesive tape or masking tape; the trade-name “Scotch Tape” is often used as a generic descriptor.

(4) As tape measure, a flexible type of ruler, especially useful for measuring curved shapes.

(5) As finishing tape, the string stretched across the finishing line in a race and broken by the winning contestant on crossing the line; also sometimes incorrectly referred to as “finishing line” which technically is the line marked on the ground.

(6) In financial trading or news dissemination, a paper tape on which a stock ticker, news ticker or similar device would print incoming information (obsolete although the concept is still used in digital form).

(7) As magnetic tape, a usually re-usable media used to record, store and retrieve information and mounted in devices such as tape recorders, tape decks, tape arrays and tape drives, the physical tape on spools or in cassettes; in more precise forms as audio tape, data tape, videotape etc.

(8) To furnish with a tape or tapes.

(9) To tie up, bind, or attach with tape.

(10) To measure with or as if with a tape measure.

(11) To record on magnetic tape (although the phrase “to tape” is used also to refer to recording and similar activities even when no physical tape is used.

(12) As red tape, a slang term referencing bureaucratic inefficiency and delay, named after the literal red (actually often a shade of mauve) for centuries used in the British civil service to secure un-bound files.

(13) In mechanical printing, a strong flexible band rotating on pulleys for directing the sheets in a printing machine (mostly obsolete).

Pre 1000: From the Middle English tape (an unexplained variant of tappe), from the Old English tæppa & tæppe (ribbon, strip (of cloth), literally “part torn off”), akin to the Middle Low German tappen & tāpen (to grab, pull, rip, tear, snatch, pluck) and related to the Old Frisian tapia (to pull, rip, tear), the Middle High German zāfen & zāven (to pull, tear) and the Middle Dutch tapen (to tear).  The source of the Old English tæppa & tæppe is uncertain but etymologists suggest they may be back-formations from the Latin tapete (cloth, carpet).  The original short vowel became long in Middle English.  Tape & taping are nouns & verbs and taped is a verb; the noun plural is tapes.

Many other languages picked up tape or localized variations including Danish (tape), Dutch (tape), Hausa (têf), Hindi (टेप (ṭep)), Irish (téip), Japanese テープ (tēpu), Korean (테이프 (teipeu)), Norwegian (both Nynorsk & Bokmål) (tape & teip), Swahili (tepe), Swedish (tape & tejp), Thai (เทป (téep)), Tibetan (ཊེབ (ṭeb)), Turkish (teyp), Phalura (ṭeép) and Welsh (tâp) although, since tape began to be used in the context recording & storage media, the English “tape” is often used even if a local form exists in the sense of “to bind” or “a strip of fabric” etc.  The word is widely used as an element (tapeworm, magnetic-tape, tape-drive, tape-machine, tape-gun, tape-loader, tape-recorder, ticker tape, tape-measure, cassette tape et al) and there are a wide variety of adhesive tapes (electrical tape, duct tape, gaffer tape (originally gaffer's tape) sticky tape, Scotch tape & Sellotape (both registered trademarks), masking tape, packing (or packaging or parcel) tape, insulating (or insulation) tape et al), each with a slightly different specification dictated by their intended purpose or spot in the market. 

Tape scene: Lindsay Lohan as Tess Conway in Freaky Friday (2003).

Adhesive tape dates from 1885 and until the form prevailed, the product was known also as friction tape and two of the best-known, Gaffer tape and duct tape are often confused but, being designed for different purposes, are not interchangeable; distinct in construction and intended application, there can be unfortunate consequences if one is used for tasks where the other would be more appropriate.  The first tape recorders in the modern sense of a "device for recording sound on magnetic tape" were available for sale in 1932 and were then “reel-to-reel” machines, a re-use of the 1892 application describing a "device for recording data on ticker tape", that tape in the sense of "paper strip of a printer", dating from 1884.  Strangely, the verb form “tape-record” seems not to have be used prior to 1950 although the technology had for first been used in 1928; audio-tape is said to from 1957 whereas, counter-intuitively, videotape is attested as a noun from 1953 and a verb from 1958, the explanation being that tape was more widely used earlier in film & television production than in the recording industry which needed less storage space until technologies like LP (long-playing) records and stereo were adopted.  The tape-measure is attested from 1873 and the technical phrase “tape-delay” is from 1968 although the associated techniques had been in use for some time.  The disgusting tapeworm was first named in 1705, so called for its ribbon-like shape.

The phrase red tape (official bureaucratic routine or formula especially the excessive rigmarole), dates from 1736 and refers to the red tape (often also a shade of mauve), formerly used in the British civil service (and many of the colonies including the Raj) for binding up legal and other official documents, the item (requisitioned by the roll) mentioned in the civil service supply lists fist in the 1690s.  The familiar Sellotape was first sold in the UK in 1949 and is a proprietary name of a popular brand of cellulose or plastic adhesive tape.  The noun cassette, much associated with magnetic tape is from the 1793 French cassette (a little box), from a diminutive of the Old North French casse (box) and the first cassettes in the sense of "magnetic tape cartridge" is from 1960.  The ticker tape dates from 1891 and was the actual physical paper tape on which was printed the information (stock prices, news et al) and was derive from the 1883 ticker (telegraphic device for recording stock market quotations), so made because the printing was by means of impact and thus made a ticking sound when in operation.

Marilyn Monroe's dress

Kim Kardashian (b 1980) wore to the 2022 Met Gala the marquisette dress made famous by Marilyn Monroe (1926-1962) when she appeared to sing happy birthday Mr President to President Kennedy (1917-1963; US president 1961-1963) during a Democratic Party fundraiser at Madison Square Garden on 19 May 1962, ten days before the actual birthday.  Within three months, she would be dead.

It couldn’t be expected to cause quite the same stir as sixty years earlier because, cut from a sheer, silk marquisette that almost exactly matched Ms Monroe’s skin-tone, the 2500 hand-sewn rhinestones were intricately positioned to respond to the particular gait she chose for that evening and, under the limelight in the darkened amphitheater, as she moved, the crystals sparkled and the dress came alive.  It was quite a design.  In the hard, white light of the Met Gala’s red carpet, it couldn’t be expected to work the magic it did all those years ago and, not shimmering in the darkness, it seemed lifeless and perhaps it would have benefited from the contrast her lustrous natural hair would have lent but Ms Kardashian wore it well, attracting admiration (and criticism from the usual suspects) too for the reasonable achievement of shedding some 16 lbs (7¼ KG) in three weeks to ensure a comfortable fit.  Digesting the implications of that, keen-eyed fashionistas noted the vintage white coat which Ms Kardashian kept strategically positioned below the small of her back for the ritual walk to and up the staircase, some taking to Twitter to wonder if it was there to conceal that things were quite fully done-up.

The theory is plausible; it’s always been known that in 1962, Ms Monroe had to be “sewn-into” the dress just before the performance.  The day after the Met Gala, photographs circulated purporting to show Ms Kardashian with a generously sized, pear-shaped lacuna between the seams, accompanied with the accusation that the images showing things done up had been digitally modified and the haters were certainly out, one distressed soul lamenting that for Ms Kardashian to wear the dress "...was an absolute disgrace, a tacky photo opportunity" and that "...one of the most important items of clothing in history, is now tainted with the stain of the Kardashians."  There are people who do take pop-culture very seriously.  The green dress she changed into after her ascent had similar lines (and perhaps slightly more generous dimensions) but was certainly done-up and anyway, in either, she looked gorgeous. 

Kim Kardashian demonstrating gaffer tape used in a way not included in the manufacturer's instructions, February 2016.

On that night in 1962, Ms Munroe eschewed underwear but, despite the absent 16 pounds, in 2022 there was still a little more to accommodate than that for which the original structural engineering was designed to cope.  Fortunately, through long practice and extensive product development, Ms Kardashian has some expertise in invisible support, in February 2016 publishing her findings:

“I’ve used everything from duct tape to packing tape to masking tape and I think that the best I’ve found is gaffer's tape,” she said.  "It sticks the best. Make sure you don't have any lotion or oils on when you're lifting your boobs up with the tape.  Just brace yourself for when it's time to take it off, LOL."

That was of course the problem, gaffer tape intended to stick to a range of dry surfaces including timber, metal and carpet but certainly not human skin, the consequences including irritation, reddening and even losing layers of skin.  In response, Ms Kardashian developed a tape which combined the functionality of gaffer tape with the strength and durability to support the weight yet able to be removed with the effortlessness of surgical tape, leaving the skin un-damaged.  Such tapes have been sold for a while, the industry jargon being “tit tape” but the Kardashian version is claimed to be better and, significantly, available in three tones which should suit most skin colors.  Simply called “Body Tape”, it comes in rolls and can be cut to suit, preparation otherwise limited to peeling off the paper backing before applying to achieve the desired effect.  Borrowing from the concept of gaffer tape, Body Tape is reinforced with a flexible stretch cotton, designed to be not too flexible because it needs to stretch only to accommodate human movement while retaining a natural look; it must therefore exist in a “goldilocks zone”, that sweet spot between elasticity and rigidity.

On her Skims website, there’s a helpful promotional video demonstrating Body Tape being applied to a model, the commentary emphasizing it needs to be placed at an angle which will suit the clothing with which it’s to be worn and that typically will mean describing a diagonal angle which will vary according to the neckline being accommodated.  It’s a process which might be better done by two so it’s something couples can enjoy together although, with practice, presumably one would become adept at taping one’s self.  When clothed, the results were impressive though obviously results will vary according to technique and the raw material involved.  The final test was of course was the removal, the reason Body Tape was developed and, without any obvious discomfort, the model peeled off the tape.  "That wasn't painful at all", cheerfully she confirmed.

Skims Body Tape (edited highlights).

The Watergate tapes and the erased 18½ minutes

Looking over his shoulder: Richard Nixon (1913-1994; US president 1969-1974, right) and HR Haldeman (1926–1993; White House chief of staff 1969-1973, left) in the White House.

Tapes, audio and video, have played a part in many political downfalls but none is more famous than the “smoking gun” tape which compelled the resignation of Richard Nixon after it revealed he was involved in the attempt to cover-up the involvement in the Watergate break-in of some connected to his administration.  Recording conversations in the White House had been going on for years and Nixon initially had the equipment removed, the apparatus re-installed two years later after it was found there was no other way to ensure an accurate record of discussions was maintained.  Few outside a handful of the president’s inner circle knew of the tapes and they became public knowledge only in mid-1973 when, under oath before a congressional hearing, a White House official confirmed their existence.  That was the point at which Nixon should have destroyed the tapes and for the rest of his life he must sometimes have reflected that but for that mistake, his presidency might have survived because, although by then the Watergate scandal had been a destabilizing distraction, there was at that point no “smoking gun”, nothing which linked Nixon himself to any wrongdoing.  As it was, he didn’t and within days subpoenas were served on the White House demanding the tapes and that made them evidence; the moment for destruction had passed.  Nixon resisted the subpoenas, claiming executive privilege and thus ensued the tussle between the White House and Watergate affair prosecutors which would see the “Saturday Night Massacre” during which two attorneys-general were fired, the matter ultimately brought before the US Supreme Court which ruled against the president.  Finally, the subpoenaed tapes were surrendered on 5 August 1973, the “smoking gun” tape revealing Nixon HR Haldeman, 1926–1993 (White House chief of staff 1969-1973) discussing a cover-up plan and at that point, political support in the congress began to evaporate and the president was advised that impeachment was certain and even Republican senators would vote to convict.  On 8 August, Nixon announced his resignation, leaving office the next day.

Uher 5000 reel-to-reel tape recorder used by a White House secretary to create the tape (20 June 1972) with the infamous 18½ minute gap (government exhibit #60: Records of District Courts of the United States, Record Group 21, (National Archives Identifier): 595593).

To this day, mystery surrounds one tape in particular, a recording of a discussion between Nixon and Halderman on 20 June 1972, three days after the Watergate break-in.  Of obviously great interest, when reviewed, there was found to be a gap of 18½ minutes, the explanations offered of how, why or by whom the erasure was effected ranging from the humorously accidental to the darkly conspiratorial but half a century on, it remains a mystery.  Taking advantage of new data-recovery technology, the US government did in subsequent decades make several attempts to “un-delete” the gap but without success and it may be, given the nature of magnetic tape, literally there is nothing left to find.  However, the tape is stored in a secure, climate-controlled facility in case technical means emerge and while it’s unlikely the contents would reveal anything not already known or assumed, it would be of great interest to historians.

What might be more interesting still is the identity of who it was that erased those infamous 18½ minutes but that will likely never be known; after fifty years, it’s thought that were there to be any death-bed confessions, they should by now have been utterd.  Some have their lists of names of those who might have "pressed the erase button" and while mostly sub-sets of Watergate's "usual suspects", one who tends not to appear is Nixon himself, the usual consensus being his well-known ineptitude in handling modern technology would rendered him a most unlikely editor though it's at least possible he ordered someone to do the deed.  However it happened, the suspects most often mentioned as having had their "finger on the button" (which may have been a foot-pedal) are Nixon's secretary and his chief of staff.  The long-serving secretary (Rose Mary Woods, 1917–2005) actually admitted to “inadvertently” erasing some 4-5 minutes of the recording by way of the “terrible mistake” of putting her foot on the “wrong pedal” while stretching to answer the desk telephone.  In explanation, she demonstrated how it happened (a reasonable piece of office gymnastics which reporters dubbed the “Rose Mary Stretch”) but always maintained there was no way she was responsible for a longer gap.  Halderman always denied any involvement in the mystery and Nixon always maintained he was shocked and disappointed when told of the silence.

Manikin & Mannequin

Manikin (pronounced man-i-kin)

(1) A man short in stature; (sometimes as a term of endearment but now archaic).

(2) In folklore, a dwarf; pygmy.

(3) An anatomically correct model of the human body (or a part of the body), used for teaching or demonstrating surgical and other clinical techniques; a specialized form is the phantom, an anatomical model of a fully developed fetus, for use in teaching midwifery or obstetrics.

(4) A three-dimensional figure, dummy or effigy representing a man or person (now replaced by mannequin), manikin now correctly used only in the medical context.

1560s: From the Dutch manneken (literally “little man”), a diminutive of the Middle Dutch mannekijn, from the Proto-Germanic manwaz, from the primitive Indo-European root man- (man).  The original meaning was "a jointed model of the human figure used by artists" and the sense and spelling is often blended with mannequin.  The early synonyms (in the context of small humans) included homunculus, midget, peewee, shorty, titman, & doll and (in the sense of the artificial creations) dummy, figure, mannequin & marionette.  The noun plural is manikins; the (rare) alternative spelling is mannikin.

Mannequin (pronounced man-i-kin)

(1) A styled and three-dimensional representation of the human form used in window displays, as of clothing; dummy.

(2) A figure or model of the human figure used by tailors, dress designers etc, for fitting or making clothes; historically made from timber but now constructed from many combinations of materials.

(3) A person employed to wear clothing to be photographed or to be displayed before customers, buyers etc; a clothes model (dated).

(4) In the visual arts, another name for a lay figure

1902: From the fifteenth century French mannequin (model to display clothes) from the Dutch manneken (model of the human figure used by artists).  Mannequin was the French form of the same word that yielded manikin and in English, was sometimes used in the sense "artificial man" (especially in translations, the trend apparently triggered by the frequency of use in early twentieth century translations of the works of Victor Hugo (1802–1885)).  Originally, it was applied to humans in the modern sense of “a model” and not until 1931 did it assume the meaning of “artificial human model figure to display clothing”.  A sideway variation was the later “clotheshorse” (a person whose chief interest and pleasure is dressing fashionably).  The noun plural is mannequins.

The difference between a Manikin and a Mannequin

Lindsay Lohan with several mannequins, New York Fashion Week, 2009.

Mannequin was a word once used where model would now be preferred, a person employed to wear clothes and carry accessories but since the 1930s a mannequin is a usually plastic or fibreglass emulation of the human form (in shape but not fine detail), typically found scattered throughout clothing and department stores, most famously as part of displays in shop-front windows.  Most mannequins represent a body shape within a fairly narrow range of dimensions but the industry recognizes eighteen different types including the obvious like “sexy” and “sporty” but there are also the niches such as pregnant people.  However, despite the industry's vocal embrace of DEI (diversity, equity and inclusion), impressionistically, it would seem the female mannequins on display still tend to the slender.

Manikins are also human shaped models but rather than being a fashion platform, they are used to help simulate medical, surgical, or clinical scenarios to assist in training and the honing of technique.  There are a variety of manikins and in the jargon of the medical devices industry, they range from low to high fidelity, the rating an indication of the degree of anatomical realism included, a high-fidelity manikin sometimes even including movement, speech, muscular reaction and facial expressions.  A high-fidelity manikin might include a complete set of internal organs and have many interchangeable parts whereas a low-fidelity model might be just a hollow shell used to teach students how to insert an IV or perfect the techniques of bandaging.

Manikins exist so those working in a clinical environment, from students to surgeons, can enjoy a safe environment in which to practice their skills, without the obvious risk of using live patients.  Although doctors continue, as they have for centuries, to murder their patients, rarely suffering any consequences due to the cozy legal apparatus known as “medical misadventure”, the use of manikins presumably lessens the slaughter of the innocent.  Like mannequins, manikins are designed for purpose and there are birthing simulators, newborn simulators, simulators that go into cardiac arrest, and even dental simulators.

L'Inconnue’s death mask.

Although anatomical models were used in medical training as early as the sixteenth century, the first manikin (in the modern understanding) was released in 1960 as a device for teaching cardiopulmonary resuscitation (CPR).  The design parameters were written by two physicians, Austrian Peter Safar (1924-2003) and American James Elam (1918–1995), the engineering and fabrication handled by Norwegan Åsmund Lærdal (1914-1981), head of a company with expertise in plastic molding from their experience as a manufacturer of children’s toys.  Famously, the face on the manikin is that of L'Inconnue (L'Inconnue de la Seine (The unknown woman of the Seine)).

Crowd at the public viewing portal of the Paris Morgue, circa 1890.

L'Inconnue, was probably about sixteen when she died in the late 1880s and although it’s not certain, most then concluded she took her own life.  As was done at the time, after her lifeless form was pulled from the River Seine at the Quai du Louvre, the corpse was put on public display at the Paris mortuary, a popular attraction and one justified by the purpose of hoping some of the dead might be identified.  Despite the daily crowd, none came forward to name L'Inconnue.  The dead waif however was far from unnoticed, many remarking on her unusually serene appearance and one much taken by her was the pathologist who performed the autopsy.  He had a plaster-cast taken of her face (a not uncommon practice) and within years, reproductions of L'Inconnue's alluring, deathly likeness were being sold throughout Europe, the mesmerizing mask, later describe by philosopher Albert Camus (1913-1960) as a "drowned Mona Lisa", fixed to the walls of drawing rooms, fashionable salons and the studios of (presumably already troubled) artists.  The silent beauty also attracted writers and early in the twentieth century there was a rash of imaginative fiction speculating about the short life of L'Inconnue, many melodramatic, most constructing a short, tragic life battered by ill fortune and finally taken by the waters of the Seine.  For writers, it was the lure of the tragic, death, water and a waif irresistibly romantic and in death she became the one of the great influencers of her age, described as “the aesthetic template for a whole generation of German girls who modeled their looks on her", adored in death as many authors liked to imagine she never was when alive.

L'Inconnue’s death mask would over the years attract artists and it’s been rendered in many materials including ceramics, copper, bronze, granite and even chocolate, seen as an icon and on canvas with a variety paints.

Decades later, L'Inconnue’s image would again be revived.  Åsmund Lærdal in the 1940s had been a manufacturer of small wooden toys but in the post-war years, attracted by the possibilities of the then novel plastic, he experimented with the soft, malleable substance and, finding it ideal for his purposes, embarked on mass-production, one of his products the acclaimed toy “Anne”, a baby with “sleeping eyes and natural hair".  Anne enjoyed international success and when told the two anesthesiologists, impressed by the life-like behavior of the doll’s plastic material, had asked if he could fabricate and mass-produce a life-sized adult manikin on which could be demonstrated their newly developed resuscitation technique, they found an attentive listener; some years earlier, Lærdal's two year old son had nearly drowned and had his father not forced the water from his airways, he too may well have died.  For a toymaker with expertise in the molding of plastic to form hollow toys, it was a formidable engineering challenge not only to create a realistic, functional maikin that reliably could be used to demonstrate the physical complexities of CPR but to design a mass-produced product which would be financially viable.

Resusci Anne in carry-case.

The technical specifications provided by the doctors had included a collapsible chest for practicing compressions and open lips to simulate mouth-to-mouth resuscitation but Lærdal, after discussions with his engineers, concluded it was also important the manikin should be recognizably female, suspecting men might be reluctant to practice CPR on a male doll's lips.  It was during the design process Lærdal recalled the enigmatic half-smile on a mask he'd seen on a wall while visiting relatives and it was this memory which inspired him to choose L'Inconnue.  Resusci Anne (Rescue Anne or CPR Anne in the US) was released in 1960 and was the first device of its type, so successful the Lærdal Toy Company soon transformed to become Lærdal Medical and it’s estimated over 300 million people around the world have been trained in CPR, most of them using Resusci Anne.  If L'Inconnue really did, as so many authors would have, take her own life in the depths of a despair only unrequited love can induce, fate would have her in death inspire Resusci Anne, called “the most kissed girl in the world”.

Perhaps surprisingly, Andy Warhol never took L'Inconnue as his subject.  This one is a fake.

Despite the sad charm of that, it couldn’t happen now, the ethics of making reproductions of a dead person's face and selling them without consent, un-discussed in the late nineteenth century, troubling today.  Were such a product now to be created and a life-like face was necessary, the visage would have to be either licensed or anonymized.  However, psychologists have conducted trials using a genuine Resusci Anne and one with no discernible facial characteristics and reported the more anthropomorphic appeared to enhance the realism of resuscitation training.  The researchers noted the face made CPR training more intense and stressful for both clinicians and lay-people but their follow-up questionnaires some months later revealed those who “kissed L'Inconnue” displayed a much higher recall of the techniques learned on the day.  She may have died forgotten, but in her immortal after-life, L'Inconnue is clearly memorable.

The romance of L'Inconnue is compelling but there have long been doubts about the original masks, sceptics suggesting it’s unlikely the flawless features could have come from a corpse fished from a river, the suspicion being a pretty young model might have been the source for the cast taken to take commercial advantage of the great public interest in the story of the young girl.  There are other theories too and the truth will never be known but L'Inconnue’s mystery is the essence of the strange tale.

Some assembly required: The Apprentice Doctor’s Full-Body Adult, Nursing and Trauma Manikin.

Supplied as a kit complete with burns, lacerations, and broken bones, it’s said to offer a realistic experience in the identification, assessment, treatment, and transport of trauma patients and disaster victims and can be used in forensic medicine and CSI training, working well as a manikin for crime scene simulation projects.  Prices start at US$1,199.00.

To ensure durability and ease of maintenance, the manikin contains no latex and the manufacturer cautions the kit (1) is intended exclusively for classroom instructional (educational) use and training purposes, (2) requires adult supervision and guidance for students under the age of 17 years and is not suitable for those under the age of 15 and (3) contains items that may pose a choking hazard to toddlers and babies (keep out of reach of these age groups).

Intended as a low-maintenance product, the post training cleaning routine consists of (1) after nasal feeding, gastric lavage, enema, male and female urethral catheterization procedures, empty all the residual liquid, used from the stomach, intestines and bladder, (2) Rinse all used tubes & catheters with water and dry for re-use and (3) if in disuse for an extended period of time, the manikin should be wiped clean, covered and placed in a cool, dry place; this will extend service life.

Art deco (though with some debt to mannerism) lady Mannequin bust in plaster for hat or jewelry display.  Just as there are flesh & blood models who specialize is one body part (hand models, foot models etc), there are also mannequins produced for the purpose of featuring just one or several body parts.

Fashion mannequins have been in use since the fifteenth century and were originally the head-forms with which milliners ensured a hat maintained the correct shape during construction.  Once a purely “back-of-house” or “workshop” device, as the price of glass was reduced by the adoption of techniques perfected by the late sixteenth century, glass-windows in shop-fronts became larger and more common so milliners essentially invented the “window display” in its modern form.  Although it had been the practice of many artisans and merchants to display their goods in this manner, it was the milliners who were first in fashion.  By the mid eighteenth century, full-scale, wickerwork mannequins were being used to display dresses, the more conveniently adjustable versions made with wire first manufactured in Paris in 1835.  However, the expansion of the trade created a demand for cheaper, lighter, non-adjustable forms which were purely a platform for display and the first (papier-mâché) female mannequins were sold in France in the mid-nineteenth century, the higher-end stores soon adopting mannequins made from wax which produced a more lifelike appearance but, expensive and apt to be fragile, the wax was in the 1920s supplanted by a more durable composite material, based on plaster.

Statuesque: Two mannequins in the window display of Chanel Shop, Prince's Building, Central Chater Road, Hong Kong.

Modern mannequins are almost always made from plastic or fiberglass although the, as marketing devices, the haute couture houses have used (sometimes stylized) one-off mannequins made from metal and even what was claimed to be carbon-fibre though experts quickly pronounced it fake (as opposed to faux).  Fiberglass mannequins are usually more expensive than plastic and tend to be more fragile but can be rendered in a more life-like form which can be done with plastics but not at a reasonable cost.  In fact, the trend in recent years has been for plastic mannequins to eschew any attempt to appear realistic, presumably to ensure the focus fixes on the clothes.  Artists have also used articulated mannequins (historically known as lay figures), as a tool to assist the rendition of draped figures, the advantage being that unlike a live model (on an hourly rate), a mannequin can be kept indefinitely immobile or adjusted as required.  Additionally, they don’t complain about the cold, demand lunch or take cigarette breaks.

Vintage Playtex Cross Your Heart wire-free bra in beige, displayed on fibreglass mannequin.  For specific purposes, mannequins are sometimes produced with certain aspects scaled beyond the usual size range.

While there are variations which tend to be product-deterministic (and the upper ranges of the alphabet in the bra business is an obvious niche), the size and shape of most mannequins exists in a predictably narrow range and one acknowledged to be smaller in most dimensions (except height) than either the majority of the adult female population or that aligned to the majority of the garments actually sold.  In this of course it follows the profile of the industry’s live models who are famously taller, lighter and thinner than all but a handful of their customers although, under pressure from activists, this pattern is now (slightly) less extreme than once it was, despite many wishing those days would return.  Before we called models models we called them mannequins and, flesh, plastic or fibreglass, little has changed as an extract from The Bystander’s (a British weekly magazine which in 1940 merged with Tatler to be published as The Tatler & Bystander until 1968) edition of 15 August 1906 suggests:

”A mannequin is a good-looking, admirably formed young lady, whose mission is to dress herself in her employer's latest "creations" and to impart to them the grace which only perfect forms can give.  Her grammar may be bad, and her temper worse, but she must have the chic the Parisienne possesses, no matter whether she hails from the aristocratic Faubourg St. Germain or from the Faubourg Montmartre.”