Backdrop

Backdrop (pronounced bak-drop)

(1) In theatre, the rear curtain of a stage setting (in the UK, often known as the back-cloth.

(2) The background of an event; the setting; the background to any scene or situation.

(3) In photography etc, to provide a setting or background for shots.

(4) Figuratively, any background situation.

(5) In gymnastics, a manoeuvre in which a trampolinist jumps in the air, lands on the back with the arms and legs pointed upward, and then springs up to a standing position.

(6) In professional (choreographed entertainment) wrestling, a self explanatory set piece move.

(7) To serve as a backdrop for.

1883: From the London theatrical argot meaning “the painted cloth hung at the back of a stage as part of the scenery”, the construct being the adjective back + the noun drop.  The word was adopted in the US theatre circa 1915.  Back was from the Middle English bak, from the Old English bæc (rear part of the body), from the Proto-West Germanic bak, from the Proto-Germanic baką & bakam, possibly from the primitive Indo-European bhago- (to bend; to curve) and may be compared with the Middle Low German bak (back), from the Old Saxon bak, the West Frisian bekling (chair back), the Old High German bah, and the Swedish and Norwegian bak.  It was cognate with the German Bache (sow (adult female hog)).  Drop was from the Middle English droppe & drope (small quantity of liquid; small or least amount of something; pendant jewel; dripping of a liquid; a shower; nasal flow, catarrh; speck, spot; blemish; disease causing spots on the skin), from the Old English dropa (a drop), from the Proto-West Germanic dropō (drop (of liquid)), from the Proto-Germanic drupô (drop (of liquid)), from the primitive Indo-European drewb- (to crumble, grind).  Figuratively, backdrop is used as a reference to something happening concurrently with whatever is being discussed.  It provides a background context which can be used to explain events or situations and in many cases can be thought of as a parallel narrative such as : “The 1968 US presidential election was conducted with the war in Vietnam as the backdrop.”  The word backdroppery is an irregular formation used in criticism of “political spin”.  Backdrop is a noun & verb, backdropped, backdropt & backdropping are verbs; the noun plural is backdrops.

Stage backdrop for Mean Girls the Musical by Scott Pask Studios, August Wilson Theatre, Broadway, New York, December 2018.

The theatre began as background used live theatre, creating a three-dimensional effect which meant the audience had the impression of the stage having greater depth.  Originally, they were large pieces of material or assembled cardboard, the designs of which interacted with the stage lighting and in larger theatres, for each performance, there may have been several backdrops, each raised or lowered as demanded by scene changes.  In recent years, the development of high definition lighting projection has meant backdrops are often virtualized and the deployment of LEDs (light emitting diodes) has meant extraordinary degrees of realism are now possible.

Lindsay Lohan on the red carpet in front of media walls.

Media walls are a particular type of backdrop which are constructed usually as flat surfaces, their sole purpose almost always being the display of corporate logos.  The dimensions of media walls are dictated by the positioning of the cameras which will record images of those who appear in front of them.  In some circumstances, they can be only a few feet wide and little taller than human height but usually they’re much larger.  Like theatre or photographic backdrops, media wall designers in recent years have embraced electronics as advances have meant striking effects have become possible at a lower price point, an important consideration give that while theatre backdrops might serve for weeks, months or even years, media walls are one-off creations which tend to have a life-span of hours.  Thus, digital screens, LED panels, or projections to showcase dynamic content are now sometimes included in media walls but such designers do have to be cognizant of the purpose; media walls still usually there as a backdrop for filming or photography.

Weddings, parties etc: Static backdrops for hire.

Static backdrops are provided (and often hired) for specific events, typically domestic celebrations such as weddings and birthday parties.  They are thus optimized for photography and tend to be on the small scale which accommodates the camera lens.  They can be as simple as a curtain or a fake window (sometime even with a built-in panorama of rolling hills, oceans etc) or can be as kitsch as one’s imagination can descend to.

Gargoyle & Grotesque

Gargoyle (pronounced gahr-goil)

(1) A grotesquely carved figure of a human or animal crafted as an ornament or projection, especially in Gothic and neo-Gothic architecture.

(2) In architecture, a spout, terminating in a grotesque representation of a human, animal or supernatural figure with open mouth, projecting from the gutter of a building for throwing rain water clear of a building.

(3) Archaic slang for person with a grotesque appearance, especially if small and shrivelled.

(4) Fictional monsters; pop-culture creations inspired by the decorative and/or functional projections in Gothic and neo-Gothic architecture.

1250–1300: From the Middle English gargoile & gargurl (grotesque carved waterspout) from the Old French gargouille & gargoule (throat) and it’s from here modern English gets gargle.  Even in the Gothic period, not all gargoyles were conduits for draining rainwater; many were purely decorative and were therefore grotesques.

Grotesque (pronounced groh-tesk)

(1) In architecture, a thing odd, unnatural or fantastic in the shaping and combination of forms, as in the sixteenth-century decorative style (in any material) combining incongruous human, animal or supernatural figures with scrolls, foliage etc.

(2) Distorted, deformed, weird, antic, wild.

(3) In the classification of art, of or characteristic of the grotesque.

(4) In typography, the family of 19th-century sans serif display types

1555:1565: From the Middle French grotesque from the Italian grottesco (of a cave), derived from grotta from the Vulgar Latin grupta.  Ultimate root is the Classical Latin crypta from which English picked up crypt.  Grotta entered French from the Italian pittura (grottesca) (cave-painting) and it was via French English picked up grotto.  Connection with the decorative forms attached to gothic architecture is the fantastical nature of some cave-paintings.  Spreading from Italian to the other European languages, the term was long used interchangeably with arabesque and moresque for decorative patterns using curving foliage elements.

The Gargoyle and Water Management

Gargoyle: Bern Minster, Switzerland.

Often used interchangeably, the technical difference between gargoyles and grotesques is that gargoyles contain a water sprout, carved usually through the mouth, whereas grotesques do not.  A gargoyle thus has a function in engineering whereas a grotesque’s purpose is essentially decorative although it is nominally functional in that they were believed to provide protection from evil, harmful, or unwanted spirits.  The application of more modern techniques of rainwater management has had the effect of turning many gargoyles into grotesques although architectural historians maintain the original designations.  As long ago as the sixteenth century, drainpipes were installed in the Notre Dame cathedral in Paris so the gargoyles became merely ornamental, although, they did of course continue to ward off evil.

Gargoyle: Cologne Cathedral, Germany.

The number of gargoyles attached to a building and their size and shape was a product of climate and fluid dynamics.  Architects used multiple gargoyles to divide the flow of rainwater off the roof to minimize the potential damage of a rainstorm and that number was influenced by the rainfall prevalent in the area where the structure sat.  The architect needed to consider not the annual rainfall but the heaviest prolonged rain-events expected; they thus had to cater for peak demand and the gargoyles needed to be sufficient in total capacity to evacuate the volume of water expected during the heaviest falls.  To achieve this, a trough was cut in the back of the gargoyle, rainwater typically exiting through the open mouth.  Gargoyles usually assumed their elongated fantastical animal forms because the length of the gargoyle determines how far water was thrown from the wall, the shape thus determined by fluid dynamics.  Prior to the extensive use of pipes reaching to the ground, the gargoyles were sometimes augmented by other techniques; when Gothic flying buttresses were used, aqueducts were sometimes cut into the buttress to divert water over the aisle walls.  Typically cut from stone, Non-ferrous metals and alloys such as aluminium, copper, brass and bronze have been used.

Grotesque: Saint Mary’s Cathedral, Edinburgh.  Technically, this is a pair of chimeras (a subset of the grotesque).

The term originates from the French gargouille (throat; gullet) from the Latin gurgulio, gula & gargula (gullet; throat) and similar words derived from the root gar (to swallow) which represented the gurgling sound of water (such as the Spanish garganta (throat) & g‡rgola (gargoyle)).  It was connected also to the French verb gargariser (to gargle).  Most helpful are the languages where the translation is architecturally precise.  The Italian word for gargoyle is doccione o gronda sporgente (protruding gutter), the German is Wasserspeier (water spewer) and the Dutch is waterspuwer (water spitter or (even better) water vomiter).  A building with gargoyles is said to be "gargoyled" but, during the Middle Ages, babewyn was slang used to describe gargoyles and grotesques, a word derived from the Italian babuino (baboon), an indication of what the things resembled, especially when viewed from a distance.  The size and shape of a gargoyle was thus dictated by function but the detail was left to the imagination of the designer.  Those creating grotesques had few limitations.  Because of the need to scare off and protect from evil or harmful spirits, the carvings often had the quality of chimeras, creatures a mix of different types of animal body parts creating a new animal, some notable chimeras being griffins, centaurs, harpies, and mermaids, these eerie figures serving as a warning to those folk who might underestimate the devil.

Grotesque: National Cathedral, Washington DC.  Although there's an open mouth, this plays no part in water management and is purely decorative.

In water management, the gargoyle has a long history.  In the architecture of Ancient Egypt, there was little variation, the spouts typically in the form of a lion's head carved into the marble or terracotta cymatium of the cornice.  The Temple of Zeus had originally 102 of these but, being rendered from marble, they were heavy and many have broken off or been stolen and only 39 remain.  Nor have they always been chimeric, some instead depicting monks, or combinations of real animals and people, many of which were humorous but as urbanisation increased, building codes were imposed which rendered the gargoyles, expect for their spiritual purpose, obsolete.  Typical was London’s 1724 Building Act which mandated the use of downpipes compulsory on all new constructions.

Gargoyle: Marble Church, Bodelwyddan, Clwyd, Wales.  Note the protruding spout: because the water flow will over time erode the passage, many gargoyles have internal piping (some now even plastic) which is replaceable.  The function means this Welsh figure is defined as a gargoyle although its hybrid nature is clearly that of a chimera.  

Within the Church however, the spiritual function wasn’t without controversy.  Gargoyles were thought to keep evil outside a church but existed also to convey messages to a people who usually were illiterate, scaring them into attending church, a reminder that the end of days was near.  However, there were some medieval clergy who viewed gargoyles as a form of idolatry and Burgundian abbot, Saint Bernard of Clairvaux (1090–1153), was famous for his frequent denunciations, his objections theological, aesthetic and fiscal:

"What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read?  What is the meaning of these unclean monkeys, these strange savage lions, and monsters?  To what purpose are here placed these creatures, half beast, half man, or these spotted tigers?  I see several bodies with one head and several heads with one body.  Here is a quadruped with a serpent's head, there a fish with a quadruped's head, then again an animal half horse, half goat.  Surely if we do not blush for such absurdities, we should at least regret what we have spent on them."

Grotesque: Crooked Hillary Clinton (digitally altered image).

Even after drainpipes took over responsibilities for drainage, the tradition was maintained by the grotesque, sometimes emulating the earlier elongated lines, sometimes more upright.  Grotesques were popular as decoration on nineteenth and early twentieth century skyscrapers and cathedrals in cities such as New York Minneapolis, and Chicago, the stainless steel gargoyles on New York’s Chrysler Building especially celebrated by students of the art.  The twentieth century collegiate form of the Gothic Revival produced many modern gargoyles, notably at Princeton University, Washington University in Saint Louis, Duke University, and the University of Chicago.  One extensive collection of modern gargoyles is on the National Cathedral in Washington DC.  Beginning in 1908 the cathedral was first encrusted with limestone demons but, over the years, many have been added including Star Wars character Darth Vader, a crooked politician, robots and other modern takes on the ancient tradition.  In England, Saint Albans Cathedral has a grotesque of former Archbishop of Canterbury Dr Robert Runcie and one of an astronaut adorns the Cathedral of Salamanca in Spain.

Grotesques modernes, left to right: Star Wars' Darth Vader (from the Star Wars film franchies), National Cathedral, Washington DC; Astronaut or cosmonaut, Cathedral of Salamanca, Spain; Lindsay Lohan, Notre Dame Cathedral of Reims, Marne France (digitally altered image); Dr Robert Runcie (Baron Runcie, 1921–2000; Archbishop of Canterbury 1980-1991) (centre), St Albans Cathedral, England.

Grotesques and chimeras

A chimera of Cathédrale Notre-Dame de Paris, contemplating the city, photographed by Noemiseh91.

So, in architecture, gargoyles are a specialized class of grotesques that include the functional feature of a waterspout and even if a building is renovated with a modern water management system added which means a gargoyle’s spout now longer is connected to the flow, it does not become reclassified as a grotesque; it remains a gargoyle, albeit a “dry” one.  While the difference between a gargoyle and grotesque is a matter of whether the design incorporates the handling of fluid, the distinction between a chimera and a grotesque is at the margins fluid in the metaphorical sense, both being ornamental sculptures most associated with Gothic architecture but critics have created criteria, however loose the parameters may seem.  Classically, a chimera was a fantastical, mythical creature, often a hybrid of multiple animals or a mix of human and animal features and for the architectural feature to be classified thus, it has to conform to this model.  In that chimeras differ from any grotesque which is a representation, however bizarre, of a creature from a single species.  What that means is that while all chimeras are grotesques, not all grotesques are chimeras.

Horodecki House (House with Chimaeras), Ukraine, Kyiv.

One of the most celebrated buildings said (erroneously) to be adorned with chimeras is Horodecki House in the Ukrainian capital Kyiv, a structure better known on Instagram as “House with Chimaeras” which received much attention when Volodymyr Zelensky (b 1978, president of Ukraine since 2019) in February 2022 stood in front of it to deliver his “Our weapon is truth” address following the Russian “special military operation” (invasion of Ukraine).  Classified as being in the Art Nouveau style, the building was designed by Polish architect Władysław Horodecki (1863–1930) and despite all the intricate detailing and other complexities, it was completed in little more than two years, opened in 1903.  One thing which made the speed of construction possible was the core technique of using concrete piles as the underpinning, something necessitated by the land being steeply sloped, resulting in an asymmetric building with six floors on Ivan Franko Square while three face Bankova Street.  Another novelty was the use of cement as the finishing material, something at the time not unknown but still rare.  Despite the popular moniker “House with Chimaeras”, the many sculptures which lend Horodecki House its distinctiveness are technically grotesques because all, bipeds & quadrupeds, are representations of real animals, not figures from mythology or fantastical hybrids and it’s believed it picked up the romantic nickname because it imparts such a wonderful air of gloominess and recalls the Gothic style.  The grotesques, rendered in cement, were the work of the Italian sculptor Emilio Sala (1864-1920) who spent most of his working life in St Petersburg (Leningrad) and Kyiv (Kiev).

Interior detailing, Horodecki House Ukraine, Kyiv.

The motif was the theme also for the interior detailing with stuccos, high reliefs and sculptures decorating the ceilings, walls and stairs and of particular interest is that while what’s depicted on the exterior uses only living creatures as a model, inside, everything is dead and often dismembered; Horodetskyi was an avid hunter.  Despite the pervasive feeling of gloom as one approaches the thing, it’s different inside because (the many carcases notwithstanding) the rooms are bright and airy with the floral ornaments typical of early Modernism although it’s of regret all the original furniture and many of the frescos fell victim during World War II (1939-1945) to marauding Red Army soldiers and other looters.  Although in recent years substantially restored, no attempt was made to re-create the frescos, the space now taken by paintings.

Woman with Catfish, Horodecki House Ukraine, Kyiv, photographed by Константинъ. 

Although there are two creatures in this sculpture, it's still a grotesque because they're separate beings; had the depiction been part fish and part human, it would have been as chimaera.  Although large, certain catfish reach 3 metres in length so the sculptor was rendering still still in the realist tradition.

Following restoration, in 2004 the building was designated a museum but since 2005 it has enjoyed official status as the “Small Residence of the President of Ukraine”, curious term meaning it’s used for meetings with foreign dignitaries and in that there are many advantages, the location meaning it’s easy for security forces to secure the site while the larger rooms are spacious and make a most attractive backdrop for photo opportunities.  Daily Art Magazine has a feature with a fine collection of images.

Amid

Amid (pronounced uh-mid)

(1) In the middle of; surrounded by; among.

(2) During; in or throughout the course of.

Pre 1000: From the Middle English amidde, from the Old English amiddan, from on middan (in (the) middle), the construct being a- + mid.  The a- prefix was used to create many words (apace, astern, abeam, afire, aboil, asunder etc) but is considered now rare or no longer productive; It implied a sense of “in”, “on” or “at such a time” and was used to show those states, conditions, or manners.  It came from the Middle English a- (up, out, away), from the Old English ā- (originally ar- & or-, from the Proto-Germanic uz- (out-), from the primitive Indo-European uds- (up, out) and was cognate with the Old Saxon ā- and the German er-.  Mid and its variations in every known European language (except Icelandic) never meant anything but middle.  The root of the Modern English form is the Middle English mid & midde, from the Old English midd (mid, middle, midway), from the Proto-Germanic midjaz, from the primitive Indo-European médhyos.  It was cognate with the Dutch midden, the German Mitte, the Icelandic miður (worse, less) and the Latin medius.

Amid, amidst and among

Amid is a preposition, a type of word that shows certain kinds of relationships between other words; it has peacefully coexisted with amidst for some seven-hundred years.  Amid has two meanings, the first expresses a kind of physical relationship such as “in the middle of; surrounded by; among.”  This second sense can show a relationship between things in time or convey the idea that something is taking place against the backdrop or background of something else as in “during, in or throughout the course of.”

Amidst, dating from 1250-1300 and derived from the Middle English amiddes, means the same thing as amid and one can substitute for the other without a sentence changing meaning.  Both amid and amidst are thus correct, the former more common in both American and British English although the Americans are slightly more fond of the latter.

It’s an example of the profligacy of English, preserving two words when one would do.  Amid is the older, recorded before 1000, developing from the Old English on middan which begat first the Middle English amidde and then amid.  Amidst appeared between 1250–1300, drawn from the Middle English amides, the –s in amiddes representing a suffix English once used to form adverbs, this strange –s also producing some less common adverbs, such as unawares.  The “t” in the –st suffix is called a parasitic or excrescent –t, technical terms in phonetics to describe a sound inserted to reflect how people find it most easy to pronounce another sound, not because the added sound has any historic or grammatical reason (against, amongst, and whilst are other examples) to exist.

However, “among” is also a preposition but one with more senses than amid.  One of its meanings is “in, into, or through the midst of; in association or connection with; surrounded by” which overlaps with amid & amidst so English offers three similar words which can mean the same thing.  Among however is not wholly interchangeable with the other two.  Although “…a house amid the trees”; “…a house amidst the trees” & “a house among the trees” are all correct, it’s wrong to say either “FDR assumed the presidency among the Great Depression” or “…exercise is amid the things part of a healthy diet”.

Lindsay Lohan's strangely neglected film Among the Shadows (Momentum Pictures, 2019) was also released in some markets as The Shadow Within.  It's not known what prompted the change (although there was a film in 2007 called The Shadow Within) but the original name was certainly preferable to either Amid the Shadows or Amidst the Shadows, not because the latter two impart a different meaning but because "among" better suits the rhythm of the phrase.  "Among" probably was best; "amid" might have worked but "amidst" would have troubled some because that excrescent –t makes difficult a phonetic run-on to "the".  Given the two titles under which the film was distributed have quite different meanings, presumably either the title is incidental to the content or equally applicable.  A dark and gloomy piece about murderous werewolves and EU politicians (two quite frightening species), perhaps both work well and no reviewer appears to have commented on the matter and given the tone of the reviews, it seems unlikely there'll be a sequel to resolve things.

Tomos

Tomos (pronounced tomm-oss)

In Orthodox Christianity, an ecclesiastical document, promulgated usually by a synod and used to communicate or announce important information.

1510-1520: From the French, from the Latin tomus, from the Ancient Greek τόμος (tomos) (section, slice, roll of paper or papyrus, volume), from τέμνω (témnō or témnein) (I cut, separate); a doublet of tome which persists in English and is used to refer to heavy, large, or learned books.  Tomos is a noun; the noun plural is tomoi.  In geology, the noun tomo describes a shaft formed in limestone rock dissolved by groundwater (use restricted almost wholly to technical use in New Zealand) and the noun plural is tomos.

The Ukraine and the Moscow–Constantinople Schism of 2018

Bartholomew I, Ecumenical Patriarch Bartholomew of Constantinople since 1991 (Dimitrios Arhondonis, b 1940) executes the Tomos; watching over his shoulder is Metropolitan Epiphaniusa I of Kyiv and All Ukraine since 2019 (Serhii Petrovych Dumenko, v 1979), Patriarchal Church of St. George, Istanbul (Constantinople), 5 January 2019.

In Istanbul (the old Constantinople), on Saturday 5 January 2019, Ecumenical Patriarch Bartholomew signed a Tomos, an act formalizing his decision in October  2020 to create an independent Ukrainian Orthodox Church, thus splitting it from the Russian church to which it has been tied since 1686.  Until the decree, the Orthodox Church in Ukraine that was a branch of the Russian Church was considered legitimate and two others were regarded as schismatic. The new church unites the two formerly schismatic bodies with what is now the official Ukrainian Orthodox Church.

Ecumenical Patriarch Bartholomew I (left) presents the Tomos sanctifying the Ukrainian church's independence to Metropolitan Epiphanius (right) at the conclusion of the ceremony.

The most immediate implication of the signing of the Tomos is that Ukrainian clerics are forced immediately to pick sides, needing to choose between the Moscow-backed and the newly independent Ukrainian churches, a choice that will have to be taken with fighting in eastern Ukraine between government forces and Russia-backed rebels as a backdrop.  Although there’s no formal link of establishment between church and state in Ukraine, Petro Poroshenko (b 1965; president of Ukraine 2014-2019) attended the signing ceremony and immediately declared “…the Tomos is one more act declaring the independence of Ukraine”.  In the aftermath it appeared some two-thirds of the Ukrainian churches have sundered their relationship with Moscow.

Tomos of autocephaly of the Orthodox Church of Ukraine, signed by the Ecumenical Patriarch Bartholomew I on 5 January 2019.

Neither the Kremlin nor Kirill (or Cyril) Patriarch of Moscow and all Rus' and Primate of the Russian Orthodox Church since 2009 (Vladimir Mikhailovich Gundyayev, b 1946) were best pleased with Bartholomew granting the Ukrainian church autocephaly (independence) and the Russian church immediately severed ties with Constantinople, the centre of the Orthodox world.  A spokesman for the Russia-affiliated faction of the Church in Ukraine issued a statement saying the Tomos was “…anti-canonical” and will visit upon the Ukraine nothing but “…trouble, separation and sin”.  In this, Moscow concurred, one archbishop adding that “…instead of healing the schism, instead of uniting Orthodoxy, we got an even greater schism that exists solely for political reasons.”  Although Orthodoxy was itself born of a schism and this latest split, already described as the Moscow–Constantinople Schism of 2018 is but the latest, the political and military situation in which it exists doesn’t auger well for a peaceful resolution.  In the Kremlin, Mr Putin (Vladimir Putin; b 1952; president or prime minister of Russia since 1999) thinks much about “…trouble, separation and sin” and no good will come of this.

Clamshell

Clamshell (pronounced klam-shel)

(1) The shell of a clam.

(2) Any of a variety of object with two hinged parts and that opens and closes like a clamshell, as a laptop computer or a box with a cover joined on one side (clamshell phone; clamshell computer, clamshell packaging etc).

(3) In dredging and earth-moving machinery, a dredging bucket opening at the bottom, consisting of two similar pieces hinged together at the top (also called the clamshell bucket); a machine equipped with such a bucket.

(4) In printing, a platen press.

(5) Of, pertaining to or noting an object that opens and closes like a clamshell; the opening and closing actions of this object (ie anything resembling the bivalve shell of a clam).

(6) In anatomy, another name for eyelid (technical use only).

(7) In aviation, (1) an aircraft cockpit canopy hinged at the front and rear or (2) the hinged door of a cargo aircraft.

(8) In slang, the mouth (US archaic).

(9) In architecture, an amphitheater, especially an outdoor amphitheater; the semi-circular acoustic backdrop behind and above the performers (a use based (unusually) on the appearance of the shell in only its open state).

(10) In manufacturing, to deform a die in a shape resembling the shell of a clam, as a result of uneven extrusion pressure.

1490–1500: the construct was clam + shell.  Clam was from the Middle English clam (pincers, vice, clamp), from the Old English clamm (bond, fetter, grip, grasp), from the Proto-Germanic klamjaną (press, squeeze together).  Shell was from the Middle English schelle, from the Old English sċiell, from the Proto-West Germanic skallju, from the Proto-Germanic skaljō, from the primitive Indo-European skelh & kelh (to split, cleave).  It was related to the West Frisian skyl (peel, rind), the Dutch schil (peel, skin, rink), the Low German Schell (shell, scale), the Irish scelec (pebble), the Latin silex (pebble, flint) & siliqua (pod) and the Old Church Slavonic сколика (skolika) (shell).  Although sharing a source, the adjective clammy is otherwise unrelated, being from the Middle English clam (in the literally descriptive sense of “viscous, sticky, slimy”) & clammen (“to smear, bedaub”), from the Old English clǣman (to smear, bedaub) and related to the German klamm (clammy) & klemmen (to be stuck, stick).  Clamshell is a noun, the present participle is clamshelling and the past participle clamshelled; the noun plural is clamshells.

Lindsay Lohan with T-Mobile flip-phone Sidekick II, T-Mobile Sidekick II party, The Grove, Los Angeles, August 2004.

In (mostly archaic) US slang, a clam was one dollar (used usually in the plural) and it’s though the origin of this was an allusion to the wampum (a traditional shell bead of the Eastern Woodlands tribes of Native Americans.  It includes white shell beads hand-fashioned from the North Atlantic channeled whelk shell and white and purple beads made from the quahog or Western North Atlantic hard-shelled clam.).  Clams are of some note in the strange history of the Church of Scientology, a tax-exempt operation created by L Ron Hubbard (1911–1986) who constructed its ethos from an amalgam of his science fiction and fantasy stories, combined with pseudo-scientific explanations about the human condition.  His idea (a central tenet of Scientology) that human “thetans” (souls) previously inhabited clams he expanded upon in Scientology: A History of Man (1961) (first published as What to Audit (1952)), explaining that interactions between jellyfish and cave walls were responsible for the emergence of “a shell as in the clam” and that the clam itself suffered from a split personality when he described as a “double-hinge problem” in which “…one hinge wishes to stay open, the other tries to close, thus conflict occurs".  That does of course explain much about the problems of man and, more prosaically, because the clam’s hinges would become the Clam “hinges of the human jaw”, the Clam's method of issuing spores to reproduce is why we suffer toothache.  Who knew?

Trendsetter: The influential clamshell and some of its many imitators.

What engineers and designers liked once to call the “clam shell form factor” was shortened inevitability to “clamshell” but for portable computers and cellular (mobile) phones neither term caught on, laptop soon the ubiquitous choice and phone users preferred the punchier flip-phone.  Laptop endured as the generic description of all such devices and the distinction manufacturers applied to models technically classed as notebooks and netbooks escaped most, any clamshell computer since first they appeared in the early 1980s most often referred to as a laptop.  The flip-phone was a turn of the century fad and actually a good example of packaging efficiency, especially for those who carried their phones in handbags although men, most of whom had only pockets, were never as enthusiastic.  As it was the sleek iPhone and the smartphones which followed in its wake killed off most flips although there was the occasional retro-themed revival.  However, advances in materials had by 2020 made folding screens both durable and economical to produce in volume so these have become the latest variation to use the clam shell, offering all the packaging advantages of old with the benefit of being able to offer a flip screen in a thin form factor, thus appealing also to men, few of whom have been convinced by the utility of that other turn of the century fad: the man bag.

1983 Ferrari 512BBi.  All versions of the BB (1973-1984) used the clamshell design front & rear.

In automotive design, clamshells are used for both front and rear sections of the bodywork, some cars using both.  It was a popular idea on racing machinery like the Ford GT40 or the Porsche 917 because the method of construction used meant the panels carried little load, providing just coverage and aerodynamic optimization.  Some road cars also adopted the idea including Triumph’s Spitfire (and the GT6 derivative) and Jaguar’s E-Type (XKE) and there were real advantages in accessibility for servicing and that’s probably why the bulky Jaguar V12 enjoyed a better reputation among mechanics when under the clamshell than it did in the tighter confines of the XJ or XJ-S (later XJS).  Few mass-market vehicles used the idea and the Triumph Herald and Vitesse (which provided the platforms for the Spitfire & GT6) was one of the few but it was unusual in being built on a separate chassis after most of the industry had switched to unitary construction.

Crapper

Crapper (pronounced krap-er)

(1) A proprietary trade name for a brand of loo; toilet; lavatory etc.

(2) A slang term for the loo; toilet; lavatory etc.

1920s: The construct was crap + er.  Dating from 1375-1425, crap was from the Middle English crappe (which at various times existed in the plural as crappen, crappies and craps) (chaff; buckwheat) from the Old French crappe & crapin (chaff; siftings, waste or rejected matter).  In the Medieval Latin there were the plural forms crappa & crapinum, apparently from the Old Dutch krappen (to cut off, pluck off) from which Middle Dutch gained crappe & crap (a chop, cutlet) and Modern Dutch krip (a steak); the most obvious modern relative is crop.  The Middle English agent suffix er was from the Old English ere, from the Proto-Germanic ārijaz and generally thought to have been borrowed from the Latin ārius.  The English forms were cognate with the Dutch er & aar, the German er, the Swedish are, the Icelandic ari and the Gothic areis.  Related are the Ancient Greek ήριος (ḗrios) and the Old Church Slavonic арь (arĭ).  Although unrelated, the development of er was reinforced by the synonymous Old French or & eor and the Angle-Norman variant our, all derived from the Latin (ā)tor, the ultimate root being the primitive European tōr.  Dating from 1846, crap was the English slang for the proper term crapping ken which is crap’s first documented application to bodily waste although etymologists suspect it had been in widespread use for some time prior.  In this context, crap was used in the earlier English and French sense of “siftings, waste or rejected matter” and ken was an existing term for a small building or house.

The urban myth is part-truth, part-crap

The brand-name Crapper was first applied to a toilet designed and by plumber Thomas Crapper (1836-1910) and manufactured by the company he founded, Thomas Crapper & Co, Licenced Plumbers & Sanitary Engineers.  In 1884, the Prince of Wales (later Edward VII (1841–1910; King of the UK & Emperor of India 1901-1910)) purchased Sandringham House and asked Mr Crapper to supply the plumbing, including thirty flushing loos with cedarwood seats and enclosures.  Impressed with the quality, the prince granted the company their first Royal Warrant.  The occupational surname Crapper is a dialectal variant of cropper (harvester of crops, farmer).

It’s a linguistic coincidence that a Mr Crapper choose to become a plumber and begin manufacturing loos bearing his name which bore such similarity to both crap and crapping which had earlier been used to describe bodily and other waste.  Despite being a coincidence, decades before the internet spread fake news, the urban myth was well-established that the terms words crap and crapper, in their scatological sense, all derive from the efforts and products of Mr Crapper.  The myth is often fleshed-out with reference to US soldiers stationed in England during World War One popularizing the phrase "I'm going to the crapper", after seeing the name on barracks’ cisterns.  In the way army slang does, it was taken home when the servicemen returned to the US.  Despite this, most dictionaries cite the origin of the slang term to the 1920s with popular use becoming widespread by the mid 1930s.  It spread with the empire and was noted in the era to be in use in the Indian Army although, after 1947, the troops came often to prefer "I am going to Pakistan".

ride) and (4), spit out after brushing and do not rinse (this maintains the fluoride concentration level).

Selfie with crapper backdrop: Lindsay Lohan on the set of HBO's Eastbound & Down (2013), brushing teeth while smoking.  It's an unusual combination but might work OK if one smokes a menthol cigarette and uses a nurdle of mint toothpaste.  Other combinations might clash.

By one's name, one shall be remembered.

The long-standing urban myth that Mr Crapper actually invented the flushing loo seems to lie in the 1969 book Flushed with Pride: The Story of Thomas Crapper by New Zealand-born humorist Wallace Reyburn (1913–2001) which purported to be a legitimate history.  Reyburn later wrote a "biography" of an influential inventor who created another product without which modern life also (for half the population) would be possible but less comfortable.  His 1971 volume Bust-Up: The Uplifting Tale of Otto Titzling and the Development of the Bra detailed the life of the putative inventor of the brassiere, Otto Titzling.  Unlike Mr Crapper, Herr Titzling (Reyburn helpfully mansplaining that the correct pronunciation was "tit-sling") never existed.  In truth, the flushing loo has probably existed in a recognizably modern form since the 1400s but, although the designs were gradually improved, they remained expensive and it was not until the nineteenth century they achieved any real popularity and it was well into the next century with the advent of distributed sanitation systems that they became expected, everyday installations.  To mark the day of his death in 1910, 27 January is designated International Thomas Crapper Day.  Each year, on that day, at the right moment, briefly, all should pause, reflect and then with gratitude, proceed.

Lindsay Lohan mug shots on the doors of the crappers at the Aqua Shard restaurant.  Located on the 31st floor of The Shard in London, the view is panoramic.