(1) A brief
promotional piece, almost always laudatory, used historically for books,
latterly for about any product.
(2) To
advertise or praise in the manner of a blurb.
1907: Coined
by US graphic artist and humorist Gelett Burgess (1866–1951).Blurbs are a specific type of advertisement, similar
exercises in other contexts known also as “puff pieces”, “commendations” or “recommendations”. The use of "puff" is thought based on the character "Mr Puff" in the burlesque
satire The Critic: or, a Tragedy
Rehearsed (1779) by the Anglo-Irish Whig playwright Richard Brinsley
Sheridan (1751-1816). Generally, blurbs contain elements designed to
tempt a buyer which may include a précis (something less than a detailed summary),
a mention of the style and a recommendation.The term was originally invoked to mock the excessive praise printed on
book jackets and was often parodied in a derisively imitative manner and is
still sometimes critically used thus but it’s also now a neutral descriptor and
an accepted part of the publishing industry.Blurb is a noun & verb, blurbing & blurbed are verbs, blurbist
is a noun and blurbish is an adjective; the noun plural is blurbs.
The
blurb has apparently existed for some two-thousand–odd years but the word became
well-known only after a publishing trade association dinner in 1907, Gelett
Burgess displaying a dust jacket printed with the words “YES, this is a “BLURB”!”, featuring the (fictitious) Miss Belinda
Blurb who was said to have been photographed “...in the act of blurbing”, Burgess adding that to blurb was “… to make a sound like a publisher…” and
was “…a check drawn on fame, and it is
seldom honoured”.There are sources
claiming the word was coined by US academic and literary critic Brander
Matthews (1852–1929) in his essay American
Character (1906) but Professor Matthews acknowledged the source genuinely
was Burgess, writing in the New York
Times (24 September 1922): “Now and
again, in these columns I have had the occasion to employ the word “blurb”, a
colourful and illuminating neologism which we owe to the verbal inventiveness
of Mr Gelett Burgess”.
Burgess
had released Are You a Bromide? in 1906
and while sales were encouraging, he suggested to his publishers (BW Huebsch)
that each of the attendees and the upcoming industry dinner should receive a copy
with a “special edition” dust cover.For
this, Burgess used the picture of a young lady who had appeared in an advertisement
for dental services, snapped in the act of shouting.It was at the time common for publishers to use
pictures of attractive young ladies for book covers, even if the image was entirely
unrelated to the tome’s content, the object being to attract a male readership.Burgess dubbed his purloined model “Miss
Belinda Blurb” and claimed she had been photographed “in the act of blurbing”; mid-blurb as it were.
Are you a Bromide? (Publisher's special edition, 1907).
The
dust cover was headed with the words “YES,
this is a “BLURB”! All the Other Publishers commit them. Why Shouldn’t We?”
and knowing a blurb should not in moderation do what can be done in excess,
went on to gush about the literary excellence of his book in rather the manner
a used car salesman might extol the virtues of some clapped-out car in the
corner of the yard.His blurb concluded “This book is the Proud Purple Penultimate!”
The industry must have been inspired because
the blurb has become entrenched, common in fiction and non-fiction alike and
the use of the concept can be seen in film, television, social media and just
about anywhere there’s a desire to temp a viewer.Indeed, the whole idea of “clickbait” (something
which tells enough to tantalize but not enough to satisfy without delving
deeper) is a functional application of a blurb.Depending on the source, the inspiration for the word came from either
(1) the sound made by a book as it falls to the floor, (2) the sound of a bird
chirping or (3) an amalgam of “burp” & “blather”.The author left no clue.
In his book,
Burgess innovated further, re-purposing the word "bromide".In inorganic chemistry, a bromide is a binary
compound of bromine and some other element or radical, the construct being brom- (an alternative form of bromo- (used preceding a vowel) which
described a substance containing bromine (from the French brome, from the Ancient
Greek βρῶμος (brômos) (stink)) + ide (the suffix used in chemistry to describe substances comprising
two or more related compounds.However, early
in the twentieth century, Bromide was a trade name for a widely available
medicine, taken as a sedative and in some cases prescribed to diminish “an excessive
sexual appetite”. It was the sedating
aspect which Burgess picked up to describe someone tiresome and given to trite
remarks, explaining “a bromide” was one “…who
does his thinking by syndicate and goes with the crowd” and was thus boring
and banal.A bromine’s antonym was, he
helpfully advised, a “sulphite”.Unfortunately, while blurb flourished, bromide & sulphites as binary
descriptors of the human condition have vanished from the vernacular.
Lindsay
Lohan with body double during shooting for Irish
Wish (Netflix, due for release in 2023).The car is a Triumph TR4.
Nteflix's
blurb for Irish Wish: Always a bridesmaid, never a bride — unless, of course,
your best friend gets engaged to the love of your life, you make a spontaneous
wish for true love, and then magically wake up as the bride-to-be. That’s the supernatural, romantic pickle
Lindsay Lohan (Mean Girls, The Parent Trap) finds herself in upcoming romantic
comedy, Irish Wish. Set in the rolling
green moors of Ireland, the movie sees Lohan's Maddie learn her dreams for true
love might not be what she imagined and that her soulmate may well be a
different person than she originally expected. Apparently magic wishes are
quite insightful.
Louise
Willder (b 1972) has for a quarter century been a copywriter for Penguin, in that time
composing some 5000 blurbs, each a two-hundred-odd word piece which aims both to
inform and tempt a purchase.Her non-fiction
debut Blurb Your Enthusiasm is not only a review of the classic blurbs
(the good, the bad and the seriously demented) but also an analysis of the
trends in the structure of blurbs and the subtle shifts in their emphasis
although, over the centuries, the purpose seems not to have changed.Ms Willder also documents the nuances of the
blurb, the English tendency to understatement, the hyperbolic nature of
Americans and the distaste the French evidently have of having to say anything
which might disclose the blurb’s vulgar commercial purpose, tracing over time how changing attitudes and societal mores mean what’s now written of a
nineteenth century classic is very different to when first it was
published.Inevitably too, there are the
sexual politics of authorship and publishing and blurbs can reveal as much by
the odd hint or what’s left unsaid than what actually appears on a dust cover.Academics and reviewers have perhaps
neglected the blurb because traditionally they've often been dismissed as mere
advertising but, unless the author’s name or the subject matter is enough of a
draw, even more than a cover illustration or title, it’s the blurb which can close
the sale and collectively, they’re doubtlessly more widely read than reviews.Blurb
Your Enthusiasm is highly recommended.
(1) To polish the exposed surfaces of an automobile (specifically
using Simoniz brand products; later used generically).
(2) To shine or polish something to a high sheen,
especially with wax.
Circa 1921: A creation of US English meaning "polish
by the application of Simoniz wax”, from Simoniz, the registered trademark for
a brand of car polish invented by George Simons who, in association with Elmer
Rich of the Great Northern Railway, in 1910 formed the Simons Manufacturing
Company (Chicago) to produce and sell the products.The construct was Simoniz + “e”, the addition
an emulation of the –ize prefix Said to
have been in oral use since circa 1921, lexicographers began to add simonize
(as a verb with the noted meaning) to dictionaries in 1935. In the English-speaking world, the word often
appeared (outside North America) as simonise.Simonize, simonizes, simonized & simonizing are verbs.
The –ize suffix was from the Middle English
-isen, from the Middle French -iser, from the Medieval Latin -izō, from the Ancient Greek -ίζω (-ízō), from the primitive Indo-European verbal
suffix -idyé-.It was cognate with other verbal suffixes including
the Gothic -itjan, the Old High
German –izzen and the Old English -ettan (verbal suffix). It was used to form verbs from nouns or
adjectives which (1) make what is denoted by the noun or adjective & (2) do
what is denoted by the noun or adjective.The alternative form is –ise.Historically,
the –ize suffix was used on words originating from Greek while –ise was
preferred (most prevalently as -vise, -tise, -cise and –prise) on words derived
from various roots, many of which entered English via French. In the nineteenth century, under the influence
of French literature, in the UK and other parts of the British Empire, -ise often
replaced –ize even when there was a long tradition of the latter’s use.The authoritative Oxford English Dictionary
(OED) never changed its spellings which meant that throughout the Empire (and
later the Commonwealth), both forms appeared and before the advent of spell-checkers
(which ensured that at least within a given document there was consistency) use
was mixed although, under the Raj and beyond, India tended to stick to –ise.The –ize has always been the preferred form
in North America.
Spa day service station, Connecticut Avenue. Washington DC,
September 1940.
Although simonize had by
then entered the language as verb meaning “to shine or polish something to a
high sheen, especially with wax”, one of the early conditions imposed to permit
the advertising of “Simonizing” as a service was the exclusive use of genuine
Simoniz brand products.
One reason companies registered trademarks used to be a
wish to control the use of the name, businesses wishing to prevent their
exclusive brand becoming so popular it came to be used to describe, and to some
extent even define, all similar products.The process was called genericide by the experts in business and
marketing, the idea being that in becoming a generic term, some of the value invested
in the product and its name was transferred to competitors.The classic example was the vacuum cleaner
made by Hoover, the word catching on to the extent that within years, just
about all vacuuming came to be called “hoovering”, regardless of the
manufacturer of the device doing the sucking.The problem was that while trademark holders could restrict their use by
corporations, what the public did was beyond their control and language just
evolved by popular use.
The early Xerox photocopiers were always advertised as devices to be used by women.
The literature often cites Xerox as an example of the
problem of the public perception of a corporation being defined in their imagination
by its best known product.The phrase “xerox
it” had by the late 1960s become the default expression meaning “photocopy it”
and was of concern to the corporation because they feared their differentiation
in the market place would be lost.Time however
change and now, Microsoft would doubtless be delighted if “bing it” became as
much a term of everyday speech as “google it”.That is of course a little different because “Bing” is one of Microsoft’s
many trademarks rather than the corporate name but the modern view now
generally is that the public “verbing-up” a trademark is a very good thing and
an easy way to extend the prized “brand awareness”.
The perfect secretary did much "xeroxing" but according to Xerox, would never say "xerox it".
Twitter’s case is a variation on the theme and a case
study on how such matters must be managed.The verb form “to tweet” became a verb through popular use which induced
Twitter to trademark the term in 2009.From there, the company announced they would not seek to restrict its
use by third parties using “tweet” for Twitter-related services and apps but
warned they would seek both injunctive relief and damages were there evidence
of a “confusing or damaging project” to “to protect both our users our
brand." What Twitter wanted to do was ensure “tweet” was used in a way beneficial and not detrimental to them.
The Great Crash of 2005
Crashed and towed, Los Angeles, 2005.
In October 2005, Lindsay Lohan went for a drive in her Mercedes-Benz SL 65 AMG roadster. It didn’t end well. Based on the R230 (2001-2011) platform, the SL 65 AMG was produced between 2004-2012, all versions rated in excess of 600 horsepower, something perhaps not a wise choice for someone with no background handling such machinery though it could have been worse, the factory building 400 (175 for the US market, 225 for the RoW (rest of the world)) of the even more powerful SL 65 Black Series, the third occasion an SL was offered without a soft-top and the second time one had been configured with a permanent fixed-roof. A production number of 350 is sometimes quoted but those maintaining registers insist it was 400.
Fixed and simonized, Texas, 2007.
By 2007, the car (still with California registration plates (5LZF057) attached) had been repaired, detailed & simonized and was being offered for sale in Texas, the odometer said to read 6207 miles (9989 km). Bidding was said to be “healthy” so it was thought all's well that ends well but once the vehicle's provenance was brought to the attention of the repair shop, it was realized the celebrity connection might increase its value so it was advertised on eBay with more detail, including the inevitable click-bait of LiLo photographs. However, either eBay doesn't approve of commerce profiting from the vicissitudes suffered by Hollywood starlets or they'd received a C&D (cease & desist) letter from someone's lawyers and the auction ended prematurely. It proved a brief respite, the SL 65 soon back on eBay Motors but with the offending part of the blurb limited to "previously owned by high profile celebrity", leaving it to prospective buyers to join the dots.
(1) A publisher's or printer's distinctive emblem (or imprint,
label, logo, mark, symbol trademark etc), used as an identifying device on its
books and other works, appearing variously within the covers and at the base of
the spine (replicated in the same place on a dust jacket).
(2) An inscription (historically at the end of a book or
manuscript but of late frequently printed towards the beginning), widely used since
the fifteenth century (although the practice pre-dates the invention of
printing) and providing the title or subject of the work, selected details about
the author(s), the name of the printer or publisher, the date and place of
publication and (less commonly), technical details such as typefaces, bibliophilic
information or the paper and method of binding used.
(3) By extension, in internet use, a page on a website
identifying the details of its creation, such as the author's name, the
technologies used (including copyright attribution) and many other details, some
or all of which may replicate the metadata associated with objects in other
digital contexts.
(3) In entomology, a genus of beetles in the stag beetle
family Lucanidae.
(4) In art, music, poetry etc, a finishing stroke or
crowning touch (archaic except as an artistic affectation).
(5) An city in Ancient Greece (in Lydia, Asia Minor); one
of the twelve Ionian cities banded together in the eighth century BC and
substantially depopulated in 286 BC (always initial capital).It was romanized as Kolophṓn.
1615-1625: From the Late Latin colophōn, from the Ancient Greek κολοφών (kolophṓn) (peak, summit; finishing touch; a finishing stroke),
from the primitive Indo-European root kel
(to be prominent; hill).A colophon
should not be confused with colophonite (in mineralogy a coarsely granular
variety of garnet) or technical words from medicine words like coloplasty (surgery
on the colon (especially partial resection or an instance of such surgery)).The adjective Colophonian is applied to (1)
an inhabitant of the Lydian city of Colophon or (2) matters of or pertaining
to that city.The term colophony (for the
type of rosin) is from colophonia resina (from the Ancient Greek Κολοφωνία ῥητίνη (Kolophōnia rhētinē)) which describes the hardened resin
from the pine trees of Colophon, a substance valued by the craftsmen who made stringed
musical instruments because its properties were uniquely helpful in increasing the
friction of bow hairs (and now used in pharmaceutical preparations
& soldering fluxes though it’s still prized by those who play the violin,
viola, cello etc).Colophon is a noun
and colophonic is an adjective; the noun plural is colophons.
The etymological relationship between the colophon in
publishing and the Ancient Greek city of Colophon lies in the original meaning
of the word and the reverence in the West for the classical world which would
have found a Latin or Greek form preferable to something in brutish English like
“details page”.The Greek word κολοφών (kolophṓn) meant “peak” or “summit” and
thus the ancient Lydian city in Asia Minor (what is now the land mass of the
modern Republic of Türkiye) which was said to be the oldest of the twelve of
the Ionian League came to be known as Colophon because it was built upon a
ridgeline which rose between Ephesus & Lebedos.From the, in Greek, kolophṓn came to be used to mean “a city or town at the summit of
a hill or a signpost at the end of a trail that indicated the name and location
of the place” and thus “a finishing touch; a finishing stroke”.From this duality of meaning came the use in publishing,
the bibliographic addendum called a “colophon” in the metaphorical sense of a “crowning
touch” and the historic placement at the end of a book or manuscript an
allusion to “the signpost at the end”.Although it would be centuries before anything like a standardized form
emerged, the concept of the colophon has been identified in texts from
antiquity, recognizable versions existing as early as the second century AD.
An emulation of a colaphon.
A colophon is not an essential component of a book but
many publishers have long included one.
In its most simple modern form, a colophon is a summary of technical
information which includes data such as the name & insignia of the
publisher, the font(s) used, the details of photographs or art used on the
covers and the names of the author(s) or editor(s), along with whatever biographical
data they may care to reveal. The nature
of the text also influences what’s included, books with a technical bent (and
certainly those covering IT matters) likely to list software used in the
composition while those which focus on photography are likely to include much
about cameras. Reflecting environment
concerns, increasingly colophons include mentions of thing like sustainability
in the process (which can mean much or little) or the use of recycled
materials. A colophon differs from a
blurb (often printed on the back cover or a cover flap) which is a blend of
promotional puff-piece and a précis of the contents. Traditionally part of the back matter, they’re
now often found among the front pages along with the title page (a more modern
innovation than the colophon) appearing with the usual entries such as the date
& place of publication, the copyright stamp, ISBN references etc. In a sense, a colophon can be considered a
form of metadata (which references the concept of structured information which
is about other data).
In
chemistry, a substance that produces a chemical reaction, used in analysis and
synthesis.
1785: A
compound word, the construct being re(act)- + agent.The prefix re- is from the Middle English
re-, from the Old French re-, from the Latin re- & red- (back; anew; again;
against), from the primitive Indo-European wret-, a metathetic alteration of
wert- (to turn). Agent is from the Latin
agēns, present active participle of agere (to drive, lead, conduct, manage,
perform, do) from the Proto-Italic agō, from primitive Indo-European hzéǵeti.It
was cognate with the Old Irish aigid, the Ancient Greek ἄγω (ágō) (I lead), the Old Norse aka (move,
drive), the Avestan azaiti and the Sanskrit अजति (ájati)
(to drive, propel, cast). The
difference between a catalyst and a reagent is that catalysts are not consumed
during the chemical reaction, whereas reagents may be.A catalyst is a substance which can increase
the reaction rate of a particular chemical reaction, while a reagent is a
substance used in chemical analysis or to induce another chemical reaction.
Novichok
A
Novichok (Russian: новичо́к (novičók) (newcomer)) agent is one of a number of chemical
weapons developed by the state chemical research institute (GosNIIOKhT) in the
Soviet Union (USSR) and Russia between 1971-1993.Said to be the deadliest nerve agent ever
created, Novichok was designed in a way that evaded the restrictions on
chemical weapons imposed by treaties to which the USSR was a signatory.Novichok agents have become well-known
because they’ve been used to poison several opponents of the Russian government, most notably Sergei Skripal (b 1951; a former officer in the Russian military agent of UK intelligence) and his daughter, Yulia Skripal (b 1985) who were poisoned in the city of Salisbury, UK. The Kremlin denied complicity and accused the UK government of whipping-up anti-Russian hysteria.
The
design requirements for Novichok included it being undetectable using standard equipment,
being able to penetrate personal protective equipment, being easier to handle
in its transportable form and able to circumvent the various chemical weapons treaties
the USSR had signed.The use of reagents
made many of these objectives possible.As a binary weapon, in which precursors are mixed to produce the nerve agent
immediately prior use, handling is easier because, in un-mixed form, the reagents
are less hazardous and thus simpler to store and transport.The reagents are also chemically less unstable
and have a long shelf life although western analysts note at least one liquid
form of Novichok is sufficiently stable to be able to remain deadly for decades
if stored in a controlled environment.
In July 2018, a UK distillery was forced to
apologize after releasing a 75% abv vodka named Novichok, days after a woman
and her partner were poisoned with the same nerve agent that almost killed Sergei Skripal and his daughter Yulia in Salisbury earlier in
the year.Bristol Dry Gin’s limited
edition Novichok vodka quickly sold
out and the company has made clear there are no plans for a second batch. Amesbury woman Dawn Sturgess (b 1974), who lived
some eight miles (13 km) north of Salisbury, fell ill on 30 June 2018, dying
within days after being exposed to what experts said must have been a sizable dose
of the Novichok substance. Her partner,
Charlie Rowley (b 1973), was for some time critically ill but recovered.
Just before Ms Sturgess’ death, Bristol Dry
Gin posted to its Facebook page an image of its new “limited edition” Novichok
vodka, along with a promotional blurb: "Our new limited edition vodka is out!
Set at 75%, this smooth drinking spirit is no laughing matter." "Available as a 35cl bottle, perfect for
manbags and gym bottles, or as a pack of three 5cl minis, a great solution to
body cavity searches. Get em from our web store or distillery.” Not so much the product as the timing of
the release attracted criticism, many finding it in “poor taste” and the
distillery in its statement of apology agreed, admitting the timing “may have
lacked sensitivity” and was named and launched only after the Skripals had
recovered. “It was intended to lighten
the mood and ease tensions, not to cause offence, and reaction has been
overwhelmingly positive. We sincerely apologize if any offence was caused,
especially to the families of Dawn Sturgess and Charlie Rowley, and understand
the timing of the release of this product may have lacked sensitivity. The Novichok Edition is a limited edition,
which sold out within a hours of being released, and we have no plans to
produce any more.”
Capitalism in Russia proved a little more
robust, a Russian entrepreneur capitalizing on the poisoning in the UK of Sergei
& Yulia Skripala by releasing the новичо́к (novičók or Novichok)
brand of cooking oil. Ulyanovsk-based
farmer Alexei Yakushev explained he was inspired to choose the name for his new
brand of sunflower oil after watching a news report of the events in Salisbury. “I regularly watch the news” Mr Yakushev
informed an interviewer and as the product wasn’t available in store, he
decided to produce and bring it to market himself.
Said to be the ideal oil for sukhariki (oven-toasted stale bread
strips), the Novichok oil was marketed
under the slogan “products for a long life” and, in a nice touch, the label included
the famous insignia of the KGB. On Mr Yakushev’s
webpage, to counter Western propaganda, he included in the “About us” section the
line “We don’t hide money offshore,” in
rhyme.
(1) Any of numerous insects of the order Coleoptera, having
biting mouthparts and characterized by hard, horny forewings modified to form
shell-like protective elytra forewings that cover and protect the membranous
flight wings.
(2) Used loosely, any of various insects resembling true beetles.
(3) A game of chance in which players attempt to complete
a drawing of a beetle, different dice rolls allowing them to add the various
body parts.
(4) A heavy hammering or ramming instrument, usually of
wood, used to drive wedges, force down paving stones, compress loose earth etc.
(5) A machine in which fabrics are subjected to a
hammering process while passing over rollers, as in cotton mills; used to
finish cloth and other fabrics, they’re known also as a “beetling machine”
(6) To use a beetle on; to drive, ram, beat or crush with
a beetle; to finish cloth or other fabrics with a beetling machine.
(7) In slang, quickly to move; to scurry (mostly UK),
used also in the form “beetle off”.
(8) Something projecting, jutting out or overhanging
(used to describe geological formation and, in human physiology, often in the
form beetle browed).
(9) By extension, literally or figuratively, to hang or
tower over someone in a threatening or menacing manner.
(10) In slang, the original Volkswagen and the later
retro-model, based on the resemblance (in silhouette) of the car to the insect;
used with and without an initial capital; the alternative slang “bug” was also analogous
with descriptions of the insects.
Pre 900: From the late Middle English bittil, bitil, betylle & bityl, from the Old English bitula, bitela, bītel & bīetel (beetle (and apparently
originally meaning “little biter; biting insect”)), from bēatan (to beat) (and related to bitela, bitel & betl,
from bītan (to bite) & bitol (teeth)), from the Proto-West
Germanic bitilō & bītil, from the Proto-Germanic bitilô & bītilaz (that which tends to bite, biter, beetle), the construct
being bite + -le. Bite was from the Middle English biten, from the Old English bītan (bite), from the Proto-West
Germanic bītan, from the
Proto-Germanic bītaną (bite), from
the primitive Indo-European bheyd-
(split) and the -le suffix was from the Middle English -elen, -len & -lien, from the Old English -lian
(the frequentative verbal suffix), from the Proto-Germanic -lōną (the frequentative verbal suffix)
and was cognate with the West Frisian -elje,
the Dutch -elen, the German -eln, the Danish -le, the Swedish -la and
the Icelandic -la.It was used as a frequentative suffix of
verbs, indicating repetition or continuousness.The forms in Old English were cognate with the Old High German bicco
(beetle), the Danish bille (beetle), the
Icelandic bitil & bitul (a bite, bit) and the Faroese bitil (small piece, bittock).
In architecture, what was historically was the "beetle brow" window is now usually called "the eyebrow". A classic example of a beetle-brow was that of Rudolf Hess (1894–1987; Nazi deputy führer 1933-1941).
Beetle in the sense of the tool used to work wood,
stonework, fabric etc also dates from before 900 and was from the Middle
English betel & bitille (mallet,
hammer), from the Old English bītel,
bētel & bȳtel which was cognate with the Middle
Low German bētel (chisel), from bēatan & bētan (beat) and related to the Old Norse beytill (penis). The adjectival
sense applied originally to human physiology (as beetle-browed) and later extended
to geological formations (as a back-formation of beetle-browed) and
architecture where it survives as the “eyebrow” window constructions mounted in
sloping roofs. The mid-fourteenth
century Middle English bitelbrouwed (grim-browed,
sullen (literally “beetle-browed”)) is thought to have been an allusion to the
many beetles with bushy antennae, the construct being the early thirteenth
century bitel (in the sense of "sharp-edged,
sharp" which was probably a compound from the Old English bitol (biting, sharp) + brow, which in
Middle English meant "eyebrow" rather than "forehead." Although the history of use in distant oral
traditions is of course murky, it may be from there that the Shakespearean
back-formation (from Hamlet (1602)) in the sense of "project,
overhang" was coined, perhaps from bitelbrouwed. As applied to geological formations, the
meaning “dangerously to overhang cliffs etc” dates from circa 1600. The alternative
spellings bittle, betel & bittil are all long obsolete. Beetle is a noun & verb & adjective,
beetled is a verb, beetling is a verb & adjective and beetler is a noun;
the noun plural is beetles.
Gazing back.
Even before
he went mad (something of a calling among German philosophers) Friedrich
Nietzsche (1844–1900) would warn the impressionable: “And if you gaze for long into an abyss, the
abyss gazes also into you.”In some European towns, gaze for long at the houses and Rudolf Hess also
gazes at you.Attending the first Nuremberg
Trial (1945-1946) as a journalist, the author Rebecca West (1892–1983) perceived
an abyss in Hess, writing he was “…so plainly mad… He looked as if his mind had no surface,
as if every part of it had been blasted away except the depth where the
nightmares lived.”Imprisoned
for life (Count 1: Conspiracy & Count 2: Crimes against peace) by the IMT
(International Military Tribunal), Hess would spend some 46 years in captivity
and when in 1987 he took his own life, he was the last survivor of the 21 who
has stood in the dock to receive their sentences.Opinion remains divided over whether Hess was
“mad” in either the clinical or legal sense but his conduct during the trial
and what is known of his decades in Berlin’s Spandau prison (the last 20-odd
years as the vast facility’s sole inmate) does suggest he was at least highly
eccentric.
The Beetle (Volkswagen Type 1)
First built before World War II (1939-1945), the Volkswagen
(the construct being volks (people) +
wagen (car)) car didn’t pick up the
nickname “beetle” until 1946, the allied occupation forces translating it from
the German Käfer and it caught on,
lasting until the last one left a factory in Mexico in 2003 although in
different places it gained other monikers, the Americans during the 1950s
liking “bug” and the French coccinelle
(ladybug) and as sales gathered strength around the planet, there were
literally dozens of local variations, the more visually memorable including:
including: bintus (Tortoise) in
Nigeria, pulga (flea) in Colombia, ඉබ්බා (tortoise) in Sri Lanka, sapito (little toad) in Perú, peta
(turtle) in Bolivia, folcika (bug) in
Bosnia and Herzegovina, kostenurka (turtle)
in Bulgaria, baratinha (little
cockroach) in Cape Verde, poncho in
Chile and Venezuela. buba (bug) in
Croatia, boblen (the bubble), asfaltboblen (the asphalt bubble), gravid rulleskøjte (pregnant
rollerskate) & Hitlerslæden
(Hitler-sled) in Denmark. cepillo
(brush) in the Dominican Republic, fakrouna
(tortoise) in Libya, kupla (bubble)
& Aatun kosto (Adi's revenge) in
Finland, cucaracha (cockroach) in Guatemala,
El Salvador and Honduras, Kodok
(frog) in Indonesia, ghoorbaghei (قورباغهای) (frog) in Iran, agroga عكروكة (little frog) & rag-gah ركـّة (little turtle) in Iraq, maggiolino (maybug) in Italy, kodok (frog) in Malaysia, pulguita (little flea) in Mexico and much
of Latin America, boble (bubble) in
Norway, kotseng kuba (hunchback car)
& boks (tin can) in the Philippines,
garbus (hunchback) in Poland, mwendo wa kobe (tortoise speed) in
Swahili and banju maqlub (literally “upside down bathtub”) in Malta.
A ground beetle (left), a first generation der Käfer (the Beetle, 1939-2003) (centre) and an "New Beetle" (1997-2011). Despite the appearance, the "New Beetle" was of front engine & front-wheel-drive configuration, essentially a re-bodied Volkswagen Golf. The new car was sold purely as a retro, the price paid for the style, certain packaging inefficiencies.
A handy (and
potentially life-saving) accessory for wartime KdF-Wagens was a passenger-side mount for a MP 40/41 Maschinenpistole (submachine gun),
usually dubbed the Schmeisser by Allied
troops on the basis German weapons designer Hugo Schmeisser (1884–1953) was
responsible for the earlier and visually similar MP 18 (the world’s first mass-produced
submachine gun). Although he was not
involved in the development of the MP 40, that weapon did use a magazine
produced in accordance with one of his patents.
The Beetle (technically, originally the KdF-Wagen and later the Volkswagen
Type 1) was one of the products nominally associated with the Nazi regime’s Gemeinschaft Kraft durch Freude (KdF,
“Strength Through Joy”), the state-controlled organization which was under the
auspices of the Deutsche Arbeitsfront
(German Labor Front) which replaced the independent labor unions. Operating medical services, cruise liners and
holiday resorts for the working class, the KdF envisaged the Volkswagen as a
European Model T Ford in that it would be available in sufficient
numbers and at a price affordable by the working man, something made easier
still by the Sparkarte (savings
booklet) plan under which a deposit would be paid with the balance to be met in
instalments. Once fully paid, a
Volkswagen would be delivered. All this
was announced in 1939 but the war meant that not one Volkswagen was ever
delivered to any of those who diligently continued to make their payments as
late as 1943. Whether, even without a
war, the scheme could have continued with the price set at a politically sensitive
990 Reichsmarks is uncertain. That was
certainly below the cost of production and although the Ford Model T had
demonstrated how radically production costs could be lowered once the
efficiencies of mass-production reached critical mass, there were features
unique to the US economy which may never have manifested in the Nazi system,
even under sustained peace although, had the Nazis won the war, from the Atlantic to the Urals they'd have had a vast pool of slave labor, a obvious way to reduce unit labor costs. As it was, it
wasn’t until 1964 that some of the participants
in the Sparkarte were granted
a settlement under which they received a discount (between 9-14%) which could
be credited against a new Beetle.
Inflation and the conversion in 1948 from Reichsmark to Deutschmark make
it difficult accurately to assess the justice of that but the consensus was
Volkswagen got a good deal. The settlement was also limited, nobody resident in the GDR (The German Democratic Republic, the old East Germany (1949-1990)) or elsewhere behind the iron curtain received even a Reichspfennig (cent).
Small, life-size & larger than life: A scale model (left), a 1955 Volkswagen Beetle (centre) and the “Huge Bug”, on the road
with the 1959 Cabriolet used as a template.
Produced or
assembled around the world between 1938-2003, over 21.5 million Beetles were
made and there were also untold millions of scale models, ranging from small,
colorful molded plastic toys distributed in cereal boxes (an early form of “indirect
marketing” to children) through the ubiquitous “Matchbox Toys” to some highly
detailed and expensive renditions, some powered by electric motors.However, as far as in known, there's been
only one “up-scaled” Beetle and so impressive was it in execution, until seen
with objects (ideally a standard Beetle) to give some sense of the size, it’s
not immediately obvious the thing is some 40% bigger.While it may be tempting to call this a “Super
Beetle” that would only confuse because the factory applied that label to a
version introduced in 1970 and customers nick-named those “Super Bug” so that’s
taken too; maybe “Big Bug” is best although the builders liked “Huge Bug”.
The Huge Bug
was created by a Californian father and son team who disassembled a 1959 Beetle
Cabriolet so the relevant components could be scanned and digitized, enabling versions
40% larger to be fabricated.Built on
the chassis of a Dodge Magnum, mechanical components were carried over so the
Huge Bug features a specification which would have astonished Germans (or
anyone else) in 1957, including a 345 cubic inch (5.7 litre) Hemi V8, automatic
transmission, power steering, heated seats, air conditioning & power
windows.Not unexpectedly, whenever
parked, the Huge Bug attracts those wanting a unique backdrop for selfies. If the Huge Bug seems too conventional (if large) an approach, others have allowed their imagination to wander in other directions.
Herbie, the love bug
Lindsay
Lohan (left) among the Beetles (centre) on the red carpet for the Los Angeles premiere
of Herbie Fully Loaded (2005), El
Capitan Theater, Hollywood, Los Angeles, 19 June 19, 2005.The Beetle (right) was one of the many
replica “Herbies” in attendance and, on the day, Ms Lohan (using the celebrity-endorsed
black Sharpie) autographed the glove-box lid, removed for the purpose.
In a Beetle
it’s a simple task quickly to remove and re-fit a lid but unfortunately it was
upside down when signed.Autographs on glove-box
lids (and other parts) are a thing and the most famous (and numerous) are those
of Carroll Shelby (1923–2012) on Shelby American AC Cobras and Mustangs.Many are authentic because for a donation to
the Shelby foundation (typically around US$250) an owner could send to Shelby American
headquarters in California a lid with a SSAE (stamped, self-addressed envelope)
and it would come back duly signed and with a letter of authenticity (though
one owner noted dryly the felt pen (silver ink) he’d enclosed wasn’t returned.There are many slight variations in the signatures
which hints they were done by hand and not an auto-pen although those that
differ most are the ones signed while the lid was fixed to the car; for most it’s
an unnatural action to sign on other than a flat, horizontal surface.There are also some of questionable provenance,
not all of which are one Cobra replicas built long after Carroll Shelby’s death
and “Carroll Shelby glove-box signature vinyl transfer tapes” are available on-line in black, white and silver for
as little as US$6.00.Beware of
imitations one might say but given there are over 50,000 “imitation” Cobras
against a thousand-odd originals, the fake signature industry is sort of in the
same spirit.
One of the cars
used in the track racing sequences, now on display in the Peterson Automotive
Museum on Wilshire Boulevard, Los Angeles, California (left), a Disney Pictures
promotional image (centre) and a Herbie “replica” (with glove-box lid signed by Lindsay Lohan) built on a modified 1964
Beetle (right).
Before the
release in 2005 of Herbie: Fully Loaded,
following the first "Herbie" film (The Love Bug (1968)), there had been three sequels and a television
series so the ecosystem of Herbie replicas (clones, tributes etc) was
well-populated and as a promotional gimmick Disney Pictures invited fans to
bring their replicas to line the red carpet at the Los Angeles premiere.Producing a “true” Herbie replica is
technically possible but not all will be the same because even within each film
there were variations in the appearance because a number of Beetles were
required for the filming with not all identical in every visual aspect.In post-production, there is a “continuity
editor” who is tasked with removing or disguising such inconsistencies but
minor details, especially if not in any way significant, often slip through
something which delights the film obsessives who curate sites documenting the “errors”.Among Beetle (especially the pre 1968 models)
collectors there’s a faction of originality police (as uncompromising as any
found in the communities patrolling vintage Ferraris, Corvettes, Jaguars,
Porsches and such) and when the Herbie “replica” (above right) was offered for
sale (as a “Herbie-Style 1964 Volkswagen
Beetle Sunroof Sedan”) they were there to pounce, noting:
(1) The last
year for the Golde folding sunroof was 1963, 1964 Sunroof Sedans fitted with a steel,
sliding-roof. The consensus was either the
roof from an earlier Sunroof Sedan was spliced on or a hole was cut for
salvaged Golde assembly to be installed.
Neither would be technically difficult for someone with the parts and
skill but an inspection would be required to know which and on the basis of the
photographs the work had been done well.
(2) The
hood (“bonnet” over the frunk) was from an earlier model (with a pre-1963 Wolfsburg
crest).
(3) The
licence plate light was from 1963 (the updated engine and conversion to 12-volt
electrics (both common in early Beetles) were disclosed in the sales blurb).
(4) The radio antenna was
on the driver’s side whereas in the film it appears on the passenger’s side and
there were many detail differences (decals and such) but there were inconsistencies
also in the film.
Professor Porsche
There were many Volkswagens produced during the war but
all were delivered either to the military or the Nazi Party organization where
they were part of the widespread corruption endemic to the Third Reich, the
extent of which wasn’t understood until well after the demise of the regime.The wartime models were starkly utilitarian and
this continued between 1945-1947 when production resumed to supply the needs of
the Allied occupying forces, the bulk of the output being taken up by the
British Army, the Wolfsburg factory being in the British zone.As was the practice immediately after the
war, the plan had been to ship the tooling to the UK and begin production there
but the UK manufacturers, after inspecting the vehicle, pronounced it wholly
unsuitable for civilian purposes and too primitive to appeal to customers.Accordingly, the factory remained in Germany
and civilian deliveries began in 1947, initially only in the home market but within
a few years, export sales were growing and by the mid-1950s, the Beetle was a success even in the US market, something which must have seem improbable in 1949 when two were sold.The
platform proved adaptable too, the original two-door saloon and cabriolet augmented
by a van on a modified chassis which was eventually built in a bewildering array
of body styles (and made famous as the Kombi and Microbus (Type 2) models which became
cult machines of the 1960s counter-culture) and the stylish, low-slung
Karmann-Ghia (the classic Type 14 and the later Type 34 & Type 145 (Brazil), sold as a 2+2 coupé and convertible. Later there would be attempts to use more modern body styling while preserving the mechanical layout (the Type 3, 1961-1973 and Type 4 (411/412), 1968-1974) but the approach was by the early 1970s understood to be a dead end although the concept was until 1982 pursued by Volkswagen's Brazilian operation.
Herr
Professor Ferdinand Porsche (1875–1951) explaining the Beetle to Adolf Hitler
(1889-1945; Führer (leader) and German head of government 1933-1945 & head
of state 1934-1945) during the ceremony marking the laying of the foundation
stone at the site of the Volkswagen factory, Fallersleben, Wolfsburg in
Germany's Lower Saxony region, 26 May 1938 (which Christians mark as the
Solemnity of the Ascension of Jesus Christ, commemorating the bodily Ascension
of Christ to Heaven) (left). The visit would have been a pleasant diversion for Hitler who was at the time immersed in the planning for the Nazi's takeover of Czechoslovakia and later the
same day, during a secret meeting, the professor would display a scale-model
of an upcoming high-performance version (right).
The Beetle also begat what are regarded as the classic Porsches (the 356 (1948-1965), the 911 (1964-1998) and 912 (1965-1969 & 1976)).Although documents filed in court over the
years would prove Ferdinand Porsche’s (1875-1951) involvement in the design of
the Beetle revealed not quite the originality of thought that long was the stuff of
legend (as a subsequent financial settlement acknowledged), he was attached to the concept and for reasons of economic necessity
alone, the salient features of the Beetle (the separate platform, the
air-cooled flat engine, rear wheel drive and the basic shape) were transferred
to the early post-war Porsches and while for many reasons features like liquid
cooling later had to be adopted, the basic concept of the 1938 KdF-Wagen is still identifiable in today’s 911s.
The Beetle had many virtues as might be surmised given
it was in more-or-less continuous production for sixty-five years during which
over 20 million were made.However,
one common complaint was the lack of power, something which became more
apparent as the years went by and average highway speeds rose.The factory gradually increased both
displacement & power and an after-market industry arose to supply those who
wanted more, the results ranging from mild to wild.One of the most dramatic
approaches was that taken in 1969 by Emerson Fittipaldi (b 1946) who would
later twice win both the Formula One World Championship and the Indianapolis
500.
The Fittipaldi 3200
Team Fittipaldi in late 1969 entered the Rio 1000 km race at
the Jacarepagua circuit, intending to run a prototype with an Alfa Romeo engine but after
suffering delays in the fabrication of some parts, it was clear there would be insufficient
time to prepare the car.No other
competitive machine was immediately available so the decision was taken to
improvise and build a twin-engined Volkswagen Beetle, both car and engines in
ample supply, local production having begun in 1953.On paper, the leading opposition (Alfa Romeo
T33s, a Ford GT40 and a Lola T70 was formidable but the Beetle, with two tuned
1600 cm3 (98 cubic inch) engines, would generate some 400 horsepower
in a car weighing a mere 407kg (897 lb) car.Expectations weren't high and other teams were dismissive of the threat yet
in qualifying, the Beetle set the second fastest time and in the
race proved competitive, running for some time second to the leading Alfa Romeo
T33 until a broken gearbox forced retirement.
Fittipaldi 3200, Interlagos, 1969. The car competed on Pirelli CN87 Cinturatos (which were for street rather than race-track use) tyres which was an interesting choice but gearbox failures meant it never raced long enough for their durability to be determined.
The idea of twin-engined cars was nothing new, Enzo Ferrari
(1898-1988) in 1935 having entered the Alfa Romeo Bimotor in the Grand Prix
held on the faster circuits.At the time
a quick solution to counter the revolutionary new Mercedes-Benz and Auto-Union race
cars, the Bimotor had one supercharged straight-eight mounted at each end, both
providing power to the rear wheels.It
was certainly fast, timed at 335 km/h (208 mph) in trials and on the circuits
it could match anything in straight-line speed but its Achilles heel was that
which has beset most twin-engined racing cars, high fuel consumption & tyre
wear and a tendency to break drive-train components. There were some successful adoptions when less powerful engines were used and the goal was traction rather than outright speed (such as the Citroën 2CV Sahara (694 of which were built between 1958-1971)) but usually there were easier ways to achieve the same thing. Accordingly, while the multi-engine idea
proved effective (indeed sometimes essential) when nothing but straight line speed was demanded (such as
land-speed record (LSR) attempts or drag-racing), in events when corners needed to be
negotiated, it proved a cul-de-sac. There was certainly potential as the handful of "Twinis" (twin-engined versions of the BMC (British Motor Corporation) Mini (1959-2000) built in the 1960s demonstrated. The original Twini had been built by constructor John Cooper (1923–2000 and associated with the Mini Cooper) after he'd observed a twin-engined Mini-Moke (a utilitarian vehicle based on the Mini's platform) being tested for the military. Cooper's Twini worked and was rapid but after being wrecked in an accident (not directly related to the novel configuration), the project was abandoned.
Still, in 1969, Team Fittipaldi had nothing faster
available and while on paper, the bastard Beetle seemed unsuited to the task as
the Jacarepagua circuit then was much twistier than it would become, it would
certainly have a more than competitive power to weight ratio, the low mass likely to
make tyre wear less of a problem.According
to Brazilian legend, in the spirit of the Q&D (quick & dirty) spirit of
the machines hurried assembly, after some quick calculations on a slide-rule,
the design process moved rapidly from the backs of envelopes to paper napkins
at the Churrascaria Interlagos Brazilian Barbecue House where steaks and red wine were ordered. Returning to the workshop, most of the chassis was fabricated against
chalk-marks on garage floor while the intricate linkages required to ensure the
fuel-flow to the four Weber DC045 carburetors were constructed using cigarette
packets as templates to maintain the correct distance between components.In the race, the linkages performed
faultlessly.
Fittipaldi 3200: The re-configuration of the chassis essentially transformed the rear-engined Beetle into a mid-engined car, the engines between the driver and the rear-axle line, behind which sat the transaxle.
The chassis used a standard VW platform, cut just behind
the driver’s seat where a tubular sub-frame was attached. The front suspension and steering was retained
although larger Porsche drum brakes were used in deference to the higher speeds
which would be attained.Remarkably, Beetle type swing axles were used at the rear which sounds frightening but
these had the advantage of providing much negative camber and on the smooth and
predictable surface of a race-track, especially in the hands of a race-driver,
their behavior would not be as disconcerting as their reputation might
suggest.Two standard 1600cm3
Beetle engines (thus the 3200 designation) were fitted for the shake down tests
and once the proof-of-concept had been verified, they were sent for tuning, high-performance
Porsche parts used and the displacement of each increased to 2200cm3
(134 cubic inch).The engines proved
powerful but too much for the bottom end, actually breaking a crankshaft (a
reasonable achievement) so the stroke was shortened, yielding a final
displacement only slightly greater than the original specification while maintaining the ability to sustain higher engine speeds.
Fittipaldi 3200 (1969) schematic (left) and Porsche 908/01 LH Coupé (1968–1969) (right): The 3200's concept of a mid-engined, air-cooled, flat-eight coupe was essentially the same as the Porsche 908 but the Fittipaldi 3200's added features included drum brakes, swing axles and a driver's seat which doubled as the fuel tank. There might have been some drivers of the early (and lethal) Porsche 917s who would have declined an offer to race the 3200, thinking it "too dangerous".
The rear engine was attached in a conventional
arrangement through a Porsche five-speed transaxle although first gear was
blanked-off (shades of the British trick of the 1950s which discarded the "stump-puller" first gear to create a "close ratio" three-speed box) because of a noted
proclivity for stripping the cogs while the front
engine was connected to the rear by a rubber joint with the crank phased at 90o
to the rear so the power sequenced correctly. Twin oil coolers were mounted in the front
bumper while the air-cooling was also enhanced, the windscreen angled more
acutely to create at the top an aperture through which air could be ducted via flexible channels in the roof.Most
interesting however was the fuel tank.To satisfy the thirst of the two engines, the 3200 carried 100 litres (26.4
(US) / 22 (Imperial) gallons) of a volatile ethanol cocktail in an aluminum
tank which was custom built to fit car: It formed the driver’s seat!
Incongruity: The Beetle and the prototypes, Interlagos, 1969
In the Rio de Janeiro 1000 kilometre race on the Guanabara
circuit, the 3200, qualified 2nd and ran strongly in the race, running
as high as second, the sight of a Beetle holding off illustrious machinery
such as a Porsche special, a Lola-Chevrolet R70, and a Ford GT40, one of
motorsport’s less expected sights.
Unfortunately, in the twin-engined tradition, it proved fast but
fragile, retiring with gearbox failure before half an hour had elapsed. It raced once more but proved no more
reliable.
How to have fun with a Beetle.
Caffeine
addiction is one of humanity’s most widespread vices and it extends to those
driving cars. In famous tort case, Stella Liebeck v. McDonald's Restaurants,
P.T.S., Inc. and McDonald's International, Inc (1994 Extra LEXIS 23
(Bernalillo County, N.M. Dist. Ct. 1994), 1995 WL 360309 (Bernalillo County,
N.M. Dist. Ct. 1994), a passenger in a car (a 1989 model with no cup holders)
received severe burns from spilled coffee, just purchased from a McDonald’s
drive-through. Although the matter
received much publicity on the basis it was absurd to be able to sue for being
burned by spilling what was known by all to be “hot” and the case came to be cited
as an example of “frivolous” litigation, there were technical reasons why some
liability should have been ascribed to McDonalds. The jury awarded some US$2.6 million in
damages although this was, on appeal, reduced to US640,000 and the matter was
settled out of court before a further appeal.
How to have coffee in a Beetle
Hertella Auto Kaffeemachine, 1959. What could go wrong?
In the twenty-first century,
some now judge cars on the basis of the count, capacity & convenience of its
cup-holders but in the less regulated environment of the FRG (Federal Republic
of Germany, the old West Germany, 1949-1990) of 1959, one company anticipated
the future trend by offering a dashboard-mounted coffee maker for the
Volkswagen Beetle. The Hertella
Auto Kaffeemachine was not a success, presumably because even those not
familiar with Sir Isaac Newton's (1642–1727) First Law of Motion (known also as
the Law of Inertia: “An object at rest will remain at rest, and an object in
motion will continue in motion with the same speed and in the same direction
unless acted upon by an unbalanced external force”) could visualise
the odd WCS (worst case scenario).
A happy caffeine
addict, pouring himself a cup of coffee in his VW Beetle.
That it was in 1959 available in 6v & 12v versions
is an indication Hertella may have envisaged a wider market because VW didn’t offer
a 12v system as an option until 1963 and the company seems to have given some thought
to Newtonian physics, the supplied porcelain cups fitted at the base with a
disc of magnetic metal which provided some resistance to movement although the
liquid obviously moved as the forces were applied. The apparatus was mounted with a detachable
bracket, permitting the pot to be removed for cleaning. The quality of the coffee was probably not
outstanding because there’s no percolation; the coffee added in a double-layer
screen and “brewed” on much the same basis as one would tea-leaves and for
those who value quality, a thermos-flask would have been a better choice but
there would have been caffeine addicts willing to try the device. The trouble was there clearly weren’t many of
them and even in the FRG of the Wirtschaftswunder (the post war “economic
miracle”) the fairly high price would have deterred many although now, one in
perfect condition (especially if accompanied by the precious documents or
packaging) would command a price well over US$1000.
How to advertise a Beetle
Although
the popular perception of motoring in the US during the 1960s is it was all about
gas-guzzling behemoths and tyre-smoking muscle cars no less thirsty, Detroit’s advertising
did not neglect to mention fuel economy and the engineers always had in the
range a combination of power-train and gearing options for those for whom that
was important; it was a significant if unsexy market. However, the advertising for domestic
vehicles, whatever the segment, almost always emphasised virtues like
attractiveness and, in the era of annual product updates, made much of things
being “new”.Volkswagen took a different
approach, centred around the “Think Small” campaign, created by the
advertising agency Doyle Dane Bernbach (DDB). Positioning VW Beetle ownership as a kind of
inverted snobbery, the campaign embraced simplicity and honesty, quite a contrast
with the exaggerations common at the time.The technique was ground-breaking and its influences have been seen in
the decades since.
The key
theme was one of self-deprecating humor which took the criticisms of the car
(quirky, small, ugly, lacking luxuries) and made a headline of them,
emphasising instead attributes such as reliability, fuel efficiency, and
affordability, all done with some wry observations. Whether making a virtue of the by then dubious qualities of swing axles (centre right) convinced many is uncertain but the "Why are the wheels crooked" one dates from 1962, some three years before the publication of Ralph Nadar's (b 1934) Unsafe at Any Speed (1965) in which a chapter was devoted to the troubling behavior swing axles induced in the Chevrolet Corvair (1960-1969). Still, the focus on authenticity had real appeal in
a consumerist age when agencies produced elaborate graphics and full-color
photographs taken in exotic locations: VW’s monochromatic look was emblematic
of the machine being advertised, one which in 1969 still looked almost identical
to one from 1959.A key to the success
of the campaign was the template: most of the upper part of the page usually a
single image of a Beetle, a caption beneath and then the explanatory text.
Spoof in National Lampoon's Encyclopedia of Humor (1973).
The US
magazine National Lampoon (1970-1998) ran a parody in the style of VW’s
campaign in their Encyclopedia of Humor
(1973).The "If Ted Kennedy drove a Volkswagen, he'd be
President today" piece not only borrowed the template but also
reprised VW’s claim of “watertight construction” which had appeared in one of
the manufacturer’s genuine advertisements.Although what the magazine did was protected under the constitution’s
first amendment (freedom of speech; freedom of the press) other legal remedies
beckoned and Volkswagen filed suit claiming (1) violations of copyright and
their trademark and (2) defamation. Apparently, a number of those who had seen the
spoof believed it to be real and the company was receiving feedback from the
outraged vowing never to buy another VW, a reaction familiar at scale in the
age of X (formerly known as Twitter) but which then required writing a letter,
putting it in an envelope, affixing a postage stamp and dropping it in the
mailbox.So pile-ons happened then but
they took longer to form.In a
settlement, National Lampoon undertook to (1) withdraw all unsold copies of the
450,000 print run (2) destroy the piece’s hot plate (in pre-digital printing, a
physical “plate” was created onto which ink was laid to create the printed
copy) and (3) publish in the next issue Volkswagen's explanatory disclaimer of
involvement. National Lampoon was also estopped from using the spoof for any subsequent purpose.
The 1967 Oldsmobile Delmont 88 which Ted Kennedy crashed into the water under Dike Bridge Chappaquiddick Island, Massachusetts.
The Oldsmobile belonged to Kennedy's mother, despite old Joe Kennedy (1888–1969) once having asserted "The Kennedys drive Buicks!". By the time Mary Jo Kopechne died, the company had already retired the Delmont nameplate after a two-year run.
The
notorious incident the parody referenced was the “Chappaquiddick Incident” in which
Ted Kennedy (1932–2009) drove off a bridge, shortly before midnight on 18 July
1969, after the then senator had left a cocktail party in the company of Miss Mary
Jo Kopechne (1940-1969) who had worked on Robert F Kennedy’s (RFK, 1925–1968;
US attorney general 1961-1964) presidential campaign in 1968.Miss Kopechne died in the crash, Senator
Kennedy not reporting the matter for more than ten hours after he left the
scene.Kennedy received a two month,
suspended sentence for leaving the scene of an accident but while his political
career continued for decades, he never succeeded in his attempts to become
president and his conduct in the Chappaquiddick Incident contributed to that although as one
notorious interview in 1979 revealed, apart from his sense of entitlement, he
could disclose no good reason why he should be POTUS.
Volkswagen's genuine "watertight construction" advertisment which inspired National Lampoon. It was one of the few in the series to be run in color and that was because water really didn't look like "water" in monochrome.
Years after
the Chappaquiddick Incident, when Ted was only of the brothers left alive, in an interview,
Richard Nixon (1913-1994; US president 1969-1974) compared the three , pronouncing
Ted the best and most natural politician while Robert was driven and intense, “like a
seventeenth century Jesuit priest”, a phrase he attributed to Theodore
Roosevelt’s (TR, 1858–1919; US president 1901-1909) daughter Alice Lee
Roosevelt Longworth (1884–1980).John
Kennedy (JFK, 1917–1963; US president 1961-1963) he thought “quite a shy
person” for whom the public aspect of politics was “an effort”,
albeit one he performed very well.Nixon
was a flawed character but in his (enforced) retirement, he was a fair judge of
the politicians he knew.