Compromise

Compromise (pronounced kom-pruh-mahyz)

(1) A settlement of differences by mutual concessions; an agreement reached by adjustment of conflicting or opposing claims, principles etc by reciprocal modification of demands.

(2) The result of such a settlement.

(3) Something intermediate between different things:

(4) An endangering, especially of reputation; exposure to danger, suspicion.

(5) To expose or make vulnerable to danger, suspicion, scandal etc; to jeopardize; to be placed in such a position (usually as "compromising" or "compromised") and applied particularly to "hacked" electronic devices.

(6) To bind by bargain or agreement.

(7) To make a dishonorable or shameful concession

(8) To prejudice unfavorably (obsolete).

(9) Mutually to pledge (obsolete).

1400–1450: Late Middle English borrowed from the Anglo-French compromise, from the Middle French compromise From the Old French compromis.  Root was the Medieval Latin comprōmissum (a joint promise to abide by an arbiter's decision) from comprōmittere (to make a mutual promise).  Construct was com (together) + prōmittere (to promise).  The most common modern sense of "a coming to terms" is from extension to the settlement itself and dates from the late fifteenth century.  The other meanings followed and there’s some variation in use within the English speaking world, it being a word which, depending on context, can imply something positive, neutral or negative so it needs to be considered in a cultural context.  During the Anglo-Irish negotiations in the 1990s which (at least to an extent) ended the "troubles", London learned the word "compromise" (which they thought something positive in the sense of "give & take to reach resolution) was vested in Ireland with the sense of "surrender".  Quickly, the texts were changed.  Compromise is a noun & verb, compromiser & compromisation are nouns, compromised & compromising are verbs & adjectives, compromisable is an adjective and compromisedly is an adverb; the common noun plural is compromises.  The most frequently seen derived form is uncompromising

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

Compromise is close to inevitable in human interaction; those with the luxury of enjoying an uncompromising life are rare.  The concept was in 1943 explained by Marshal of the Royal Air Force Sir Charles Portal (1893-1945; later Viscount Portal of Hungerford, Chief of the Air Staff 1940-1945) when discussing the allocation of finite resources between a military operation the British wished to undertake and one they were compelled by an earlier agreement to conduct in concert with the Americans: “We are in the position of the man writing his will who wishes to leave as much as possible to his mistress but for reasons of respectability must leave enough to his wife as would be thought honorable”.

Strictly speaking, not all hacked devices are merely "comprised"; for some it's worse.

The now familiar use of compromise in the field of cybersecurity as a blanket term to cover in general the hacking of devices needs some nuance.  The use draws from the earlier idea of people “being compromised” or “placed in a compromising position” by some act, the implication being that while life goes on, their situation has changed in that they’re now in a kind of “middle ground” between life as normal and consequences much worse.  Some hacking activity is designed to induce something similar: the device continues to function, often without the user being aware anything nefarious having happened but they may suffer the consequences.  The user’s device is thus in a state of vulnerability, a “middle ground” between it functioning normally and securely and total inaccessibility or failure.  For that reason, it’s really not correct to suggest “ransomware” attacks which completely disable system are “compromised”; it’s beyond that.  Despite that, the term seems to have become the standard term to describe the state of a hacked device, whatever might be details.

The Missouri Compromise

It’s a quirk more of history than language that in popular use, it’s the Mason-Dixon Line rather than the one drawn in The Missouri Compromise which symbolizes the cultural boundary between North and South in the United States, a thing explained probably by the Mason-Dixon Line coming first, thus gaining linguistic & cultural critical mass.  The Mason-Dixon Line is the official demarcation defining the boarders of what would become the US states of Pennsylvania, Maryland, Delaware and West Virginia (which was until 1863 attached to Virginia).  The line was determined by a survey undertaken between 1763-1767 by two English astronomers Charles Mason (1728–1786) & Jeremiah Dixon (1733–1779), commissioned because the original land grants issued by Charles I (1600–1649; King of England, Scotland & Ireland 1625-1649) and Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685) were contradictory, something not untypical given the often outdated and sometimes dubious maps then in use.  Later, "Mason-Dixon Line" would enter the popular imagination as the border between "the North" and "the South" (and thus "free" & "slave" states) because the line, west of Delaware, marked the northern limit of slavery in the United States.  Even though the later abolition of slavery in some areas rendered the line less of a strict delineation for this purpose, both phrase and implied meaning endured.

The Missouri Compromise line, although representing a much clearer geographic correlation to slavery in the years leading up to the Civil War, never entered the language in the same way as "south of the Mason-Dixon Line".

The Missouri Compromise was the legislation passed in 1820 to admit as states of the United States (1) the free state of Maine and (2) the salve state of Missouri, thus preserving the balance of power between North and South in the senate.  A part of the law was that slavery was prohibited north of the 36°30′ parallel, excluding Missouri and this extension of the Mason-Dixon Line became the Missouri Compromise line.  Controversial even at the time, there were predictions a formal division along sectional lines would institutionalize the political divide and might lead to conflict.  Although effectively repealed in the Kansas–Nebraska Act of 1854 and declared unconstitutional by the Supreme Court in 1857, those warnings would, within a generation, be realized in the US Civil War (1861-1865).

Adiaphoron

Adiaphoron (pronounced add-e-ah-for-on or eh-dee-ah-for-on)

(1) A matter of indifference.

(2) In philosophy, a matter held to be morally neutral.

(3) In Christian theology, something neither forbidden nor commanded by scripture and thus neither prescribed nor proscribed in church law.

(4) In Christian theology, the position that adherence to certain religious doctrines, rituals or ceremonies (even if non-standard) are not matters of concerned and may be practices or not, according to local preference.

1630s: From the Latin adjective adiaphoron, an inflection of adiaphoros (indifferent, non-essential, morally neither right nor wrong), neuter of Ancient Greek ἀδιάφορος (adiáphoros) (not different; indifferent), the construct being from a- (used in the sense of “not”) + diaphoros (different).  The Greek ἀδιάφορον (not different or differentiable) was thus the negation of διαφορά (diaphora) (difference).  The noun adiaphoria (a failure to respond to stimulation after a series of previously applied stimuli) is unrelated in meaning, the construct being a- (not) +‎ dia- (through) +‎ -phor (bearer) +‎ -ia (the suffix used to form abstract nouns).  Adiaphoron is a noun & adjective, adiaphorist & adiaphorism are nouns, adiaphorous, adiaphoristic & adiaphoric are adjectives; the noun plural is adiaphora.

In the philosophy of the Ancient Greeks, adiaphorism was an aspect in more than one school of thought.  To the Cynics it was used in the sense of “indifference” to both unfortunate events and the “stuff” which, then as now, functioned as the markers of success in society: power, fame & money.  The ancestor of the anti-materialists of the modern age, Cynicism understandably had more admirers than adherents.  The Stoics were more deterministic, dividing all the concerns of humanity into (1) good, (2) bad and (3) indifferent (adiaphora).  What they listed as good & bad was both predictable and (mostly) uncontroversial, something like a form of utilitarianism but without that creed’s essential component of distributive justice.  The implication, which retains much appeal to modern libertarians, was that for anything to be thought a matter of ethical concern, it needed to be defined as “good” or “bad”, the adiaphora being outside the scope of morality.  Acknowledged or not, this is what all but the most despotic legal and social systems can be reduced to although, being culturally and historically specific, the results can vary greatly.  In Athenian thought, the word also had a technical meaning wholly removed from morality.  To the Pyrrhonists (the most uncompromising of the philosophical sceptics) who essentially discarded all forms of imposed values in favor of defining everything by objective truth alone, the significance of the adiaphora was that these were things which, as a technical point, could not logically be differentiated.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

In Christianity, the adiaphora are those matters which, while they might be a significant or traditional part of worship either universally or sectionally, are not regarded as essential components of belief but may be practiced where the preference exists.  Within the schismatic world of Christianity, views differ and what is essential doctrinal orthodoxy in some denominations can be mere adiaphora in others.  Historically, the matter of what is and is not adiaphoric has been a matter of dispute and was a significant factor in the sixteenth century Protestant Reformation, a movement much concerned with the appropriateness of non-biblical ritual, rites, decorations and “…the other detritus of Popery”.  It took some time to work out but what emerged was a political compromise which defined adiaphora essentially as those traditions “neither commanded nor forbidden in the Word of God”, thus permitting the ongoing observation of the “bells & whistles” of worship which had evolved over centuries and despite the entreaties of the iconoclasts, continued to be clung to by congregations.  The lesson of this compromise to accommodate “harmless regionalisms” was well learned by some later leaders, religious and secular.

Between the Christian denominations, the same thing can variously be dogma, heresy or mere adiaphora and an illustrative example of disagreement lies in the cult of Mary (Mariology to the theologians).  In the Roman Catholic Church, the cult of Mary is based on dogma worked out over centuries: (1) that Mary was a pure virgin, before, during and after giving birth to Christ, (2) that Mary was the “Mother of God”, (3) that Mary, at her conception was preserved immaculate from Original Sin and (4) that at the conclusion of her earthly existence, Mary was assumed, body and soul into heaven (it has never been made explicit whether Mary died on earth although this does seem long to have been theological orthodoxy, the essential point being the physical assumption (from the Latin assūmptiō (taking up)) meant her body did not remain to be corrupted).

In the intricate interplay of theology and church politics, what really appealed to nineteenth century popes was linked to Gnosticism, the notion of “the dual realms of darkness and light beyond the mere veil of appearances, where reside the Godhead, the Virgin Mary, Michael, and all the angels and the saints, opposed by the powers of the Prince of Darkness and his fallen angels who wander through the world for the ruin of souls” as Leo XIII (1810–1903; pope 1878-1903) wrote in a prayer to be recited at the end of every Mass.  In other words, whatever happens depends on Mary’s intercession with her Christ child “to so curb the power of Satan that war and discord will be vanquished.”  In turn, this depends on Marian revelations sanctioned as authentic by the pope, whose power is thus parallel to Mary’s.  It's something which has been criticized as "opportunistic constructed symbiosis".

Assumption of the Virgin Mary (circa 1637) by Peter Paul Rubens (1577-1640), Liechtenstein Museum, Vienna.

Modern popes, if they hold such a view, no longer dwell on it but it remains church dogma and because it was in the 1950s proclaimed with the only (formal) invocation of papal infallibility since the First Vatican Council (Vatican I; 1869-1870), any change would be something extraordinary.  In some other denominations Mary is more a historical figure than a cult and in the Anglican Church the doctrine of the Assumption ceased to be part of orthodoxy in the sixteenth century; while the Protestant Reformation wasn’t a project of rationalism, it was certainly about simplicity and a rejection of some of the mysticism upon which whole the clerical class depended for their authority.  Despite that, in Anglicanism, the Assumption of Mary seems never to have been proscribed and in the twentieth century it re-appeared in the traditions of the so-called “Anglo-Catholics” who adore the "Romish ways".  For most of the Anglican communion however, it seems to be thought of as adiaphora, one of those details of religious life important to some but which seems neither to add much or threaten anything.

Mason

Mason (pronounced mey-suhn)

(1) A person whose trade is building with units of various natural or artificial mineral products, as stones, bricks, cinder blocks, or tiles, usually with the use of mortar or cement as a bonding agent.

(2) A person who dresses stones or bricks.

(3) A clipping of Freemason (should always use an initial capital but frequently mason and variations in this context (masonry, masonism etc) appear; a member of the fraternity of Freemasons.

(4) To construct of or strengthen with masonry.

1175–1225: From the Middle English masoun & machun (mason), from the Anglo-Norman machun & masson, from the Old French masson & maçon (machun in the Old North French), from the Late Latin maciō (carpenter, bricklayer), from the Frankish makjon & makjō (maker, builder; to make (which may have some link with the Old English macian (to make)) from makōn (to work, build, make), from the primitive Indo-European mag- (to knead, mix, make), conflated with the Proto-West Germanic mattijō (cutter), from the primitive Indo-European metn- or met- (to cut).  Etymologists note there may have been some influence from another Germanic source such as the Old High German steinmezzo (stone mason (the Modern German Steinmetz has a second element related to mahhon (to make)), from the primitive Indo-European root mag-.  There’s also the theory of some link with the seventh century Medieval Latin machio & matio, thought derived from machina, source of the modern English machine and the medieval word might be from the root of Latin maceria (wall).    From the early twelfth century it was used as a surname, one of a number based on occupations (Smith, Wright, Carter etc) and the now-familiar use to denote “a member of the fraternity of freemasons” was first recorded in Anglo-French in the early fifteenth century Mason is a noun & verb, masonry & masonism are nouns, masoning is a verb, masoned is an adjective & verb and masonic is an adjective; the noun plural is masons.

The noun masonry was from the mid-fourteenth century masonrie, (stonework, a construction of dressed or fitted stones) and within decades it was used to describe the “art or occupation of a mason”.  It was from the fourteenth century Old French maçonerie from maçon.  The adjective Masonic was adopted in the 1767 in the sense of “of or pertaining to the fraternity of freemasons” and although it was early in the nineteenth century used to mean “of or pertaining to stone masons”, that remained rare, presumably because of the potential for confusion; not all stonemasons would have wished to have been thought part of the order.  The stonemason seems first to have been used in 1733.  An earlier name for the occupation was the fifteenth century hard-hewer while stone-cutter was from the 1530s (in the Old English there was stanwyrhta (stone-wright).  The US television cartoon series The Simpsons parodied the Freemasons in well-received episode called Homer the Great (1995) in which the plotline revolved around a secret society called the “Stonecutters”.  Dating from 1926, Masonite was a proprietary name of a type of fiberboard made originally by the Mason Fibre Company of Mississippi, named after William H. Mason (1877-1940 and a protégé of Thomas Edison (1847-1931) who patented the production process of making it.  In 1840, the word enjoyed a brief currency in the field of mineralogy to describe a type of chloritoid (a mixed iron, magnesium and manganese silicate mineral of metamorphic origin), the name honoring collector Owen Mason from Rhode Island who first brought the mineral to the attention of geologists.

The Mason jar was patented in 1858 by New York-based tinsmith John Landis Mason (1832–1902); it was a molded glass jar with an airtight screw lid which proved idea for the storage of preserves (usually fruits or vegetables), a popular practice by domestic cooks who, in season, would purchase produce in bulk and preserve it using high temperature water mixed with salt, sugar or vinegar.  The jars were in mass-production by the mid-1860s and later the jars (optimized in size to suit the quantity of preserved food a family would consume in one meal) proved equally suited to the storage and distribution of moonshine (unlawfully distilled spirits).  Much moonshine was distributed in large containers (the wholesale level) but the small mason jars were a popular form because it meant it could be sold in smaller quantities (the retail level) to those with the same thirst but less cash.

A mason jar (left), Mason jar with pouring spout (centre) and mason jar with handle (right).

For neophytes, the classic mason jar can be difficult to handle either to drink from or to pour the contents into a glass.  Modern moonshine distillers have however stuck to the age-old jar because it’s part of the tradition and customers do seem to like purchasing their (now lawful) spirits in one.  South of the Mason-Dixon Line, “passing the jar” is part of the ritual of the shared moonshine experience and, being easily re-sealable, it’s a practical form of packaging.  To make things easier still, lids with pourers are available (which true barbarians put straight to their lips, regarding a glass as effete) and there are also mason jars with handles.

The Mason-Dixon Line and the Missouri Compromise Line.  

The Mason-Dixon Line was named after English astronomers Charles Mason (1728–1786) and Jeremiah Dixon (1733–1779) who between 1763-1767 surveyed the disputed boundary between the colonial holdings of the Penns (Pennsylvania) and the Calverts (Maryland), one of the many boarders (New South Wales & Victoria in Australia, Kashmir in the sub-continent of South Asia etc) in the British Empire which were ambiguously described (or not drawn at all) which would be the source of squabbles, sometimes for a century or more.  The line would probably by history have little been noted had it not in 1804 become the boundary between "free" and "slave" states after 1804, New Jersey (the last slaveholding state north of the line) passed an act of abolition.  In popular use “south of the Mason-Dixon Line” thus became the term used to refer to “the South” where until the US Civil War (1861-1865) slave-holding prevailed although, in a narrow technical sense, the line created by the Missouri Compromise (1820) more accurately reflected the political and social divisions.

A mason’s mark etched into a stone (left) and and image created from one of the registers of mason’s marks (right).

A mason's mark is literally a mark etched into a stone by as mason and historically they existed in three forms (1) an identifying notch which could be used by those assembling a structure as a kind of pattern so they would know where one stone was to be placed in relation to another, (2) as an mark to identify the quarry from which the stone came (which might also indicate the type of rock or the quality but this was rare within the trade where there tended to be experts at every point in the product cycle) and (3) the unique identifying mark of the stonemason responsible for the finishing (rather in the manner of the way the engineer assembling engines in companies like Aston Martin or AMG stamp their names into the block).  With the masons, these were known also bankers’ marks because, when the payment was by means of piece-work (ie the payment was by physical measure of the stone provided rather than the time spent) the tally-master would physically measure the stones and pay according to the cubic volume.  Every mason, upon their admission to the guild would enter into a register their unique mark.

Reinhard Heydrich (second from left, back to camera) conducting a tour of the SS Freemasonry Museum, Berlin, 1935.

Freemasonry has always attracted suspicion and at times the opposition to them has been formalized.  As recently as the papacy of Pius XII (1876-1958; pope 1939-1958), membership of Freemasonry was proscribed for Roman Catholics, Pius disapproving of the sinister, secretive Masons about as much as he did of communists and homosexuals.  In that he was actually in agreement with the Nazis.  By 1935, the Nazis considered the “Freemason problem” solved and the SS even created a “Freemason Museum” on Berlin’s Prinz-Albrecht-Palais (conveniently close to Gestapo headquarters) to exhibit the relics of the “vanished cult”.  SS-Obergruppenführer (Lieutenant-General) Reinhard Heydrich (1904–1942; head of the Reich Security Main Office 1939-1942) originally included the Freemasons on his list of archenemies of National Socialism which, like Bolshevism, he considered an internationalist, anti-fascist Zweckorganisation (expedient organization) of Jewry.  According to Heydrich, Masonic lodges were under Jewish control and while appearing to organize social life “…in a seemingly harmless way, were actually instrumentalizing people for the purposes of Jewry”.  That wasn’t the position of all the Nazis however.  Hermann Göring (1893–1946; leading Nazi 1922-1945 and Reichsmarschall 1940-1945) revealed during the Nuremberg Trial (1945-1946) that on the day he joined the party, he was actually on his way to join the Freemasons and was distracted from this only by a “toothy blonde” while during the same proceedings, Hjalmar Schacht (1877–1970; President of the German Central Bank (Reichsbank) 1933–1939 and Nazi Minister of Economics 1934–1937) said that even while serving the Third Reich he never deviated from his belief in the principles of “international Freemasonry”.  It’s certainly a trans-national operation and the Secret Society of the Les Clefs d’Or has never denied being a branch of the Freemasons.

In an indication they'll stop at nothing, the Freemasons have even stalked Lindsay Lohan.   In 2011, Lindsay Lohan was granted a two-year restraining order against alleged stalker David Cocordan.  The order was issued some days after she filed complaint with police who, after investigation by their Threat Management Department, advised the court Mr Cocordan (who at the time had been using at least five aliases) “suffered from schizophrenia”, was “off his medication” and had a "significant psychiatric history of acting on his delusional beliefs.”  That was worrying enough but Ms Lohan may have revealed her real concerns in an earlier tweet on X (then known as Twitter) in which she included a picture of David Cocordan, claiming he was "the freemason stalker that has been threatening to kill me- while he is TRESPASSING!", adding "im actually scared now- the blood in the 'cults' book was too much.  All my fans, my supporters, please stand by me. (sic)".  Being stalked by a schizophrenic is bad enough but the thought of being hunted by a schizophrenic Freemason truly is frightening.  Apparently an unexplored matter in the annals of psychiatry, it seems the question of just how schizophrenia might particularly manifest in Freemasons awaits research so there may be a PhD there for someone, the obvious question to explore being (1) does Freemasonry tend to attract schizophrenics or (2) does Freemasonry tend to induce schizophrenia?  As far as is known, there have been no further reports of Ms Lohan being a victim of Masonic stalking but few doubt the Freemason will have kept open their "Lindsay Lohan file". 

The problem Ms Lohan identified has long been known.  In the US, between 1828-1838 there was an Anti-Mason political party which is remembered now as one of the first of the “third parties” which over the decades have often briefly flourished before either fading away or being absorbed into one side or the other of what has for centuries tended towards two-party stability.  Its initial strength was that it was obsessively a single-issue party which enabled it rapidly to gather support but that proved ultimately it’s weakness because it never adequately developed the broader policy platform which would have attracted a wider membership.  The party was formed in reaction to the disappearance (and presumed murder) of a former Mason who had turned dissident and become a most acerbic critic and the suspicion arose that the Masonic establishment had arranged his killing to silence his voice.  They attracted much support, including from many church leaders who had long been suspicious of Freemasonry and were not convinced the organization was anything but anti-Christian.  Because the Masons were secretive and conducted their meetings in private, their opponents tended to invent stories about the rituals and ceremonies (stuff with goats often mentioned) and the myths grew.  The myths were clearly enough to secure some electoral success and the Anti-Masons even ran William Wirt (1772-1834 and still the nation’s longest-serving attorney-general (1817-1829)) as their candidate in the 1832 presidential election where he won 7.8% of the popular vote and carried Vermont, a reasonable achievement for a third-party candidate.  Ultimately though, that proved the electoral high-water mark and most of its members thereafter were absorbed by the embryonic Whig Party.

Roadster

Roadster (pronounced rohd-ster)

(1) An early automobile having an open body, a single seat for two or three persons, and a large trunk or a rumble seat.

(2) A horse for riding or driving on the road (archaic).

(3) A two-seater, convertible sports car.

(4) A sea-going vessel riding at anchor in a road or bay.

(5) In coastal navigation, a clumsy vessel that works its way from one anchorage to another by means of the tides.

(6) A bicycle, or tricycle, adapted for common roads, rather than for the racing track, usually of classic style and steel-framed construction (archaic).

(7) Slang for one who drives much or one who lives along the road (UK) archaic).

(8) Slang for a hunter who keeps to the roads instead of following the hounds across country (archaic).

(9) The pre-modern class of racing car most associated with the classic era of the Indianapolis 500 (1952-1964).

1735–1745: A compound word, road + -ster.  Road was from the Middle English rode & rade (ride, journey) from the Old English rād (riding, hostile incursion) from the Proto-Germanic raidō (a ride), from the primitive Indo-European reydh (to ride). It was cognate with raid, a doublet acquired from the Scots, and the West Frisian reed (paved trail/road, driveway).  The –ster suffix is applied to someone (or something) associated with an act or characteristic, or does something specified.  It’s from the Middle English –ster & -estere from the Old English -estre (-ster, the feminine agent suffix), from the Proto-Germanic –istrijǭ &, -astrijǭ from the primitive Indo-European -is-ter- (suffix).  It was cognate with the Old High German -astria, the Middle Low German –ester and the Dutch -ster.  Roadster is a noun; the noun plural is roadsters.

Roadsters, gullwings and courtesans

1920 Stutz Bearcat (1912-1934 and in the first season spelled Bear Cat).  One of the fastest and most admired American cars of the early era, the Stutz Bearcat assumed such a place in popular culture, it was was claimed that should anyone die at the wheel of a Stutz Bearcat, they were granted an obituary in the New York Times (NYT).  Wholly apocryphal, the origin of the romantic myth is thought to be related to the Bearcat being a symbol of wealth, adventure, and daring, owned by the sort of chaps (such a lifestyle at the time was most associated with men although women adventurers were not unknown) who would likely anyway warrant an NYT obituary.

In the United States of the mid-nineteenth century, a roadster was a horse suitable for travelling and by the early 1900s, the definition had expanded to include bicycles and tricycles.  In 1916, the US Society of Automobile Engineers (SAE) defined a roadster as "an open car seating two or three”, a meaning which endures to this day.  Despite the origins, use was patchy in the US with the word applied to vehicles as diverse as the front-engined USAC (Indy) racing cars of the 1950s, a variety of 1930s convertibles and the custom post-war creations otherwise known as hot-rods.

Two of the 1963 Kurtis Kraft Roadsters which ran at the 1963 Indianapolis 500.  Car 56 (Jim Hurtubise (1932–1989)) qualified 3^rd (150.257 mph (241.815 km/h)) but retired on lap 102 after suffering an oil leak.  Car 75 (Art Malone (1936–2013)) qualified 25^th (148.343 (238.735 km/h)) but retired on lap 18 with clutch failure.

Both Kurtis Kraft Roadsters used the supercharged, double overhead camshaft (DOHC) Novi V8 (167–183 cubic inch (2.7–3.0 litres)) which appeared on the Indy 500 grid between 1941-1966.  The Novi was famous for the howl it produced at full cry but it never achieved its potential because chassis and tyre technology didn’t advance to the point its prodigious power could successfully be handled, the adoption of an all-wheel-drive (AWD) platform (then still referred to as four-wheel-drive (4WD) which now is usually reserved for vehicles which claim some off-road capability) coming too late.  The Novi V8 and is sometimes compared to the 1.5 litre (91 cubic inch) BRM V16, another charismatic, supercharged, small displacement engine with a narrow power band.  The unusual fin on car 75 was an attempt to improve straight-line stability, an approach often used in the era before the implications of down-force fully were understood.

The Indy folklore is the adoption of the term “roadster” to describe the final era of the front-engined cars was the result of an act of subterfuge.  What defined the “Indy Roadster” was the engine and drive shaft being offset from the center-line of the car, something which allowed the driver to sit lower in the chassis thereby optimizing the weight distribution for use on (anti-clockwise) oval tracks.  It was in 1952 quite an innovation and the legend is that whenever there were visitors in their workshop, the Kurtis team covered the chassis with a tarpaulin and if asked, casually dismissed what lay beneath as “just our roadster” (then a common term for a “hot rod”, a hobby which became popular in the post-war years).  The name stuck when the car appeared, the design for a decade the dominant configuration in open-wheel oval racing although the writing was on the wall in 1961 when Jack Brabham (1926–2014) appeared at the brickyard in an under-powered mid-engined Cooper Climax which, although out-paced by the roadsters on the straights, posted competitive times because of its superior speed in the curves.  After that, the end of the roadster era came quickly and by 1965 one could manage to finish only as high as fifth, the last appearance at Indianapolis coming in 1968 when Jim Hurtubise’s Mallard retired after nine laps with a dropped piston (something as serious as it sounds).

1954 Jaguar XK120s: Roadster (open two-seater (OTS) in the UK and certain export markets; left) and Drop Head Coupé (DHC; right).  The roadsters were lighter and intended as dual-purpose vehicles which could be road-registered, driven to circuits and with relatively few changes be immediately competitive in racing.  The DHCs were based on the heavier, more luxuriously trimmed Fixed Head Coupé (FHC) coachwork while the roadsters featured cutaway doors without external handles or side windows and a removable windscreen.  Variations on this pre-war pattern was common in the British and parts of the European industry; even the early Chevrolet Corvettes were true roadsters.  

In pre-war Europe (though less so in the UK where “sports-car” or “open two seater” tended to be preferred), roadsters were often those with most rakish or flamboyant bodies, offered either by the factory or outside coachbuilders.  After the war, the term came to be restricted to what were once known as sports cars, the smaller, lighter and most overtly sporty of the line.  British manufacturers also distinguished, within a line of convertible two-seaters between lightweight roadsters and the more lavishly equipped drop-head coupés (DHC) which had features such a full-doors and side windows, neither always fitted to roadsters.  Interestingly, the early Jaguar XK120s and 140s (1949-1957) were marketed as open two-seaters (OTS) in UK and roadsters in the US, the home market not adopting the export nomenclature until the XK150 in 1958.

Lamborghini Miura Roadster in metallic blue over white leather.

The modern convention is to distinguish between a roadster (with a roof which wholly can be removed or folded back) and a targa (with a removable panel about the seats (a cat with left & right panels being a “T-top”)) but in what now seems a linguistic quirk, Lamborghini in 1968 displayed a (sort of) targa it called a Roadster.  It would be the only convertible Miura of any type the factory would build.  Although the P400 Miura's rolling chassis had generated much interest (and some scepticism from engineers who understood the implications of installing its mid-mounted V12 engine transversely) when displayed at the 1965 Turin Auto Show, when a pre-production prototype was used for the car’s debut at the Geneva show, it created as much of a sensation as the Jaguar E-Type (XKE, 1961-1974) arrival in the same city half-a-decade earlier.  The Miura is the spiritual ancestor of the “supercars” and “hypercars” of recent decades but while undeniably beautiful, at high-speed (it could exceed 170 mph (275 km/h)) the aerodynamic properties were dubious and the transverse engine induced handling quirks even experts found challenging to master.  Still, with close to 800 made over three series (P400, 1966-1968; P400 S, 1968-1971; P400 SV 1971-1973), it was a great success and the most desirable are now multi-million dollar machines.  It was quite an achievement for a concern which between 1948-1963 had built only well-regarded tractors and although the Miura wasn’t the company’s first car, it was the one which gained the marque the credibility to ranked with Ferrari and indeed greatly it influenced the mid-engined Ferraris and Maseratis of the 1970s as well as encouraging lower-cost imitators such as De Tomaso’s Mangusta (1967-1971).

Lamborghini Miura Roadster in metallic blue over white leather.

Perhaps counterintitutively the sensuous Miura was named after a breed of bull but it was one prized in bullfighting for its aggressive qualities so one can see the connection.  While a few claim to be cooks who helped stir the broth, the Miura’s lovely lines usually are credited to Marcello Gandini (1938–2024), a designer working at Giuseppe "Nuccio" Bertone’s (1914-1997) Turin-based Carrozzeria Bertone.  The one-off Miura roadster wasn’t exactly the first mid-engined coupé in a targa configuration, Ford building in 1965 five such GT40s (1964-1969) but these were pure racing cars and the first appeared a few weeks before Porsche in 1965 released the 911 Targa so it’s not surprising Ford dubbed the things “roadsters”.  The Fords were actually rolling test-beds for components and featured a number of differences from the more numerous coupés but nor was the Miura Roadster simply a coupé pulled from the assembly line and then de-roofed.  What Bertone did was a significant re-engineering, the roofline lowered by 30 mm (1¼ inches) with the rollover hoop lowered to reduce drag, the angle off the windscreen made more acute and the rear bodywork re-shaped with larger air-intakes for the V12, a more pronounced spoiler fitted to the rear deck, the tail-pipes re-routed and revised taillights were fitted.  Unseen were structural changes which reinforced the chassis, the box-section side members strengthened to compensate for the loss of rigidity created by removing the roof.  Inside, there were detail changes to the trim and switchgear.

Bertone’s Lamborghini Miura Roadster, Brussels Salon de L’Automobile, January 1968. Young ladies adorning exhibits were once a fixture at motor shows and this bevy was more fully clothed than many.

The reaction when the roadster was displayed at Brussels was little less enthusiastic than at Geneva two years earlier and dealers and the factory at once received enquiries about price and delivery dates.  Unfortunately, what the designers knew was that stunning though it looked, what the roofectomy had done was so compromise the structural rigidity that not even the strengthening done to the platform had been enough to make the Roadster a viable production car.  To achieve that, the whole shell would have had to be re-engineered and Lamborghini’s engineers knew that though achingly lovely, the shape and the transverse mounting of the V12 which made it possible were both flawed concepts and the future lay in longitudinally-positioned power-plants within an angular wedge.  Those conclusions would be rendered in physical form when the prototype Countach appeared at Geneva in 1971 and its lines can be seen still in twenty-first century Lamborghinis.

The ILZRO’s ZN 75 in iridescent green over tan leather.  The delightful “eyelashes” above the Miura's headlights unfortunately didn't appear on the P400 SV.

So the Roadster was destined to be a one-off curiosity but the show car subsequently had an interesting life.  In 1969 it was purchased by the New York-based ILZRO (International Lead Zinc Research Organization) which wanted something eye-catching with which to promote the use of the metals in automotive use.  Renamed ZN 75, it became a demonstration platform for zinc and lead applications in automotive engineering; it was repainted in an iridescent green, and various components were recast in zinc and lead-alloys, including trim, bumpers and even engine parts.  On the periodic table, the chemical element zinc has the symbol “Zn” while the “75” was a reference to 1975, the year the ILZRO and other industry groups were lobbying the regulators to set as the date by which new automotive materials and corrosion-resistance standards would become widespread.  The ILZRO’s campaign emphasis was on galvanization and anti-corrosion technologies, with the argument that by the mid-1970s, manufacturers would need extensively and more systematically to use zinc and such to meet with expectations of durability and comply with legislative dictate.  During the 1970s, was shown around North America, Europe, and Asia becoming one of the more widely seen Miuras and decades later, was restored to its original appearance.  Whether it even should be referred to as a targa is debatable because Bertone didn’t include a removable roof panel but over the years some Miuras have been converted to targas (with a removable panel) so the pedants can designate the original roadster as being “in the targa style”.   

300 SL gullwing (1954-1957)

Although the public found them glamorous, the engineers at Mercedes-Benz had never been enamored by the 300 SL’s gullwing doors, regarding them a necessary compromise imposed by the high side-structure of the spaceframe which supported the body.  Indeed, the doors had never been intended for use on road-cars, appearing first on the original (W194) 300SL, ten of which were built to contest sports-car racing in 1952.  The W194 had a good season, the most famous victory a 1-2 finish in the 24 Heures du Mans (24 Hours of Le Mans) and this success, along with the exotic lines, attracted the interest of the factory’s US importer who guaranteed the sale of a thousand coupés, essentially underwriting the profitability of full-scale road-car production.  The sales predictions proved accurate and between 1954-1957, 1400 (W198) 300 SL gullwings were built, some eighty percent of which were delivered to North American buyers.  Curiously, at the time, Mercedes-Benz never publicly disclosed what the abbreviation "SL" stood for.  The assumption had long been it meant Sport Light (Sport Leicht), based presumably on the SSKL of 1929-1931 (Super Sport Kurz (short) Leicht) but the factory documentation for decades used both Sport Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper discovered in the corporate archive confirming the correct name is Super Leicht.

300 SL Roadster (1957-1963)

 

That the sales reached the numbers hoped was good because the gullwing was expensive to produce and a certain volume was required to achieve profitability but by 1956, sales were falling.  At that time the US distributer was suggesting there was greater demand for a convertible so the decision was taken to replace the gullwing with a roadster, production of which began in 1957, lasting until 1963 by which time 1858 had been built.  Now with conventional front-hinged doors made possible by a re-design of the tubular frame, the opportunity was taken also to include some improvements, most notably a more powerful engine and the incorporation of low-pivot swing axles in the rear suspension.  The rear axle changes, lowering the pivot-point to 87mm (3.4 inches) below the differential centre-line did reduce the camber changes which could be extreme if cornering was undertaken in an inexpert manner but the tendency was never entirely overcome.  The swing axles, much criticized in later years, need to be understood in the context of their times, the tyres of the 1950s offering nothing like the grip of more modern rubber although it is remains regrettable the factory didn't, for its high-performance road cars, adopt the de Dion rear suspension it used on both road and competition cars during the 1930s.  Although manageable in expert hands, as the Mercedes-Benz Formula One drivers in 1954-1955 proved, the more predictable de Dion would likely have been better suited to most drivers on the roads.  In fairness, the gullwing’s rear suspension did behave better than many of the more primitive swing-axle systems used by other manufacturers but it needed to given that in any given situation, the Mercedes would likely be travelling a deal faster.  Remarkably, the Mercedes-Benz swing-axle arrangement lasted well into the age of the radial-ply tyre, in volume production until 1972 and used until 1981 on the handful of 600 Grossers built every year.

300 SLS (1957)

Less costly to build than the gullwing, a few hundred 300 SL roadsters were sold annually, the price tag reaching even higher in the stratospheric realm.  Unlike the lighter gullwing, the emphasis shifted from a dual-purpose vehicle suited to both road and track to one that was more of a grand-tourer.  The factory however managed to give the car one last fling at competition.  The SCCA (Sports Car Club of America), tired of the gullwing’s domination in the production sports car category, changed the rules to render it uncompetitive and, as the new roadster hadn’t yet achieved the volume needed to qualify for homologation, Mercedes-Benz built a new model: called the 300 SLS (Super Light Sport), two built to contest the SCCA’s modified production class.  Much lighter, slightly more powerful and with a few aerodynamic tweaks, the SLS won the trophy.

As a footnote (one to be noted only by the subset of word nerds who delight in the details of nomenclature), for decades, it was said by many, even normally reliable sources, that SL stood for sports Sports Leicht (sports light) and the history of the Mercedes-Benz alphabet soup was such that it could have gone either way (the SSKL (1929) was the Super Sports Kurz (short) Leicht (light) and from the 1950s on, for the SL, even the factory variously used Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper (unearthed from the corporate archive) confirming the correct abbreviation is Super Leicht.  Sports Leicht Rennsport (Sport Light Racing) seems to be used for the the SLRs because they were built as pure race cars, the W198 and later SLs being road cars but there are references also to Super Leicht Rennsport.  By implication, that would suggest the original 300SL (the 1951 W194) should have been a Sport Leicht because it was built only for competition but given the relevant document dates from 1952, it must have been a reference to the W194 which is thus also a Sport Leicht.  Further to muddy the waters, in 1957 the two lightweight cars based on the new 300 SL Roadster (1957-1963) for use in US road racing were (at the time) designated 300 SLS (Sports Leicht Sport), the occasional reference (in translation) as "Sports Light Special" not supported by any evidence.  The best quirk of the SLS tale however is the machine which inspired the model was a one-off race-car built by Californian coachbuilder ("body-man" in the vernacular of the West Coast hot rod community) Chuck Porter (1915-1982).  Porter's SLS was built on the space-fame of a wrecked 300 SL gullwing (purchased for a reputed US$500) and followed the lines of the 300 SLR roadsters as closely as the W198 frame (taller than that of the W196S) allowed.  Although it was never an "official" designation, Porter referred to his creation as SL-S, the appended "S" standing for "scrap". 

Job done, the factory withdrew from circuit racing although private teams would continue to campaign 300 SLs into the 1970s.  The road-going version continued with little visual change until 1963 although the engineering refinements continued as running changes, disk brakes adopted in 1961, the last few dozen built with a lighter aluminum engine block replacing the cast-iron casting.  When retired, it wasn’t replaced, the W113 (pagoda) and their successors (R107) roadsters a different interpretation of the genre.  It would be decades before Mercedes-Benz would again offer anything like the 300 SL.

190 SL (1955-1963)

The reception afforded the 300 SL prompted the US distributor to suggest a lower cost sports car would also be well-received.  The economics of that dictated the exotic features of the gullwing (dry-sump lubrication, the doors, fuel-injection) couldn’t be used so the factory instead grafted attractive roadster coachwork atop a shortened saloon car platform, the pedestrian four-cylinder engine barely more powerful than when found in its prosaic donor.  Still, the 190 SL (W121) looked the part and could be sold for well under half the price of a gullwing though even then it was hardly cheap, costing a third more than a Chevrolet Corvette and by then the Corvette had been transformed into a most estimable roadster with the addition of the new Chevrolet 265 cubic inch (4.3 litre) small-block V8.  Pleasingly profitable, nearly twenty-six thousand 190 SLs were built over an eight-year run beginning in 1955 and there were even plans for a 220 SL, using the 2.2 litre (134 cubic inch) straight-six from the “pontoon” saloon range (W120-121-105-128-180; 1953-1963) which had provided the roadster's platform.  Prototypes were built and testing confirmed they were production-ready but the continuing success of the 190 SL and capacity constraints first postponed and finally doomed the project.  After production ceased in 1962 (none were built in 1963 but the factory listed the final 104 cars as 1963 models), it wouldn’t be until the 1990s that the concept of a smaller roadster (the R170 SLK) to run alongside the (R129) SL was revived although, since the early 1970s, the SL (R107) had simultaneously been available with engines of different sizes and accordingly placed price-points.

190 SL Rennsport, Macau Grand Prix, 1957.

Though never designed with competition in mind, the factory did construct half a dozen higher-performance Rennsport (motor-racing) packages (referred to internally as the 190 SLR), the most important aspect of which was diet, the weight-reduction achieved with aluminium doors, a smaller Perspex windscreen and the deletion of non-essential items such as the soft top, sound insulation, the heater (they're surprisingly weighty devices) and bumpers.  Although never part of a major racing campaign, it did enjoy success including a class win in a sports car event at Morocco and victory in the 1957 Macau Grand Prix.

Last of the Adenauers: 300d (W189, 1957-1962) Cabriolet D (upper) & the "standard" 300d saloon (four-door hardtop).

Although some of its customers during the mid-twentieth-century (notably between 1933-1945) are understandably neglected in their otherwise comprehensive attention to history, Mercedes-Benz has always acknowledged and publicized the drivers and clients of the 1950s.  Their Formula One drivers (especially Juan Manuel Fangio (1911–1995) & Stirling Moss (1929–2020) were honored for decades after their retirements and Konrad Adenauer, the first chancellor of the Federal Republic, was even afforded the unique distinction of being the nickname for the 300 (W186 & W189, 1951-1962), the big limousine of the era which used a substantially similar engine to the 300 SL's unit.  Note that although the top image is of a convertible, it's a "cabriolet" and not a roadster.  According to Mercedes-Benz, a roadster is a two door, two seater convertible although, since the 1960s, the factory has sometimes offered the option of single (transverse) or conventional rear seat for occasional (and sometimes uncomfortable) use.  Small, these seats were really suitable only for very young children and no pretence was made that they make a roadster into a true four-seater, 2+2 the usual (generous) description.  Being Germans, during the 1930s, Daimler-Benz decided there were sufficient detail differences between the coachwork and hood (in the sense of folding roof) assemblies offered and formalized definitions of five distinct flavors of Mercedes-Benz cabriolets.

Fraulein Rosemarie Nitribitt with 190 SL and Joe der Hund.

However, in a fate shared with some of the most valued clients of the three-pointed star between 1933-1945, nor does the factory’s historic literature dwell on someone perhaps the 190SL’s best known owners, Rosemarie Nitribitt (1933-1957).  Fraulein Nitribitt was, by 1957, Frankfurt’s most illustrious (and reputedly most expensive) prostitute, a profession to which she seems to have been drawn by necessity but at which she proved more than proficient and, as the reports of the time attest, there was nothing furtive in the way she practiced her trade.  Something of a celebrity in Frankfurt, the republic’s financial centre, her black roadster became so associated with her business model that the 190SL was at the time often referred to as the “Nitribitt-Mercedes”, her car seen frequently, if briefly, parked in the forecourts of the city’s better hotels.  Unlike the contemporary connection with Herr Adenauer, the factory never acknowledged this nickname.

190 SL sales breakdown

The lives of prostitutes, even the more highly priced, can descend to their conclusion along a Hobbesian path and in 1957, aged twenty-four, she was murdered in her smart apartment, strangled with a silk stocking, the body not found for several days.  Given Fraulein Nitribitt operated at the upper end of the market, her clients tended variously to be rich, famous & powerful and that attracted the raft of inevitable conspiracy theories there had been a cover-up to protect their interests, a rather botched police investigation encouraging such rumors.  The murder remains unsolved.  It has been suggested sales of the 190 SL suffered because of the connection, the little roadster briefly attracting the moniker “whore’s taxi” and indeed, there was a decline in the period.  However, 1956 was the first year of full-production and a second-year drop-off in sales is not unknown, gullwing production for example dropped to 308 in 1956, quite a fall from the 855 achieved the previous year and while, at least in Germany, the association with the dead courtesan may have been off-putting for the bourgeoise, without qualitative data, one really can’t say.  There was a precipitous decline in 1958 but that was the year of the worst US recession of the post-war boom and it was in the US most of the drop was booked; sales anyway quickly recovered on both sides of the Atlantic.

Frankfurt police officers examining Helga Matura's 220 SE cabriolet (Hōchkühler).  Note the jackboots.

In a coincidence of circumstances, a decade later, Fraulein Helga Sofie Matura (1933-1966) was another high-end prostitute murdered in Frankfurt, the weapon this time a stiletto (the stylish shoe rather than the slender blade).  Never subject to the same rumors the Nitribtt case attracted, it too remains unsolved.  In another coincidence, Fraulein Matura’s car was a convertible Mercedes, a white (W111) 220 SE Cabriolet.  Despite the connection, the W111 never picked up any prurient nicknames and nor did its reputation suffer, the most valuable of the W111 cabriolets now attracting prices in excess of US$400,000 for original or fully-restored examples while German turning houses which update the drive-trains to modern standards list them at twice that.

Helga Matura (1966) by Gerhard Richter

Gerhard Richter (b 1932) is a German visual artist whose work encompasses glass as well as aspects of both photography and painting.  Although most noted for working in illusionistic space, some of his output has belonged to various schools of realism and he seems to place himself in many of the traditions of modernism, acknowledging surrealism, the primacy of the object and the purpose of art.  Of particular interest was his 1988 series of fifteen photo-paintings (18 October 1977) depicting four members of the Red Army Faction (RAF) (better, if a little misleadingly, known in the English-speaking world as the Baader-Meinhof Gang).  Created using monochrome photographs taken mostly before their deaths, the work was an interesting exploration of time, meaning and form.

His portrait of the late Helga Matura is representative of his technique in photo-paintings, applying the practices of the Fluxus movement to material not originally created as art.  Blurred and variously in and out of focus, it takes the entirely representational image of a photograph which is then disrupted; disruptions may be for the purposes of the artist, the subject or the viewer and indeed time, the nature of the work changing whether viewed with or without knowledge of her life and death.

Roadster off the road, California, 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.

Roadster back on the road, 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.  According to Business Insider, the car sold for US$111,000 which was much higher than would be expected for one which had been repaired after an accident, albeit it a low-speed impact.  The R230s anyway had a complex construction and the AMG versions added even more intricacy so although it is possible to restore a damaged AMG to the state in which it left the factory, it does require both expertise and some often expensive parts.  Because of that, repaired Mercedes-Benz AMG cars trade usually at a significant discount so the amount realized was indicative of the perceived value of a celebrity association.