Cruise

Cruise (pronounced krooz)

(1) To sail about on a pleasure trip (often as cruising).

(2) To sail about, as a warship patrolling a body of water.

(3) To travel about without a particular purpose or destination.

(4) To fly, drive, or sail at a constant speed that permits maximum operating efficiency for sustained travel.

(5) In aeronautics, the portion of aircraft travel at a constant airspeed and altitude between ascent and descent phases.

(6) To travel at a moderately fast, easily controllable speed.

(7) To travel about slowly, looking for customers or for something demanding attention.

(8) As cruise missile, an intermediate-range weapon.

(9) Among male homosexuals, actively to seek a casual sexual partner by moving about a particular area known to be frequented by those there for such purposes, an area known to be productive known as “cruisy” (“to troll” & “trolling” were once used as a synonyms but those terms have now been claimed by their use on the internet).

(10) In informal use in the US military, a period spent in the Marine Corps.

(11) In casual use in sporting competition, easily to win.

1645-1655:  From the Dutch kruisen (to cross, sail to and fro), from kruis or cruis (cross), from the Middle Dutch cruce, from the Latin crux.  Root was the primitive Indo-European sker (to turn, to bend); etymologists suggest it may be cognate with the Latin circus (circle) and curvus (curve).  In English, it began to be used as a noun in 1706 in the sense of “a voyage taken in courses” and by 1906 as “a voyage taken by tourists on a ship".  It was related to the French croiser (to cross, cruise), the Spanish cruzar and the German kreuzen.  The alternative spelling cruize is obsolete.  Cruise & cruising are nouns & verbs, cruised is a verb, cruiser is a noun and cruisy is an adjective; the noun plural is cruises.

Welcome to the Cruise (1979) by Judie Tzuke (b 1956), cover art by Hipgnosis.

In the era of the mass-selling LP (long playing) vinyl records, they were distributed in 305 x 305 mm (12 x 12 inch) cardboard sleeves and the size was sufficient to create what became a genuine genre in graphic art: the album cover.  The era lasted until CD (compact disc) sales eclipsed vinyl; CD packaging being around a quarter the size, greatly the possibilities diminished and what had been a flourishing industry vanished.  Many books detailing the history of album cover art have been published.

Cruiser in the sense of "one who or that which cruises" (agent noun from the verb cruise) is from the 1670s, probably, borrowed from similar words in continental languages (such as the Dutch cruiser & French croiseur).  In older use, a cruiser was a warship built to patrol and protect commerce of the state to which it belongs and to chase hostile ships; cruisers were the classic gun boats used by the European colonial powers for patrolling their empires.  In this use they were often compared to the frigates of old in that they possessed good speed and were employed to protect the trade-routes, to glean intelligence, and to act as the “eyes of the fleet” and in casual use, during the eighteenth century, the term was often applied to the ships of privateers (pirates).  Cruiser was used to describe male homosexuals “cruising for sex partners" (ie frequenting or lingering in places notorious for such things) from 1903, as a boxing weight (cruiserweight) class, from 1920.  The meaning "police patrol car" is a 1929 adoption of US English.

Royal Navy battlecruiser HMS Hood entering Valletta harbor, Malta 1937.

In admiralty use, cruisers are now the largest of the conventional warships still in service.  Navies used to use the term “cruiser” more as a description of the tasks for which the ships were used rather than specific nature of the construction, the early cruisers those ships which were used for long-range missions such as costal raiding or scouting and it was only in the late nineteenth century as the fleets grew and ships became more specialized that the classic model of the corvette / frigate / destroyer / cruiser / battleship evolved.  Even then there were distinctions such as "light" & "heavy" cruisers but the most interesting development in warship architecture was the battlecruiser, built essentially because HMS Dreadnought (1906) had created “a gap in the market”.  Battlecruisers were battleships with less armor, therefore gaining speed at the cost of greater vulnerability.  The theory was they would have the firepower to out-gun all but the battleships and those they could out-run with their superior speed; on the high seas, a margin of even two knots could be decisive.  The concept seemed sound and in December 1914, at the Battle of the Falkland Islands, two Royal Navy battlecruisers vindicated the theory when they chased and destroyed the German East Asia Squadron but less than two years later, the performance of the battlecruisers in the Battle of Jutland (31 May-1 June 1916) forced the Admiralty to re-consider.

The Royal Navy's Battle Cruisers opening fire in the opening stages of the Battle of Jutland, 31 May 1916, (1919), oil on canvas by Lionel Wyllie (1851–1931).  It was the war's only great, set piece, mass engagement.

Fought by fleets of the Royal Navy and the forces of the German Empire (the so-called “Second Reich”), the battle of Jutland in was the closest the world got a cataclysmic clash of fleets of dreadnoughts, an event the navalists and theorists had for a generation be expecting or hankering for.  For a variety of reasons it proved anti-climatic (though at a cost of over 8,000 lives) but while a tactical victory for the Germans (in terms of ships sunk or damaged and causalities suffered), strategically the British succeeded in ensuring for the rest of of World War I (1914-1918) their opponents were confined to a pocket of the Baltic, denied access to the North Sea and thus the Atlantic; this enabled the Royal Navy’s blockade of Germany to be maintained.  Summing up, the New York Times concluded: “The prisoner gave his jailor a bloody nose but at the end of the day was back behind bars in his jail cell.”  Barely noticed except in the halls of the admiralties (where it made a great impression) was the vulnerability of the battlecruiser, a class of ship of which much had been expected although at Jutland they were used in a way the theorists who suggested the configuration had neither intended nor recommended.

Ultimately, both sides choose to avoid the decisive encounter which offered the prospect of victory because the consequences of defeat were so severe, especially for the British: Then serving as First Lord of the Admiralty (minister for the navy), Winston Churchill (1875-1965; UK prime minister 1940-1945 & 1951-1955) had early in the war been quite correct in cautioning the First Sea Lord (the most senior admiral) that while there was little the navy could do to win a continental war, it could "lose it in an afternoon".  Jutland did prove the naval theorists had been right: unless very lucky (not something to rely on at sea), the battlecruiser could not fight the battleship and if their paths threatened to cross, the less-armored vessel should retreat and rely on speed to make good her escape.  There were technical deficiencies in the British ships, without which perhaps three of their battlecruisers wouldn’t have been lost, but what happened in 1916 made it clear to the admirals that uneven contests between the big capital ships were to be avoided.  The consequence was that the battlecruiser became unfashionable and after the round of disarmament in the 1920s, none were built until, unexpectedly, the Soviet Navy commissioned four in the 1980s.  They proved the last of the breed and despite Donald Trump's (b 1946; US president 2017-2021 and since 2025) announcement of the USS Defiant, the USN (US Navy) are (sensibly) planning vessels on a smaller scale. 

Origin of cruise missiles

US Pershing II cruise missiles in Neu-Ulm military base, Swabia, Bavaria in the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany, 1949-1990)), 1984.

Carrying large warheads long distances, cruise missiles are guided weapons, used against ground targets; they fly at both subsonic and supersonic speed, remain in the atmosphere and, self-propelled for the most of their flight, travel for mostly at a constant speed.  In this they differ from ballistic missiles which fly in an arc, often reaching suborbital flight with a final trajectory much like a bullet because, once the fuel is expended, the path from that point is determined by the speed and direction of launch and the force of gravity pulling towards Earth.  Both cruise and ballistic missiles can carry nuclear warheads but cruise missiles are most often equipped with conventional warheads.  Theorists and researchers were exploring the possibility of military missiles as early as 1908, described then as the aerial torpedo, envisaged as remote-controlled weapons with which to shoot-down airships bombing London, perceived then as the most credible airborne delivery system.  Between the World War I & II (1939-1945), the major powers all devoted resources to research but few projects reached even the prototype stage.

Annotated schematic of the V-1 (left) and a British Military Intelligence drawing (dated 16 June 1944, 3 days after the first V-1 attacks on London (right). 

First deployed in 1944 the German Vergeltungswaffen eins (“retaliatory weapon 1” or "reprisal weapon 1” and eventually known as the V-1) was the world’s first cruise missile.  One of the rare machines to use a pulse-jet, it emitted such a distinctive sound that those at whom it was aimed nicknamed it the “buzz-bomb” although it attracted other names including “flying bomb” and “doodlebug”.  In Germany, before Dr Joseph Goebbels (1897–1945; Reich Minister of Propaganda 1933-1945) decided it was the V-1, the official military code name was Fi 103 (The Fi stood for Fieseler, the original builder of the airframe and most famous for their classic Storch (Stork), short take-off & landing (STOL) aircraft) but there were also the code-names Maikäfer (maybug) & Kirschkern (cherry stone).  While the Allied defenses against the V-1 did improve over time, it was only the destruction of the launch sites and the occupation of territory within launch range that ceased the attacks.  Until then, the V-1 remained a highly effective terror weapon but, like the V-2 and so much of the German armaments effort, bureaucratic empire-building and political intrigue compromised the efficiency of the project.

A bronzed (not recommended) Lindsay Lohan on a cruise in the Maldives, January 2019.

The V-1 used a gyroscope guidance system and was fitted with an unusual triple-layer fuse system, the primary device and a backup augmented by a fail-safe designed to ensure destruction of “duds” (weapons which fail to detonate) so they couldn’t be examined.  The accuracy of the thing was sufficient only for use against very large targets (such as the general area of a city which made sprawling London ideal) while the range of 250 km (155 miles) was significantly less than that of a medium bomber carrying the same payload. The main advantages were speed (although not sufficient to outrun the fastest of the low-altitude propeller-driven interceptors), expendability and economy of operation.  Indeed, it was probably the war’s outstanding delivery system in terms of cost per ton of explosive, able to carry a warhead of 850 kg (1,870 lb) to London at a tiny fraction of the cost of using manned aircraft for the same task with the priceless additional benefit of not risking the loss of aircrew.  The production cost of a V-1 was also only a small fraction of that of the supersonic V-2 ballistic missile which carried a warhead only of a similar-size although once launched, effectively, it was invulnerable.  Unlike the V-2, the initial deployments of the V-1 required large, fixed launch ramps which were relatively easy to detect and susceptible to bombardment.  Later experiments produced much smaller launch facilities which provided for a greater rate of sustained fire.  Bomber-launched variants of the V-1 saw limited operational service near the end of the war, with the pioneering V-1's design reverse-engineered by the Americans as the Republic-Ford JB-2 cruise missile.

Luftwaffe Mistel Aircraft (Focke-Wulf Fw 190 (upper) & Junkers Ju 88 (lower)), Merseburg, Germany, 1945.

The "cruise missile" project which was the best example of the improvisation which characterized much of the ad-hoc weapon development of war time was the Mistel (mistletoe) or Beethoven-Gerät (Beethoven Device) composite aircraft program which the Germans developed in 1943.  It was a rudimentary air-launched cruise missile, made by a piloted fighter aircraft being mounted atop an unpiloted bomber-sized aircraft, packed with explosives and the larger aircraft would be released to glide towards the target.  Calling it the mistletoe reveals a sense of humor mot usually associated with the Luftwaffe but it was known rather more evocatively as the Vati und Sohn (Daddy and Son) or the Huckepack (Piggyback).  Although built in the hundreds, by the time it was available for deployment, the scope for attacking large targets with manned aircraft had reduced and the need was for precision delivery, something for which the Mistel was ill-suited and success was limited.

Phalanx

Phalanx (pronounced fey-langks or fal-angks)

(1) In Hellenic Greece, a group of heavily armed infantry formed in ranks and files close and deep, with shields joined and long spears overlapping.

(2) A body of troops in close array.

(3) A compact or closely massed body of persons, animals or things, usually united or aligned for a common purpose.

(4) A radar-controlled 20mm Gatling-type gun deployed on US Navy ships as a last line of defense against cruise missiles.

(5) In Fourierism, a group of about 1800 persons, living together and holding their property in common.

(6) In anatomy and zoology, any of the bones of the fingers or toes (the related adjective phalangeal).

(7) In printing, to arrange the distribution of work in a production house as evenly as possible.

(8) In botany, a bundle of stamens, joined together by their stalks (filaments).

(9)A form of vegetative spread in which the advance is on a broad front, as in the common reed.

1550s: From the Latin phalanx from phalangis & phalangem (compact body of heavily armed men in battle array) derived from Greek phalanx (genitive phalangos) (line of battle, battle array).  The origin of the use as a descriptor of finger or toe bone (originally "round piece of wood, trunk, log”) is unknown, most often thought to be from the from Old English balca (balk), from the primitive Indo-European root bhelg (plank, beam).  In anatomy, a phalanx was originally the whole row of finger joints, which fit together like infantry in close order.  The rare adjectival forms were phalangeal & phalangic.  The figurative sense of "number of persons banded together in a common cause" is attested from 1600, the most recent adaptation probably the 1937 Spanish Falangist, (a member of the fascist organization founded in 1933), from the Spanish Falange (Española) (Spanish), from the Latin phalanx.

Phalanx terminology.

The Macedonian military formation known as a phalanx consisted in theory of fifty close files, sixteen ranks deep, the men clad in armor, bearing shields, armed with swords and spears between 21 - 24 feet (6.4-7.3 m) in length.  In array, the shields formed a continuous bulwark, the ranks placed at such intervals that five spears which were borne pointed forward and upward protected every man in the front rank.  Properly handled, on level ground and with its flanks and rear adequately protected, the phalanx was a formidable formation but was cumbrous and slow in movement, and if once broken could only with great difficulty be reformed.  It was thus dependent on high-quality leadership and highly-trained troops and was notably vulnerable when, as inevitably happens under battlefield conditions, it was assembled, sometimes hastily, with whatever resources were available.

Phalanx live fire test, USS Monterey, November 2008.

Designed essentially to meet any incoming missile with a “wall of metal”, the Phalanx CIWS began life as a close-in weapon system installed on naval warships as defense against anti-ship missiles. Developed and manufactured by the General Dynamics Corporation’s Pomona Division (now a part of Raytheon), it’s based around a radar-guided 20 mm (0.79 in) Vulcan cannon mounted on a swiveling base and is used by more than a dozen navies on every class of surface combat ship.  The reliability and flexibility attracted wider interest and a land based variant known as C-RAM has been developed, deployed in a short range missile defense role to counter incoming rockets and even artillery fire.  The early models were (hydraulic driven) with a fire rate of 3,000 rounds per minute (rpm) and the magazine drum had a capacity of 989 rounds while the later, pneumatically driven modes fire at a rate of 4,500 rpm from a 1,550-round magazine.  Each round costs about US$30 and typically between 100-200 are expended during each targeting.  A combination of the appearance of the distinctive, barrel-shaped, radar dome (radome) and the automated operation, meant the Phalanx CIWS units soon attracted the nicknamed "R2-D2", named after the droid from the film Star Wars (1977).

Lindsay Lohan's fractured Phalanx

During an Aegean cruise in October 2016, Lindsay Lohan suffered a finger injury.  In this dreadful nautical incident, the tip of one digit was severed by the boat's anchor chain but details of the circumstances are sketchy although there was speculation that upon hearing the captain give the command “weigh anchor”, she decided to help but, lacking any background in admiralty jargon, misunderstood the instruction.

Detached chunk of a distal digit was salvaged from the deck and expertly re-attached by a micro-surgeon ashore, digit and the rest of the patient said to have both made full recoveries.  Despite the injury, Ms Lohan still managed to find a husband so all's well that ends well.

Clerestory

Clerestory (pronounced kleer-stawr-ee or kleer-stohr-ee)

(1) In architecture, a portion of an interior rising above adjacent rooftops, fitted with windows admitting daylight.

(2) In church architecture, a row of windows in the upper part of the wall, dividing the nave from the aisle and set above the aisle roof (associated particularly with the nave, transept and choir of a church or cathedral.

(3) In transportation vehicles (usually busses, railroad cars and occasionally cars & vans), a raised construction, typically appended to the roof structure and fitted with (1) windows to admit light or enhance vision or (2) slits for ventilation (or a combination of the two).

1375–1425: From the late Middle English, the construct being clere (clear (in the sense of “light” or “lighted”)) + story (from storey (a level of a building).  The word is obviously analyzed as “a story (upper level) with light from windows”.  Storey was from Middle English stori & storie, from the Anglo-Latin historia (picture), from the Latin, from the Ancient Greek ἱστορία (historía) (learning through research, narration of what is learned), from ἱστορέω (historéō) (to learn through research, to inquire), from ἵστωρ (hístōr) (the one who knows, the expert, the judge).  In the Anglo-Latin, historia was a term from architecture (in this case “interior decorating” in the modern sense) describing a picture decorating a building or that part of a building so decorated.  The less common alternative spellings are clearstory & clerstory.  Clerestory is a noun and clerestoried is an adjective; the noun plural is clerestories.

From here was picked up the transferred sense of “floor; level”.  The later use in church architecture of “an upper story of a church, perforated by windows” is thought simply to be a reference to the light coming through the windows and there is nothing to support the speculation the origin was related to a narrative (story) told by a series of stained glass windows, illuminated by sunlight.  Historians have concluded the purpose of the design was entirely functional; a way of maximizing the light in the interior space.  The related architectural design is the triforium.  The noun triforium (triforia or triforiums in the plural) (from the Medieval Latin triforium, the construct being tria (three) + for (opening) + -ium) describes the gallery of arches above the side-aisle vaulting in a church’s nave.  The –ium suffix (used most often to form adjectives) was applied as (1) a nominal suffix (2) a substantivisation of its neuter forms and (3) as an adjectival suffix.  It was associated with the formation of abstract nouns, sometimes denoting offices and groups, a linguistic practice which has long fallen from fashion.  In the New Latin, it was the standard suffix appended when forming names for chemical elements.

Clerestories which once shone: Grand Central Terminal (the official abbreviation is GCT although the popular form is "Grand Central Station" (often clipped to "Grand Central")), Midtown Manhattan, New York City, 1929 (left) and the same (now dimmed) location in a scene from the Lindsay Lohan film Just my Luck (2006) (right).  Because of more recent development in the surrounding space, the sunlight no longer enters the void through the clerestoried windows is such an eye-catching way.  In modern skyscrapers, light-shafts or atriums can extend hundreds of feet.

Tourist boat on a canal cruise, Amsterdam, the Netherlands.

Boats with clerestory windows are commonly seen on waterways like the canals of Amsterdam and are valued by tour-guides because they make excursions possible in (almost) all-weathers.  Those designing passenger busses and train carriages were also early adopters of clerestory windows, initially because they were a source of “free” light but as packaged tourism developed into “sightseeing”, tour operators recognized the potential and commissioned versions optimized for outward visibility, essentially a form of “value-adding” which made even the dreary business of bus travel from one place to the next more of a “sightseeing” experience, something probably most valued by those afforded a greater vista to observe in mountainous regions.

Greyhound Scenicruiser in original livery.

A variation of the idea was used for long-distance busses in North America, the best known of which remains the Greyhound Scenicruiser (PD-4501), featuring a raised upper deck with a clerestory windscreen.  Although the view through that was enjoyed by many passengers, the design was less about giving folk a view and more a way to maximize revenue within the length restrictions imposed by many US states.  What the upper deck did was allow a increase in passenger numbers because the space their luggage would absorb in a conventional (single layer) design could be re-allocated to people, their suitcases (and in some cases also freight, another revenue stream) relegated to the chassis level which also improved weight distribution and thus stability.

A predecessor: 1930 Lancia Omicron.

Famous as it became, the Scenicruiser, 1001 of which were built by General Motors (GM) between 1954-1956, was to cause many problems for both manufacturer and operator, the first of which caused by the decision to use twin-diesel engines to provide the necessary power for the new, heavy platform.  The big gas (petrol) units available certainly would have provided that but their fuel consumption would not only have made their operation ruinously expensive (both the fuel burn and the time lost by needing frequently to re-fill) and the volume of gas which would have to be carried would have both added to weight and reduced freight capacity.  Bigger GM diesel units weren’t produced in the early 1950s so the twin engines were a rational choice and the advantages were real, tests confirming that even when fully loaded, the coupled power-train would be sufficient for hill climbing while on the plains, the Scenicruiser happily would cruise using just a single engine.  However, as many discovered (on land, sea and in the air), running two engines coupled together is fraught with difficulties and these never went away, the busses eventually adopting one of GM’s new generation of big-displacement diesels as part of the major re-building of the fleet in 1961, a programme which also (mostly) rectified some structural issues which had been recognized.  Despite all that, by 1975 when Greyhound retired the model, the company still had hundreds in daily service and many of those auctioned off were subsequently used by other operators and in private hands, some are still running, often as motor homes or (mostly) static commercial displays or museum exhibits.

1951 Pegaso Z-403 (left) and 1949 Brill Continental (right).

GM’s Scenicruiser was influential and clerestory windscreens soon proliferated on North American roads although the idea wasn’t new.  The Spanish manufacturer Pegaso (a creation of Generalissimo Francisco Franco’s (1892-1975; Caudillo of Spain 1939-1975) industrial policy) between 1951-1957 produced the Z-403 (1951-1957) which used the same design and before even that a bus with an almost identical profile had been sold in the US by the JG Brill Company, albeit with a conspicuous lack of success.  As early as 1930 the Italian concern Lancia offered the Omicron bus with a 2½ half deck arrangement with a clerestoried upper windscreen.  The Omicron’s third deck was configured usually as a first-class compartment but at least three which operated in Italy were advertised as “smoking rooms”, the implication presumably that the rest of the passenger compartment was smoke-free.  History doesn't record if the bus operators were any more successful in enforcing smoking bans than the usual Italian experience.

1968 Oldsmobile Vista Cruiser.

One quirky offering which picked up the Scenicruiser’s clerestoried windscreen was the Oldsmobile Vista Cruiser (1964-1977), a station wagon which, until the release of the third series in 1973 featured one at the leading edge of a raised roof section, the glass ending midway over the backseat, the shape meaning it functioned also as a “skylight”.  Above the rear side windows were matching clerestories which might sound a strange thing to add above a luggage compartment but during those years, a “third seat” was a popular option to install in the space, transforming the things into eight or nine seat vehicles; families were bigger then.  The Vista Cruiser sold well and Buick later adopted the idea for some of its range until the concept was abandoned in 1972 because of concerns about upcoming safety regulations.  Such rules were however never imposed and both manufacturers revived the idea in the 1990s for their (frankly ugly) station wagons and when the Buick was discontinued in 1996, it was the last full-sized station wagon to be made in the US, the once popular market segment cannibalized to the point of un-viability by the mini-van (people-mover) and the sports utility vehicle (SUV).

The arrangement of a series of windows in a high-mounted row, borrowed from architecture, became familiar on train carriages and buses, especially those which plied scenic routes.  Usually these were added to the coachwork of buses built on existing full-sized commercial chassis which could seat 40-60 passengers but in the 1950s, there emerged the niche of the smaller group tour, either curated to suit a narrower market or created ad-hoc by hotels or operators; smaller vehicles were required and these offered the additional advantage of being able sometimes to go where big buses could not.  In places like the Alps, where those on the trip liked to look up as well as out, rows of clerestoried windows were desirable.

1959 Volkswagen Microbus Deluxe (23 Window Samba). 

The best known of these vehicles was the Volkswagen “Samba”, a variation of the Microbus, one of the range of more than a dozen a models built on the platform of the Type 2, introduced in 1950 after a chance sighting by a European distributer of a VW Beetle (Type 1) chassis which had been converted by the factory into a general-purpose utility vehicle.  The company accepted the suggestion a market for such a thing existed and in its original, air-cooled, rear-engined configuration, it remained in production well into the twenty-first century.  Between 1951-1966, the Microbus was available in a “Deluxe” version which featured both a folding fabric sunroof and rows of rows of clerestoried windows which followed the curve of the sides of the roof.  Available in 21 & 23 window versions, these are now highly collectable and such is the attraction there’s something of a cottage industry in converting Microbuses to the clerestoried specification but it’s difficult exactly to emulate the originals, the best of which can command several times the price of a fake (a perfectly restored genuine Samba in 2017 selling at auction in the US for US$302,000).  Such was the susceptibility to rust, the survival rate wasn’t high and many led a hard life when new, popular with the tour guides who would conduct bus-loads of visitors on (slow) tours of the Alps, the sunroof & clerestory windows ideal for gazing at the peaks.  To add to the mood, a dashboard-mounted valve radio was available as an option, something still for many a novelty in the early 1950s.  The Microbus Deluxe is rarely referred to as such, being almost universally called the “Samba” and the origin of that in uncertain.  One theory is it’s a borrowing from the Brazilian dance and musical genre that is associated with things lively, colorful, and celebratory, the link being that as well as the sunroof and windows, the Deluxe had more luxurious interior appointments, came usually in bright two-tone paint (other Type 2s were usually more drably finished) and featured lashings of external chrome.  It’s an attractive story but some prefer something more Germanic: Samba as the acronym for the business-like phrase Sonnendach-Ausführung mit besonderem Armaturenbrett (sunroof version with special dashboard).  However it happened, Samba was in colloquial use by at least 1952 and became semi official in 1954 when the distributers in the Netherlands added the word to their brochures.  Production ended in July 1967 after almost 100,000 had been built.

1966 Volkswagen Samba (21 Window, Left) and 1962 Volkswagen Samba (23 Window, Right).  The 23 Window van is a conversion of a Microbus and experts (of which there seem to be many, such is the following these things have gained) say it's close to impossible exactly to replicate a factory original.  In theory, the approach would be to take the parts with serial numbers (tags, engine, gearbox etc) from a real Samba which has rusted into oblivion (something not uncommon) and interpolate these into the sound body of a Microbus with as close a build date as possible.  Even then, such are the detail differences that an exact replication would be a challenge.  Because the Sambas received the same running changes and updates as the rest of the Microbus range, there was much variation in the details of the specification over the years but the primary distinction is between the “21” & “23” window vans, the difference accounted for by the latter’s pair of side-corner windows to the left & right of the rear top gate opening.  In 1964, when the rear doors were widened, the curved windows in the roof were eliminated because there would no longer be sufficient metal in the coachwork to guarantee structural integrity.

Antinatal

Antinatal (pronounced ant-t- neytl)

A philosophical position that asserts a negative value judgment towards birth.

1968:  The construct was anti- + natal.  Anti was from the Ancient Greek ἀντι- (anti).  Natal was from the Latin nātālis (natal), from nātus, the perfect active participle of nāscor (I am born),from the earlier gnāscor, from the Proto-Italic gnāskōr, from the primitive Indo-European ǵenh.  It was cognate with the Ancient Greek γεννάω (gennáō) (to beget).  The first use of antinatal appears to be by the Belgium author Théophile de Giraud (b 1968) in L'art de guillotiner les procréateurs: Manifeste anti-nataliste ((The Art of Guillotining Procreators: An Anti-natalist Manifesto, 2006) although forms of anti-natalist thought appear in ancient Greek philosophy, Buddhism, Hinduism, and Manichaeism. It was also espoused by heretical gnostic Christian sects, such as the Bogomils, Cathars, Encratites, and Marcionites.  As an etymological point regarding the play on words, the reference is antenatal (before birth); ante a borrowing from the Latin.  As prefixes, anti- (against) should not be confused with ante- (before) but, anti- does exist as a variant spelling of ante- in some borrowed words, such as anticipate and antipasto, but cannot be used to coin English words.  Antinatal is an adjective and antinatalism & antinatalist are nouns; the noun plural is antinatalists.

Strains

Although nihilists are predictably drawn to antinatalism, it’s really not a fork of nihilism.  Instead, it’s the position that bringing someone into existence will always harm the person created, but failing to bring that person into existence will only deny them pleasures they’ll never know. Therefore, the only guaranteed way to avoid increasing the harm quotient of sentient life is for human procreation to be discontinued as a moral imperative. The inevitable consequence of this would be to hasten the extinction of the human species and within the internal logic of the counter-intuitive formulation that is antinatalism, it’s the only ethical outcome.  A legal basis has also been suggested (drawn from the traditions of natural law), which holds that giving birth to children is inherently wrong because the child can never consent to being born.

Structuralists call that a “consent-based deontological argument” but in common use it’s a variant of the “non-consensual harm argument”.  The structure is deontological (of or relating to ethics in the sense of “the study of principles relating to right and wrong conduct” rather than consequentialist because the focus primarily is not on outcomes (suffering, welfare, utility), but to a violation of a moral constraint (in this case the proscription on imposing a condition on another individual without their consent).  At the structural level, it may be compared with concepts such as non-consensual medical procedures (or those in which consent is deemed to be “not informed”), non-consensual risk imposition, or coercive contracts.  The general principle is that if an act in any way affects and individual in a morally significant way and the individual cannot consent, then the act should be held to be impermissible (there will in some circumstances be exceptions to this, many of them related to medical treatment).  However, as used by the antinatalists, the argument exists more as a way of drawing attention to their cause than a serious intellectual point, simply because it will always be defeated by the “impossibility-of-consent objection”, an individual prior to the point of conception being no more able to consent to being born than Oliver Cromwell’s (1599–1658; Lord Protector of the Commonwealth 1653-1658) horse.  In that sense it’s something well-beyond the legal issue of asymmetrical consent.  Given all that, it’s an interesting way to draw attention to the cause rather than a serious argument because both consent and refusal are impossible to gain and those who bother to work things to their logical conclusion tend to conclude one or both parents may be presumed to possess the power of consent by proxy.

Views do change.  In July 2023, Lindsay Lohan became a mother.

Motherhood definitely changed how Lindsay Lohan saw things but others didn’t allow the arrival of their offspring much to change their world view and sense of the place their children occupied in the hierarchy of their “possessions”.  In his diary, (edited by edited by Michael Davie (1924-2005) and published in 1976), the novelist Evelyn Waugh (1903-1966) on 13 November, 1943 noted:

“There is a great deal of talk at the moment about the rocket guns which the Germans are said to have set up in France, with a range to carry vast explosive charges to London.  The fear is seriously entertained in the highest quarters.  I have accordingly given orders for the books I have been keeping at the Hyde Park Hotel to be sent to Piers Court [Waugh’s country house Stinchcombe, Gloucestershire, a wedding present from his second wife’s grandmother].  At the same time I have advocated my son [Auberon Waugh (1939–2001)] coming to London.  It would seem from this that I prefer my books to my son.  I can argue that firemen rescue children and destroy books, but the truth is that a child is easily replaced while a book destroyed is utterly eternal; but most that I have a sense of absolute possession over my library and not over my nursery.”

The “rocket guns” mentioned were the first of the Vergeltungswaffen (retaliatory weapons), the first see the earliest type of cruise missile (the V-1, later to be dubbed “buzz-bomb” or “doodlebug” by those at which they were aimed).  The early Allied speculation was novel weapons were likely to be more destructive than they proved but even so, when deployed they caused considerable damage and loss of life; they also forced the high command to alter their immediate strategic plans after the D-Day (6 June, 1944) landings in an attempt to counter the threat.  The V-1 was one of war’s most economical delivery systems, the post-war British analysis calculating that at a unit cost of Stg£125 it was able to deliver (with reasonable accuracy for its purpose), about the same bomb load as a medium bomber which (including crew) cost some Stg£10,000, men and machine both subject to damage or death.  Had more resources been devoted to developing the cruise missile to ensure it was ready for deployment by 1940, the early years of World War II (1939-1945) would likely have unfolded differently; as it was, although the V-1 and V-2 (the first ballistic missile) were the most obvious of the Nazi’s many Wunderwaffen (wonderweapons), for a variety of reasons they were not decisive although their influence in the post-war years was profound.

Wedding day: Leonard (1880-1969) & Virginia Woolf (1882-1941), St Pancras, London, 10 August 1912; the couple did not have children.

Philanthropic anti-natalism is the position that humans should not have children for the good of the (unborn) children because, in bringing children in the world, parents are subjecting them to pain, suffering, illness, and finally death.  Virginia Woolf, in Mrs Dalloway (1925) explored the idea through the character of Septimus Warren Smith who said “One cannot bring children into a world like this. One cannot perpetuate suffering, or increase the breed of these lustful animals, who have no lasting emotions, but only whims and vanities, eddying them now this way, now that.”  Of the two main strains of the philosophy, misanthropic anti-natalism is the position that humans have a presumptive duty to desist from bringing into existence new members of our species because they cause harm.  Ecological anti-natalism (sometimes called “environmental anti-natalism”) is a subset of this in that it holds procreation is wrong because of the environmental damage caused by human beings and the suffering we inflict on other sentient organisms.  Its quasi-political manifestation is the Voluntary Human Extinction Movement.

Boulevard

Boulevard (pronounced bool-uh-vahrd or boo-luh-vahrd)

(1) A broad avenue in a city, usually with areas at the sides or in the center planted with trees, grass, or flowers, often used as a promenade.

(2) A strip of lawn between a sidewalk (footpath) and the curb (a regionalism from the upper Midwest US & Canada, also called a boulevard strip).

(3) As loosely applied in street names in many cities, usually for wide thoroughfares.

(4) The centre strip of a road dividing traffic travelling in different directions (rare and sometimes applied also to the landscaped sides).

1769: From the French boulevard (broad street or promenade planted with rows of trees), from the Middle French boulevard, bollevart, boulevars, bolevers & bollewerc (promenade, avenue, rampart), either from the Middle High German bolewerc & bolwerc (which endures in modern German as Bollwerk) or the Middle Dutch bolwerc & bollewerc (“bulwark, bastion”), the latter from the Picard, Walloon in the sense of “rampart, avenue built on the site of a razed rampart”, so called because the structures were originally often built on the ruins of old ramparts.  The apparently strange transition from the Middle Dutch bolwerc (wall of a fortification) to the French boulevard, originally (top surface of a military rampart, used as a thoroughfare) is explained by the linguistic tangle of translation, the French language at the time having no “w”, hence the early attempts including boloart, boulever, boloirque & bollvercq.  There is no standard abbreviation, blvd, bd & bl used variously).  Boulevard is a noun, boulevardier is a noun & verb, boulevardlike is an adjective and boulevardize, boulevardizing & boulevardized are verbs; the noun plural is boulevards.

Lindsay Lohan (during "blonde phase") leaving Boulevard3 nightclub, Los Angeles, 2009.

Although there’s now usually no direct relationship, the idea of boulevards being wider than most streets and with associated landscaping dates from the early promenades being laid out atop demolished city walls, structures which were much wider than the usually narrow urban streets.  The word was adopted in English because there was a frank admiration of the layout of Paris and the Americans picked it up as an obvious differentiation for some of the widest streets of their newer cities although there was sometimes also an element of a wish to emulate European style.  The word is used in many countries with the same French spelling adopted in English although there are variants including the Spanish bulevar and the Turkish bulvar and in Italian the word is sometimes used in the otherwise archaic sense of embankment (a direct inheritance of the sense of “rampart”).  The noun boulevardier dates from 1856 and deconstructed literally means “one who frequents the boulevard”, the implication being ”man-about-town, a city dweller, part of café society”.  Boulevardier was later adopted (also as boulevard cruiser & boulevard car) to describe cars which ape the style of high-speed machines but sacrifice performance for comfort and ease of operation.  In urban cartography & town planning the most common abbreviation is blvd. but bd. & bl. are also used.  Boulevard is a noun and boulevardier is a noun & adjective; the noun plural is boulevards.

The Boulevardier cocktail

Erskine Gwynne (1898-1948) between 1927-1932 was the publisher of Paris Boulevardier, an English-language magazine in the vein of the New Yorker, its market the then quite large colony of Anglo-American expats living in Paris.  While in Paris, Gwynne created a cocktail called the Boulevardier which he suggested was the ideal drink for his readership but it was after it was included in Harry MacElhone’s (1890-1958) book Barflies and Cocktails (1927), that it became popular on both sides of the Atlantic.

Made with whiskey, sweet vermouth and Campari, the Boulevardier is a variation of the classic Negroni, renowned when properly mixed for its deft balance of bitter, boozy and sweet (although some anthologies of cocktails asterisk a proviso that women often prefer them with more vermouth and thus sweeter).  However, while the gin-based Negroni is crisp and refreshing, the whiskey-rich Boulevardier is rich and warming, very much a drink for dark evenings.  Traditionally, it was made with bourbon but there are recipes which use the spicier rye whiskey and, unlike a Negroini where classically the ingredients are in equal parts, a Boulevardier mixes the whiskey in a slightly higher proportion.  It’s served on ice, stirred and garnished with an orange twist.

Ingredients

1 ¼ ounces bourbon whiskey

1 oz Campari

1 oz sweet vermouth

Garnish: orange twist

Instructions

Add bourbon, Campari and sweet vermouth into a mixing glass with ice and stir until well-chilled.  Strain into a rocks glass over fresh ice.  Garnish with an orange twist.

Boulevard cars

1961 Chevrolet Impala SS.

The idea of the “boulevard car” was concocted to describe cars which ape the style of high-speed machines but sacrifice performance for comfort and ease of operation, usually at a lower price; for show rather than go as it were.  Chevrolet had actually institutionalized the concept with what became their popular SS (Super Sport) option pack, released in 1961 as a bundle available for Impalas with high-performance V8s.  It featured both suspension modifications and dress-up items including unique body and interior trim, power steering, power brakes with sintered metallic linings, full wheel covers with a three blade spinner, a passenger grab bar, a console for the floor shift, and a tachometer on the steering column.  In that year, Chevrolet built close to half a million Impalas but only 453 buyers opted for what was (at US$53.80) the bargain-priced SS package, an indication the marketing needed to be tweaked.  The problem was that Chevrolet had intended the 1961 SS live up to its name and it was available only with the 348 & 409 cubic inch (5.7 & 6.7 litre) V8s which could be quite raucous and were notably thirstier than many were prepared to tolerate.  The dealers noted how buyers were drawn to the style but were put off by the specification which demanded much more from the driver that the smaller-engined models which wafted effortlessly along, automatic transmissions by now the default choice for most Impala buyers.

1967 Chevrolet SS427.

So the sales barrier was the implication of the costs attached to the SS bundle rather than the attractiveness.  The headline number of US$53.80 actually included only the "spinner" wheel covers, SS badges, a shiny floor plate for the four-speed's shifter and a Corvette-style grab-bar for the glove-box (Ralph Nader (b 1934) noted that one).  However, ticking the SS option box triggered a list of "mandatory options" (a seeming oxymoron Detroit came to adore) including wider tyres (with compulsory narrow-band whitewalls), PAS & PB, (power assisted steering & power brakes), LPO (Limited Production Option) 1108 (Police Handling Package, a bundle including HD (heavy-duty) suspension components and sintered metallic brake linings), a steering column mounted 7000 rpm tachometer and a padded dashboard (the last unlikely much to impress Mr Nader).  Having agreed to pay for all that, the buyer then had to decide whether to opt (at progressively increasing cost) for the 348 (with 305, 340 or 350 horsepower (HP)) or 409 (360 HP).  The Powerglide two-speed  automatic transmission was available only with the mildest of the 348s, further limiting the sales potential, the three or four-speed manual otherwise obligatory.  In 1961, it was much more expensive to buy a SS Chevrolet than the US$53.80 on the brochure suggested and however pleasing, it was a long way removed from Chevrolet's traditional place as the low-priced rung on the "Sloan ladder".  The decision was thus taken for 1962 to make the "show" available without the "go" and the SS became an "appearance package", available with even six-cylinder engines.  Sales skyrocketed and between 1962-1969 some 920,000 SS packages were sold for the full-sized line.

1973 Porsche 911T-Lux Targa (left) and 1973 Porsche 911S Targa (right).  The driving experiences were very different but visually, unless closely inspected, it took a well-trained eye to tell the difference. 

GM had noted the dress-up bits were just Chevrolet part-numbers which could be ordered by dealers, some of which received customer requests separately to fit the trim pieces so some 1961 Impalas did to some extent resemble the SS cars though without the high-performance equipment.  It was therefore clear there were more buyers who wanted their Impala to look like a a fast one than were able or prepared to pay for the experience and Chevrolet’s “SS appearance package” proved influential, the approach becoming a a template for the whole industry, spreading internationally, the Porsche 911T Lux (1972-1973) an example.  The entry level 911T was the least powerful of the range and lacked some of the luxury fittings of the more expensive and more powerful 911E & 911S but for those who wanted the fittings but had no desire for the horsepower, the 911T-Lux was created which combined the mechanical specification of the "T" with the trim of the "S", the factory doing exactly what so many of Chevrolet's SS customers settled on after 1962.

Façade of Sydney Boulevard Hotel, 90 William Street, Sydney, NSW, 2011 Australia.

Located between the once vibrant Kings Cross and the city's CBD, The Sydney Boulevard Hotel was long a favorite of visiting federal politicians, attracted by the convenient location and "government rates" adjusted to be cognizant of the "TA" (daily travelling allowance).  The TA remains one of the more lucrative rorts because unspent funds are trousered by the recipient as tax-free income.  For politicians able to arrange their travel to coincide with free or low-cost accommodation and meals (by tactics which are in themselves sometimes good stories), a carefully-managed TA regime can have an extraordinary multiplier effect on after-tax income.  For most people, a political career is an easier path to wealth than working for a living and in Australia it seems only politicians and political journalists who parrot the line they're in the game in the interests of the country rather than themselves.  While some journalists might be that gullible, most are obliged to "stick to the script" because it's from politicians they gain most of their "stories", MPs (members of parliament) being a breed anxious to leak scuttlebutt (true and not) about their colleagues (who are their real opponents rather than the official "opposition" who are just "the other side").    

Chevrolet’s solution was to become a template for the whole industry which would spend the next decade making, advertising (and, in relatively small numbers, selling) the so-called "muscle cars" which would become so storied.  The muscle-car ecosystem of those years is better documented and more celebrated than any other phase through which Detroit passed yet the numbers of the genuine high performance machines produced was tiny compared to total production of the models upon which they were based.  The experience of 1961 convinced Chevrolet that what most people wanted was not a tyre-melting muscle car (which came with a thirsty, noisy and sometimes cantankerous engine along with what would become prohibitively expensive insurance rates) but one which looked like one.  Splitting the market between drag-strip monsters and boulevard cruisers which could be made to look much the same proved a great success.  For some reason though, late in the decade Chevrolet briefly offered the stand-alone SS 427 in an Impala body but without the Impala badge while, confusingly, the actual Impala could be ordered with both the SS package and the 427 cubic inch (7.0 litre) V8.  Thus there was the SS 427 and the Impala SS 427, the former rather more special and much sought after today so many clones of both have been concocted, leading to a small industry of specialists able to pick real from fake, the difference a matter (in the collector market) of tens of thousands of dollars.

1958 Mercedes-Benz 300 SL Roadster. 

Manufacturers had been pursuing the concept even before Chevrolet formalized it in the marketing manual.  Even in the interwar years the coincidently named SS cars (which after 1945 become Jaguar) offered essentially the same racy looking machines in a variety of configurations, some of which delivered the performance the lines promised and some did not, the former thought of as genuine sports cars, the latter we would now call boulevard cruisers.  Jaguar considered pursuing the strategy in the early post-war years before deciding sports cars really should all be sporty and although their saloons would come with engines small and large, the roadsters and coupés would be about both show and go.  Mercedes-Benz understood the attraction the 300SL gullwing (W198) had for buyers but knew also it, and the planned roadster version which would be its replacement, were always going to be too expensive for most and that few of them anyway needed a car which could hit what was in the 1950s a most impressive 150 mph (240 km/h).  What they wanted was a stylish machine which recalled the 300 SL in which to cruise along wide boulevards.

1955 Mercedes Benz 190 SL.

Thus was crafted the 190 SL (W121; 1955-1963), built on the modest platform of the company’s small, four cylinder saloon rather than the exotic space-frame of the 300 SL.  Eschewed too were costly features like dry-sump lubrication and fuel-injection and the engine was barely more powerful than in the saloon but for a boulevard cruiser that was perfect and over an eight-year run, it out-sold the expensive 300 SL roadster a dozen-fold.  There were plans even for a 220 SL, using the 2.2 litre (134 cubic inch) six cylinder from the “pontoon” saloon and prototypes were built but the continuing success of the 190SL and capacity constraints first postponed and finally doomed the project.  Even this had been an attempt not to create a true sports car but instead make the little roadster cruise the boulevards more smoothly and, in the decades which followed, this indeed was the historic course subsequent generations of the SL would follow.  It would not be until the 1990s some SLs again became genuinely fast and in the twenty-first century the factory returned to making versions for which a racetrack would seem a native environment.