Galaxy

Galaxy (pronounced gal-uhk-see)

(1) In astronomy, a large system of stars, galactic dust, black holes etc, held together by mutual gravitation and isolated from similar systems by vast regions of space.  They exist (in at least the billions) as independent and coherent systems although because not static, can collide and merge.  Planet Earth is in a galaxy called the Milky Way.

(2) Figuratively, an assemblage of things or persons seen as luminous or brilliant.

(3) To gather together into a luminous whole (archaic).

(4) In mathematics, a hyper-real number in non-standard analysis

(5) In fashion or graphic design, any print or pattern reminiscent of a galaxy, constructed usually by blending semi-opaque patches of vibrant color on a dark background.

(6) The Milky Way, the apparent band of concentrated stars which appears in the night sky over earth (now long obsolete and used only in historic reference).

1350–1400: From the Middle English galaxyë, galaxie & galaxias from the Old French galaxie and Medieval Latin galaxia & galaxias (the Milky Way; in the classical Latin via lactea or circulus lacteus), from the Ancient Greek γαλαξίας (galaxías kyklos) (milky circle) from γάλα (gala (genitive galaktos)) (milk) and related to the Latin lac (milk)), from the primitive Indo-European g(a)lag (milk).  Galaxy is a noun and verb, the adjective is galactic the noun plural galaxies; the present participle is galaxying and the past participle galaxied.)  The technical astronomical sense as it’s now understood as a discrete stellar aggregate including the sun and all visible stars emerged as a theory by 1848, the final scientific proof being delivered in the 1920s; the figurative sense of "brilliant assembly of persons or articles" dates from the 1580s.

It will all end badly

The Milky Way, planet Earth’s cosmic suburb was in the late fourteenth century defined as "the galaxy as seen in the night sky", and was a loan-translation of Latin via lacteal which had existed formerly in the Middle English as milky Wey, Milken-Way & Milky Cercle.  The philosophers (natural scientists) of antiquity had speculated on the nature of what they could see when gazing at night sky and some (Democrates, Pythagoras (and even the historian Ovid)) guessed they were looking at a vast array of stars, the matter when Galileo, using his telescope, reported that the whole vista was resolvable into stars and it attracted other names including Jacob's Ladder, the Way to St James's, and Watling Street.

Artist's impression of the Milky Way generated by the Chinese Academy of Sciences, 2019.

The Milky Way was originally thought the entire universe but as telescopes improved astronomers by the mid nineteenth century speculated that some of the spiral nebulae they observed were actually vast and immensely distant structures perhaps similar in size and shape to the Milky Way but the proof of that wasn’t definitive until the 1920s.  Galaxies are held together by the gravitational attraction of the material within them, most coalescing around a nucleus into elliptical or spiral forms although a few are irregular in shape.  Galaxies range in diameter from hundreds to hundreds of thousands of light-years and contain between a few million and several trillion stars, many grouped into clusters, with these often parts of larger super-clusters.

Lindsay Lohan Samsung Galaxy S24 phone case.

German philosopher Immanuel Kant (1724–1804) was among the first to theorize the Milky Way was not the only galaxy in the universe and coined the term “island universe to describe a galaxy”.  Kant was right and while estimates vary, over one hundred-billion galaxies exist in the observable universe, most of which are moving away from our Milky Way; those farther away receding faster than those nearby.  The Milky Way rotates at about 560,000 mph (900,000 km/h) and completes a full revolution about every two-hundred million years, thus one galactic revolution ago, dinosaurs roamed the Earth.  In about four billion years, the Milky Way will begin a slow-motion (in astronomical terms) collision with the Andromeda galaxy, a process which will take at least one hundred million years.  Optimistically, astronomers have suggested the ellipsoidal result be named Milkomeda.

Notable Ford Galaxies, 1959-1970

Initially to augment their range-topping Fairlane, Ford adopted the Galaxie name in 1959 as a marketing ploy to take advantage of public interest in the space race, using the French spelling to add a touch of the exotic.  On the full-sized platform, the name was used until 1974 but it was the brief era of the charismatic high-performance versions built in the early-mid 1960s which are most remembered;  already a force on US circuits, they became also in England, Australia, South Africa & New Zealand, one of the more improbably successful racing cars.  The Galaxie was notable also as the platform which Ford used to create the LTD, essentially a Galaxie bundled with a number of otherwise optional features and some additional appointments, sold at an attractive price.  It was an immediate success and had two side effects, (1) other manufacturers soon used the same tactic, creating most notably the Chevrolet Caprice and (2) the creation of "a luxury Ford" began the process of rendering the Mercury brand, introduced in 1938 as "the luxury Ford", eventually redundant.  In an evolution which would play-out over two decades, the interior fittings of the Ford LTD and its competitors would become increasingly ornate although critics were sometimes divided on the aesthetic success of the result.  A generation after the name was retired in the US, Ford in Europe used the anglicized spelling, in 1995 introducing the Galaxy, a dreary family van.

1959 Ford Galaxie Skyliner.

The Galaxie was a mid-year addition to the line, assuming the role of the top-of-the-range model from the Fairlane 500, a position it would occupy until 1965 when it began to be usurped by the LTD, added that year as a Galaxie option although it would later become a separate model which would outlast the Galaxie by more than a decade.  Best remembered from the 1959 range was the Skyliner, a two-door convertible with the novelty of a retractable hard-top a marvel of analogue-era engineering, the operation of the all-steel apparatus a mesmerizing piece of mechanical choreography from the early space-age, controlled by three drive motors, ten solenoids, many relays & circuit breakers, all connected with a reputed 610 feet (186 m) of electrical cabling.  Despite the intricacy, it proved a reliable system.

1960 Ford Galaxie Starliner.

As the 1960s dawned, the muscle car thing was still years away, the intermediate and pony-cars on which they would be based not yet in production and by choice, Ford probably wouldn’t have produced any high performance versions of the Galaxie.  For some time, Detroit had been putting more powerful versions of their biggest engines into their top-line models but these tended to be early interpretations of what would later come to be known as the “personal car”, heavyweight coupés laden with power accessories, air conditioning and luxury fittings but those big engines were increasingly and extensively being modified by those seeking competitive advantage in what rapidly had become the wildly popular racing series run by the National Association for Stock Car Auto Racing (NASCAR).  With some alarm, the sanctioning body, concerned both at the extent to which the cars being used differed from their “stock car” concept and the high speeds being attained, imposed rules designed to restrict the use of components used on the track to those genuinely available to customers.  Thus was born the 352 cubic inch (5.8 litre) (FE) “Special” V8, a US$204.70 option available on all 1960 Fords except the wagons although, reflecting the intended market, niceties like air conditioning, power steering and power brakes weren’t available.  Rated at 360 (268 kW) horsepower, the 352 Special actually out-powered the 430 cubic inch (7.0 litre) (MEL) V8, which, at 350 horsepower (261 kW), was available in the Thunderbird but was so bulky and heavy that its use on the track had been curtailed although it would enjoy some success in powerboat racing.  The 352 Special also provided quite a jump in performance from other 352s which offered a (standard) 235 horsepower (175 kW) or 300 (224 kW) in the 352 Super, neither exactly sparkling performers although typical for the era; a Special-equipped Galaxie managing a standing quarter-mile five seconds quicker than a Super, admittedly one hampered by one of Ford’s early, inefficient automatic transmissions.  The 352 Super wasn’t available for long but the streamlined Starliner body to which most of them were fitted proved to have aerodynamic properties close to idea for use on NASCAR’s ovals but public enthusiasm for the style soon waned and it was replaced by something thought more elegant but which proved less slippery, inducing Ford to try (unsuccessfully) one of the more blatant cheats of the era and one which would prove to be the first shot in what came to be called the “aero-wars”.

1961 Ford Galaxie.

The power-race had for a while been raging on the ovals but NASCAR’s rules dictating all the bits be available for public sale and produced in sufficient number to make purchase genuinely possible meant the race moved to the showroom and thus, public roads, something which produced a remarkable generation of cars but which would have implications for the public, the industry and, ominously, the laws which would follow.  Facing competition with more power and displacement, Ford in 1961 released a version of the new 390 cubic inch (FE) (6.5 litre) this time with an induction system which used three two-barrel carburetors rather than the single four barrel which had sat atop the 352 Special.  Strangely, most owners had to go a circuitous route to get their six-barrel 390, few assembled that way by the factory, the cars instead delivered equipped with a high-performance version of the 390 which included in the trunk (boot), a kit with the parts and accessories to upgrade from the supplied single four barrel carburetor to a triple, two barrel apparatus.  Intended for installation by the dealer, thus equipped, power jumped from 375 horsepower (280 kW) to 401 (299 kW).

1962 Ford Galaxie 406 (replica).

The power race however was accelerating faster than the vehicles it inspired and in 1962, the Galaxie’s new high-performance engine was a 406 cubic inch (FE) (6.6 litre) V8, offered either with a single four-barrel carburetor and rated at 385 horsepower (287 kW) or a 405 horsepower (302 kW) version with the triple two-barrel Holleys.  The 406 certainly delivered increased power but the internal stresses this imposed, coupled with effects of the higher speeds now possible exposed weaknesses in some aspects of underlying engineering, some components being subject to forces never envisaged in the late 1950s when the design was finalized.  The most obvious and frequent failure afflicted the main (bottom-end) bearings and, part-way during the production run, change was made to add a second set of bolts to secure the main-bearing caps, the novelty being that they were drilled sideways, entering through the skirt of the block, thus gaining the moniker “cross-bolted”.

Ford Galaxie 427s, Brands Hatch, 1963.

The 406 however had a production life of less than two years, replaced in 1963 by a the 427 cubic inch (FE) V8, an engine which would be offered in so many configurations that the stated power ratings were more indicative than calculated but the versions available for the street versions of the Galaxie were rated at 410 horsepower (360 kW) if fitted with a single four barrel carburetor and 425 (317 kW) if running a pair.  The 427 would go on to a storied and decorated history on the street, strip and circuit including twice winning the 24 hour classic at Le Mans but unexpectedly, it had a successful career in saloon car racing in England, Australia, South Africa and New Zealand.  Predicted at the time to be briefly fast, loud and spectacular before its hunger for brake linings and tyres ended its outings, it instead proved competitive, stable and reliable, dominating the 1963 British Saloon Car Championship, ending the reign of the 3.8 litre Jaguars.  In the US however, although the 427 had powered the Galaxie to trophy winning successes in the 1964 NASCAR season, the larger displacement had further increased internal pressures and reliability issues with the bottom end had again been encountered.  The cross-bolting had solved the issues caused by vibration but now the lubrication was proving inadequate, the oiling system setup to first to lubricate the top end and then to the crankshaft.  The solution was another oil galley along the side of the block, delivering priority lubrication to the bottom end; introduced in 1965 as a running change, these engines came to be known as “side-oilers”, the earlier versions retrospectively known as “top oilers”.

1966 Galaxie 7 Litre.

By 1966, the era of the Galaxie as a race car was nearly over, Ford finding the Lotus Cortina and the Mustang quicker on tighter circuits while on the big NASCAR ovals, the race teams during the year switched from the full-sized cars to the intermediates, the Fairlane (the name re-applied to a smaller vehicle after 1962) now the platform of choice.  In 1966 & 1967, the 427 remained available but demand was muted, the two-door Galaxie gaining an option called "7 Litre" (they really did use the French spelling (presumably to avoid a linguistic clash with "Galaxie") and the choice was between the 427 (noisy, cantankerous, an oil burner, expensive and powerful) or the 428 (mild-mannered, smooth, quiet & cheap) and the market spoke, the sales breakdown between the 427/428 in 1966/1967 being 11035/38 and 1056/12.  The message was clear; there were many who wanted high-performance cars but fewer and fewer wanted the package in a big machine, the attention of the market now focused on the intermediates and pony cars.

1970 Ford XL.

By 1970, except for a run heavy-duty units for police fleets which used the old 428, for its top-line option, the full-sized range switched to the new 429 cubic inch (385) (7.0 litre) V8, designed with emission control systems in mind, which had for a couple of seasons been offered in the Thunderbird.  Although available in a version rated at 360 horsepower (265 kW) which was rather more convincing than the perhaps optimistic numbers granted to some of the 428s used in the earlier Galaxies, the emphasis was now on effortlessness rather than outright performance although, Ford was the last of the big three still to offer a four-speed manual gearbox in the big cars and the option lasted until 1970 although the deletion from the option list must have been a late change because while brochures printed for that year’s range included it, it seems none were built.  Actually, technically, by then such things were no longer Galaxies, the two-doors after 1967 called just the “Ford XL” although everyone seemed still to call them Galaxies and for those who still lusted for the way full-size things used to be done, Plymouth did offer their triple carburetor 440 cubic (7.2 litre) inch V8 but only with an automatic transmission.  It would last only until 1971.

Drake

Drake (pronounced dreyk)

(1) The male of any duck.

(2) As “Drake equation”, a formula proposed as a mechanism to estimate the number of active, communicative extraterrestrial civilizations in the Milky Way galaxy.

(3) A small-bore cannon, used mostly in the seventeenth & especially in the 17th and 18th centuries.

(4) A dragon (archaic).

(5) In angling, an artificial fly resembling a mayfly.

(6) A fiery meteor, comet or shooting star (archaic).

(7) A beaked galley or Viking warship.

1250–1300: From the Middle English drake (male duck, drake), from the Old English draca, an abbreviated form of the Old English andraca (male duck, drake (literally “duck-king”), from the Proto-West Germanic anadrekō (duck leader) and cognate with the Middle Dutch andrake, the Low German drake, the Dutch draak (drake), the German Enterich (drake) and the dialectal German drache.  In the Old High German, the equivalent forms were antrahho & anutrehho (male duck).  The archaic meaning in Middle English (a dragon; Satan) dates from before 900 and was from the Old English draca (in the sense of “dragon, sea monster, huge serpent”), from the Proto-West Germanic drakō (dragon), from the Latin dracō (dragon), from the Ancient Greek δράκων (drákōn) (serpent, giant seafish), from δέρκομαι (dérkomai) (I see clearly), from the primitive Indo-European derḱ-.  The Proto-Germanic drako was productive, the source also of the Middle Dutch and Old Frisian drake, the Dutch draak, the Old High German trahho and the German drache.  In a footnote in the long history of the Royal Navy, HMS Marshal Ney, the ship once known as "the worst ship in the navy" was briefly (during her surprisingly long service) re-named HMS Drake.  Drake is a noun, the noun plural is drakes.

Guilty as sin.  Functional necrophilia by a drake: In November 2001, a researcher at Natuurmuseum (Museum of Natural History), Rotterdam, reported the first known case of homosexualnecrophilia in the mallard duck (mallard Anas platyrhynchos (Aves: Anatidae)).

In idiomatic use, the phrase “ducks and drakes” (usually in the form “playing ducks and drakes”) dates from 1585 and means “recklessly or irresponsibly to behave with something valuable or to waste something precious”.  The origin is believed to lie in the pastime of throwing flat stones across the surface of water (known also as “skipping stones”, “stone skiffing” or “skimming stones”, the allusion being to the behavior of the water as the stones bounce before eventually losing energy and sinking, the effect (the circular rings produced by the skipping stone) said to be something like that created by the splashing of ducks and drakes (and waterfowl in general).  It was thus a a reference to doing something in a haphazard and careless manner, without any particular aim or purpose and over time, came to be used generally to refer to any kind of wasteful or irresponsible behavior.  It accurately described the pointlessness of skimming stones but was something of a slight on the birds; their activities on water an indication of their industriousness.  The sense of “to squander, to throw away” emerged in 1614, the notion being “throwing money away, as if throwing away stones in this pastime”.  The perfectly-shapes stone for the purpose (flattish & disc-like) was called a drakestone and in parts of northern England the pastime was known as drakestoning.

The Drake equation

The Drake Equation is a mathematical formula developed in 1961 by US astrophysicist Dr Frank Drake (1930–2022) to estimate the number of intelligent civilizations that (1) might exist in our Milky Way galaxy and (2) be capable of communicating with us. The equation takes into account various factors, such as the number of habitable planets, the probability of life forming on those planets, and the likelihood of intelligent life evolving.  The equation takes the form:

N = R* × fp × ne × fl × fi × fc × L

where:

N = the number of civilizations in our galaxy that are within the parameters capable of communicating with us
R* = the rate of star formation in our galaxy
fp = the fraction of stars that have planets
ne = the average number of habitable planets per star with planets
fl = the fraction of habitable planets that develop life
fi = the fraction of planets with life that develop intelligent life
fc = the fraction of intelligent civilizations that develop technology to communicate with others
L = the length of time such civilizations release detectable signals into space

Sixty-odd years ago, Dr Drake was well aware his equation was not a tool of immediately practical application because there was no certainty about any of the values.  Additionally, the formula was designed not to estimate the actual volume of intelligent life in the galaxy but the number of instances where the conditions might exist which would allow an intelligent to broadcast radio transmissions into space.  Since then, science has became able better to quantify two of the variables but the equation remains an interesting, speculative device and it remains a widely used tool for discussion and debate.

Portrait of Sir Francis Drake (circa 1581), oil on panel by an unknown artist, National Portrait Gallery, London.  A navigator and buccaneer (a kind of pirate), Sir Francis Drake (1540–1596) was the first Englishman to sail around the world (1577–80) and is best remembered for his command of the fleet which faced the Spanish Armada in 1588.

Peculiar

Peculiar (pronounced pi-kyool-yer)

(1) Something thought strange, queer, odd, eccentric, bizarre.

(2) Something uncommon or unusual.

(3) Distinctive in nature or character from others.

(4) Belonging characteristically to something.

(5) Belonging exclusively to some person, group, or thing.

(6) In astronomy, designating a star or galaxy with special properties that deviates from others of its spectral type or galaxy class.

(7) A property or privilege belonging exclusively or characteristically to a person.

(8) In the Church of England, a particular parish or church that is exempted from the jurisdiction of the ordinary or bishop in whose diocese it lies and is governed by another.

(9) In printing and typesetting, special characters not generally included in standard type fonts, as phonetic symbols, mathematical symbols etc (such as ±§¿).  Also called arbitraries.

1400-1450: From the late Middle English, from the Old French peculiaire and directly from the Latin pecūliāris (as one's own property), from pecūlium (private property (literally "property in cattle") a derivative of pecū (flock, farm animals) from pecus (cattle) (in Antiquity, the ownership of cattle was an important form of wealth).  The meaning “unusual” dates from circa 1600, a development of the earlier idiom “distinguished or special”.  The meaning "unusual, uncommon; odd" emerged by circa 1600, an evolution from the earlier "distinguished, special, particular, select" which was in use by at least the 1580s.  The euphemistic phrase "peculiar institution" (slavery; "peculiar" used here in the sense of "exclusive to the "slave states") dates from the 1830s when it was used in speeches by Southern politician John C Calhoun (1782-1850) and it was a standard part of the US political lexicon until abolition.  In ecclesiastical administration, peculiar was used in the sense of "distinct from the auspices of the diocese in which it's located".  Peculiar is a noun & adjective, peculiarize is a verb, peculiarity is a noun and peculiarly is an adverb; the noun plural is peculiars.

In the Church of England, a peculiar is an ecclesiastical district, parish, chapel or church which operates outside the jurisdiction of the bishop and archdeacon of the diocese in which they are situated. Most are Royal Peculiars subject to the direct jurisdiction of the monarch but some are those under another archbishop, bishop or dean.  The arrangement originated in Anglo-Saxon times and developed as a result of the relationship between the Norman and Plantagenet Kings and the English Church. King Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) retained Royal Peculiars following the Reformation and the Ecclesiastical Licences Act (1533), as confirmed by the Act of Supremacy (1559), transferred to the sovereign the jurisdiction which previously been exercised by the pope.  Surprisingly, most peculiars survived the Reformation but, with the exception of Royal Peculiars, almost all were abolished during the nineteenth century by various acts of parliament.  Mostly harmless among Anglicans, the concept existed also in the Roman-Catholic Church where it caused a few difficulties, usually because of bolshie nuns in convents answerable to Rome and not the local bishop.  The bishops, used to obedience, even if grudging, enjoyed this not at all.

Peculiar has a range of meanings.  One is the sense of something “uniquely peculiar to” meaning an attribute or something else shared with no other and sometimes things one thought peculiar to one thing or another are proved not so unique.  Saturn’s lovely rings were once thought peculiar to that planet but exploration and advances in observational technology meant that by the late twentieth century, it could be revealed Jupiter, Uranus and Neptune all had ring systems, all more modest than those of Saturn but they were there.  Non-realistic art has often for its impact depended on a depiction of the peculiar: blue trees, flying dogs and green people once all enough to shock.  This too can change.  Once, a painting of a black swan would have seemed peculiar because, as the Roman saying went rara avis in terris nigroque simillima cygno (a bird as rare upon the earth as a black swan).  The accepted fact was that all swans were white.  However, late in the seventeenth century, Dutch explorers visiting what is now the coast of Western Australia became the first Europeans to see black swans and event subsequently picked up in philosophy as the “black swan moment”, referencing the implications of an accepted orthodoxy of impossibility being disproven, later developed into the “black swan logical fallacy” which became a term used when identifying falsification.

Peculiar in the sense of something bizarre: 1961 Plymouth Fury Convertible.  It must have seemed a good idea at the time and never has there been anything to suggest the designers were under the influence of stimulants stronger than caffeine or nicotine.

Sometimes something thought peculiar can be described as “funny-peculiar” to distinguish it from something disturbing: peculiarities can be thought of as perversions.  In 1906, an embittered and vengeful Friedrich von Holstein (1837–1909; between 1876-1906, an éminence grise in the foreign office of the German Empire) sent a letter to the diplomat Prince Phillip of Eulenburg (1847–1921), the man he blamed for the ending of his long and influential career:

“My dear Phili – you needn’t take this beginning as a compliment since nowadays to call a man ‘Phili” means – well, nothing very flattering… I am now free to handle you as one handles such a contemptible person with your peculiarities.”

From this incendiary note ensued a series of legal proceedings exploring the allegations of “unnatural conduct” (homosexual activity) levelled against Prince Phillip, proceedings which involved a roll-call of characters, many with motives which went beyond their strict legal duty and a few with their own agendas.  The matter of Phili’s peculiarities was of great significance, not merely because homosexuality was punishable under the criminal code (although the statute was rarely enforced) but because the prince had for decades been the closest friend of the German Emperor, Kaiser Wilhelm II (1859–1941; German Emperor & King of Prussia 1888-1918).

Deadline

Deadline (pronounced ded-lahyn)

(1) The time by which something must be finished or submitted; the latest time for finishing something.

(2) A line or limit that must not be passed; a time limit for any activity.

(3) Historically, a boundary around a military prison beyond which a prisoner could not venture without the risk of being shot by the guards.

(4) A guideline marked on a plate for a printing press, indicating the point beyond which text would not be printed (archaic).

(5) Historically, a fishing line that has not for some time moved (indicating it might not be a productive place to go fishing).

(6) In military use, to render an item non-mission-capable; to remove materiel from the active list (available to be tasked); to ground an aircraft etc.

1864: The construct was dead + line.  Dead was from the Middle English ded, from the Old English dead (having ceased to live (also “torpid, dull” and of water “still, standing, not flowing”), from the Proto-Germanic daudaz (source also of the Old Saxon dod, the Danish død, the Swedish död, the Old Frisian dad, the Middle Dutch doot, the Dutch dood, the Old High German & German tot, the Old Norse dauðr and the Gothic dauþs), a past-participle adjective based on dau-, which (though this is contested by etymologists) may be from the primitive Indo-European dheu- (to die).  Line (in this context) was from the Middle English line & lyne, from the Old English līne (line, cable, rope, hawser, series, row, rule, direction), from the Proto-West Germanic līnā, from the Proto-Germanic līnǭ (line, rope, flaxen cord, thread), from the Proto-Germanic līną (flax, linen), from the primitive Indo-European līno- (flax).  The development in Middle English was influenced by the Middle French ligne (line), from the Latin linea (linen thread, string, plumb-line (also “a mark, bound, limit, goal; line of descent”)).  The earliest sense in Middle English was “a cord used by builders for taking measurements” which by the late fourteenth century extended to “a thread-like mark” which led to the notion of “a track, course, direction; a straight line.  The sense of a “limit, boundary” dates from the 1590s add was applied to the geographical lines drawn to divide counties.  The mathematical sense of “length without breadth” (ie describing the line drawn between points (dimensionless places in space)) was formalized in the 1550s and in the 1580s the “equatorial line was used to describe the Earth’s equator."  Other languages including Dutch, Finnish, Italian & Polish picked up deadline from English in unaltered form while the word also entered use in many countries for use in specific industries (journalism, publishing, television, printing etc).  Deadline & deadliner are nouns; deadlining & deadlined are verbs and postdeadline is an adjective; the noun plural is deadlines.

In the oral tradition, a deadline (which probably should be recorded as “dead line”) was a fishing line which for some time after being cast, hadn’t moved, indicating it might not be a productive place to go fishing.  The source of the first formalised meaning (a line which must not be crossed) was a physical line, the defined perimeter boundary line of prisoner of war (PoW) caps during the US Civil War (1861-1865): Any prisoner going beyond the “deadline” was liable to being shot (and thus perhaps recorded as “SWATE” (shot while attempting to escape).  Despite the name, the Civil War records indicate the deadline was rarely marked-out as a physical, continuous line but was instead defined by markers such as trees, signposts or features of the physical environment.  However, the word appears not to have caught on in any sense until 1917 when it was used to describe the guideline on the bed of printing presses which delineated the point past which text would not print.  It seems that the word migrated from the print room to the news room because by 1920 it was used in journalism in the familiar modern sense of a time limit: Copy provided after a specified time would not appear in the printed edition because it has “missed the deadline”.  From this use emerged “postdeadline” (after the deadline has passed) which sometimes existed on a red stamp an editor would use when returning copy to a tardy journalist, “deadliner” (a journalist notorious for submitting copy only seconds before a deadline) and the “deadline fighter” (a journalist who habitually offered reasons why their postdeadline copy should be accepted for publication).  Writers often dread deadlines but there are those who become sufficiently successful to not be intimidated.  The English author Douglas Adams (1952–2001), famous for The Hitchhiker’s Guide to the Galaxy (1979-1992) wrote in the posthumously published collection The Salmon of Doubt: Hitchhiking the Galaxy One Last Time (2002): “I love deadlines. I love the whooshing noise they make as they go by”.  Few working journalists enjoy that luxury.  Other similar expressions include “zero hour”, “cut-off date” and the unimaginative “time limit”.  Deadline was unusual in that it was one of the few examples of the word “dead” being used as a word-forming element in its literal sense, another being “deadman”, a device used mostly in railways to ensure a train is graceful brought to a controlled stop in the event of the driver’s death on incapacitation.

The meaning shift in deadline was an example of an element of a word used originally in its literal sense (dead men SWATE) changing into something figurative.  Other examples of the figurative use of the element include “dead leg”, deadlock, dead loss, dead load, dead lift, dead ringer, dead heat and dead light.  The interesting term “dead letter” has several meanings.  In the New Testament it was used by the Apostle Paul in his second letter to the Corinthians (2 Corinthians 3:6) to contrast written, secular law with the new covenant of the spirit.  Paul’s argument was that legal statutes, without the Spirit, were powerless to bring about salvation and were therefore “dead letter” whereas the new covenant, based on the Spirit, brings life:  “He has made us competent as ministers of a new covenant--not of the letter but of the Spirit; for the letter kills, but the Spirit gives life.” (2 Corinthians 3:6).  So, law devoid of the power of the Holy Spirit to interpret and apply it is a “dead letter” that can never be transformative, unlike the new covenant which is based on a living relationship with God through the Holy Spirit.

In a post office, a “dead letter” (which can be a “dead parcel”) is an item of mail which can neither be delivered to its intended recipient nor returned to the sender, usually because the addresses are incorrect or the recipient has moved without leaving a forwarding address.  Within postal systems, there is usually a “dead letter office” a special department dedicated to identifying and locating the sender or recipient.  If neither can be found and the item is unclaimed after a certain time (and in many systems there are deadlines), it may be opened and examined for any identifying information that could be used to identify either and if this proves unsuccessful, depending on its nature, the item may be destroyed or sent to public auction.  Beyond the Pauline and the postman, “dead letter” is a phrase which refers to (1) a law or regulation which nominally still exists but is no longer observed or enforced and (2) anything obsolescent or actually obsolete (floppy diskettes, fax machines et al).  In law, some examples are quite famous such as jurisdictions which retain the death penalty but never perform executions.  There have also been cases of attempting to use the “dead letter” law as an expression of public policy: In Australia, as late as 1997, the preferred position of the Tasmanian state government was that acts of homosexuality committed by men should remain unlawful and in the Criminal Code but that none would be prosecuted, the argument being it was important to maintain the expression of public disapproval of such things even if it was acknowledged criminal sanction was no longer appropriate.  There may have been a time when such an approach made political sense but even before 1997, that time had passed.  As is often the case, law reform was induced by generational change.

Founded in 2009 (an earlier incarnation Deadline Hollywood Daily had operated as a blog since 2006), deadline.com is a US film and entertainment news & gossip site now owned by Penske Media Corporation.

Simile, Metaphor & Analogy

Simile (pronounced sim-uh-lee)

(1) A figure of speech expressing the resemblance of one thing to another of a different category usually introduced by as or like.

(2) An instance of such a figure of speech or a use of words exemplifying it.

1393: From the Middle English simile, from the Latin simile (a like thing; a comparison, likeness, parallel), neuter of similis (like, resembling, of the same kind).  The antonym is dissimile and the plural similes or similia although the latter, the original Latin form, is now so rare its use would probably only confuse.  Apart from its use as a literary device, the word was one most familiar as the source of the “fax” machine, originally the telefacsimile and there was a “radio facsimile” service as early as the 1920s whereby images could be transmitted over long-distance using radio waves, the early adopters newspapers and the military.

The simile is figure of speech in which one thing is explicitly compared to another, usually using “like” or “as”; both things must be mentioned and the comparison directly stated.  For literary effect, the two things compared should be thought so different as to not usually appear in the same sentence and the comparison must directly be stated.  Dr Johnson (Samuel Johnson (1709-1784)) thought a simile “…to be perfect, must both illustrate and ennoble the subject." but many long ago became clichéd and far removed from nobility.

It went through me like an armor-piercing shell.
Slept like a log.
Storm in a tea cup.
Blind as a bat.
Dead as a dodo.
Deaf as a post.

Metaphor (pronounced met-uh-fawr)

(1) A figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance.

(2) Something used, or regarded as being used, to represent something else; emblem; symbol.

1525-1535:  From the Middle French métaphore & the (thirteenth century) Old French metafore from the Latin metaphora, from the Ancient Greek μεταφορά (metaphorá) (a transfer, especially of the sense of one word to a different word; literally "a carrying over”), from μεταφέρω (metaphérō) (I transfer; I apply; I carry over; change, alter; to use a word in a strange sense), the construct being μετά (metá) (with; across; after; over) + φέρω (phérō, pherein) (to carry, bear) from the primitive Indo-European root bher- (to carry; to bear children).  The plural was methaphoris.  In Antiquity, for a writer to be described in Greek as metaphorikos meant they were "apt at metaphors”, a skill highly regarded: “It is a great thing, indeed, to make a proper use of the poetical forms, as also of compounds and strange words. But the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars" (Aristotle (384-322 BC), Poetics (circa 335 BC)).

The words metaphor, simile and analogy are often used interchangeably and, at the margins, there is a bit of overlap, a simile being a type of metaphor but the distinctions exist.  A metaphor is a figure of figure of speech by which a characteristic of one object is assigned to another, different but resembling it or analogous to it; comparison by transference of a descriptive word or phrase.  It’s important to note a metaphor is technically not an element or argument, merely a device to make a point more effective or better understood.  It’s the use of a word or phrase to refer to something other than its literal meaning, invoking an implicit similarity between the thing described and what is denoted by the word or phrase.  It has certain technical uses too such as the recycling or trashcan icons in the graphical user interfaces (GUI) on computer desktops (a metaphor in itself).  The most commonly used derivatives are metaphorically & metaphorical but in literary criticism and the weird world of deconstructionism, there’s the dead metaphor, the extended metaphor, the metaphorical extension, the mysterious conceptual metaphor and the odd references to metaphoricians and their metaphorization.  Within the discipline, the sub-field of categorization is metaphorology, the body of work of those who metaphorize.  

This royal throne of kings, this sceptred isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall
Or as a moat defensive to a house,
Against the envy of less happier lands,--
This blessed plot, this earth, this realm, this England.

William Shakespeare (1564-1616), Richard II (circa 1594), Act 2 scene 1.

Analogy (pronounced uh-nal-uh-jee)

(1) A similarity between like features of two things, on which a comparison may be based:

(2) A similarity or comparability.

(3) In biology, an analogous relationship; a relationship of resemblance or equivalence between two situations, people, or objects, especially when used as a basis for explanation or extrapolation.

(4) In linguistics, the process by which words or phrases are created or re-formed according to existing patterns in the language.

(5) In logic a form of reasoning in which one thing is inferred to be similar to another thing in a certain respect, on the basis of the known similarity between the things in other respects.

(6) In geometry, the proportion or the equality of ratios.

(7) In grammar, the correspondence of a word or phrase with the genius of a language, as learned from the manner in which its words and phrases are ordinarily formed; similarity of derivative or inflectional processes.

1530-1540: From the Old French analogie, from the Latin analogia, from the Ancient Greek ἀναλογία (analogía), (ratio or proportion) the construct being ἀνά (aná) (upon; according to) + λόγος (logos) (ratio; word; speech, reckoning), from the primitive Indo-European root leg- (to collect, to gather (with derivatives meaning “to speak; to pick out words”).  It was originally a term from mathematics given a wider sense by Plato who extended it to logic (which became essentially “an argument from the similarity of things in some ways inferring their similarity in others”.  The meaning “partial agreement, likeness or proportion between things” fates from the 1540s and by the 1580s was common in mathematics; by the early seventeenth century it was in general English use.  The plural is analogies and the derived forms include the adjective analogical and the verbs analogize & analogized.  In critical discourse there’s the “false analogy” and the rare disanalogy.

An analogy is a comparison in which an idea or a thing is compared to another thing that is quite different from it, aiming to explain the idea or thing by comparing it to something that is familiar.  Further to confuse, metaphors and similes are tools used to draw an analogy so an analogy can be more extensive and elaborate than either a simile or a metaphor.

The day is done, and the darkness

Falls from the wings of Night,

As a feather is wafted downward

From an eagle in his flight.

Henry Wadsworth Longfellow (1807-1882), The Day Is Done (1844).

“They crowded very close about him, with their hands always on him in a careful, caressing grip, as though all the while feeling him to make sure he was there. It was like men handling a fish which is still alive and may jump back into the water.”

George Orwell (1903-1950), A Hanging (1931).

The Mean Girls mall scene, at the water hole in the jungle clearing where the “animals gather when on heat”.

Similes, metaphors & analogies are used frequently as devices in fiction including in Paramount Production’s Mean Girls (2004) and the similes were quite brutish including “You smell like a baby prostitute”; “She's like a Martian”; & “Your face smells like peppermint”.  The metaphors were obvious (this was a teen comedy) but worked well.  The “Plastics” implied the notion of things artificial, superficial, and shiny on the outside but hollow inside while “Social Suicide” would to the audience have been more familiar still.  The idea of the “Queen Bee” (a metaphorical position of one individual as the centre of the hive (school) around which all dynamics and activities revolve) was one of several zoological references.  The idea of it being “…like a jungle in here” was a variation of the familiar metaphorical device of comparing modern urban environments (the “concrete jungle” the best known) with a jungle and in Mean Girls stylized depictions of wild animals do appear, the school’s mascot a lion, a link to the protagonist having come from the African savanna.  There was also the use of a malapropism in the analogy “It's like I have ESPN or something”, the novelty being it used an incorrect abbreviation rather than a word.  The Mean Girls script is not the place to search for literary subtleties.

Of Pluto

The New Zealand physicist Lord Rutherford (1871-1937), who first split the atom (1932), explained its structure by drawing an analogy with our solar system.  Rutherford always regarded physics as the “only true, pure science” while other disciplines were just expressions of the properties or applications of the theories of physics.  In 1908, he was awarded the Nobel Prize in Chemistry “…for his investigations into the disintegration of the elements, and the chemistry of radioactive substances.”  It was said he was amused by the joke.

This image includes Pluto as a planet.  Historically, the Galileian satellites of Jupiter were initially called satellite planets but were later reclassified along with the Moon.  The first observed asteroids were also considered planets, but were reclassified when became apparent how many there were, crossing each other's orbits, in a zone where only a single planet had been expected.   Pluto was found where an outer planet had been expected but doubts were soon raised about its status because (1) it was found to cross Neptune's orbit and (2) was much smaller than had been the expectation.  The debate about the status of Pluto went on for decades after its discovery in 1930 and the pro-planet faction may have become complacent, thinking that because Pluto had always been a planet, it would forever be thus but, after seventy-six years in the textbooks as a planet, the International Astronomical Union (IAU) in 2006 voted to re-classify Pluto as a dwarf planet on the basis that the icy orb failed to meet a set of criteria which the IAU claimed had for decades been accepted science.

To be a planet, the IAU noted, the body must (1) orbit a star, (2) be sufficiently massive to it pull itself into a sphere under its own gravity and (3), “clear its neighbourhood” of debris and other celestial bodies, proving it has gravitational dominance (cosmic hegemony in its sphere of influence by political analogy) in its little bit of the solar system.  Pluto fails the third test.  Because it orbits in the Kuiper Belt (a massive ring of asteroids and planetoids that stretches beyond the orbit of Neptune), Pluto is surrounded by thousands of other celestial bodies and chunks of debris, each exerting its own gravity.  Pluto is thus not the gravitationally dominant object in its neighborhood and therefore, not a planet and but a dwarf (a sort of better class of asteroid).  The IAU’s action had been prompted by the discovery in the Kuiper Belt of a body larger than Pluto yet still not meeting the criteria for planethood.  Feeling the need to draw a line in the sky, the IAU dumped Pluto.

However #plutoisaplanet is a thing and Pluto’s supporters have a website, arguing that while it’s universally accepted a planet should be spherical and orbit the Sun, the “clearing the neighbourhood” rule is arbitrary, having appeared only in a single paper published in 1801.  The history is certainly muddied, Galileo having described the moons of Jupiter as planets and there are plenty of other more recent precedents to suggest the definitional consensus has bounced around a bit and there are even extremists really to accept the implications of loosening the rules such as the moons of Earth, Jupiter and Saturn becoming planets.  Most however just want Pluto restored.

The most compelling argument however is that the IAU are a bunch of humorless cosmological clerks, something like the Vogons (“…not actually evil, but bad-tempered, bureaucratic, officious and callous.”) in Douglas Adams' (1952–2001) Hitchhiker's Guide to the Galaxy (1979-1992) and that Pluto should be restored to planethood because of the romance of the tale.  Although lacking the lovely rings of Saturn (a feature shared on a smaller scale by Jupiter, Uranus & Neptune), Pluto is the most charming of all because it’s so far away; desolate, lonely and cold, it's the solar system’s emo.  If for no other reason, it should be a planet in tribute to the scientists who, for decades during the late nineteenth and early twentieth centuries, calculated possible positions and hunted for the elusive orb.  In an example of Donald Rumsfeld's (1932–2021; US secretary of defense 1975-1977 & 2001-2006) “unknown knowns”, the proof was actually obtained as early as 1915 but it wasn’t until 1930 that was realized.  In an indication of just how far away Pluto lies, since the 1840s when equations based on Newtonian mechanics were first used to predict the position of the then “undiscovered” planet, it has yet to complete even one orbit of the Sun, one Plutonian year being 247.68 years long.

Dwarf

Dwarf (pronounced dwawrf)

(1) A person of abnormally small stature owing to a pathological condition, especially one suffering from cretinism or some other disease that produces disproportion or deformation of features and limbs.  In human pathology, dwarfism is usually defined, inter-alia, as an adult height less than 1.47 m (4 ft 10 in).

(2) In zoology & botany, an animal or plant much smaller than the average of its kind or species.

(3) In European folklore, a being in the form of a small, often misshapen and ugly, man, usually having magic powers.

(4) In Norse mythology, any member of a race of beings from (especially Scandinavian and other Germanic) folklore, usually depicted as having some sort of supernatural powers and being skilled in crafting and metalworking, often as short with long beards, and sometimes as clashing with elves.

(5) In astronomy, a small version of a celestial body (planet, moon, galaxy, star etc).

(6) Of unusually small stature or size; diminutive; to become stunted or smaller.

Pre 900: From the Middle English dwerf, dwergh, dwerw & dwerȝ, from the Old English dweorh & dweorg (dwarf), replacing the Middle English dwerg and ultimately from the Proto-Germanic dwergaz.  It was cognate with the Scots dwerch, the Old High German twerg & twerc (German Zwerg), the Old Norse dvergr (Swedish dvärg), the Old Frisian dwirg (West Frisian dwerch), the Middle Low German dwerch, dwarch & twerg (German & Low German Dwarg & Dwarch) and the Middle Dutch dwerch & dworch (Dutch dwerg).  The Modern English noun has undergone complex phonetic changes. The form dwarf is the regular continuation of Old English dweorg, but the plural dweorgas gave rise to dwarrows and the oblique stem dweorge which led to dwery, forms sometimes found as the nominative singular in Middle English texts and in English dialects.  Dwarf is a noun and verb, dwarfness & dwarfishness are nouns, dwarfish & dwarflike are adjectives and dwarfishly is an adverb.  The plural forms are dwarves and dwarfs.  Dwarfs was long the common plural in English but after JRR Tolkien (1892-1973) used dwarves, his influence was enough to become the standard plural form for mythological beings.  For purposes non-mythological, dwarfs remains the preferred form.

The M Word

1972 MG Midget (RWA) in British Racing Green (BRG).

Dwarf seems still to be an acceptable term to describe those with dwarfism and Little People of America (LPA), the world’s oldest and largest dwarfism support organization (which maintains an international, membership-based organization for people with dwarfism and their families) has long campaigned to abolish the use of the word “midget” in the context of short humans.  The objection to midget is associative.  It was never part of the language of medicine and it was never adopted as official term to identify people with dwarfism, but was used to label used those of short stature who were on public display for curiosity and sport, most notoriously in the so-called “freak shows”.  Calling people “midgets” is thus regarded as derogatory.  Midget remains an apparently acceptable word to use in a historic context (midget submarine, MG Midget et al) or to describe machinery (midget car racing; the Midget Mustang aerobatic sports airplane) but no new adoptions have been registered in recent years.  The LPA is also reporting some supportive gestures, noting with approval the decision of the Agricultural Marketing Service (AMS) of the US Department of Agriculture’s (USDA) to revise the nomenclature used in the US standards for grades of processed raisins by removing five references to the term “midget”.  Although obviously a historically benign use of the word, its removal was a welcome display of cultural sensitivity.

An interesting outlier however is midget wrestling, a field in which the participants are said enthusiastically to support the label, citing its long traditions and the marketing value of the brand.  Although in the late twentieth century, midget wrestling’s popularity diminished in the last decade there’s be a resurgence of interest and the sport is now a noted content provider for the streaming platforms which run live and recorded footage.  Since the 1970s, midget wrestling has included styles other than the purely technical form with routines extending from choreographed parody and slapstick performances to simulated sexual assault.  These innovations have attracted criticism and the suggesting it’s a return to the freak shows of earlier centuries but audiences in the target demographic seem appreciative and, noting the success of a number of tours and operators, Major League Wrestling in 2022 announced the creation of a midget division.

The MG Midget

Where it began: 1930 MG M-Type Midget Roadster.

The earliest cars to wear MG badge (the name originally “Morris Garages”, an operation which had the same relationship to Morris as AMG does to Mercedes-Benz (ie high-performance variants)) were tuned (and often re-bodied) editions of existing Morris models but in 1928 the 8/33 M.G Midget Sports Series M (truncated usually to “M Type” was displayed at the 1928 London Olympia Motor, series production commencing the next season.  The first of a long line of tiny roadsters, 3,232 would be made between 1929-1932 and the one in the photographs above is fitted with coachwork typical of the era: an open two-seater in the fashionable “boat-tail” style, constructed by Carbodies of Coventry using construction technique which began in aviation, the panels a mix of steel and fabric-covered plywood over an ash frame.  The fabric soft-top was stored under the rear deck along its frame, tools and a spare wheel.  In the spirit of the age, a rakish two-piece windshield was fitted and there was no provision for a heater.  Despite the minimalist accommodation, the engine was surprisingly advanced, the four-cylinder engine using a bevel-gear-driven single overhead cam turning off the vertically mounted generator, 27 horsepower at a then impressive 5400 rpm generated from a displacement of 847 cm3 (51.68 cubic inches).  A footnote in the Midget’s history is that the first exported to the US was in 1930 bought by Edsel Ford (1893–1943; president of the Ford Motor Company (FoMoCo) 1919–1943), then titular head of his father’s (Henry Ford (1863-1947)) eponymous Motor company which, by the million, built larger vehicles.

1960 Austin-Healey Sprite Mark I (top left), 1966 MG Midget Mark II (top right), 1973 MG Midget Mark III (RWA, bottom left) and 1979 MG Midget Mark IV (bottom right).

For a new generation (1961-1979) of diminutive roadsters, MG revived the Midget name last used on the M-Type. MG was by the 1950s part of British Motor Corporation (BMC (1952-1967) which later would be absorbed by the doomed British Leyland (1968–1990)) and a corporate companion marquee was Austin-Healey which between 1958-1961 produced the Sprite (known variously as the “bugeye” or “frogeye”), a small sports car, built on the familiar template of economy car underpinnings with a stylish body.  After the release of the MGA (1955-1962), MG no longer had a competitor in the low-price segment so BMC took the decision that the two companies would share the model, yet another example of the “badge engineering” which BMC pragmatically (and for a while lucratively) would exploit until the process descended into self-defeating absurdity.  When the Mark II Sprites were released in 1961 (without the distinctive headlights which were the source of the nicknames), simultaneously there was the debut of the Midget, the latter slightly more expensive and better equipped, although both remained basic roadsters in the old tradition, lacking fittings such as side windows and external door-handles.  The Sprite would continue in three versions (Mark II; 1961-1964, Mark III; 1964-1966, Mark IV 1966-1971) before, following the end of BMC’s contractual arrangement with Donald Healey (1898–1988), briefly it was sold as the Austin Sprite (1971-1972) before the name was retired and the segment was left to MG.  In the decade they’d been companion models, the pair significantly had been improved, gaining power, refinement and creature comforts (the overdue door handles and side windows part of the Mark II upgrades) but what never changed were the dimensions, the things always small, something the balanced styling tended to disguise, the compactness best appreciated when one was seen parked next to a more typically sized vehicle; the Sprite and Midget being dwarfed.

Almost 130,000 Sprites were built while Midget production (which lasted until 1980) totalled some 225,000, the most numerous being the later models (Mk III; 1966–1974: 100,246 units & 1500; 1974–1979: 81,916 units).  A decade before production ended it was already outdated but such was the charm (and lack of competition) that demand remained strong almost to the end.  The most fancied Midgets are the so-called RWA (round wheel arch) models produced between 1972-1974; these adopted the design used on the rear of the bugeyes and are considered the best looking (as well as making the use of wider rear tyres easier) but in 1974 MG had to revert to the squared-off look because the strength gain from the additional metal was necessary to support the large “rubber” bumpers added to conform with US regulations; the RWA bodywork was found to be prone to damage when the rear-impact tests were conducted.  Even before the huge bumpers unhappily had been grafted, US market cars had for some months had large rubber “buffers” bolted to the chrome bumpers, known in the US as “Dagmars” and in the UK as “Sabrinas” both names tributes to the hardly vague anatomical similarity with the two pop culture figures.  Along with the big bumpers, to comply with minimum headlight height regulations in the US, the suspension height was raised by about an inch (25 mm), something which raised the centre of gravity and thus affected the handling characteristics, something adjustments to the anti-roll bars only partially ameliorated.  Visually, the increased height was disguised by lowering curve of the front wheel arch.

Triumph Spitfire, also a midget-sized roadster

A midget (with a small “m”) dwarfed by two behemoths: A 1977 Triumph Spitfire between two Ford Super Duty F-450s heavy pick-up trucks.  At their intended purpose (carrying or towing heavy payloads) Ford’s Super Duty heavy pick-up trucks perform well but such is the consumer appeal they’re a not uncommon sight used as passenger vehicles, even in cities; they can thus be both a personal and political statement, owners delighted Ford has made pick-ups great again (MPUGA).

Adopted for the range in 1999, Ford between 1958-1981 had previously used the “Super Duty” label on three large displacement (401, 477 & 534 cubic inch (6.6, 7.8 & 8.8 litre) gas (petrol) V8s, the family one of a remarkable variety of different V8s the corporation produced during the 1950s & 1960s.  Big, heavy and low-revving, the Super Duty V8 were legendarily robust and famed for their longevity but were doomed ultimately by their prodigious thirst.  They were intended only for heavy-duty, industrial use and in that very different from the Pontiac Super Duty (SD) V8s which were high-performance units, the early versions in the 1960s optimized for drag racing while the revival the next decade was the final fling of the original muscle car era (1964-1974).  The 389 & 421 cubic inch (6.4 & 6.9 litre) versions were offered between 1960-1963 while the 455 (7.5) appeared in 1973-1974 and had it not been for the 455 SD Pontiac Firebirds in those years, the muscle car era would have been regarded as having ended in 1972.  The Watergate-era 455 SD is also a footnote in the history of environmental law because Pontiac (in a preview of Volkswagen’s later “Dieselgate”) used a device to “cheat” on emission testing being undertaken as part of the certification process.  Caught re-handed, Pontiac, guilty as sin, was compelled to remove the “cheat gear” and re-submit a vehicle for testing; that’s the reason the 1973-1974 455 SD was rated at 290 horsepower (HP) rather than the 310 of the original (and more toxic) engine.

1967 Triumph Spitfire Mark II (left) and 1972 Triumph Spitfire Mark IV (with after-market exhaust tips, right).

The Triumph Spitfire had the same relationship to the larger TR sports cars (1952-1976) as the Midget did to the MGB.  Produced in five distinct generations between 1962-1980, like the Sprite & Midget, the Spitfire featured a stylish body atop the platform of a high-volume model and for the coachwork Triumph out-sourced the job to Italy, Giovanni Michelotti (1921–1980) producing a shape which owed nothing to the little Herald (1959-1971) on which it was based.  In continuous production in five versions (Mark I; 1962–1964, Mark II; 1965–1967, Mark III; 1967–1970, Mark IV; 1970–1974 & 1500; 1974–1980), almost 315,000 were built with the later models the most popular, the some 96,000 of the 1500s sold.  Like the Midget, the Spitfire was over the years improved although the things did at least stagnate in the post-1974 US models which became heavier, slower and uglier although in the 1970s that was a general industry trend.  The Although soon under the same corporate umbrella, the Midget & Spitfire were competitors (in the showroom and on the circuits) for almost two decades and when Road & Track magazine in their September 1967 edition published a comparison test, they couldn't decide which was best, concluding: "...whichever one the buyer chooses, he is assured of many miles of motoring pleasure in the great sports car tradition.  They're good cars, both of them.  You can't go wrong."  For the readers that may not have been a great deal of help and the phrasing must have been force of habit because the two little roadsters had always enjoyed some popularity among women.  

The photograph run in 1959 with the caption “Hark the Herald’s axle’s swing” (left) and a Mark I Spitfire's swing axles displaying the same behavior.

The Spitfires of the 1960s were a bit more lively but that description wasn’t always a compliment because, based on the Herald, what was inherited was the swing-axle rear suspension and swing the axles certainly could, leading to a “lively rear”.  When the British motoring press first tested the Herald they noted the behaviour of the swing axles under extreme load and had a photographer appropriately positioned: The caption “Hark the Herald’s axle’s swing” became famous.  None of that deterred Triumph which in 1962 introduced a more powerful version powered by a 1.6 litre (97 cubic inch) straight six.  That meant a faster car which meant the behaviour of the swing axles could be experienced at a higher speed (with all that implies) but the car sold well which was encouraging so Triumph in 1966 fitted a 2.0 litre (122 cubic inch) six.  It was not until 1968 the rear suspension was revised and this curative solved the errant characteristics to a degree which impressed even the usually sceptical motoring journalists and sales remained strong until production ended in 1971.  Offered only in four-cylinder form, the revisions to the Spitfire’s rear suspension were less complex but when tested on the Mark IV in 1970, the improvement was apparent and from this point, criticism ceased of of road-holding at the limit.

1967 Triumph GT6 Mark I (also with after-market exhaust tips, left) and 1979 Triumph Spitfire 1500 (right).  With production ending in 1973, the GT6 was spared from being disfigured by the battering-ram like bumpers imposed on the Spitfire, those on the last of the line (1979-1980) the biggest.

While the roadster never gained six-cylinder power, Triumph from 1966 offered a coupé version (with a convenient hatchback, al la the Jaguar E-Type (XKE, 1961-1974) called the GT6.  Mechanically it followed the Vitesse except it was only ever fitted with the 2.0 litre engine and didn’t receive the suspension fix until the Mark II in 1969 and that transformed things although, being relatively complex it must have been deemed too expensive to justify on what proved a low-volume model and the with the release of the Mark III in 1970, a version of that used on the Spitfire was substituted and it proved just as effective.  Sales of the GT6 never matched the company’s expectation and the market preferred the MGB GT (1965-1980) which used the same concept for the body.  Noting the costs which would have been incurred to make the GT6 compliant with the US regulations to take effect from 1974, production ended in late 1973.  Because the considerably more powerful (especially the fuel-injected versions sold outside the US) 2.5 litre six Triumph used in the TR5 (TR-250 in the US), TR6, 2.5 PI & 2500 is a relatively easy swap, quite a few GT6s have been so upgraded although some attention does need to be paid to the chassis to achieve a completely satisfactory road car.  

The short stature of Victor Emmanuel III (1869–1947; King of Italy 1900-1946) with (left to right), with Aimone of Savoy, King of Croatia (Rome, 1943), with Albert I, King of the Belgians (France, 1915), with his wife, Princess Elena of Montenegro (Rome 1937) & with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), observing navy manoeuvres (Gulf of Naples, 1938).  Note his sometimes DPRKesque hats.

Technically, Victor Emmanuel didn’t fit the definition of dwarfism which sets a threshold of adult height at 4 feet 10 inches (1.47 m), the king about 2 inches (50 mm) taller (or less short) and it’s thought the inbreeding not uncommon among European royalty might have been a factor, both his parents and grandparents being first cousins.  However, although not technically a dwarf, that didn’t stop his detractors in Italy’s fascist government calling him (behind his back) il nano (the dwarf), a habit soon picked up the Nazis as der Zwerg (the dwarf) (although Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) was said to have preferred der Pygmäe (the pygmy)).  In court circles he was knows also (apparently affectionately) as la piccola sciabola (the little sabre) a nickname actually literal in origin because the royal swordsmith had to forge a ceremonial sabre with an unusually short blade for the diminutive sovereign to wear with his many military uniforms.  His French-speaking Montenegrin wife stood a statuesque six feet (1.8 m) tall and always called him mon petit roi (my little king).  It was a long and happy marriage and genetically helpful too, his son and successor (who enjoyed only a brief reign) very much taller although his was to be a tortured existence.  Still, in his unhappiness the scion stood tall and that would have been appreciated by the late Prince Philip, Duke of Edinburgh (1921–2021) who initially approved of the marriage of Lady Diana Spencer (1960-1997) to the Prince of Wales (b 1948) on the basis that she “would breed some height into the line”.

In cosmology, the word dwarf is applied to especially small versions of celestial bodies.  A dwarf galaxy is a small galaxy of between several hundred and several billion stars, (the Milky Way may have as many as billion) and astronomers have identified many sub-types of dwarf galaxies, based on shape and composition.  A dwarf planet is a small, planetary-mass object is in direct orbit of a star, smaller than any of the eight classical planets but still a world in its own right.  Best-known dwarf planet is now Pluto which used to be a planet proper but was in 2006 unfortunately down-graded by the humorless types at the International Astronomical Union (IAU) who are in charge of such things.  It’s hoped one day this decision will be reversed so Pluto will again be classified a planet.  Dwarf planets are of interest to planetary geologists because despite their size, they may be geologically active bodies.  The term dwarf star was coined when it was realized the reddest stars could be classified as brighter or dimmer than our sun and they were created the categories “giant star” (brighter) and dwarf star (dimmer).  As observational astronomy improved, the

With the development of infrared astronomy there were refinements to the model to include (1) the dwarf star (the “generic” main-sequence star), (2) the red dwarf (low-mass main-sequence star), (3) the yellow dwarfs are (main-sequence stars with masses comparable to that of the Sun, (4) the orange dwarf (between a red dwarf and yellow/white stars), (5) the controversial blue dwarf which is a hypothesized class of very-low-mass stars that increase in temperature as they near the end of their main-sequence lifetime, (6) the white dwarf which is the remains of a dead star, composed of electron-degenerate matter and thought to be the final stage in the evolution of stars not massive enough to collapse into a neutron star or black hole, (7) the black dwarf which is theorized as a white dwarf that has cooled to the point it no longer emits visible light (it’s thought the universe is not old enough for any white dwarf to have yet cooled to black & (8) the brown dwarf, a sub-stellar object not massive enough to ever fuse hydrogen into helium, but still massive enough to fuse deuterium.

Coolest dwarf of all is (9) the ultra-cool dwarf (first defined in 1997), somewhat deceptively named for non cosmologists given the effective temperature can be as high as 2,700 K (2,430°C; 4,400°F); in space, everything is relative.  Because of their slow hydrogen fusion compared to other types of low-mass stars, their life spans are estimated at several hundred billion years, with the smallest lasting for about 12 trillion years.  As the age of the universe is thought to be only 13.8 billion years, all ultra-cool dwarf stars are relatively young and models predict that at the ends of their lives the smallest of these stars will become blue dwarfs instead of expanding into red giants.

Disney's seven dwarfs; they're now cancelled.

The events towards the conclusion of the nineteenth century German fairy tale Snow White and the Seven Dwarfs make ideal reading for young children.  Her evil step-mother has apparently killed poor Snow White so the seven disappointed dwarfs lay her body in a glass coffin.  The very next, a handsome prince happens upon the dwarfs’ house in the forest and is so captivated by her beauty he asks to take her body back to his castle.  To this the dwarfs agree but while on the journey, a slight jolt makes Snow White come to life and the prince, hopelessly in love, proposes and Snow White accepts.  Back at the palace, the prince invites to the wedding all in the land except Snow White's evil stepmother.

Snow White and the Seven Dwarfs, even Happy looking sad.

The step-mother however crashes the wedding and discovers the beautiful Snow White is the bride.  Enraged, she again attempts murder but the prince protects her and, learning the truth from his bride, forces the step-mother to wear a pair of red-hot iron slippers and dance in them until she dies; that takes not long and once she has the decency to drop dead, the nuptials resume.  In the way things happen in fairy tales, the prince and Snow White live happily ever after.

DEI (diversity, equity and inclusion)

The condition achondroplasiaphobia describes those with a “fear of little people".  The construct is achondroplasia (the Latin a- (not) +‎ the Ancient Greek chondro- (cartilage) + the New Latin‎ -plasia (growth); the genetic disorder that causes dwarfism) + phobia (from the New Latin, from the Classical Latin, from the Ancient Greek -φοβία (-phobía) from φόβος (phóbos) (fear).  The condition, at least to the extent of being clinically significant, is thought rare and like many of the especially irrational phobias is induced either by (1) a traumatic experience, (2) depictions in popular culture or (3) reasons unknown.  Achondroplasiaphobia has never appeared in the American Psychiatric Association’s (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM).  In 2006, it was reported that while dining at the Chateau Marmont hotel in Los Angeles, after noticing two people of short stature had entered the restaurant, Lindsay Lohan suffered an "anxiety attack" and hyperventilated to the extent she had to take "an anti-anxiety pill" to calm down.  To her companions she repeatedly said "I’m so scared of them!"  A spokesperson for the LPA responded by suggesting Ms Lohan should "...treat her fear the same as she would a fear of any other protected minority population.  If that fails, she might find diversity training to be useful."  Almost immediately the story appeared, it was debunked by a representative for Ms Lohan who issued a statement  saying she is not achondroplasiaphobic and not in any way scared of little people, adding "Lindsay loves all people."

Prince Charming's non-consensual kiss of Snow White on her "lips red as blood".

In February 2025, Luis Rubiales (b 1977), the former president of the Royal Spanish Football Federation was found guilty of sexual assault for kissing player Jenni Hermoso (b 1990) without her consent and was fined €10,800 so, at least in some jurisdictions, the matter of consenting to a kiss is not mere legal theory.

Among critics and industry analysts, the consensus seem to be that in late 1919 when the project was approved, for Disney to allocate a budget of US$200 million (it ended up being booked at around US$250 million) to a remake of Snow White and the Seven Dwarfs (1937) probably was a good idea.  Based on the German fairy tale Sneewittchen which first appeared in print early in the nineteenth century, Disney’s 1937 production was the first animated, full-length feature film made in the US and it was both critically acclaimed and a great commercial success, becoming the highest-grossing film of 1938; adjusted for inflation, it’s success then and since has made it one of the most profitable films ever made.

The elements in its success were (1) the quality of the studio’s work, (2) advances in the technology delivering sight and sound which made the audience's experience so vivid and (3) the threads of the story which are fairy tale classics: A wicked queen, jealous of her stepdaughter’s beauty orders her murder, only to discover she’s hiding out in a cottage with seven dwarves so she poisons her with an adulterated apple, inducing a deep sleep from which she eventually is awoken by the kiss of a handsome prince.  In 1937, had the word “problematic” then been in use, it wouldn't have been applied to anything in the plot but by the early 2020s, things had changed.  In the pre Trump 2.0 era, when DEI (diversity, equity & inclusion) was compulsory, having Snow White gaining her name because her skin was as “white as snow” and the very existence of dwarfs were both definitely “problematic” so the challenge was to keep the “Snow White” in the title while changing troublesome content as required.  That's been done before and had the 2024 US presidential election elected someone (probably anyone) else, Snow White could have appeared in cinemas to lukewarm reviews but a solid box office based on 7-11 year old girls still impressed at Meghan Markle (Meghan, Duchess of Sussex; b 1981) having proved its not only in fairy tales that princes rescue middle-class girls from dreary lives.  Only Fox News would much have bothered with a condemnation.

Times have changed.  Whether it's Snow White or Sleeping Beauty, for a man (whether or not a prince) to kiss an unresponsive female, it's now usually some sort of assault.  An unresponsive female cannot grant consent.

So for Disney, the timing of events was unfortunate but the earlier race and cultural controversies which swirled around the earlier remakes of Mulan (2020) and The Little Mermaid (2023) should have been a warning.  Most jarring perhaps was the absence of “dwarfs” (in the historic sense of the word).  While Snow White is of course the protagonist, in casting terms there was only one of her and seven of them so the substitution of the heptad with “magical creatures” was always going to attract a critique of its own.  According to the studio, it consulted members of the dwarfism community (the so-called “little people”) “to avoid reinforcing stereotypes” before the re-casting but, given the production was, according to many, replete with cultural, sexist and chauvinist tropes, the cancelled dwarfs received less attention than might have been expected.  With reviewers using phrases like “exhaustingly awful reboot” and “tiresome pseudo-progressive additions”, expectations of success for Snow White have been lowered.