Hollywood

Hollywood (pronounced hol-ee-wood)

(1) A locality name shared by some two-dozen locations in the US, most associated the neighborhood in north-west Los Angeles, the historic centre of the US motion-picture industry.

(2) A locality name used by several places in England and Ireland.

(3) As a metonym, the US motion-picture industry (not necessarily restricted to LA) or the various cultural constructs associated with the business.

(4) Of or characteristic of a motion picture which tends to the type most associated with the mainstream US industry.

(5) In the beauty industry, a technique of waxing which removes all of the pubic hair, contrasted usually with the “Brazilian” which leaves a narrow strip.

Pre-1200 (in Ireland): In England and Ireland, Hollywood was used as a place name, based on the existence of established holly plantations in the region and it was adopted for dozens of settlements in North America although it’s not clear if the presence of holly plants was a prerequisite.  The use of Hollywood as a metonym for the US film industry (and by film nerds specifically the “studio system”) dates from 1926, some three years after the big sign on the hills was erected.

Lindsay Lohan photoshoot in the Hollywood hills for Vogue Espana, August 2009.

Standing 45 feet (13.7 m) high and 350 feet (106.7 m) in length, the sign originally spelled-out HOLLYWOODLAND and was intended as a temporary advertisement to promote a real estate development but became so identified with the place it was decided to allow it to remain.  As a temporary structure exposed to the elements, damage or deterioration was inevitable and in 1949, after the “H” had collapsed, restorative work was undertaken, the “LAND” letters demolished.  This work actually endured well but by the 1970s it was again quite dilapidated, a rebuild completed in 1979 and periodic maintenance since has ensured it remains in good condition.  There have been instances of vandalism so perimeter fencing of the site has over the years been increased but, as far as is known, only one soul has ever committed suicide by throwing themselves from one of the letters.  The first known instance of the name being used is in local government planning documents filed in 1887.  Quite why the name was chosen is obscure but there are a number of suggestions:

(1) Of the heteromeles arbutifolia.  It’s said the early residents in the region so admired the prolific holly-like bush (heteromeles arbutifolia, then commonly called the toyon) which grew in the Santa Monica Mountains they fondly re-named it the “California holly” and it was as this the plant lent its name to the neighborhood.  Easy to cultivate, tolerant of the Californian sun and demanding only occasional water, the toyon can grow as high as 18 feet (5½ m) high, the white summer flowers in the fall & winter yielding red berries.  The branches were a favorite for floral centerpieces and during the 1920s their harvesting as Christmas decorations became so popular the State of California passed a law (CA Penal Code § 384a) forbidding collection on public land or any land not owned by the person picking the plant unless with the the landowner’s written permission.

Heteromeles arbutifolia (the toyon or California holly)

(2) More in the spirit of the American dream is that the name was a marketing exercise.  In 1886, Harvey Wilcox (1832–1891) and his wife Daeida (1861-1914) purchased farmland and fruit groves near the Cahuenga Pass, his intention being to sub-divide the land, selling the plots for profit.  A year later, Mrs Wilcox met a passenger on a train who mentioned owning an Illinois estate named Hollywood and she was so enchanted by the name she convinced her husband to use if for his development, sitting on the land now known as Hollywood.

(3) A variation of this story is that Mrs Wilcox met a woman who told her of her home in Ohio named after a Dutch settlement called Hollywood and, without telling her husband, she bestowed the name on the recently purchased land.  Mr Wilcox apparently didn’t demur and had a surveyor map out a grid for the sub-division which was lodged with the county recorder's office on 1 February 1887, this the first official appearance of the name "Hollywood".

Lindsay Lohan photoshoot in the Hollywood hills for Vogue Espana, August 2009

(4) Year another twist to the tale maintains a friend of Mrs Wilcox hailed from a place called Holly Canyon and it was this which induced her to pick the name.  This included the area we now know as Hollywood which was purchased as part of a larger package by land developer Hobart Whitley (1847–1931) although there are sources which give some credit to Los Angeles businessman Ivar Weid, this linked also to the toyon tree.

(5) Some of the stories seem imaginative.  One involves divine intervention with Mrs Wilcox naming the area after attending a Mass of the Holy Wood of the Cross on the site though if that’s the case, Hollywood may subsequently have disappointed God.  There’s also a version with a phonetic flavor and it’s said to come from Hobart Whitley's diary: In 1886, while in the area, Whitley came across a man with a wood-hauling wagon and they paused to chat.   The carrier turned out to be Scottish who spoke of "hauling wood" which sounded to Whitley like "Hollywood" and Whitley was attracted by the combination of holly representing England and wood, Scotland; the tale reached Harvey Wilcox, and the name stuck.  An Irish version of this says the name was based on an immigrant's nostalgic memories of his home town: Hollywood in Wicklow, Ireland.  The immigrant was Mathew Guirke (1826-1909) who arrived in the US in 1850 and became a successful Los Angeles businessman, owning even a racetrack.  It’s said he named his new homestead Hollywood in honor of his hometown.

Henry Kissinger (b 1923; US National Security Advisor 1969-1975 & Secretary of State 1973-1977) meets Dolly Parton, 1985.

The noun Bollywood dates from 1977 and was based on the construct of Hollywood.  It references the Indian film industry, the construct being B(ombay) +‎ (H)ollywood, because the city of Bombay was where the bulk of the industry was located’ it’s sometimes truncated as B'wood.  Although the Raj-era name Bombay has formerly been gazetted as Mumbai and the name-change seems to be adhered to in the West, among Indians Bombay continues often to be used and Bollywood is so well entrenched it has assumed an independent life and nobody has suggested Mollywood.  Historically, Bollywood was a reference to (1) the Hindi-language film industry in Bombay and (2) a particular style of motion picture with a high song & dance content but of later it (3) refered to the whole industry in India.  Thus, as use has extended, the specific meaning has been diluted.  By extension, slang terms to describe motion pictures produced in India in languages other than Hindi include Kollywood (Tamil film industry located in Kodambakkam in Chennai, southern India.), Tollywood (Film Nagar, the Telugu film industry located in Hyderabad, Telangana) and Urduwood (anything using the Urdu language), the last often used in a derogatory sense by Hindu Indians after the fashion of substituting “I am going to the loo” with “I am going to Pakistan”.  Predictably, Nollywood (the construct being N(igeria) +‎ (H)ollywood) was coined when a industry of scale became established there.  Located in the Knoxville metropolitan area in Pigeon Forge, Tennessee, Dollywood is a theme park co-owned by country & western singer Dolly Parton (b 1946) and Herschend Family Entertainment (HFE).

Lindsay Lohan, Vogue Espana cover, August 2009.

Other linguistic inventions include hollyweird (said often used by respectable folk in the flyover states to decry the decadent lifestyles and liberal opinions held by those who live close to America's corrupting coastlines (ie not restricted to a condemnation just of a part of LA) and hollywoke, a more recent coining which links the liberal views held by the hollyweird with political correctness and wokeness in general.  The "Hollywood bed" was a marketing invention of the 1950s which described a mattress on a box spring supported by low legs and fitted with an upholstered headboard, so-named because it resembled the beds which often appeared in Hollywood movies although, the term has also been used in the context of Harvey Weinstein's (b 1952) nefarious activities.  Hollywoodian and Hollywoodish are both adjectival forms, applied usually disapprovingly.  Beyond mainstream use, the ever-helpful Urban Dictionary lists a myriad of creations including hollywood hot-pocket, hollywood wife, hollywood hair, hollywood drone, hollywood douchebag, Hollywood zombie, hollywood vitamins, pull a hollywood, hollywood Nap, hollywood snow, hollywood republican & hollywood handler.  Some are self-explanatory (at least to those who enjoyed a misspent youth) while others Urban Dictionary can flesh-out.

Hollywoodland, 1923.

Hollywood is of course inherently associated with glitzy renditions of fiction though it seems a bit rough that on-line dictionaries include as synonyms: bogus, copied, false, fictitious, forged, fraudulent, phony, spurious, affected, assumed, bent, brummagem, crock (as in “…of shit”), ersatz, fake, feigned, framed, imitation, misleading, mock, pirate, plant, pretended, pseudo, put on, queer, sham, wrong, deceptive, delusive, delusory, fishy, not genuine, not kosher (that one a nice touch), pretentious, snide, soft-shell, suppositious and two-faced.  Presumably the Republican National Committee (RNC) didn’t write the list but it’s doubtful they'd much change it.  In the same spirit, the antonyms include actual, authentic, factual, genuine, honest, real, sincere, true, truthful & valid.

Accidie

Accidie (pronounced ak-si-dee)

Sloth; apathy, in the sense of both (1) a general listlessness and apathy and (2) spiritual torpor.

1200–1250: From the Middle English accidie, from the Anglo-Norman accidie, from the Old French accide & accidie, from the Medieval Latin accidia (an alteration of Late Latin acedia (sloth, torpor), from the Ancient Greek ἀκήδεια (akḗdeia) (indifference), the construct being ἀ- (a-) (in the sense of “not”) +‎ κῆδος (kêdos).  It was a doublet of acedia, still cited as an alternative form and replaced the Middle English accide.  The word was in active use between the thirteenth and sixteenth centuries and was revived in the nineteenth as a literary adornment.  Accidie and acediast are nouns and acedious is an adjective; the noun plural is acediasts.

The alternative literary words include (1) ennui (a gripping listlessness or melancholia caused by boredom; depression), an unadapted borrowing from the French ennui, from the Old French enui (annoyance), from enuier (which in Modern French persists as ennuyer), from the Late Latin inodiō, from the Latin in odiō (hated) and a doublet of annoy, (2) weltschmerz, used as an alternative letter-case form of the German Weltschmerz (an apathetic or pessimistic view of life; depression concerning or discomfort with the human condition or state of the world; world-weariness), the construct being Welt (world) + Schmerz (physical ache, pain; emotional pain, heartache, sorrow) and coined by German Romantic writer Jean Paul (1763–1825) for his novel Selina (published posthumously in 1827) and (3) mal du siècle (apathy and world-weariness, involving pessimism towards the current state of the world, often along with nostalgia for the past (originally in the context of French Romanticism) (literally “disease of the century”) and coined by the French writer Alfred de Musset in his autobiographical novel La Confession d'un enfant du siècle (The Confession of a Child of the Century (1936)).

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

In Antiquity, the Greeks seemed to have refined accidie (which translated literally as being in “a state so inert as the be devoid of pain or care”) to be used of those who has become listless and no longer cared for their own lives or their society, thus distinguishing it from other conditions of melancholy which tended to be individually focused although in surviving medical texts, what’s being diagnosed was something like what might now be called “depression”.  Predictably, when adopted by moral theologians in Christian writing, it was depicted as a sin or at least a personal flaw.  Others wrote of it as a “demon” to be overcome and even a temptation placed by the Devil, one to which “young men who read poetry” seem to have been chronically prone.  It can be thought of as falling into the category of sloth, listed in the Medieval Latin tradition as of the seven deadly sins and appeared in Dante Alighieri’s (circa 1265–1321) Divina Commedia (Divine Comedy (circa 1310-1321)) not only as a sin worthy of damnation & eternal punishment but the very sin which led Dante to the edge of Hell.  In his unfinished Summa Theologiae (literally Summary of Theology), the Italian Dominican friar, philosopher & theologian Saint Thomas Aquinas (1225–1274) noted accidie was a spiritual sorrow, induced by man’s flight from the Divine good, “…on account of the flesh utterly prevailing over the spirit”, the kind of despair which can culminate in the even greater sin of suicide.

Google ngram: Accidie 1800-2020.

Google ngram: Because of the way Google harvests data for their ngrams, they’re not literally a tracking of the use of a word in society but can be usefully indicative of certain trends, (although one is never quite sure which trend(s)), especially over decades.  As a record of actual aggregate use, ngrams are not wholly reliable because: (1) the sub-set of texts Google uses is slanted towards the scientific & academic and (2) the technical limitations imposed by the use of OCR (optical character recognition) when handling older texts of sometime dubious legibility (a process AI should improve).  Where numbers bounce around, this may reflect either: (1) peaks and troughs in use for some reason or (2) some quirk in the data harvested.

Etymologists note that between the mid sixteenth and mid nineteenth centuries the word acedia was close to extinct and whether it was the revival of interest in the Romantic poets (often a glum lot) or the increasing number of women becoming novelists, there was in the late 1800s a revival with the term, once the preserve of theologians, re-purposed as a decorative literary word; in the “terrible twentieth century” there was much scope for use and it appears in the writings of Ian Fleming (1908–1964), Aldous Huxley (1894–1963) and Samuel Beckett (1906-1989).  Intriguingly, in The Decline and Fall of Nokia (2014), Finnish-based expatriate US writer David J Cord introduced the concept of corporate acedia, citing the phenomenon as one of the causes of the collapse of Nokia's once dominant mobile device unit.

Joan Didion (1934-2021) and cigarette with her Daytona Yellow (OEM code 984) 1969 Chevrolet Corvette Stingray (on the C2 Corvette (1963-1967) and in 1968 the spelling had been "Sting Ray”).  The monochrome image was from a photo-session commissioned in 1970 by Life magazine and shot by staff photographer Julian Wasser (1933-2023), outside the house she was renting on Franklin Avenue in the Hollywood Hills.  To great acclaim, her first work of non-fiction, Slouching Towards Bethlehem (1968), had just been published.

Writing mostly, in one way or another, about “feelings”, Joan Didion’s work appealed mostly to a female readership but when photographs were published of her posing with her bright yellow Corvette, among men presumably she gained some “street cred” although that might have evaporated had they learned it was later traded for a Volvo; adding insult to injury, it was a Volvo station wagon with all that implies.  She was later interviewed about the apparent incongruity between owner and machine and acknowledged the strangeness, commenting: “I very definitely remember buying the Stingray because it was a crazy thing to do.  I bought it in Hollywood.”  Craziness and Hollywood were then of course synonymous and a C3 Corvette (1968-1982) really was the ideal symbol of the America about which Ms Didion wrote, being loud, flashy, rendered in plastic and flawed yet underpinned by a solid, well-engineered foundation; the notion of the former detracting from the latter was theme in in her essays on the American experience.

A 1969 Chevrolet Corvette Stingray in Daytona Yellow.

Disillusioned, melancholic and clinical, Ms Didion’s literary oeuvre suited the moment because while obviously political it was also spiritual, a critique of what she called the “accidie” of the late 1960s, the moral torpor of those disappointed by what had followed the hope and optimism captured by “Camelot”, the White House of John Kennedy (JFK, 1917–1963; US president 1961-1963).  In retrospect Camelot was illusory but that of course made real the disillusionment of Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) leading the people not to a “great society” but deeper into Vietnam.  Her essays were in the style of the “new journalism” and sometimes compared with those of her contemporary Susan Sontag (1933-2004) but the two differed in method, tone, ideological orientation and, debatably, expectation if not purpose.

Susan Sontag (1962), monochrome image by Village Voice staff photographer Fred McDarrah (1926–2007).

Ms Didion’s used accidie to describe a society which the troubled 1960s seemed to have bludgeoned into a state not of acquiescence but indifference, a moral exhaustion.  Her writings were observational (and, as she admitted, sometimes “embellished” for didactic purposes), sceptical and cool, her conception of the failure of contemporary politics a matter of describing the disconnect between rhetoric and reality, understanding the language of theatre criticism was as appropriate as that of the lexicon of political science.  In a sense, 'twas ever thus but Ms Didion captured the imagination by illustrating just how far from the moorings of reality the political spectacle of myth-making had drifted.  Ms Sontag’s tone was declarative and distinctly authoritative (in the way of second-wave feminism), tending often to the polemic and the sense was she was writing in opposition to a collective immorality, not the kind of moral indifference Ms Didion detected.  Both were students of their nation’s cultural pathology but one seemed more a palliative care specialist tending a patient in their dying days while the other offered a diagnosis and suggested a cure which, while not something to enjoy: "would be good for them".  While Ms Didion distrusted ideological certainty, Ms Sontag engaged explicitly with “isms”, not in the sense of one writing of the history of ideas but as a protagonist, using language in an attempt to shape political consciousness, the former a kind of secular moral theologian mourning a loss of coherence in American life while the latter was passionate and wrote often with a strident urgency, never losing the sense that whatever her criticisms, things could be fixed and there was hope.  The irony of being an author to some degree afflicted by the very accide she described in others was not lost on Ms Didion.

Susan Sontag, circa 1971, photographed by Jim Cartier.  The pop-art portrait of comrade Chairman Mao Zedong (1893–1976; chairman of the Chinese Communist Party (CCP) 1949-1976) was a print of Roy Lichtenstein's (1923–1997) Mao (1971) which had been used as the cover for US author Frederic Tuten's (b 1936) novel The Adventures of Mao on the Long March (1971).  Ms Sontag had written a most favourable review of the book and the framed print was reputedly a gift.

Joan Didion with Corvette, another image from Julian Wasser’s 1970 photo-shoot.  The staging in this one is for feminists to ponder.

While a stretch to say that in trading-in the Corvette for a Volvo station wagon, Ms Didion was tracking the nation which had moved from Kennedy to Richard Nixon (1913-1994; US president 1969-1974), it’s too tempting not to make.  Of the Corvette, she used the phrase: “I gave up on it”, later recounting: “the dealer was baffled” but denied the change was related to moving after eight years from Malibu to leafy, up-market suburban Brentwood.  While she “…needed a new car because with the Corvette something was always wrong…” she “…didn’t need a Volvo station wagon” although did concede: “Maybe it was the idea of moving into Brentwood.”  She should have persevered because as many an owner of a C3 Corvette understands, the faults and flaws are just part of the brutish charm.  Whether the car still exists isn't known; while Corvette's have a higher than average survival rate, their use on drag strips & race tracks as well as their attractiveness to males aged 17-25 has meant not a few suffered misadventure.

Joan Didion with Corvette, rendered as oil on canvas with yellow filter.

The configuration of her car seems not anywhere documented but a reasonable guess is it likely was ordered with the (base) 300 horsepower (hp) version (ZQ3) of the 350 cubic inch (5.7 litre) small-block V8, coupled with the Turbo-Hydramatic 400 (TH400) (M40) three-speed automatic transmission (the lighter TH350 wouldn't be used until 1976 by which time power outputs had fallen so much the robustness of the TH400 was no longer required).  When scanning the option list, although things like the side-mounted exhaust system (N14) or the 430 hp versions (the iron-block L88 & all aluminium ZL1, the power ratings of what were barely-disguised race car engines deliberately understated, the true output between 540-560 hp) of the 427 cubic inch (7.0 litre) big-block V8 would not have tempted Ms Didion, she may have ticked the box for the leather trim (available in six colors and the photos do suggest black (402 (but if vinyl the code was ZQ4)), air conditioning (C60), power steering (N40), power brakes (J50), power windows (A31) or an AM-FM radio (U69 and available also (at extra cost) with stereo (U79)).  Given she later traded-in the Corvette on a Volvo station wagon, presumably the speed warning indicator (U15) would have been thought superfluous but, living in Malibu, the alarm system (UA6) might have caught her eye.

An emo with 1977 Volvo 245 station wagon; if she had a Corvette to pose with she’d be smiling because Corvettes can make even emos happy.  This is Emma Myers (b 2002) as Pippa "Pip" Fitz-Amobi in A Good Girl's Guide to Murder (Netflix, 2024).

Quintessential symbols of France, Bridget Bardot (b 1934), Citroën La Déesse and a lit Gitanes.

The combination of a car, a woman with JBF and a cigarette continued to draw photographers even after smoking ceased to be glamorous and became a social crime.  First sold in 1910, Gitanes production in France survived two world wars, the Great Depression, Nazi occupation but the regime of Jacques Chirac (1932–2019; President of France 1995-2007) proved too much and, following the assault on tobacco by Brussels and Paris, in 2005 the factory in Lille was shuttered.  Although Gitanes (and the sister cigarette Gauloise) remain available in France, they are now shipped from Spain and while in most of the Western world fewer now smoke, Gitanes Blondes retain a cult following.

Emily Labowe with Mercedes-Benz 300 TD (S123), photographed by Kristin Gallegos.

An image like this illustrates why, even if no longer thought glamourous, smoking can still look sexy.  The 300 TD is finished in Manila Beige and for the W123 range Mercedes-Benz also offered the subdued Maple Yellow and the exuberant Sun Yellow which was as vivid as the Corvette's Daytona Yellow. 

No images seem to exist of Ms Didion with her Volvo station wagon but Laurel Canyon's Kristin Gallegos (b 1984) later followed Julian Wasser’s staging by photographing artist Emily Labowe (b 1993) with a Mercedes-Benz 300 TD station wagon and that once essential accessory: a cigarette.  One of the last of the “chrome Mercedes”, the W123 range was in production between 1975-1986 and the station wagon appeared in 1977 with the internal code S123 (only nerds use that and to the rest of the world they’re “W123 wagons”).  The designation was “T” (the very Germanic Tourismus und Transport (Touring and Transport)) or TD for the diesel-powered cars and the S123 was the company’s first station wagon to enter series production, previous such “long roof” models coming from coach-builders including many hearses & ambulances as well as station wagons.  The English still call station wagons "estates" (a clipping of "estate car") although a publication like Country Life probably still hankers after "shooting brake" and the most Prussian of the German style guides list the compound noun Kombinationskraftwagen which for decades has usually been clipped to the semi-formal Kombiwagen, (plural Kombiwagen or Kombiwägen) or, in general use: Kombi.

1978 Mercedes Benz 280 TE (S123).

That Mercedes-Benz in the mid-1970s decided their first station wagon in regular production should be a “T” (and understood as a Tourenwagen (touring car) rather than a “K” (ie Kombiwagen, the designation used by other manufacturers) reflected the prevailing German view of such cars.  Unlike the US where station wagons had long been emblematic of middle-class respectability (often as a family’s second car for the wife & mother) or England where the style enjoyed an association with the upper class HFS (huntin’, fishin’ & shootin’) set, to Germans the utilitarian long-roofs had a down-market image, bought only by those unable to afford separate vehicles for business & pleasure.  Coach-builders had of course used Mercedes-Benz saloons as the basis for station wagons, ambulances and hearses but these were always expensive and thus not tainted by association with thriftiness by necessity.  In their alphanumeric soup of model designations, Mercedes-Benz had previously used “K” to mean either Kompressor (supercharged) (eg 770 K) or Kurz  (short) (eg SSK) and other letters had also done double-duty, “L” standing for either Lang (long) (eg 500 SEL) or Licht (light) (eg SSKL) and “S” could mean both Super (300 SL) or Sports (300 SLR) so for the S123 “K” wasn’t avoided because of fears of confusing folk; it was just an image thing: "Don't mention the kombi".  That all changed in the 1980s when the Germans decided wagons were sexy after all, the high performance arms of Audi, BMW & Mercedes-Benz all producing some remarkably fast ones.   

Mercedes-Benz G4s: Gepäckwagen (baggage car, top left) & Funkauto (radio car, top right) and 300 Messwagen (bottom left) at speed on the test track, tethered to a W111 sedan (1959-1968, bottom right).

The factory did though over the decades build a handful including a brace of the three-axle G4s (W31, 1934-1939), one configured as a Gepäckwagen (baggage car), the other a Funkauto (radio car).  In 1960 there was also the Messwagen (measuring car), a kind of “rolling laboratory” from the era before technology allowed most testing to be emulated in software.  The capacious Messwagen was based on the W189 300 “Adenauer” (W186 & W189 1951-1962) and was then state of the art but by the 2020s, the capabilities of all the bulky equipment which filled the rear compartment could have been included in a single phone app.  Students of design will admire the mid-century modernism in the curve of the rear-side windows but might be surprised to learn the muscle car-like scoop on the roof is not an air-intake but an aperture housing ports for connecting the Messwagen’s electronic gear with the vehicle being monitored, the two closely driven in unison (often at high speed) on the test track while being linked with a few metres of cabling and although we now live in a wireless age, real nerds know often a cable is preferable, the old ways sometimes best.  The Messwagen remained in service until 1972 and is now on display at the factory’s museum in Stuttgart.   

1956 Mercedes-Benz 300c (W186 "Adenauer") Estate Car by Binz.

The factory's Messwagen wasn't the first use of the big W186/W189 for long-roof variants, hearses and ambulances having appeared in several European countries and there was at least one station wagon, proving consumption can be conspicuous yet still subtle, achieved usually if a bespoke creation is both expensive and functional.  The 300 saloons and four-door cabriolets were large, stately and beautifully built, the 1956 example pictured was delivered to a customer in the US who for whatever reason prized exclusivity over capacity or speed, all the major US manufacturers at the time offering station wagons able to accommodate more people and more more luggage while going much faster.  The 300 certainly would have delivered better fuel economy but that wouldn't have crossed the mind of the purchaser who would have been deterred from something like a Chrysler New Yorker or Ford Country Squire because they were, by comparison with her one-off, cheap and common whereas a custom built 300 “dripped money”; even to the uninformed they would obviously have been expensive and it was thus a classic "Veblen good" a quirk in the supply & demand curve of orthodox economics in that for a certain (ie the "1%") demographic demand for an item can increase as its price rises.  The car still exists, traded between collectors to be exhibited at concours d'elegance.

1957 Mercury Turnpike Cruiser (left), details of the apparatuses above the windscreen (centre) and the Breezeaway rear window lowered (right)

The 1957 Mercury Turnpike Cruiser was notable for (1) the truly memorable model name, (2) the “Breezeway" rear window which could be lowered and (3) having a truly bizarre assembly  of “features” above the windscreen.  There’s no suggestion that when fashioning the 300 Messwagen the engineers in Stuttgart were aware of the Turnpike Cruiser but had they looked, it could have provided an inspiration for the way access to ports in the roof could have been handled.  Unfortunately, the pair of “radio aerials” protruding from the pods at the top of the Mercury’s A-pillars were a mere affectation, a “jet-age” motif embellishing what were actually air-intakes.  They were though a harbinger of the way in which future “measuring vehicles” would be configured when various forms of wireless communication had advanced to the point at which a cable connection was no longer required.  

Paramount

Paramount (pronounced par-uh-mount)

(1) Chief in importance or impact; supreme; pre-eminent; of the highest importance.

(2) Above others in rank or authority; superior in power or jurisdiction.

(3) A supreme ruler; overlord (now rare thought often in historic texts).

(4) In law (in a hierarchy of rights), having precedence over or superior to another.

1525-1526: From the Anglo-Norman paramount & paramount (pre-eminent; above), the construct being the Old French par & per (by) + amont & amunt (upward).  Par was from the Latin per (by means of, through), from the primitive Indo-European per- (to go through; to carry forth, fare).  Amont & amunt were from the Latin ad montem (to the mountain; upward), the construct being ad (up to), ultimately from the primitive Indo-European héd (at; to) + montem (the accusative singular of mōns (mount, mountain), ultimately from the primitive Indo-European men- (to stand out, tower).  Synonyms include predominant, preeminent, outstanding, capital, cardinal, chief, commanding, controlling, crowning, dominant, eminent, first, foremost, leading, main, overbearing, predominate, premier, preponderant utmost & prevalent while the most common antonyms are insignificant, secondary & unimportant (in historic land law, the antonym paravail was from the Old French par aval (below), the construct being par + aval (down), the construct being the Latin a(d) + val (a valley), from the Latin vallis; of feudal tenants, it referred to those at the bottom of the hierarchy of rights).  Paramount is a noun & adjective, paramountcy paramountship & paramountness are nouns, paramountly is an adverb; the noun plural is paramounts.

Land law and freehold title

Paramount Pictures promotional poster for Mean Girls (2004).  Then part of Viacom, it was one of the rare times the Paramount logo was rendered in pink.

Paramount was originally a term in feudal land-title law.  It described the lord paramount, the one who held absolute title to his fiefdom, not as a grant dependent upon (or revocable by) a superior lord.  A paramount lord was thus superior to a mesne lord (a landlord who has tenants holding under him, while himself the subject of the holding of a superior lord (a kind of sub-letting), mesne being the general legal principle of something intermediate or intervening) whose title to a fief existed ultimately at the pleasure of a superior. The concept endures in modern land law where titles are listed in documents and, even today, there exist jurisdictions where land, said to enjoy an indefeasible title, can still be subject to “paramount interests” which, although unregistered, can prevail over those formally registered.  In land law, a lord paramount could be male or female but in a charming quirk, in the sport of archery, the noun "lady paramount" (the plural being ladies paramount) is the title awarded to the woman who achieves the highest score.

Paramount logo of the Viacom era.

Introduced in 1914 and now the oldest Hollywood film studio logo still in use, the Paramount Pictures “mountain peak” logo was based on a sketch of Ben Lomond, Utah (elevation 9716 feet (2961 m); a peak in the northern portion of the Wasatch Mountains) by William (W.W.) Wadsworth Hodkinson (1881-1971), the founder of Paramount Pictures.  Many versions have appeared over the years and the text used in conjunction with the image has varied with the company’s ownership structure.  The semi-circles of stars which partially encircle the peak originally numbered 24, an allusion to the two-dozen film stars then signed to Paramount under the Hollywood studios’ “star system” (a restrictive contractual arrangement which, in much diminished form, lasted until the 1960s).

In Australia, the lord paramount is not the crown but the person of the sovereign.  In the strict legal sense, the king or queen (of Australia) “owns” all the land that constitutes the nation of Australia and those who “own” their own little piece by virtue of holding a valid freehold title (fee simple), in the narrow technical sense, actually hold only a revocable grant from the crown (via some instrument of the state) exercising rights delegated by the sovereign (the king or queen).  Although of no practical significance, it’s not a legal fiction and the position of Queen Elizabeth II (1926-2022; Queen of the UK and other places, 1952-2022) as lord paramount in the system of land tenure in Australia was affirmed by the High Court of Australia in Mabo v Queensland (No 2) (1992), one of the landmark cases which entrenched in Australian law the concept of native title.

Access

Access (pronounced ak-ses)

(1) The ability, right, or permission to approach, enter, speak with, or use; admittance.

(2) A way or means of approach.

(3) The state or quality of being approachable.

(4) In Christian theology, the path to God through Jesus Christ our Lord & Savior.

(5) An attack or onset, as of a disease or symptom (the access in the sense of the vector of transmission or infection).

(6) Admission to sexual intercourse (now rare even in technical use but still used in zoology) and usually in the legal phrase “non access”.

(7) A sudden, strong burst of emotion; an outburst or paroxysm (and sometimes confused with excess) (now rare, even poetically).

(8) In Scots English, complicity or assent.

(9) In pre-modern international relations, an increase (of territory) by addition; accession (archaic).

(10) To make contact with or gain access to; be able to reach, approach, enter etc.

(11) In computing, (of a program or system component) to retrieve (data) for use by another program or application or for transfer from one part of the system to another.

(12) In computing, as “access level”, an expression of the point on a security layer afforded to a user, process or device.

(13) In family law in many jurisdictions, the right of the non-custodial parent to visit their child or have the child spend time with them.

(14) In broadcasting and related activities, (of programming, scheduling etc), the extent of the availability of the content.

1275–1325: From the Middle English accesse, from the Old French acces or directly from the Latin accessus (a coming to, an approach; way of approach, entrance), the construct being acce(d-) (a variant stem (a noun use) of accēdere (to accede; to approach)) + -ss- +-(t)us (the suffix of verb action).  Derived forms (preaccess, nonaccess, reaccess unaccessed, deaccess etc) are created as required, especially in computing and are sometimes hyphenated.  Access is a noun & verb, accessibility & accessor are nouns, accessed & accessing are verbs, accessible & accessless are adjectives and accessively is an adverb; the noun plural is accesses.

Lady Gaga (b 1986) concert passes, the one on the right the coveted “Access All Areas” backstage pass.

The use in computing appears to date (in the sense of “gain access to, be able to use”) from 1962 although in the days when mainframes sat in rooms behind locked doors, the word access in its more traditional sense would frequently have been used.  The use in English meaning “an entrance” emerged in the early seventeenth century, directly from the Latin while the notion of the “habit or power of getting into the presence of (someone or something)” was in use by at least the late fourteenth.  The adjective accessible (affording access, capable of being approached or reached) was from the early fifteenth century and was from the Old French accessible (and directly from Late Latin accessibilis, a verbal adjective from the Latin accessus).  The meaning “easy to reach” was a neutral form from the 1640s while when used of art, music or literature in the sense of “able readily to be understood” it could be positive or a kind of “back-handed compliment” by those who liked to disparage popular culture and preferred works more obscure or difficult, understood only by an elite. 

Lindsay Lohan interviewed on Access, Los Angeles, January 2019.

Access Hollywood began in 1996 as a weekday show focused on entertainment (it was known as Access only between 2017-2019).  A survivor in a crowded market, Access Hollywood has appeared through many distribution channels over the last 25 years (a period of much media churn as well as M&A (mergers & acquisitions) in the industry, it’s most associated with the NBC network and it is currently contracted to produce episodes for 2024 & 2025.

Common uses of “access” tied to a moderator includes “access code” (usually numeric or alpha-numeric strings used for doors, computers etc), “access control” (security systems for various purposes), “access day” (in educational and other institution a kind of “open day” when areas usually restricted can be entered), “access journalism” (a critique of journalism affords the which affords the rich and powerful greater access rather than prioritizing journalistic objectivity or integrity), “access method” (in computing the means used to provide connectivity between devices or systems (and sometimes used generally of doors gateways etc (each of these an “access point”))), , usually a software or hardware component of a mainframe, to access data on an external storage device, “access modifier” (in coding (object-oriented programming (OOP)), an “access specifier” (a keyword applied to a variable, method etc, used to indicates which other parts of the program are permitted access)), “access node”, “access time” & “access date” (in security logs and audit trails, entries recording details of a user’s or device’s access to something), “access token” (an object that describes the security context of a process or thread, such as the user's identity and privileges which can be related to an related to an “access violation” (an access not in accord with the granted rights); the special use of “access violation” being a “segmentation fault”  (and error in software which occurs when a program attempts to access a memory location that is not permitted), “direct access” (any form of access by an unrestricted path which in computing is a (rarely used) synonym of “random access” (the ability to access any element of a sequence in real time, without having to seek through preceding elements)), “remote access” (what used to be called telecommuting, the various means by which computing resources can be accessed without some form of close or direct (classically hard-wired) connections), “read-only access” (in computing a privilege level which permits a user to view a resource but not modify or delete), “public access” (used generally of any place where the public are permitted and as “public access broadcasting (PAB)”, a special use dating from the pre-internet era when broadcasting was limited to those who paid governments licence fees for “bandwidth spectrum”, PAB a means whereby local, non-profit community groups could broadcast (although usually with low-powered transmitters and thus in a sense “narrowcasting”) and “non-access” (a term from eighteenth century common law which described the “impossibility of access for sexual intercourse”, the significance being in cases such as where a husband had been at sea or in some other place for such a time that he couldn’t have fathered the baby his wife had delivered, the court would hold the child to be “a bastard” (illegitimate).

Microsoft Access 97’s sample “Northwind” database with the dreaded “Clippy”, the company’s VA (virtual assistant).

Retired with the coming of Office XP in 2001 after complaints the paperclip variously was “intrusive”, “annoying”, “condescending” or “masonic” (some were more graphic about what Microsoft should do with their Clippy), Clippy staged an unexpected comeback in a sticker-pack bundled with Teams, (Microsoft's collaboration application).  Being less obtrusive than in its original incarnation, this time there have been few complaints.  Microsoft didn't have much luck with trying to make people's desktops "more accessible", the BOB user environment of the mid-1990s lasting not even a year. 

A relational database, Microsoft Access was introduced in 1992 and in many markets it was offered at price which was at the time remarkably low (Aus$179 in Australia) and it found a niche, one real attraction being the increasingly tight integration with other applications in the MS-Office suite, notably the Excel spreadsheet, used usually as a front-end to display, sort and manipulate data held in Access tables.  Produced after Microsoft’s Omega database project proved abortive, after the company acquired FoxPro, the official position was Access would be aimed at the home and SMB (small & medium business) market while FoxPro would be for large corporates running databases which were at scale yet not requiring big machines like mainframes.  The attraction of FoxPro was the extent of compatibility with and ease of conversion from records stored in the xBASE format although the need to maintain the dual-lines didn’t last long into the twenty-first century, the final release of a FoxPro patch made in 2007.

Who has access to the resources of the state?

The disturbing number of women killed by men (usually their present or estranged “intimate partner” (ie husband or boyfriend)) in Australia has in recent years risen to the extent that some activists thought it necessary to establish Counting Dead Women Australia (31 women killed by violence between 1 January-26 May 2024 (ie more than one a week)) to track the body count.  While intimate partner violence by women against men does happen the numbers are tiny and tend to be in self-defense or as a “pre-emptive strike”.  That phenomenon of male violence and sexual predation is of course something ancient and something summed up by US anthropologist Robert Ardrey (1908–1980) in his African Genesis: A Personal Investigation into the Animal Origins and nature of Man (1961): “But we were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments?”

In evolutionary terms, man rose to dominate all the Earth’s other beasts in a remarkably short time and one of the things organized society had to do to make civilization possible was repress those most basic instincts of men.  In that there has obviously been much success but repression is not eradication and Ardrey further explored the implications of evolutionarily determined instinct among humans toward territoriality in The Territorial Imperative: A Personal Inquiry into the Animal Origins of Property and Nations (1966).  As man owns his land and can do with it what he will, so too he owns his woman, a view in some way reflected in the theology and law of a number of “civilized nations” as late as the twentieth century.

The repression of our worst instincts is a social construct but where that fails it must be enforced by the organs of the state, the institution which reserves for itself an exclusivity of right to the exercise of public violence, using lethal force if need be.  It’s that social contract which has made civilized life possible and it should be to the state women can appeal for protection if threatened.  In Australia, on paper, that’s exactly how things appear to be so the problem is not inherently “structural” (despite many critics having such fondness of the word they apply it anyway) but operational and the question to be asked is” who has access to the resources of the state?  Who gets protection and who does not?

What is striking in Australia is the frequency with which it’s revealed, as the murder of another woman dutifully is reported, that she or her family, often on multiple occasions, approached the police asking from protection, only to be turned away, told there was nothing which could be done because her circumstances didn’t comply with the required criteria which would produce a response.  The bureaucratic nature of such things was illustrated in the matter of a recent killing of a woman and her daughter by a man the police had three times been warned presented an “imminent threat” to his estranged wife.  The police were aware of the tension between the two because, at her request, a month earlier officers had attended the family home so she could in safety remove her possessions and move out.  Lawfully, the man had in possession more than a dozen registered guns including two handguns.  Subsequently, while hunting for her, he went to the house of her friend, a woman who had offered shelter, demanding to see his wife.  Realizing she wasn’t there, in circumstances not yet understood, he killed the woman and her teenage daughter before using one of the two guns he was carrying to take his own life.  The bureaucratic quirk is that because, technically, the murderer and the victims were unknown to each other, the police do not treat this as a case of “domestic violence”.  The killer’s daughter was interviewed in the aftermath, say “My mother and I made it clear that our lives were at risk – we were repeatedly ignored, repeatedly failed.  These failures have cost the lives of two incredible women.  I did everything I could to protect my mother — when my father couldn't find us he murdered her best friend and her best friend's daughter.”  In commenting on the case, the commissioner of police said that although officers had submitted a family violence incident report after the women made contact, they were not able to issue a restraining order because “The circumstances would not have met the threshold of a 72-hour police order.”  He added the police will conduct “…a thorough investigation into the incident.”

John Barilaro in the Delegate Country Club kitchen where he cooked and served lasagna made with his own recipe, March 2017.  Nobody has ever said a bad word about Mr Barilaro's lasagna which is said to be the best in NSW.

The police of course operate within the framework of laws passed by legislators but they also exist in a political environment and this must to some extent influence who has access to them and who does not.  The fate of the many women who have without success begged police for protection from their “intimate partner” can be contrasted with the case of John Barilaro (b 1971) member of the NSW Legislative Assembly (Monaro) 2011-2021; cabinet minister 2014-2021 and Leader of the National Party (ex-Country Party) and thus deputy premier of NSW 2016-2021).  Shortly after a YouTuber posted content which upset Mr Barilaro, the producer of the channel on which the content appears was arrested by the NSW Police’s Fixated Persons Unit which operated under the Counter Terrorism and Special Tactics Command.  The Fixated Persons Unit was formed in May 2017 after the Lindt café siege in the Sydney CBD, the press release at the time explaining its purpose was to stop “lone wolf terrorists”.

It’s quite a contrast between a heavily armed anti-terrorism squad raiding the home of the producer of a YouTube channel who had made accusations of misconduct against a politician with the women turned away by police, soon to be murdered by those from whom they were seeking protection.  It might have been expected that if Mr Barilaro did contact police about the matter, he might have been told there were civil remedies he could pursue but instead, an anti-terrorism unit was deployed, apparently on the basis of a brief, non violent, interaction between producer and politician in a public place.  Mr Barilaro denied explicitly asking for the raid to take place but that really is the point, his position meant he was granted access to the resources of the state without having to ask, the police “working towards the deputy premier”.

Regarding the rising death toll of unfortunate women, one has to have some sympathy for the police who are in the difficult position of being expected to “do something” without it being clear exactly what.  The recent spike in the death toll has produced well-attended protest marches and reassuring statements from politicians but nothing suggests there’s any interest from them in providing the funding to support the services (safe housing and such) activists have identified as being what’s needed to reduce the death toll.  The Counting Dead Woman page is likely to have to continue counting.