Loafer

Loafer (pronounced loh-fer)

(1) A person who loafs about; a lazy idler; a lay-about.

(2) A name for a moccasin-like, laceless, slip-on shoe, worn by both men and women.

(3) In some south-western US dialects, a wolf, especially a grey or timber wolf (often in the compound form “loafer wolf).

1830: The construct was loaf + -er.  Loaf was from the From Middle English lof & laf, from the Old English hlāf (bread, loaf of bread), from the Proto-West Germanic hlaib, from the Proto-Germanic hlaibaz (bread, loaf), of uncertain origin but which may be related to the Old English hlifian (to stand out prominently, tower up). It was cognate with the Scots laif (loaf), the German Laib (loaf), the Swedish lev (loaf), the Russian хлеб (xleb) (bread, loaf) and the Polish chleb (bread).  It was used to mean (1) a block of bread after baking, (2) any solid block of food, such as meat or sugar, (3) a solid block of soap, from which standard bar (or cake) of soap is cut or (4) in cellular automata, a particular still life configuration with seven living cells.  The origin of “use your loaf” meaning “think about it” in Cockney rhyming slang was as a shortened form of “loaf of bread” (ie “use your head”).  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Loafer & loafing are nouns & verbs, loafed, loafering & loafered are verbs and loaferish is an adjective; the noun plural is loafers.

The use to describe “a lazy idler” was first documented in 1830 as an Americanism which may have been short for landloafer (vagabond), similar (though not necessarily related) to the obsolete nineteenth century German Landläufer (vagabond) or the Dutch landloper.  Etymologists suggest landloafer may have been a partial translation of a circa 1995 loan-translation of the German Landläufer as “land loper” (and may be compared with the dialectal German loofen (to run) and the English landlouper) but this has little support and most regard a more likely connection being the Middle English love, loove, loffinge & looffinge (a remnant, the rest, that which remains or lingers), from Old English lāf (remainder, residue, what is left), which was akin to Scots lave (the rest, remainder), the Old English lǣfan (to let remain, leave behind).  One amusing coincidence was that in Old English hlaf-aeta (household servant) translated literally as “loaf-eater” (ie, one who eats the bread of his master, suggesting the Anglo-Saxons might still have felt the etymological sense of their lord & master as the “loaf-guard”.  The expression "one mustn't despair because one slice has been cut from the loaf" describes a pragmatic reaction to learning one's unmarried daughter has been de-flowered and is said to be of Yiddish origin but no source has ever been cited.  In modern idomatic use, the derived phrases "a slice off a cut loaf is never missed" and "you never miss a slice from a cut loaf" refer to having enjoyed sexual intercourse with someone who is not a virgin, the idea being that once the end of a loaf (the crust) has been removed, it's not immediately obvious how many slices have been cut. 

The loafer is a style, a slip-on shoe which is essentially a slipper designed as an all-weather shoe for outdoor use.  They’re available in a wide range of styles from many manufacturers and this image is just a few of the dozens recently offered by Gucci.  In the old Soviet Union (the USSR; 1922-1991), there were usually two (when available): one for men and one for women, both (sometimes) available in black or brown.

The verb loaf was first documented in 1835 in US English, apparently a back-formation from the earlier loafer and loafed & loafing soon emerged.  The noun in the sense of “an act of loafing” was in use by 1855.  What constitutes loafing is very much something subjective; a student underachieving in Latin might be thought a loafer by a professor of classics but the “hard working, much published” don who in his whole career never lifted anything much heavier than a book would probably be dismissed as “a loafer” by the laborer digging the trench beneath his study.  A “tavern loafer” was one who spent his hours drinking in bars while a “street loafer” was a synonym for a “delinquent who hung about on street corners”.  Loafer as a description of footwear dates from 1937 and it was used of lace-less, slip-on shoes worn on less formal occasions (essentially slippers designed for outdoor use, a popular early version of which was the “penny loafer”, so named because it featured an ornamental slotted leather band across the upper where a coin was often mounted.  The use in some south-western dialects as “loafer” or “loafer wolf” to describe a grey or timber wolf is based on the American Spanish lobo (wolf), reinterpreted as or conflated with loafer (idler).

Rowan Williams (b 1950; Archbishop of Canterbury 2002-2012) admiring Benedict XVI’s (1927–2022; pope 2005-2013, pope emeritus 2013-2022) red loafers, Lambeth Palace, London, September 2010.  The black-clad priest looking lovingly at Benedict is Archbishop Georg Gänswein (b 1956; prefect of the papal household 2012-2023 & personal secretary to Pope Emeritus Benedict).  It was the Italian fashion magazines which dubbed him "gorgeous George" and in June 2024, Francis appointed him Apostolic Nuncio to the Baltic States (Lithuania, Estonia, and Latvia).  

When in 2013 announced he was resigning the papacy, there was much discussion of what might be the doctrinal or political implications but a few fashionistas also bid farewell to the best-dressed pontiff for probably a century and the one Esquire magazine had named “accessorizer of the year”.  In recent memory, the world had become accustomed to the white-robed John Paul II (1920–2005; pope 1978-2005) who would don colorful garments for ceremonial occasions but never wore them with great élan and eschewed the use of the more elaborate, perhaps influenced by Paul VI (1897-1978; pope 1963-1978) whose reign was marked by a gradual sartorial simplification and he was the last pope to wear the triple tiara which had since the early Middle Ages been a symbol of papal authority; briefly it sat on his head on the day of his coronation before, in an “act of humility”, it was placed on the alter where, symbolically, it has since remained although the physical object was purchased by the Archdiocese of New York, the proceeds devoted to missionary work in Africa.  That allocation proved a good investment because Africa has been a growth market for the church, unlike increasingly Godless Europe and elsewhere in the West.

The pope and the archbishop discuss the practicalities of cobbling.

Benedict’s pontificate however was eight stylish years, the immaculately tailored white caped cassock (the simar) his core piece of such monochromatic simplicity that it drew attention to the many adornments and accessories he used which included billowing scarlet satin chasubles trimmed with crimson velvet and delicate gold piping and others woven in emerald-green watered silk with a pattern of golden stars.  Much admired also was the mozzetta, a waist-length cape, and the camauro, a red velvet cap with a white fur border that around the world people compared with the usual dress of Santa Claus, X (then known as twitter) quickly fleshing out the history of the Coca-Cola Corporation’s role in creating the “uniform” although there was some exaggeration, the Santa-suit and hat familiar by at least the 1870s although Coca-Cola’s use in advertizing did seem to drive out all colors except red.  On popes however, the red velvet and white fur trim had been around for centuries though it fell from fashion after the Second Vatican Council (Vatican II; 1962-1965) and was thus a novelty when Benedict revived the style.

The pope farewells the archbishop.

Not all (including some cardinals) appreciated the papal bling but what attracted most attention were his bright red loafers, a style of shoe which popes have been depicted wearing since Roman times and the Holy See was forced to issue a statement denying they were hand-crafted by the high-end Italian fashion house Prada.  In their press release, the Vatican’s Press Office reminded the world the red symbolizes martyrdom and the Passion of Christ, the shoes there to signify the pope following in the footsteps of Christ.  Rather than a fashion house, the papal loafers were the work of two Italian artisan cobblers: Adriano Stefanelli and Antonio Arellano and Signor Stefanelli’s connections with the Vatican began when he offered to make shoes for John Paul II after noticing his obvious discomfort during a television broadcast.  Signor Arellano had a longer link with Benedict’s feet, having been his cobbler when, as Joseph Ratzinger, he was the cardinal heading the Inquisition (now called the Dicastery for the Doctrine of the Faith (DDF)) and as soon as Benedict’s surprise elevation was announced, he went immediately to his last and made a pair of red loafers for him (he’s an Italian size 42 (a UK 8 & a US 9)).  Upon his resignation, as pope emeritus, he retired the red loafers in favor of three pairs (two burgundy, one brown) which were a gift from a Mexican cobbler: Armando Martin Dueñas.  Francis (b 1936; pope since 2013) has reverted to the austere ways of Vatican II and wears black shoes.

Channeling Benedict: Lindsay Lohan in red loafers, September 2016.  Although unconfirmed, it's believed these were not a papal gift.

Drone

Drone (pronounced drohn)

(1) A male bee in a colony of social bees, stingless and making no honey whose sole function is to mate with the queen

(2) An unmanned aircraft or ship that can navigate autonomously, without manned control or beyond line of sight.

(3) In casual use, any unmanned aircraft or ship that is guided remotely.

(4) A person who lives on the labor of others; a parasitic loafer.

(5) A drudge.

(6) To make a dull, continued, low, monotonous sound; a hum or buzz.

(7) To speak in a monotonous tone.

(8) To proceed in a dull, monotonous manner.

(9) In music, originally, a continuous low tone produced by the bass pipes or bass strings of musical instruments (later extended to the notion of "drone music", a "clearing house" term for a range of sub-genres and elements).

(10) The pipes (especially of the bagpipe) or strings producing this tone or the bagpipe equipped with such pipes.

Pre 1000: From the Middle English drane & drone (male honeybee), from the Old English drān & drǣn (male bee, drone), from the Proto-Germanic drēniz, drēnuz & drenô (an insect, drone), from the primitive Indo-European dhrēn- (bee, drone, hornet); the Proto-Germanic was the source also of Middle Dutch drane, the Old High German treno (the German Drohne, is from Middle Low German drone), the origin of which may have been imitative (there was the Lithuanian tranni and the Greek thronax (a drone)).  It was cognate with the Dutch drone & Middle Dutch drōnen (male bee or wasp), the Low German drone & German drohne (drone), the dialectal German dräne, trehne & trene (drone), the Danish drone (drone) and the Swedish drönje & drönare (drone).  An earlier variation was the Old English drān, related to the Old High German treno (drone), the Gothic drunjus (noise) and the Greek tenthrēnē (asp) which was the source of the sense of a sound, the meaning emerging 1490–1500, related also to the Middle English droun (to roar), the Icelandic drynja (to bellow) and the Gothic drunjus (noise).

The meaning referring to pilotless airframes appears first to have been used by the military in 1945-1946, initially in the sense of towed target drones, the "pilotless aircraft directed by remote control".  Even in 1946, military theorists were speculating about the potential use of "drones" although much of what was then described was closer to the modern smart bombs or guided missiles.  The meaning "a deep, continuous humming sound" emerged circa 1500, apparently an independent imitative formation in the sense of the 1630s noun threnody (song of lament), from the Greek thrēnōdia (lamentation), the construct being thrēnos (dirge, lament) + ōidē (ode).  The Ancient Greek thrēnos was probably from the primitive Indo-European imitative root dher- (to drone, murmur, hum), source also of the Old English dran (drone), the Gothic drunjus (sound) and the Greek tenthrene (a species of wasp).  The specific technical use "bass pipe of a bagpipe" was first adopted in the  1590s.   The figurative sense of "an idler, a shiftless, lazy worker" (based on the idea of the male bees which make no honey), dates from the 1520s.  Drone quickly became a popular way to describe a mono-tonal, boring speech delivery.

Drones and UAVs

The modern military term for what most people casually call a drone is unmanned aerial vehicle (UAV) a more accurate descriptor given the original target drones were either objects towed by “target tugs” or radio controlled aircraft dumbly flying on pre-set paths.  Research on the concept of unmanned flying devices for reconnaissance target practice or even ordnance delivery had begun even before the military had adopted combat aircraft and by the mid-1930s, the Royal Air Force (RAF) in the UK had hundreds of radio controlled biplanes but the word drone appears to have been adopted only in 1945-1946 to describe the objects towed behind piloted aircraft.  Used to provide a moving target for either air-to-air or surface-to-air target practice, the target tugs towing the drone tended to be painted in lurid color schemes to differentiate tug from target although tugs still suffered hits from "friendly fire".  Over time, slang developing as it does, the terms “target drone” and “drone” came often to refer not just to the towed target-object but also the “target tug”, the aircraft towing the target, less a leakage from military use than just a misunderstanding that caught on.  Now, most UAVs sold to hobbyists or for commercial use are marketed as drones.

Paint scheme for target tug towing drone used for surface-to-air target practice on de Havilland Mosquito TT (target tug) Mark 35, No 3 CAACU (Civilian Anti-Aircraft Co-operation Unit), Exeter, UK, 1963.

The use as a target tug (TT) was the last operational role for the Mosquito, one of the more remarkable aircraft of World War Two.  Developed as a private venture by de Havilland, it was greeted by the by the Air Ministry with not their usual mere indifference but outright hostility to the very concept of a light, unarmed bomber made from plywood which relied for protection on speed rather than firepower.  The company however persisted and the Mosquito, which first flew in 1940, became one of the outstanding and most versatile combat aircraft of the war deployed as a fighter, fighter-bomber, night-fighter and bomber in roles as diverse as photo-reconnaissance, maritime strike, long-range surveillance, ground-attack and pathfinder missions guiding heavy bombers.  There was even a naval version for carrier operations, operated by the Fleet Air Arm.

The post-war career too was notable.  Equipped with the latest radar, the Mosquito was retained as a front-line, all-weather fighter until 1951-1952 when night-fighter versions of the Gloster Meteor and de Havilland Vampire entered service.  The last of the 7771 Mosquitos produced did not leave the production line until 1950, the long Indian summer necessitated by the UK’s technology deficit and although few probably thing of the Mosquito as a Cold War fighter but that was its unexpected penultimatum.  The less celebrated but valuable swansong came as a target tug, painted in vivid colors to decrease the danger from “friendly fire” and these platforms remained in operational service until finally retired in 1963, some of the decommissioned aircraft subsequently used by film studios for wartime features.  In addition to the RAF’s Mark 35s, a number of Mark 16 bombers were converted to TT Mark 39s, operated also by the Royal Navy and two ex-RAF Mark 6 (fighter-bombers) were in 1953-1954 converted to the TT Mark 6 standard for the Belgian Air Force which used them as target tugs at the Sylt firing ranges.  For an airframe which the authorities were at the time inclined to reject, the Mosquito enjoyed a remarkable operational life of over two decades; the Treasury got their money's worth.

Lindsay Lohan in Netflix's Irish Wish (2024) being filmed by drone (the car is a 1965 Triumph TR4A).  Camera-equipped drones have reduced the cost of filming such scenes.

It's no exaggeration to suggest drones (even the military now often use the term instead of UAV) have been a revolutionary weapon in armed conflict.  Able to function as long duration reconnaissance or weapons platforms, depending on the device, they can in real-time be controlled by soldiers in the field or from command centres thousands of miles away.  Cheap and mass-produced, they have emerged also as a "Kamikaze" weapon and, because off-the-shelf commercial drones can easily be adapted for offensive purposes, they present a challenge to established militaries when used by irregular combatant forces (including terrorist groups) which have not previously had access to weapons which can be deployed in mass at long range.    

The Germans, the Russians and Drone Music

Although musicologists categorize “drone music” as a sub-genre in the minimalist tradition, when produced thus it’s really an application of a element of sound which has been a component of many pieces nobody would describe as even vague drone-like.  Ethno-musicologists also object to the usually Eurocentric treatment of the topic, pointing out that musical traditions from Morocco to Mongolia contain much that can only be called a drone and along with a rhythmic beat, the two are probably the basis of most of the early music created by humans.  As a modern form however, to be thought of as “drone music”, compositions tend to be long and characterized by slight or sudden, jarring harmonic shifts.  The form obviously pre-dates means of electronics production but the availability in the twentieth century essentially allowed the genre to be created and it was figures such as Karlheinz Stockhausen (1928–2007) and Pierre Schaeffer (1910–1995) who created the works which first came to public attention.  The critical response varied, those attracted to the avant-garde anxious not to seem reactionary while others would probably have agreed with comrade Stalin (1878-1953; Soviet leader 1924-1953) who condemned as “formalists” those artists who pursued novelties and technical challenges just to impress their peers and a small elite cohort.  The public reaction to the form in its early years seems mostly to have varied between scepticism and the dismissal of the very idea such sounds could be called “music”.  Still, it endured and although never more than a niche as a stand-alone product, continues to underpin many popular forms, notably those listened to in clubs or at festivals by those under the influence of some substance and as the artists well know, there is a relationship between the drone and the chemicals.

By the time the German experimentalists Tangerine Dream released Zeit (Largo in four movements, 1972), it’s possible all that could be done in droning had been done and it can be argued everything since has been a variation but that hasn’t stopped the explorations, the Europeans especially entranced although it was the film-makers who found snatches of drone so useful in creating dramatic effects.  Curiously, there are those who have argued the credit (or the blame, depending on one’s view) for the emergence of drone music belongs to Richard Wagner (1813–1883), on the basis that by the end of his career, tonality had constantly shifting key centres, modulated so often there was little but ambiguity about what the final notes should be.

That’s fine but, so the argument goes, if there are more and more shifting key centres, there comes a point at which there’s no longer a centre of pitch, thus Arnold Schoenberg (1874–1951) twelve-tone system in which instead of a composition being based on major or minor scales and chords, a tone row was created, the twelve appearing in a specific order (thus the nickname “tone row”).  Musically (and politically, according to some), the idea of a tone row is methodically to avoid a preference for one note over another; all are equal.  Unlike tonal music in which pull active tones “pull” to resolve to resting tones, what came to be called “atonal music” came about because so far had Wagner pushed the boundaries that tonality could do nothing but disintegrate.  For the avant-garde, this created a gap in the market for “critic-ready compositions” because just as a visual form like cubism deconstructed the “bits” of the image and let them be seem in isolation as part of a whole, music could be rediced to a collection of drones and these could be performed singularly, in parallel or as a lineal set.  “By Schoenberg, out or Wagner” is an intriguing explanation for the origin of drone music and not all will agree.