Anniversary

 Anniversary (pronounced an-uh-vur-suh-ree)

(1) The yearly recurrence of the date of a past event.

(2) The celebration or commemoration of such a date.

(3) Returning or recurring each year; annual.

1200–1250: From the Middle English anniversarie from the Anglo-French and Medieval Latin anniversāria (anniversary (day)) & anniversārius (recurring yearly), the construct being anni (combining form of annus year) + vers(us) (turned), past participle of vertere (vert (turn) + tus (past participle suffix) + ārius or ary.  In Latin, the word was used especially of the day of a person's death but as first an adjective and later a noun, came to be used in Church Latin as anniversaria (dies) in reference to saints' days.  An Old English word for anniversary (as a noun) was mynddæg which translates literally as "mind-day".  Anniversary & anniversarian are nouns and anniversarily is an (archaic) adverb; the noun plural is anniversaries (the Latin anniversaria occasionally seen).

One of pop culture's more celebrated anniversaries is Mean Girls Day on 3 October, the origin of which is that it's the only date mentioned in the 2004 film although it has no specific relevance and could have been any date which fitted in with the weather.  Besides Mean Girls Day, other notable anniversaries on 3 October include: In 1929, the Kingdom of Serbs, Croats and Slovenes was renamed Jugoslavija (Yugoslavia).  In 1932, the Kingdom of Iraq was granted independence by the UK.  In 1935, Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) invaded Ethiopia (the Second Italo-Abyssinian War); it was Europe’s last old-style colonial adventure and one which even then looked anachronistic.  In 1952, the UK tested its first A-Bomb, becoming the third nuclear power; H-Bombs would soon follow.  In 1990, the GDR (the German Democratic Republic, the old East Germany) was dissolved and absorbed by the FRG (the Federal Republic of Germany, the old West Germany), marking the formal origin of the modern, unified German state, celebrated by most as German Unity Day and noted by others (then and now) with some regret.

In literature, probably the best known is Bloomsday, a reference to 16 June, a day (in 1904) in the life of Leopold Bloom, the protagonist in the novel Ulysses by James Joyce (1882–1941).  Although Bloomsday is centred usually on gatherings featuring readings from the book, the events also often commemorate other aspects of the author's life and are sometimes integrated with academic conferences or literary festivals.  Political and military anniversaries are often marked and can be celebrated even if the original was a defeat; it's all about the context of history and some have been misused by those with their own agendas to pursue.  Almost always, these events have a specific date but sometimes the day cannot be mentioned because of "political sensitivities".

In the early evening of 3 June 1989, in the culmination of some three weeks of mainly student-led protests directed at the Chinese Communist Party (CCP), martial law was declared and armed troops of the People’s Liberation Army (PLA) were assigned to Beijing’s Tiananmen Square where the protests were centred.  What followed a few hours later on 4 June has come variously to be known as the “Tiananmen Square Incident” or “Tiananmen Square Massacre” (the CCP preferring “June Fourth Incident”, the same convention of use the Japanese government adopted in the 1930s when speaking of some of their conduct in China) and although there’s broad consensus about what happened when the soldiers opened fire with automatic weapons (sometimes from tanks and other armored vehicles), the extent remains contested with estimates of the death toll ranging from low-three to high-four figures.  There were at least several hundred thousand protesters in Tiananmen Square at the time of the incident so all estimates are plausible but the photographic evidence from the time is so fragmentary that verification has never been possible.

The traditional annual flowerbed in Tiananmen Square which is part of a "national celebration day" (officially the National Day of the People's Republic of China), marking the foundation of the republic on 3 October 1949.

Such is the sensitivity within the CCP that its impressive digital surveillance of the population has reacted quickly to attempts to circumvent attempts to evade the proscription of references such as “4 June”, “June 4”, “fourth of June” etc.  Because the filters are inherently text & character based this was historically usually just a matter of updating the database of “suspect terms”, done usually in reaction to emerging patterns of use but also sometimes anticipated.  Attempts on Chinese social media to evade the censor’s eye included (1) using fragments of some more obscure foreign languages, (2) using emojis which possess some degree of ambiguity, (3) using Pinyin (the Romanization of Chinese characters), (4) using coded phrases or metaphors to allude to the event, some of which may be understood only within a sub-set of users and (5) the use of numeric references such as “65-1”, “63+1” or “May 35^th”.

Little of this digital subterfuge proved much of an obstacle to the CCP surveillance machine and the regime’s enthusiastic embrace of AI (artificial intelligence) meant that even embedding messaging in imagery or music with no direct mention or even reference to the event or the date can now easily be assessed.  Western analysts note however there’s little to suggest the CCP has an especially large task in countering on-line discussion of the “June Fourth Incident”, other than in places like Hong Kong where malcontents and trouble-makers are known still to exist.  The CCP allows well-behaved Chinese citizen (ie those with a good “social credit” score) to holiday in the West and probably assumes (presumably correctly) that they spend their time taking selfies in front of the Eiffel Town or Trevi Fountain rather than sitting in darkened hotel rooms using the novelty of Google to search for “Tiananmen Square Massacre”.  Indeed, Western political scientists suspect there’s wide knowledge among the population about there being a massacre on 4 June (although not the detail) and for the CCP this is a desirable thing for Chinese citizens to keep in the back of their minds.  Like “something nasty in the woodshed” it’s there to be avoided and not discussed.

Some names for anniversaries      

1        Annual
2        Biennial
3        Triennial
4        Quadrennial
5        Quinquennial
6        Sexennial
7        Septennial
8        Octennial
9        Novennial
10      Decennial
11      Undecennial
12      Duodecennial
13      Tredecennial
14      Quattuordecennial
15      Quindecennial
20      Vigintennial or Vicennial
25      Quadranscentennial
40      Quadragennial
50      Semicentennial or Quinquagenary
60      Sexagennial 
65      Sexagenary
70      Septuagennial
100    Centennial or Centenary
125    Quasquicentennial
150    Sesquicentennial
175    Dodransbicentennial
200    Bicentennial
250    Sestercentennial
300    Tercentenary or Tricentenary
350    Sesquarcentennial
400    Quadricentennial
500    Quincentenary
600    Sexcentenary
700    Septcentennial
800    Octocentenary
900    Nonacentennial
1000  Millennial
1500  Sesquimillennial
2000  Bimillennial

Splatter

Splatter (pronounced splat-er)

(1) To splash and scatter upon impact.

(2) An act or instance of splattering, typically a spray of mud, paint, blood or other liquids which results in many small blobs, some of which may coalesce.

(3) The quantity or the residue of something so splattered; An uneven shape (or mess) created by something dispersing on impact.

(4) In film as “splatter film” or “splatter movie”, a production characterized by gory imagery, often for its own sake (something of this the type often referred to as “a splatterfest”).  Splatterpunk is either a fork or synonym depending on interpretation.  In film, the splatter ecosystem is treated by those who take such things seriously as a sub-set of the horror genre.

(5) In modern art, as “splatter art” or “splatter painting”, a technique in which paint is (variously) dripped thrown, squirted, flicked etc onto the surface (although because of its history, “drip painting” to often treated as a separate stream (or drip)).

(6) In radio, spurious emissions resulting from an abrupt change in a transmitted signal.

1760s: The origin is uncertain but it’s presumed to be a portmanteau word, the construct being spla(sh) + (spa)tter.  Splash was probably a variant of the Middle English plasch & plasche, from the Old English plæsċ (pool, puddle) and thought likely an imitative form.  It was cognate with the Dutch plas (pool, watering hole) and related to the West Frisian plaskje (to splash, splatter), the Dutch plassen (to splash, splatter) and the German platschen (to splash).  The construct of spatter was probably the Middle Low German or Dutch spatt(en) (to spout, burst) +‎ -er (the frequentative suffix) and related to spit (saliva).  Splatter, splatterdash & splattering are nouns & verbs, splatterer & splatterfest are nouns, splattered is a verb and splattery is an adjective; the noun plural is splatters.

The verb in the sense of “splash; scatter about; make a noise as of splashing water” developed from the noun and was in use by at least 1784 but the earlier splatterdash (thought a variant of spatterdash) was noted a decade-odd earlier, a development of the noun spatterdash (leather covering for the lower leg to protect from mud) from the late seventeenth century.  Splatterdash meant “in a haphazard manner; work performed in a disorganized way” and was thought (either by intent or mistake) to have evolved from or been influenced by the earlier slapdash.  The early eighteenth century splatter-faced (having a broad, flat face) was probably a perversion of platter-faced, the modern version being “plate-faced”.  Splatterpunk was in 1986 apparently coined by award-winning US writer David J Schow (b 1955), noted for his many contributions to the horror industry and the splatter fork in particular. The first known reference to its use was during his celebrated appearance at the Twelfth World Fantasy Convention in Providence, Rhode Island.  Devoted fans of the splatter movie genre often self-identify as splatterpunks.

I Know Who Killed Me (2007) was for years was a fixture on "Worst Movie Ever" lists but more recently it has built a cult following (for reasons right and wrong) and the longevity in the interest it sustains has made it one of the genre's more enduring (and profitable) titles.  It was an example of a splatter movie "cross-over" in that the splatter aspect was ancillary to the crime-focused plot.

The evolution of the splatter movie becomes obvious from around the early 1960s when graphical depictions of violence and increasing volumes of (fake) blood began to appear.  The censorship in most parts of the world was for most of the twentieth century quite rigorous and unlike the attitude of the authorities towards nudity & sex where some jurisdictions tended to be more permissive, the attitude towards violence in films was more restrictive.  The French Grand Guignol (1897-1962) theatre had staged naturalistic dramas in which the gore was said to be “most realistic” but it was unusual and tolerated as an example of intellectual Parisian bohemianism and in early cinema, about the only graphic depictions seen of blood and gore were those in battlefield scenes or anything intended to illustrate the savagery of non-white races.  The trend towards gratuitous violence in film grew in the post-war years and directors in the 1960s pushed the boundaries, something accommodated by different versions of films being released in different markets, some more cut than others.  Such was the flow of violent cinema that the authorities began banning distribution and it wasn’t until the 1990s the practice became uncommon in the West, the classification system restricting to adults those thought most disturbing thought sufficient.  If there’s a convenient watershed in the business, it might be The Texas Chain Saw Massacre (1974) which lived up to its name; after that, all splatter movies can be considered a variation on the theme.

Freier Stress (Stress Free), Oil on linen by Albert Oehlen (b 1954).

Some regards splatter art as something distinct from drip painting (or action painting) while many claim not to be able to tell the difference although because drip painting has an establish place in modern art (one quite respectable according to many including those who pay millions for works by some of the most famous artists), it’s usually treated as something distinct.  As can be imagined, “splatter” is something within the rubric of abstract; throwing paint at a surface, sometimes from a distance of several feet rather than using a brush or even some form of spray, is going to results in something which, even if recognizably something, is at least at the margins going to be chaotic.

Lepanto, Panel 6, oil on canvas by Cy Twombly (1928-2011)

When drip painting burst (splattered?) upon the art world in the early post war years it was a novelty and at least since the late nineteenth century there had among the Western avant-garde been a thirst for the new and the shocking.  At the time first referred to as a form of abstract expressionism, what the early works did manage to convey was the feeling of something spontaneous, the relationship between what appears on the canvas and the physicality of the technique.  There had long been painters working in oil able to represent the gestures of their brush-strokes, usually with a graduated thickness in the layers on the surface but flinging the stuff around the room obviously brought a new violence to art.  Experimentation (and market differentiation) soon following and apart from the drippers and flingers, there were soon flickers, injectors (the use of syringes presumably thought a bit edgy), squeezers (wringing the paint from a soaked cloth), bursters (paint-filled balloons either thrown at the surface or popped from above) and even the odd spitter (paint ejected from the mouth).

Jackson Pollock (1912–1956) at work, dripping.  To the untrained eye, it's really not possible to work out where the dripping ends and the splatter begins or if it matters or if a distinction between cause and effect is helpful.  The most famous of the drip painters and one of art's genuine celebrities, Peggy Guggenheim (1898-1979) claimed he was “...the greatest painter since Picasso.”

Number 17A (1948), oil on fiberboard by Jackson Pollock.  In 2015 it sold for US$200 million which made it then the world's fifth most expensive painting.  An early work, it's thought one of the purest examples of drip painting and as soon as it appeared in the August 1949 edition of Life magazine, Jackson Pollock became famous.   

One thing about splatter art which simultaneously is (for practitioners) an attraction and (for detractors) a damnation is that the conventional skills traditionally needed by painters are not only not required but are simply irrelevant.  One of the most common complaints of the form by an unimpressed public was usually something like “That’s not art, anyone could do that.”  In terms of the techniques that’s certainly true in that anyone can drip, fling, flick, inject, squeeze or burst (most might draw the line at the spit) but the matter for judgment remains what was produced, not how it was done.  It’s the critics who rule on these things and those specializing in splatter (and related techniques) claim the ability to tell the good form the bad and the masterpiece for everything else.  Of course the language used between such critics is something like that of a sect in that while the words might be familiar, the meanings conveyed and the knowledge known secrets concealed from all but the chosen few and their views can be the difference between a piece being worthless or selling at auction for a sex figure sum.  We really have to take their word for it.

Times Square (2022), oil on canvas being painted by Paul Kenton (b 1968).

Paul Kenton describes himself as a “cityscape artist” and combines variations of splatter techniques with some more traditional forms of “editing” to produce works which are closer to the more traditional forms of abstract expressionism than the drip genre defined by Pollock.

Decimate

Decimate (pronounced des-uh-meyt)

(1) To destroy a great number or proportion of; to devastate, to reduce or destroy significantly but not completely (modern use).

(2) To select by lot and kill every tenth person (obsolete except for historic references).

(3) To take a tenth of or from (obsolete except for historic references).

(4) In computer graphics processing, to replace something rendered in high-resolution with something of lower but still acceptable quality.

(5) To exact a tithe or other 10% tax (almost archaic except in the internal rules of some religions).

1590–1600: From the Latin decimātus (tithing area; tithing rights), past participle of decimāre (to punish every tenth man chosen by lot) a verbal derivative of decimus (tenth), a derivative of decem (ten) and decimo (take a tenth), from the primitive Indo-European root dekm (ten).  The related nouns are decimation & decimator, the verbs (used with object) are decimated & decimating.  The most commonly used synonyms now are: wipe out, obliterate, annihilate, slaughter, exterminate, execute, massacre, butcher, stamp out & kill off

Decimate is interesting as an example of two linguistic phenomena.

(1) It’s a foreign word (Latin) which has become part of the English language.  This happens a lot (eg fuselage) because English is a vacuum-cleaner language which sucks in whatever is needed but it’s not universal and there’s no precise rule which decides what become assimilated and what, however frequently used, remains foreign: zeitgeist (spirit of the age) although now common in English, remains German.

(2) It’s a contranym, a word which in modern use, now means the opposite of its classical origins.  In Roman times, it meant to reduce by 10%; now it’s probably understood to reduce to, if not 10% then a least by a large portion.  This is a genuine meaning shift and, except in precise historic references (and then probably foot-noted), the new meaning is now correct.  Decimate thus differs from a word like enormity; if used (as it sometimes is) to mean enormous that’s not an error because by virtue of use, that meaning has been absorbed into the language as a concurrent use with the original.  By contrast, decimate has suffered a meaning shift.

The killing of one in ten, chosen by lots, from a rebellious city or a mutinous army was a punishment sometimes used by the Romans and there have been many instances of it (expressed usually as collective punishment) since, Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) explicitly referring to the Roman tradition when in 1934 explaining why there had been so many (retrospectively authorized) executions during the suppression of the so-called "Röhm putsch" (the Führer's actions now sometimes (generously) described as a pre-emptive or preventative strike).  The word has been (loosely and un-etymologically) used since as early as the 1660s to mean "destroy a large but indefinite number of."  This is one of those things which really annoys pedants but given it’s been happening since the seventeenth century, it may be time for them to admit defeat.  Were the word now to be used to convey its original meaning, the result would probably be only confusion.  One point in use which is important is that one should speak of the whole of something being decimated, not a part (eg a plague decimated the population, not disease decimated most of the population).  Decimate remains well-known because is well known because it’s lived on in Modern English, albeit with quite some mission-creep in meaning but the Romans had many other expressions defining the precise proportionality of a reduction by single aliquot part including: tertiate (⅓), quintate (⅕), sextate (⅙), septimate (⅐), duodecimate (¹⁄₁₂) and centesimate (¹⁄₁₀₀).

Smaller but not decimated: Lindsay Lohan full-sized (left), reduced by 10% (centre) & reduced by 90% (right).

However, although most probably now understood what is meant by decimate even if they're unaware of the word's origin, it should still be use with some care.  Sir Ernest Gowers (1880–1966) in his revision (1965) of Henry Fowler's  (1858–1933) A Dictionary of Modern English Usage (1926) objected to the "virtual extermination" of rabbits by the agent of the myxomatosis virus being described as a decimation because, with a reported death rate of 99.8%, it was something notably more severe than modern understanding of the word let alone that of a Roman.  In the way of such things the rabbits anyway staged a revival as natural selection did its thing.  Fowler's guide also cautioned that any use "expressly inconsistent with the proper sense... must be avoided", citing "A single frost night decimated the currants by as much as 80%".  The point is taken but that sentence does seem helpfully informative.  Nor are all acts of reduction of necessity instances of decimation; there has to be something destructive about the process.  A photograph can be reduced in size by a Roman 10% or a modern 90% but one wouldn't suggest it has been decimated; it has just be rendered smaller.

Erase

Erase (pronounced ih-reys)

(1) To rub or scrape out, as letters or characters written, engraved etc; efface.

(2) Completely to eliminate.

(3) To remove material recorded on magnetic tape or magnetic disk; synonymous for most purposes in this context with delete although technically, in computing, an erasure is the substitution of data with characters representing a null value whereas a deletion is the removal of an pointer entry in an index.

1595–1605: From the Middle English arasen & aracen (to eradicate, remove), from the Latin ērāsus, past participle of ērādere (scrape out, scrape off, shave, abolish, remove, to abrade), the construct being ex (out of) + radere (to scratch, scrape).  The use in the context of data on magnetic storage media (tapes, disks) dates from 1945, the technical distinction between erase and delete defined in computer science theory as early as 1947 though, to this day, the distinction escapes most users.  The adjective erasable dates from 1829.  Eraser (thing that erases writing) is attested from 1790, an invention of American English, agent noun from erase.  Originally, the product was a knife with which to scraping off ink, the first rubber devices for removing pencil marks not available until from 1858.

Erasure, Comrade Stalin and Lindsay Lohan

Evil dictators (like those running beach clubs or Greek islands) have their problems too and they like them to go away.  Where problems exist, they like them to be erased or is some other way to disappear.  Sometimes, the technical term is “unpersoned”.

The Erased

Not best pleased at images of the pleasingly pneumatic Karolina Palazi appearing on the official Lohan Beach Club Mykonos Beach Club Instagram account, Lindsay Lohan quickly responded with a post demanding her staff “Erase this random person at my beach”.  In the digital age, it can be difficult entirely to erase anything which appears on the internet and probably impossible for anything distributed on the big-data social media platforms.  That said, there is unpredictability to the fate of anything ever on-line.  There is (1) material which genuinely vanishes forever, (2) stuff which proves impossible to eradicate despite best efforts, and (3) things which were thought lost, only to re-appear.  Noted for some time, the issue will be of increasing interest in the future, the internet being a distributed system with no centralised repository indicating what is held where, by whom and whether it is accessible (by someone) on or off-line or in storage.

The Disappeared

General Augusto Pinochet (1915–2006; military dictator of Chile 1973-1990).

This is the relatively new name for the centuries-old practice of secretly kidnapping or arresting people, then imprisoning or killing them, all without due process of law.  It’s most associated with the late twentieth-century military dictatorships in Chile, Argentina and Brazil but is used to describe the practice in many South and Central American republics and of late, others, sometimes at scale.  Although the practice probably pre-dates even modern humans, the word, in this context appears first to have been used by Joseph Heller (1923–1999) in the satirical Catch-22 (1961) when describing how the US military dealt with malcontents.  However it’s done, the person disappears without trace.

The Unpersoned

Unpersoning wasn’t invented in the Soviet Union but it was under comrade Stalin (1878-1953; Soviet leader 1924-1953) it was undertaken at scale, although, like later attempts on the internet, the process wasn’t always perfect because it was performed on extant physical material, some of which inevitably escaped attention.  The process interested critics in the West; in George Orwell's (1903–1950), dystopian novel Nineteen Eighty-Four (1949), protagonist Winston Smith works at the Ministry of Truth where his job is to alter historical records to conform to the state's ever-changing version of history.  Done in the USSR mostly between 1928-1953, unpersoning was the physical modification of existing text and imagery, modified to erase from history those who had fallen from favor and it’s thought the most extensively unpersoned figure in the USSR was comrade Leon Trotsky (1879-1940).  Comrade Stalin had him murdered in Mexico, the assassin's choice of weapon an ice axe.

Erased from history: Before & after being unpersoned, Comrades Molotov (1890-1986) & Stalin with Comrade Nikolai Yezhov (1895-1940), head of the NKVD (one of the predecessors of the KGB); Comrade Stalin had him shot.

In the Soviet Union, the process was essentially as Orwell described and even in the age of digital editing it's probably often still done in a similar manner.  A photograph would be passed to the party's technicians with the comrade(s) to be unpersoned marked in some obvious way, the preferred technique apparently a black crayon.

Succeeding where others failed: Erasing crooked Hillary Clinton

The White House situation room, 2 May 2011 (official WH photo; left) and as depicted in Di Tzeitung (right).

Unpersoning can also be sex-specific (gender-based the currently preferred term).  In May 2011, the Orthodox Jewish news paper Di Tzeitung (a Brooklyn-based weekly) was forced to apologize after unpersoning the women in the photograph released by the White House showing President Barack Obama (b 1961; US president 2009-2017) and his staff monitoring the raid by US Navy Seals in which Osama bin Laden (1957-2011) was killed while in his Pakistani compound.  Unpersoned were then counterterrorism director, Audrey Tomason (b circa 1977) and then secretary of state, crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).  Di Tzeitung's subsequent apologia was somewhat nuanced.  The publication reiterated it did not publish images of women and thus sent its “regrets and apologies” to the White House and the State Department, not because it had unpersoned women but because their photo editor had not read the “fine print” in the text issued by the White House (which accompanied the photograph) which forbid any changes.  Di Tzeitung further explained it has a “long standing editorial policy” of not publishing images of women because its readers “believe that women should be appreciated for who they are and what they do, not for what they look like and the Jewish laws of modesty are an expression of respect for women, not the opposite”.  They added that Di Tzeitung regarded crooked Hillary Clinton (a former US senator (Democrat) for New York who secured overwhelming majorities in the Orthodox Jewish communities) highly and “appreciated her unique capabilities, talents and compassion for all”.  It concluded by acknowledging it “should not have published the altered picture”.  Commentators noted the practice is not unusual in some ultra-Orthodox Jewish publications which regard depictions of the female form as “immodest”.  Neither the White House nor the State Department responded to the apology although there were cynics who wondered if the president wished it were that easy to get rid of crooked Hillary.

The Watergate tapes and the erased 18½ minutes

Looking over his shoulder: Richard Nixon and HR Halderman in the White House.

Tapes, audio and video, have played a part in many political downfalls but none is more famous than the “smoking gun” tape which compelled the resignation of Richard Nixon (1913-1994; US president 1969-1974) after it revealed he was involved in the attempt to cover-up the involvement in the Watergate break-in of some connected to his administration.  Recording conversations in the White House had been going on for years and Nixon initially had the equipment removed, the apparatus re-installed two years later after it was found there was no other way to ensure an accurate record of discussions was maintained.  Few outside a handful of the president’s inner circle knew of the tapes and they became public knowledge only in mid-1973 when, under oath before a congressional hearing, a White House official confirmed their existence.  That was the point at which Nixon should have destroyed the tapes and for the rest of his life he must sometimes have reflected that but for that mistake, his presidency might have survived because, although by then the Watergate scandal had been a destabilizing distraction, there was at that point no “smoking gun”, nothing which linked Nixon himself to any wrongdoing.  As it was, he didn’t and within days subpoenas were served on the White House demanding the tapes and that made them evidence; the moment for destruction had passed.  Nixon resisted the subpoenas, claiming executive privilege and thus ensued the tussle between the White House and Watergate affair prosecutors which would see the “Saturday Night Massacre” during which two attorneys-general were fired, the matter ultimately brought before the US Supreme Court which ruled against the president.  Finally, the subpoenaed tapes were surrendered on 5 August 1973, the “smoking gun” tape revealing Nixon and his chief of staff (HR Haldeman, 1926–1993; White House chief of staff 1969-1973) discussing a cover-up plan and at that point, political support in the congress began to evaporate and the president was advised that impeachment was certain and even Republican senators would vote to convict.  On 8 August, Nixon announced his resignation, leaving office the next day.

Uher 5000 reel-to-reel tape recorder used by a White House secretary to create the tape (20 June 1972) with the 18½ minute gap.  (Government Exhibit #60: Records of District Courts of the United States, Record Group 21. National Archives Identifier: 595593).

To this day, mystery surrounds one tape in particular, a recording of a discussion between Nixon and Halderman on 20 June 1972, three days after the Watergate break-in.  Of obviously great interest, when reviewed, there was found to be a gap of 18½ minutes, the explanations offered of how, why or by whom the erasure was effected ranging from the humorously accidental to the darkly conspiratorial but half a century on, it remains a mystery.  Taking advantage of new data-recovery technology, the US government did in subsequent decades make several attempts to “un-delete” the gap but without success and it may be, given the nature of magnetic tape, that there is literally nothing left to find.  However, the tape is stored in a secure, climate-controlled facility in case technical means emerge and while it’s unlikely the contents would reveal anything not already known or assumed, it would be of great interest to historians.  What would be even more interesting is the identity of who it was that erased the famous 18½ minutes but that will likely never be known; after fifty years, it’s thought that were there to be any death-bed confessions, they should by now have been heard.  Some have their lists of names of those who might have "pressed the erase button" and while mostly sub-sets of Watergate's "usual suspects", one who tends not to appear is Nixon himself, the usual consensus being he was technically too inept to operate a tape machine though it's not impossible he ordered someone to do the deed.  However it happened, the suspects most often mentioned as having had their "finger on the button" (which may have been a foot-pedal) are Nixon's secretary and his chief of staff.

Golgotha

Golgotha (pronounced gol-guh-thuh or gol-goth-uh)

(1) In the Bible’s canonical Gospels, the hill near Jerusalem on which Jesus Christ was crucified; the ancient (and now alternative) name for Calvary.

(2) A place of suffering, sacrifice or martyrdom.

(3) A place of burial (rare and usually without an initial capital).

(4) In eighteenth & nineteenth century Oxbridge slang, rooms of the heads of the colleges (obsolete).

(5) In UK slang, a hat (an allusion to "the place of the skulls" (obsolete)).

(6) A charnel house (an alternative name for a crypt or ossuary).

(7) In the Eastern Orthodox Church, a representation of Christ crucified.

1590–1600: From the Late Latin Golgotha, from the Ancient Greek Γολγοθᾶ (Golgothâ) from the Aramaic (Semitic) גּוּלְגּוּלְתָּא‎ (gulgultā) (literally “place of the skull”) and cognate with the Hebrew gulgōleth (skull).  The hill gained the name because its shape was skull-like.  In Dutch the spelling was originally Golgota which influenced use in some early English translations of the Bible.  The use of Calvary to refer to the mount on which Christ was crucified dates from the late fourteenth century.  It was from the Latin Calvariae, Calvariae & Calvaria (related to calvus (bald)), from the Ancient Greek Kraniou topos, a translation of the Aramaic gulgultā and the Old English used Heafodpannan stow as a loan-translation.

A cleaning woman on the steps of Munich's Roman Catholic Cathedral, washing a carving of Christ crucified on his Cross, Munich, 1939.  In the Eastern Orthodox Church, these installations are called Golgothas.

Historians agree Golgotha lay immediately beyond Jerusalem's city walls but there’s no certainty about the exact location although the tradition of pilgrimage has since the early Medieval period focused on the southern chapels of the Church of the Holy Sepulchre, probably because the site received the imperial imprimatur within a century of Rome adopting Christianity.  However, speculation has always been encouraged by the apparently contradictory passages in surviving texts which can be interpreted in different ways, thus the suggestions of alternative sites, a matter of some interest to scholars in the field but ignored usually by most of Christendom for whom the Church of the Holy Sepulchre has for so long been a place of veneration.  Beginning in the nineteenth century, there have been archeological excavations but, two-thousand years on, the fragments and remains unearthed have provided only material for speculative interpretation.

The uncertainty about the exact location of Golgotha casts no doubt on the crucifixion of Jesus Christ as a historical event, described in the Book of Mark 15:22-27 (King James Version (KJV (1611)):

And they bring him unto the place Golgotha, which is, being interpreted, The place of a skull.  And they gave him to drink wine mingled with myrrh: but he received it not.  And when they had crucified him, they parted his garments, casting lots upon them, what every man should take.  And it was the third hour, and they crucified him.  And the superscription of his accusation was written over, THE KING OF THE JEWS.  And with him they crucify two thieves; the one on his right hand, and the other on his left.

From what was done of the slopes of Golgotha followed the resurrection, the central event of Christianity and the only vital component for if one accepts the story of the resurrection then Christianity makes sense.  If one’s faith can’t make that leap, Christianity is just another of the competing constructs of moral theology. 

For if we believe that Jesus died and rose again, even so them also which sleep in Jesus will God bring with him.  For this we say unto you by the word of the Lord, that we which are alive and remain unto the coming of the Lord shall not prevent them which are asleep.  For the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God: and the dead in Christ shall rise first:  Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord.  Wherefore comfort one another with these words.  1 Thessalonians 4: 14-18 (King James Version (KJV (1611)).

Canada's Golgotha (1918), sculpture in bronze by Francis Derwent Wood RA (1871-1926), photograph by F Hilaire d'Arcis (1845-1935), Royal Academy of Arts Collection, London.

Canada's Golgotha is a sculpture in bronze depicting a Canadian soldier allegedly crucified on a barn door in occupied Belgium, surrounded by the jeering German troops responsible for the atrocity, said to have taken place in 1915.  There was during the First World War (1914-1918) an extensive catalogue of atrocity stories including some quite graphical imagery and there were an accepted part of the propaganda efforts on both sides of the conflict but the event carved by Wood was never verified, the contemporary witness statements later discredited.  Immediately after the end of hostilities, the German government objected to the sculpture being put on public display unless documentary evidence could be produced which proved the incident took place.  The Canadian government asserted such evidence was in their hands but declined to furnish copies which provoked further complaints from Berlin and ultimately, the sculpture was withdrawn from the exhibition.  It was kept in storage until 1992 and has since been exhibited though the curators were careful to explain the work was to be treated as an example of Christian art rather than something part of the historic record of war.  That didn’t prevent controversy.

Controversial too was the event remembered as the Nemmersdorf massacre, a series of atrocities against civilians perpetrated by Red Army soldiers during their advance into East Prussia in October 1944.  The German army swiftly (though temporarily) retook Nemmersdorf and gathered evidence of the violence, including a number of crucified bodies.  The material was passed to the Nazi Propaganda Ministry which immediately organized a publicity campaign illustrating this “Bolshevik Barbarism”, intending to inculcate the population with a fanatical desire to resist lest they suffer a similar fate.  However, there were still memories of the false atrocity stories from the earlier war and the Nazi’s propaganda efforts, increasingly disconnected from reality, had come to be regarded by many as the “fake news” of the day and the most notable consequence of the campaign was panic and a flood of civilians evacuating the eastern territories to trek west.

Spat

Spat (pronounced spat)

(1) A petty quarrel; a dispute.

(2) A light blow; a slap or smack (now rare).

(3) A classic footwear accessory for outdoor wear (technically an ankle-length gaiter), covering the instep and ankle, designed to protect these areas from mud & stones etc which might be splattered (almost always in the plural).

(4) In automotive design, a piece of bodywork on a car's fender encapsulating the aperture of the wheel-arch, covering the upper portion of the wheel & tyre (almost always on the rear) and used variously to reduce drag or as a aesthetic choice.

(5) In aviation, on aircraft with fixed under-carriages, a partial enclosure covering the upper portion of the wheel & tyre, designed to reduce drag.

(6) In zoology, a larval oyster or similar bivalve mollusc, applied particularly when one settles to the sea bottom and starts to develop a shell; young oysters collectively, especially seed oysters.

1350-1400: From the Middle English spat (argument, minor scuffle), from the Anglo-Norman spat, of unknown origin but presumed related either to (1) being the simple past tense & past participle of spit or (2) something vaguely imitative of the sound of a dispute in progress.  In use, a spat implies a dispute which is minor and brief.  That doesn’t preclude violence being involved but the word does tend to be applied to matters with few serious consequences but a spat can of course escalate to something severe at which point it ceases to be a spat and becomes a brawl, a fight, a murder, a massacre or whatever the circumstances suggest is appropriate.  Otherwise, a spat is synonymous with words like bickering, brouhaha, disagreement, discord, falling-out, feud, squabble, tiff or argument.

As a descriptor of the short gaiter covering the ankle (which except in technical and commercial use is used only in the plural), use dates from 1779 as an invention of American English and a shortening of the trade-terms spatterdash (or splatterguard) (long gaiter to keep trousers or stockings from being spattered with mud), the construct being spatter + dash (or guard), the former the same idea as the noun dashboard which was a timber construction attached to the front of horse-drawn carriages to protect the passengers from mud or stones thrown up when the beasts were at a dash.  In cars, the use of the term dashboard persisted although the device both shifted rearward (aligned with the cowl (scuttle) & windscreen) and changed in function.  In aircraft where the link to horse-drawn transport didn’t exist, the preferred equivalent term became “instrument panel”.

Stanley Melbourne Bruce (front row, second from left) in spats, official photograph of his first cabinet, Melbourne, 1923.

Spats date from a time when walking in cities could be a messy business, paved surfaces far from universal.  As asphalt and concrete became commonplace in the twentieth century, spats fell from frequent use though there were those who clung to them as a fashion accessory.  Stanley Melbourne Bruce (1883–1967; prime minister of Australia 1923-1929) liked spats and wore them as late as the 1940s but historians of fashion note it's said nothing was more influential in their demise than George V (1865–1936; King of the United Kingdom 1910-1936) eschewing them after 1926.  They days, they're seen only in places like the Royal Enclosure at Ascot or smart weddings although variations are still part of some ceremonial full-dress military uniforms.  Technically, a spat probably can be called a “short” or “ankle-length” gaiter but it’s wise to use “spat” because gaiters are understood as extending higher towards the knee.

On the Jaguar 2.4 & 3.4 (1955-1959, top row; later retrospectively named Mark 1), full-sized spats were standard equipment when the standard wheels were fitted but some owners used the cut-down versions (available in at least two designs) fitted when the optional wire wheels were chosen.  For use in competition, almost all drivers removed the spats.  The Mark 2 (bottom row;1959-1969) was never fitted with the full-size units but many used slimmer version available from both the factory and third-party suppliers; again, in competition, spats in any shape were usually discarded.  On the big Jaguars, spats (which had already been scalloped) disappeared after production of the Mark IX ended in 1961.    

On cars, it wasn’t until the 1930s that spats (which some English manufacturers called "aprons" and in the US they came to be called “fender-skirts” though the original slang was “pants”) began to appear as the interest in streamlining and aerodynamic efficiency grew and it was in this era they became also a styling fad which, for better and worse, would last half a century.  They’d first been seen in the 1920s as aerodynamic enhancements on speed record vehicles and some avant-garde designers experimented with enveloping bodywork but it was only late in the decade that the original style of separate mudguards (later called cycle-fenders) gave way to more integrated coachwork where the wheel-arch was an identifiable feature in the modern sense.  Another issue was that the early tyres were prone to wear and damage and needed frequently to be changed, hence the advantage of making access to the wheels un-restricted.  In the 1930s, as streamlining evolved as both a means to reduce drag (thus increasing performance and reducing fuel consumption) and as a styling device, the latter doubtlessly influenced by the former.  On road cars, spats tended to be used only at the rear because of the need to provide sufficient clearance for the front wheels to turn although there were manufacturers (Delahaye, Nash and others) which extended use to the front and while this necessitated compromise (notably the turning circle and cooling of the brakes), there were some memorable art-deco creations.

The aerodynamic advantages were certainly real, attested by the tests conducted during the 1930s by Mercedes-Benz and Auto-Union, both factories using spats front and rear on their land-speed record vehicles, extending the use to road cars although later Mercedes-Benz would admit the 10% improvement claimed for the 1937 540K Autobahn-kurier (highway cruiser) was just “a calculation” and it’s suspected even this was more guesswork than math.  Later, Jaguar’s evaluation of the ideal configuration to use when testing the 1949 XK120 on Belgium roads revealed the rear spats added about 3-4 mph to top speed though they precluded the use of the lighter wire wheels and did increase the tendency of the brakes to overheat in severe use so, like many things in engineering, it was a trade-off.

1958, 1959 & 1960 Chevrolet Impalas.  Not actually wildly popular when new, accessory spats now often appear on restored cars as a “period accessory”.

In the post-war years, concerns with style rather than specific aerodynamic outcomes probably prevailed.  In the US especially, the design motifs borrowed from aircraft and missiles (where aerodynamic efficiency was important and verified in wind tunnels) were liberally applied to automobiles but in some cases, although they actually increased drag, they anyway appeared on production cars because they lent the desired look.  Because they added to the cost of production, spats tended often to be used on the more expensive ranges, this association encouraging after-market accessory makers to produce them, often for models where they’d never been available as a factory fitting or option.  Although now usually regarded as naff (at least), there’s still some demand because they are fitted sometimes (often in conjunction with that other acquired taste period-accessory, the "Continental" spare-tyre kit) by those restoring cars from the era although the photographic record does suggest that when the vehicles were new, such things were vanishingly rare.

Spats vanished from cars made in the UK and Europe except among manufacturers (such as Citroën) which made a fetish of conspicuous aerodynamics and in the US, where they endured, increasingly they appeared in cut-down form, exposing most of the wheel with only the upper part of the tyre concealed.  By the mid 1990s spats appeared only on some of the larger US cars (those by then also down-sized from their mid-seventies peak) and none survived into the new century, the swansong the 1996 Cadillac DeVille.  However, the new age of efficiency did see a resurgence of interest with spats (some actually integrated into the bodywork rather than being detachable) used on some electric and hybrid vehicles where every possible way of optimizing the use of energy is deployed.

1 1937 Mercedes-Benz W125 Rekordwagen

2 1937 Mercedes-Benz 540K Autobahn-kurier

3 1937 Auto-Union Type C Stromlinie

4 1939 Mercedes-Benz W154 Rekordwagen

5 1939 Mercedes-Benz T-80

6 1940 Mercedes-Benz 770K Cabriolet B

9 1970 Porsche 917 LH

8 1988 Jaguar Jaguar XJR9

Pioneered by Mercedes-Benz and Auto-Union during the 1930s when the factory racing programmes were being subsidized by the Nazi regime as a national prestige project, spats were used on the specially tuned cars used for land-speed record attempts though not on the circuits where the air-flow was needed for brake cooling.  The use on the road cars was sometimes an overt allusion to the quest for aerodynamic efficiency such as those added to the streamlined 540K Autobahn-kurier (highway cruiser) but their use on big machines like the 770K was simply as a styling tool.  The highest evolution of the 1930’s theme was the aero-engined T-80, intended to lay siege to the world Land-Speed Record (LSR).  Powered by a 3,500 hp (2,600 kW), 44.5 litre (2,716 cubic inch) Daimler-Benz DB 603 inverted V12 (most of which were supplied to the Luftwaffe), calculations (all then by slide-rule) suggested it should reach 750 km/h (466 mph) on a 10 kilometre (6 mile) stretch of the Autobahn, closed to other traffic for the occasion.  Scheduled for January 1940, the outbreak of war meant the T-80 never ran.  In the years since, partial or complete spats have often been used on high-speed vehicles in competition.

1970 Chaparral 2J. 

The most extraordinary vindication of the concept was probably the 1970 Chaparral 2J, built for the Canadian-American Challenge Cup (the Can-Am, a series for unlimited displacement sports cars under the FIA’s minimalist Group 7 rules).  Although using a similar frame and power-plant (the all aluminum, 427 cubic inch (7.0 litre) Chevrolet V8 (ZL1)) as most of its competition, it differed in that the bodywork was rather more rectilinear, the transmission was semi-automatic and, most intriguingly, the use of two small auxiliary engines (Rockwell JLO 247 cm³ two-stroke, two-cylinder units which usually powered snowmobiles).  Unlike the auxiliary engines used in modern hybrids which provide additional or alternative power, what the Rockwells did was drive two fans (borrowed from the M-109 Howitzer, the US Army’s self-propelled 155 mm (6 inch) cannon) which pumped air from underneath at 9650 cfm (cubic feet per minute) (273 m3 per minute), literally sucking the 2J to the road, the technique enhanced by a Lexan (a thermoplastic polymer) skirt which partially sealed the gap between the shell and the road.  The rear spats (integrated into the body-shell) were part of the system, offering not only their usual contribution to reduced drag but increasing the extent of the suction generated by the extractor fans.  The 2J was immediately faster than the competition but the suction system proved fragile although, as a proof of concept it worked and it was clear that only development was needed to debug things.  Unfortunately, innovation and high speeds have always appalled the FIA (the Fédération Internationale de l'Automobile which has for decades been international sport’s dopiest regulatory body) and they banned the 2J.  Really, the FIA should give up on motorsport and offer their services to competitive crochet where they can focus on things like pins and needles not being too sharp.

1949 Delahaye 175-S Saoutchik roadster (left), 1967 Cadillac Fleetwood Sixty Special  (centre) & 2016 Rolls-Royce Vision Next 100 (electric) (right).

Fashions change and spats in the post-war years became unfashionable except in the odd market segment which appealed to an older demographic and even there, as the years were by, they were cut-away, revealing more of the wheel & tyre but they never entirely went away and designers with big computers now don’t even need even bigger wind tunnels to optimize airflow and spats have been displayed which are mounted vertically, some even responding to dynamic need by shifting location or direction.

Flown first in 1938 and named after the Spartan admiral Lysander (circa 467-395 BC), the Westland Lysander was a British army co-operation and communications aircraft used extensively during the Second World War (1939-1945).  Although it couldn’t match the extraordinary STOL (short Take-Off & Landing) performance of the its German contemporary the Fieseler Fi 156 Storch, it was capable, robust and had a good enough short-field capability to perform valuable service throughout the conflict.  Like many aircraft with a fixed undercarriage, partially enveloping spats were fitted to reduce drag but those on the Lysander had the unusual feature of being fitted with their own removable spats (similar to those used on automobiles).  Once these were dismounted, assemblies could be fitted to mount either Browning machine guns or stub wings which could carry light bombs or supply canisters.  The arrangement was popular with ground crew because the accessibility made servicing easy and pilots appreciated the low placement because the change in weight distribution had little adverse effect on handling characteristics.