Pile

Pile (pronounced pahyl)

(1) An assemblage of things laid or lying one upon the other.

(2) Slang for a large number, quantity, or amount of anything.

(3) A heap of wood on which a dead body, a living person, or a sacrifice is burned; pyre the more common form.

(4) Slang term for a lofty or large building or group of buildings.

(5) In metallurgy, a bundle of pieces of iron ready to be welded and drawn out into bars; fagot.

(6) In electricity, slang for a voltaic pile.

(7) To gather, accumulate, or rise in a pile or piles (often followed by up).

(8) In construction, a long column of timber, concrete, or steel that is driven into the ground to provide a foundation for a vertical load (a bearing pile) or a group of such columns to resist a horizontal load from earth or water pressure (a sheet pile)

(9) In heraldry, an ordinary in the form of a wedge or triangle coming from one edge of the escutcheon, from the chief unless otherwise specified.

(10) In archery, the sharp head or striking end of an arrow, usually of metal and of the form of a wedge or conical nub.

(11) A fabric with a surface of upright yarns, cut or looped, as corduroy, Turkish toweling, velvet, and velveteen.

(12) In nuclear physics, a structure of uranium and a moderator used for producing atomic energy; nuclear reactor.

Pre 1000: Middle English pile from Old English pīl (shaft) derived from the Latin pīlum (javelin) and pīla (pillar or mole of stone).  Variations emerged in Late Middle English, pyles from 1375–1425 was a plural of the Latin pilae (literally, balls) and from 1300–50 piles (hair, plumage) from the Latin pilus (hair), the -i- short in Latin but long in Anglicized school pronunciation.  The Middle English pyl (reverse of a coin) was a special use of the Medieval Latin pīla.  Word actually passed to English from the Old French pyle. 

The meaning "mass or heap" was universal by the early fifteenth century, originally "pillar, pier of a bridge," from Middle French pile and directly from Latin pila "stone barrier, pillar, pier"; the development in Latin from "pier, harbor wall of stones," to "something heaped up" and the meaning "large building", common by the fourteenth century is probably the same word.  The "heavy pointed beam" is from the Old English pil (stake), as "arrow" is from the Latin pilum (heavy javelin of the Roman foot soldier, literally pestle), source of the Old Norse pila, the Old High German pfil, and the German pfeil (arrow).  Of all these, origin is uncertain.  The meanings as applied to fabrics and downy plumage are from the Anglo-French pyle or the Middle Dutch pijl, both from Latin pilus (a hair), source of the Italian pelo and Old French pel.  Phonological evidence rules out transmission of the English word via the Old French cognate peil and poil; meaning "nap upon cloth" emerged in the 1560s.  The most familiar modern meeting (to heap up) is from the mid fourteenth century while the figurative verbal expression “pile on” (attack vigorously, attack en masse) is an Americanism from 1894.

Chicago Pile-1

The atomic pile was the original name for a nuclear reactor, a device used to initiate and control a self-sustained nuclear chain reaction.  Chicago Pile-1 (CP-1) was the world's first nuclear reactor and on 2 December 1942, the first human-made self-sustaining nuclear chain reaction was initiated.

Chicago Pile-1, 1942                          

CP-1 was built with 45,000 graphite blocks weighing 360 tons used as neutron moderators, fueled by 5 tons of uranium metal and 45 tons of uranium oxide which, despite the bulk, produced only a tiny amount of power, about one-half watt. The original design intended the shape to be spherical but, during construction, it was calculated the critical mass required for a chain-reaction could be achieved with a smaller pile.  Disassembled in 1943, CP-1 was reconfigured to become Chicago Pile-2 (CP-2) and it operated in that form until 1954 when it was dismantled and buried.

A pile of granite blocks (left) and Lindsay Lohan with several stacks of pregnancy books (right), out-take from Labor Pains (2009).

The term "atomic pile" is a historic artefact from the early years of the science but essentially they were the first nuclear reactors, the term derived from what the physicists at the time visualized as a "pile" of the graphite blocks used to moderate the nuclear reaction.  Why the word "pile" was chosen as a descriptor doesn't seem to have been recorded but it must at the time have seen an obvious choice although, the convention in English would have been to use "stack" because although "pile" and "stack" both refer to agglomerations of objects (although can figuratively also be used of the non-physical), the two have slightly different connotations.  A pile tends to be an unordered heap of items, placed without much care to produce a random or shape ("pile of clothes on the floor", "pile of leaves in the yard" etc).  By contrast, a stack is a more orderly arrangement of items placed atop each other ("stack of books on a table", "stack of plates in a cupboard" etc), suggesting something and structured (although the stuff in the stack could in some ways be quite haphazard (ie not in alphabetical order etc).   So, a pile tends to appear to be disordered or unstructured, while a stack suggest some sense of deliberate organization.  None of that suggest the early, pioneering theorists and researchers were wrong in their choice of word.  The first nuclear reactors were called a pile to reflect the basic, rather unrefined way the components were "piled together"; these really were scientific experiments and not without risk, a number of scientists and engineers who worked in close proximity to Chicago Pile-1 dying prematurely from internal cancers, including Italian-American physicist Enrico Fermi (1901–1954), the device's designer & builder.

Velvet

Velvet (pronounced vel-vit)

(1) A fabric fashioned from silk with a thick, soft pile formed of loops of the warp thread either cut at the outer end or left uncut.

(2) In modern use, a fabric emulating in texture and appearance the silk original and made from nylon, acetate, rayon etc, sometimes having a cotton backing.

(3) Something likened to the fabric velvet, an allusion to appearance, softness or texture,

(4) The soft, deciduous covering of a growing antler.

(5) In informal use (often as “in velvet” or “in the velvet”), a very pleasant, luxurious, desirable situation.

(6) In slang, money gained through gambling; winnings (mostly US, now less common).

(7) In financial trading, clear gain or profit, especially when more than anticipated; a windfall profit.

(8) In mixology, as “Black Velvet”, a cocktail of champagne & stout (also made with dark, heavy beers).

(9) A female chinchilla; a sow.

(10) An item of clothing made from velvet (in modern use also of similar synthetics).

(11) In drug slang, the drug dextromethorphan.

(12) To cover something with velvet; to cover something with something of a covering of a similar texture.

(13) In cooking, to coat raw meat in starch, then in oil, preparatory to frying.

(14) To remove the velvet from a deer's antlers.

1275–1325: From the Middle English velvet, velwet, veluet, welwet, velvette, felwet veluet & veluwet, from the Old Occitan veluet, from the Old French veluotte, from the Medieval Latin villutittus or villūtus (literally shaggy cloth), from the classical Latin villus (nap of cloth, shaggy hair, tuft of hair), from velu (hairy) and cognate with French velours.  The Latin villus is though probably a dialectal variant of vellus (fleece), from the primitive Indo-European wel-no-, a suffixed form of uelh- (to strike).  Velvet is a noun, verb & adjective, velvetlike & velvety are adjectives, velveting & velveted are verbs & adjective; the noun plural is velvets.

The noun velveteen was coined in 1776 to describe one of first the imitation (made with cotton rather than silk) velvets commercially to be marketed at scale; the suffix –een was a special use of the diminutive suffix (borrowed from the Irish –in (used also –ine) which was used to form the diminutives of nouns in Hiberno-English).  In commercial use, it referred to products which were imitations of something rather than smaller.  The adjective velvety emerged in the early eighteenth century, later augmented by velvetiness.  In idiomatic use, the “velvet glove” implies someone or something is being treated with gentleness or caution.  When used as “iron fist in a velvet glove”, it suggests strength or determination (and the implication of threat) behind a gentle appearance or demeanor.  “Velvet” in general is often applied wherever the need exists to covey the idea of “to soften; to mitigate” and is the word used when a cat retracts its claws.  The adjective “velvety” can be used of anything smooth and the choice between it and forms like “buttery”, “silky”, “creamy” et al is just a matter of the image one wishes to summon.  The particular instance “Velvet Revolution” (Sametová revoluce in Czech) refers to the peaceful transition of power in what was then Czechoslovakia, occurring from in late 1989 in the wake of the fall of Berlin Wall.  Despite being partially in the Balkans, the transition from communism to democracy was achieved almost wholly without outbreaks of violence (in the Balkans it rare for much of note to happen without violence).

Ten years after: Lindsay Lohan in black velvet, London, January 2013 (left) and in pink velour tracksuit, Dubai, January 2023 (right).

The fabrics velvet and velour can look similar but they differ in composition.  Velvet historically was made with silk thread and was characterized by a dense pile, created by the rendering of evenly distributed loops on the surface.  There are now velvets made from cotton, polyester or other blends and its construction lends it a smooth, plush texture appearance, something often finished with a sheen or luster.  A popular modern variation is “crushed velvet”, achieved by twisting the fabric while wet which produces a crumpled and crushed look although the effect can be realized also by pressing the pile of fabric in a different direction.  It’s unusual in that object with most fabric is to avoid a “crumpled” look but crushed velvet is admired because of the way it shimmers as the light plays upon the variations in the texture.  The crushing process doesn’t alter the silky feel because of the dense pile and the fineness of the fibers.  Velour typically is made from knit fabrics such as cotton or polyester and is best known for its stretchiness which makes its suitable for many purposes including sportswear and upholstery.  Except in some specialized types, the pile is less dense than velvet (a consequence of the knitted construction) and while it can be made with a slight shine, usually the appearance tends to be matte.  Velour is used for casual clothing, tracksuits & sweatshirts and it’s hard-wearing properties mean it’s often used for upholstery and before the techniques emerged to permit vinyl to be close to indistinguishable from leather, it was often used by car manufacturers as a more luxurious to vinyl.  The noun velour (historically also as velure & velours) dates from 1706 and was from the French velours (velvet), from the Old French velor, an alteration of velos (velvet) from the same Latin sources as “velvet”.

US and European visions of luxury: 1974 Cadillac Fleetwood Talisman in velour (top left), 1977 Chrysler New Yorker Brougham in leather (top right), 1978 Mercedes-Benz 450 SEL 6.9 in velour (bottom left) & 1979 Mercedes-Benz 450 SEL 6.9 in leather (bottom right).  Whether in velour or leather, the European approach in the era was more restrained. 

In car interiors, the golden age of velour began in the US in the early 1970s and lasted almost two decades, the increasingly plush interiors characterized by tufting and lurid colors.  Chrysler in the era made a selling point of their “rich, Corinthian leather” but the extravagant velour interiors were both more distinctive and emblematic of the era, the material stretching sometimes from floor to roof (the cars were often labeled “Broughams”).  The dismissive phrase used of the 1970s was “the decade style forgot” and that applied to clothes and interior decorating but the interior designs Detroit used on their cars shouldn’t be forgotten and while the polyester-rich cabins (at the time too, on the more expensive models one’s feet literally could sink into the deep pile carpet) were never the fire-risk comedians claimed, many other criticisms were justified.  Cotton-based velour had for decades been used by the manufacturers but the advent of mass-produced, polyester velour came at a time when “authenticity” didn’t enjoy the lure of today and the space age lent the attractiveness of modernity to plastics and faux wood, faux leather and faux velvet were suddenly an acceptable way to “tart up” the otherwise ordinary.  At the top end of the market, although the real things were still sometimes used, even in that segment soft, pillowy, tufted velour was a popular choice.

1989 Cadillac Fleetwood Brougham D'Elegance in velour (left) and a "low-rider" in velour (right).  The Cadillac is trimmed in a color which in slang came to be known as "bordello red".  Because of changing tastes, manufacturers no longer build cars with interiors which resemble a caricature of a mid-priced brothel but the tradition has been maintained (and developed) by the "low-rider" community, a sub-culture with specific tastes. 

At the time, the interiors were thought by buyers to convey “money” and the designers took to velour because the nature of the material allowed so many techniques cheaply to be deployed.  Compared with achieving a similar look in leather, the cost was low, the material cost (both velour and the passing underneath or behind) close to marginal and the designers slapped on pleats, distinctive (and deliberately obvious) stitching and extra stuffing, the stuff covering seats, door panels, and headliners, augmented with details like tufting (recessed) buttons, grab-handles and chrome accent pieces (often anodized plastic).  By the 1980s, velour had descended to the lower-priced product lines and this was at a time when the upper end of the market increasingly was turning to cars from European manufacturers, notably Mercedes-Benz and BMW, both of which equipped almost all their flagships destined for the US market with leather and real wood although the cloth was more common in Europe.

The Velvet Underground with Nico (Christa Päffgen; 1938–1988) while part of Andy Warhol’s (1928-1987) multimedia road-show The Exploding Plastic Inevitable (1966-1967 and known briefly as “The Erupting Plastic Inevitable” or The Exploding Plastic Invisible).  Unusually, the acronym EPI never caught on.

The (posthumously) influential US rock band The Velvet Underground gained their name from a book with that title, published in 1963, the year before their original formation although it wouldn’t be until 1965 the band settled on the name.  The book was by journalist Michael Leigh (1901-1963) and it detailed the variety of “aberrant sexual practices” in the country and is notable as one of the first non-academic texts to explore what was classified as paraphilia (the sexual attraction to inanimate objects, now usually called Objectum Sexuality (OS) or objectum romanticism (OR) (both often clipped to "objectum")).  Leigh took a journalistic approach to the topic which focused on what was done, by whom and the ways and means by which those with “aberrant sexual interests” achieved and maintained contact.  The author little disguised his distaste for much about what he wrote.  The rock band’s most notable output came in four albums (The Velvet Underground & Nico (1967), White Light/White Heat (1968), The Velvet Underground (1969) & Loaded (1970)) which enjoyed neither critical approval nor commercial success but by the late 1970s, in the wake of punk and the new wave, their work was acknowledged as seminal and their influence has been more enduring than many which were for most of the late twentieth century more highly regarded.

Stack

Stack (pronounced stak)

(1) A more or less orderly pile or heap.

(2) A set of shelves for books or other materials ranged compactly one above the other, as in a library.

(3) As smoke-stack, a number of chimneys or flues grouped together (and used originally to describe an especially tall structure).

(4) A vertical duct for conveying warm air from a leader to a register on an upper story of a building.

(5) A vertical waste pipe or vent pipe serving a number of floors.

(6) In informal use, a great quantity or number.

(7) In radio, an antenna consisting of a number of components connected in a substantially vertical series.

(8) In computing, a linear list arranged so that the last item stored is the first item retrieved and an area in a memory for temporary storage

(9) In military jargon, a conical, free-standing group of three rifles placed on their butts and hooked together with stacking swivels.

(10) In air traffic control, as air stack or stack-up, groups of airplanes flying nearly circular patterns at various altitudes over an airport where crowded runways, a low cloud ceiling, or other temporary conditions prevent immediate landings.

(11) In historic English measure for coal and wood, equal to 106 cubic feet (3m³).

(12) In geology, a column of rock isolated from a shore by the action of waves.

(13) In poker and some other games, the quantity of chips held by a player at a given point in a gambling game.

(14) To arrange or select unfairly in order to force a desired result, especially to load (a jury, committee, etc.) with members having a biased viewpoint.

(15) In Australian slang, to crash (typically a bike, skateboard etc).

(16) In recreational drugs as "stacked pill", a dose (most associated with MDMA) with an external coating in several (stacked) colors.

1250–1300: From the Middle English stak (pile, heap or group of things) from a Scandinavian source akin to the Old Norse stakkr (haystack), thought to be from the Proto-Germanic stakkoz & stakon- (a stake), from the primitive Indo-European stog-, a variant of steg (pole; stick (source of the English "stake")), the source also of the Old Church Slavonic stogu (heap), the Russian stog (haystack) and the Lithuanian stokas (pillar).  It was cognate with the Danish stak and the Swedish stack (heap, stack).

Noted stackers, same cause; different effect: Liz Truss & Xi Jinping with their predecessors.

Especially in politics, the idea of loading the membership of some body (a committee, a branch meeting etc) so that votes may be controlled is an ancient (if not noble) practice but it wasn't described as "stacking" until the early twentieth century.  In some jurisdictions, the practice of "branch stacking" (paying for people to enroll in a political party, many of whom may not be aware of their involvement) has been made unlawful but the technique seems still widespread.  Recent examples at the more exalted level of executive government include Liz Truss (b 1975; UK prime-minister for a few weeks in 2022) who stacked her infamously brief administration exclusively with her supporters regardless of their talent and Xi Jinping (b 1953; paramount leader of the People's Republic of China since 2012) who, when re-structuring the seven member Standing Committee of the Politburo after securing a third term in office, ensured no dissenting voices were likely to be heard.  This worked out not well for Ms Truss; Mr Xi expects better things. 

Stacked: Lindsay Lohan photographed in a pleasing aspect.

Stack in the sense of Australian slang (often as "stacked it") means "to crash" in some way, typically from a skateboard, scooter or bike and (to clarify things) the word was memorably used by #metoo campaigner Grace Tame to explain an injury sustained just after she'd upset the ruling Liberal party.  In the sub-culture of recreational drugs, "stacked pills" are those with a layered color scheme suggesting some interesting variation of ingredients (although all the evidence suggests the finish is purely decorative); among the MDMA crowd "stacked disco biscuits" were said to be a 1990s favorite.  As applied to the (noun) shelves in libraries upon which books are (verb) stacked, use dates from 1879 and as a description of the chimneys of factories, locomotives etc it came into use in the mid-1820s.  The use in computing (the best known of which is probably the IP (Internet Protocol) stack)) dates from 1960 when the word was use to describe software consisting two or more components, the loading of which is dependent on an earlier part, hence the idea of layers which stack upon each-other.  As a modifier it was used to describe the haystack in the mid-fifteenth century and in industrial architecture the smoke-stack (a very tall factory chimney) dates from the mid 1820s (although the structures pre-date the use).  The use of smoke-stack was later picked up by naval architects and was applied also to steam locomotives although these exhausts weren't disproportionately tall.  The verb stack emerged in early fourteenth century agriculture in the sense of "to pile up the grain into a stack" and was thus directly from the noun.  Perhaps surprisingly, the adjectival use of stacked appears undocumented until 1796 when it was used as a past participle to describe the clusters of hay assembled at harvest but etymologists suspect it had long been in oral use.  The adjectival use of stacked to suggest a woman who is pleasingly (even perhaps slightly disproportionately) curvaceous dates from 1942.

Of DeSoto's triple stack

1957 DeSoto Adventurer Convertible.

DeSoto's signature triple stacked taillights were a footnote in Detroit's macropterous era of the late 1950s, the style making possible the distinctive vertical arrangement.  Chevrolet would for years make triple taillights a trademark of their more expensive lines (although, apart from the odd special built for the show circuit, they resisted the temptation to add a third to the Corvette (the additional rear apertures on the abortive 1963 Corvette Grand Sport (GS) were for air extraction)) but they appeared always in a less memorable horizontal array.  DeSoto's motif was Chrysler's most successful use of the fins but it wasn't enough to save the brand  which was crowded out of the mid-priced market, not only by competition from General Motors (GM) and Ford but also by intra-corporate cannibalization, squeezed from below by Dodge and from above by Chrysler's new Newport line.  Demand for DeSotos collapsed and that so many were built in 1960 was simply to use up the large inventory of the few parts still exclusive to the brand.  The last of the line, heavily discounted, were not sold until well into 1961.

More sharing of stuff than before: 1960 DeSoto Fireflite four-door hardtop (left) and 1960 Chrysler New Yorker four-door hardtop (right).

By 1959 the writing was on the wall for the once popular DeSoto and the 1960 range would prove its swansong, the last of the breed barely modified Chryslers and the only real hint of the past was the taillight's triple frets.  On the DeSoto the ridges were a modest attempt to retain brand identity but in optics such things have a purpose and are known as “Fresnel lenses” or “Fresnel ribs”, the name from French civil engineer Augustin-Jean Fresnel (1788–1827), remembered for his research into optics which led eventually to the near-unanimous acceptance of the nature of light being a wave (he was half-right but light was later proved to possess a wave-particle duality).  His more enduring Fresnel lens used the catadioptric (reflective/refractive) principle and what the “stepped” design did was extend the reach of lighthouse beams, doubtlessly saving the lives of many seafarers.  Fresnel’s invention was a refinement of the dioptric (refractive) stepped lens, a concept first published by the French cosmologist and mathematician Georges-Louis Leclerc, Comte de Buffon (1707-1788) and Fresnel’s enhancements better distributed and directed the light, improving visibility from longer distances and a greater range of angles.

By 1960 (left) the DeSoto's taillights were a shadow of the way the triple-stack motif had been defined in 1959 (right): This juxtaposition is DeSoto Red Tail Lights in Black and White by Paul Ward.  Many designers probably will prefer the later interpretation but there's a charm to the triple stack.

Open stack exhausts

The exhaust systems of most internal combustion engines are designed to allow as efficient an operation as possible over a broad range of engine speeds while performing as quietly as is required.  Unlike engines used on the road, those designed for competition aren’t as compromised by the need for a wide powerband and quiet operation so open stack exhausts, optimized for flow and the reduction of back-pressure, are attractive.

Stacked: BRM P57 in its original configuration.

During the 1950s, despite engine capacity having being reduced from 4.5 (275 cubic inch) to 2.5 (153 cubic inch) litres, speeds in Formula One were increasing so the sport’s governing body (then the  Commission Sportive Internationale (CSI)), a crew almost as dopey about such things as the Fédération Internationale de l'Automobile (FIA) are now), reacted by imposing a further reduction to 1.5 litres (92 cubic inch).  The 1.5 litre formula ran between 1961 and 1965 but came under increasing criticism as being unworthy of Formula One status in an age when big-engined machinery in other categories was attracting such interest.  The rules did however compel designers and engineers to conjure up some exquisite voiturettes.  BRM’s jewel-like 1.5 litre V8 was the first since the one-off Mercedes-Benz W165 built for the 1939 Tripoli Grand Prix and proved successful, winning the 1962 drivers’ and constructors’ championships.  To extract the maximum from the tiny V8, BRM initially ran them with eight, slightly angled, open-stack exhaust headers which were effective but, because of the limits of the metallurgy of the era they were prone to working loose so, with only the slightest sacrifice in top-end power, during 1962 an orthodox horizontal system was fabricated as a replacement.

Stacked: Graham Hill, 14^th BRDC (British Racing Drivers Club) International Trophy, Silverstone, 12 May 1962.

BRM's chassis for the 1.5 litre formula was actually ready before the new (P56) V8 so in 1961 it was fitted with the widely-used four cylinder Coventry Climax unit which proved uncompetitive against the various configurations of the V6 used in the Ferrari 156 F1 (the "sharknose").  Confusingly, in its debut season, BRM labelled the car the P48/P57 while in 1962 the official name was P578; subsequently just about everybody called the thing the P57 and although lacking the charisma of the earlier and later sixteen cylinder cars it was the factory's most successful engine/chassis combination and wasn't replaced until 1964, one private team even (without success) campaigning the P57 into 1965.

Destacked: Graham Hill, 1962 South African Grand Prix, East London, 29 December 1962.  While the more tightly regulated forms of circuit racing (mostly) restricted the use of open-stack exhausts, in more permissive places (notably the wildly modified "Sports Racing Closed" and "Allcomer" competitions in Australia and New Zealand) the protuberant pipes lasted longer.

Chenille

Chenille (pronounced shuh-neel)

(1) A thick soft tufty silk or worsted velvet cord or yarn used in embroidery and for trimmings and other embellishments.

(2) A fabric made with such a fringed silken thread used as the weft in combination with wool or cotton; it’s a popular fabric for garments such as sweaters.

(3) In casual use, any fabric with a protruding pile, as in certain rayon bedspreads.

(4) A deep-pile, durable, woolen carpeting with chenille weft: the most expensive of the power-loomed floor coverings in volume production.

(5) In botany, the chenille plant (Acalypha hispida), a shrub with colorful furry flowers

1738: from the French chenille (velvety cord used in embroidery, fringes etc (literally “hairy caterpillar” and a doublet of canicule)), from the Latin canīcula (which under a strict etymological breakdown suggests “little dog” but the only documented use was in the senses “shrewish woman”; “dogfish”; “the star Sirius” (canicular); the worst throw in a game of dice); it was a diminutive of canis (dog), from the from primitive indo-European root kwon- (dog).  All uses are derived from the furry look of certain caterpillars.  Chenille is a noun and chenillelike (also as chenille-like) is an adjective; the noun plural is chenilles.

Renault UE Chenillette with trailer, the combination configured as a refueling unit for the infantry, circa 1932.

The unrelated noun chenillette originally described a class of small (most not even 3 metres (10 feet) in length), armored vehicles built for the French Army during the 1930s.  Because they were tracked, they were sometimes referred to as tankettes (a noun later adopted as military slang for scaled-down tanks) but that was misleading because they were really armored utility vehicles intended to tow artillery pieces or trailers with supplies.  The earliest had provision only for a driver and were unarmed but later designs expanded both capacities.  By the standards of the time they were fast and being cheap to produce and operate were produced in large numbers and used by a number of militaries as late as the 1950s.  In the UK, the Chenille name was adopted for a tracked sidewalk tractor, especially one equipped with plough-like device for clearing snow, the name an allusion to the (vaguely) caterpillar-like appearance.  In arctic regions, snowcats (tracked, truck-like enclosed vehicles used to transport people and supplies across snow & ice) are sometimes referred to as chenillettes, the term used also for some of the machines operated by ski resorts or others in alpine areas.

The inspiration: Woolly Bear caterpillar (Pyrrharctia isabella), the caterpillar the larval stage of the Isabella tiger moth.

Chenille is a type of fabric construction available in a range of designs and valued for qualities as varied as disguising wrinkles and retaining an opulent sheen meaning it is adaptable and widely used.  The name comes from the French chenille (caterpillar) and in an allusion to the creature’s soft, fluffy appearance although this shouldn’t be taken too literally because some caterpillars have stinging hairs which can induce health problems such as itching, conjunctivitis, sore throats and various localized irritations which can in some cases lead to infections and because the hairs can even be flown off by gusts of wind, even being in close proximity can expose one to risk.  The chenille technique used to produce the fabric involves placing several short piles of yarn between two core yarns, weaving them together to create a raised (ie hairy) effect.

Lindsay Lohan in a pale pink chenille midi-dress by David Koma (b 1985), Clarins new product launch party, Los Angeles, March 2024.

Thick, durable, and water-resistant, chenille is popular with furniture manufacturers and used for upholstery and its seen often in bed sheets, rugs and linens but most photographed are the sweaters, dresses and such, the industry liking the look because it’s so easy to achieve a lustrous, opulent appearance and customers like it because the texture is such that it “absorbs” crushing, crinkling and wrinkling without obvious effect.  Quite which type of chenille should be chosen will be dictate by the appearance desired and that is a product of the materials used in the construction: cotton, silk, and wool chenille lend a soft and luxurious texture, polyester versions have a shiny, almost velvety sheen while rayon chenille is famously lush, durable valued for its shimmering iridescence.  The cost breakdown of course dictates patterns of consumption and polyester chenilles are by far the cheapest and most widely used for furniture, especially where the surface areas large or subject to high use.  Natural fibres such as wool raises the cost and demand more maintenance but no synthetic can match the softness, natural feel and desired degree of fuzziness.

Examples of chenille fabrics.

Chenilles are among the more recent fabrics, the technique coming into use in France only in the mid-eighteenth century although then it was the preserve of artisans and it wasn’t until the 1830s that industrial production began in Scotland.  Initially the fabrics were expensive because the process was broken into several stages and although mechanized, it remained labor intensive until dedicated machines were developed.  The centre of production shifted to the US and by the 1930s, despite the onset of the Great Depression, the sector emerged as a bright spot for the industry because chenilles were adaptable to purposes as diverse as floor mats, bedspreads and upholstery, the economics particularly attractive because the production process made such efficient use of the cotton crop.  Use actually declined in the post-war years but new techniques and the expansion of mass-market fashion in the 1960s & 1970s saw renewed interest in it for garments and fashion houses at all levels four it a flexible and adaptable fabric.  Not unexpectedly, as manufacturing in the 1980s shifted to South Asia and the Far East, “faux chenille” soon hit the high street.

Dump

Dump (pronounced duhmp)

(1) To drop something or let fall in a mass; fling down or drop heavily or suddenly.

(2) To empty the contents of something (by tilting, overturning etc).

(3) To dismiss, fire, or release from a contract.

(4) In informal (and very common) use, to end a relationship with someone (especially a romantic partner), used mostly when the action is one-sided although there are many mutual dumpings, even if some are technically retrospective.

(5) Suddenly to transfer or rid oneself of some responsibility, task or duty.

(6) In the slang of boxing (1) to knock down an opponent & (2) intentionally to lose a match.

(7) In commerce (1) to put (goods or securities) on the market in large quantities and at a low price without regard to the effect on market conditions or (2) deliberately to offer goods in large quantities or at prices below the cost of production & distribution in an attempt to drive out competition.

(8) In international trade, to sell (goods) into foreign markets below cost in order to promote exports or damage foreign competition.

(9) In computers, (1) to print, display or record on an output medium the contents of a computer's internal storage or the contents of a file, often at the time a program fails, later to be used to debug or determine the cause or point of failure or (2) as screen dump, to print or create an image file of the screen’s display.

(10) Of precipitation (rain, hail & (especially) snow), heavy downfalls.

(11) In historic use, a small coin made by punching a hole in a larger coin (called a holey dollar and issued in both Canada and Australia).

(12) A deep hole in a river bed; a pool (a northern England regionalism).

(13) In slang, to kill; to arrange or commit murder.

(14) To fall or drop down suddenly.

(15) To throw away, discard etc something.

(16) In informal use, to complain, criticize, gossip, or tell another person one's problems (often as “to dump on”); to treat with disrespect, especially to criticize harshly or attack with verbal abuse.

(17) In vulgar slang, an evacuation of the bowels; to defecate (often as “take a dump”; men especially fond of the phrase “huge dump”).

(18) An accumulation of discarded garbage, refuse etc; a tip or landfill site, also called a dumpsite or dumping-ground.

(19) In military use, a collection of ammunition, stores, etc, deposited at some point, as near a battlefront, for distribution (ammo dump, fuel dump etc).

(20) In mining, a runway or embankment equipped with tripping devices, from which low-grade ore, rock etc., are dumped; the pile of stuff, so dumped.

(21) In informal use, a place, house or town (even a state or entire country according to some) that is dilapidated, dirty, or disreputable.

(22) In merchandising, a bin or specially made carton in which items are displayed for sale.

(23) In surfing (of a wave) to hurl a swimmer or surfer down.

(24) To compact bales of wool by hydraulic pressure (Australian and New Zealand).

(25) A mournful song; a lament; a melancholy strain or tune in music; any tune (obsolete).

(26) A sad, gloomy state of the mind; sadness; melancholy; despondency (usually in the form “down in the dumps”).

(27) Absence of mind; reverie (now rare).

(28) Heavily to knock; to stump (Scottish, obsolete).

(29) A thick, ill-shapen piece (UK, archaic).

(30) A lead counter used in the game of chuck-farthing (UK, archaic).

(31) A type of dance (obsolete).

1300–1350: From the Middle English dompen & dumpen (to fall suddenly, plunge), from the Old Norse dumpa (to thump, strike, bump).  The modern senses of the transitive verb and noun are unknown prior to the nineteenth century and may either be from another source or are an independent expressive formation.  There may have been some Scandinavian influence such as the Norwegian dumpa (suddenly to fall) which may also be linked with other Germanic forms such as the Middle Low German dumpeln (to duck) and the Danish dumpe (suddenly to fall).  The use in the sense of “hole used for the disposal of unwanted items by burying” was a development of the Scots dump (hole in the ground), the Norwegian dump (a depression or hole in the ground), the German Low German dumpen (to submerge) and the Dutch dompen (to dip, sink, submerge), something obviously not unrelated to the early fourteenth century meaning “throw down or fall with force, drop (something or someone) suddenly” which didn’t exist in Old English.  The modern use is actually most modern, the sense “unload en masse, cause to fall out by tilting up a cart etc” not recorded until it emerged in American English by 1784 while that of “discard, abandon” dates from 1919.  The use in economics to describe “export or throw on the market in large quantities at low prices” was first noted in 1868 in the context of anti-competitive practices.  A dumping ground was first documented in 1842 although the term may earlier have been in oral use.  Dump & dumping are nouns & verbs, dumped is a verb, dumper & dumpage are nouns and dumpy is an adjective; the noun plural is dumps.

By 1865, the noun dump was understood as place “where refuse is dumped, piled or heaped; a repository of refuse matter” and applied originally to extractive mining as a development of the verb, the use extending to sites for discarding domestic rubbish by 1872, the earlier “dumping-ground” common by 1857.  The meaning “any shabby or dilapidated place” dates from 1899 while the use by the military to describe places for the “collection of ammunition, equipment etc, deposited at a convenient point for later distribution” was a product of World War I (1914-1918), noted first in 1915 and possibly a development from soldiers’ slang although the later war-time slang to mean “act of defecating” appears to be of civilian origin, noted first in the US in 1942.  The dump-truck was first so described in 1930s and although truck had for decades been used to dump stuff, the name was derived from the use of hydraulic rams to enable to load more quickly to be emptied by raising the load bed or freight compartment at an acute angle.

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

The “Dempster-Dumpster trash-hauling mechanism” remains familiar as the modern “dumpster”, a large, mobile container designed to be removed by a truck and taken away so the contented could be dumped in a dump, the container quickly reused.  It was patented by the Dempster brothers of Knoxville, Tennessee who ran an operation manufacturing waste collection vehicles (which would eventually include the Dempster Dumpmaster and Dempster Dinosaur).  The Dempster-Dumpster system achieved success by creating a system of mechanically emptying standardized metal containers which had been perfected between 1935-1937.  The concept of the dumpster (a standardized design able to be stored, re-used and transported efficiently) later influenced the development of container shipping.  The name dumpster became generic and was itself linguistically productive: “dumpster diving” (1979) described the practice of scavenging from dumpsters while “dumpster fire” was a figurative reference to a situation at once calamitous, foul and either insoluble or, if fixable, not worth the effort.  In use, a “dumpster fire” is similar to a “train wreck” or “shit show” but different from a “hot mess”, hot messes worth fixing because they remain in essence, desirable.  The use of “dumpster fire” spiked in the run-up to the 2016 US presidential election, used not only by both camps but also disillusioned neutrals.

The noun landfill dates from 1916 was a euphemism for dump although unlike some of the breed, it was at least literally true.  The adjective dumpy (short and stout) was from circa 1750 and the origin is undocumented but many etymologists assume it was linked to dumpling (mass of boiled paste (also “a wrapping in which something is boiled”)) which dates from circa 1600 and was from the Norfolk dialect, again of uncertain origin but the source may be Germanic or simply from “lump” (and there are those who argue dumplings were probably originally “lumplings”).  Lump was from the Middle English lumpe, from a Germanic base akin to the Proto-Germanic limpaną (to glide, go, loosely to hang).  “Humpty Dumpty” was a French nursery rhyme hero (it seems first to have been translated into English in 1810) and in the late eighteenth century it had been used to mean “a short, clumsy person of either sex”, presumably a reduplication of Humpty (a pet form of Humphrey (which was used of mandarin Sir Humphrey Appleby in the BBC Television comedy Yes Minister) although a humpty-dumpty in the 1690s was originally was a drink, a cocktail of “ale boiled with brandy” which probably tasted better than it sounds.  The construction was based presumably on hump and dump but the basis has eluded researchers.  In the late twentieth century, “hump & dump” was repurposed to describe the practice (habit, calling, tactic, whatever) of enticing a woman in order to enjoy sex and immediately afterwards leaving, never to ring or call.  It’s subsequently be claimed by bolshie women for much the same purpose; the variations included “fuck & chuck”, “pump & dump:, “jump and dump” and “smash and dash”.

Crooked Hillary dumping on deplorables, Georgia, 2016.

Big buses have long been used by politicians for their campaign tours.  They offer lots of advantages, being offices and communications centres with at least some of their running costs offset by a reduction in staff travel expenses.  Additionally, with five large, flat surfaces, they are a rolling billboard although that can be good or bad.  In 2016, one of crooked Hillary Clinton’s campaign buses was photographed in Lawrenceville, Georgia dumping a tank full of human waste onto the street and into a storm drain.  The local news service reported that when police attended the street was “…was covered in toilet paper and the odor was noxious”.  Hazmat crews were called to clean up the scene and the matter was referred to the environmental protection division of Georgia’s Department of Natural Resources.  The Democratic National Committee (DNC) later issued an apology, claiming the incident was “an honest mistake.”  Using the word “honest” in any statement related to crooked Hillary Clinton is always a bit of a gamble and there was no word on whether the dumping of human excrement had been delayed until the bus was somewhere it was thought many deplorables may be living.  If so, that may have been another “honest mistake” because Gwinett County (in which lies Lawrenceville) voted 51.02% Clinton/Kaine & 45.14% Trump/Pence although the symbolism may not have been lost on much of the rest of Georgia; state wide the Republican ticket prevailed 50.38% to 45.29%.

Dump has been quite productive.  A “dump-pipe” is part of the exhaust system in an internal combustion engine; a “brain dump” or “info dump” is the transfer of a large quantity of information or knowledge from one person (or institution) to another, although it’s also used in the slang of those working in the theoretical realm of the digitizing of human consciousness; a block dump was an image contains the sectors read from an original floppy diskette or optical disc; “dump months” are those periods during which film distributers & television programmers scheduled content either of poor-quality or of limited appeal; a “dump job” was either (1) the act of moving a corpse or some incriminating material from the scene of the crime to some un-related place, preferably remote & deserted or (2) the abandonment of an unfinished task for which the abandoner might be expected to take responsibility, especially in a fashion that makes it likely that one or more colleagues will take on its completion; the “mag dump” was military slang for the act of firing an entire magazine-full of ammunition from a fully-automatic weapon in a single burst; “dumpsville” could be either (1) the figurative location of a person who has been dumped by a lover or (2) a description of an undesirable town or other locality; to be “down in the dumps” is to be depressed, miserable and unhappy.

An electrically controlled exhaust system "cut-out", the modern version of the old, mechanical, "by-passes".  All dump-pipes work by offering exhaust gasses a "shortcut" to the atmosphere.

In internal combustion engines (ICE), there are both down-pipes and dump-pipes.  Their functions differ and the term down-pipe is a little misleading because some down-pipes (especially on static engines) actually are installed in a sideways or upwards direction but in automotive use, most do tend downwards.  A down-pipe connects the exhaust manifold to exhaust system components beyond, leading typically to first a catalytic converter and then a muffler (silencer), most factory installations designed deliberately to be restrictive in order to comply with modern regulations limiting emissions and noise.  After-market down-pipes tend to be larger in diameter and are made with fewer bends to improve exhaust gas flow, reduce back-pressure and (hopefully) increase horsepower and torque.   Such modifications are popular but not necessarily lawful.  Technically, a dump-pipe is a subset of the down-pipes and is most associated with engines using forced aspiration (turbo- & some forms of supercharging).  With forced-induction, exhaust gases exiting the manifold spin a turbine (turbocharger) or drive a compressor (supercharger) to force more of the fuel-air mixture into the combustion chambers, thereby increasing power.  What a dump-pipe does is provide a rapid, short-path exit for exhaust gases to be expelled directly into the atmosphere before reaching a down-pipe.  That makes for more power and noise, desirable attributes for the target market.  A dump pipe is thus an exit or gate from the exhaust system which can be opened manually, electronically, or with a “blow-off” valve which opens when pressure reaches a certain level.  In the happy (though more polluted) days when regulations were few, the same thing was achieved with an exhaust “by-pass” or “cut-out” which was a mechanical gate in the down-pipe and even then such things were almost always unlawful but it was a more tolerant time.  Such devices, lawful and otherwise, are still installed.

Grab from a Microsoft Windows system dump.  Although dumps contain much, of the thousands of lines one might contain, only a small string of text in one line might be relevant and users may need some assistance to interpret the result. 

In computing, a system dump is typically a commitment to a file of what exists in memory (random access memory (RAM) or on a paged volume) and they’re created usually at points of failure, creating essentially a snapshot of what was happening either at or immediately prior to the unfortunate event.  The contents of a system dump can be used to identify errors and debug programs.  A “stand-alone dump” program (a SAD or SADMP) produces a dump occupied by either (1) a system that failed or (2) a stand-alone dump program that failed.  Either the stand-alone dump program dumped itself (a self-dump) or the operator loaded another stand-alone dump program to dump the failed stand-alone dump program.  It’s less ominous than it sounds and together, the stand-alone dump program and the stand-alone dump together form what is known as the stand-alone dump service aid.  The significance of the element “stand-alone” is that the dump is performed separately from normal system operations and does not require a system to be in a condition for normal operation.  It means that except in cases of catastrophic failure (especially if involving the total loss of mains & UPS (uninterruptable power supply) power, it should be possible always to create a high-speed, unformatted dump of central storage and parts of paged-out virtual storage on a tape device or a direct access storage device (DASD).  The stand-alone dump supplies information which can be used to determine why the system or the stand-alone dump program failed.