Zarf

Zarf (pronounced zahrf)

In the Levant, a holder with a handle, rendered traditionally in ornamental metal and used to hold a coffee cup without a handle.

1836: Adopted in English from the Ottoman Turkish ظرف‎ (zarf), from the Arabic ظَرْف‎ (ẓarf) (container, sheath).  An alternative spelling is zurf and in the Balkans: zȁlf & zȁf (Serbo-Croatian); zȁrf (за̏рф in Cyrillic).  Zarf is a noun; the noun plural is zarfs.

Ottoman era solid silver zarf (with a depiction of the Hagia Sophia in Istanbul (formerly Constantinople), Turkey (now the Republic of Türkiye), circa 1890.

Zarf was a specialized adoption in Ottoman Turkish of the Arabic zarf which means “container”.  In Arabic, a zarf is also an envelope and the word is sometimes appended to various Arabic, English and international forms as required.  A Zarf-DL is the familiar DL envelope, a zarf değiştirmeyi is a change envelope and, specific to printers, a zarf yazıcı is an envelope feeder & zarf dönüş an envelope return.

Lindsay Lohan out getting the morning coffee fix.

The modern plastic zarf.  Modern zarfs are designed to accommodate most disposable coffee cups, made usually in a small-medium-large range which is not quite internationally standardized but with variations small enough not to matter.

Better to minimize the risk of an almost inevitable spillage and seldom seen without a most capacious handbag in which one might be carried, noted coffee fiend Lindsay Lohan really should invest in a modern, portable zarf although, how long single-use, disposable coffee cups will be permitted isn’t known.  Weather forecaster Greta Thunberg (b 2003) would probably suggest we should all carry our own cup but history suggests governments are unlikely to rely on environmental consciousness to induce behavioral change and consumers may soon be charged to use disposable coffee cups and wooden utensils.  The experiment with forcing supermarkets to charge for plastic bags proved yet again what increasing the cost of cigarettes had repeatedly demonstrated: that nothing changes behavior quite as well or as quickly as making the target more expensive.  Remarkably, since the UK government introduced their levy on plastic bags, consumption has dropped by over ninety percent, a good outcome which pleased the supermarkets too.  It meant a small but not insignificant cost of operating was shifted from retailer to consumer and the introduction of a relatively low-volume but highly profitable a new profit centre: plastic bags.  In Australia, the dominant duopoly, Coles and Woolworths, which once had to give away a combined 5.7 billion bags annually year at .3 cents per bag, costing them Aus$171 million, now sell 1.2 billion of the heavier bags, yielding an annual profit estimated to be about Aus$70 million; a turn round of Aus$240 million so a nice little earner and some handy green-washing to boot.

Heckblende

Heckblende (pronounced hek-blend or hek-blend-ah (German)

A moulded piece of reflective plastic permanently mounted between a car’s tail lamp (or tail light) assemblies and designed to make them appear a contiguous entity

1980s: A compound word in modern German, the construct being Heck (rear; back) + Blende (cover).  As a surname, Heck (most common in southern Germany and the Rhineland) came from the Middle High German hecke or hegge (hedge), the origin probably as a topographic name for someone who lived near a hedge.  The link with hedges as a means of dividing properties led in the Middle Low German to heck meaning “wooden fencing” under the influence of the Old Saxon hekki, from the Proto-West Germanic hakkju.  In nautical slang heck came to refer to the “back of a ship” because the position of the helmsman in the stern was enclosed by such a fence and from here it evolved in modern German generally to refer to "back or rear".  The Modern German Blende was from blenden (deceive), from the Middle High German blenden, from the Old High German blenten, from the Proto-Germanic blandijaną, from the primitive Indo-European blend- and was cognate with the Dutch blenden and the Old English blendan.  Because all German nouns are capitalized, Heckblende is correct but in English, when used, heckblende is the usual spelling.

The German blende translates as “cover” so the construct Heck + Blende (one of their shorter compounds) happily deconstructs as “back cover” and that obviously describes the plastic mouldings used to cover the space between a car’s left and right-side tail lamps.  Blenden however can (as a transitive or intransitive) translate as (1) “to dazzle; to blind” in the sense of confuse someone’s sight by means of excessive brightness”, (2) (figuratively and usually as an intransitive) to show off; to pose (try to make an impression on someone by behaving affectedly or overstating one’s achievements) and (3) “to dazzle” in the sense of deception (from the 1680s German Blende (an ore of zinc and other metals, a back-formation from blenden (in the sense of "to blind, to deceive") and so called because the substance resembles lead but yields none (but should not be confused with the English construct hornblende (using the English “blende” in the sense of “mix”) (a dark-green to black mineral of the amphibole group, calcium magnesium iron and hydroxyl aluminosilicate)).

A heckblende thus (1) literally is a cover and (2) is there to deceive a viewer by purporting to be part of the rear lighting rather than something merely decorative (sic).  If a similar looking assembly is illuminated and thus part of the lighting system, then it's not a heckblende but part of a full-width tail lamp. 

1934 Auburn Boat-tail Speedster.

On cars, the design of tail lamps stated modestly enough and few were in use before 1914, often a small, oil-lit single lens the only fitting.  Electric lamps were standardized by the 1920s and early legislation passed in many jurisdictions specified the need for red illumination to the rear (later also to indicate braking) but about the only detail specified was a minimum luminosity; shape, size and placement was left to manufacturers.  Before the late 1940s, most early tail laps were purely functional with little attempt to make them design motifs although during the art deco era, there were some notably elegant flourishes but despite that, they remained generally an afterthought and on lower priced models, a second tail lamp was sometimes optional, the standard of a left and right-side unit not universal until the 1950s.

A tale of the tails of two economies:  1959 MGA Twin-Cam FHC & 1959 Daimler Majestic (upper) and 1959 Chevrolet Impala (batwing) flattop & 1959 DeSoto Adventurer convertible (lower).

It was in the 1950s the shape of tail lamps became increasingly stylized.  With modern plastics freeing designers from the constraints the use of glass had imposed and the experience gained during the Second World War in the mass-production of molded Perspex, new possibilities were explored.  In the UK and Europe, there was little extravagance, manufacturers content usually to take advantage of new materials and techniques mostly to fashion what were little more than larger, more rounded versions of what had gone before, the amber lens being adopted as turn indicators to replace the mechanically operated semaphore signals often little more than a duplication of the red lamp or an unimaginatively-added appendage.

1961 Chrysler Turboflite show car.

Across the Atlantic, US designers were more ambitious but one idea which seems not to have been pursued was the full-width tail lamp and that must have been by choice because it would have presented no challenges in engineering.  Instead, as the jet age became the space age, the dominant themes were aeronautical or recalled the mechanism of rocketry, tail lamps styled to resemble the exhausts of jet-engines or space ships, the inspiration as often from SF (science fiction) as the runway.  Pursuing that theme, much of the industry succumbed to the famous fin fetish, the tails of their macropterous creations emphasizing the vertical more than the horizontal.  Surprisingly though, despite having produced literally dozens of one-off “concept” and “dream” cars over the decade, it seems it wasn’t until 1961 when Chrysler sent their Turboflite around the show circuit that something with a genuine full-width tail lamp was shown.

1936 Tatra T87 (left), 1961 Tatra T603A prototype (centre) & 1963 Tatra T-603-X5 (right).

That same year, in Czechoslovakia, the Warsaw Pact’s improbable Bohemian home of the avant garde, Tatra’s engineers considered full-width tail lamps for their revised 603A.  As indicated by the specification used since before the war (rear-engined with an air-cooled, 2.5 litre (155 cubic inch) all-aluminum V8), Tatra paid little attention to overseas trends and were influenced more by dynamometers and wind tunnels.  However, the tail lamps didn’t make it to volume production although the 603A prototype did survive to be displayed in Tatra’s Prague museum.  Tatra’s designs, monuments to mid-century modernism, remain intriguing.

1967 Imperial LeBaron four door Hardtop.

If the idea didn’t impress behind the iron curtain, it certainly caught on in the West, full-width assemblies were used by many US manufacturers over the decades including Mercury, Imperial, Dodge, Shelby, Ford, Chrysler & Lincoln.  Some genuinely were full-width lamps in that the entire panel was illumined, a few from the Ford corporation even with the novelty of sequential turn-signals (outlawed in the early 1970s, bureaucrats seemingly always on the search for something to ban).  Most however were what would come to be called heckblendes, intended only to create an illusion.

Clockwise from top left: 1974 ZG Fairlane (AU), 1977 Thunderbird (US), 1966 Zodiac Mark IV (UK), 1970 Thunderbird (US), 1973 Landau (AU) & 1970 Torino (US).

Whether heckblendes or actually wired assemblies, Ford became especially fond of the idea which in 1966 made an Atlantic crossing, appearing on the Mark IV Zodiac, a car packed with advanced ideas but so badly executed it tarnished the name and when it (and the lower-priced Zephyr which made do without the heckblende) was replaced, the Zephyr & Zodiac names were banished from Europe, never to return.  Ford’s southern hemisphere colonial outpost picked-up the style (and typically several years later), Ford Australia using heckblendes on the ZF & ZG Fairlanes (1972-1976) and the P5 LTD & Landau (1973-1976).  The Fairlane’s heckblendes weren’t reprised when the restyled ZH (1976-1979) model was released but, presumably having spent so much of the budget on new tail lamps, the problem of needing a new front end was solved simply by adapting that of the 1968 Mercury Marquis (the name shamelessly borrowed too), colonies often run with hand-me-downs.

1968 HK Holdens left to right: Belmont, Kingswood, Premier & Monaro GTS.  By their heckblende they shall be known.

In Australia, the local subsidiary of General Motors (GM) applied a double fake.  The "heckblende" on the HK Monaro GTS (1968-1969), as a piece of cost-cutting, was actually red-painted metal rather than reflective plastic and unfortunately prone to deterioration under the harsh southern sun; it was a fake version of a fake tail lamp.  Cleverly though, the fake apparatus was used as an indicator of one's place in the hierarchy, the basic Belmont with just tail lamps, the (slightly) better-appointed Kingswood with extensions, the up-market Premier with extended extensions and the Monaro GTS with the full-width part.  Probably the Belmont and Premier were ascetically most successful.  Exactly the same idea was recycled for the VH Commodore (1981-1984), the SL/E (effectively the Premier's replacement) model's tail lamp assemblies gaining stubby extensions.

Left to right, 1967 HR Premier, 1969 HT Brougham & 1971 HQ Premier.  

The idea of a full-width decorative panel wasn’t new, Holden having used such a fitting on earlier Premiers.  Known as the “boot appliqué strip”, it began small on the EJ (1962-1963), EH (1963-1965) & HD (1965-1966) before becoming large and garish on the HR (1966-1968) but (although not then known as bling), that must have been thought a bit much because it was toned down and halved in height when applied to the elongated and tarted-up Brougham (1968-1971 and intended to appeal to the bourgeoisie) and barely perceptible when used on the HQ Premier (1971-1974).  Holden didn’t however forget the heckblende and a quite large slab appeared on the VT Commodore (1997-2000) although it wasn’t retained on the revised VX (2000-2002) but whether in this the substantial rise in the oil price (and thus the cost of plastic) was a factor isn’t known.

Left to right: 1973 Porsche 914 2.0, 1983 BMW 323i (E30) & 1988 Mercedes-Benz 300E (W124).

Although, beginning with the 914 in 1973, Porsche was an early European adopter of the heckblende and has used it frequently since, it was the 1980s which were the halcyon days of after-market plastic, owners of smaller BMWs and Mercedes-Benz seemingly the most easily tempted.  The additions were always unnecessary and the only useful way they can be catalogued is to say some were worse than others.  The fad predictably spread to the east (near, middle & far) and results there were just as ghastly although the popularity of the things must have been helpful as a form of economic stimulus, such was the volume in which the things were churned out.  Among males aged 17-39, few things have proved as enduringly infectious as a love of gluing or bolting to cars, pieces of plastic which convey their owner's appalling taste. 

2019 Mercedes-Benz EQC 400 with taillight bar.

Fewer manufacturers now use heckblendes as original equipment and when they did the terminology varied, nomenclature including "decor panels", "valances" or "tail section appliqués".  However, although the heckblende may (hopefully) be headed for extinction, full-width tail lamps still entice stylists and modern techniques of design and production, combined with what LEDs & OLEDs have made possible, mean it’s again a popular feature, the preferred term now “taillight bar”.

Latex

Latex (pronounced ley-teks)

(1) A sometimes colorless, sometimes milky liquid containing protein, starch, alkaloids etc in certain plants, which exists in plants such as milkweeds, euphorbias, poppies, or the plants yielding India rubber, that coagulates on exposure to air.

(2) In chemistry, a suspension of synthetic rubber or plastic in water, used in the manufacture of synthetic rubber products.

(3) In industrial chemistry, a manufactured emulsion of synthetic rubber or plastic droplets in water that resembles the latex of plants. It is used in paints, adhesives, and synthetic rubber products.

(4) A general term, used as noun or adjective for latex products.

(5) In ancient medicine, clear liquid believed to be a component of a humor or other bodily fluid, especially plasma and lymphatic fluid (obsolete).

(6) In computing, as LaTeX, a digital typesetting system for mathematical and scientific formulae layout, based on the code of TeX.

1655–1665: From the Medieval Latin latex (genitive laticis) (clear fluid which is part of a humour or bodily fluid), a variation of the Classical Latin latex (water; liquid, fluid) which may be from the Ancient Greek λᾰ́τᾰξ (látax) (dregs or a drop of wine), from the primitive Indo-European root lat (wet; moist) but etymologists note the semantic shift from "drop of wine" to "water" is undocumented and may indicate origins from separate languages.  It’s also speculative that the Old & Middle Irish laith (liquid; beer), the Old High German letto (clay, loam), the Welsh llaid (mud, mire) & llad (beer), the Proto-Celtic lati-, Proto-Germanic ladjō-, the Old Norse leðja (mud, dregs), the Lithuanian latakas (pool, puddle) and the Old Norse leþja (filth) are related.

From 1835 the word was used in the sense of "the milky liquid from plants", the meaning "water-dispersed polymer particles" as used in rubber goods, paints and other industrial products) dating from from 1937.  Latex was first noted as an adjective in 1954 as a popular (and more convenient) substitute for the classically correct laticiferous.  Thoughtfully, the developer of LaTeX (the TeX-based digital typesetting system) provided a pronunciation guide, the final consonant of TeX pronounced similar to loch or Bach.  The letters of the name represent the capital Greek letters Τ (tau), Ε (epsilon), and Χ (chi), as TeX is an abbreviation of Ancient Greek τέχνη (tékhnē) (the root word of "technical").  Inevitably however, English speaking nerds who haven't read the guide often pronounce it tek.  The noun latexosis is used to refer to an abnormal flow of latex from a plant.  Latex is a noun & adjective; the noun plural is latexes.

Notes on Latex

Latex is a natural material that requires special care not necessary for fabrics. It is sensitive to external factors that cause tearing, discoloration or weakening.

What to avoid

Oil: Oils will degrade latex so avoid any contact with oil-based fluids or solvents, hand creams, grease, leather etc. Always handle latex with clean hands.

Metal: Latex will react with copper, brass and bronze, resulting in stains; even handling these metals before touching light colored latex may result in discoloration.

Sunlight, heat and humidity: Exposure to sunlight or other UV light sources will cause white patches where the color has been bleached, dark colors being especially prone to this.  Exposure to heat and humidity may result in discoloration or degradation.  Latex is flammable and should not be exposed to raised temperatures; this includes radiators, heat sources and tumble dryers.

Rita Ora in Latex, London, January 2023.

Sharp objects:  Any sharp object can puncture or tear latex so observe particular caution with long fingernails; those required frequently to handle latex are recommended to wear cotton or latex gloves.

Flame:  Latex is flammable; it must not be exposed to flame.

Ozone: Ozone is produced from oxygen by UV-radiation from the big industrial fluorescent lamps.  Prolonged storage without a protecting bag will lead to damage not unlike sunlight, the consequences being discoloration and brittleness.

Polishing

Latex can be rendered in a matte or polished finish.  To achieve a shine, coat surface in a silicone lubricant or other latex polish; this may be sprayed or spread, either with bare hands or a soft, lint-free cloth (Don't rub too hard; this can damage latex.  With transparent latex, applying the liquid to both sides will enhance the transparency.

Lindsay Lohan in Latex, 2020.

Cleaning

Latex should regularly be cleaned by rinsing well in warm water.  Some manufacturers recommend using a mild soap, while others suggest only water, the general principle being to follow their recommendations.  To dry, hang on a plastic or wooden hanger or lay flat; latex can be wiped gently with a soft towel to decrease drying time if desired.  When one side is dry, turn inside out and let the other side dry.  When completely dry, separate any latex that has stuck together and lightly dust with talc powder to prevent any further sticking (manufacturers caution against using liquids for this purpose).

Storage

Prepare latex for storage by washing, drying and lightly powdering as described in the cleaning routine.  Ideally, latex should be kept in a black plastic bag in a cool, dry place.  Light and dark pieces of latex should not be stored in direct contact as this can cause discoloration of the lighter.

Demask Latex Shop, Zeedijk 64, 1012 BA Amsterdam, The Netherlands.

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 casula 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, extra stuffing, the stuff covering seats, door panels, and headliners, augmented with details like recessed buttons, leather grab-handles and the off chrome accent (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.

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.

Cordon

Cordon (pronounced kawr-dn)

(1)  A line of police, sentinels, military posts, warships, etc., enclosing or guarding an area.

(2) A cord or braid worn for ornament or as a fastening.

(3) A ribbon worn usually diagonally across the breast as a badge of a knightly or honorary order.

(4) A projecting course of stones at the base of a parapet.

(5) The coping of a scarp.

(6) In architecture, a stringcourse, especially one having little or no projection.

(7) A cut-stone riser on a stepped ramp or the like.  Also called a string course or belt course, an ornamental projecting band or continuous moulding along a wall.

(8) In horticulture, a fruit tree or shrub trained to grow along a support or a series of such supports.  Tree consists of a single stem bearing fruiting spurs, produced by cutting back all lateral branches

(9) To surround or blockade with or as with a cordon (usually followed by off).

(10) In cricket, the arc of fielders on the off side, behind the batsman; the slips and gully (but not the more distant third man).

1400–1450: Borrowed by Middle English from Middle French cordon (ribbon), diminutive of the Old French corde (string), derived from the Classical Latin chorda (gut) and Ancient Greek (Doric) χορδή or khordḗ (string of gut, cord, string of a lyre).

The meaning "cord or ribbon worn as an ornament” dates from the 1560s.  Sense of "a line of people or things guarding something" is from 1758.  The form cordon sanitaire (sanitary cordon), first noted in 1857, was a public health measure in the French Second Empire (Napoleon III), a guarded line between infected and uninfected districts during outbreaks of infectious disease.

The Cordon Sanitaire in Geopolitics

Originally a public health measure to contain the spread of infectious diseases, French Prime Minister Georges Clemenceau (1841–1929; Prime Minister of France 1906-1909 & 1917-1920) conjured the phrase as a geopolitical metaphor in March 1919.  He urged the newly independent border-states, stretching from Finland to the Balkans (also called limitrophe states) that had seceded from the Russian Empire (and its successor the USSR) to form a defensive union and thus quarantine Western Europe from the spread of communism.

The concept evolved and was in its most politically and geographically defined form during the cold war when buffer states gave shape to the so-called iron curtain between east and west.  Winston Churchill (1875-1965; UK Prime Minister 1940-1945 & 1951-1955) didn’t invent the phrase but made it famous in his address at Fulton, Missouri in March 1946 when he noted that “From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has descended across the Continent.”  This was the opposite of Clemenceau’s vision of protecting west from east; instead the buffer-states existed to protect the USSR from any prospect of another invasion from a resurgent Germany, a dominant theme in early post-war Soviet foreign policy.

Comrade Stalin's Cordon Sanitaire: the Cold-War Buffer States

The buffer states were a construct of Comrade Stalin (1878–1953; leader of the USSR, 1924-1953), his words backed first by four-hundred divisions and later the Soviet nuclear arsenal.  They lasted more than forty years, the system beginning to fracture only in the mid-1980s when USSR Communist Party General Secretary Mikhail Gorbachev (b 1931; leader of the USSR, 1985-1991) retreated from adherence to the Brezhnev (Leonid Brezhnev; 1906–1982; leader of the USSR, 1964–1982) Doctrine which held that if socialism was threatened in any state, other socialist governments had an obligation to intervene to preserve it.  Gorbachev initiated the policies of glasnost (openness) and perestroika (economic restructuring), both of which exposed the contradictions inherent in the Soviet system.  By 1989, long an economic failure, the eastern bloc began politically to crumble and a wave of revolutions began.  In 1991, the USSR was dissolved.

Crowd control cordon creation: Metal outside & the velvet rope within, Mean Girls Premiere, Los Angeles, April 2004.

Temporary cordons are often not sufficiently robust physically to act as an effective barrier against a breach induced even by mild force and rely on their symbolic value in the same way the red, amber & green traffic signals controlling intersections usually achieve the desired effect even though pieces of illuminated colored plastic inherently can't stop a car.  Respect for them (coupled with a fear of the consequences if flouted) is what makes them effective.  The cordoning of crowds at events often works the same way.  While facilities such as stadiums or race tracks usually have permanent fences or other structures difficult to cross, ad-hoc events in spaces intended for other purposes use relatively flimsy temporary barriers which wouldn't withstand much pressure and rely on the cooperation (and again, fear of consequences) of those cordoned off.  Outside, cordons typically are created with movable metal or plastic modular fencing while inside, the favored form is the "velvet rope", strung between stanchions (although lengths of plastic chain are sometimes seen).  These have the advantage of being able to re-configure a cordon at short notice and when not in use, demand little space to store.         

Underwire

Underwire (pronounced uhn-der-wahyuhr)

(1) A (usually almost semi-circular) metal, plastic or composite “wire” sewn into the underside of each cup of a brassiere, used both as a structural member and shaping device.

(1) A brassiere (or related component in a swimsuit or some other garment) with such wires.

A portmanteau word, the construct being under + wire.  Under is from the Middle English under, from the Old English under, from the  Proto-Germanic under (source also of the Old Frisian under, the German unter, the Old High German untar, the Dutch onder, the Old Norse undir, the Gothic undar and the Danish & Norwegian under), from a blend of the primitive Indo-European n̥dhér (under) and n̥tér (inside).  It was akin to the Old High German untar (under), the Sanskrit अन्तर् (antar) (within) and the Latin infrā (below, beneath) & inter (between, among), influencing also the Sanskrit adhah (below), the Avestan athara- (lower) and the Latin infernus (lower).  The Old English under was a preposition in the sense of "beneath, among, before, in the presence of, in subjection to, under the rule of, by means of and also an adverb in the sense of "beneath, below, underneath," expressing position with reference to that which is above, usage gained from the Proto-Germanic under-.

Under proved as productive a prefix in Old English as had in German and Scandinavian languages, often forming words modeled on Latin ones using “sub-“ and the notion of "inferior in rank, position etc" existed in the Old English and persists in the language of the titles in the UK’s civil service to this day (eg under-secretary).  The idea of it being used as descriptor of standards (less than in age, price, value etc” emerged in the late fourteenth century whereas, as an adjective meaning “lower in position; lower in rank or degree” was known as early as the 1200s.  Mysteriously, the use in Old English as a preposition meaning "between, among," as in “under these circumstances” may be a wholly separate root (eg understand).  The phrase “under the weather (indisposed; unwell) is from 1810.  Under the table was used from 1913 in the sense of "very drunk" and it wasn’t until the 1940s (possibly influenced by the onset of rationing and the consequence emergence of black markets) it came to enjoy the sense of something "illegal" (although the long-extinct “under-board: (dishonest) is attested from circa 1600.  To keep something under the hat (secret) is from 1885 and use seems not to have been affected by the post 1945 decline in hat-wearing; to have something under (one's) nose (in plain sight) is from 1540s; to speak under (one's) breath (in a low voice) dates from 1832.

Wire is from the Middle English wir & wyr (metal drawn out into a fine thread), from the Old English wīr (wire, metal thread, wire-ornament), from the Proto-Germanic wira- & wīraz (wire), from the primitive Indo-European wehiros (a twist, thread, cord, wire), from wei & wehiy- (to turn, twist, weave, plait).  The Proto-Germanic wira- & wīraz were the source also of the Old Norse viravirka (filigree work=), the Swedish vira (to twist) and the Old High German wiara (fine gold work).  A wire as marking the finish line of a racecourse is attested from 1883; hence the figurative down to the wire.  Wire-puller in the political sense dates from 1839, an invention of American English (though used first to describe matters in the UK’s House of Commons), based on the image of pulling the wires that work a puppet; the phrase “pulling the strings” replaced “pulling the wires” late in the nineteenth century.

Casting a practiced eye: Lindsay Lohan assessing the underwires.

In the technical sense familiar to a structural engineer, the bra’s underwire is a specific instance of the earlier verb (1520s) “undergird”, the construct being under + gird.  Gird (to bind with a flexible rope or cord; to encircle with, or as if with a belt) was from the Middle English girden, gerden & gürden, from the Old English gyrdan (to put a belt around, to put a girdle around), from the Proto-Germanic gurdijaną (to gird), from the primitive Indo-European gherdh.  It was cognate with the West Frisian gurdzje & girdzje, the Dutch gorden, the German gürten, the Swedish gjorda, the Icelandic gyrða and the Albanian ngërthej (to tie together by weaving, to bind).  The related forms were undergirded & undergirding.

As a familiar mass-manufactured commodity item, the bra is a relatively new innovation although many of the various functionalities afforded to the wearer are noted in illustrations and surviving garments worn since antiquity, interest in the physics of gravity long pre-dating Newtonian mechanics.  The most obvious immediate ancestor, the corset, began to be widely worn by the late 1400s, the shaping and structure of many underpinned by struts made either of metal or, more commonly, animal bone, a method of construction which, in simplified form, would later return as the underwire.  The first patent issued for a recognizably modern bra was issued in New York in 1893 for a “breast supporter” and it included all the features familiar in the mass-produced modern product: separated cups atop a metal support system, located with a combination of shoulder straps and a back-band fastened by hook and eye closures.  On the basis of the documents supplied with the patent application, the design objective was for something not only functional and practical but, unlike the often intimidating corsets then in use, also comfortable.

It was an immediate success although, lacking the capacity to manufacture at scale and unwilling to become involved in the capital raising which that would have demanded, the inventor sold her patent to the Warner Brothers Corset Company for US$1500 (at a time when a new Ford car cost around US$400).  Warner Brothers Corset Company (later Warnaco Group, in 2012 acquired by Phillips-Van Heusen Corporation (PVH), which over the life of the patent is estimated to have booked profits of almost US$40 million from its bra sales, got a bargain.  English borrowed the word brassiere from the French brassière although in the original it was a chemise (a kind of undershirt) but in the US, brassiere was used from 1893 when the first bras were advertised and from there, use spread.  The three syllables were just too much to survive the onslaught of modernity and the truncated “bra” soon prevailed, being the standard form throughout the English-speaking world by the early 1930s.  Curiously, in French, a bra is a soutien-gorge which translates literally and rather un-romantically as "throat-supporter".

The booming popularity of the bra in the 1920s and 1930s encouraged innovation and not a few gimmicks and it was in this era that manufacturers first began to develop systems of cup sizes although there was there no standardization of dimensions and, technically, that’s still the case with remarkable variations between manufacturers; it’s an industry crying out for an ISO.  It was in 1931 a patent was issued for what was described as a bra with a pair of integrated “open-ended wire loops”, semi-circular pieces of metal enclosed in protective fabric which partially encircled each breast, sitting against the chest-wall at the bottom of the breasts.  This is the origin of the modern underwire and during the 1930s, while designers would develop more elaborate versions, the concept didn’t change and as late as 1940, the underwire bra remained something of niche product being, at this stage of development, both more expensive and often less comfortable.  Wartime necessity also imposed an evolutionary delay, the use of metal during wartime being limited to essential production and carefully rationed.  Bras by then probably had become essential but apparently not underwired bras.

Hughes H-4 Hercules (Spruce Goose) on its only test flight, 2 November 1947, Long Beach, Los Angeles Harbor.  It flew for abou1 1 mile (1.6 km) and achieved a maximum speed of 135 mph (217 km/h).

Howard Hughes (1905—1976), the industrialist knew about the wartime limits on the use of metals because the War Production Board had insisted his H-4 Hercules, a huge, eight-engined flying boat designed to transport 750 troops across the Atlantic, be built using “non-strategic materials" which precluded the industry’s preferred aluminum, Hughes using birch wood almost exclusively.  The H-4, which wasn’t completed until after the end of hostilities flew, briefly, only once and was nicknamed the Spruce Goose, which obviously was arboreally inaccurate but thinking of something as funny and rhyming with “birch” wasn’t easy.  So, in 1942 Hughes knew he’d never get approval for enough metal for his big flying boat, but in 1941, before the entry of the US into the war, more than enough metal was available to create a specialized part to be used in another of his ventures: film director.

Jane Russell, promotional picture for The Outlaw (1941).

In 1941, while filming The Outlaw, Hughes wasn’t satisfied with what sympathetic lighting, camera angles and provocative posing could make of Jane Russell's (1921—2011) bust.  A skilled engineer, he quickly designed and had fabricated a kind of cantilevered underwire bra to lend the emphasis he though her figure deserved.  What Hughes did was add curved steel rods which functioned as actual structural members, sewn into the bra under each cup and connected to the shoulder straps, an arrangement which simultaneously pushed upwards the breasts and allowed the shoulder straps to be re-positioned, exposing to the camera much more skin.  In engineering terms, it was a device which achieved a fixture with no visible means of support.  Hughes was delighted with the result and completed filming though it wasn’t until much later Ms Russell revealed the cantilevered device was so uncomfortable she wore it for only a few minutes, reverting to her own bra which, to please Hughes, she modified with those trusty standbys, padding and a judicious tightening of the straps.  The result was much the same and Ms Russell waspishly added that the engineering prowess which had served Hughes well in aviation didn’t translate well to designing comfortable underwear.  The Outlaw was completed in February 1941 but, because of the focus on Ms Russell's breasts, faced opposition in obtaining the required certificate of release from the Motion Picture Producers and Distributors of America (the MPPDA which administered the Hays Code) which was demanding cuts to thirty seconds odd of offending footage.  Hughes reluctantly complied and there was a brief showing in 1943 but the film’s distributer, unwilling to be dragged into any controversy, withdrew from the project and it wasn’t until 1946 there was finally a general release on cinema screens.  Given the pent-up demand, it was a commercial success but the critics were at the time unimpressed and it only later gained a cult following, at least partly on the basis of the gay undertone in the plot-line.

Lindsay Lohan in underwire bra, 2012.

Underwires essentially fulfill part of the function of an exoskeleton in that, being designed to fit snugly against the ribcage, they provide a basic mechanism of location which means the back-strap, cups and shoulder-straps can provide the shape and support without having to compensate for excessive movement or changes in weight distribution.  The mathematics of structural engineering is really that of making push equal pull and what a well-designed (and properly fitted) underwire does is minimize the risk of movement in an unwanted direction (down) so the least energy is required to maintain the desired movement (up).  There are other ways of achieving this but such constructions typically are much bulkier and use often stiff, unaccommodating fabrics and thick straps.  The underwire is a simple technology which, in the abstract really can’t be improved upon although there are problems.  Washing machine service technicians note the frequency with which errant underwires end up in the mechanism and, being metal, damage can result.  For this reason, most bra manufacturers recommend they be placed in a sealed bag for washing.  Detachment can also happen while in use, a protruding underwire sometimes passing through the material in which its supposed to remain enclosed, giving the wearer a painful jab in a soft, fleshy spot.  Although the tips are usually plastic coated, repeated jabbing is still uncomfortable.  Being traditionally made of metal (usually stainless steel) brings it's own issues, most obviously with metal detectors but for frequent flyers, bras with plastic underwires (and hooks & clasps) are available off the shelf and plastic underwires are even sold as stand-alone part-numbers to modify existing models or for use by the small but devoted class of users who make their own.