Pullman

Pullman (pronounced pool-muhn or pull-minn)

(1) A range of railroad sleeping cars produced by the Pullman Palace Car Company which operated in the US between 1867 and 1968.

(2) A generic term for up-market coaches and train carriages.

(3) A term used by certain automobile manufacturers to describe lengthened versions of their limousines; most associated with Humber in the UK and Daimler-Benz in Germany.

(4) A type of long, square bread developed to be baked in the small kitchens of rail cars.

(5) As Pullman case, a type of large suitcase.

(6) In architecture, a long, narrow room, a visual allusion to the interior of a railway carriage.

1867: From the name of Chicago-based US engineer and industrialist George Mortimer Pullman (1831–1897).  It was first applied to the luxury railway coaches the Pullman Palace Car Company introduced in 1867, first in Chicago, later used across the US.  The name became widely used in a number of countries, used to describe up-market coaches and train carriages.

Interiors of Pullman Train Carriages

Bristol Type 26 Pullman

The Bristol Pullman first flew in 1918, designated originally as the Type 24 Braemar Triplane, a four-engined heavy bomber.  Tests soon revealed performance deficiencies and, as the Type 25 Braemar II, a second prototype took to the air in 1919, now with four, more powerful straight-12 Liberty engines and though it proved satisfactory the end of hostilities meant the Air Ministry no longer required a long-range bomber so Bristol reconfigured the third prototype as the Type 26 Pullman, a fourteen-passenger transport.  The use of the Pullman name was an allusion to the luxury of trains although, weight of greater significance in airframes, the fittings were notably less extravagant.  Although exhibited to acclaim at the 1920 Olympia Air Show in 1920, the projected price was too high for the embryonic civilian airlines of the era and the Pullman never entered production, the sole prototype dismantled in 1921 but in a sense, it really was the first “modern” airliner.  The wildly ambitious Type 40 Pullman, an enlarged forty-passenger version, never advanced beyond the drawing board.  Whether the Type 25 it would have been an effective heavy bomber has been debated.  The top speed was claimed to be 122 mph (196 km/h) which was competitive with the fighters of the time and the service ceiling was said to 15,000 feet (4575 m), a height which even some of the early heavy bombers of World War II struggled to match but whether these numbers would have be matched when fully loaded, under combat conditions, isn’t known.

Mercedes-Benz 600 Pullman & Pullman Landaulet

A symbol of the post-war Wirtschaftswunder (economic miracle) in West Germany (Federal Republic of Germany (FRG), 1949-1990), Daimler-Benz first showed the Mercedes-Benz 600 (W100) in September 1963 at the Frankfurt Motor Show although deliveries didn’t begin until the following year.  Known as the Grosser (grand or greatest) Mercedes in the tradition of the 770K (W07; 1930-1938 & W150; 1938-1943)), it was what had by the 1960s become an automotive rarity, a genuinely new car with no carry-over components from previous vehicles and was a technological tour de force even eschewing (relatively) noisy electric motors for accessories like windows and sun roofs, instead controlling them via a swift and silent hydraulic system which extended even to automating the closing of doors and trunk (boot).  Powered by a 6.3 litre (386 cubic inch) single overhead camshaft (SOHC) V8, which powered it to a top speed of 128 mph (205 km/h) (124 (200) for the heavier Pullman), it rode on air suspension which, in addition to the expectedly cushion-like ride, permitted the 600 a competence in handling and roadholding exceeding many of the sports car of the era, some of which couldn’t match its straight-line speed.  Remarkably, this was achieved with the use of swing axles at the rear although years of refinement of the anti-squat, anti-dive geometry and a compensating device above the differential tamed the worst of the tendencies inherent in what was, even in the early sixties seen as an inherently flawed design.

600 SWB (left), 600 Pullman 4 door (centre) & 600 Pullman Landaulet with the "short" roof (right).  Although the factory would build the landaulets to the requested configuration, most of the 6 door cars used the "long" fabric roof which began above the front seats while on the 4 door cars, the metal roof extended mid-way into the rear-passenger compartment.  Although the long-roof cars are sometimes referred to as the "presidential", this was never an official designation.

With economies expanding on both sides of the Atlantic, Daimler-Benz had great expectations for the 600, predicting sales would soon exceed a thousand a year but, after an encouraging 345 were built in 1965 (the first full-year of production), demand waned and even that high-water mark was never again approached.  The increasingly onerous regulations being imposed in the United States meant that by 1972, the 600 had to be withdrawn from what had always been the most important market.  After that, although dictators in Africa and Asia remained fond of the things, there simply weren’t enough of them to sustain the line and the company concentrated on the UK, European and Middle Eastern markets and there were some encouraging signs until in something of an own goal, in 1972 Mercedes-Benz released the W116, the first model to be known as the “S Class” and, although in a different market segment to the grosser, it was so advanced and obviously modern that instantly it made the anyway rather baroque 600 look antiquated.  The final nail in the coffin was the first oil shock in 1973 and from then until the end of the line in 1981, production dwindled to a handful a year, availability maintained only because of the thing’s importance in the brand’s image and the lingering aura of having upon its release been lauded generally as “the best car in the world”, perhaps the last time about that there would be a consensus.

600 Pullman Landaulets: 4 doors with the short roof (left & centre) and 6 door with the long roof (right).  The factory built the Pullmans to order and there were many variations (one Pullman even built as a "family car" without the glass partition which normally separated the chauffeur from the passengers), most of the 4 door cars were fitted with "vis-a-vis" seating whereas the 6 door models usually had occasional "jump seats" which folded into the central partition.

The standard 600 was built on a wheelbase of 3200 mm (126”) while the Pullmans (and all but one of the landaulets) used a lengthened platform, extending this to 3900 mm (153 ½“).  Often (correctly but somewhat misleadingly) referred to as the SWB (short wheelbase), the standard car was 5540 mm (218 “) in length while the elongated Pullmans (LWB or long wheelbase) stretch this to 6240 mm (245¾”) and the weight varied, depending on configuration between 3000-3300 kg (6600-7275 lb).  Over the eighteen-odd years it was on the books, Mercedes built 2677 600s (including 45 “special protection” versions, a coupé and one SWB landaulet), the breakdown being:

6 door 600 Pullman Landaulet (left), 4 dr 600 Pullman Landaulet used by the FRG (Federal Republic of Germany; the old West Germany) for Queen Elizabeth II's 1965 state visit (centre) and 4 door 600 Pullman.

Few cars have ever so encapsulated an association with wealth and power which is why Pullmans continue to be sought be film directors looking for a prop which at a glance delivers the desired verisimilitude.  Additionally, being long and low-slung, unlike the traditional, upright Rolls-Royce Phantom limousines, the Pullmans always managed to convey something slightly sinister, thus the appearance in films of a certain kind although the use in The Exorcist probably was about money.  If the look alone isn’t enough, the ownership list included: King Khalid Bin Abdulaziz Al Saud of Saudi Arabia, Park Chung-hee, Josip Broz Tito, Nicolae Ceaușescu, Pol Pot, Enver Hoxha, Francois (Papa Doc) Duvalier, Jean-Bédel Bokassa, Emperor Hirohito, FW de Klerk, Leonid Brezhnev, Idi Amin, Fidel Castro, Robert Mugabe, Jomo Kenyatta, Daniel arap Moi, Ferdinand Marcos (who owned four, including a Landaulet and a “special protection”, Kim Il-sung (the Great Leader passing his two landaulets (along with the rest of the DPRK (North Korea) to Kim Jong-il (the Dear Leader) and Kim Jong-un (the Supreme Leader), Saddam Hussein, the last Shah of Iran who had several, Chairman Mao Zedong, Chen Yi, Deng Xiaoping (wife of Zhou Enlai), Deng Yingchao, Norodom Sihanouk, Léopold Sédar, Nicolae Ceauşescu, Idi Amin Dada, Enver Hoxha, Papa Doc Duvalier, Josip Broz Tito & Mobutu Sese Seko.

SCV 1, the 600 Pullman used as the papal car by the Holy See, 1965-1986.

The 600 Pullman landaulet presented to Pope Paul VI (1897–1978; pope 1963-1978) and used by the Holy See between 1965-1986 was the latest in a line of papal Mercedes-Benz which had included a 1930 Nürburg 460 (W08) and a 1960 300d Cabriolet D (W189), both fitted with the throne-like, single rear seat, the same configuration used in “popemobiles” to this day.  It was one of the 45 “special build” 600s, using the long wheelbase platform but with the rear doors 256 millimeters longer and directly adjoining the front doors.  The roof of the Pullman landaulet was raised by 70 millimeters to provide adequate headroom, something necessitated by the floor being level in the rear, the transmission tunnel concealed underneath.  The car since 1986 has been on display in the Mercedes-Benz Museum in Untertürkheim, complete with the registration SCV 1 (Stato della Città del Vaticano 1 (Vatican City State No 1), the number one identifying the pope’s official car at any given time, much as the US Air Force call-sign Air Force 1 moves with the president).

Lindsay Lohan with 600 Pullman during the filming of Liz & Dick (2012).

A most unfortunate conjunction of imagery: Adolf Hitler on Berlin's newly opened East-West Axis in his 770K Grosser Cabriolet F open tourer (W150; 1939-1943) in a parade marking his fiftieth birthday, opposite the Technical High School, 20 April 1939 (left) and David Bowie in his 600 Pullman Landaulet, Victoria Station, London, 2 May 1976 (right).

The pop star David Bowie (1947-2016) understood he was an influential figure in music but on more than one occasion explained to interviewers: “I am not an original thinker”.  Trawling pop-culture for inspiration nevertheless served him well but he later came to regret dabbling with history slightly less recent.  Not impressed with the state of British society and its economy in the troubled mid-1970s, he was quoted variously as suggesting the country would benefit for “an ultra right-wing government” or “a fascist leader”.  Although he would later claim he was captivated more by the fashions than the policies of the Third Reich, the most celebrated event of this period came in 1976 in what remains known as the "Victoria Station incident".  Bowie staged a media event, arriving standing in an open 600 Pullman Landaulet, recalling for many the way in which Hitler so often appeared in his 770K.  Unfortunately, a photographer captured a shot in what the singer later claimed was “mid wave” and it certainly resembled as Nazi salute.  He later attributed all that happened during this stage of his career to too many hard drugs which had caused his interest in the aesthetics of inter-war Berlin to turn into an obsession with politics of the period.  All was however quickly forgiven and his audience awaited the next album which is an interesting contrast to the cancel culture created by the shark-feeding dynamic of the social media era.  Now, were a pop star to tell interviewers: “Britain could benefit from a fascist leader” and “I believe very strongly in fascism … Adolf Hitler was one of the first rock stars”, their future career prospects might be "nasty, solitary, brutish and short".

Vis-a-vis

Vis-a-vis (pronounced vee-zuh-vee or vee-za-vee (French))

(1) A French phrase, literally, “face to face” constructed with the prepositional use of the adjective.

(2) In numismatics (of a coin) having two portraits facing each other.

(3) As a preposition (some pedants disapprove of some of the extensions of meaning), in relation to; compared with; as opposed to.

(4) A type of horse-drawn carriage commonly made by Amish coachbuilders, mostly in the mid-western US; also produced for the tourist trade in various places.  In the horse-drawn era, vis-à-vis carriages were usually described as barouches, berlines or landaus depending on their configuration.

(5) A sofa in the shape of the letter “S” with seats for two, so arranged that the occupants can be face to face while sitting on opposite sides; sometimes called the tête-à-tête (literally head to head).

(6) One’s date or escort at a social event (obsolete).

(7) In limousines, a coach-builder’s term for a rear compartment configured with two rows of seats, facing each other.

1755: From the French prepositional use of the adjective vis-à-vis (face to face) from the Old French vis (face).  Vis is from the Old French viz, from the Latin vītis (vine) from the primitive Indo-European wéhitis (that which twines or bends, branch, switch), from wehiy- (to turn, wind, bend) which influenced also the Latin vieō and the English withe.  The à is from the Old French a, from the Latin ad, from the primitive Indo-European ád (near; at).  The French vis was an obsolete word for “face”, replaced in contemporary French by visage.  The literal meaning has long run in parallel with the modern meanings (“in comparison with; in relation to; as opposed to” although pedants disapprove because of the imprecision).  In French, the original sense is preserved also as real estate jargon meaning the windows of one house are within sighting distance of those of the neighboring house (literally that the occupants can see into each-other’s homes).  In English, the un-accented spelling vis-a-vis is now more common. 

Prostoria Vis-a-vis Sofa Segment.

The companion term tête-à-tête (from the French and literally “head-to-head”) means “a private conversation between two people, usually in an intimate setting”) and thus, strictly speaking, refers to a process rather than a seating arrangement and, since advances in communication technology, one can have a tête-à-tête over a phone call whereas to be vis-a-vis with them, physical closeness is demanded.  However, the two terms are often used interchangeably and the use of vis-a-vis is also sometimes the victim of linguistic promiscuity, suggesting sometimes just about any juxtaposition.  Furniture makers also variously describe the “S” shaped sofas using either term.  Occasionally, those who use vis-a-vis in its classic sense will baffle others as Horace Greeley Hjalmar Schacht (1877–1970) managed while being cross-examined during his trial before the International Military Tribunal (IMT) at Nuremberg (1945-1946):

Prosecutor: The position you took, as I understand it, was that the Wehrmacht was important not so much as an aggressive weapon against strong countries, Austria & Czechoslovakia, as against, or vis-a-vis, if you will, the larger powers, the concert of nations in Europe… in other words, the army stood there… as a weapon… vis-a-vis the Austrians.

Schacht: Not vis-à-vis the Austrians but vis-a-vis the Allies.

Prosecutor: I am a little naïve about these things, I must say.  You say… not vis-a-vis Austria but against the powers?

Schacht: Not against the powers but vis-a-vis the powers.

The rarely convivial Hjalmar Schacht, with the Führer.

Although that exchange was not critical in Schacht securing one of the three acquittals the bench delivered, the judges doubtlessly enjoyed it more than the prosecution.  At various times during the Third Reich, Schacht had served as Minister of Economics, Plenipotentiary General for War Economy and President of the Reichsbank (the German central bank) and he’d been indicted on counts one (conspiracy to commit crimes against peace) & two (crimes against peace).  His acquittal on both disappointed many but there were many technical difficulties in the case and the prosecution frankly lacked the expertise in matters of public finance and international banking needed to understand the details, let alone pursue them to the standard needed to convince the judges (except for the Russians who were convinced before the hearings began) to convict.  To be fair, the matters were complex and the financial wizardry with which Schacht concocted the money to allow the Nazi’s rearmament programme to be paid for was hardly orthodox monetary policy.  In particular his invention of the Metallurgische Forschungsgesellschaft (thankfully abbreviated to Mefo) which essentially meant the Reichsbank loaned money to the government (which under any other circumstances would have been unlawful) without raising loans or increasing the money supply seemed mysterious to the lawyers.  It was quite a trick and indicative of the intricacies which littered the case.

The ex-comrade Marshal Tito 1968 Mercedes-Benz 600 Pullman Landaulet (six-door, long-roof) with jump seats. 

The optional vis-a-vis seating configuration in the rear compartment of the Mercedes-Benz 600 (W100;1963-1981) Pullman was something of a novelty, the competitor limousines from the UK or US built usually with an opulent rear bench for two or three with a pair of utilitarian fold-away (jump or occasional) seats for staff or other temporary occupants (even the infamous X-100, the Lincoln Continental in which John Kennedy (JFK, 1917–1963; US president 1961-1963) was assassinated used jump seats).  There had been the odd exception.  While the limousines or horse-drawn carriages of kings and emperors had side-by-side seats for two to accommodate a consort, the Roman Catholic popes were granted a single, raised, throne-like chair for, unlike less spiritual heads of state, the bachelor Bishop of Rome never (officially) had a consort to accommodate (there were a few concubines but (as far as is known) they predated the automobile.

1957 Imperial Limousine by Ghia (left), 1964 Crown Imperial Limousine by Ghia (centre) and 1967 Imperial Limousine by Theodorou with the unusual folding vis-a-vis seats (right).  

The 600’s much-admired vis-a-vis option arrangement did seem to affect the US coachbuilders, the configuration seating seen more frequently in the years that followed its debut.  Prior to that, the elongated editions of Cadillacs, Packards, Lincolns and Imperials usually had rear compartments (often trimmed in leather unlike the cars from the UK which traditionally used leather only in front (for the chauffeur) with “West of England cloth” for the passengers) equipped with jump seats.  Even the Imperial Limousine built for Chrysler with (untypically) exquisite care and precision in Italy by Ghia (1957-1965) used them but when production was outsourced to US operators, coach-builders such as Chicago-based Andrew Theodorou included what they called “conversation seats” which, cleverly, were arranged vis-a-vis but folded in such a way that most of the additional space afforded by the conventional jump seats was retained.  During the stretch limousine era in the US, vis-a-vis seating was often used.

Mercedes-Benz 600 Pullman Landaulet (four-door, short-roof) with vis-a-vis seats.  Almost all the 600s delivered to North America, Australia and the UK were trimmed in leather but in Europe and some export markets, mohair wasn't unusual and the factory even made available its famously durable MB-Tex (a high quality vinyl rumored to verge on the indestructible) but none were ever so equipped. 

Mercedes-Benz offered the vis-a-vis configuration, in a choice of leather or mohair, in both the 600 Pullman’s closed form and the rare landaulets with their fold-back roof.  The landaulets however were often parade vehicles, used to percolate along crowd-lined boulevards with a prince, president, pope or potentate standing and waving and for this purpose, the vis-a-vis seats intruded too much and the fold-away jump seats, which afforded more standing room, were preferred.  That’s why illustrious 600 Landaulet owners such as comrade Marshall Tito, North Korea’s Great Leader, Dear Leader & Supreme Leader, the Shah of Iran, Robert Mugabe, Saddam Hussein, Mobutu Sese Seko, Idi Amin, Nicolae Ceaușescu, P W Botha and a dozen-odd others of varying degrees of virtue, all eschewed the vis-a-vis arrangement because it made it too hard to stand and wave.  Only ever produced in small numbers (although such was the factory’s misplaced optimism they hoped they might make a thousand a year) the 600 was introduced at the Internationale Automobil-Ausstellung (IAA, the  Frankfurt Motor Show, September 1963) and in a run of eighteen-odd years (1964-1981), only 2,677 were made, 2,190 of the standard-length sedan (referred to often as the short-wheelbase (SWB), a relative term given it was over eighteen feet (5.5 m) long), 487 of the twenty and a half foot long Pullmans of which 59 were landaulets.  Of the rare landaulets, most had a convertible top which exposed only rear-most of the back seats, twelve being built with a longer fabric roof which rendered open the entire rear compartment, this dozen often called the “presidential landaulets” although this was never an official name.  Although the specification sometimes varied, the Pullmans with the jump-seats usually were configured with six doors while the vis-a-vis models used four.

Seated vis-a-vis, Lindsay Lohan and her sister Aliana, enjoying a tête-à-tête, La Conversation bakery & café, West Hollywood, California, April 2012.  Sadly, La Conversation is now closed.

Sanction

Sanction (pronounced sangk-shuhn)

(1) Authoritative permission or approval, as for an action.

(2) Something that serves to support an action, condition, etc.

(3) Something that gives binding force, as to an oath, rule of conduct, etc.

(4) In (usually contract) law, a provision of a law enacting a penalty for disobedience or a reward for obedience.

(5)  A penalty or reward.

(6) In international law, action by one or more states (or a multi-national institution) toward another state, institution or individual(s), calculated to force it compliance with certain obligations.

(7) To authorize, approve, or allow; to ratify or confirm.

1555–1565: From the Latin sānctiōn- (stem of sānctiō (the establishment of an inviolable decree)), genitive sānctiōnis, the construct being sānct(us) (past participle of sancīre (to prescribe by law; to make law by decree) + -iōn (from the Latin suffix -iō (genitive -iōnis), appended to a perfect passive participle to form a noun of action).  The Middle English borrowing came directly from the French sanction and the usual early form in English meant "confirmation or enactment of a law" and was sometimes used interchangeably with the Latin sanctionem (nominative sanctio) (“act of decreeing or ordaining” or “decree, ordinance" the noun of action from the past-participle stem of sancire (to decree, confirm, ratify, make sacred)) which was used especially of ecclesiastical decrees.  The verb form in the sense “confirm by sanction, make valid or binding” dates from 1778 and by 1797 it meant also “authoritatively to permit”, both derived from the noun.  The seemingly contradictory meaning "impose a penalty on" was first used in 1956 but is rooted in an old legalistic sense of the noun and, when deconstructed, the ambiguity dissolves, this use in international diplomacy first documented in 1900 as a plural of the noun sanction in the sense of "part or clause of a law which spells out the penalty for breaking it", a meaning which can be traced back to the 1650s.  From the Latin, influenced by the spread of Roman civil law, derivatives appear in many languages including Catalan (sanció), French (sanction), Galician (sanction), Italian (sanzione), Piedmontese (sansion), Portuguese (sanção), Russian (санкция (sankcija)) and Spanish (sanction).  Sanction & sanctioner are nouns, sanctioned & sanctioning are verbs and sanctionable, sanctionless & sanctionative are adjectives; the noun plural is sanctions.

Sanction busting

Although in some ways a simple language to learn, English has some quirks, notably a massive vocabulary in which one word can have many meanings and multiple words can mean the same thing.  There are also cases where a word can seem simultaneously to sustain two diametrically opposite meanings and these are called auto-antonyms (or contronym or Janus words), the technical term for the phenomenon being enantiosemy ((from the Ancient Greek ἐναντίος (enantíos) (opposite)).  Sanction can convey opposite meanings, depending on context, the Janus-faced nature more evident when used as a noun.  The noun historically referred to the "action of ordaining as inviolable under a penalty" but, in a manner not unfamiliar in English, it evolved in opposite directions, one relating to legal or ethical rules, the other to the penalties imposed for violating these rules.  From the eighteenth to the mid-twentieth century, the verb tended to the positive, the negative meaning "penalize" in general use until the 1950s.  Sanction in this sense is most commonly used in official (though not exclusively governmental) contexts, most often when one government imposes economic measures on another to try to force it to comply with laws or expectations.  The linguistic evolution wasn’t deliberate because that’s not how English usually works; instead it was an adoption of the verbal shorthand of the world of diplomacy.

The Kim Dynasty's new (used) cars

Like his grandfather Kim Il-sung (Kim I, 1912–1994; Great Leader of DPRK (North Korea) 1948-1994), and father Kim Jong-il (Kim II, 1941-2011; Dear Leader of DPRK (North Korea) 1994-2011), Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011), is a great admirer of big Mercedes and the regime is believed still to be the only outfit on earth owning a brace of long-roofed (presidential in collector slang) Mercedes-Benz 600s (W100, 1963-1981) Pullman Landaulets (only twelve of which were built).  The Supreme Leader however must have decided to update and it appears that in 2018, several "special" Mercedes-Benz were shipped from the Dutch Port of Rotterdam, via China and five other countries, to the DPRK.  The cars appear to be from the factory's "Guard" programme and there’s an unconfirmed rumor a toilet is installed in at least one for the Great Leader’s convenience.

The Great Leader's motorcade on the way to meet with Vladimir Putin (b 1952; president or prime minister of Russia since 1999), Mercedes Maybach S600 Pullman Guard in front, Mercedes Maybach S62 following, Vladivostok, Russia, April 2019. 

The “Guard” range of vehicles are produced on a special post-production assembly line to meet the demand from heads of state, royalty, oligarchs and leading figures in organized crime for a vehicle which retains the traditional aura of a limousine while affording the levels of protection associated with the smaller armored personnel carriers (APC) & troop carriers used by the military.  The most expensive in the range is based on the opulent Mercedes-Maybachs and meet VR10 protection standards (defined under Directive BRV 2009 v2.0, only some of the specifications of which publicly are disclosed) but it’s known additional steel-alloy & composite panels are installed between the unibody and outer body panels, overlapped at key points to provide what’s described as “comprehensive ballistic protection”, a similar approach applied to the floor to deflect the blast from explosives (conforming to the ERV 2010 protocol).  The windows are thicker and coated with polycarbonate to prevent splintering with the panes permanently fixed (that approach may have been thought not suitable if the rumors of the toilet are true and the Great Leader's car is the previous version with an opening window).  Although the Guard has a wheelbase eight inches (200 mm) longer than the Standard Mercedes-Maybach platform and weights (presumably much) more, the factory lists the power-train as identical to the base vehicle, the 5.5 litre (365 cubic inch) twin-turbocharged V-12 rated at 523 horsepower and 612 lb-ft of torque.

Because sanctions imposed by the United Nations as punishment for Pyongyang's nuclear weapons development are supposed to bar companies and individuals from selling luxury goods to North Korea, technically, The Supreme Leader shouldn’t have be able to buy them.  It’s however estimated that since 2015, some US$440 million in luxury goods have been imported by the DPRK, sourced from some ninety countries, almost all in violation of UN sanctions.  In response to questions, Daimler, which manufactures Mercedes-Benz, a spokesperson said they had "...no indication on how the mentioned vehicles were delivered and where they come from", later issuing a statement:

"For Daimler, the correct export of products in conformance with the law is a fundamental principle of responsible entrepreneurial activity.  Our company has had no business connections with North Korea for far more than 15 years now and strictly complies with EU and US embargoes.  To prevent deliveries to North Korea and to any of its embassies worldwide, Daimler has implemented a comprehensive export control process. Sales of vehicles by third parties, especially of used vehicles, are beyond our control and responsibility."

Although Daimler seemed to imply The Supreme Leader was now reduced to buying used cars (something never suggested of The Great Leader or The Dear Leader), neither Berlin nor Pyongyang commented on the diplomatic slight.

In the matter of Lindsay Lohan v Take-Two Interactive Software Inc et al, New York Court of Appeals (No 24, pp1-11, 29 March 2018), New York’s highest appellate court dismissed Lindsay Lohan’s suit against the makers of video game Grand Theft Auto V and rejected her invasion of privacy claim which alleged one of the game’s characters was based on her.  The judges found the "actress/singer" in the game merely resembled a “generic young woman” rather than anyone specific.  Unfortunately the judges seemed unacquainted with the concept of the “basic white girl” which might have made the judgment more of a fun read.  Take-Two Interactive Software had requested sanctions be imposed, claiming “Lindsay Lohan complains that her image and persona have been wrongfully used by Take-Two in the video game Grand Theft Auto V, but her claim is so legally meritless that it lacks any good-faith basis and can only have been filed for publicity purposes” and was thus an abuse of process.  Both the trial and appellate judges declined to impose sanctions.

In civil legal proceedings, it's possible in some jurisdictions for a party to request a judge to “sanction” the opposing side by imposing a penalty or punishment for some form of misconduct or violation of the rules of the court.  Typically, sanctions are sought when one party believes the other has engaged in improper behavior, such as failing to comply with discovery obligations, disobeying court orders, or engaging in frivolous or abusive litigation tactics including using the administrative processes of the court to "string out" the length of the hearing, usually in the hope of exhausting an opponent's financial resources, compelling them to discontinue the action.  In most jurisdictions this technically doesn’t extend to “vexatious litigation” (the determination of which remains the preserve of the court) but counsel may raise essentially the same issue as “an abuse of process”.  The mechanism of the sanction is to promote equity of access, fairness of procedure, ensure compliance with court rules, and deter inappropriate conduct during proceedings. The specific sanctions available depend on the jurisdiction and the rules of the court.  Some common types of sanctions include:

(1) Fines may be imposed (payable to the court) or compensation to the other party might be ordered.

(2) Orders may be issued restricting or limiting a party's ability to present certain evidence or arguments related to the issues in the case.  This sanction is invoked where attempts are made to introduce material which is irrelevant, repetitive or in excessive volume.  Pleadings or statements of claim may also be excluded.

(3) In extreme cases of willful or deliberate misconduct, a judge may find the party in contempt of court and this may result in the imposition of fines or even terms of imprisonment. 

Baroque

Baroque (pronounced buh-rohk or ba-rawk (French)).

(1) Of or relating to a style of architecture and art originating in Italy in the early seventeenth century and variously prevalent in Europe and the New World for a century and a half, characterized by free and sculptural use of the classical orders and ornament, by forms in elevation and plan suggesting movement, and by dramatic effect in which architecture, painting, sculpture, and the decorative arts often worked to combined effect (often used with an initial capital letter).

(2) In music, of or relating to the period following the Renaissance, extending (circa 1600-1750) which tended to be characterized by extensive use of the thorough bass and of ornamentation to create dramatic effects. Johann Sebastian Bach, George Frederick Handel, and Antonio Vivaldi were great composers of the baroque era.

(3) In literature, a style of prose thought extravagantly ornate, florid, and convoluted in character or style.

(4) An irregularly shaped pearl (rare except in technical use).

(5) In pre-modern twentieth century design or engineering, objects intricately or ornately detailed in a way no longer financially viable.

(6) Descriptively (of any object where the technical definitions don’t apply), variously (1) ornate, intricate, decorated, laden with detail & (2) complex and beautiful, despite an outward irregularity.

(7) In stonemasonry & woodworking, chiselled from stone, or shaped from wood, in a garish, crooked, twisted, or slanted sort of way, grotesque or embellished with figures and forms such that every level of relief gives way to more details and contrasts.

(8) Figuratively, something overly or needlessly complicated, applied especially to bureaucracy or instances like accounting systems which either are or appear to be designed to conceal or confuse.

1765: From the French baroque (originally “pearl of irregular shape”), from the Portuguese barroco or barroca (irregularly shaped pearl) which was in some way influenced by either or both the Spanish berrueco or barrueco (granitic crag, irregular pearl, spherical nodule) and the Italian barocco, of uncertain ultimate origin but which may be from the Latin verrūca (wart).  The etymology is however murky and some suggest the Portuguese words may directly have come from the Spanish berruca (a wart) also from the Latin verrūca (a steep place, a height (and thus “a wart” or “an excrescence on a precious stone”).  Most scholars think at some point it probably conflated with Medieval Latin baroco, an invented word for a kind of obfuscating syllogism although one speculative alternative is the word was derived from the work of the Italian painter Federigo Barocci (1528-1612), a founder of the style, but most think this mere coincidence.  The comparative is baroque and the superlative baroquest, both thankfully rare.  Baroque is a noun & adjective, baroqueness is a noun and baroquely is an adverb, the noun plural is baroques.

Marble Court, Palace of Versailles.  Commissioned in the 1660s by Louis XIV (1638–1715; le Roi Soleil (the Sun King), King of France 1643-1715), the Palace of Versailles is thought one of the the finest example of secular Baroque architecture.

Baroque is one of those strange words in English which has evolved to have several layers of meaning including (1) a term which defines epochs in music & architecture, (2) a term referencing the characteristics in the music & architecture most associated with those periods, (3) a term which is a negative criticism of those characteristics, (4) a term which is (by extension) a negative criticism of the excessively ornate in any field (especially in literature) and (5) a term applied admiringly to things intricately or elaborately detailed.  In English, baroque began as an expression of contempt for the style of architecture which most historians believe began in early seventeenth century Rome and which shocked many with its audacious departure from the traditions of the Renaissance which paid such homage to (what was at least imagined to be) the Classical lines from Antiquity.  In architecture, baroque has never been exactly defined, something some explain by analogy with Clement Attlee’s (1883–1967; UK prime-minister 1945-1951) observation that it was as pointless to define socialism as it was an elephant for “...if an elephant ever walked into the room, all would know what it was”.

Karlskirche, Vienna.The Vatican's Saint Peter’s Square is often used to illustrate Baroque architecture and all those colonnades do make quite a statement but Vienna's Karlskirche better represents the way church architects took to the form.  It was commissioned in 1713 by Charles VI (1685–1740; Holy Roman Emperor 1711-1740) after the end of the last great epidemic of Plague as an act of memorial to Cardinal Carlo Borromeo (1538-1584; Archbishop of Milan 1564-1584), revered as a healer of those suffering from Plague.

Actually, although etymologists would say that's true, that’s not how the word is actually often applied because the terms baroque and rococo are often used interchangeably by non-specialists when speaking of just about any building adorned with the elaborate details not seen since modernism, functionalism & brutalism prevailed.  What distinguishes things is less the actual shapes than the feeling imparted, baroque and rococo both noted for asymmetry, luxuriant detailing, extravagant, unexpected curves & lines and a polychromatic richness but where baroque’s language is of grandeur, weight & monumentalism, rococo’s implementations summon thoughts of lightness, playfulness and frivolity.  Tellingly, rococo, when used as a critique is applied almost always in the negative, suggesting something fussy, pointlessly elaborate and overstated whereas baroque is often used admiringly, literature about the only field in which use is universally negative.  The other common use of baroque in the negative applies to bureaucracy or tangled administrative systems when it’s used as a synonym of byzantine.  For those seeking a rule of thumb, except in literature, baroque tends not to be used negatively and when describing objects which contain ornate or intricate detailing, it’s adopted usually to suggest something complex and beautiful, despite an outward irregularity.  Baroque suggests restraint and good taste (there are many other words with which to describe the garish, crooked, twisted or grotesque) and to damn something as silly, over detailed and laden with decorations with no functional or aesthetic purpose, there’s rococo.

Winter Palace, Saint Petersberg.  Some do find the Winter Palace a bit rococo and there are elements of that in the interior but architecturally, it's an example of early baroque, albeit much modified by later renovations.  It was built as a residence of Peter the Great (Peter I, 1672-1725; Tsar of Russia 1682-1725) and remain an official palace of the Romanov Tsars between 1732 and the 1917 revolutions.  The present appearance reflects both the restorative work of the late 1830s when it was rebuilt after a severe fire and the restoration after the damage suffered during the Siege of Leningrad (1941-1944).

The use in the language of literary criticism is, like any application of “baroque” in the non-visual arts, inherently imprecise.  Even in music, it’s understood as a period and many of the compositions which emerged from the era do have a style which is recognisably “baroque” but there was also much which was anything but.  The same can of course be said of the European buildings of the same period, the overwhelming majority of which were neither “baroque”, nor memorable, the adjective in what is now called the “built environment” making sense only when used of representational architecture.  That’s a well-understood distinction in architecture and even painting but more contentious in music, something made murkier still by musicologists having divided the baroque into the “early”, “middle” and late”, mapped onto a range of styles which were sometimes particular to one country and sometimes popular in many.  Interestingly, although as a generalized descriptor it needs still to be thought of as something which began as a term of derision in architecture (and it is from there it gained its parameters), there is an earlier, anonymous piece of (not especially serious) opera criticism which labelled a work as du barocque (in the sense of the original meaning “pearl or irregular shape”), damning the music as un-melodic, discordant and a roll-call of just about every known compositional device; something more like a student’s assignment than a opera.  It’s a critique not greatly different from that made some three centuries later by comrade Stalin (1878–1953; leader of the USSR, 1924-1953) who’d been displeased by one of comrade Dmitri Shostakovich’s (1906-1975) operas, calling it формализм (formalism), "chaos instead of music", a self-indulgence of technique by a composer interested only in the admiration of other composers.

L'Estasi di Santa Teresa (The Ecstasy of Saint Teresa) by Gianlorenzo Bernini (1598–1680) is a sculptural group rendered in white marble, set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It’s thought one of the sculptural masterpieces of the High Roman Baroque and depicts Teresa of Ávila, a Spanish Carmelite nun and saint, in a state of religious ecstasy, a spear-holding angel watching over her.  The installation in 2007 (briefly one supposes) gained baroque sculpture a new audience when it was used in a popular meme which noted some similarity with an early morning photograph of Lindsay Lohan resting in a Cadillac.

The last days of baroque: 1967 Mercedes–Benz 600 Pullman Laudaulet (left & rght) and 1971 Mercedes-Benz 280 SE 3.5 Cabriolet (centre).  There was intricate detailing on the W111 and W100s, the last truly coach-built Mercedes-Benz.  Most were produced between 1963-1971 although the W100s continued in a trickle, substantially hand-built, until 1981.

Jean-Jacques Rousseau (1712–1778), remembered as the philosopher who loomed over the French revolution, was also a composer and in his Dictionnaire de la musique (Dictionary of Music, 1767) declared baroque music to be that “...in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited...”, noting the term was a re-purposing of baroco (an alternative spelling of baroko (from a mediaeval mnemonic chant and a mode of syllogism used whenever some point seemed to be exist only pointlessly to obfuscate), used since the thirteenth century by philosophers discussing the tendency by some of their peers (usually those in the Church or university) needlessly to complicate simple concepts and arguments, just for the sake of grandiose academic gloss; formalism as it were.  Etymologists however remain unconvinced by Rousseau’s speculation and cite earlier evidence which suggests it was from architecture that the use in painting and music was derived, pondering that had Rousseau’s musicology been influenced by him being an architect rather than a philosopher, he too may have identified the source in brick and stone.  Anyway, baroque music as it’s now understood is a surprisingly recent construct, discussed as a thing only in the twentieth century, the term widely used only after the 1950s when the advent of long-playing (LP) records made the packaging and distribution of long-form composition practical and the industry became interested in categorizations, the Baroque something different from the Renaissance and the Classical despite the popular association of them all as one.

Gild

Gild (pronounced gild)

(1) To coat with gold, gold leaf, or a gold-colored substance.

(2) To render something with a bright, pleasing, or specious aspect; having the color or appearance of gold.

(3) Smear with blood; to make red, as with blood (archaic except in historic reference).

(4) To adorn in some way.

(5) In cooking, to render some surface with a golden appearance.

(6) To make appear drunk (now rare).

1300–1350: From the Middle English gilden & gulden (to gild, to cover with a thin layer of gold), from the Old English gyldan (akin to gold) and related to the Old Norse gylla (to gild), the Old High German ubergulden (to cover with gold) (the verb from gultham (gold)) and the Middle High German vergülden, from the Proto-West Germanic gulþijan, from the Proto-Germanic gulþijaną, from gulþą (gold).

1967 Cadillac Eldorado.

The figurative use of gild apparently began in the late sixteenth century.  The noun gilding (golden surface produced by gilding (the verb)" was from the mid fifteenth century, the verb pre-dating the form by some two decades.  The adjective gilded emerged 1400 as the past participle of the Middle English gilden and by the early fifteenth century was used also as a noun with the sense of "gilding".  The noun eldorado entered English in the 1590s from the Spanish El Dorado (the golden one ( the name given in the sixteenth century to the country or city laden with gold believed to lie in the heart of the Amazon jungle)); it was derived from the past participle of dorar (to gild), from Latin deaurare (to gild, to gild over), the construct being de- (probably used here as an intensifier) + aurare (to gild), from aurum (gold).  The legend began with the tales of early Spanish explorers and, regarding gold, there would once have been some truth in the story but, in the way of such things, there was embellishment (gilding the story as it were) until Eldorado was thought a city where the “streets were paved with gold” and for two centuries this drew explorers and adventurers.  Gild is a noun & verb, gilding is a verb & adjective, gilded is a verb, begild is a verb & adjective and begilded & gildable is an adjective.

In idiomatic use, the use as “gilded cage” refers to a place (and, by extension, a situation) which is superficially attractive but nevertheless restrictive (a luxurious trap) and appears to have been coined by the writers of the popular song A Bird in a Gilded Cage (1900).  In the slang of apothecaries, there was also “gild the pill”, the history of which is murky but it’s said to refer to the ancient practice of coating bitter tasting pills with a thin layer of metal, the modern version of the phrase being “sugarcoat the pill”.  In historic UK use, the noun gildsman was an alternative spelling of guildsman (a man who is a member of a guild).  To “gild the lily” is unnecessarily to adorn something already beautiful, either in poor taste (a modern expression of which is “bling”) or in an attempt to make something appear more valuable (it has also been used (though less satisfactorily) to mean “inordinately to praise someone”).  Despite often being credited with the coining, nowhere is the works Shakespeare does the phrase appear, Lord Salisbury’s words (King John, Act 4, Scene 2) actually being:

Therefore, to be possess'd with double pomp,

To guard a title that was rich before,

To gild refined gold, to paint the lily,

To throw a perfume on the violet,

To smooth the ice, or add another hue

Unto the rainbow, or with taper-light

To seek the beauteous eye of heaven to garnish,

Is wasteful and ridiculous excess.

Cartoon with a modern feeling: Chicago Labor Newspaper's (1894) critique of the policies of the Pullman railroad company.

The terms “gilded age” and “golden age” are sometimes confused, the former coined by Mark Twain (1835-1910) and Charles Dudley Warner (1829-1900) as the title of their 1873 novel.  The Gilded Age: A Tale of Today was a novel which satirized greed and political corruption in post-Civil War America and it lent the name to the period of US history (circa 1870-circa 1900) immediately prior to the era of progressivism and reform when something was done about political corruption and the economic exploitation of the trusts.  A gilded age is thus suggestive of a time in which things seem superficially attractive and there is prosperity but the activity conceals the squalor and ugliness beneath.  Whenever there are periods of great social and economic inequality (such as that which has evolved in the West over the last four-odd decades (trickle-down economics and its better disguised successors) with aggregated wealth high but disproportionately held by a tiny minority), the term gilded age is often suggested as a descriptor: Gilded age 2.0 in the fashionably modern parlance).  A golden age differs in that it’s associated with a period of peace, prosperity and progress, often expressed by historians in phrases such as the “golden age of the Gupta dynasty” which referred to the Gupta Empire in India which existed between the fourth and sixth centuries.