Teal

Teal (pronounced teel)

(1) Any of several species of small dabbling, short-necked freshwater ducks (such as the Eurasian Anas crecca (common teal)), of worldwide distribution and related to the mallard, travelling usually in tight flocks and frequenting ponds, lakes and marshes.

(2) A color, a medium to dark greenish blue, often mixed with traces of azure, beryl, cerulean, cobalt, indigo, navy, royal, sapphire, turquoise & ultramarine, also called teal blue and (rarely) tealturquoise, peacockblue or blueteal.

(3) As TEAl, the abbreviation of triethylaluminium (in organic chemistry, a volatile organometallic compound (Al₂(C₂H₅)₆ or Al₂Et₆) used in various chemical processes and as an ignitor in rockets and jet engines.)

(4) As TEAL, the (historical) initialism of Tasman Empire Airways Limited, the forerunner to Air New Zealand.

(5) A collective descriptor informally adopted to refer to certain nominally independent candidates contesting certain electorates in the 2022 Australian general election.

1275-1375: From Middle English tele (small freshwater duck), probably from the (unrecorded) Old English tǣle and cognate with the Middle Low German tēlink, from the from West Germanic taili, from the West Frisian tjilling (teal) and the Middle Dutch tēling (teal (source of the Modern Dutch taling)).  The Middle Low German tēlink, was from the Proto-Germanic tailijaz, of unknown ultimate origin, with no cognates outside of Germanic.  As the name of a shade of dark greenish-blue resembling the color patterns on the fowl's head and wings, it is attested from 1923 in clothing advertisements, thereby joining the long list of variations of descriptions of the variations in the shades of blue including: blue; Alice blue, aqua, aquamarine, azure, baby blue, beryl, bice, bice blue, blue green, blue violet, blueberry, cadet blue, Cambridge blue, cerulean, cobalt blue, Copenhagen blue, cornflower, cornflower blue, cyan, dark blue, Dodger blue, duck-egg blue, eggshell blue, electric-blue, gentian blue, ice blue, lapis lazuli, light blue, lovat, mazarine, midnight blue, navy, Nile blue, Oxford blue, peacock blue, petrol blue, powder blue, Prussian blue, robin's-egg blue, royal blue, sapphire, saxe blue, slate blue, sky blue, teal, turquoise, ultramarine, Wedgwood blue & zaffre.  Teal is a noun & adjective and tealish is an adjective; the noun plural is teal or (especially collectively), teals.  The spelling teale is obsolete.

Teal sample by Canva.

Teal’s hexadecimal code is #008080 with RGB values of R: 0, G: 50.2, B: 50.2 and CMYK values of C: 1, M: 0, Y: 0, K:0.5, a hue angle of 180^o, a saturation of 100% and a lightness of 25.1%.  According to the authoritative Canva, for Tibetan monks it was symbolic of the infinity of the sea and sky and for Egyptians, the color of truth and faith.  Discussing the color, Adobe’s editors were almost lyrical, suggesting readers “picture the warm ocean waves in Baja California, made of that color that isn’t quite blue and isn’t quite green.  The water brings in the cool side of summer.”  That’s evocative but the website goes on to note before it was a color it was the name of a bird, “teal” adopted for the blueish-green (or greenish-blue) only in 1917, the reference being to the area around the eye of the Eurasian teal duck.

Carmignano Visitation (circa 1529), oil on panel by Pontormo (Jacopo Carucci; 1494–1557), propositura dei Santi Michele e Francesco, Carmignano, Italy.

The artist’s use of a startling tealish blue for the robe is thought a deliberate choice to emphasize Mary's exalted place in Christian theology.  In Christianity, the Visitation of the Blessed Virgin Mary (clipped usually in general use to “the Visitation”), refers to the visit of Mary, the pregnant with Jesus, to Elizabeth, pregnant with John the Baptist, the story told in the Gospel of Luke (1:39–56).  Traditionally, the Christian feast day commemorating this visit appeared in ecclesiastical calendars on 2 July (Western) or 30 March (orthodox) but in some churches in the West it’s now celebrated on 31 May.

1996 Lancia Y LX-in Grigio Steel over teal Alcantara.

Historically, blue pigment was both expensive and rare; while in the natural environment sources of green were, it was difficult for chemists to create dyes and pigments in blue which did not rapidly (and often inconsistently) fade.  In commerce, because both blue and green pigment were needed to make teal, the blend came to be considered a color of elevated status (and thus price).  The special place of blue (in its time Prussian blue was revolutionary) was reprised in the electronic age when the blue LED (light emitting diode) proved an elusive target.  Although a blue LED had been created as early as 1972 (US Patent US3819974 A granted in 1974), the glow was faint because the materials used in the 1960s & 1970s for red & green LEDs (gallium arsenide (GaAs) or gallium phosphide (GaP) lacked the necessary width in bandgap (in physics the energy difference between two allowed ranges of electron energy in a solid).  Not until the early 1990s did researchers find the method of growing high-quality Gallium Nitride (GaN) at scale on sapphire substrates did the blue LED become technically and commercially viable and with it came the white LED (made possible by combining blue light with yellow phosphor).  That gained the researchers the 2014 Nobel Prize in Physics and the white LED has revolutionized illumination (for birth screens and lighting) and achieved massive energy savings worldwide.

TEAL Lockheed L-188 Electra ZK-TEB 1963 (left) & 1965 (right).  The TEAL livery was retained when the corporate name was changed in 1965, the aircraft not immediately re-painted, “Air New Zealand” replacing “TEAL JET PROP” on the fuselage as required by the rules of the Convention on International Civil Aviation (1944).

The airline TEAL (Tasman Empire Airways Limited) emerged from the Tasman Sea Agreement, an intergovernmental treaty between the Australia, New Zealand and the UK, concluded in London early in 1940.  The purpose of the operation was to provide for the trans-Tasman traffic of passengers, cargo and mail, something which had been disrupted by the outbreak of hostilities in 1939.  In the manner of a number of wartime agreements, the treaty contained a sunset clause which stipulated a termination within three months of the end of the war with Germany but such was the state of post-war civil aviation that arrangements were carried over and pre-war practices did not return to the trans-Tasman route until 1954.  As part of that re-organization, the shareholdings, which previously had been spread between the New Zealand Government (20%), Union Airways (19%), BOAC (38%) and Qantas (23%), were dissolved and the two governments assumed co-ownership until 1961 when both decided to maintain separate national carriers, TEAL and Qantas, the relationship having been strained since the Australians had insisted TEAL order the turboprop Lockheed Electra to maintain fleet standardization with Qantas while the New Zealanders wanted to upgrade to jets.  In 1965, TEAL was re-named Air New Zealand.

Trooping the color: The teal mafia out campaigning in the Wentworth electorate, Australian general election 2022.

The so-called “teal independents” are a number of nominally independent candidates contesting certain electorates in the 2022 Australian general election.  The teal candidates on which there has been much focus are almost all professional women drawn from outside professional politics, contesting nominally “safe” Liberal Party seats in which there’s a higher than average interest in progressive issues, especially climate change.  The use of the color teal is thought an allusion to the mixing of blue and green, blue a reference either to the “blue-blood” demographic profile of the electorates or it being the traditional color associated with conservative politics and green the environmental consciousness which the teals are making a focus of their campaigns.  Former Liberal Party prime-minister John Howard (b 1939; prime-minister 1996-2007) was not impressed by the practice of styling the teals as “independents”, claiming it was misleading given the source of some of their funding and logistical support from entities which would in the US be understood as PACs (political action committees), entities which combined lobbying with activism on specific issues.  Mr Howard suggested the teals were merely “…posing as independents” and were really “…anti-Liberal groupies”, their aim being “…to hurt the Liberal party, not to represent the middle ground of their electorates” adding “They don’t represent disgruntled Liberals.  They represent a group in the community that wants to destroy the Liberal government. It’s as simple as that.”

Flags of the Liberal Party of Australian and Australian Labor Party (ALP).

Mr Howard was right in that the consequences really are simple as that: if a sufficient number of teals are successful, they will hurt the Liberal party and destroy the Liberal-National coalition government but where the teals would differ from the former prime-minister is in not conflating cause with effect.  The teal candidates have well expressed (if not especially detailed) policy objectives and are seeking to destroy the government because they wish to see alternative policies pursued and about that, voters will agree, disagree or remain indifferent.  What attracted most attention however was Mr Howard’s choice of the word “groupies” to refer to the (mostly female) teals, one critic noting an analysis of the composition of the four ministries he formed while prime-minister did suggest he was inclined to appoint women to the “touchy-feely” portfolios dealing with people while the men got the meatier appointments.

On the books of the central Arizona town of Sedona is an ordinance banning brightly colored signs or buildings, an admirable law intended to limit the jarring intrusions of commerce on the visual environment.  In Sedona, the "golden arches" of McDonalds are teal-blue.

That aside, he does have a point about the word “independent” being misleading.  Historically, in Australia, it’s been understood as meaning a candidate for or member of a parliament who is not a member of a political party (within the legally-defined meaning).  That the teals are not but, though not a conventional party, the teal thing is clearly a concept, a movement or something else beyond a mere state of mind and parts of it are a framework providing the candidates with financial and administrative assistance in a more structured way that that of local volunteers.  The teals (not all of whom use the color in their advertising, one in particular running a “pink” campaign) have also been the victims of some ambush marketing, complaining that others were now muddying the waters by sending out teal-colored flyers.  They might have some difficulty in enforcing an exclusivity of right on a color, about the only restriction enforced is on purple which can’t be used in circumstances where it might be confused with something from the Australian Electoral commission which most jealously guards its purple.  Nor is some fluidity of meaning unknown in Australian politics.  During the 1970s and 1980s, in the Victorian Labor Party, although an apparent contradiction in terms, a faction was formed called the “Independents”, a faction self-described by its members as being a faction for those “who disliked factional politics”.  It was novel then and unthinkable now but happened at a time when the Left had been neutralized by federal intervention and the Right was still obsessed with the DLP (the Democratic Labor Party, the even more right-wing Roman-Catholic breakaway which was until the emergence of One Nation the worst form of political excrement to enjoy significant electoral success) and the Cold War.  There was a gap in the market.

Flags of the Australian National Party & the Australian Greens.

Teal as blend of blue and green imparting political meaning works in Australia because the use of the colors red (of the left), blue (of the right) & green (of the greenies) is well understood.  Even the historic association of the National Party with green doesn’t cause confusion.  The National Party (originally the Country Party and briefly in some places the National-Country Party), had always used green to reflect their agrarian origins but adapted well in the 1980s to the emergence of formalized Green parties (which of course chose green for semiotic purposes).  Pragmatists, the Nationals, operating as usual like horse-traders, settled on a slightly darker shade with gold lettering, the traditional Australian sporting livery.  Briefly, the Nationals had flirted with shades of brown, the idea being to convey “the people of the soil” but the idea was quickly abandoned, not because brown was so associated with the Nazis (the Braunes Haus (Brown House)) was their early Munich headquarters and the Surmabteilung (the SA and literally "Storm Detachment" but usually called storm-troopers) were street thugs known as the “brownshirts” because of their uniform) but because brown is such an unappealing colour and difficult for graphic artists to handle.         

Crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) liked teal pantsuits and retained a fondness for the shade, even as the cut of her clothes became more accommodating.

In a diary entry of 2 September, 1953, Winston Churchill’s (1875-1965; UK prime-minister 1940-1945 & 1951-1955) doctor Lord Moran (Charles Wilson, 1882-1977; president of the RCS (Royal College of Physicians) 1941-1949, personal physician to Winston Churchill 1940-1965) noted his patient reporting he had “…curious, elaborate, complicated dreams.  I wake, but when I go to sleep again they go on.  They are too complicated to explain.”  In one, he described dreaming of a woman who sounded she looked damnably like crooked Hillary the larger:  “For instance, last night I dreamt of a large woman of the Eleanor Roosevelt type, and this woman was President of the United States. It was all extremely vivid, but I want to know what it means.”  His ominous premonition of crooked Hillary as POTUS of course didn’t happen but, despite her presence, he did describe his dreams as “enjoyable”.

Lindsay Lohan in teal, Nickelodeon Kids' Choice Awards (2004, left), publicity shot in Greece (2019, centre) & premiere of Mean Girls (2004).

The origin of red being associated with the politics of radicalism and revolution is generally assumed to date from the use in the French revolution where the idea was to represent the blood spilled in the overthrow of the ancien régime although the shade used should perhaps have been darkened a little in the years that followed as the revolution began “to consume its children”.  Around the planet, colors are widely used as political identifiers and, with different traditions of use and history of origin, there’s a wide divergence of meaning; what a color in one country conveys can mean the opposite in another.  There’s also the point that at one, important level, a color is just a color and the choice, even for political purposes, may be purely on aesthetic grounds:  Hitler made no secret that he choose red, white and black as for the early depictions of the swastika and other Nazi imagery because his ideological opponents, the communists, had used it with such success.  Among the best known color adoptions are orange and green in Ireland, yellow and red in Thailand and black by the so-called Islamic State (داعش, Dāʿish) and a number of Islamist and Islamic fundamentalist movements (as a symbol of jihad), saffron in India because of the traditional association with Hinduism and the Hindu nationalist movement.  The association of certain blue & red with political parties or ideologies is fairly consistent in the English-speaking world except for the curious pattern of use in the United States.

Flags of the US Republican Party (Elephants) & US Democrat Party (Donkeys).

In the US, although the idea of blue states (Democrats) and red states (Republicans) is now entrenched as part of the political lexicon, it's been that way only for two decades odd.  Red and blue had long been used to illustrate the US electoral map but there was never any consistency in how they were allotted to the parties and in some elections, different television networks might use them differently or even use different colors entirely, one of the considerations being what worked best on the then novel medium of color television.  The other influence was possibly political culture, there being in the US little tradition of a mainstream, radical party of the left so the red-blue contrast as it was understood elsewhere in the English-speaking world didn't register in the same way.  It was in the 2000 presidential election that the television networks agreed to standardize the red and blue designations for Republicans and Democrats, the incentive simply one of convenience in the reporting of the drawn-out Electoral College numbers that year.  As the red and blue imagery flowed across screens for weeks before the numbers were settled, the color associations became set in stone.

Shades of purple, the US 2004 presidential election: outcomes from Electoral College represented by state (left) and county (right). 

The idea of the US as a divided society of red states (emblematically the fly-overs) and blue states (with populations on the corrupting coastlines) is graphically illustrated when the states are colored according to the winner-takes-all system electoral college system but if the red-blue map is instead constructed county by county, a more nuanced spectrum emerges as one that is in shades of purple (purple a mix of red & blue as teal is of green & blue).  The US is a country of divisions and many of the cleavages are cross-cutting but the state by state maps do exaggerate the extent of the political polarization.

2021 McLaren GT Coupé in teal (Serpentine in the McLaren color chart).

Electra

Electra (pronounced ih-lek-truh)

(1) In Greek mythology, (also as Elektra or Laodice), any of several mythical women, most famously as the daughter of Agamemnon and Clytemnestra; she incited her brother Orestes to avenge the death of their father by killing his murderess Clytemnestra and her lover Aegisthus.

(2) In Astronomy, one of the six visible stars in the Pleiades.

(3) A female given name from Ancient Greek (now rare).

(4) In psychoanalytic theory, as “Electra complex”, a young girl's sub-conscious competition with her mother for her father's affection.  Still much associated Sigmund Freud (1856-1939), the term was in 1913 coined by Carl Jung (1875–1961) but Freud, proprietorial in such matters, added layers to his “Oedipus complex” (originally detailing a son's sexual attitude towards his mother and concomitant hostility toward his father) publishing the refinement as the “feminine Oedipus attitude”.  It can (generously) be interpreted as Freud’s contribution to gender-equality.

First century BC (of the name, although the literary tradition stretched back several millenia): From the Ancient Greek Ἠλέκτρα (Ēléktra (literally “shining bright)), from ἤλεκτρον (ḗlektron) (amber) and related to ἠλέκτωρ (ēléktōr) (shining sun; beaming sun).  Although etymologists regard the possibility as dubious, there may be a connection with the Sanskrit उल्का (ulkā́) (meteor) and/or the Latin Vulcānus (god of fire and metalworking) and the Ancient Greek ἥλιος (hḗlios) (sun).  The ultimate source may even be pre-Greek so it’s not surprising the exacting lexicographers list the origin as “uncertain”.  The Latin noun ēlectra was the nominative/accusative/vocative plural of ēlectrum (from Ancient Greek ḗlektron) and the best known adaptation was electrum (amber; an alloy of gold and silver, used in Antiquity and now specifically a natural alloy with between 20 and 50 per cent silver (once commonly called “German silver plate).  Electra is a proper noun; the noun plural is Electras (about the only use of the plural form is of sopranos or Buicks).

The legend of Electra (Ηλέκτρα)

While some of the myths of Antiquity have a unique storyline and there are characters who appear in a single role with a known lineage, in many cases the tales are tangled and figures from one myth may appear in others with different parents and children.  As an example, consider the literary career of Electra who variously was (1) One of the daughters of Oceanus and Tethys, who married Thaumas and then gave birth to Iris and to the Harpies; (2) One of Persephone's companions and was present when she was carried off by Hades; (3) One of the Pléiades.  Zeus fathered her child Dardanus who left Samothrace and went to the Troad, where he founded the royal dynasty of Troy.  Electra had another son, Iasion.  Electra is also said to have had a third son, named Emathion, who ruled over Samothrace, but more frequently this third child of hers by Zeus is named as Harmonia; (4) In the Italian version of Electra's legend, she was the wife of the Etruscan King Corythus and Dardanus and Iasion were born in Italy; (4) Electra is also linked to the legend of the Palladium.  She was later transformed with her sisters into the constellation of the Pleiades.

Elektra (Frankfurt, 1953).

The 1967 recording of Richard Strauss's (1864–1949) Elektra with Swedish soprano Birgit Nilsson (1918–2005) and the Wiener Philharmoniker (Vienna Philharmonic Orchestra) under Hungarian-British conductor, Sir Georg Solti (1912–1997) is regarded still by many critics as the finest studio recording.  Given the virtuosity on show, it's hard to argue but among the opera cognoscenti there’s a faction that insists Electra's hatreds and lust for vengeance were never better captured than in the 1953 recording with German soprano Inge Borkh (1921–2018) and the Sinfonieorchester dem Hessischen Rundfunk (Frankfurt Radio Symphony Orchestra of the state of Hesse), under German composer and conductor Kurt Schröder (1888–1962), a release noted also for German mezzo-soprano Christa Ludwig's (1928–2021) appearance as first maid.  In all the repertoire of opera, Electra is one of the roles demanding much range from a soprano and listeners can choose the Electra they prefer: technical ecstasy or thrilling intensity.

Most famously however she was (6) the daughter of Agamemnon and Clytemnestra.  After Agamemnon was murdered by Aegisthus and Clytemnestra, Electra was treated as a slave, spared only on the intervention of her mother.  In some accounts Electra saved her brother (the young Orestes) by entrusting him to their old tutor who took him away from Mycenae.  To prevent her giving birth to a son who might avenge her father, Electra was either married to a peasant who lived far from the city, or, having been betrothed to Castor and then Polymestor, was imprisoned at Mycenae.  On Orestes' return, she recognized him at Agamemnon's tomb and played an active part in the assassination of Aegisthus and Clytemnestra. When the Erinyes pursued Orestes for this crime, she devoted herself to his welfare.  In Euripides' Orestes she fought at her brother's side against the local populace who wanted the murderers condemned to death.  Electra was the main character in Sophocles' (now lost) Aletes: when Orestes and Pylades went to Tauris, rumours started at Mycenae that they had died, and that Electra's sister Iphigenia had killed Orestes.  Aegisthus's son Aletes assumed the throne and Electra went to Delphi, where she met Iphigenia who had gone there with Orestes.  Electra was about to blind her when she saw her brother.  Electra and Orestes returned to Mycenae and killed Aletes.  Electra married Pylades and went with him to Phocis; their children were Medon (3) and Strophius.

Electracy

Actor Carmen Electra (stage name of Tara Leigh Patrick, b 1972) and Lindsay Lohan (b 1986), The Art of Elysium Launches Betty and Veronica Apparel Line in Association with Miramax Films and Archie Comics, Beverly Hills, California, May 2004.

Electracy is the “skill and facility necessary to exploit the potential of modern electronic media”, a idea that has come to attract more attention after the disclosures of AI (Artificial Intelligence) systems “going rogue”, something of interest not only because of the reported events but the suspicion there have likely been many more “undisclosed incidents”.  First appearing in Teletheory (1989), the concept of electracy was constructed by US literary theorist Professor Gregory Ulmer (b 1944, then holding the chair in the Department of English at the University of Florida and a professorship of Electronic Languages and Cybermedia at the European Graduate School in Saas-Fee, Switzerland) and it appeared at a time when the internet had expanded beyond the US.  What had come to be known as the internet (until circa 2016 often with an initial capital) had been restricted mostly to universities, the military and some government agencies but by the late 1980s it had extended to research institutions in the UK, Europe, Australia, New Zealand and Japan but looked nothing like whate the www (world wide web) would transform it to in the following decade.  According to Professor Ulmer, electracy was “to digital media what literacy is to print”, the concept encompassing the broader cultural, institutional, pedagogical, and ideological implications inherent in “…the major societal transition from print to electronic media”.  A portmanteau word, the construct was electr(icity) + trac(e) + -y with “trace” used in the sense made famous by French philosopher Jacques Derrida (1930-2004).  Trace was a core concept in Derridian deconstruction; it denoted the principle that every sign, word, or present experience carries within it the mark of what it is absent, not present, and different from itself.  Instead of meaning coming from a pure, self-contained origin or a direct connection to reality, the trace means that every “present meaning” is already inhabited by the “ghost” of other “past and future signs”.  Unlike some of the concepts from deconstruction and other forks of postmodernism, la trace could, at the definitional level, be understood by most.

Jung, Freud and the Electra complex

The pioneers of psychoanalysis gathered at Clark University, Worcester, Massachusetts, September 1909. Front Row (left to Right): Sigmund Freud, Granville Stanley Hall (1844–1924) & Carl Jung.  Back Row (left to right): Sándor Ferenczi (1873–1933), Ernest Jones (1879–1958) & Abraham Arden Brill (1874–1948).

The group photograph was shot during a conference on psychology hosted by Dr Hall, then president of Clark University and the first in the US to earn a doctorate in the discipline.  Although even then psychoanalysis was established in the US, the conference would prove a landmark and trigger not only a wealth of publications but also the legitimization of the field to the extent departments of psychology began to proliferate in US institutions.  This was Freud's only trip to the US, a place where his influence would for generations be profound but, within half a decade, his estrangement from Jung had begun, producing the profession’s most famous schism that to some extent endures to this day.

Although in the public consciousness Sigmund Freud (1856-1939) does seem to loom over psychiatry and his theories continue to flavour the writing of at least some clinicians and academics, the editors of the APA's (American Psychiatric Association) DSM (Diagnostic and Statistical Manual of Mental Disorders) have moved on and in mainstream contemporary psychiatry, the Freudian “feminine Oedipus attitude” seems to be regarded primarily as a historical psychoanalytic concept rather than an acknowledged human developmental process or a psychiatric diagnosis.  It was Carl Jung (1875–1961) who coined the term “Electra complex” and explicitly Freud rejected it, not because he dismissed the notion but because his original conception was of his “Oedipus complex” as something applicable to both sexes and it was only later he constructed a more intricate model of female psychosexual development, thus the need for his term: “feminine Oedipus attitude”.

Electra Receiving the Ashes of her Brother, Orestes (circa 1927). oil on canvas by Jean-Baptiste Joseph Wicar (1762–1834), Worcester Art Museum, Worcester, Massachusetts, USA.

In Freud’s construct of female development: (1) the mother was the primary love object until (2) the child discovers the anatomical difference between the sexes, thus developing (3) what Freud styled “penis envy”, leading her to (4) blame her mother for rendering her with what she perceives as a “deficiency”, something that compelled her to (5) shift her affections towards her father meaning she (6) became her mother’s competitor for the father’s affection before (7) eventually identifying with her mother and accepting the defined “feminine role”.  Freud seems not to have commented on whether he was annoyed by Jung’s “Electra complex” becoming one of the most popular pieces of jargon to leak from the profession to popular discourse but he’d made clear his thoughts, writing in From the History of an Infantile Neurosis (the Wolfman case history) (1918) that he saw “no progress or advantage” in introducing the term and did not advocate its use.  That presumably was a clinician’s considered view though there’s no reason to suspect Austrian neurologists are any less prone than the rest of us to professional jealousy and in little more than a decade his position significantly had shifted; by 1931 Freud was arguing the pre-Oedipal attachment of girls to their mothers was much more important in than his earlier formulations had suggested.  So, although among Freudians, neo-Freudians and the wider community, his particular take on the Electra complex retains a following, the theory wasn’t a single, fixed proposition.

The Return of Orestes (from Electra by Sophocles) (1782), oil on canvas by John Downman (1749–1824), National Trust Collections, Hinton Ampner, Alresford.

The figure at the far left is Charles James Fox (1749–1806), a British Whig statesman whose career in politics endured for some four decades; he’s best remembered for his part in the Fox-North coalition government (April-December 1883 with Lord North (1732-1792)), dismissed by a then not quite mad George III (1738–1820; King of the UK 1760-1820) after the loss of the American colonies.  The episode was of note in the development of Westminster parliamentary conventions because the coalition had taken office despite the king’s opposition and when George III a few months later took the opportunity to “clear out that rotten crew”, it would be the last time the sovereign’s reserve powers would be invoked to sack a prime minister until in 1975 Sir John Kerr (1914–1991; Governor-General of Australia 1974-1977) sundered the commission of Gough Whitlam (1916–2014; Prime Minister of Australia 1972-1975), proving the royal prerogative still existed (although paradoxically perhaps now only in the hands of a monarch’s representative rather than their own).  There had been William IV’s (1765–1837; King of the UK 1830-1837) in 1834 dismissing Lord Melbourne (1779–1848; prime minister of the UK 1834 & 1835-1841) but historians seem to treat that more as a “gentlemen’s agreement” and most of those few Australians who by 1975 much thought about such things probably believed the days of meddling viceroys were done.

Fox’s other (and far-reaching) contribution to political evolution was that in refusing to serve in the administration of Lord Shelburne (1737-1805; Prime Minister of the UK 1782–1783), he accelerated the morphing of the Tory faction into a formalized party and no prime minister since Shelburne has attempted to govern without the support of a party.  In the literature, the relationship between George III and Fox often was described as “mutual antipathy” but “mutual hatred” better describes things and there have been few loathings so well documented as public knowledge, the king in a letter to North as early as 1775 saying of Fox he had: “…cast off every principle of common honour and honesty ... [a man who is] as contemptible as he is odious ... [and has an] aversion to all restraints.”  It was deeply personal view because the king attributed this dissolute lifestyle of his son and heir (George IV (1762–1830) King of the UK 1820-1830) to Fox’s corrosive influence.  Despite that, Fox’s appearance in the painting was likely playful rather than political, the artist often including public figures in his works with no overt purpose; Downman was not a “political artist”.

APA Dictionary of Psychology; the APA also publishes a concise edition.

Despite’s Freud’s place in the history of the profession and his continue presence within factions in mainstream psychiatric science, in the “standard” diagnostic literature (the DSM & the WHO's (World Health Organization’s) ICD (International Classification of Diseases)), there are only traces of his legacy.  The DSM-5-TR (2022) is the APA’s most comprehensive diagnostic classification system yet and it includes no mention of the Electra complex, feminine Oedipus complex, penis-envy syndrome, or Oedipal developmental stage, either as diagnoses or as elements in diagnostic criteria and that reflects the path of the modern (ie post 1980) DSM’s evolution as concepts not technically diagnoses came gradually to be removed or renamed, the framework shifting from the classic psychoanalytic explanations of psychopathology Freud, Jung and others had pioneered in the late nineteenth and early twentieth centuries.  That doesn’t imply parent–child attachment, identification, rivalry and such has been downgraded in importance, indeed the volume of literature would suggest the opposite; it means just that modern developmental psychology studies these things extensively but generally without Freud's specific (and still famous) assumptions.  Less well-known than the DSM, the APA also publishes a psychology dictionary in which the Oedipus complex is discussed as a concept of classical psychoanalytic theory, noting that contemporary psychoanalytic thinking substantially has reduced its centrality and instead focuses more on empirical findings about earlier mother–child relationships.

Electra and the Chorus bearing vessels for libation on the tomb of Agamemnon (undated), illustration from The Choephori by Aeschylus (circa 525-circa 456 BC), pencil, pen and ink on paper by John Flaxman (1755–1826), an English sculptor and draughtsman in the neoclassical tradition, Royal Academy of Arts, London.

In modern parlance all that might suggest “Freud was cancelled by the DSM”.  That would be overstating things but it’s true than prior to the DSM-III (1980), the earlier editions (DSM-I (1952) & DSM-II (1968)) conceptualized mental disorders predominantly in psychodynamic terms with psychoanalytic concepts consequently afforded some prominence although despite the emphasis, neither the Oedipus or Electra complexes were ever listed in the DSM as a diagnosis; they were theoretical explanations of personality development and psychopathology rather than a disorder with diagnostic criteria.  It was in DSM-III the change really began, the editors deliberately moving psychiatric classification toward operationalized diagnostic criteria and away from competing psychodynamic theories, one consequence being explicit mention of the Oedipal theories disappeared from the DSM's diagnostic architecture; the threads could still be detected but that required prior knowledge, a not unreasonable assumption given the publication at the time tended circulate mostly within the profession; its high public profile would come later.  Psychoanalysis however has not disappeared and there are psychoanalytic theorists who continue to use Oedipal language meaning the concepts not infrequently appear in the literature although that does not imply modern psychiatry universally has empirically validated Freud's theory.

So if “Freud was cancelled” is the wrong phrase, it’s necessary to nominate one better and either “somewhat restricted” or “much diminished” better capture what happened (certainly if what’s being discussed is the DSM rather than psychiatry or psychotherapy as a whole).  Prior to the DSM-III, disorders commonly were described in terms of underlying psychological mechanisms and conflicts, emphasizing the primacy of psychoanalytic theory as an important influence in both DSM-I & DSM-II.  It was DSM-III that was the watershed in that it built the framework upon which all subsequent editions have been constructed, up to the current DSM-5-TR.  A major break from what had been established (reflecting a generational change in the profession), DSM-III introduced explicit operational diagnostic criteria and deliberately adopted an approach intended to be neutral concerning etiology (the establishment of a cause, origin, or reason for something).  Henceforth, the DSM would describe what a disorder looked like rather than discuss theories explaining why it manifested.

Psychodynamic Diagnostic Manual, Third Edition (PDM-3, 2026).  The PDM is less popular with a general readership because it focuses on “why we’re mad” while the DSM defines exactly “how we’re mad” and offers hints on what to do about it.  The PDM is however useful for those who (in themselves or others) detect madness but wish to determine just when & why the instability began.

However, just because Freud's metapsychology ceased explicitly to appear in the DSM’s organizing framework doesn’t mean Freud has no influence on contemporary psychiatry; a number of the concepts he developed or modified have, to varying degrees, survived including unconscious processes; defense mechanisms; transference and countertransference; the importance of early relationships; attachment and interpersonal development and (vitally) the idea that psychological processes can operate outside conscious awareness.  As that implies, much modern work has been built Freudian concepts that became mainstream orthodoxy.  What happened was those concepts have been reformulated or interpolated into broader psychological theories, rather than being accepted simply because Freud proposed them and, in a nod to Freud’s seminal role, there is now the PDM (Psychodynamic Diagnostic Manual, first published in 2006 and now in its third edition (2026)) which, able to be read as a complement to the DSM or a stand-alone title, deliberately incorporates psychodynamic concepts.  That the DSM & PDM peacefully can co-exist does indicate why it’s at least misleading to speak of Freud being “cancelled”; it was more that the DSM was becoming a different sort of publication and Freud needed a new home.

Buick Electra

1973 Buick Electra 225 Custom Four-door Hardtop.

Richard Nixon's (1913-1994; VPOTUS 1953-1961 and POTUS 1969-1974) last full-year in office, 1973 was the last “good year” of the old US economy but events in the Middle East that October would trigger the first oil shock and legislation would impose on cars battering-ram like bumpers and crude emission control devices that impaired driveability reduced power and increased fuel consumption.  It’s remarkable behemoths like the Electra lasted another three seasons.

Over six generations, GM’s (General Motors) Buick division produced the Electra between 1959 and 1990.  For its whole existence the Electra was the flagship of division’s full-size line and, at various points, was available with just about every style of coachwork Detroit offered in the era including two & four-door hardtops, four door sedans, two door convertibles and five door station wagons.  While there were no four-door convertibles, or station wagons with two-doors or in hardtop configuration, some coach-builders used also the platform as the basis of ambulances, limousines or hearses.  The best-known of the breed was the Electra 225 that gained its name from being an impressive 225 inches (5.715 m) in length and while dimensions continue commonly to be used as product descriptions in many industries, explicit mention of length does seem rare in cars although allusions were once common (SWB, LWB, EWB, an appended “L” etc). The Maybach revival used “57” (5.7 m long) & “62” (6.2 m) and some of the Land Rovers were designated according to the wheelbase in inches (88, 110 etc); there was the Ford GT40 but that was about height.  The classic Electra 225s (they wouldn’t always measure 225 inches stem to stern but the name stuck) were built on the GM corporate C platform and although part of the “great down-sizing” in 1977, it retained the RWD (rear-wheel-drive) configuration until 1985 when, along with the equivalent ranges built by Cadillac, Oldsmobile, Pontiac & Chevrolet, the “full-size” lines shifted to FWD (front-wheel-drive).  The most famous Electra 225 was a 1966 four-door hardtop in which the actor Jayne Mansfield (1933–1967) was killed after the car slammed into the back of a stationary truck;  the protective “Mansfield bars” on trucks are named after her.  Because of the name, it was used for the Buick Electra E5, a battery electric mid-size crossover SUV manufactured since 2023 in China by SAIC-GM under the Buick brand.

Powered clamshell tailgate on 1971 Buick Estate Wagon.  The 1971 Estate used the Electra platform and was Buick's first full-sized station wagon since 1953.  It was a very cool feature.  

A footnote in the Electra’s history is the powered clamshell tailgate used on the Estate Wagon between 1971 and 1976.  Built on a 127 inch (3.23 m) wheelbase, the Estate Wagons truly were large machines and the clamshell tailgate appeared on all GM’s big wagons in the era, the novelties being the powered rear glass sliding up into the roof as the tailgate slid into a recess under the cargo floor; very cool.  The power tailgate (the first ever seen on station wagons) was operated by switches on the instrument panel or a key switch on the rear quarter panel but while wagons had the powered glass, the powered tailgate was optional and, if the manual version, there was a small handle on the tailgate and an additional chrome “ring” with “flippers” around the keyhole.  The apparatus operated by turning the key to raise the glass into the roof cavity with the tailgate lowered by turning the chrome ring.  A clever design of the type engineers really would have enjoyed perfecting, the tailgate used counter-weights of sizes & springs of tension (a la garage doors) calculated exactly to allow the structure to drop under the force of gravity while demanding only a light action manually to raise it; it was a case-study in the difference between mass & weight (mass x gravity).  Although heavy and intricate, the system proved admirably reliable but the design wasn’t carried over to the new generation of smaller station wagons because, in the unforgiving new world, there was a quest to reduce weight in the hunt for improved fuel economy and lower exhaust emissions.

Lockheed Electra

TEAL Lockheed L-188 Electra ZK-TEB 1963 (left) & 1965 (right).  The TEAL livery was retained when the corporate name was changed in 1965, the aircraft not immediately re-painted, “Air New Zealand” replacing “TEAL JET PROP” on the fuselage as required by the rules of the Convention on International Civil Aviation (better known as the “Chicago Convention” (1944).

The airline TEAL (Tasman Empire Airways Limited) emerged from the Tasman Sea Agreement, an intergovernmental treaty between the Australia, New Zealand and the UK, concluded in London early in 1940.  The purpose of the operation was to provide for the trans-Tasman traffic of passengers, cargo and mail, something disrupted by the outbreak of World War II (1939-1945).  In the manner of a number of wartime agreements, the treaty contained a sunset clause stipulating a termination within three months of the end of the war with Germany but such was the state of post-war civil aviation that arrangements were carried over, the pre-war practices not returning to the trans-Tasman route until 1954.  As part of that re-organization, the shareholdings, previously spread between the New Zealand Government (20%), Union Airways (19%), BOAC (38%) and Qantas (23%), were dissolved and the two governments assumed co-ownership until 1961 when both decided to maintain separate national carriers, TEAL and Qantas, the relationship having been strained since the Australians had insisted TEAL order the turboprop Lockheed Electra to maintain fleet standardization with Qantas while the New Zealanders wanted to upgrade to jets.  In 1965, TEAL was re-named Air New Zealand.

Two Lockheed P-3 Orions of the Japanese SDF (Self-Defense Force), on anti-submarine patrol over the Sea of Japan.

The naming of the sea is contested.  Japan asserts “Sea of Japan” has since the early 1800s been the internationally accepted term while the RoK (Republic of Korea (South Korea)) claims “East Sea” predates the period of Japanese colonial rule and the DPRK (Democratic Republic of Korea (North Korea)) Korea advocates use of “East Sea of Korea”.  Unlike the Electra L-188 on which it was based, the Orion proved a great commercial success and between 1960-1990 over 750 were built, the aircraft adopted by over 20 countries; some remain in service.  The distinctive “tail “stinger” is a “MAD boom”, used for the magnetic anomaly detection (MAD) of submarines.

Re-cycling a name the company had in the 1930s used for a smaller airliner, US manufacturer Lockheed between 1957-1961 built 170 Electra L-188s, the first large turboprop airliner built in the US.  With a number of unique design features that made it suitable for use on short runways or airfields located at high altitudes, there should have been great scope for international sales but a combination of two well-publicized crashes (caused by a design fault in the engine-mounts) and the new generation of jet aircraft suppressed demand meaning production ended a decade earlier than planned.  Ironically, whether in passenger service or as the freighters many were later converted into, the Electra proved robust, reliable and provided stellar service to many operators as late as the 1990s, the airframe also serving as the basis for the Lockheed P-3 Orion maritime patrol aircraft that saw service with many nations.  The Electra’s darkest chapter was that a flight of three was purchased by the military junta that between 1976-1983 ruled Argentina and, during the “Dirty War” (1974-1973) the three flew missions to dump some of the detenidos-desaparecidos (detained-disappeared), political opponents of the regime, of which there may have been as many as 25,000) into the South Atlantic Ocean.  The Argentine Navy’s Electra’s proved ideal for the gruesome task because they were configured with wide cargo doors.