Twilight

Twilight (pronounced twahy-lahyt)

(1) The soft, diffused light from the sky when the sun is below the horizon, either from daybreak to sunrise or, more commonly, from sunset to nightfall.

(2) The period in the morning or, more commonly, in the evening during which this light prevails.

(3) A terminal period, especially after full development, success, etc.

(4) A state of uncertainty, vagueness, or gloom.

(5) Of or relating to, or resembling twilight; dim; obscure:

(6) Appearing or flying at twilight; crepuscular.

(7) The period of time during which the sun is a specified angular distance below the horizon (6°, 12° and 18° for civil twilight, nautical twilight, and astronomical twilight respectively)

1375-1425: From the Middle English twyelyghte (twilight) from the Old English twēonelēoht (twilight), the construct being twi (double, half) +‎ light, literally “second light, half-light”.  Light was from the Middle English light, liht & leoht, from the Old English lēoht, from the Proto-West Germanic leuht, from the Proto-Germanic leuhtą, from the primitive Indo-European lewktom, from the root lewk- (light).  It was cognate with the Scots licht (light), the West Frisian ljocht (light), the Dutch licht (light), the Low German licht (light) and the German Licht (light).  It was related also to the Swedish ljus (light), the Icelandic ljós (light), the Latin lūx (light), the Russian луч (luč) (beam of light), the Armenian լույս (luys) (light), the Ancient Greek λευκός (leukós) (white) and the Persian رُخش‎ (roxš).  It was cognate with the Scots twa licht, twylicht & twielicht (twilight), the Low German twilecht & twelecht (twilight), the Dutch tweelicht (twilight, dusk) and the German zwielicht (twilight, dusk).  The exact connotation of twi- in this word remains unclear but most etymologists link it to "half" light, rather than the fact that twilight occurs twice a day.  In that twilight may be compared with the Sanskrit samdhya (twilight, literally "a holding together, junction") and the Middle High German zwischerliecht (literally "tweenlight").

Enjoying the crepuscular: Lindsay Lohan at twilight.

The meaning "light from the sky when the sun is below the horizon at morning and evening" dates from the late fourteenth century, used often in the form "twilighting").  It was used originally (and most commonly) in English with reference to evening twilight but occasionally, beginning in the fifteenth century, referred also to the light of dawn.  The figurative extension dates from circa 1600.  The "twilight zone" is from 1901 (in a literal sense of the part of the sky lit by twilight), the use extended after from 1909 to refer to topics or cases where authority or behavior is unclear, the origin of that probably the 1909 novel In the Twilight Zone by Roger Carey Craven, the reference is to the mulatto heritage of one character, the idea of what used to be called the "half-breed", one who might be equally be claimed or disowned by either race.  The name was re-used in 2016 by Nona Fernández (b1971) (translated into English by Natasha Wimmer (b 1973)) in a novel about Chile under the dictatorship (1973-1990) of General Augusto Pinochet (1915–2006).  The US TV series of that name is from 1959.  The connotation of “twi” in this context is uncertain with most etymologists concluding it appears to refer to "half" light, rather than the state of twilight which occurs twice a day although in Sanskrit samdhya (twilight) was literally "a holding together” or “junction”, a formation known also in the Middle High German zwischerliecht, literally "tweenlight".  Twilight today is most commonly used with its original meaning of the evening light but from the mid-fifteenth century to the mid-twentieth, it was used also to refer to the morning twilight.  The figurative extension is first recorded circa 1600.

Götterdämmerung

Richard Wagner (1865) by August Friedrich Pecht (1814–1903), oil on canvas, Metropolitan Museum of Art, Ney York.

Götterdämmerung (Twilight of the Gods), is the fourth and final part of Richard Wagner's (1813-1883) Der Ring des Nibelungen (The Ring of the Nibelung, usually known as The Ring or Ring Cycle).  Lasting some fifteen hours and usually presented over several days, its debut performance was at the Bayreuth Festival on 17 August 1876.

A great set piece drama and the grandest moment in Opera, the Ring Cycle is about the destruction of the gods and in a final battle with evil powers and although based on an old Norse myth, a dubious translation of the Old Icelandic Ragnarǫk (fate of the gods) meant it entered Modern German as Ragnarökkr (twilight of the gods).  In the Norse, the story was of "ancestral voices prophesying war" between mortals and the gods, a conflict ending in flames and flood but leading finally to the renewal of the world.  Wagner's work differs much from the Old Norse.

Part 1: Das Rheingold (Rhinegold)

The Rig Cycle begins with the dwarf Alberich seizing the gold of the Rhinemaidens. Alberich denounces love to gain possession of the magic ring which gives its wearer ultimate power; the ring is the world’s most desired object.  Rhinegold is the story of the gods; one learns of the suffering of Wotan and the problems the gods have in repaying Fafner and Fasolt, the giants who built Valhalla.

Part 2: Die Walkure (The Valkyries)

Brunnhilde and her father Wotan struggle with their pride to decide the ultimate destiny of mortals, the Valkyries being about the deep, tortured relationship between gods and mortals.  The gods also war with each-other but nobleness, especially in love, prevails over the oaths and the divine promises of the gods. Siegmund, the mortal hero, dies because his father, Wotan, is obliged to obey his wife, Fricka.

Part 3: Siegfried

This is the story of the hero, Siegfried, how he grows to manhood, how he discovers love and loss.  Raised by the Nibelung Mime, Siegfried is young, innocent and fearless and with help from a mysterious wanderer (Wotan in disguise), Siegfried finds the pieces of his father's sword.  Notung reforges the blade and Siegfried kills the dragon Fafner who guards the hoard of Nibelung gold stolen from the Rhinemaidens, taking possession of Alberich's cursed ring.  Siegfried is then drawn to follow a birdsong to find the sleeping Brunnhilde whom fate has destined him to awaken and fall in love with.  Waking her, Siegfried gives the ring to Brunnhilde to symbolize his oath of undying love and fidelity.

Part 4: Götterdämmerung (Twilight of the Gods)

Under an ambiance impending doom, all face the consequences of their choices; the Nibelung Alberich's curse upon the Ring proving prophetic for whoever holds the ring is ultimately destroyed.  Although Wotan's disempowerment was, in part three, foreshadowed by Siegfried breaking his spear, the doomed fate of the gods is sealed when Alberich's evil son, Hagen dupes and cruelly murders the brave mortal hero Siegfried.  Devastated, Brünnhilde has a huge funeral pyre built by the river, takes the ring and tells the Rhinemaidens to claim it from her ashes.  Brünnhilde then mounts her horse and rides into the flames.  As she burns, the Rhine overflows, quenching the fire and the Rhinemaidens swim in to claim the ring.  Hagen tries to stop them but they drag him to his death in the depths.  As they celebrate the return of the ring and its gold to the river, a red glow fills the sky for Valhalla, the last resting place of the gods is ablaze and the gods are consumed by the flames.

Crepuscule

Crepuscule (pronounced kri-puhs-kyool or krep-uh-skyool)

(1) Twilight; dusk.

(2) By extension, a brief period of transition between two states.

1350-1400: From the Middle French crepuscule, from the thirteenth century Old French crépuscule, from the Latin crepusculum (morning or evening twilight), the construct being crepus- (akin to creper (dark, dusky; obscure)) + -culum, the accusative singular of cūlus (a vulgar term for the buttocks) from the Proto-Italic kūlos, from the primitive Indo-European kul-, from kew- (to cover), the cognates for which included the Old Irish cúl (bottom) and the Lithuanian kẽvalas (skin, cover); it was related to cutis (hide).  Crepuscule, crepuscle & crepusculum are nouns, crepuscular is an adjective; the noun plural is crepuscules.

Before the provision of electricity which by the twentieth century meant much of the world was no longer constrained in their activities by the hours of sunlight, even other forms of artificial light could be variously expensive, unavailable or unreliable so sunlight was important, socially and economically so it’s not surprising a number of words evolved to describe the transition from light to dark including blackness, dark, dusk, gloom, obscurity, twilight, sundown, sunset, black, blackout, brownout, cloudiness, dimness, duskiness, eclipse, lightlessness, murk, murkiness, nightfall, blue hour, gloaming, evenfall, fogfall & smokefall.

Lindsay Lohan in daylight (left), as the crepusculum descends (centre) and in the dark of night (right).

The most attractive of these is twilight, an evocative word and one to which poets have always been drawn, whether to suggest some sense of uncertainty or the last days of life before the darkness of death.  Twilight was from the Middle English twilight & twyelyghte, the construct being twi- (double, half-) +‎ light, thus literally “second light, half-light”.  It was cognate with the Scots twa-licht, twylicht & twielicht (twilight), the Low German twilecht & twelecht (twilight), the Dutch tweelicht (twilight, dusk) and the German Zwielicht (twilight, dusk).  In the Old English, the form was twēone lēoht (twilight).  The curious word twilit (the simple past tense and past participle of twilight) has long intrigued etymologists.  According to the Oxford English Dictionary (OED) the earliest known use dates only from 1869 and the speculation is it was coined by someone who found the conventional forms (twilitten & twilighted) inelegant.  Smokefall (the close of the day before nightfall, when fog comes) was apparently used as early as the eleventh century and reflects the use of “smoke” in some regional dialects to refer variously to darkness, smoke and fog.  After thing became more precise, it was re-purposed to describe “the soot which falls from a cloud of smoke” and much later was adopted by those creating special effects to mean “an artificial waterfall of smoke for shows”, the smoke (sometimes combined with a mist of fine water vapor) used to reflect images created by light projection.

The development of languages in cultures of course reflects their environment and priorities although the oft-repeated claim that the Inuit and other nations in arctic and sub-arctic regions had 400 (the number does vary from source to source) words for “snow” are misleading although linguistic anthropologists have explored this on a number of occasions and all have concluded there are at least a few dozen and if the net is cast wider to encompass all aspects of snow (types of tracks in snow, suitability for wildlife etc), then the number is in three figures.  Linguistics is a discipline which illustrates structural functionalism in its pure form: words are created according to need and remain in use if they fulfill a useful purpose.  To most living in urban environments in industrial societies “snow” is adequate for most situations but those running ski-fields need more nuances while for the peoples in arctic regions, the correct description of the type of snow they will soon have to traverse can be the difference between life and death.

Acersecomic

Acersecomic (pronounced a-sir-suh-kome-ick)

A person whose hair has never been cut.

1623: From the Classical Latin acersecomēs (a long-haired youth) the word borrowed from the earlier Ancient Greek form ἀκερσεκόµης (with unshorn hair), constructed from komē (the hair of the head (the source of the –comic)) + keirein (to cut short) + the prefix a- (not; without).  The Latin acersecomēs wasn’t a term of derision or disapprobation, merely descriptive, it being common for Roman and Greek youth to wear their hair long until manhood.  Acersecomic appeared in English dictionaries as early as 1656, the second instance noted some thirty years later.  Although of dubious linguistic utility even in seventeenth century English, such entries weren’t uncommon in early English dictionaries as editors trawled through lists of words from antiquity to conjure up something, there being some marketing advantage in being the edition with the most words.  It exists now in a lexicographical twilight zone, its only apparent purpose being to appear as an example of a useless word.

The -comic part of the word is interesting.  It’s from the Ancient Greek komē in one of the senses of coma: a diffuse cloud of gas and dust that surrounds the nucleus of a comet.  From antiquity thus comes the sense of long, flowing hair summoning an image of the comet’s trail in the sky.  The same -comic ending turns up in two terms that are probably more obscure even than acersecomic: acrocomic (having hair at the tip, as in a goat’s beard (acro- translates as “tip”) and xanthocomic (a person with yellow hair), from the Greek xanthos (yellow).

Fifteen year old Skye Merchant was genuinely acersecomic until July 2021 when she had her first haircut, part of her fund-raising efforts for cancer research.  The trimmed locks were donated to cancer patients.

Lindsay Lohan as Rapunzel, The Real Housewives of Disney, Saturday Night Live (SNL), 2012.

In recent interviews, Russian model Olga Naumova didn't make clear if she was truly an acersecomic but did reveal that in infancy her hair was so thin her parents covered her head, usually with a babushka headscarf.  It's obviously since flourished and her luxuriant locks are now 62 inches (1.57 m) long, a distinctive feature she says attracts (1) requests for selfies, (2) compliments, (3) propositions decent & otherwise, (4) public applause (in Thailand), (5) requests for technical advice, usually from women asking about shampoo, conditioner & other product while (6) on-line, men sometimes suggest marriage, often by the expedient of elopement.  Perhaps surprisingly, the Moscow-based model doesn't do "anything extraordinary" to maintain the mane beyond shampoo, conditioner and the odd oil treatment, adding that the impressive length and volume she attributes wholly to the roll of the genetic dice.  Her plaits and braids are an impressive sight.

Olga Naumova in motion.

A possible acersecomic although there is some evidence of at least the odd trim.  These are among the less confronting images at People of Walmart which documents certain aspects of the North American experience in the social media age.  Users seem divided whether People of Walmart is a celebration of diversity, a chronicle of decadence or a condemnation of deviance.

Belt

Belt (pronounced belt)

(1) A band of flexible material, as leather or cord, used for encircling the waist, historically to in some way secure a garment (coat or trousers) but also as a decorative or functional (tool belt, utility belt, gun belt etc) item.

(2) In any context, any encircling or transverse band, strip, or stripe.

(3) In geography, an elongated region having distinctive properties or characteristics.

(4) In machinery, an endless flexible band passing about two or more pulleys, used to transmit motion from one pulley to the other or others or to convey materials and objects.

(5) In (usually military) ballistics, a cloth strip with loops or a series of metal links with grips, for holding cartridges fed into an automatic gun.

(6) A band of leather or webbing, worn around the waist and used as a support for weapons, ammunition etc.

(7) In naval architecture, a series of armor plates forming part of the hull of a warship.

(8) In construction, a broad, flexible strip of rubber, canvas, wood, etc., moved along the surface of a fresh concrete pavement to put a finish on it after it has been floated.

(9) A road, railroad, or the like, encircling an urban center to handle peripheral traffic (as beltway also used in political discourse).

(10) In slang, a hard blow or hit (often in the forms belted or belting), either a person or an object (the latter noted especially in bat & ball sports).

(11) In slang, a shot of liquor, especially as swallowed in one gulp (often in the form “a quick belt”).

(12) In tyre technology, strip of material used in tyre construction, placed between the carcass and the tread for reinforcement (in the forms steel-belted & fabric-belted).

(13) In sport, in a color based ascendency (brown, black etc), a ranking system in various martial arts).

(14) In sport (notably boxing), a form of trophy worn by the holder of a title (WBO Heavyweight Belt, IBF Cruiserweight Belt etc).

(15) As seat belt, an apparatus used in air, sea & land vehicles to secure a passenger, pilot, driver etc in place.

(16) To gird or furnish with a belt.

(17) To surround or mark as if with a belt or band.

(18) In slang, as “belt out”, loudly (though not necessarily pleasingly) to sing or, as “belting along”, rapidly to proceed.

(19) In cricket, as “belter”, a description of a placid pitch ideal for batting and offering little assistance to bowlers.

(20) In astronomy, a collection of small bodies (such as asteroids) which orbit a star; one of certain girdles or zones on the surface of the planets Jupiter and Saturn, supposed to be of the nature of clouds.

(21) In baseball, the part of the strike zone at the height of the batter's waist.

(22) In music, a vocal tone produced by singing with chest voice above the break (or passaggio), in a range typically sung in head voice.

(23)To invest a person with a belt as part of a formal ceremony (even one where as physical belt is not involved or even a historic part).

Pre 1000: From the Middle English belt, from the Old English belt (belt; girdle; broad, flat strip or strap of material used to encircle the waist), from the Proto-Germanic baltijaz (girdle, belt) (source also of the Old High German balz, the Old Norse balti & belti and the Swedish bälte), an early Germanic borrowing from the Latin balteus (belt, girdle, sword-belt) which may be of Etruscan origin.  It was cognate with the Scots belt (belt), the Dutch belt, the German Balz (belt), the Danish bælte (belt), the Swedish bälte (belt, cincture, girdle, zone) and the Icelandic belti (belt).    Synonyms vary according to context including circle, girdle, surround (to encircle), buckle, fasten, strap (to fasten a belt); bash, clobber, smack, wallop. strap, thrash, whip (to hit with a belt); gulp, slurp, guzzle (rapidly to drink); speed, whiz, zoom (rapidly to move).  Belt is a noun & verb, belted is a verb & adjective, belting is a noun, verb & adjective and belter is a noun; the noun plural is belts.

Lindsay Lohan in trench coat, the belt tied and not buckled.

The verb emerged in the early fourteenth century in the sense of “to fasten or gird with a belt” and was derived from the noun.  The meaning "to thrash (as with a belt)" was from the 1640s while the general sense of "to hit, thrash" seems not to have been used until 1838. The colloquial meaning "to sing or speak vigorously" dates from 1949 and was first used in the US, south of the Mason-Dixon Line.  As a development, the noun meaning "a blow or stroke" dates from 1885.  The transferred sense of "broad stripe encircling something with its ends joined" dates from the 1660s while that of a "broad strip or tract" of any sort, without notion of encircling (as in the “wheat belt") emerged by 1808.  As a mark of rank or distinction (sometimes associated with a specific honor in the form of a belt or sash), use began in the mid-fourteenth century and in pugilism, boxing championship belts were first awarded in 1812.  The use in mechanical engineering (drive belts, pulley belts, serpentine belts etc) was first noted in 1795.  The sword-belt dates from the early fourteenth century while the Old English had sweordfætels (sword-belt).  The adjective beltless came from the fashion industry to describe a style without a belt and was from 1854, the belt-loop (through which a belt passes) noted the following year (although such things had existed for centuries).  In the sub-culture of the trench coat, the military tradition was always to use the buckle to secure the belt while true fashionistas prefer to tie, bucklers thought a bit naff.

Lindsay Lohan demonstrates the possibilities offered by belts.

Many languages adopted belt including those of the Raj, the Hindi being बेल्ट (belṭ), the Bengali বেল্ট (belṭ) & the Urdu بیلٹ‎ (belṭ); Afrikaans picked up belt from the Dutch and other variations were the Assamese বেল্ট (belto), the Irish beilt (Welsh & Scots picked up belt), the Japanese: ベルト (beruto) and the Oriya ବେଲ୍ଟ୍ (belṭ).  If used as a proper noun (a surname or place-name), it appears always with an initial capital.  In astronomy, there’s no initial capital when used as a general descriptor but one is used when referring to a specific region (eg as an ellipsis of Main Asteroid Belt).  The Belt and Road Initiative (BRI, or B&R and known originally as One Belt One Road (OBOR)) of the People’s Republic of China (PRC) is a trans-national infrastructure project (the strategy of which depends on who is providing the interpretation) dating from 2013 and integral to the PRC’s foreign policy.  As physical infrastructure, it’s analogous with the old Silk Road, the ancient trade route which linked China with the West, carrying goods and (more dangerously) ideas between the two great civilizations of Rome and China.

Lindsay Lohan beltless  (or un-belted).

In idiomatic use, “below the belt” means “not in accord with the principles of fairness, decency, or good sportsmanship” and was drawn from the rules of boxing where restrictions were maintained on blows to the genitals.  To have something “under one's belt” is to have something in one’s literal or figurative (a qualification or achievement) possession.  To tighten one’s belt is “to be more frugal; to undergo hardship patiently” and is often used as an injunction by politicians (directed at others).  Charlie Chaplin (1889-1977) invented “tighten the belten” for the faux German used in his film The Great Dictator (1940).  The use to describe specific regions can be literal (wheat belt, corn belt etc), meteorological (sun-belt, snow-belt) or more figurative (mortgage belt, Bible belt etc), the latter probably more accurately described as “zones” but the meaning is well-understood and some have emerged recently (such as rust belt which refers to once vibrant industrial areas now in economic decline).  A beltway is a road system which encircles (not necessarily in a circular design) a city and is intended to reduce congestion in the inner region; the phrase “beyond the beltway” is US political slang to differentiate the interests and priorities of those “within the beltway” of Washington DC (ie the political class (executive government, the congress, the upper reaches of the civil service etc)) and the general population.  The US term references Interstate 495 around Washington DC (the Capital Beltway, opened in 1964), the figurative use (the culture of the political class) dating from 1978, exclusively in the negative.

Lindsay Lohan demonstrates more possibilities offered by belts.

Seat belts, although began in any volume to be fitted only in the 1960s although they’d been used in ships (both by fishermen and in the navy) and in the early day of aviation without ever becoming standardized fittings although, in a sense, as a safety restraint they were known even in Antiquity.  In Greek mythology, the Sirens were deadly creatures who used their lyrical and earthly feminine charms to lure sailors to their death; attracted by their enchanting music and voices, seafarers would sail their ships too close to the rocky coast of the Siren’s island and be shipwrecked.  Not untypically for the tales from antiquity, the sirens are said to have had many homes.  The Romans said they lived on some small islands called Sirenum scopuli while later authors place them variously on the islands of Anthemoessa, on Cape Pelorum, on the islands of the Sirenuse, near Paestum, or in Capreae.  All were places with rocky coasts and tall cliffs.  It was Odysseus who most famously escaped the sirens.  Longing to hear their songs but having no wish to be ship-wrecked , he had his sailors fill their ears with beeswax, rendering them deaf and to be certain, Odysseus ordered them to tie him to the mast, thereby inventing the seat-belt.  Sailing past, when he heard their enticing voices, he ordered his men to release him but they tightened the knots, not releasing him till the danger had passed.  Some writers claimed the Sirens were fated to die if a man heard their singing and escaped them and that as Odysseus sailed away they flung themselves into the water and died.

Lindsay Lohan demonstrates still more possibilities offered by belts.

Knocking back a bracer: Crooked Hillary Clinton enjoys a quick belt of Crown Royal Bourbon Whiskey, Bronko's restaurant, Crown Point, Indiana, Saturday 12 April, 2008.

In the late 1940s, the rising death toll attracted interest but few cars were at the time fitted with seat-belts and research was difficult with such small sample sizes although it was indicated there was some positive although instances were also noted of injuries being caused by the belts’ then primitive and unregulated design and it was these findings which encouraged the first “inertial reel” (retractable) designs.  A couple of US manufacturers during the 1950s dabbled with the concept, either installing seat belts as standard or offering them as an extra-cost option but the take-up rate was low and some buyers ever returned the cars to dealers to have them removed.

The familiar modern three-point (lap & sash) belt evolved in the late 1950s with much input from US designers but it was Swedish manufacturers which first made them a standard fitting, Scandinavia being often dark and icy, drivers sharing the roads with large elk.  The modern seatbelt design (conceptually unchanged to this day) is credited to Swedish mechanical engineer Nils Bohlin (1920–2002) who was employed by Volvo which made them a standard fitting in 1959, following the example of Saab which had added them the previous year.  During the 1960s, US states gradually imposed a requirement they be fitted until, in 1969, federal law mandated the rule for all cars sold in the country.  The laws requiring them actually to be worn proved more difficult to implement but other countries quickly made both the fitment and wearing of seat-belts compulsory, initially only for those seated in the front seat(s) but before long it extended to all seats.

Instruction sheet for Child Bed (1961 Chevrolet Corvair), Chevrolet Division of General Motors (GM) part-number 985359.

Attitudes to motor vehicle safety were different in 1959 when Chevrolet first started making the Corvair (1959-1969).  At the time, apart from improving the quality of roads (which actually meant higher speeds) the government had done little about either safety or pollution but both the rising highway death toll and the worsening air quality in cities was attracting attention and things would soon be different, decades of legislation soon to unfold.  The Corvair however was a product of a substantially unregulated age and in that spirit Chevrolet thoughtfully offered the “child bed” as an accessory so one’s baby could sleep (unsecured) on the parcel shelf beneath the rear window, the additional benefits of the placement said to be that being rear-engined, the warmth and soothing vibration from the engine gently would lull the infant to sleep.  It was another world.

An early Chevrolet Corvair with swing axles, swinging.

The Corvair was doomed by decisions made even before production began.  It was anyway the twilight of the rear-engined era and although swing axles in Europe proved surprisingly persistent (usually because the design provided a relatively cheap way to implement an independent rear suspension) few installed them on a car as heavy and powerful as the Corvair.  Mercedes-Benz, which was an adherent (despite their experience with the superior De Dion layout) was still producing a handful of 600s (the W100 Grosser) with swing axles as late as 1981 but the Germans tamed the behavior with special anti-squat & anti-dive geometry as well as a compensating centre spring.  Chevrolet did not and with a weight distribution which was even more exaggerated rearward by its relatively heavy and long engine, the Corvair’s handling could be unpredictable, something which the engineers wanted to alleviate by fitting a handful of parts (the cost under US$40) but this the accountants vetoed.  The ensuing crashes, death toll and law suits attracted the interest of consumer lawyer Ralph Nader (b 1934) who wrote Unsafe at Any Speed (1965), a critique on the industry generally although in the public mind it’s always been most associated with the failings of the Corvair which the author made the subject of the opening chapter.

The Corvair before and after.  GM applied a fix in 1963 which rectified the worst of the characteristics and a full re-design was undertaken and released in 1965.  For the Corvair's reputation it was too late.

Actually, the problems as described applied only to the Corvairs built between 1959-1963 but the damage was done, neither its reputation or sales figures ever recovered and it was only the corporation’s desire to save face which saw the much improved car restyled for 1966, production lingering on until 1969 although it may be Nader’s book actually prolonged things, competition in the compact sector notably more intense that in 1960s.  It was unfortunate because the restyled Corvair was one of the better-looking machines of the era, only the truncated length of the bodywork forward of the cowl detracting from the elegance.

The lovely, Italianesque lines of the second generation Corvair (1966-1969).

Curiously, after its demise came a coda.  In 1970, responding to pressure from Nader, the Nixon administration commissioned a study comparing the 1963 Corvair with five “similar” vehicles and a report was in 1972 issued by the National Highway Traffic Safety Administration (NHTSA) which concluded, inter alia, the Corvair’s handling and propensity to roll was comparable with that of “other light domestic cars.”  Nader dismissed the study as “a shoddy, internally contradictory whitewash” and accused the NHTSA of using “biased testing procedures and model selection.”  He noted they assessed on the 1963 Corvair which Chevrolet significantly had modified to correct the deficiencies found in those built earlier.  The Nixon administration ignored him, presumably taking the view that “what was good for General Motors was good for the country”.

Lindsay Lohan demonstrates yet more possibilities offered by belts.

Ultracrepidarian

Ultracrepidarian (pronounced uhl-truh-krep-i-dair-ee-uhn)

Of or pertaining to a person who criticizes, judges, or gives advice outside their area of expertise

1819: An English adaptation of the historic words sūtor, ne ultra crepidam, uttered by the Greek artist Apelles and reported by the Pliny the Elder.  Translating literally as “let the shoemaker venture no further” and sometimes cited as ne supra crepidam sūtor judicare, the translation is something like “a cobbler should stick to shoes”.  From the Latin, ultra is beyond, sūtor is cobbler and crepidam is accusative singular of crepida (from the Ancient Greek κρηπίς (krēpís)) and means sandal or sole of a shoe.

Ultracrepidarianism describes the tendency among some to offer opinions and advice on matters beyond their competence.  The word entered English in 1819 when used by English literary critic and self-described “good hater”, William Hazlitt (1778–1830), in an open letter to William Gifford (1756–1826), editor of the Quarterly Review, a letter described by one critic as “one of the finest works of invective in the language” although another suggested it was "one of his more moderate castigations" a hint that though now neglected, for students of especially waspish invective, he can be entertaining.  The odd quote from him would certainly lend a varnish of erudition to trolling. 

Ultracrepidarian comes from a classical allusion, Pliny the Elder (circa 24-79) recording the habit of the famous Greek painter Apelles (a fourth century BC contemporary of Alexander the Great (Alexander III of Macedon, 356-323 BC), to display his work in public view, then conceal himself close by to listen to the comments of those passing.  One day, a cobbler paused and picked fault with Apelles’ rendering of shoes and the artist immediately took his brushes and pallet and touched-up the errant sandal’s straps.  Encouraged, the amateur critic then let his eye wander above the ankle and suggested how the leg might be improved but this Apelles rejected, telling him to speak only of shoes and otherwise maintain a deferential silence.  Pliny hinted the artist's words of dismissal may not have been polite.

So critics should comment only on that about which they know.  The phrase in English is usually “cobbler, stick to your last” (a last a shoemaker’s pattern, ultimately from a Germanic root meaning “to follow a track'' hence footstep) and exists in many European languages: zapatero a tus zapatos is the Spanish, schoenmaker, blijf bij je leest the Dutch, skomager, bliv ved din læst the Danish and schuster, bleib bei deinen leisten, the German.  Pliny’s actual words were ne supra crepidam judicaret, (crepidam a sandal or the sole of a shoe), but the idea is conveyed is in several ways in Latin tags, such as Ne sutor ultra crepidam (sutor means “cobbler”, a word which survives in Scotland in the spelling souter).  The best-known version is the abbreviated tag ultra crepidam (beyond the sole), and it’s that which Hazlitt used to construct ultracrepidarian.  Crepidam is from the Ancient Greek κρηπίς (krēpís) and has no link with words like decrepit or crepitation (which are from the Classical Latin crepare (to creak, rattle, or make a noise)) or crepuscular (from the Latin word for twilight); crepidarian is an adjective rare perhaps to the point of extinction meaning “pertaining to a shoemaker”.

Jackson Pollock (1912-1956): Blue Poles

In 1973, when a million dollars was a still lot of money, the National Gallery of Australia, a little controversially, paid Aus$1.3 million for Jackson Pollock’s Number 11, 1952, popularly known as Blue Poles since it was first exhibited in 1954, the new name reputedly chosen by the artist.  It was some years ago said to be valued at up to US$100 million but, given the last decade's increase in the money supply (among the rich who trade this stuff), that estimate may now be conservative.

Number 11 (Blue poles, 1952), Oil, enamel and aluminum paint with glass on canvas

Blue Poles emerged during Pollock’s "drip period" (1947-1950), a method which involved techniques such throwing paint at a canvas placed on the floor.  The art industry liked these (often preferring the more evocative term "action painting") and they remain his most popular works, although at this point, he abandoned the dripping and moved to his “black porings phase” a darker, simpler style which didn’t attract the same commercial interest.  He later returned to more colorful ways but his madness and alcoholism worsened.  Pollock (1912-1956) died in a drink-driving accident.

Alchemy (1947), Oil, aluminum, alkyd enamel paint with sand, pebbles, fibers, and broken wooden sticks on canvas

Although the general public remained uninterested or sceptical, there were critics, always drawn to a “troubled genius”, who praised Pollock’s work and the industry approves of any artist who (1) had the decency to die young and (2) produced stuff which can sell for millions.  New York art historian and curator Helen A Harrison (now director of the Pollock-Krasner House and Study Centre) is an admirer, noting the “pioneering drip technique…” which “…introduced the notion of action painting", where the canvas became the space with which the artist actively would engage”.  As a thumbnail sketch she offered:

Number 14: Gray (1948), Enamel over gesso on paper

“Reminiscent of the Surrealist notions of the subconscious and automatic painting, Pollock's abstract works cemented his reputation as the most critically championed proponent of Abstract Expressionism. His visceral engagement with emotions, thoughts and other intangibles gives his abstract imagery extraordinary immediacy, while his skillful use of fluid pigment, applied with dance-like movements and sweeping gestures that seldom actually touched the surface, broke decisively with tradition. At first sight, Pollock's vigorous method appears to create chaotic labyrinths, but upon close inspection his strong rhythmic structures become evident, revealing a fascinating complexity and deeper significance.  Far from being calculated to shock, Pollock's liquid medium was crucial to his pictorial aims.  It proved the ideal vehicle for the mercurial content that he sought to communicate 'energy and motion made visible - memories arrested in space.”

Number 13A: Arabesque (1948), Oil and enamel on canvas

Critics either less visionary or more fastidious seemed often as appalled by Pollock’s violence of technique as they were by the finished work (or “products” as some labelled the drip paintings), questioning whether any artistic skill or vision even existed, one finding them “…mere unorganized explosions of random energy, and therefore meaningless.”  The detractors used the language of academic criticism but meant the same thing as the frequent phrase of an unimpressed public: “That’s not art, anyone could do that.”

Number 1, 1949 (1949), Enamel and metallic paint on canvas 

There have been famous responses to that but Ms Harrison's was practical, offering people the opportunity to try.  To the view that “…people thought it was arbitrary, that anyone can fling paint around”, Ms Harrison conceded it was true anybody could “fling paint around” but that was her point, anybody could, but having flung, they wouldn’t “…necessarily come up with anything.”  In 2010, she released The Jackson Pollock Box, a kit which, in addition to an introductory text, included paint brushes, drip bottles and canvases so people could do their own flinging and compare the result against a Pollock.  After that, they may agree with collector Peggy Guggenheim (1898-1979) that Pollock was “...the greatest painter since Picasso” or remain unrepentant ultracrepidarians.

Helen A Harrison, The Jackson Pollock Box (Cider Mill Press, 96pp, ISBN-10:1604331860, ISBN-13:978-1604331868).

Three photographs by Cecil Beaton (1904-1980), shot for a three-page feature in Vogue (March 1951) titled American Fashion: The New Soft Look which juxtaposed Pollock’s paintings hung in New York’s Betty Parsons Gallery with the season’s haute couture by Irene and Henri Bendel.  Beaton choose the combinations of fashion and painting and probably pairing Lavender Mist (1950, left) with a short black ball gown of silk paper taffeta with large pink bow at one shoulder and an asymmetrical hooped skirt by Bendel best illustrates the value of his trained eye.

Critics and social commentators have always liked these three pages, relishing the opportunity to comment on the interplay of so many of the clashing forces of modernity: the avant-garde and fashion, production and consumption, abstraction and representation, painting and photography, autonomy and decoration, masculinity and femininity, art and commerce.  Historians of art note it too because it was the abstract expressionism of the 1940s which was both uniquely an American movement and the one which in the post-war years saw the New York supplant Paris as the centre of Western art.