Vernacular

Vernacular (pronounced vuh-nak- yuh-ler (U) or ver-nak-yuh-ler (Non-U))

(1) In linguistics, the dialect of the native or indigenous people as opposed to that of those (in Western terms) the literary or learned; the native speech or language of a place; the language of a people or a national language.

(2) In literature, expressed or written in the native language of a place, as literary works.

(3) Using, of or related to such language.

(4) Plain, everyday speech or dialect, including colloquialisms, as opposed to standard, literary, liturgical, or scientific idiom.

(5) In architecture, a style of architecture exemplifying the commonest techniques, decorative features, and materials of a particular historical period, region, or group of people.

(6) Noting or pertaining to the common name for a plant or animal, as distinguished from its Latin scientific name.

(7) The language or vocabulary peculiar to a class or profession.

(8) Any medium or mode of expression that reflects popular taste or indigenous styles.

(9) In linguistic anthropology, language lacking standardization or a written form.

1599: From the Latin vernāculus (household, domestic, indigenous, of or pertaining to home-born slaves), a diminutive of verna (a native; a home-born slave (slave born in the master's household)) although etymologists note the lack of evidence to support this derivation, verna of Etruscan origin. Now used in English almost always in the sense of Latin vernacula vocabula, in reference to language, the noun sense “native speech or language of a place” dating from 1706.  In technical use, linguistic anthropologists use neo-vernacular and unvernacular while in medicine, epidemiologists distinguish vernacular diseases (restricted to a defined group) from those induced by external influences.  There are also variations within the vernacular, concepts like “street vernacular” or “mountain vernacular” used to differentiate sub-sets of native languages, based on geography or some demographic; in this the idea is similar to expressions like jargon, argot, dialect or slang.  Vernacular is a noun & adjective, vernacularism & vernacularist are nouns and vernacularly is an adverb; the noun plural is vernaculars.

Cannabis (known also as marijuana) is a psychoactive drug from the cannabis plant (Cannabis sativa, Cannabis indica, Cannabis ruderalis).  In the vernacular it's "weed" or any one of literally hundreds of other terms.

Vernacular and other Latin

In the intricate world of linguistics, there are many types of Latin, many of them technical differentiations between the historic later variations (Medieval Latin; New Latin, Enlightenment Latin) from what is (a little misleadingly) called Classical Latin (or just “Latin”) but there was also a Latin vernacular referred to as vulgar Latin, one of many forks:

Vulgar Latin (also as popular Latin or colloquial Latin) was the spectrum of non-formal registers of Latin spoken from the Late Roman Republic onward and the what over centuries evolved into a number of Romance languages.  It was the common speech of the ancient Romans, which is distinguished from standard literary Latin and is the ancestor of the Romance languages.

Dog Latin (also as bog Latin (ie “toilet humor”)): Bad, erroneous pseudo-Latin, often amusing constructions designed to resemble the appearance and especially the sound of Latin, many of which were coined by students in English schools & universities.  The “joke names” used in Monty Python's Life of Brian (1979) (Sillius Soddus, Biggus Dickus & Nortius Maximus) are examples of dog Latin.

Pig Latin: A type of wordplay in which (English) words are altered by moving the leading phonetic of a word to the end and appending -ay, except when the word begins with a vowel, in which case "-way" is suffixed with no leading phonetic change.

Apothecary's Latin: Latin as it was supposed spoken by a barbarian, reflecting the (probably not wholly unjustified) prejudices of the educated at the pretentions of tradesmen and shopkeepers.

Legal Latin: Latin phrases or terms used as a shorthand encapsulation of legal doctrines, rules, precepts and concepts).

Medical Latin: This evolved into a (more or less) standardized list of medical abbreviations, based on the Latin originals and used as a specific technical shorthand.

Barracks Latin: (pseudo Latin on the lines of dog Latin but usually with some military flavor, often noted for a tendency to vulgarity).

Ecclesiastical Latin: (also as Church Latin or Liturgical Latin), a fork of Latin developed in late Antiquity to suit the particular discussions of Christianity and still used in Christian liturgy, theology, and church administration (events in 2013 confirming that papal resignations are written and delivered in ecclesiastical Latin).  Technically, it’s a fork of Classical Latin but includes words from Vulgar & Medieval Latin as well as from Greek and Hebrew, sometimes re-purposed with meanings specific to Christianity (and sometimes just the Church of Rome).

The idea of the difference is best remembered in the example of the Vulgate Bible, the Latin translation of the Bible from Hebrew and Greek made by Saint Jerome (circa 345-420), the details of his interpretations (which tended to favor the role of the institutional church rather than the personal relationship between Christ and individual Christian) for centuries the source of squabble schism.  Vulgate was from the Latin vulgāta, feminine singular of vulgātus (broadcast, published, having been made known among the people; made common; prostituted, having been made common), perfect passive participle of vulgō (broadcast, make known).  When after the conclusion of the Second Vatican Council (Vatican II; 1962-1965), it was decided to permit the celebration of the mass in local languages rather than ecclesiastical Latin, such use was said to be “in the vernacular”.

Under the Raj: three marquises, three viceroys; Lords Lytton (left), Rippon (centre) and Lansdowne (right).  Upon leaving office, UK prime-ministers were usually granted an earldom but viceroys of India were created Marquises, a notch higher in the peerage.

Under the Raj, there were many vernacular languages; indeed, never did the colonial administrators determine just how many existed, all the fascinated dons giving up after counting hundreds and finding yet more existed.  One difficulty this did present was that it was hard to monitor (and if need be censor) all the criticism which might appear in non-English language publications and, because at the core of the British Empire was racism, violence and rapacious theft of other peoples’ lands and wealth, criticism was not uncommon.  In an attempt to suppress these undercurrents of dissatisfaction, the viceroy (Lord Lytton, 1831–1891; Viceroy of India 1876-1880) imposed the Vernacular Press Act (1878), modelled on earlier Irish legislation, the origins of the word in the Latin verna (a slave born in the master's household) not lost on Western-educated Indians.  Not content with mere suppression, Lord Lytton also created an operation to feed to the press what he wanted printed, using bribery where required.  Fake news was soon a part of these feeds and some historians have suggested the act probably stimulated more resentment than it contained.  In 1881, Lytton’s successor (Lord Rippon, 1827–1909; Viceroy of India 1880-1884) withdrew the act but the damage was done.  The legislative reforms of the viceroys of India varied in intent and consequence.  Lord Lansdowne (1845–1927; Viceroy of India 1888-1894) enacted the Age of Consent Act (1891), raising the age of consent for sexual intercourse for girls (married or unmarried), from ten to twelve, any violation an offence of statutory rape.  Those who like to defend what they claim was the civilizing mission of empire sometimes like to cite this but seem never to dwell on the marriage age for girls in England being twelve as late as 1929.

Jazz

Jazz (pronounced jaz)

(1) A style of music of African-American origin, said to have emerged in New Orleans early in the twentieth century.

(2) A style of dance music, popular especially in the 1920s, arranged for a large band and marked by some of the features of jazz.

(3) Dancing or a dance performed to such music, as with jerky bodily motions and gestures.

(4) In slang (1) liveliness; spirit; excitement, (2) insincere, exaggerated, or pretentious talk & (3) similar or related but unspecified things or activities (often in the form “…and all that jazz”) which can be used negatively if referring to rigmarole, red-tape etc.

(5) Of or relating to or characteristic of jazz; to play (music) in the manner of jazz.

(6) To excite or enliven; to accelerate (often in the form “jazz up”).

(7) In vulgar slang, copulation.

1912: An invention of US English of uncertain origin.  Until around the end of the World War I, the alternative spellings jaz, jas, jass & jasz were used.  The first documented use of the word jazz was in 1912 in the context of writing about baseball baseball, the use extending to the musical form in 1915 when it was used in reference to Tom Brown's all-white band out of New Orleans (although there are sources which date it either from a 1917 advertisement in a Chicago newspaper for Bert Kelly's Jaz Band).

Lindsay Lohan watching NBA game between Utah Jazz and LA Lakers, Los Angeles November, 2006.

The etymology has attracted much research but the findings have been inconclusive, the most popular theory being jazz was a variant of jism & jasm (from 1842 & 1860 respectively), archaic nineteenth century US slang meaning “zest for accomplishment; drive; dynamism”, the qualities apparently most often ascribed to women), also words of unknown origin.  That evolutionary path is tangled up with the sexual connotations once associated with the word jazz and etymologists stress the sequence is important.  At the turn of the twentieth century, "gism" certainly meant "vitality" but also "virility" and this (by 1899) led to the slang use for "semen" but, the etymologists caution, while a similar evolution happened to the word "jazz" (which became slang for the act of sex), that use was unknown prior to 1918 so any sexual connotation wasn’t attached at the point of origin but acquired later.  The use in reference to baseball is thought to have been among white Americans and this may also have been the case in the earliest uses with the musical form.  Overlaying all this, nor is it known whether the evolution to jazz was organic, an invention or an imperfect echoic.

Duke Ellington, Ellington At Newport (1956).

While ethno-musicologists note the way the form has evolved over a century as diverse influences have variously been absorbed, assimilated or interpolated, the profession regards the core of Jazz to be a form rooted in West African cultural and musical expression which borrowed from the unique African American blues tradition.  Technically, the most distinct characteristics are blue notes, syncopation, swing, call and response, polyrhythms and, most celebrated of all, improvisation.  As jazz was influenced, so jazz influenced and there was no musical form so associated with the “fusion movement” (better understood as a number movements) which was a feature of the experimental (and increasingly commercial) output of the decades after the World War II, a trend which produced an array of labels including acid jazz, cool jazz, jazzbo, jazz-funk, jazz fusion, trad-jazz, jazz-rock and more.

Count Basie And His Orchestra, April In Paris (1957).

In idiomatic use context matters much because to jazz something can mean “to destroy” whereas to “jazz up” is to enliven, brighten up, make more colorful etc but this can be good or bad, the familiar phrase “don’t jazz it up to much” a caution against excessive bling or needless complication.  The use in vulgar slang is now listed by most dictionaries as either archaic or obsolete but when it use it covered a wide range from (1) the act of copulation, (2) to prostitute oneself for money & (3) semen.  As an intransitive verb it meant to move about in a lively or frivolous manner or “to fool around”, the origin of this assumed to be the uninhibited style of dancing sometimes associated with the genre.  To jazz someone can also be to distract or pester them or provide misleading or incorrect information (which can be referred to using the noun “the jazz”).  As applied simply to music, it can mean either to play jazz music (in some set form or in a jam) or to dance to jazz music

Miles Davis, Kind of Blue (1959).

The meaning "rubbish, unnecessary talk or ornamentation" dates from 1918, a use reflecting the snobby attitude many had towards a form of music which sometimes didn’t observe the usual conventions of structure.  The term “all that jazz” (sometimes cited as a synonym for “et cetera” but actually extending to ”similar or related but unspecified things or activities" was first recorded in 1939 although the extent of its history in oral use is unknown.  The verb jazz in the sense of “to speed or liven up” dates from 1917 and was used often as “jazzed” or “jazzing”.  The “jazz age” was first described in 1921 and soon popularized in the writings of F Scott Fitzgerald (1896-1940) and the era is usually regarded as the years between the end of World War I (1918) and the Wall Street crash of 1929.  The phrase captures both what was seen as the accelerating pace of life in 1920s America and the popularity of the music.

Charles Mingus, Mingus Ah Um (1959).

The noun razzmatazz was interesting because it was used in the late nineteenth century to mean various things (most often something fanciful and showy) and thus obviously pre-dated jazz but, presumably because of the rhyming quality it picked up early associations with jazz which by the 1930s had become a disparaging critique ("old-fashioned jazz" especially in contrast to the newer “swing”).  Dating from 1917, the noun jazzbo (low, vulgar jazz) was a disparaging term to describe both the music and musicians; later in the twentieth century it was applied as derogatory term for African-Americans (and others with dark skins) but use soon died out.  The adjective jazzy (resembling jazz music) dates from 1918 and was often used in the forms “jazzily” & “jazziness”, use quickly extending from music to a general term suggesting “spirited, lively; exciting”.  The noun jazzetry (poetry reading accompanied by jazz music) came into use in 1959 and was part of the cultural ephemera of the beat generation.  The noun Jazzercise (the construct being jazz + (ex)ercise) was originally a proprietary name from the commercial fitness industry which, despite the implications, was used to describe routines using just about any form of music.

Lotus Jazz, 1985.

So unsuccessful was the marketing strategy used for Lotus Jazz that it’s said to rate with Ford’s Edsel and Coca-Cola's New Coke among the most popular case studies chosen by students of the discipline to illustrate corporate ineptitude.  Jazz was designed to run only on Apple’s Macintosh 512K and was an integrated suite which included a word processor, spreadsheet, database, graphics, and communication software.  It was a corporate companion of Lotus Symphony which was a suite which ran on IBM compatible PCs under PC-MS-DOS but not too much should be read into the musical nomenclature; both were integrated suites which ran under different operating systems on different hardware.  Lotus 1-2-3 wasn’t the first spreadsheet but it was the one which became the so-called “killer app” which legitimized the IBM PC for business use and, noting the small-scale successes being enjoyed by some of the early suites, Symphony was concocted as something which would rely on the reputation of 1-2-3 for its success.  Although never a big seller on the scale of 1-2-3, Symphony in the 1980s found a niche.

Jazz was supplied on four 400K floppy diskettes and Lotus thoughtfully supplied a sticky label users could use for their data diskette (which wasn’t included).

Jazz, introduced in 1985 was an attempt to replicate on the Mac the company’s success on the IBM-PC though why the decision was taken to introduce a suite instead of a version of 1-2-3 puzzled observers at the time given the Symphony name had nothing like the name-recognition of the Lotus spreadsheet.  Added to that, Jazz was expensive, limited in functionality by the memory constraint of the Mac 512 and clumsy in operation, users forced frequently to swap floppy diskettes (start-up, program & data) with the additional drawback that only a single floppy drive could be used with Jazz, neither dual floppy or hard-drives supported.  A critical and commercial failure, so toxic did the Jazz brand quickly become that plans to release an improved version in 1988 (called Modern Jazz) were abandoned and development resources were shifted to a version of 1-2-3 for the Mac.  That was of course what should have been done from the start and 1-2-3 for the Mac, released in 1991, was well received but months later Microsoft released Windows 3.1 and the universe shifted, Excel and the companion MS-Office becoming a juggernaut; Symphony and 1-2-3 were just two of the many victims.

Chevron

Chevron (pronounced shev-ruhn (U) or shev-run (non-U))

(1) In heraldry, an ordinary in the form of an inverted V-shaped charge on a shield, one of the most ancient of the English ordinaries.

(2) An insignia consisting of stripes meeting at an angle, worn on the sleeve by non-commissioned officers (NCO) in the military, police officers etc, as a mark of rank (variously upwards or downwards), length or service or for other purposes (usually always upwards).  In casual use, the use to the display the NCO ranks are referred to as “stripes”.

(3) In interior decorating, an ornamental form in a zigzag pattern used often on moldings and also called a dancette; the design most historically most associated with romanesque architecture in France, England and Sicily.

(4) In the manufacture of fabrics, as chevron weave, the application of the shape (the herringbone a subset of this use).

(5) In road-traffic management (1) a pattern of horizontal black and white V-shapes on a road sign indicating a sharp bend (usually in the plural) or (2) one of the V-shaped markings on the surface of roads used to indicate minimum distances between vehicles (use varies between jurisdictions).

(6) In design, any V-shaped pattern or device.

(7) In language, an informal term for the guillemet, either of the punctuation marks “«” or “»”, used in several languages to indicate passages of speech (the equivalent convention in the English language the same placement of inverted commas (“_”).

(8) In language, as “inverted chevron”, an informal term for a háček, a diacritical mark resembling an inverted circumflex.

(9) In publishing, an angle bracket used both as a typographic and scientific symbol.

(10) In architecture, a rafter (a specialized type of strut or beam) of this shape, usually load-bearing and supporting a structure such as a roof and sometimes exposed, doubling as a decorative device.

(11) In aerospace, components fashioned in a saw-tooth patterns used internally (and externally (briefly) on exhaust nacelles as a noise-suppression mechanism) in jet engines.

(12) In anatomy, a bone of this shape.

(13) In entomology, the moth Eulithis testata.

(14) In geology, (1) a fold of this shape in layers of rock and (2), a sediment deposit in this shape across the surface.

(15) In pediatric medicine, as chevron nail, a rare transient fingernail ridge pattern seen only in children.

(16) In mathematics, as chevron plot, a technique of data representation.

(17) In computing, the informal term for the angle bracket when used in HTML (also sometimes called the “wicket” reflecting the English origins of HTML in the Conseil européen pour la recherche nucléaire (CERN; the European Organization for Nuclear Research)).

(18) In folk arts & crafts, as chevron bead, glass beads in this shape.

(19) A style of moustache in this shape.

(21) In music, a wavy line indicating a trill

(22) In the optical devices associated with ballistics, a symbol used in reticles in firearm scopes.

1300–1350: From the Middle English cheveroun, from the Old French chevron (rafter; chevron), from chévre (a goat), from the Vulgar Latin capriōnem & capriōn- (stem of capriō), ultimately from the Latin caper (goat).  The alternative spelling was cheveron which in commercial use is still used, presumably as means to achieve product differentiation.  Chevron is a noun & verb, noun, chevroned & chevrony (also as chevronny) are adjectives, chevroning & chevroned are verbs and chevronwise is an adverb; the noun plural is chevrons.

Late twelfth century doorway at Gradefes Convent, Spain.

The technical class into which architects classify decorative (as opposed to structural) chevrons is “inflected ornament” or, in the slang the “zig-zag” (or zigzag) and they were widely used in romanesque architecture in France, England and Sicily.  In this decorative mode, it’s though at least one inspiration for their use was the metal casings frequently seen in early wood columns.  The meaning of the word in French is said to be based on structural engineering, the reference the rafters of a shallow roof, the idea based on there being some resemblance to the rather angular hind legs of a goat, the Vulgar Latin capriōnem & capriōn being from the Classical Latin caper (goat).  This actually had echoes in the Latin capreolus (props, stays, short pieces of timber joined at angles for support) which translated literally as “wild goat; chamoix”.  However, some historians of architecture doubt the story about the hind legs, suggesting the image was more likely the horns of a butting goat and there’s some support for this in that the first use of the word in English was in heraldry when chevrons began appearing on shields, the horns of a charging beast presumably more appealing to the military mind than the beast’s back legs.

1938 Citroën 11B Traction Avant Coupé (sometime referred to as the Faux Cabriolet) with the company’s distinctive double chevron emblem in the radiator grill.

Designed by French engineer André Lefèbvre (1894-1964) and Italian industrial designer Flaminio Bertoni (1903-1964), the Citroën Traction Avant was introduced in 1933 and was the machine which more than any other legitimized both unitary construction (ie no separate chassis) and the front-wheel-drive (FWD) configuration (Traction Avant translates literally as “front traction”) in mass-produced cars.  Although a great success and in production until 1956 (with severe disruptions during wartime occupation 1940-1944), the costs incurred in its development and the tooling needed for volume production meant that by 1934 the company was compelled to declare bankruptcy, taken over by Michelin, the most exposed creditor by virtue of having for some time supplied tyres on the basis of “delayed payment”.  Although total Traction Avant production exceeded 760,000, there were only 15 coupés, all from the pre-war years and of these, only four were built in 1938.

1935 Citroën TA22 Traction Avant prototypes, cabriolet (left) and saloon (right).  To mark the installation of a V8, an appropriate numeral adorned the double chevron.  Unfortunately, because the chevrons weren’t inverted, the chance to make a “V8” statement was missed.  Perhaps the French found such a thing vulgar.

Another genuine rarity among the Traction Avants was the TA22, an intended top-of-the-range version equipped with a 3.8 litre (232 cubic inch) V8 created by joining two of Citroën’s 1.9 litre (116 cubic inch) four-cylinder units in a common crankcase.  Apparently 20 were built but the combination of the financial turmoil of bankruptcy and Michelin’s subsequent rationalization saw the project abandoned and although there are many stories about the fate of the prototypes, eighty years on none have ever surfaced so it’s reasonable to assume none survived (at least not with the unique power-train) although there have been some privately built (partial) recreations, most using some variation of the contemporary Ford Flathead V8 including the 2.2 litre (136 cubic inch) version which was used in Europe or the later 2.4 litre (144 cubic inch) unit built by Ford’s French operation (the tooling for which was sold to Simca which, in small volumes, offered V8 cars between 1954-1961.

Daimler SP250 (1959-1964).  Citroën’s double chevron remains their corporate emblem even though they no longer produce interesting or innovative machinery, their range in recent decades dreary and derivative.  Many others however use chevrons and inverted chevrons from time to time, sometimes as part of emblems as Cadillac has done and sometimes as a decoration.  Quite what the designers thought a chevron added to the Daimler SP250’s catfish-like face isn’t recorded but opinion seems to remain divided because some owners appear to have removed the embellishment.  Daimler didn't take advantage of the chevron to add an "8" either, even though that the time their marvelous little hemi-head 2.5 litre (155 cubic inch) V8 was a unique selling point.  They may have thought the splendid exhaust note was a sufficient advertisement.  

Boeing 747-8 with chevrons in the engine nacelles.

Not all exhaust notes were as pleasing as those emitted by the Daimler V8s and for some years Boeing produced passenger airliners with chevrons cut into the engine nacelles, a trick which reduced the blast noise by up to 15 decibels on the ground and in the forward cabin, the engineers referring to this as “fan-tone” adjustment.  Boeing defined and patented the technology as part of its second Quiet Technology Demonstrator (QTD2) program in 2005 and it was adopted (regardless of whether the installed engine was supplied by General Electric, Rolls-Royce, Pratt & Whitney or CFM) for the 787 Dreamliner, 737 MAX aircraft and even the 747-8, the last generation of the old workhorse.  One benefit of a lower fan-tone was that Boeing was able to reduce the mass of sound deadening fitted to the fuselage by some 600 lbs (272 kg), something which made a measurable difference to the rate of fuel burn.  The QTD2 programme was conducted in conjunction with General Electric and the US National Aeronautics and Space Administration (NASA), using a Boeing 777-300ER as a benchmark device, a notable choice given it was already the quietest in its class.

Lindsay Lohan in chevron themed ensemble with gladiator sandals, Ibiza, Spain, July 2014.

Curiously, given they were dealing with the same physics Airbus never used the chevrons on the nacelles of their airplanes and according to them, Boeing’s patent had no effect on their decision.  Airbus say they detected no advantages when testing the chevrons but there was a penalty because fuel consumption increased.  Instead, Airbus developed what they call a “zero splice” acoustic inner barrel to lower the fan-tone, the combination of new-generation insulation materials and the zero-splice’s “high-bypass” technology achieving a similar outcome, without the additional weight and fuel burn induced by the chevrons.  Boeing too has recently announced development of the chevrons would not continue and despite the early publicity shots of the 777X being built with the chevrons, the production versions have appeared without them.  That attracted some comment and Boeing released a statement which indicated the change was part of normal product development and that while the chevrons were at the time a way to achieve noise reduction, ongoing research has found a method which achieves that without the associated costs in drag, weight and thus fuel burn.  The essence of the new system appears to be the application of a honeycomb acoustic treatment in strategic areas of the exhaust ducting, the drilling of thousands of holes in the composite skin to disperse and capture noise in the core.  It’s noted however chevrons, for many reasons, remain an essential part of many internal components in jet engines, as they’ve been since the early days of the technology in the 1930s.

Kestrel

Kestrel (pronounced kes-truhl)

(1) A common small falcon (especially the Falco tinnunculus), of northern parts of the Eastern Hemisphere, notable for hovering in the air with its head to the wind, its primary diet the small mammals it plucks from the ground.

(2) Any of a number of related small falcons.

1400–1450: From the late Middle English castrell, from the Middle English castrel & staniel (bird of prey), from the Middle French cresserelle & quercerelle (bird of prey), a variant of the Old French crecerelle, from cressele (rattle; wooden reel), from the unattested Vulgar Latin crepicella & crepitacillum, a diminutive of crepitāculum (noisy bell; rattle), from the Classical Latin crepitāre (to crackle, to rattle), from crepāre (to rustle). The connection with the Latin is undocumented and based on the folk belief their noise frightened away other hawks.  However, some etymologists contest the connection with the Latin forms and suggest a more likely source is a krek- or krak- (to crack, rattle, creak, emit a bird cry), from the Middle Dutch crāken (to creak, crack), from the Old Dutch krakōn (to crack, creak, emit a cry), from the Proto-West Germanic krakōn, from the Proto-Germanic krakōną (to emit a cry, shout), from the primitive Indo-European gerg- (to shout).  It was cognate with the Old High German krahhōn (to make a sound, crash), the Old English cracian (to resound) and the French craquer (to emit a repeated cry, used of birds).  All however concur the un-etymological -t- probably developed in French.  Kestrel is a noun; the noun plural is kestrels.

In taxonomy, the variations include the American kestrel (Falco sparverius), the Banded kestrel (Falco zoniventris), the Common kestrel (Falco tinnunculus), the Greater kestrel (Falco rupicoloides), the Grey kestrel (Falco ardosiaceus), the Lesser kestrel (Falco naumanni), the Nankeen kestrel (Falco cenchroides), the Seychelles kestrel (Falco araeus) and the Spotted kestrel (Falco moluccensis).  Although the bird had earlier been described as the castrell, in the early seventeenth century the small falcons were more commonly known as windhovers, the construct being wind + hover, reflecting the observations of the ability of the birds literally to hover when facing into the wind.  A now more memorable term however was the one dating from the 1590s: The windfucker (or the fuckwind).  In English, for almost two centuries, any use of the F-word could be controversial and its very existence seemed to make uncomfortable one faction of lexicographers who at one point managed to strike it from almost all dictionaries of English.  They were also revisionists of historical interpretation and claimed windfucker & fuckwind were errors in transcription, the original folk-names being windsucker & suckwind.  To give theis theory a bit of academic gloss, they assembled charts of regionally specific pronunciation in the Late Middle and early Modern English to illustrate the extent to which the archaic long S character ( ſ ) often took the place of an < s > at both the beginnings and middle of words, the argument being the long S was misread as a lowercase ( f ).

It was an intellectually clever way to attempt to remove vulgarity from English but etymologists today give little credence to the theory, noting that the undisputed French sources provide no support.  It may be assumed kestrels came to be called windfuckers & fuckwinds because when displaying their expertise at hovering in the air when facing into the wind, the movements of their bodies does make it look as if airborne copulation is in progress.  Of note too is that in the sixteenth and seventeenth centuries, the same disapprobation didn’t always attach to “fuck” which, although there was a long history of meaning “fornication”, it had also been in figurative use to describe anything from “plough furrows in a field” to “chop down a tree”.  Fuck was from the Middle English fukken and probably of Germanic origin, from either the Old English fuccian or the Old Norse fukka, both from the Proto-Germanic fukkōną, from the primitive Indo-European pewǵ- (to strike, punch, stab).  It was probably the popularity of use as well as the related career as a general-purpose vulgar intensifier which attracted such disapproval.  By 1795 it had been banished from all but the most disreputable dictionaries, not to re-appear until the more permissive 1960s.

Fieseler Fi 156 Storch, Gran Sasso d'Italia massif, Italy, during the mission to rescue Mussolini from captivity, 12 September 1943.  The Duce is sitting in the passenger compartment.

Windfucker thus became archaic but not wholly extinct because it appears in at least one British World War II (1939-1945) diary entry which invoked the folk-name for the bird to describe the German liaison & communications aircraft, the Fieseler Fi 156 Storch (stork), famous for its outstanding short take-off & landing (STOL) performance and low stalling speed of 30 mph (50 km/h) which enabled it almost to hover when faced into a headwind.  The Storch’s ability to land in the length of a cricket pitch (22 yards (20.12 m)) made it a useful platform for all sorts of operations, the most famous of which was the daring landing on a mountain-top in northern Italy to rescue the deposed Duce (Benito Mussolini, 1883-1945; Duce (leader) & prime-minister of Italy 1922-1943).  So short was the length of the strip of grass available for take-off that even for a Storch it was touch & go (especially with the Duce’s not inconsiderable weight added) but with inches to spare, the little plane safely delivered its cargo.

Riley was one of the storied names of the British motor industry, beginning as a manufacturer of bicycles in 1896, an after some early experiments as early as 1899, sold its first range of cars in 1905.  Success followed but so did troubles and by 1938, the company had been absorbed into the Nuffield organization.  Production continued but in the post-war years, Riley joined Austin, Morris, Wolseley and MG as part of the British Motor Corporation (BMC) conglomerate and the unique features of the brand began to disappear, the descent to the era of “badge engineering” soon complete.  The last Rileys were the Elf (a tarted-up Mini with a longer boot which was ascetically somehow wrong) and the Kestrel (a tarted-up Austin 1300), neither of which survived the great cull when BMC was absorbed by the doomed British Leyland, marque shuttered in 1969, never to return.

Pre-war Riley Kestrels: 1938 1½ litre four-light Kestrel Sports Saloon (left), 1939 2½ litre Kestrel fixed head coupé (with post-war coachwork) (centre) and 1937 1½ litre 12/4 Kestrel Sprite Special Sports (right).

It was a shame because the pre-war cars in particular had been stylish and innovative, noted for an unusual form of valve activation which used twin camshafts mounted high in the block (thus not “overhead camshafts (OHC)”) which provided the advantages of short pushrods & optimized valve placement offered by the OHC arrangements without the weight and complexity.  Also of interest were their pre-selector transmissions, a kind of semi-automatic gearbox.  Among the most admired had been the 1½ & 2½ litre Kestrels (1934-1940), most of which wore built with saloon coachwork in four or six-light configurations although there were also fixed head (FHC) and drop head coupés (DHC) as well as a few special, lightweight roadsters.

1935 Riley 1½ litre Kestrel (Chassis 22T 1238, Engine SL 4168) with custom coachwork (2004)

The intriguing mechanical specifications and the robust chassis has made them attractive candidates for re-bodying as an alternative to restoration.  Not all approve of such things (the originality police are humorless puritans as uncompromising as any Ayatollah) but some outstanding coachwork has been fashioned, almost always the result of converting a saloon or limousine to a coupé, convertible or roadster.  The 1935 1½ litre Kestrel above began life as a four-door saloon which was converted to a DHC during 2004 and the lines have been much-admired, recalling (obviously at a smaller scale) some of the special-bodied Mercedes-Benz SS (1928-1933), the more ostentatious of the larger Buccialis (1928-1933) and the Bugatti Royale (1927-1933).

A kestrel windfucking.

Strumpet

Strumpet (pronounced struhm-pit)

A woman of loose virtue (archaic).

1300–1350: From the Middle English strumpet and its variations, strompet & strumpet (harlot; bold, lascivious woman) of uncertain origin.  Some etymologists suggest a connection with the Latin stuprata, the feminine past participle of stuprare (have illicit sexual relations with) from stupere, present active infinitive of stupeo, (violation) or stuprare (to violate) or the Late Latin stuprum, (genitive stuprī) (dishonor, disgrace, shame, violation, defilement, debauchery, lewdness).  The meanings in Latin and the word structure certainly appears compelling but there is no documentary evidence and others ponder a relationship with the Middle Dutch strompe (a stocking (as the verbal shorthand for a prostitute)) or strompen (to stride, to stalk (in the sense suggestive of the manner in which a prostitute might approach a customer).  Again, it’s entirely speculative and the spelling streppett (in same sense) was noted in the 1450s.  In the late eighteen century, strumpet came to be abbreviated as strum and also used as a verb, which meant lexicographers could amuse themselves with wording the juxtaposition of strum’s definitions, Francis Grose (circa 1730-1791) in his A Classical Dictionary of the Vulgar Tongue (1785) settling on (1) to have carnal knowledge of a woman & (2) to play badly on the harpsichord or any other stringed instrument.  As a term in musical performance, strum is now merely descriptive.

Even before the twentieth century, among those seeking to disparage women (and there are usually a few), strumpet had fallen from favour and by the 1920s was thought archaic to the point where it was little used except as a device by authors of historical fiction.  Depending on the emphasis it was wished to impart, the preferred substitutes which ebbed and flowed in popularity over the years included tramp, harlot, hussy, jezebel (sometimes capitalized), jade, tart, slut, minx, wench, trollop, hooker, whore, bimbo, floozie (or floozy) and (less commonly) slattern skeezer & malkin.

There’s something about trollop which is hard to resist but it has fallen victim to modern standards and it now can’t be flung even at white, hetrosexual Christian males (a usually unprotected species) because of the historic association.  Again the origin is obscure with most etymologists concluding it was connected with the Middle English trollen (to go about, stroll, roll from side to side).  It was used as a synonym for strumpet but often with the particular connotation of some debasement of class or social standing (the the speculated link with trollen in the sense of “moving to the other (bad) side”) so a trollop was a “fallen woman”.  Otherwise it described (1) a woman of a vulgar and discourteous disposition or (2) to act in a sluggish or slovenly manner.  North of the border it tended to the neutral, in Scotland meaning to dangle soggily; become bedraggled while in an equestrian content it described a horse moving with a gait between a trot and a gallop (a canter).  For those still brave enough to dare, the present participle is trolloping and the past participle trolloped while the noun plural (the breed often operating in pars or a pack) is trollops.

Floozie (the alternative spellings floozy, floosy & floosie still seen although floogy is obsolete) was originally a corruption of flossy, fancy or frilly in the sense of “showy” and dates only from the turn of the twentieth century.  Although it was sometimes used to describe a prostitute or at least someone promiscuous, it was more often applied in the sense of an often gaudily or provocatively dressed temptress although the net seems to have been cast wide, disapproving mothers often describing as floozies friendly girls who just like to get to know young men.

Strum and trollop weren’t the only words in this vein to have more than one meaning.  Harlot was from the Middle English harlot, from Old French harlot, herlot & arlot (vagabond; tramp), of uncertain origin but probably from a Germanic source, either a derivation of harjaz (army; camp; warrior; military leader) or from a diminutive of karilaz (man; fellow).  It was an exclusively derogatory and offensive form which meant (1) a female prostitute, (2) a woman thought promiscuous woman and (3) a churl; a common person (male or female), of low birth, especially who leading an unsavoury life or given to low conduct.

Lord Beaverbrook (1950), oil on canvas by Graham Sutherland (1903–1980).  It’s been interesting to note that as the years pass, Rupert Murdoch (b 1931) more and more resembles Beaverbrook.

Increasing sensitivity to the way language can reinforce the misogyny which has probably always characterized politics (in the West it’s now more of an undercurrent) means words like harlot which once added a colorful robustness to political rhetoric are now rarely heard.  One of the celebrated instances of use came in 1937 when Stanley Baldwin’s (1867–1947; leader of the UK’s Tory Party and thrice prime-minister 1923 to 1937) hold on the party leadership was threatened by Lord Rothermere (1868-1940) and Lord Beaverbrook (1879-1964), two very rich newspaper proprietors (the sort of folk Mr Trump would now call the “fake news media”).  Whether he would prevail depended on his preferred candidate winning a by-election and three days prior to the poll, on 17 March 1931, Baldwin attacked the press barons in a public address:

“The newspapers attacking me are not newspapers in the ordinary sense; they are engines of propaganda for the constantly changing policies, desires, personal vices, personal likes and dislikes of the two men.  What are their methods?  Their methods are direct falsehoods, misrepresentation, half-truths, the alteration of the speaker's meaning by publishing a sentence apart from the context and what the proprietorship of these papers is aiming at is power, and power without responsibility, the prerogative of the harlot throughout the ages.”

The harlot line overnight became a famous quotation and in one of the ironies of history, Baldwin borrowed it from his cousin, the writer Rudyard Kipling (1865-1936) who had used it during a discussion with the same Lord Beaverbrook.  Like a good many (including his biographer AJP Taylor (1906-1990) who should have known better), Kipling had been attracted by Beaverbrook’s energy and charm but found the inconsistency of his newspapers puzzling, finally asking him to explain his strategy.  He replied “What I want is power. Kiss ‘em one day and kick ‘em the next’ and so on”.  “I see” replied Kipling, “Power without responsibility, the prerogative of the harlot throughout the ages.”  Baldwin received his cousin’s permission to recycle the phrase in public.

While not exactly respectable but having not descended to prostitution, there was also the hussy (the alternative spellings hussif, hussiv & even hussy all obsolete).  Hussy was a Middle English word from the earlier hussive & hussif, an unexceptional evolution of the Middle English houswyf (housewife) and the Modern English housewife is a restoration of the compound (which for centuries had been extinct) after its component parts had become unrecognisable through phonetic change.  The idea of hussy as a housewife or housekeeper is long obsolete (taking with it the related (and parallel) sense of “a case or bag for needles, thread etc” which as late as the eighteenth century was mention in judgements in English common law courts when discussing as woman’s paraphernalia).  It’s enduring use is to describe women of loose virtue but it can be used either in a derogatory or affectionate sense (something like a minx), the former seemingly often modified with the adjective “shameless”, probably to the point of becoming clichéd.

“An IMG Comrade, Subverts, Perverts & Extroverts: A Brief Pull-Out Guide”, The Oxford Strumpet, 10 October 1975.   

Reflecting the left’s shift in emphasis as the process of decolonization unfolded and various civil rights movements gained critical mass in sections of white society, anti-racist activism became a core issue for collectives such as the International Marxist Group.  Self-described as “the British section of the Fourth International”, by the 1970s their political position was explicitly anti-colonial, anti-racist, and trans-national, expressed as: “We believe that the fight for socialism necessitates the abolition of all forms of oppression, class, racial, sexual and imperialist, and the construction of socialism on a world wide scale”.  Not everything published in The Oxford Strumpet was in the (evolved) tradition of the Fourth International and it promoted a wide range of leftist and progressive student movements.

Lindsay Lohan in rather fetching, strumpet-red underwear.

The Oxford Strumpet was an alternative left newspaper published within the University of Oxford and sold locally.  It had a focus on university politics and events but also included comment and analysis of national and international politics.  With a typically undergraduate sense of humor, the name was chosen to (1) convey something of the anti-establishment editorial attitude and (2) allude to the color red, long identified with the left (the red-blue thing in recent US politics is a historical accident which dates from a choice by the directors of the coverage of election results on color television broadcasts).  However, by 1975, feminist criticism of the use of "Strumpet" persuaded the editors to change the name to "Red Herring" and edition 130 was the final Strumpet.  Red Herring did not survive the decline of the left after the demise of the Soviet Union and was unrelated to the Red Herring media company which during the turn-of-the-century dot-com era published both print and digital editions of a tech-oriented magazine.  Red Herring still operates as a player in the technology news business and also hosts events, its business model the creation of “top 100” lists which can be awarded to individuals or representatives of companies who have paid the fee to attend.  Before it changed ownership and switched its focus exclusively to the tech ecosystem, Red Herring magazine had circulated within the venture capital community and the name had been a playful in-joke, a “red herring” being bankers slang for a prospectus issued with IPO (initial public offering) stock offers.