Afterburner

Afterburner (pronounced af-ter-bur-ner)

(1) In aviation, a device placed within, or attached to the exit of, a jet-engine exhaust pipe to produce afterburning.

(2) In engineering, a device in the exhaust system of an internal-combustion engine for removing or rendering harmless potentially dangerous components in the exhaust gases.

1948: A compound word, the construct being after + burn +-er.  The verb after developed from its use as an adverb and preposition, from the Middle English after-, efter- & æfter-, from the Old English æfter- (after, behind, against; later in time; in pursuit, following with intent to overtake), the idea being off + -ter (a comparative suffix), the original formation meant "more away, farther off”.  It was cognate with the Scots efter-, the Old Frisian & West Frisian efter-, the Dutch achter-, the German after-, the Swedish efter, the Old Norse eptir, the Old High German aftar, the Gothic aftra (behind), the Greek apotero (farther off) and the Old Persian apataram (further).  From circa 1300 it assumed the meaning "in imitation of; in the style of" while, as a conjunction in the sense of "subsequent to the time that" the use was inherited from the late Old English.  The phrase “after hours” (hours after regular working hours) dates from 1814 although the exact purpose has always proved elusive but it’s assumed by most to relate to retail commerce rather than terms of employment.  Afterwit was from circa 1500 and deconstructs literally as "wisdom that comes too late" but is familiar feeling of one for whom a perfect piece of repartee comes to mind only after the moment has passed; it’s perhaps surprising afterwit didn’t endure in the language.  The phrase “after you” an element in etiquette meaning “yielding precedence to another” dates from 1650.

Burn was from the Middle English bernen & birnen, from the Old English birnan (to burn), a metathesis from the Proto-West Germanic brinnan, from the Proto-Germanic brinnaną (to burn), from the primitive Indo-European bhrenw- and related to the Middle Irish brennim (drink up) & bruinnim (bubble up), the present stem from bhrewh- & bhru- (linked to the Middle Irish bréo (flame), the Albanian burth, the Cyclamen hederifolium (mouth burning) and the Sanskrit भुरति (bhurati) (moves quickly, twitches, fidgets).  The verb was from the early twelfth century brennen (be on fire, be consumed by fire; be inflamed with passion or desire, be ardent; destroy (something) with fire, expose to the action of fire, roast, broil, toast; burn (something) in cooking) which when applied to objects imparted the sense of “to shine, glitter, sparkle, glow like fire”, the form from both the Old Norse brenna (to burn, light) an two originally distinct Old English verbs: the transitive bærnan (to kindle) and the intransitive beornan (be on fire).  All of these were from the Proto-Germanic brennanan (causative brannjanan), source also of the Middle Dutch bernen, the Dutch branden, the Old High German brinnan, the German brennen, the Gothic brannjan (to set on fire); the ultimate etymology uncertain.  The noun burn dates from circa 1300 in the sense of "act or operation of burning” and was from the Old English bryne, the etymology identical to the verb and prior to the mid-sixteenth century, the usual spelling was brenne.

The Figurative use of burn (of passion, conflict etc.) was in Old English and survives to this day while the literal sense of "be hot, radiate heat" was from the later thirteenth century, the meaning "produce a burning sensation, sting" from a hundred years later.  A further figurative sense, that of "being cheated, swindled or victimized" emerged in the 1650s on the notion that whatever one lost “may as well have been burned”.  The slang use of burned from the late eighteenth century meaning "infected with venereal disease" referred to the sensation which was one of the symptoms.  To “burn one's bridges (behind one)” meant "behave so as to destroy any chance of returning to a status quo" and was used in the late nineteenth century, perhaps because of some of the reckless cavalry operations documented during the US Civil War although it’s a variation on the “burn the boats” (so one’s soldiers have no alternative but to fight, there being no chance of escape) approach known since Antiquity.  To have money “burn a hole in (one's) pocket” was a critique from the 1850s of those with an irresistible propensity to spend whatever money was in one’s possession; the modern expression of economists is of “expenditure rising to meet income”.  The meaning "mark or injury made by burning" is from 1520s while “slow burn” dates from 1938 and refers to a technique in acting.

The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  The –er suffix was added to verbs to create a person or thing that does an action indicated by the root verb; used to form an agent noun.  If added to a noun it usually denoted an occupation.

The afterburner

Attracted by theoretical work which hinted at improved thrust, Rolls-Royce began ground tests on one of their early jet engines in 1944 although the war ended before the technology was ready for production.  By the early 1950s, most advanced jet fighters had adopted afterburners and they continue generally to be used mostly in military aircraft although a few civilian applications have existed including the now defunct Tupolev Tu-144 and Concorde.

An afterburner’s purpose is to provide an increase in thrust, usually for supersonic flight, takeoff and in combat. Afterburning is achieved by injecting additional fuel downstream of the turbine and produces significantly increased thrust; the trade-off being very high fuel consumption and inefficiency, though this is considered acceptable for the short periods during which it is usually used.  The quantum of a jet-engine’s thrust is determined by the general principle of mass flow rate and thrust depends on two things: the velocity of the exhaust gas and the mass of that gas. A jet engine can produce more thrust by either accelerating the gas to a higher velocity or by having a greater mass of gas exit the engine.  Designing a basic turbojet engine around the second principle produces the turbofan engine, which creates slower gas but more of it. Turbofans are highly fuel efficient and can deliver high thrust for long periods, but the design trade-off is a large size relative to the power output. To generate increased power with a more compact engine for short periods, an engine requires an afterburner. The afterburner increases thrust primarily by accelerating the exhaust gas to a higher velocity.

Lockheed SR-71 Blackbird afterburning for additional thrust during take-off (left) and Royal Australian Air Force (RAAF) General Dynamics F-111 Aardvark performing a dump-and-burn (right).

What many people think of as afterburners are actually displays of dump-and-burn at air shows, a procedure where dumped fuel is intentionally ignited using the plane's afterburner. A spectacular flame combined with high speed makes this an interesting sight but it’s just for entertainment.  Fuel dumping is used to reduce the mass of an aircraft about to undertake emergency landings and thus, for other than for safety reasons, dump and burn has no practical use.  In the slang of pilots who flew the early generation of fighters with afterburners the phrase was "lit up the burners" while the dump and burn is also called a "torching" or a "zippo".

Lighting up the burners: Lindsay Lohan in The Canyons (2013).

Concordat

Concordat (pronounced kon-kawr-dat)

(1) An agreement or compact, especially an official one Agreement between things; mutual fitness; harmony.

(2) A formal agreement between two parties, especially between a church and a state.

(3) In Roman Catholic canon law, a pact, treaty or agreement between the Holy See and a secular government regarding the regulation of church matters.  In early use it was sometimes a personal agreement between pope and sovereign.

1610–1620: From the the sixteenth century French conciordat, replacing concordate from the Medieval Latin concordātum (something agreed), a noun use of the Latin concordatum, neuter of concordātus, past participle of concordāre (to be in agreement; to be of one mind), from concors (genitive concordis) (of one mind)  from concors (genitive concordis) (of one mind).  The original definition in Roman Catholic canon law was "an agreement between Church and state on a mutual matter".  Concordat is a noun, the noun plural is concordats and concordatory is an adjective.  Concord dates from 1250-1300, from the Middle English and Old French concorde from the Latin concordia, (harmonious), genitive concordis (of the same mind, literally “hearts together”).  Concordat is a noun and concordant an adjective; the noun plural is concordats.

The Duce, Benito Mussolini (1883–1945; Prime Minister of Italy 1922-1943) and Cardinal Pietro Gasparri (1852–1934; Cardinal Secretary of State 1914-1930) signing the Lateran Concordat in 1929.

The concordat, a formal agreement between the Holy See and a sovereign state, dates from a time when the relationship between the Church and sovereign entities was different than what now exists.  Indeed, the dynamics of the relationships have changed much over the centuries but, at any given moment, concordats have always been practical application of Church-state relations and, like all politics, were an expression of the art of the possible, a concordat not necessarily what a pope wanted, but certainly the best he could at the time manage, the best known tending to be the controversial, notably (1) the treaty of 1801 with Napoleon Bonaparte (1769–1821; leader of the French Republic 1799-1804 & Emperor of the French from 1804-1814 & 1815), (2) the Lateran Accord agreed in 1929 with Mussolini which created the modern city-state of the Vatican and which was the final step in Italian unification and (3) The Reich Concordat of 1933, the accommodation with Hitler’s Germany which was supposed to resolve the issue of relations which had been unsettled since Otto von Bismarck's (1815-1989; Chancellor of the German Empire 1871-1890) time but which Berlin repeatedly violated.

La Signature du Concordat aux Tuileries 15 juillet 1801 (The Signing of the Concordat at the Tuileries, 15 July 1801) (1803-1804) by François Pascal Simon Gérard (1770–1837) (titled as Baron Gérard in 1809); the original hangs in the Musée National des Châteaux de Versailles et de Trianon, Versailles.  

At least those violations weren’t wholly unexpected.  Cardinal Eugenio Pacelli (1876–1958; Pope Pius XII 1939-1958) had been Apostolic Nuncio (ambassador; 1926-1929) to Berlin and was Cardinal Secretary of State (foreign minister; 1930–1939) when the Reich Concordat was signed and he was under no illusion.  When it was said to him that the Nazis were unlikely to honor the terms, he replied with a smile that was true but that they would probably not violate all its articles “at the same time”.  The sardonic realism would serve the cardinal well in the years ahead when often he would required to choose the lesser of many competing evils.  Some though, for a while, retained hope if not faith.  As late as 1937, Archbishop Conrad Gröber (1872–1948; Archbishop of Freiburg 1932-1948) thought the Reich Concordat proof that “…two powers, totalitarian in their character, can find agreement, if their domains are separate”.  Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945), another cynic though then still a realist, viewed the concordat much as Hermann Göring (1893-1946) would in his trial at Nuremberg describe all the treaties executed by the Nazis: “so much toilet paper”.  Actually an admirer of the Roman Catholic Church which had survived two-thousand years of European rough and tumble, he was resigned to a co-existence but one on his terms, noting the day would come when there would be a reckoning with “those black crows”.

Two of the twentieth century's great survivors, German vice chancellor Franz von Papen (1879-1969) (second from left) and the Holy See's secretary of state Cardinal Eugenio Pacelli (the future Pope Pius XII) (head of the table) meet in the Vatican on 20 July 1933 to sign the Reischskonkordat which some six weeks later was ratified by the Nazi-dominated Reichstag (the German parliament).  The cardinal calculated the Church would gain from the arrangement but had few illusions about the Nazis.  Upon being told the Nazis would probably violate the agreement, he agreed but observed they probably wouldn't violate all of the clauses "at the same time".  Later when being driven through Rome where he saw two men fighting in the street, he remarked to his companion "I imagine they've probably just signed a concordat".

That’s not to say there haven’t always been theorists who wandered a bit beyond the possible.  After the Reformation, there were those in the Church who held that the Church sits above the state in all things (the “regalist” position), while others (maintaining the “curialist” position) held that although the Church is superior to the state, the Church may grant certain privileges to the state through agreements such as concordats.  In the modern age, the accepted understanding of concordats is that the Church and the various sovereign states are both legal entities able to enter into bilateral agreements.  Concordats are thus no different than other treaties & agreements in that being executed under international law, they are enforceable according to legal principles.  Church and state may in some ways not be co-equal but canon law does recognise the two exist in distinct spheres and is explicit in respecting the bilateral agreements that the Holy See has entered into with other nation-states.  The Code of Canon Law states unambiguously that concordats override any contrary norms in canon law: “The canons of the Code neither abrogate nor derogate from the agreements entered into by the Apostolic See with nations or other political societies. These agreements therefore continue in force exactly as at present, notwithstanding contrary prescripts of this Code.”  This is an unexceptional statement familiar in many constitutional arrangements where two legal systems interact, the need being to define, where conflict may exist, which has precedence and is no more than an application of a legal maxim known to both canon and secular law: pacta sunt servanda (agreements must be honored).  Concordats can both protect and clarify the rights of the Church by precisely defining relationship between the Church and a state, expressed by the Second Vatican Council’s (Vatican II 1962-1965) pastoral constitution on the Church in the modern world, Gaudium et spes (Joay and Hope) in the statement:

“The Church herself makes use of temporal things insofar as her own mission requires it.  She, for her part, does not place her trust in the privileges offered by civil authority.  She will even give up the exercise of certain rights which have been legitimately acquired, if it becomes clear that their use will cast doubt on the sincerity of her witness or that new ways of life demand new methods.”

In other words, “if you can’t beat them, join them”, or, at least, enter into peaceful co-existence with them, a position in the modern age possible, if not uncontroversial with sovereign and sub-national entities notionally with Catholic majority populations (eg Bavaria 1966, Austria 1969, Italy 1985) but also with countries where Christians exist only as tiny minorities (eg Tunisia 1964, Morocco 1985, Israel 1993).  Nor does a concordat need to be a complete codification, the agreement between the Holy See and Tel Aviv noting that in certain matters, agreement had not been reached and discussions need to continue.  Such “framework” or “stepping-stone” agreements have been in the diplomatic toolkit for centuries but they’re a statement of professed intent and in the decades since there’s been little apparent progress in many of the unresolved matters important to the Holy See regarding physical property in the Holy Land and the “working document” was never ratified by the Israeli parliament (the Knesset).  At least partially filling this diplomatic lacuna was something which has thus far proved a coda to the Holy See’s official recognition in 2012 of the State of Palestine.  In 2015, The Vatican concluded a concordat with “the State of Palestine” (sic), supporting a two-state solution to the conflict between Palestine and Israel “on the basis of the 1967 borders”.  According to Rome, the provisions in the agreement concern technical (ie financial & legal) aspects of the legal status of Catholic facilities and personnel on the West Bank and the Gaza Strip.  That may be as boringly procedural as it sounds but what’s aroused interest is that the Vatican has refused to publish the text or comment on the details, thus arousing suspicion that the treaty between with the Palestinians might, at least in part, contradict the earlier concordat with Israel.  From Washington to Tel Aviv, many are interested in the small print.

Rome 1929: The Duce reads the Lateran Concordat's small print.

Interestingly, Vatican II struck the term concordat from canon law, apparently in a nod to the Council's declaration on religious liberty, Dignitatis humanae (Of the Dignity of the Human Person) which mused on the evolution of a “…different model of relations between the Vatican and various states [which] is still evolving.”  Whatever might have been intended to be the implications of that, it reappeared with the Polish Concordat of 1993 and seems to be here to stay.

Callipygian

Callipygian (pronounced kal-uh-pij-ee-uhn)

Of, pertaining to, or having beautiful buttocks.

Circa 1800: A Latinized form from the Ancient Greek καλλίπυγος (kallípugos) (of, pertaining to, or having beautiful buttocks), the epithet of a statue of Aphrodite at Syracuse, the construct being calli (kalli) (from the Ancient Greek κάλλος (kállos) (beauty)) + πυγή (pugē) (tail; buttocks; rump) + -ian (the adjectival suffix).

Despite the classical association, there were serious critics who deplored the word pygē, dismissing it as mere slang “…completely avoided in epic poetry and higher literature” with “…no convincing etymology" although etymologists trace it back to the primitive Indo-European spugeh with cognates including the Latin pūga, the Old High German fochen, and Old Church Slavonic паоуга (pauga), пѫга (pǫga).  The objection may be because it was used also in the figurative to mean "fat, swelling" but the combinging form  pyg- exists in many technical (often medical) words including pygalgia (pain in the buttocks) and dasypygal (having hairy buttocks).  The lingustic snobbery didn't extend to the taxonomy and systematics of penguins, the Adélie penguin named Pygoscelis adeliae, the construct of the genus Pygoscelis being pygē + skelos (leg").  For those who might think it an anyway handy adjective, the comparative is more callipygian and the superlative most callipygian, applied as appropriate although the TikToK generation has a more accessible lexicon for such purposes.

Vénus callipyge (First century BC) in white marble by an unknown sculptor, Museo Archeologico Nazionale, Naples.

The Ἀφροδίτη Καλλίπυγος (Aphrodite Kallipygos), known also as the Venus Callipyge or Callipygian Venus (all translating literally as “Venus (or Aphrodite) of the beautiful buttocks”, is a marble statue, carved in Ancient Rome and assumed to be a copy of a Greek original.  It’s one of the most famous examples of a sculptor’s interpretation of the device ἀνάσυρμα (anasyrma, the construct being ἀνά (ana) (up, against, back) + σύρμα (syrma) (skirt) (ἀνασύρματα & ἀνασυρμός (anasyrmata & anasyrmos) the plural), the gesture of lifting the skirt or kilt.  Known also from religious rituals, eroticism and vulgar humor, the technique in art pre-dates antiquity.  The statue depicts a partially draped woman, raising her light peplos (a woman’s ankle-length gown) to uncover the hips and buttocks, her gaze cast back down her shoulder.  Although most often identified as being of Venus (Aphrodite), this has never been certain.

The dates from the first century BC, the lost Greek original thought to have been rendered in bronze and executed around 300 BC, very early in the classical Hellenistic era although nothing is known of its history until it was rediscovered, missing its head, during The Renaissance.  The head was recreated, first in the sixteenth century and later the eighteenth when the sculptor closely followed the earlier restoration, the head made to look over the shoulder which had the effect further to draw attention to the bare buttocks, something thought greatly to enhance its popularity and certainly influence those who would later reprise the work.  This would not be the only time the artists of the high Renaissance would modify reality a bit to so construct an idealized vision of the classical world of Antiquity.  It was in the seventeenth century the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse.

Lindsay Lohan displaying callipygian qualities with feet nicely juxtaposed, Playboy Magazine shoot, 2011.

That association is however tenuous because it was discussed by the (third century AD) writer Athenaeus of Naucratis in his fifteen-volume Deipnosophists (dinner-table philosophers).  According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks, and accosted a passer-by, asking him to judge.  The young man, the son of a rich local merchant voted for the older sister and found himself quite smitten with her, quickly falling in love.  In one of the fortunate coincidences which pepper myths ancient and modern, the man’s younger brother heard of this and went to see the girls for himself and, as much of an emo as his sibling, fell in love with the younger sister.  The brothers refused to consider other brides, so their father arranged the marriages.  The citizens dubbed the sisters Kallipugoi (the women with beautiful asses) and dedicated a temple to Aphrodite, calling her Kallipygos.  The cult of Aphrodite attracted other writers, the Christian author Clement of Alexandria (circa 150-215) included it in his table of the erotic manifestations of paganism and variations of Athenaeus’s tale circulated in copies of Vincenzo Cartari’s (1531-1590) retelling in Le Imagini con la sposizione dei dei de gli antichi (The Images of the Gods of the Ancients and their Explanations (1556)) some of the stories from classical mythology.

Vénus callipyge (1683-1686) in white marble by François Barois (1656–1726), Musée du Louvre, Paris.

The Venus Callipyge in the Louvre Museum in Paris is one of several copies of the Roman version of the Venus from the Farnese Collection.  Then as now, the taste of the public ebbed and flowed and what was declared to be obscene moved in the arc of a pendulum, this rendition modified with additional marble layers which, as historians of art note, were draped across the eponymous feature “so as not to offend an increasingly prudish public taste”.  After the French Revolution, it was displayed in the Jardin des Tuileries (the public garden between the Louvre and the Place de la Concorde), reflecting the politics of 1789.  That a statue in in a French museum has the buttocks depicted in swirling fabric while those on show in Italy are bare is mere coincidence and no inferences about national character should be drawn.

The adjective callipygian need not be restricted to the human form and can be applied anthropomorphically.  In different ways, stylists can apply to machinery the motifs of the baroque, the sensuous the athletic or the muscular.

1 1974 Dino 246 GTS (C&F) by Ferrari.

2 1958 De Soto Firesweep convertible by Chrysler.

3 1965 Jaguar E-Type (modified as Eagle Speedster 4.7).

4 1971 Chevrolet Corvette Coupé LS6 by General Motors.

5 1967 Alfa Romeo Spider 1600 (Duetto).

6 1971 Mercedes-Benz W111 (280SE 3.5 Coupé).

7 1973 BMW E9 (3.0 CSi).

8 1971 Lamborghini Miura P400SV.

9 1966 AC Shelby Cobra 427 S/C.

Dirigible

Dirigible (pronounced dir-i-juh-buhl or dih-rij-uh-buhl)

(1) An airship.

(2) A machine designed for or capable of being directed, controlled, or steered.

1583:  From the Latin dīrigere (to set straight), present active infinitive of dīrigō (steer, to direct) where it existed as an adjective with the meaning in the literal sense.  The use to describe airships dates from 1885, a direct borrowing from the French balloon dirigeable (steerable balloon), from the adjective dirigeable (capable of being directed or guided), a practice English would repeat with words like aileron and fuselage, reflecting the early French lead in aviation.  Dirigible is a noun & adjective, indirigibility & dirigibility are nouns and indirigible is an adjective; the noun plural is dirigibles. 

The Hindenburg, 1937

Frontal schematic of Hindenburg (LZ 129).

Built in the mid-1930s, Nazi Germany’s two Hindenburg-class dirigibles were hydrogen-filled, passenger-carrying rigid airships, the family named after Generalfeldmarschall Paul von Hindenburg (1847–1934; Reichspräsident (1925-1934) of the German Weimar Republic 1918-1933). They were the last of their type and the largest ever to fly, longer than three of the original Boeing 747s and only slightly shorter than RMS Titanic.  The first commissioned was Hindenburg (LZ 129) which undertook its maiden flight in March 1936 and powered by four Daimler-Benz DB602 V16 diesel engines rated at 890 kW (1190 horsepower), under neutral atmospheric conditions it typically cruised at 130 km/h (80 mph).  That made for leisurely transatlantic crossings (albeit much faster than ocean liners) but it could carry 72 passengers in some comfort as well as several tonnes for freight over a maximum range of 14,000 km (8700 miles).  By contrast, the Junkers Ju 52 (a contemporary airliner), although able to cruise faster at 210 km/h (130 mph) rarely carried more than 18 passengers with range restricted to a hardly intercontinental 1000 km (625 miles).  With a Berlin-New York ticket priced at the equivalent of around US$8000 in 2024 values, the big dirigible was the Concorde of its era and although obviously not supersonic, it was more luxurious and unlike the noisy, vibrating Ju 52, passengers enjoyed the comfort of small cabins, washrooms, a bar, a dining room and several lounges.  Although it may seem surprising given the craft's fiery demise, located within the body of the craft (surrounded by all that combustible hydrogen) was a smoking room.  To enter or leave the smoking room, passengers had to pass through an air-lock designed to ensure the flammable gas never came into contact with a naked flame, the barman's most important duty to check each of his customers as they went to leave, ensuring no forgetful smokers left with cigarettes still lit.

Hindenburg's interior was decorated in the then fashionable art deco "ocean liner" style: dining room (left), bar with a waiting bottle of Benedictine liqueur (centre) and lounge with world map annotated showing symbols illustrating the routes flown by the dirigible (right).

The safety record of the big dirigibles in the previous two decades had been patchy with a half-dozen crashes involving French, US and British craft with a death toll of some 250 souls.  Despite this, the Hindenburg operated a regular and profitable transatlantic passenger service for over a year, flying to both South and North America.  However, the designers were forced to use highly flammable hydrogen rather than inert helium because the US, the only country able to supply the necessary volume of the latter, refused on grounds of national security.  On 6 May 1937, while attempting to dock at Lakehurst Naval Air Station, New Jersey, the Hindenburg was destroyed by fire with the loss of 36 lives and although a variety of hypotheses have been suggested, the cause of ignition remains unknown.  The disaster shattered public confidence and marked an abrupt end of the passenger airship era, the Hindenburg’s sister-ship, the Graf Zeppelin never operated on a regular passenger service and scrapped in 1940.  Hitler's last word on the matter of the accident was "it was an act of God".  The combination of the Hindenburg disaster and the rapid improvement in the range and capacity of post-war airliners meant there was no return of the big passenger dirigibles, even among those manufacturers with access to ample supplies of helium.  Despite that, the things never went away and for decades there has been interest by both the military and commercial concerns in using them for a variety of purposes including as camera platforms, carriers of scientific instruments and survey vehicles for mining exploration and oceanographic research.  Dirigible the word however endured less well.  Preferred use now is the generic airship or, sometimes inaccurately given it’s technically different from the rigid or semi-rigid dirigible, the pleasing blimp.

Last moments of the Hindenburg, Lakehurst Naval Air Station, New Jersey, 6 May 1937.

One novel (although an adaptation of a concept in use for almost a century) use which remains at the proof of concept stage is as a lift vehicle for the LOHAN (Low Orbit Helium Assisted Navigator) and although there was no direct connection to Lindsay Lohan (not noted for her interest in aerospace matters), the project team cheerfully did admit the acronym was constructed as a publicity tool, blatantly trading on her notoriety (the name dating from 2012).  The idea is that because the cost of delivering a rocket-powered spaceplane into the stratosphere is so significant, if the travel from the ground to the critical altitude at which the rocket engine will ignite can be handled instead by a helium-filled dirigible, the economics of such devices become more compelling.  The concept is for the dirigible to carry a large number of rockets to an altitude of 65,000 feet (20,000 m) at which point they’re released, allowing their journey to continue to the planned altitude of some 80,000 feet (25,000 m), the dirigible returning to ground to be re-used for subsequent launches.  The initial testing plan was to use a large helium balloon to carry as small scale (3D-printed) rocket but despite years of negotiation, the developers were never able to secure a launch licence from US aviation authorities.

The LOHAN spaceplane.

Interestingly, the substantially amateur team found the greatest engineering challenge was not the lift device or the design of the spaceplane but ensuring the rocket reliably would fire as required, the thin atmosphere at 20,000 m containing only some 5% of the oxygen typically found as sea level, the solution being an exotic igniter-mix, a kind of super spark-plug which works when 12 miles (20 km) high.  Without the prototype able to be tested, it’s not clear if things are in abeyance.

Skunk

Skunk (pronounced skuhngk)

(1) Any of various American musteline mammals (of the weasel family) of the subfamily Mephitinae, especially the Mephitis mephitis (striped skunk), typically having a black and coat with a white, V-shaped stripe on the back and a bushy tail; infamous for the noxious smelling fluid sprayed from two musk glands (anal gland) at the base of the tail when alarmed or attacked

(2) In slang, a most contemptible person; a cheat, knave, scoundrel or stinker.

(3) In slang, anything very bad or a failure; something not a total failure yet with still badly flawed can be described as “skunky” although, in the way of such things, sub-sets of youth have repurposed “skunky” to mean “very good; highly regarded; most satisfactory” (al la the earlier inversion of “filth”), possibly under the influence of the famously potent strain of weed.

(4) In US Navy slang, an unidentified ship or target.

(5) In the slang of drug-users, a strain of Cannabis sativa & Cannabis indica with high levels of tetrahydrocannabinol (THC) (exceeding those of typical hashish), noted for its exceptionally powerful psychoactive properties (also as skunkweed, the name derived from its highly aromatic properties).

(6) In the slang of certain (mostly North American) sports, to defeat thoroughly in a game, especially when the opponent has been prevented from scoring.

(7) In the game of cribbage, a win by 30 or more points (a double skunk 60 or more, a triple skunk 90 or more).

(8) In brewing, of beer, to spoil.

(9) In popular culture, a person whose lifestyle (or as it’s representing in their fashion choices) is a hybrid of the skinhead and punk sub-culture, the construct being sk(inhead) + p(unk).

1625–1630: An early Americanism, described as the Massachusett reflex of the southern New England region Proto-Algonquian šeka·kwa, the construct being šek- (to urinate) + -a·kw (a fox, a fox-like creature); a similar form was noted as the Abnaki segākw, segôgw & segonku (he who squirts urinates).  The first application of the verb was in 1831 when it was used in sport to mean “to completely defeat; to prevent from scoring” and it was used as an insult as early as 1841.  In botany, a local cabbage which gave of a strongly pungent odor when bruised was in 1751 nicknamed skunk-cabbage, having been known as skunkweed since 1738 (botanically unrelated to the later use in drug culture although the etymological influence was similar).

Skunk hair.

The term “skunk hair” originally described a thick blonde highlight applied to dark hair but it’s now used of any two-tone combination (and strictly speaking, beyond two-color schemes it becomes a variegation). Skunk hair is derided by many who treat it as a class-identifier, associating it with those in lower socio-economic demographics, the folk who used to be labelled "not of the better classes".  However, it offers real advantages over other color-changes in that it's possible to design one to accommodate re-growth, something frankly impossible with conventional styles which almost always require maintenance and for true obsessives than can be even weekly.  While it's true there is a genuine "dark roots" aesthetic which on the right subject can be truly stunning, they're a rare breed so it's a niche market few choose to inhabit.  By contrast, a properly executed skunk can last for months.

Lindsay Lohan 2003 with what is sometimes now described as "skunk hair" although it's better understood as a coloring when the dark/light contrast is more dramatic.

Czech, Danish, German, Norwegian, Swedish and Slovak all adopted the English spelling, other variations including the Finnish skunkki, the French skunks, the Icelandic skunkur, the Japanese: スカンク (sukanku) and the Russian скунс (skuns).  In idiomatic use, the phrase “as welcome as a skunk at a garden party” refers to someone badly behaved who is unwelcome and actively avoided, the analogy essentially literal.  By contrast, “drunk as a skunk” means “highly inebriated” (also “skunked” in the vernacular) and belongs to a class of phrases which make no apparent sense and endure only because of their memorable rhyme although “drunk as a monk” may have come from empirical observation.  Usefully, in polite society, most are acceptable in a way the rhyming “drunk as a cunt” is not.  Skunk and skunks are nouns & verbs, skunking is a verb, skunked is an adjective & verb, skunky & skunkish are adjectives; the noun plural is skunks or (especially collectively) skunk.  The adverb skunkily is a non-standard form and the verb skunkify appears exclusive to drug and related cultures.

Skunkworks

Lockheed Martin’s Skunk Works logo.

A favored term in industries such as motorsport, aviation, defense, aerospace and ICT, a skunkworks is a research & development (R&D) facility within a large organization which exists to pursue special or urgent projects which can’t conveniently be pursued within the normal structures.  A skunkworks was originally a distinct physical space but latterly it’s been used also to describe concepts or projects and skunkworks can be either ad-hoc creations which are dissolved when their purpose has been fulfilled or they can evolve into permanent institutions.  One of the attractions of the skunkworks concept is that, properly implemented, it operates without the apparently inevitable bureaucracy which evolves in large corporations, stifling and suppressing new ideas.  In a skunkworks, the only administrative structures which exist are there directly to handle the needs of the project, unlike corporate bureaucracies which rather than being a means to an end, tend to become an impediment to the means.

Airframe nose-cone outside the skunkworks tent, circa 1943.

The origin of the term dates from 1943 when the Lockheed Aircraft Corporation needed urgently to develop a jet-engined pursuit (fighter) aircraft to counter the imminent threat intelligence suggested the allied air forces would soon face from German jet-fighters.  With war production operating at high-intensity, Lockheed’s factories were operating at 100% capacity and thus no space was available for the project so somewhere had to be found.  The details of quite what happened next have become the stuff of industry myth & legend but according to Lockheed-Martin’s official history, a large circus tent was rented and erected next to the closest available space which turned out to be adjacent to a processing facility which used processes emitting a strong odor.  These wafted over, permeating the tent and one of the engineers recalled the newspaper comic strip, "Li'l Abner," in which there was a running joke about a mysterious and malodorous place deep in the forest called the "Skonk Works" where a strong drink was brewed from skunks, old shoes and other strange ingredients.  One day, the engineer answered the telephone by saying "Skonk Works” and, in the way Chinese whispers work, his fellow employees decided it was the punchier “skunk works”, the name adopted by Lockheed as the official pseudonym for their Advanced Development Projects (ADP) division (now Advanced Development Programs).  There are variations of the story including which omits any mention of a tent, suggesting the ADP began in the mot-balled 3G distillery which still reeked with the smells of making bourbon but Lockheed-Martin has published a photograph of a prototype aircraft nose-cone with the tent in the background.

Lockheed P-80 Shooting Star.

The Lockheed P-80 Shooting Star was the first skunkworks project although the team did undertake some work on the P-38 Lightning, first flown in 1939.  The first P-80 was built in a remarkable 147 days which, even given the urgency of wartime production which tended to compress many development programs, did seem to vindicate the skunkworks concept.  The P-80 reflected the thinking of the time and essentially optimized the airframe of a piston-engined fighter around a jet engine.  In that sense it was a developmental cul-de-sac and future directions would be set by the German’s Messerschmitt 262, all designers influenced by the swept-wings and other aerodynamic enhancements which would define the next generation of fighters.  However, the P80’s design was fundamentally sound, in 1946 setting a new world speed record of 623.8 mph (1003.8 km/h) and versions were still used as front-line fighters in the Korean War (1950-1953) although the unexpected appearance in the skies of Russian-built Mikoyan-Gurevich MiG-15s (NATO reporting name: Fagot) saw the US rush to send squadrons of North American F86 Sabres to match the swing-wing threat.  However, some overseas customers used them as fighters as late as 1974 and so versatile did the platform prove that it continued to be developed in a number of roles including reconnaissance, the US military maintaining a fleet as jet-trainers until well into the 1990s.

Lockheed Martin SR-72 conceptual rendering.

Other skunkworks projects of note include the U-2 spy plane which played a notable role during the Cold War, the F-104 Starfighter which earned two nicknames (“the manned missile” & “the widow maker”; a brace which may be thought of as cause and effect), the high-speed, high-altitude SR-71 Blackbird which in the 1960s which set records which stand today and the F-22 Raptor, thirty-odd years on still the world’s most capable short-range interceptor which would have been produced in much greater numbers had not the USSR dissolved, ending the notion of dog-fights over Berlin being part of the Pentagon’s war-planning.  Much of their work appears now to be devoted to hypersonic (Mach 5 (5 x the speed of sound and beyond)) unmanned aerial vehicles (which should be called "UAVs", the common moniker "drone" not appropriate for these)) platforms for one purpose and another.  Most of the projects are thus far still vaporware although there have been notable advances in systems and specific components but the most dramatic (and best publicized), the SR-72 seems unlike to proceed even to the prototype stage although the speculated shape does suggest the engineers who ran the numbers on the Concorde's wind-tunnel sessions in the 1960s did their sums correctly.  Whatever form of hypersonic UAV eventually does emerge from the skunkworks, it will be armed with hypersonic missiles, a necessity because if existing missiles were used, the thing would shoot itself down.

Umbra

Umbra (pronounced uhm-bruh)

(1) Shade; shadow, now restricted mostly to literary use.

(2) The invariable or characteristic accompaniment or companion of a person or thing.

(3) In astronomy, the complete or perfect shadow of an opaque body, as a planet, where the direct light from the source of illumination is completely cut off.

(4) In astronomy, the dark central portion of a sunspot.

(5) A phantom or shadowy apparition, as of someone or something not physically present; ghost; spectral image.

(6) An uninvited guest brought along by one who was invited (archaic).

(7) The fully shaded inner region of a shadow cast by an opaque object.

(8) One of the family Umbridae of mudminnows; a sciaenoid fish, the umbrine.

(9) In typography, a sans-serif display typeface released in 1935 as a variation of the earlier Tempo.  Similar to many contemporary art deco designs, it's constructed with a shadow effect, the letter shapes built as negative space and defined by a black dimensional shadow.

1590s: From the Latin umbra (literally “shade”; shadow), a doublet of umber and of uncertain origin.  If it was from the Old Latin omra, source may have been the primitive Indo-European hzmrup-, related to the Ancient Greek ἀμαυρός (amaurós) (dark) and “rot” & “rotten” in the Luwian hieroglyphic.  Etymologists also note the Hittite Maraššantiya (their name for the Kızılırmak River), and this Indo-European source is said to be a possible borrowing from a Semitic root ḥ-m-r (be red), linked to the Arabic ح م ر‎ (ḥ m r).  All agree there is a connection with the Lithuanian unksna.  The adjectives are umbral & umbrageous and the noun plurals are umbras & umbrae.

The early meaning was that of a “phantom or ghost," a figurative use drawn from the Latin umbra (shade, shadow), which gave rise to the later umbrage (A feeling of anger or annoyance caused by something offensive or (now rarely) a feeling of doubt, from the Middle French ombrage (umbrage), from the Old French ombrage, from the Latin umbrāticus (in the shade), from umbra (shadow, shade)).  The astronomical sense of a "shadow cast by the earth or moon during an eclipse" was first used during the 1670s.  The meaning "an uninvited guest accompanying an invited one" is from 1690s and was an invention in English, from a secondary sense used in Ancient Rome.

The related noun umber (brown earthy pigment) is from the 1560s, from the French ombre (in terre d'ombre), or the Italian ombra (in terra di ombra), both from the Latin umbra (shade, shadow) or otherwise from Umbra, the feminine form of Umber "of or belonging to Umbria, the region in central Italy from where the coloring material was first discovered.  Burnt umber, specially prepared and redder in color, is attested from circa 1650 and distinguished from raw umber, both well-known to artists of the era.

It’s the cosmic coincidence of the relationship between the diameter of the Moon and its distance from the Sun which makes solar eclipses such a spectacular sight from planet earth.  On other planets, where the relationship is different, solar eclipses may not be as enchanting.  A solar eclipse happens sometimes as the Moon moves between the Sun and Earth, the Moon blocking the light of the Sun from reaching Earth.  Astronomers classify solar eclipses into three types:

(1) A total solar eclipse which is visible from a small area on Earth.  Those who see a total eclipse are those standing in the center of the Moon's shadow when it hits Earth. The sky becomes very dark, as if it were night. A total eclipse occurs only when the Sun, Moon and Earth are in a direct line.

(2) A partial solar eclipse happens when the Sun, Moon and Earth are not exactly aligned, the sun appearing to have a dark shadow on a small part of its surface.

(3) In an annular solar eclipse, the Moon seems further because the annular happens when the Moon is farthest from Earth and thus does not block the entire view of the Sun, instead looking like a dark disk on top of a larger Sun-colored disk.

A solar total eclipse.

Solar eclipses are not rare, visible around every eighteen months somewhere on Earth although the viewing spot is always relatively small.  Unlike lunar eclipses, solar eclipses last only a few minutes.  The umbra is the darkest part of a shadow, especially the cone-shaped region of full shadow cast by Earth, the Moon, or another body during an eclipse. In a full lunar eclipse, which generally lasts for one or two hours, the entire disk of the Moon is darkened as it passes through the umbra. During this period the Moon takes on a faint reddish glow due to illumination by a small amount of sunlight that is refracted through the Earth's atmosphere and bent toward the darkened Moon; the reddish tint is caused by the filtering out of blue wavelengths as the sunlight passes through the Earth's atmosphere, leaving only the longer wavelengths on the red end of the spectrum.

The umbra is the innermost and darkest part of a shadow, the area in which the light source is entirely obscured by the occluding body and if standing in this space, the viewer will experience a total eclipse.  Viewed in the abstract, the Sun, Moon & Earth all being (almost) spherical, umbra forms a right circular cone and, if viewed from the cone's apex, the two bodies will seem the same size.  The penumbra, from the Latin paene (almost, nearly) is the region in which only some of the light source is obscured by the occluding body so the viewer standing in the experiences a partial eclipse.  The antumbra, from the Latin ante (before) is the region from which the occluding body appears entirely within the disc of the light source.  The viewer standing in this apace experiences an annular eclipse, which manifests as a bright ring visible around the eclipsing body.  If the viewer is able to move closer to the light source, the apparent size of the occluding body increases until it causes a full umbra.

An umbraphile (shadow lover) is a person with much interest in eclipses, often making extraordinary efforts to travel to see them.  The construct is umbra +‎ phile.  Phile is from the Latin -phila, from the Ancient Greek φίλος (phílos) (dear, beloved) and from the same source is -phil, a word-forming element meaning "one that loves, likes, or is attracted to," via the French -phile and the Medieval Latin -philus in this sense, from the Ancient Greek -philos, a common suffix in personal names (such as Theophilos), from philos (loving, friendly, dear; related, own) and related to philein (to love) which is of unknown origin.  One authoritative etymologist suggests the original meaning was "own; accompanying" rather than "beloved."

Umbraphilia emerged as a niche in nineteenth century high-end tourism, gentlemen scientists and society figures sailing around the world to observe and sometimes report their findings.  The longest known observation of a solar eclipse was that undertaken on 30 June 1973 when a group travelled on board the Concorde, enjoying seventy-four minutes of totality.