Proboscis

Proboscis (pronounced proh-bos-is or proh-bos–kis)

(1) A long flexible prehensile trunk or snout, as that of an elephant.

(2) In zoology, any elongated tube from the head or connected to the mouth.

(3) In entomology & malacology, the elongate, protruding mouth parts of certain insects and certain invertebrates like insects, worms and molluscs, adapted for sucking or piercing (more popularly called “the beak”).

(4) Any of various elongate feeding, defensive, or sensory organs of the oral region, as in certain leeches and worms.

(5) In facetious use, the human nose, the use probably roughly with the size of prominence of the nose.

(6) In informal use, as applied in geography, engineering, geometry etc, any protrusion vaguely analogous with the human nose.

1570-1580: From the Latin proboscis (trunk of an elephant), from the Ancient Greek προβοσκίς (proboskís) (elephant's trunk (literally “feeder; means for taking food"), the construct being προ- (pro-) (before) +‎ βόσκω (bóskō) (to nourish, to feed”), from boskesthai (graze, be fed), from the stem bot- (source of botane (grass, fodder) and from which English gained botanic), from the primitive Indo-European root gwehs (source also of βοτάνη (botánē) (grass, fodder) + -is (the noun suffix).  The related terms include nose beak, organ, snoot, snout, trunk and probably dozens of slang forms.  Other descendents from the Latin include the Italian proboscide, the Portuguese probóscide and the Spanish probóscide.  Proboscis & proboscidean are nouns and proboscidate is an adjective; the noun plural is proboscises or proboscides.  The Greek derived form of the plural (proboscides) appears often in the technical literature that built using the conventions of English (proboscises) appears to be the common general form, rare though it is.

#Freckles: Lindsay Lohan’s nose.

Aerodynamics were of interest to some even in the early days of the automobile and those involved in motorsport were more interested than most.  For decades, the interest manifested mostly in the art of streamlining, the reduction of drag and research, accomplished mostly without wind-tunnel testing and obviously without computers, tended to produce cigar-shaped bodies with as few protrusions as possible.  Drag in many cases was certainly minimized, some of the shapes rendered in the 1920s & 1930s delivering drag coefficients (CD) impressive even by twenty-first century standards but it took a long time before fully it was understood that the fluid dynamics (the behavior of air) at the rear of a vehicle could be as significant as the more obvious disturbances at the front.  Not un-related to this was that it also took time (and not a few deaths) before it was appreciated quite how vital was the trade-off between drag-reduction and the downforce needed to ensure cars did not “take-off” from the surface, resulting in instant instability.

The 1923 Benz Tropfenwagen (teardrop vehicle) (left) not only used an aerodynamic nose using lessons learned from military aviation during World War I (1614-1918) but was able to optimize the shape because the engine was mid-mounted, something would wouldn’t become commonplace in Formula One for over thirty years.  The front-engined 1931 Grand Prix Mercedes-Benz SSKL (centre) made few concessions to aerodynamics, relying on power and weight-trimming but when that approach reached its evolutionary dead-end, a streamlined SSKL (1932, right) was crafted, limitations on what could be done with the nose imposed by the bulk and height of the engine.

That the early attempts at streamlining might induce aircraft-like “take-offs” was not surprising given so much of the available data came from work in ballistics and aeronautics where lift is desirable and as speeds rose, it became clear what would need also to be considered was what air was doing underneath the vehicle, some cars obviously with "just enough lift to be a bad airplane" as one driver put it.  That increase in speed in itself imposed a limit on research, the terminal velocities suddenly possible exceeding the capacity of ground-effects based wind tunnels and few manufacturers had access to test facilities with straights of sufficient length to match those on some race-tracks.  High-speed testing was thus sometimes undertaken by racing drivers at speeds rarely before explored, something complicated by being among disrupted air induced by surrounding cars and some unpredictable behavior ensued; it was actually remarkable there weren’t more fatalities than there were.

2020 Jaguar C-Type (XK120-C) (1953 continuation) (left) & 1957 Jaguar XKSS (right).

In the embryonic study of aerodynamics, one of the first conclusions (correctly) drawn was that few changes produced more dramatic improvements than lowering and optimizing the shame of the nose.  At the time, it was something not as simple as it sounded, engines mounted usually close to the nose and in the era, those usually long-stroke engines were tall, often in-line units, a shape which imposed limits on what was possible.  Jaguar used dry-sump lubrication on the D-Type (and the road-going derivative the XKSS) to allow the nose to drop a few inches compared with its predecessor, an expedient also adopted by Mercedes-Benz for their 300 SL (W198, 1954-1957) and 300 SLR (W196S, 1955), more lowering still made possible by mounting the power-plant at an acute angle.

1954 Maserati 250F with the original “short nose” body and 1956 (centre) and 1957 (right) variations of the “long nose”.

In the same era, Maserati, impressed by the speed of the Mercedes-Benz W196 when fitted with the "streamliner" body used on the faster circuits and, apparently without the benefit of a wind-tunnel, developed its own partially enclosed bodywork for its 250F Grand Prix car but it also developed, quite serendipitously, an even more effective shape and it was initially known as the “long-nose” 250F until it proved so successful it was adopted as the definitive 250F body.

The long and short of it: The Ferrari 250 LM in long (left) and short (right) nose configuration.

Ferrari and others noted the gains aerodynamics provided and among engineers, some fairly inaccurate (though broadly indicative) "rules of thumb" emerged, based usually on the calculation that for every one inch (25 mm) reduction in nose height, an effective gain of so many horsepower would be realized.  Precise or not, the method, honed by slide-rules, lingered until computer calculations and wind tunnels began more accurately to produce the numbers.  Ferrari’s first mid-engined sports car, the 250 LM (1963-1965), was one of the vehicles to benefit from a nose job, the revised bodywork fashioned by coachbuilder Piero Drogo (1926–1973) who had formed the Modena-based Carrozzeria Sports Cars to service the ecosystem of sports cars that congregated in the region.  There was an urban myth the Drogo nose was created so an “FIA standard size” suitcase could be carried (to convince the regulatory body it was a car for road and track rather than a pure racing machine) but it was really was purely for aerodynamic advantage.

Ferrari 250 LM, the short-nose chassis 6321 (left) and the long-nose (5893) right,

Testing confirmed the “Drogo nose” certainly conferred aerodynamic benefits on the 250 LM but the change brought it own difficulties because Ferrari was at the time attempting to convince the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) the 250 LM should be homologated in the Grand Turismo (GT) category so it could contest the World Sports Car Championship.  This was being done using the argument the 250 LM was a mere update of the 250 GTO, despite the 250 LM having a different engine & transmission (mid rather than front-mounted) and a different body.  For homologation to be granted, there had to be 100 essentially identical examples of the model produced and given (1) there were such fundamental differences from the earlier 250s and (2) not even two dozen 250 LMs had then been produced, the FIA was understandably reticent.  However, as a gesture of good faith, Ferrari undertook (eventually) to produce the requisite 100 (even displaying what proved to be a one-off road-going version, complete with a plush interior and electric windows, to bolster the claim it belonged in the GT category) and issued a very public recall notice for all 250 LMs to be returned to the factory to be fitted with the Drogo nose.  One 250 LM (chassis 6321) however was by then being raced in Australia which was a long way away so that one was quietly overlooked (the FIA either turned a blind eye or didn't check), meaning that at least for some time it was the only “short-nosed” 250 LM left in the world, although it’s known at least two have since be converted back to their original specification.  Eventually, 32 250 LMs would be built and the FIA didn’t relent, forcing the car to compete in the 1965 championship against much faster machinery in the prototype class but it was fast enough and importantly, more reliable than the more fragile prototypes and chassis 5893 won the 1965 Le Mans 24 hour endurance race, Ferrari's last victory in the event.

Ferrari 275 GTB short (left) and long-nose (right).

The 1960s saw the last generation of Ferrari cars styled without the use of wind tunnels or much in the way of electronic assistance.  Even for the road cars, as speeds rose, some high speed instability was occasionally noted but this became pronounced with the cars were used in competition, especially on the faster tracks with the long straights.  Accordingly, knowing there would be a competition version of the 275 GTB (the 275 GTB/C) a long-nose was created which was also used on other models.  The 275 GTB/C was notable also for marking the swan song of the classic Borrani wire-spooked wheels on Ferrari competition cars, the elegant, chromed creations no longer strong enough to handle the increase loads in extreme conditions, replaced by aluminium or magnesium castings.

1969 Dodge Daytona (left) and 1969 Dodge Charger 500 (right).

Across the Atlantic, on the NASCAR (National Association of Stock Car Auto Racing) circuits, the manufacturers had reached a dead end imposed by their regulatory body.  By 1969 the NASCAR authorities had fine-tuned their rules, restricting engine power and mandating a minimum weight so manufacturers, finding it increasingly harder to cheat, resorted to the then less policed field of aerodynamics, ushering what came to be known as the brief era of the "aero-cars".  Dodge began by making modifications to their Charger which smoothed the air-flow, labelling it the Charger 500 in a nod to the rules which demanded 500 identical models for eligibility.  It proved less successful than hoped and Dodge apparently gave up on the design, producing on 392 (although to make up the numbers they did the next year add an unrelated “500” option to the Charger line and NASCAR generously turned their blind eye).  Not discouraged however, Dodge recruited engineers from Chrysler's soon to be shuttered (as arms control treaties with the USSR loomed) aerospace & missile division and quickly created the Daytona, adding to the 500 a protruding nosecone and high wing at the rear.  Even now, the nosecone would be thought extreme but it worked on the track and this time the required 500 were actually built.  NASCAR responded by again moving the goalposts, requiring manufacturers to build at least one example of each vehicle for each of their dealers before homologation would be granted, something which would demand thousands of cars.  Accepting the challenge, in 1970 Dodge's corporate stablemate Plymouth duly built about two-thousand of their similar aero car, the Road Runner Superbird, an expensive exercise given they reportedly lost money on each one.  Now more unhappy than ever, NASCAR lawyered-up, drafted rules rendering the aero-cars uncompetitive and their brief era ended.  So extreme in appearance were the cars they proved at the time sometimes hard to sell and some were actually converted back to the standard specification to get them out of the showroom.  Views changed over time and they're now much sought by collectors, selling for up to US$500,000 in the most desirable configuration.

1969 Ford Torino Sportsroof (left) 1969 Ford Torino Talladega (right).

As imposing as the noses developed for the Daytona and Superbird were, it may have been that much of the modification was wasted effort and an application of the Europeans’ old “inch by inch” rule of thumb might have been as effective.  The nose jobs Ford in 1969 applied to their Torino Talladega and Mercury’s Cyclone Spoiler II were modest compared to what Chrysler did.  The grill was flattened, a la the Charger 500, the front bumper was replaced with a re-shaped version of the rear unit from a 1969 Fairlane which functioned effectively as an air-dam and the leading edge of the nose was extended and re-shaped dowwards.  The effect was subtle but on the track, appeared to confer a similar advantage to the one Chrysler’s rocket scientists had achieved but Ford had also made some changes which lowered the centre of gravity and improved the under-body air-flow.  Quite what this achieved has never been documented but the drivers were certainly convinced, retaining the Talladegas and Cyclone Spoilers as long as possible, the shapes proving much more efficient than their sleek-looking successors.

Porsche 911 (930) Turbo in profile (left) and Porsche 911 (930) flachbau (slantnose).

When in 1973 regulations forced Porsche to fit more substantial bumpers to the 911 (in production since 1964), it necessitated a change to the front bodywork, the earlier cars became known as the "long hood" and subsequent models the "short hood", both references to the hood (bonnet) being shortened to accommodate the unsightly battering rams.  More nose jobs would follow.  Between 1982-1989, Porsche produced three generations of the 911 (930) Turbo S with the flachbau (slantnose) bodywork, a total of 948 believed built.  It seems there were a few, hand-built prototypes completed by 1980 in addition to one completed under the factory’s Sonderwunsch (Special wishes) programme for an individual who was either well-connected or a very good customer.  The 58 first generation cars lack the pop-up headlamps so associated with the design, instead using smooth, flat-faced wings with a fibreglass front valance assembly containing twin lamps either side below the bumper.  Nicknamed the “hammerhead”, the styling divided opinion and was anyway found not to be compliant with regulations in some markets, thus the substitution of the pop-up headlamps which appeared during 1983.  As was typical of much which emerged from the programme, the cars were built with a variety of Sonderwunsch options so there was no one consistent specification.

1973 Porsche 911 Carrera RS from the long hood era (left) and 1975 Porsche 911 Turbo (930) with the short hood used since the 1974 model year (right).  Such is the lure of the early 911s something of a cottage industry has emerged, devoted to "backdating" later cars.     

The second generation flachbau yielded 204 cars, the styling updated with a simplified air dam containing driving lights and a centrally mounted oil-cooler, the pop-up headlamps relocated to front wings, a much admired feature the optional air-intake vents above the pop-ups, something borrowed from the 935 track cars.  Again, other than the structural changes, there was no standard configuration, each flachbau reflecting the buyer’s ticking of the option list and any special wishes the factory was able to satisfy.  The third generation were the most numerous with 686 produced, the increased volume reflecting the effort made to ensure the cars could be made available in the lucrative US market which eventually received 630 flachbaus.  More standardized, production shifted from the Sonderwunsch’s Restoration and Repair Department facility (Werks 1) to the line in Zuffenhausen where the standard 930s were assembled though for ease of completion (and to maintain exclusivity) the cars were transferred to the Sonderwunsch for finishing and detailing.

Wax model of Thomas Wedders (circa 1730-circa 1782).

Thomas Wedders (AKA Thomas Wadhouse) from Yorkshire, England (a member of a travelling "freak show" circus) is recorded as having enjoyed (sic) the world's longest known human nose, claimed to be some 200mm (7¾ inches) in length.  In the absence of any verified evidence, the truth of that can't be known but it may be assumed his nose was very big.  The current record is held by Mehmet Özyürek (b 1949) of Türkiye, his nose officially measured and found to be 88mm (3½ inches).

Jumbo

Jumbo (pronounced juhm-boh)

(1) An informal descriptor for a very large person, animal, or thing, applied especially to an unusually large version of something usually smaller.

(2) In commerce, a term (sometimes interpolated into a brand) used to suggest a large version of something.

(3) A general term for wide-bodied passenger airplanes although historically most associated with the Boeing 747 (1969).

(4) In (mostly in the US) nautical use, a forestaysail having a boom (jumbo boom) along its foot, used especially on schooners; a sail used in place of a course on a square-rigged ship, having the form of an isosceles triangle set apex downward.

(5) In engineering & mining, as drilling jumbo, a platform-mounted machine used to drill rock.

(6) As mumbo-jumbo, a historic term used of paganism, originally referring to deities or other supernatural beings worshipped some West African peoples (usually in the form of an idol representing such a being). It was later adopted to describe any speech which was either technical jargon understood only by specialists or anything genuinely meaningless or incomprehensible.

1800–1810: Of uncertain origin but there is evidence the first use of the word by English-speakers was as an imperfect echoic of what was heard by European explorers or colonists in Africa.  It entered popular use after Jumbo, an East African elephant (1860-1885) was in 1882 exhibited by PT Barnum (1810-1891) of the Ringling Brothers & Barnum & Bailey Circus.  The name may be derived from either the Swahili jambo (matter, thing) or jumbe (chief, headman) although some sources cite the Sanskrit जम्बु (jambū or jambul) (rose apple).  Most convincing comes from the anthropological record of west-Africa where jumbo was used to describe a "clumsy, unwieldy fellow" (1823), itself possibly from a word for elephant in a West African language, perhaps the Kongo nzamba.  As a modifier (formally & informally) to impart the sense of largeness, jumbo is appended as required: jumbo jet (and jumbojet), jumbo mortgage, jumbomania, jumbo slice, superjumbo, jumbo sandwich, jumbo cigar, jumbo burger, jumbo cola et al.  Walt Disney’s musical cartoon Dumbo (1941) influenced the adoption of dumbo to mean “someone not intelligent”, the use documented by 1951 but the oral use probably pre-dates that.  Jumbo is a noun & adjective, jumboization (and jumboisation) are nouns, jumboize (and jumboise) are verbs; the noun plural is jumbos.

PT Barnum's publicity materials were created prior to "truth in advertising" laws.

The original Jumbo (the elephant) was an exhibit in London Zoo, the institution having purchased the beast from French explorers who were said to have captured it as a calf in Abyssinia in 1861.  Barnum purchased Jumbo in 1862 (much to the displeasure of the English) and immediately began in the US one of his typically extravagant advertising campaigns which emphasised both what a coup he’d achieved by wresting it from the British Empire and what an extraordinary size the creature was.  His circus toured the country with Jumbo a star attraction until in September 1885 it was killed near Saint Thomas, Ontario when struck by a freight train.

Perhaps curiously, the noun mumbo-jumbo seems not to have fallen from the linguistic treadmill, despite its origin and early colonial associations.  It entered English in 1738, based on an account of an incident in 1732 which occurred near Sami (in modern-day Gambia).  In the publications of the time, the Mumbo Jumbo was described as a costume “idol” used by men to frighten others and as coercive tool to regulate behaviour; it was used especially against women to induce their submission.  In hours of daylight, the costume was mounted on a stick placed at the outskirts of the village while by night a man would dress in it, visiting the homes of women or others deemed a problem, disputes “settled” and punishments bestowed.  Other spellings noted in the eighteenth century include Munbo Jumbo, Numbo Jumbo and Mumbo Chumbo and the original account ascribed the practice to Mandingo but linguistic anthropologists have never been able to trace an obvious Mandingo term which might be the source, the suggestions including mama dyambo (pompom-wearing ancestor) and mamagyombo (magician who exorcises troubled ancestor spirits).  It may have been borrowed from another Niger-Congo language and the European colonial transcriptions were the French moumbo-dioumbo & moumbo-ioumbo and the Portuguese mumban-jumban.  On the basis of the colonial-era accounts, the tradition (of uncertain age) must have been widespread with all settlements in the region was said to have a Mumbo Jumbo and by the mid-nineteenth century it had in English become a byword for a “superstitious object of senseless worship”, evolving by the 1890s to describe any speech which was either technical jargon understood only by specialists or anything genuinely meaningless or incomprehensible, use presumably reinforced and encouraged by some perception of association with “mumble”.  In that sense, it somewhat differed from the pseudo-Latin “hocus-pocus” which described words or incantations wholly fake and intended to deceive.  Despite the history, mumbo jumbo seems still acceptable in English and why it hasn’t yet been condemned as racist or cultural appropriation isn’t clear.

Jambo!  Lindsay Lohan in Mean Girls.

Much has changed in the twenty-first century and it’s doubtful all of “You got your freshmen, ROTC Guys, preps, JV jocks, Asian nerds, cool Asians, varsity jocks, unfriendly Black hotties, girls who eat their feelings, girls who don't eat anything, desperate wannabes, burnouts, sexually active band geeks, the greatest people you will ever meet, and the worst.  Beware of The Plastics.” would appear were the Mean Girls (2004) script to be written today, mere mention of ethnicity now often deconstructed as some level of racism.  Cady (the white protagonist raised (somewhere) in Africa) uses the Swahili greeting "jambo" (from -amba (to say) which linguistic anthropologists say was probably derived from the Proto-Bantu (there’s a similar term in Zulu)) to introduce herself to a table of “Unfriendly Black Hotties”.  The script never makes explicit just where in Africa Cady may have spent her youth but this, along with another couple of cultural and linguistic clues do hint it may have been among sub-Saharan ethnic groups although whether that was intentional isn’t documented.  However, “jambo” is one of several similar words used on the continent linked both to the later evolution in English of jumbo and mumbo jumbo and it may be jumbo was either a direct phonetic spelling recorded by Europeans or just a mis-heard rendition.

The prototype of first jumbojet (Boeing 747) on show on the forecourt at the Boeing’s factory in Seattle, Washington, 1968 (left), at the Paris Air Show in 1969 with a Concorde in the background (centre) and the last 747 (a freighter), also on the Boeing forecourt, November 2022.

Jumbo was a big elephant and the word was soon used to describe large examples of other things.  In commercial use, the first use seems to have been Jumbo Cigars, sold in 1886.  The best known use in the modern age is probably jumbo-jet (also appears jumbojet), probably first used by Boeing engineers circa 1960 although the first documented reference is from 1964.  It replaced the earlier Boeing engineering-slang jumbo-707, probably because a three syllable phrase is always likely to prevail over one with seven.  In the narrow technical sense, jumbo-jet came to refer to all wide-bodied (ie multi-aisled) passenger airplanes built since the late 1960s, but, being first, it tends most to be associated with Boeing’s 747.  Thus, when in the early 2000s, the even larger Airbus 380 took to the skies, the term superjumbo (and super-jumbo) was used by some, the airframe’s point of visual differentiation from the 747 being the Boeing’s famous hump being extended along the fuselage to the tail section, creating a double-decker.  The term (which had earlier been used of the stretched 747s) however never quite caught on in the same way because the 380 was unique and a class of superjumbos thus never emerged to demand a descriptive generic term.  As it was, economics conspired against the A380 and the circumstances in which it flew were very different to those envisaged in the late 1980s when first the project was conceived for not only had advances in engineering and materials allowed a new generation of twin-jet jumbos to operate at a much lower passenger cost per mile but airports, their systems and physical infrastructure optimized around the 747’s capacity, proved unwilling to make the changes needed to accommodate higher peak demand.  After little more than a dozen years of assembly, Airbus in 2021 ceased production of A380 after some 250 had been built.

One of NASA’s Boeing 747s, adapted as a heavy-lift platform to “piggy-back” the US Space Shuttles (left).  The Soviet Union (and briefly the Russians) used the one-off Antonov An-225 Мрія (Mriya (dream or inspiration)) to piggy-back its  Буран (Buran (Snowstorm or Blizzard)), the USSR's space shuttle (right).  The An-225, with the largest wingspan and heaviest take-off weight of any aircraft ever to enter operational service, was destroyed in the early days of the Russian invasion (the 2022 "Special Military Operation”) of Ukraine.

The 747 proved more enduring a successful and was a machine which was truly revolutionary in its social consequences.  Just as Boeing’s earlier 707 (1958) had been instrumental in making trans-Continental air travel a viable and reliable means of transport for a small number of people, the economics of scale made possible by the 747 meant such trips became accessible for many more.  Between 1968 and 2022, almost 1600 were built in a variety of lengths and configurations and it was for decades the faithful workhorse of many airlines, but it ultimately fell victim to the same financial squeeze that doomed the A380, twin-engined aircraft able to carry almost as many passengers at a significantly lower cost.  By 2016 it was clear demand had dwindled and most of the production thereafter was for freight operators still attracted by the 747’s unique combination of capacity, reliability and range.  As passenger 747s progressively are retired, many will be converted to freighters, an relatively simple operation envisaged even during the design process in the 1960s.  Many flyers however noted the 747’s demise with some regret.  None denied the advantages of airframes built from composite materials nor the enhanced economy of the twin-engine configuration but for those who flew for hours above 30,000 feet (9000+ m), knowing one was in a metal cylinder with the redundancy of four engines imparted great confidence.

Lindsay’s Olives in sizes to suit.  Black olive martinis are a cult.

In commercial use, obvious comparative terms like “small”. “medium” & “large” are commonly used and “extra” is often appended to “small” & “large”.  In the sizing of clothing, “extra” is used in multiples, labelled usually as XL XXL XXXL etc to indicate ascending graduations of large (L).  With the “Extra Large”, this is on the model of the DD, DDD, FF etc bra cup descriptors used by some manufacturers although the use varies, a DD sometimes the same as an E and sometimes something between a D & E.  However, at the other end of the size range, the multiple letters work the other way, an AAA cup smaller than an AA which is smaller than an A.  Linguistically, that does make sense because with bras the multiple letters are synonymous with “extra”, the AA being extra small and the DD extra large.  The alpha-numeric nomenclature used (30A, 32D etc) is maintained presumably because something like a "Jumbo" bra might lack sales appeal.  Where manufactures want to use descriptors which indicate a larger size beyond something like extra large, they’ll trawl the alphabet, thus product packaging described as “jumbo”, “super” “mega”, colossal” “super”, “maxi” etc.  Unlike S-M-L, there’s no defined ascendant order so it might be that where one manufacturer’s jumbo is larger than their mega while with some it may be the other way round.

Jumbo spark plugs.  This was actually advertising the strength of the spark rather than the plug, some of the Jumbo line of plugs physically smaller than than some offered by the competition.  The need for higher-performance spark plugs arose as higher octane gas (petrol) permitted compression ratios to rise.

Solidarity

Solidarity (pronounced sol-i-dar-i-tee)

(1) A state or feeling of union or fellowship arising from common responsibilities and interests, as between members of a group or between classes, peoples etc.

(2) A community of feelings, purposes etc; a unity of interests.

(3) In the Westminster political system, as cabinet solidarity, a principle in representative & responsible government whereby all members of the cabinet are required either publicly to support all decisions of cabinet or resign from the body.

(4) In inter-personal relations, a willingness to provide support of various kinds when another person is in need.

(5) A communist era Polish organization of independent trade unions founded in 1980 (solidarność (pronounced saw-lee-dahr-nawshch) in the Polish)).  It was in 1982 outlawed by the government of Poland before being made lawful and going on to form the basis of the non-communist government in 1989.

1829: The construct was the English solidary +‎ -ity, from the French solidarité (solidarity; communion of interests and responsibilities, mutual responsibility), from solidaire (characterized by solidarity), from the Latin solidum (whole sum), neuter of solidus (solid).  The French solidarité was coined by and first appeared in the Encyclopédie (1765) and was from solidaire (interdependent, complete, entire) from solide.  Capitalized, it was ultimately from the French form the independent trade union movement in Poland gained its name.  The –ity suffix was from the French -ité, from the Middle French -ité, from the Old French –ete & -eteit (-ity), from the Latin -itātem, from -itās, from the primitive Indo-European suffix –it.  It was cognate with the Gothic –iþa (-th), the Old High German -ida (-th) and the Old English -þo, -þu & -þ (-th).  It was used to form nouns from adjectives (especially abstract nouns), thus most often associated with nouns referring to the state, property, or quality of conforming to the adjective's description.  Solidarity is a noun, solid is a noun, adjective & adverb and solidarize & solidary are verbs; the noun, plural is solidarities.

Flag of Solidarność.

The Solidarity labor union was formed in Poland in September 1980 and was independent of both the state and the Polish Communist party.  Under the leadership of dockyard electrician Lech Wałęsa (b 1943; Polish dissident trade union leader, President of Poland 1990-1995), it came into existence at a time when the communist authorities in both Warsaw and Moscow had become more reticent in their internal suppression and by the early 1980s its membership was in the millions.  Eventually banned by the government in 1982, as an underground movement it continued to pursue the need for industrial and democratic reform and was a factor in the fall of communism in Poland.  Although Wałęsa won both the Nobel Peace prize (1983) and the presidency of his country, (1990-1995), by the end of the century, Solidarity’s historic moment had passed.

Looking their best: Arthur Sinodinos presenting to President Trump his credentials as Australia's ambassador to the US, the White House, Washington DC, February 2020.

In Australia, royal commissions are public investigations, established by but independent of government.  Not a court, royal commissions are created to enquire into matters of importance and, within their terms of reference, have broad powers to conduct public & in camera hearings and can call witnesses, compelling them (under oath) to provide testimony and they deliver recommendations to government about what should be done, consequent upon their findings.  These can include recommendations for legislative or administrative changes and the prosecution of institutions or individuals and they’re of great interest because they appear to be the only institution (at least theoretically) able to compel a politician to tell the truth.  Even that power is limited though because when appearing before royal commissions, politicians seem especially prone to suffering an onset of Sinodinos syndrome, a distressing condition which compels witnesses frequently to utter phrases like “I can’t remember”, “I don’t recall”, “not in my recollection” etc.  The condition is named after Arthur Sinodinos (b 1957; Australian Liberal Party functionary; senator for New South Wales 2011-2019) who, according to legal legend, while being questioned by an enquiry, set a record for the frequency with which the distressing condition manifested.  Happily, Mr Sinodinos' symptoms weren't thought serious by the Liberal Party government which in early 2020 appointed him Australia's ambassador to the United States. 

Looking his best: Eight photographs of Stuart Robert.

A royal commission is currently enquiring into matters associated with the “robodebt” affair which was an attempt by the previous government to use unlawful methods to calculate what it alleged were debts to the Commonwealth, owed by some who had in the past been in receipt of some sort of benefit, pension or welfare payment.  The commission is, inter alia, seeking to work out the usual “who knew what when” in relation to the unlawful conduct and so far, witnesses have provided contradictory evidence so it will be a matter for the commission to decide which sworn statements seem most compelling.  The appearance of one of the ministers responsible for robodebt, Stuart Robert (b 1970; minister in various portfolios in National-Liberal Party coalition governments 2013-2022) was anticipated more eagerly than most and he didn’t disappoint anyone hoping to see the odd symptom of Sinodinos syndrome, some of his answers among the contradictory responses through which the commission will have to sift.  If need be, the commissioner can recall Mr Robert if any clarifications are needed and there will be some looking forward to that.

Of interest also were Mr Robert’s thoughts on what is meant by “cabinet solidarity” which in the Westminster political system is a one of the principles of representative & responsible government whereby all members of the cabinet are required publicly to support all decisions of cabinet or else resign from the body.  The matter of cabinet solidarity arose after Mr Robert admitted to the commissioner that he publicly defended robodebt despite his own “personal misgivings” and further admitted that during 2019 he made several comments on the scheme he personally believed were false.

Asked several times by the commissioner why he had made comments which he believed at the time were false, Mr Robert told the commissioner he had done so because he was “bound by cabinet solidarity” and “as a dutiful cabinet minister…that’s what we do”.  When the commissioner asked if this meant he was bound by cabinet solidarity to “misrepresent things to the Australian public?”, he replied he wouldn’t “put it that way”.  It seems a generous interpretation to suggest Mr Robert may “misunderstand” what “cabinet solidarity” means but it may be with that degree of delicacy the commissioner chooses to comment on the matter in her final report.  What “cabinet solidarity” really means is that members of the cabinet are required publicly to defend the decision of cabinet even if they disagree with them.  If the disagreement is to an individual a matter of such significance they feel compelled publicly to oppose the decision, then they must resign from cabinet to be free to do so.  It has nothing to do with providing some cloak of cover to enable a cabinet minister to make statements representing something he believes to be false as truth and the system as it’s operated in Australia is actually quite flexible.  Some years ago it was arranged for a minister to resign from cabinet yet remain a minister in the “outer ministry”.  That trick enabled (1) the decision to stand, (2) the minister to keep a higher salary and lots of perks and (3) the “resignation” to be spun as a matter of principle although it was just a way to try to minimize the loss of votes in a particular electorate.

Looking her best: Lindsay Lohan with ankle braclet.

In July 2010, US Customs and Border Protection officers stationed on the Canadian border reported an ankle surveillance bracelet was being worn by Eugene Todie (b 1981) who was being questioned after attempting to re-enter the US using someone else's passport.  The report revealed Mr Todie claimed a friend in the probation service had given him the monitor, pursuant to his request for a way he could “show solidarity” with Lindsay Lohan, then wearing a court-ordered alcohol monitor on her ankle.  Record checks showed Mr Todie, a resident of Buffalo, New York, was on probation for criminal contempt, had surrendered his own passport after being banned from leaving the US and was wearing the bracelet by court order.  Mr Todie was remanded in custody and later appeared in Federal Court on charges including misuse of a passport.

Slurp

Slurp (pronounced slurp)

(1) To ingest (food or drink) with loud sucking noises (verb).

(2) An intake of food or drink with a noisy sucking sound (noun).

1640-1650: From the Middle Dutch slurpen & slorpen (to sip, slurp), from the Old Dutch slurpen, from the Proto-Germanic slarpaną (to sip, slurp), from the primitive Indo-European srebh- & srobh- (to sip, slurp, gulp).  It was cognate with the West Frisian slurvje (to slurp), the German schlürfen (to sip, slurp), the Swedish slurpa (to slurp), the Middle High German sürfeln & sürpfeln (to sip, slurp) and the Latin sorbeō (to suck up, imbibe, absorb).  All are thought onomatopoeic and the related forms are slurped & slurping.  The Dutch slurpen is thought to be of imitative origin, probably from the German schlürfen or (more improbably) some other Germanic form.  The intransitive sense was in use by at least 1917 but the noun, derived from the verb, seems not to have existed before 1949.  The slurpee (as Slurpee) was originally a registered trademark but it has long since descended to the generic.  A slurpee is a a partially-frozen drink made of small ice crystals and flavored with sugar-rich, artificially colored and flavored syrup, the alternative names around the planet including slushie, ICEE (pronounced icy), slush, slosh & the trade-marked Slush Puppie.  Slurp is a noun & verb, slurper is a noun, slurpy is an adjective, slurping & slurped are verbs; the noun plural is slurps.

Ending badly

Although probably misleadingly-named, the Big Bang is the preferred explanation for the origin of the universe in its present form.  There are a number of competing theories for how it will all end; all are big but the only one immediately threatening is the Big Slurp.

The Big Freeze suggests the universe will continue to expand until it runs out of energy and everything approaches a temperature of absolute zero.  Opinion is divided about what follows ranging from eternal, frozen darkness to a contraction (on some basis) back to a singularity, perhaps to await the next Big Bang.  The big freeze is quite compatible with speculative multiverse & multiple-universe models. 

In the Big Rip, the density of dark energy increases with time, causing the rate of acceleration to increase so that all matter disintegrates, ripped apart by dark energy.  The universe becomes a singularity as the dark energy density and expansion rate becomes infinite.

The Big Crunch hypothesis is a symmetric construct.  The notion is that at some point the Big Bang ceases to expand (although light, energy etc may still be be present) and begins contracting until it collapses again into a dimensionless singularity.  From this, another Big Bang could happen and the process may be cyclical, happening repeatedly; time a kind of return to forever.  The theory received much support but current evidence also indicates (according to some) the universe is not closed so variations on the model are being built.

The Big Bounce imagines an oscillatory universe which is a cyclic repetition interpretation of the Big Bang where the first cosmological event was the result of the collapse of a previous universe.  This depends on the early universe being infinitely dense and, developed to its logical conclusion, contradicts basic physics although, given the conditions immediately prior to the Big Bang aren’t known, this needn’t invalidate the theory.

Big Slurp theory posits the universe exists in a false vacuum and could at any moment become a real vacuum.  Also known as false vacuum collapse or vacuum decay theory, the big slurp is highly technical and understanding it requires knowledge of some arcane concepts in physics.  Not easily explained, slurp theory is a speculative exercise in imagining the nature of the vacuum in which the universe exists and its relationship to background energy.  If a vacuum is not in its lowest energy state, it’s a false vacuum which could transform into a lower energy state, hence the label "vacuum decay".  There would be consequences for the universe but they’re unpredictable.  Matter, energy, and spacetime would be affected and it’s possible the entire structure of the universe could instantaneously, at any time, be destroyed at which point time would presumably stop and given that as far as is known, the Big Bang is the only known mechanism by which time can start, whether anything could happen next is uncertain because there would be no "next".

Lindsay Lohan enjoying a Slurpee, New York City, 2014.

Succinite

Succinite (pronounced suhk-sinn-ite)

(1) In mineralogy, Baltic (or “true”) amber, so called because of the succinic acid in the fossil resin: often incorrectly applied to fossilized resin (amber) generally.

(2) In non-technical use, a garnet of amber, especially fossilized resin.

(3) In non technical use, an substance resembling amber.

(4) The color amber.

1816: A creation for scientific purposes in modern English with the sense of “amber-colored mineral”, from the Latin succinum (amber) a variant of sūcinum, the construct being succin +‎ -ite.  The root of succus was the primitive Indo-European sewg & sewk; cognate with sugō (juice; sap of a plant).  The Classical Latin is said to be from a Northern European language and was assimilated in form to the Latin succus & sucus (juice, sap) and related to succinic (in organic chemistry, of or pertaining to succinic acid), from the French succinique.  It was a synonym of ambra (amber).  The -ite suffix was from the French -ite, from the Old French, from the Latin -ītēs, from the Ancient Greek -ῑ́της (-ī́tēs).  It had a wide application including (1) the formation of nouns denoting the followers or adherents of a individual, doctrine or movement etc, (2) the formation of nouns denoting descendants of a certain historic (real or mythical) figure (widely used of biblical identities), (3) the formations of demonyms, (4) in geology the formation of nouns denoting rocks or minerals, (5) in archeology, the formation of nouns denoting fossil organisms, (6) in biology & pathology to form nouns denoting segments or components of the body or an organ of the body, (7) in industry & commerce to form nouns denoting the product of a specified process or manufactured product & (8) in chemistry to form names of certain chemical compounds (historically especially salts or esters of acids with names with the suffix -ous.

There’s also the rare adjective succiniferous used with the senses (1) yielding amber, (2) of or pertaining to amber or the plant yielding it & (3) in organic chemistry, of or pertaining to succinic acid.  Ferous (or gerous) are from the Latin ferre & gerere, both meaning “to bear” and surviving in English are over two-hundred words ending in ferous; most of them now obscure and used only in a technical context.  In an illustration of linguistic overlap, the Latin verb succinite was the second-person plural present active imperative of succinō, the construct being sub- (under; below) +‎ canō (sing).  It had the meanings (1) to sing to, to accompany in song & (2) to accord, in agreement with.  Succinite is a noun; the noun plural is succinites.

Succiniferous: Lindsay Lohan wearing Baltic Amber pendant.

The word succinite is sometimes used casually of amber, things which resemble amber or even shades of the color.  Geologists use the more with more precision and within the community there was a long dispute about succinite (Baltic amber), its botanical origin, and methods of distinguishing it from other fossil resins.  The questions were resolved by advances such as infrared spectrometry and speculation about a link with other acids are now held to be unsustainable, the consensus now that amber is coniferous in origin, not as had been suggested in the nineteenth century, from the tree Pinites succinifer.  It seems now clear that the extant Baltic amber came from several species of conifers of the family Sciadopityaceae.  Baltic amber is not a polymer but has a complex, cross-linked  macromolecular structure with the pores filled by components of the structure, an arrangement chemists call a supramolecule, something which both hardens the substance and increases density, accounting for its extraordinary longevity, ancient samples notable for their encapsulated, perfectly preserved plant and animal samples.

Amber alerts.

The term “Amber Alert” is a defined part of public information messaging and analogous with the red/amber/green lights used in traffic signals, amber meaning essentially “proceed with heightened caution and awareness”.  Noting the evidence provided in the well publicized defamation case (John C Depp II v Amber Laura Heard (CL-2019-2911; Fairfax County Circuit Court)), the meme-makers responded.

Most succiniferous: The Amber Room, Catherine Palace, St. Petersburg, 1917.  This is the only known color image of the room.

Last seen (in crates) in 1945, it was either destroyed in the last days of World War II (1939-1945) or dissembled and hidden somewhere or otherwise disposed of.  Between 1979-2003, with early funding from the Federal Republic of Germany (the FRG, the old West Germany), a replica was built and installed in the Catherine Palace.  The golden, jewel-encrusted creation, rendered by artisans and craftsmen from tons of amber, was a gift to Peter the Great (Peter I, 1672-1725; Tsar of Russia 1682-1725) in 1716, celebrating the conclusion of an alliance between Russia and Prussia.  Much admired during the centuries in which it endured wars, pandemics and revolutions, it was looted by the Nazis in the final months of the war, packed into crates which subsequently vanished.  Either they were lost or destroyed in the chaos or hidden away.

Originally installed in the Charlottenberg Palace of Friedrich I (1657–1713; King of Prussia 1701–1713), the Amber Room was a genuine multi-national venture, the design by Andreas Schlüter (1659–1714), a German sculptor in the baroque tradition, the bulk of the construction by the Danish craftsman Gottfried Wolfram (1646-1716), already famous for his skill in rendering amber.  It took over a decade to build and upon completion, Peter the Great expressed his wonderment and in 1716, Frederick William I (1688–1740; King of Prussia 1713-1740) presented it to the Tsar, part of his diplomatic effort to secure the Prussian-Russian alliance against Sweden.  Accordingly, along with a selection of paintings, the room was crated and shipped to Saint Petersburg where it remained until in 1755 it was moved to the Catherine Palace (Tsarskoye Selo (Tasar's Palace)) in Pushkin.  Now installed in a larger space, the Italian designer Francesco Bartolomeo Rastrelli (1700–1771) was engage to remodel the assembly to suit, addition amber panels shipped from Berlin.  Renovations and refinements continued to be undertaken during the eighteenth century and when complete, the room covered some 180 square feet (16.7 m³) and contained some six tons (6100 kg) of amber, semi-precious stones and gold leaf.  At the time, it was thought one of the wonders of the modern world.

In the Nazi mind, not only was the Amber Room of German origin but such treasures anyway belonged only in the Reich and it was added to the (long) list of artworks to be looted as part of Operation Barbarossa (the 1941 invasion of the Soviet Union).  As the Wehrmacht advanced on Pushkin, the Russian curators began to attempt to disassemble the panels but their fragility was such it was quickly realized any work done in haste would cause only destruction.  Accordingly, they had carpenters construct a frame over which was glued wallpaper, there not being time even to construct a false wall.  Not fooled, the Nazi looters removed the entire structure, shipping it to be installed in the Königsberg Castle Museum (now in the Russian exclave of Kaliningrad) on the Baltic coast.  However, the tide of the war turned and in 1943 the museum's director received from Berlin instructions to return the room to crates and this had be accomplished by August 1944 when allied bombing raids severely damaged the castle.  Quite what happened to the crates remains unknown.  It may be they were destroyed during the war or were in the hold of a ship sunk in the Baltic but the tales of them being hidden somewhere has never gone away and continues to tantalize, a solitary panel actually found in Bremen in 1997.  The replica room, dedicated in a ceremony in 2004 by Vladimir Putin (b 1952; president or prime minister of Russia since 1999) and Gerhard Schröder (b 1944, Chancellor of Germany 1998-2005) remains on public display at the Tasrskoye State Museum Reserve outside Saint Petersburg.

Phaeton

Phaeton (pronounced feyt-n (U) or fey-i-tn (non-U))

(1) Any of various light, four-wheeled carriages, originally without folding tops, having one or two seats facing forward, used first in the nineteenth century.  In describing horse-drawn carriages, phaeton was later used to describe many with convertible tops (originally often as spider (or spyder) phaeton).

(2) An early-mid twentieth century touring-car with four or more seats and (later) sometimes with removable side-windows and a convertible top; some with dual-cowl coachwork.

(3) A model name for automobiles which now means nothing in particular.

1585-1595: 1742: From the (1735) French phaeton, from the Latin Phaëtōn, from the Ancient Greek Φᾰέθων (Phaéthōn).  Phaëthon was the son of Clymene and the sun god Helios who gained permission to drive his father's sun-chariot but, being unable to control the horses was struck by Zeus with a thunderbolt and slain after nearly setting on fire the whole earth.  His name translated as “shining” and was from phaein & the verb phaethô (to shine, to make gleam), from phaos (light), from the primitive Indo-European root bha- (to shine).   Even before the carriages were so named, phaeton (the spellings varied) was used to describe someone who recklessly handled horses and carts or carriages.  The alternative spellings were Phaethon, Phaéthôn, Phaëton, Phaeton, Phæton & Phaëthon.  Phaeton & phaetoneer are nouns; the noun plural is phaetons).

In a cautionary tale about the impetuosity of adolescent youth, Phaéthōn convinced his reluctant sun god father Helios father to let him drive the chariot of the sun across the skies.  Almost at once the unskilled Phaéthōn lost control of the immortal steeds and the chariot crashed, setting the earth ablaze, scorching the once fertile plains of Africa to desert.  Zeus, appalled by the destruction, smote the boy with a thunderbolt, hurling his flaming body into the waters of the River Eridanos.  The youth’s sisters, the Heliades, gathered on the banks and in their mourning, were transformed into amber-teared poplar trees.  In death, Phaethon was placed amongst the stars as the constellation Auriga (the Charioteer) or transformed into the god of the star which the Greeks named Phaethon, the planets Jupiter or Saturn depending on the translation.

1932 Cadillac V16 Special Phaeton with (V12) coach-work by Fisher.

Phaetons were a type of type of light, open four-wheeled horse carriage, English in 1742 picking up the word from French usage, coined in 1735, the link being the exposure of the passengers to the sun and until well into the modern age, they remained popular, despite the availability of carriages with partially or fully enclosed coach-work.  Indeed, they were still the most common form in the early age of the automobile but were close to extinct by the 1930s, supplanted by closed vehicles and those with convertible tops.

The Dual-Cowl Phaetons

1935 Packard Twelve dual-cowl Sport Phaeton with coach-work by Dietrich.

Among the grandest of the pre-war phaetons were the dual-cowl convertibles although, being very expensive in a time of austerity, few were built.  Unlike most of the horse-drawn carriages from which the name was appropriated, the cars so-described usually had folding hoods and sometimes removable side-windows (usually called side-curtains).  Purists of course insist that any true phaeton has no windows in the doors, nor any roof, rigid or folding but that was only ever a convention and one not always adhered to during the horse & buggy era and in the age of the automobile everything became elastic.

1935 Duesenberg SJ dual-cowl Phaeton with coach-work by La Grande.  The unusual, rakish line of the convertible top exists because in 1937, Rollston Coachworks (New York) was commissioned to fit the rare option of a fixed vee-windshield, a visual and aerodynamic enhancement from a time before curved-glass screens became practical.

In the 1930s Buick began selling what would now be called a four-door convertible (with integrated winding windows) yet continued to use the phaeton label and the memorable, big dual-cowl Duesenbergs, Chryslers, Lincolns Cadillacs, Packards et al of the era were marketed as phaetons despite having folding roofs and whatever the variations in the coachwork, the appellation stuck.  In the post-war years, the four-door hardtop was probably the spiritual successor of the phaetons as the four-door convertibles faded from the scene although even they would be extinct by the late 1970s.  Today, like landau, phaeton is just a name which means nothing in particular although many seem aware it evokes something from the past.  In recent decades, there have been many off-road and utilitarian vehicles which, technically, are phaeton-like but they're hardly in the spirit of the machines of the 1930s.  

The Parade Phaetons

Before there was crooked Hillary, there was tricky Dick.  Vice-President Richard Nixon (1913-1994; US VP 1953-1961 & president 1969-1974) at President Dwight Eisenhower's (1890-1969; US president 1953-1961) second Inaugural Parade, 21 January 1957 in 1952 Chrysler Imperial dual-cowl Parade Phaeton (one of three built).

The name of the 1952 parade cars delights the obsessives in the collector-car community because of the corporate history.  Introduced in 1926, the Chrysler Imperial sat atop the company's brand hierarchy until 1954 when Imperial was (re-)launched as a standalone brand, an arrangement which lasted until 1975 (the half-hearted revivals in 1981-1983 & 1990-1993 are not fondly remembered).  The 1952 parade phaetons thus are properly designated Chrysler Imperials although, being updated by the factory in 1955 with much of the sheet-metal and other fixtures from the 1956 Imperial, they resemble the later Imperials and are sometimes erroneously described.

1940-1941 Chrysler Newport dual-cowl Phaeton by LeBaron (left), 1952 Chrysler Imperial dual-cowl Phaeton (centre) & 1997 Chrysler dual-cowl Phaeton concept car (right).

Built in 1952 for ceremonial use by the US government and the municipal corporations of New York City and Los Angeles, the three dual-cowl parade phaetons were thought the last of the breed but in 1997 Chrysler unexpectedly displayed a concept car in the same vein.  A pastiche of the original 1941 Plymouths and the 1952 cars, it was obviously not intended for production but did include an intoxicatingly attractive specification including a bespoke 48 valve, 333 cubic-inch (5.4 litre) V12 engine rated at 425 horsepower, 5.4 litres and 425 horsepower both iconic values from Chrysler's happier past.

FDR & Ford

1937 Ford V8 Phaeton

As the American car buyer came to prefer the creature comforts offered by closed coupés & sedans or convertibles (with proper, winding windows), sales of the more basically configured roadsters and phaetons began in the 1930s rapidly to decline.  The exotic dual cowl phaetons continued to appeal to those who wanted something extravagant in which to be chauffeured on warm, sunny days but for those for whom economics dictated ownership of a single vehicle, the attractions of some protection from the elements was attractive, especially in a northern winter.  Surprisingly, it was Ford, a pioneer (if not the originator) in the techniques of mass-production and the optimization of economies of scale which kept the roadster and phaeton on the books longer than most, their last roadster built in 1937 and the final phaeton the following year although production in 1938 totaled but 1169 cars, little more than an administrative inconvenience to a company which measured its output in chunks of tens of thousands.  When the Ford line was updated for 1939, the phaeton was deleted from the list.

Franklin Delano Roosevelt’s (FDR, 1882–1945, US president 1933-1945) 1936 Ford V8 Phaeton; his New York license plate was “3”, the governor was allocated “1” and the lieutenant governor “2” (an allocation which reflects late eighteenth century political thought in most of the states).  Afflicted by polio, FDR’s cars were fitted with hand controls for the brake and clutch and always included a cigarette dispenser.

2004 Volkswagen Phaeton W12.

A Volkswagen which should have been an Audi or (not inconceivably) a Lamborghini (both brands part of the VW conglomerate), the VW Phaeton was produced between 2002-2016 as a four-door sedan in a standard and long-wheelbase configuration, the Phaeton name nothing to do with the traditional definition and chosen presumably because it was thought to impart some notion of exclusivity and wealth.  That was MBA marketing-think and probably made sense but what did not was the belief it would re-position perceptions of the VW name as a true luxury brand, the modest "success" enjoyed when the W8 engine was offered at high-price in the smaller VW Passat between 2001-2004 seemingly not a sufficiently salutatory lesson.  Why the MBAs didn’t take note of why Toyota created Lexus (so they would have their own Audi) isn’t clear but they may have been the same folk who couldn’t understand the Maybach name made sense positioned below Mercedes-Benz, not above.  The principles used in the washing powder business don’t always translate to other sectors.

Mercedes-Benz 600 Landaulet and (SWB) standard sedans.

There were six cylinder petrol and diesel engines and even a V10 diesel but what attracted most interest (if not buyers) was the choice of a 4.2 litre (255 cubic inch) V8 or a 6.0 litre (366 cubic inch) W12, the most potent of the latter rated at a then impressive 444 horsepower (331 kW).  Unfortunately, most who could afford the hefty price lingered not long over the impressive specification but focused instead on the badge, still so associated with the old Beetle.  By all accounts, the Phaeton was a fine piece of engineering and highly regarded by the critics but over fifteen years, fewer than 85,000 were sold, the line never profitable and the depreciation on the W12 was famously high, the failure of the range always explained by the lack of cachet the VW brand enjoyed at that end of the market.  Failure is however a relative term, Mercedes-Benz in the eighteen-odd years between 1963-1981 managed to produce only 2677 of their sinister 600s yet it lent the marque a luster which lingers to this day, despite the effort of the MBAs to devalue things.  Although doubtlessly also sold at a loss, Mercedes-Benz gained much from the 600; VW got little from the Phaeton.