blue moon

A blue-colored moon (hypothetical representation), 2014

A blue-colored moon (hypothetical representation), 2014

1 June 2020

Once a year or so, news and social media sites fill with articles and posts about how that month there will be a blue moon and that encourage people to go out and see this “rare” event. This astronomical definition, or more accurately definitions as there are two competing ones, is relatively recent in origin. Use of the phrase blue moon is quite old and has meant different things over the centuries.

The oldest of these senses is the idea that a blue moon is an absurdity, something that can’t actually exist. From the 1528 anti-Protestant polemic Rede Me and Be Nott Wrothe by William Barlow:

Agaynst god they are so stobbourne /
That scripture they tosse and tourne /
After their owne ymaginacion.
Yf they saye the mone is belewe /
We must beleve that it is true /
Admittynge their interpretacion.

This use, however, seems to be a singular one, chosen for the rhyme. There is little evidence of blue moon being used elsewhere in the sixteenth century to mean an absurdity.

Blue moon is, however, starting around 1700, used to mean a moon, or a graphic representation of a moon, that is literally blue. One of the earliest of these uses was in 1702 when lepidopterist James Petiver noted blue markings resembling moons on a species of butterfly:

Papilo Sulphureus, lunulis cæruleis, nigris lituris insignitus. This exactly resembles our English Brimstone Butterfly Mus. nost. No. 1. were it not for those black Spots, and apparent blue Moons in the lower Wings. This is the only one I have yet seen.

In 1816, Percy Bysshe Shelley writes of an actual moon that appears blue in his poem Alastor; or The Spirit of Solitude, lines 193–99:

Roused by the shock he started from his trance—
The cold white light of morning, the blue moon
Low in the west, the clear and garish hills,
The distinct valley and the vacant woods,
Spread round him where he stood. Whither have fled
The hues of heaven that canopied his bower
Of yesternight?

And of course, there is the 1934 Rodgers and Hart song Blue Moon, which has been covered by countless artists over ensuing decades, in which the color represents the singer’s state of sadness and loneliness:

Blue Moon
You saw me standing alone
Without a dream in my heart
Without a love of my own

The moon can actually appear as blue due to smoke or dust in the atmosphere, such as after a large volcanic eruption, forest fires, or from industrial pollution, and sometimes blue moon is used in this literal sense.

I’ve been including longer quotations than commonly occur in dictionary citations because sometimes an expanded context is necessary to understand the usage in question. An example is this one that would appear to be of just such a literal blue moon that appears in the Oxford English Dictionary from an 1883 article in Science. The OED citation reads:

The red sun and the blue moon mean higher temperature and general rain.

One might legitimately interpret this citation as referring to the moon in the sky, while in actuality, the article is about a means of signaling weather reports via a visual system on railroad cars. In fuller context, it reads:

The red signals are confined to predictions as to temperature,—rise in temperature, stationary temperature, falling temperature. The other color is blue, and that is confined to predictions in regard to the general state of the weather. The question of form was a good deal considered, and three forms were adopted. We adopted the sun, moon, and star, because everybody was familiar with those words. We experimented with the triangle, and finally rejected it. The device for attaching to the car is due to Mr. Anderson, who has been in the service of the board of commissioners for the past year; and it is a really happy device. The signal is made as large as possible, and the disk can be seen a long distance. The red sun and blue moon mean higher temperature and general rain.

So, this instance has nothing to do with astronomy and or how the moon appears in the sky, and one can sometimes be misled if one relies on the dictionary citations alone.

The moon has also long been used as a measure of time, in particular the passage of a month, and the phrase once in a moon, meaning once a month (or every 29.5 days if you want to be precise), dates back several centuries. From Andrew Boorde’s 1547 A Breuiary of Healthe:

Also there is an other kinde of madnesse named Lunaticus the which is madnesse that doth infest a man ones in a mone the whiche doth cause one to be geryshe, & wauerynge wyttid, nat constant, but fantasticall.

But when it comes to a blue moon, the period of time is rarely defined with such specificity. In 1821, writer Pierce Egan in his Real Life in London records a conversation in which the phrase is used to refer to a long period of time:

Their attention was at this moment attracted by the appearance of two persons dressed in the extreme of fashion, who, upon meeting just by them, caught eagerly hold of each other’s hands, and they overheard the following—“Why, Bill, how am you, my hearty?—where have been trotting your galloper?—what is you arter?—how’s Harry and Ben?—haven’t seen you this blue moon.”

And Egan includes this note at the bottom of the page:

Blue moon—This is usually intended to imply a long time.

Hence the phrase once in a blue moon refers to something that occurs rarely or never. The phrase appears in the early nineteenth century, about a decade after Egan wrote his book. There is this from a review of James Planché’s 1833 production of Verdi’s opera Gustavus the Third in the pages of the Athenæum in which the phrase is used and unremarked upon:

We are no advocates for the eternal system of producing foreign operas to the exclusion of the works of English composers, but once in a blue moon such a thing may be allowed.

Finally, we get to the astronomical definitions, which are both from the first half of the twentieth century. The first is from the 1937 issue of the Maine Farmer’s Almanac, which defines a blue moon as the third full moon in a season that contains four full moons. (Most seasons have only three full moons.) Such a happening occurs about once every 2.5 years. The explanation in the almanac, which I give in full, is historically and linguistically inaccurate, so put no stock in its factual claims (reading it makes the medievalist in me shudder):

THE MOON usually comes full twelve times a year, three times in each season. These moons were named by our early English ancestors as follows:

                                 Yule
Winter                      | 0 Moon after Yule
Moons                     | 1 Wolf Moon
                                | 2 Lenten Moon
                                 First Day of Spring
Spring                      | 3 Egg Moon
Moons                      | 4 Milk Moon
                                 | 5 Flower Moon
                                 The Long Day
Summer                   | 6 Hay Moon
Moons                      | 7 Grain Moon
                                 | 8 Fruit Moon
                                 Summer’s End
Fall                            | 9 Harvest Moon
Moons                      | 10 Hunter’s Moon
                                 | 11 Moon Before Yule

However, occasionally the moon comes full thirteen times in a year. This was considered a very unfortunate circumstance, especially by the monks who had charge of the calendar. It became necessary for them to make a calendar of thirteen months for that year, and it upset the regular arrangement of church festivals. For this reason thirteen came to be considered an unlucky number. Also, this extra moon had a way of coming in each of the seasons so that it could not be given a name appropriate to the time of year like the other moons. It was usually called the Blue Moon. There are seven Blue Moons in a Lunar Cycle of nineteen years. This year (1937) has a Blue Moon in August the same as 1918. In 1934 and 1915 Blue Moons came in November. The next Blue Moon will occur in May 1940 as it did in 1921. There was a Blue Moon in February 1924. In olden times the almanac makers had much difficulty calculating the occurrence of the Blue Moon and this uncertainty gave rise to the expression “Once in a Blue Moon.”

The second, and more common, astronomical definition appears in an article by James Hugh Pruett in the March 1946 issue of Sky and Telescope magazine and is a misinterpretation of the definition in the earlier Maine Farmer’s Almanac. According to Pruett’s definition, a blue moon is the second full moon in a calendar month.

Seven times in 19 years there were—and still are—13 full moons in a year. This gives 11 months with one full moon each and one with two. This second in a month, so I interpret it, was called Blue Moon.

This second definition was used again in a 1950 issue of Sky and Telescope and was repeated by several other popular sources, most notably the 1986 release of the game Trivial Pursuit. As a result, the idea that a blue moon is the second full moon of a month has become widespread, but it is not an old definition and has nothing to do with the phrase once in a blue moon.

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Sources:

Barlow, William, Rede Me and Be Nott Wrothe, 1528. Early English Books Online (EEBO).

Boorde, Andrew. A Breuiary of Healthe. 1547, Part 2, fol. 15. Early English Books Online (EEBO).

Egan, Pierce. Real Life in London. London: Jones & Co., 1821, 249.

Hiscock, Philip. “Once in a Blue Moon.” Sky and Telescope, March 1999, 53–55.

Mendenhall, T.C. “A Method of Distributing Weather Forecasts by Means of Railways.” Science, 2.29, 24 August 1883, 252.

Olson, Donald W., Richard Fienberg, and Roger W. Sinnott. “What’s a Blue Moon?” Sky and Telescope, May 1999, 36–38.

Olson, Donald W. and Roger W. Simott. “Blue-Moon Myster Solved?” Sky and Telescope, March 1999, 55.

Oxford English Dictionary, third edition, March 2013, s.v. blue moon, n.; June 2004, s.v. once, adv., conj., adj., and n.; December 2002, s.v. moon, n.1.

Petiver, James. Gazophylacii Naturæ & Artis. London: 1702, 16. Early English Books Online (EEBO).

Shelley, Percy Bysshe, Alastor (1816). Reprinted New York: AMS Press, 1975. University of Toronto, Representative Poetry Online.

“Theatricals.” Athenæum. 316. London, 16 November 1833, 780.

Photo credit: Wikimedia Commons, used under CC BY-SA 3.0 US.

bloody

31 May 2020

FREDDY [opening the door for her] Are you walking across the Park, Miss Doolittle? If so—

LIZA. Walk! Not bloody likely. [Sensation]. I am going in a taxi. [She goes out].

Pickering gasps and sits down. Freddy goes out on the balcony to catch another glimpse of Eliza.

MRS. EYNSFORD HILL [suffering from shock] Well, I really cant get used to the new ways.

CLARA [throwing herself discontentedly into the Elizabethan chair]. Oh, it’s all right, mamma, quite right. People will think we never go anywhere or see anybody if you are so old-fashioned.

MRS. EYNSFORD HILL. I daresay I am very old-fashioned; but I do hope you wont begin using that expression, Clara. I have got accustomed to hear you talking about men as rotters, and calling everything filthy and beastly; though I do think it horrible and unladylike. But this last is really too much. Dont you think so, Colonel Pickering?

PICKERING. Dont ask me. Ive been away in India for several years; and manners have changed so much that I sometimes don't know whether I’m at a respectable dinner-table or in a ship's forecastle.

CLARA. It's all a matter of habit. Theres no right or wrong in it. Nobody means anything by it. And its so quaint, and gives such a smart emphasis to things that are not in themselves very witty. I find the new small talk delightful and quite innocent.

            —George Bernard Shaw, Pygmalion, Act 3, 1914

Bloody is commonly used in colloquial speech and writing as an intensifier throughout the English-speaking world, with the notable exception of North America. Once considered highly offensive, like most swear words it has ameliorated over the course of the last century and become less so, although it still isn’t considered to be polite speech in most places. The process of amelioration got its start in Australia, and there it has come the farthest in terms of acceptability.

This amelioration can be seen to be happening in the above scene from Pygmalion and the various characters’ reactions to Eliza Doolittle’s use of the word. It shows class differences in that working-class Eliza uses bloody without a thought, while it shocks and surprises her upper-middle-class companions. It shows generational differences in that young Clara finds the word exciting, while her mother objects to it. And Colonel Pickering, inured by long exposure to the language of soldiers and sailors, isn’t sure what is considered polite language and what isn’t. This scene created a sensation upon the play’s London opening in 1914, so much so that people began using the phrase Pygmalion expression / talk / word as a euphemism for bloody. And not just in the years immediately following; the Oxford English Dictionary includes a 2002 citation of Pygmalion word substituting for bloody.

The origin of this intensifying use of bloody is most likely the result of a standard linguistic process known as semantic bleaching. Over time, the literal meaning of the word or phrase is “bleached” away, leaving behind only a marker for how the words around it should be interpreted. A similar example of semantic bleaching is awesome. It originally meant awe-inspiring, but over the centuries that meaning faded, and it has come to simply designate something good.

Bloody is, obviously, derived from the root blood + -y, a suffix used to mean having the qualities of, full of. And indeed, it originally meant, and can still mean, literally covered in blood. And by extension it is used to refer to killing, the spilling of blood, and general cruelty. The word goes back to Old English, and can, among many other texts, be found in Beowulf. Here in lines 987b–990 it is used to describe the man-eating monster Grendel, who cannot be harmed by weapons:

Æghwylc gecwæð
þæt him heardra nan         hrinan wolde
iren ærgod         þæt ðæs ahlæcan
blodge beadu-folme         onberan wolde.

(Everyone said that no venerable iron possessed by hard men would strike him so as to harm the opponent’s bloody battle-hand.)

One of the earliest uses of bloody as an intensifier is from Scotland c. 1548 in the testimony of an Abraham Creichtoun for slandering an Isobelle Keringtoun, recorded in the Liber Officialis Sancti Andree:

I grant heir befoir þer honest personis þat I have fairely and wranguiflie jniurit and difamyt gow sayand and allegand gow ane commown bluidy huir and þat ye had lyin by your husband wytht vþeris diuers jniurious wordis quhilkis wer nocht of verite.

(I grant here before these honest persons that I have openly and wrongfully injured and defamed you with other diverse, injurious words which were not true, saying and alleging you are a common, bloody whore and that you had lied to your husband.)

Over the centuries, various metaphors have been put forward to explain why bloody is used as an intensifier and why it has been considered so offensive. None of the them have good evidential support, and semantic bleaching remains the most likely reason. Among these various suggestions for the development of this sense that fall short of the mark are that bloody:

  • Comes from oaths like Christ’s blood! or God’s blood!, but none of these oaths are recorded as intensifiers and functional shifts from interjection to intensifier are rare

  • Is a euphemistic form of by our Lady or byrlady, but the same problems with interjections as intensifiers apply

  • Is a reference to menstruation, but there is no textual evidence to support this

  • Is a reference to the Roman Catholic doctrine of transubstantiation, but early uses of bloody are not especially found in religious or anti-Catholic contexts

  • Refers to noble blood and the revelry and drinking habits of aristocrats, but again no textual evidence supports this contention, and the phrase drunk as a Lord, which is advanced to support it, is a later development.

In short, the semantic bleaching hypothesis remains the best explanation for the word’s use as an intensifier. This explanation may be prosaic and less interesting to some, but then it is a usual process by which language develops, and that is, in a way, more interesting than the more far-fetched explanations.

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Sources:

Green’s Dictionary of Slang, 2020, s.v. bloody adj., bloody adv.

Liber Officialis Sancti Andree. Edinburgh: 1845, 139.

Oxford English Dictionary, third edition, December 2007, s.v. Pygmalion, n., adj., and adv.

Oxford English Dictionary, third edition, March 2012, s.v. bloody, adj., n, and adv.

Shaw, Bernard. Pygmalion: A Romance in Five Acts. Rough proof—unpublished, London: Constable and Company, 1914, 49–50.

fish or cut bait

A fish being cut up for use as bait

A fish being cut up for use as bait

31 May 2020

When many people tell someone to fish or cut bait, they mean that the person should either get the job done or quit. They assume that cutting bait refers to cutting the fishing line and abandoning the bait to the waters. But that is not what the metaphor underlying the phrase means. To cut bait is to prepare the bait, specifically to chop it up into pieces, an unpleasant, but necessary, job. So, the underlying metaphor of the phrase means to take either a lead or a secondary role, but in either case, get to work. The misunderstanding undoubtedly arose because people who had never been fishing began using the phrase.

A literal use of fish or cut bait appears in the New York Daily Tribune of 8 August 1844, in an article that makes the point that the fishermen and hunters out in Suffolk County on Long Island are every bit as good as sophisticated Manhattanites:

Our friends who look down to Fire Island and about assure us that cleverer fellows to fish or cut bait, bag game or even shoot it (when you want the reputation of a sportsman and have to do it on borrowed capital) can’t be found any where.

And the earliest figurative uses of the phrase give three alternative actions, not just two: fish, cut bait, or go ashore, making it akin to phrase I learned in the Army: lead, follow, or get out of the way. This three-pronged phrase appears in the Detroit Free Press of 10 June 1848 in the context of Zachary Taylor receiving the Whig party’s nomination for president. The abolitionist wing of that party was upset that Taylor, a slave owner, got the party’s nod:

Here we have been for the last six months abusing the war—the officers, and soldiers and above all manifesting our sympathy for the slaves and just as we had got ready to hurrah! over goes our dish by the nomination of one of the greatest slave holders in christendom. ‘Othelo’s occupation is gone’ and we have either got to “cut bait, fish or go ashore.”

Over the next few years, the abolitionists among the Whigs would end up “going ashore” and joining the newly formed Republican party.

Republican Abraham Lincoln was elected president in 1860, igniting the U.S. Civil War. And he is reported by multiple sources to have used the three-pronged phrase in July 1862 in a meeting with congressmen from the so-called Border States, those slave states that had remained in the Union. The Independent of 17 July 1862 reports on it thusly:

The President on Saturday last invited the Border-state congressmen to a conference, in which he endeavored to induce them to adopt his policy of gradual emancipation. [...] Mr. Lincoln is said to have told the Border-state men that “they must either fish, cut bait, or go ashore!”

The same Lincoln story and quote is relayed by the Pittsburgh Gazette on 21 July 1862 and is reported in Britain by The Scotsman of 29 July 1862.

The shortened, two-prong version of the phrase is in place a few years later. From the Pittsburgh Daily Post of 15 August 1866:

The Washington correspondent of the radically pious and piously radical sheet, the New York Independent, is determined to make Stanton fish, or cut bait. In speaking of the New Orleans riot he says: “Mr. Stanton, who was so bold during the war, is trembling with fear and remorse in the shadow of his office.”

And the New York Times of 11 July 1868 has nice use and explanation of the metaphor:

The Committee had done the bidding of Tammany Hall long enough, and it was time they had a mind of their own. Ex-Councilman MERRITT was in favor of indorsing the nomination: they must either fish or cut bait, and as they were not large enough to fish they must be content to cut bait for Tammany.

This history does not, however, necessarily mean that people today are using the phrase incorrectly. Usage, not etymology, governs what a word or phrase means. If people use and understand fish or cut bait to mean do the job or get out of the way, then that is what the phrase means. But such a usage is not what the phrase originally meant.

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Sources:

“America.” The Scotsman, 29 July 1862, 4. ProQuest Historical Newspapers.

“American Nero.” Daily Post (Pittsburgh), 15 August 1866, 2. ProQuest.

“CONGRESS: Debate on the Bill to Call Out Militia.” The Independent, 17 July 1862, 8. ProQuest.

“Constitutional Union General Committee.” New York Times, 11 July 1868, 8. ProQuest Historical Newspapers.

Green’s Dictionary of Slang, 2020, s.v. fish v.1.

“Notes from the Capital.” Pittsburgh Gazette, 21 July 1862, 3. ProQuest.

“Thanks.” Detroit Free Press, 10 June 1848, 2. ProQuest.

“A Voice from Old Suffolk!” New York Daily Tribune, 8 August 1844, 2. ProQuest.

Photo credit: Lake Michigan Angler, 2009,

charley horse

29 May 2020

A charley horse is a sudden cramp in the leg, a common affliction among athletes. The term arose in baseball in the late nineteenth century, we know that much for certain, but as to who Charley was or why he had a horse, or if the phrase refers to a horse named Charley, no one has any good idea. The origin of the term in that regard is a mystery.

The earliest use of the term found to date is in a letter from Jim Hart, manager of the Louisville Colonels baseball team, published in that city’s Courier-Journal on 21 March 1886:

Ely is still suffering from a sore arm, and Reccius has what is known by ball players as “Charley Horse,” which is a lameness in the thigh, caused by straining the cord.

Another early appearance is in the same newspaper a few months later, on 14 July 1886:

Several years ago, says the Chicago Tribune, Joe Quest, now of the Athletics, gave the name of “Charlie horse” to a peculiar contraction and hardening of the muscles and tendons of the thigh, to which base ball players are especially liable from the sudden starting and stopping in chasing balls, as well as the frequent slides in base running. Pfeffer, Anson and Kelly are so badly troubled with “Charley horse” there are times they can scarcely walk. Gore had it so bad he had to lay off a few days, and is not entirely free from it now. Williamson, too, has had a touch of it.

(I have yet to find the Chicago Tribune story referenced here. Most likely it is from a few days earlier, and the Courier-Journal story may be a word-for-word reprint. Reprinting such stories verbatim was a common practice among newspapers of the day.)

Quest appears in many of early explanations for the term’s appearance, but whether or not he coined it is unknown. The only thing we can say with confidence is that he frequently used the term.

There are a number of old explanations for the term floating about, but either they have no evidence to support them, or they come too late to the be the origin of the term. The oldest of these dates to 1887, shortly after the term first appeared in print. From the Boston Herald, 12 July 1887:

For the benefit of many inquiring readers who have never had the considerable complaint, it may be said that “Charley horse” is a complaint caused by the straining of the cords in a ball player’s leg. The name is said to owe its origin to the fact that a player afflicted with it, when attempting to run, does so much after the fashion of a boy astride of a wooden horse, sometimes called a “Charley horse.”

Children’s hobby horses of the era were indeed often called Charlie horse or Charley horse, so it is a plausible explanation, but it is speculation with no solid evidence behind it. One might think that since the explanation appears shortly after the term’s appearance in print, but this does not add to its veracity—such early explanations are very often wrong. But the appearance of this explanation so soon after the first known appearance indicates that the term is probably older, as the general public was already becoming familiar with it.

H. L. Mencken, in his American Language, traced the term to Charlie “Duke” Esper who played for a number of teams in the 1890s. But as we have seen, the term predates Esper’s professional baseball career, so he cannot be the source of the term.

Another is that it comes from an old, lame horse named Charley that dragged and smoothed the infield for either the Chattanooga or Sioux City team (take your pick). The Chattanooga story is chronologically possible, but has no evidence to support it, and professional baseball wasn’t played in Sioux City until after the term had appeared, so that one is out.

Yet another explanation is that players on either the Chicago White Stockings or the Baltimore Orioles (again, take your pick) bet on a racehorse named Charley who came in last. Later that day, one of their players pulled a leg muscle, and he was dubbed “Charley Horse.” The Chicago version is said to have happened in 1886, so this story is probably too late, given the attestations from players in that same year that the term had been in use for some time. (Usually, and especially for slang, oral use of a term predates its appearance in the written record by some period, typically a few years.) As for the Baltimore version, that story is associated with John McGraw, who didn’t play until the 1890s.

The fact that versions of some of these tales pop up in multiple cities indicates that they were exchanged and retold multiple times. So, it seems likely that such stories arose because players in the 1890s were using the already existing term charley horse to rib and make fun of players (or horses) that were lame and that in the retelling of these baseball yarns and jokes the stories became the origin of the term in their minds.

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Sources:

“BASE BALL: A Letter from Manager Hart.” Louisville Courier-Journal, 21 March 1886, 10.

Dickson, Paul. The Dickson Baseball Dictionary, third edition, 2009, s.v. charley horse.

“From the Outfield,” Boston Herald, 12 July 1887, 5.

Popik, Barry. “Charley Horse (Charlie Horse).” The Big Apple, 22 February 2016. https://www.barrypopik.com/index.php/new_york_city/entry/charley_horse_charlie_horse/

Shulman, David. “Whence ‘Charley Horse.’” American Speech, 24.2, April 1949, 100–04.

“STILL SLUGGING. The Heavy Batting Record of the Louisville Club.” Louisville Courier-Journal, 14 July 1886, 6.

blockbuster

Two-ton, blockbuster bomb being loaded onto a de Havilland Mosquito bomber during WWII

Two-ton, blockbuster bomb being loaded onto a de Havilland Mosquito bomber during WWII

28 May 2020

To most of us today, a blockbuster is anything that is gigantic or enormously successful. It’s often used in relation to movies, television, and bestselling books. But the word originally referred to a World War II bomb, one big enough to destroy an entire city block.

The earliest instance of its use that I have found is in an Associated Press article from 25 July 1942:

The western air front meanwhile produced news of two-way attack, comparatively heavy German raids on Britain which cost the Nazis seven out of 40 bombers, and an assault by the RAF on Ruhr and Rhineland by forces several times as large as the German attacking unit. Again, the RAF dropped its two-ton “block buster” bombs, especially on Duisburg.

After this date, uses of blockbuster in reference to literal bombs are common during the war years. But metaphorical use of the term to refer to anything big quickly followed. A story in the Ladies’ Home Journal of November 1943 about the return home of Sgt. Harold Loch, gunner on the B-17 Memphis Belle, which had just completed 25 bombing missions over occupied Europe, uses the term in a crossover from bombing to figurative use when Loch does not arrive on the train as expected:

Only then did mom break down and sob on pop’s shoulder. Sadly they trooped home. The day was an emotional block buster for them all.

The bombing metaphor is also “dropped” in this Time magazine article from 12 June 1944, which describes U.S. President Franklin Roosevelt’s announcement of plans for a post-war United Nations:

Blockbuster. The President then quietly dropped his blockbuster. The U.S., he said, has an objective today to join other nations for the general world peace—but without taking away the integrity of the U.S. in any shape, manner or form.

And about a week after this Time magazine piece, we see a use of blockbuster without any obvious connection to bombs, but which crosses over into the world of entertainment. A 17 June 1944 letter to Billboard magazine quotes a circus side-show performer using the word to denote something that is literally large, to wit, herself:

Radio broadcasts were to the liking of our actors. They believed that they had reached their goal. Every freak, dancer, singer, musician and talker vied for the honor of going on the air. They created their own songs and patter. Cracked-voice front talkers became announcers and emcees. Remember it all started two years ago and the same broadcasts are still going on. The fat gal still yells: “I’m Baby Blockbuster. I weigh 700 pounds; am single and looking for a husband. How would you like to hold me on your knee?”

Shortly after the war, boxing takes up the word, using it refer to fists or punches which pack destructive power. There are many such uses in the late 1940s. Here is one of the early ones from 5 January 1946 by sportswriter Sid Feder:

Midway through that heat, Morris fired a left hook that practically sank out of sight in Jack’s midsection, and for half a minute the Georgia Negro slowed to a walk. Before the round was over, however, he was back in there with his blockbusters again, and it was obvious the party was just about over.

By the mid-1950s, Hollywood discovered the blockbuster film. There is this from Variety of 12 September 1956:

Aim is to convert the theatre eventually to a single picture policy. Initially the theatre will run on a solo pic basis whenever it books one of the so-called block buster films, such as “The Duchin Story” and “The King and I.” For entries it doesn’t regard as strong enough to stand alone, it will revert to the tandem setup, the hope being, however, to establish the house as a single feature situation.

And the next month, this piece titled “Hollywood’s Blockbusters” by Hollis Alpert appeared in the October 1956 issue of Women’s Day:

This is the season of the blockbuster movie. For the past year or more word has been seeping through about the preparation of four movies, each of which is to be the biggest, greatest, most awe-inspiring ever made. They are ready for release, and toeing the mark to challenge the box-office records set by Gone With the Wind, the most popular movie of all time. Two of these new movies, War and Peace and The Ten Commandments, will be at least as long as Gone With the Wind and should challenge the endurance of movie audiences, anyway. The other two, Giant and Around the World in 80 Days, are not quite so lengthy, running about three hours each, but nevertheless rank among the costliest and most lavish films ever made.

Also in the 1950s, another sense of blockbuster developed in the United States. This time it once again referred to literal city or suburban blocks, but what is destroyed are racially segregated neighborhoods. Blockbusting became the term used when a Black family moved into what had previously been an all-white neighborhood. Here is an example, a United Press story from 2 October 1955:

They deny that any responsible Negro groups organize or promote such movement. The movement into white neighborhoods is the result of the Negro’s desire for better housing and his increasing ability to pay for it, they say.

There are many areas where “block-busting” has taken place without difficulties. In other cities, disturbances have resulted.

While the first literal blockbusters were British bombs, the early metaphorical and slang uses that we have seen are American. But there is one early British metaphorical use cited by the OED. In this case, the metaphor underlying the use is a mystery to me. Perhaps someone with knowledge of the politics of Northern Ireland in the 1940s can enlighten me. W.R. Rodgers writing in the New Statesman and Nation of 20 November 1946:

Nor is the Labour Party in Northern Ireland likely to ignore a loyalty which faces it with one of its greatest problems, namely, how to hinge the interests of Protestant and Catholic, Loyalist and Nationalist, not merely on the economic, but also on the emotional plane. That task is not made easier by those English Labour M.P.s who in their speeches show only a blockbusting contempt for Ulster.

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Sources:

Alpert, Hollis. “Hollywood’s Blockbusters.” Women’s Day, October 1956, 80.

Associated Press. “Furious Rostov Battle Continues.” Albuquerque Journal, 25 July 1942, 2.

Feder, Sid. “Beau Jack KO’s Reif in Fourth.” Daily Press (Newport News, Virginia), 5 January 1946, 5.

“The Great Blueprint.” Time, 43.24, 12 June 1944.

Green’s Dictionary of Slang, 2020, s.v. blockbuster n.1, blockbuster n.2, and blockbust, v.

“A Hero Comes Home.” Ladies’ Home Journal, 60.11, November 1943, 116.

Major Privilege. Letter, 17 June 1944. In “Ballyhoo Bros.’ Circulating Expo.” Billboard, 56.26, 24 June 1944, 34.

Oxford English Dictionary, second edition, 1989, s.v. block, n.

RKO Hatching Single Pic Artie Plot for N.Y. Nabe in “Gold Coast” Experiment.” Variety, 204.2, 12 September 1956, 5.

Rodgers, W.R. “Black North.” New Statesman and Nation, 26.665, 20 November 1946, 332.

United Press. “’Blocks Busted.’ Minority Housing Barriers Falling.” Detroit Free Press, 2 October 1955, 26.

Photo credit: Imperial War Museum.