Valentine

Valentine (pronounced val-uhn-tahyn)

(1) A card, message, token or gift sent by one person to another on Valentine's Day (14 February) as a mark of affection.  Historically they were usually amatory or sentimental but there are also commercially available versions (usually as cards or e-cards) which are satirical, comical or sardonic.  They were often (and perhaps still are) send anonymously but in an age when the awareness of stalking has become heightened, caution is now recommended.

(2) A sweetheart or object of desire chosen or greeted on this day.

(3) A written or other artistic work expressing affection for something or someone (the latter often a poetic or literary device).

(4) A surname and a given name, the latter variously feminine or masculine according to local convention.

(5) As Saint Valentine (circa 226-circa 269), a saint commemorated in both Western Christianity & Eastern Orthodoxy.

(6) A locality name in a number of places.

1400–1450 (in the sense of the adoption in English): From the late Middle English, from the ecclesiastical feast of Saint Valentine (14 February).  The derived forms are rarely used.  The adjective valentinesy (something characteristic of Saint Valentine's Day) can be used of some romantic act usually more associated with 14 February and does have the advantage of being a single word which does the job which would otherwise take a phrase but the only thing that can be said in favor of the noun valentining (the practice of giving and (presumably) receiving something on Saint Valentine's Day) is that it seems not yet to have become a verb.  The noun Valentinian was used to describe a member or adherent of the second century AD school of Judaizing Gnostics, founded by Valentinus (circa 100–circa 180).  Valentinus seems to have been among the most popular of the early Christian Gnostic theologians and the legend is he founded his school in Rome after being passed over for appointment to a bishopric.  The use as a name is derived ultimately from the Latin Valentinus, from valeō (I am strong, healthy) and by accepted reckoning, Valentinus (circa 780-827; pope 780) was the hundredth pope of the Roman Catholic Church ("Pontiff 100" the preferred designation among Vatican archivists); he sat on the throne of Saint Peter "for forty days and forty nights".  Valentine evolved as a unisex given name, in use for males since the late fifteenth century and it’s been given also to females although this has been rare except in France (and the Francophone parts of the old French Empire) where it’s treated as a feminine form of Valentin.  Elsewhere, the usual feminine form is Valentina.  Valentine & Valentinian are nouns & proper nouns, valentining is a noun and valentinesy is an adjective; the noun plural is valentines.

Lindsay Lohan with Saint Valentine's Day stuffed teddy bear.

The precise origins of Valentine's Day are murky.  All agree the church festivals, feasts and holidays were named after Saint Valentine but there were a number of them in early Christianity and despite much digging, no authenticated documentary evidence has emerged to confirm which one deserves credit.  Revisionist historians have linked the later tradition to the ancient Roman festival of Lupercalia, celebrated mid-February, Lupercalia was a fertility festival dedicated to Faunus (Roman god of agriculture) and the mythical founders of Rome, the brothers Romulus & Remus. A kind of pre-modern blind-date night, during the festival, young men would draw names of young women from a jar and with whomever emerged from this lucky dip they would be coupled for the duration of the festival (hopefully longer if the things worked out).  The revisionists like the idea of a link because it hints at another example of an event on the church list owing less to theology or uniquely Christian history than being a takeover of a pagan festival (a la Christmas).  On and off, for centuries, between 496 when Gelasius I (d 496; pope 492-November 496) dedicated 14 February as the feast day on which the Christian martyr Saint Valentine was to be celebrated, it remained on the list was in 1955 struck from the General Roman Calendar by Pius XII (1876-1958; pope 1939-1958), along with an array of other minor or obscure feasts which were relegated to mere “events” within the rituals of the formal ecclesiastical calendar.  However, in 2007 Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) issued the motu proprio (literally “on his own impulse”, a kind of executive decree) Summorum Pontificum (Of the Supreme Pontiffs) (described by some as “a shot across the bows of Vatican II” but really more a torpedo into the engine room) which was promulgated to permit the restoration of earlier forms of ritual (notably those conducted in Latin) but had the (perhaps unintended) effect of allowing feasts such as those of Saint Valentine to return as stand-alone events should that be the will of the local congregation.

The meme-makers feel Saint Valentine's pain.

By far the most popular version of the origin is that linked with Saint Valentine (circa 226-circa 269).  Valentine may have been the Bishop of Terni (in the modern day region of Umbria in Central Italy) but he was certainly a member of the Christian clergy and like many of them, he was persecuted by the authorities; even if not devoted pagans, many in authority did not much like trouble makers and alternative power structures (as members of the Falun Gong don’t need to be reminded).  There are different tales of just what were the activities which led eventually martyrdom including Valentine baptizing young men liable for military conscription (their status as Christians rendering them ineligible for service in the pagan army) but the preferred version is the one associated with young lovers.  It’s said Claudius II (214-270; Roman emperor 268-270) had banned marriage by young men, his rationale being single men made better soldiers, apparently because they were (1) less troubled by the thought of death and (2) more attracted to the prospect of the unlimited sexual license (rape (in the modern sense) & pillage) which was at the time one of the inducements to serve.  Valentine defied this imperial decree and in secret continued to conduct marriages for young lovers; when this was discovered, Claudius had the renegade priest arrested, brought to Rome and beheaded.  The act of execution seems sound historic fact although the circumstances, like much which appears in medieval texts, can’t be verified and while the tales of torture, prolonged beatings are plausible, it’s not certain the emperor’s displeasure was triggered by the priest joining the young in marriage; some histories suggest the execution was ordered merely because Valentine refused to deny Christ as his true savior.  Such deaths were far from uncommon.  God however may have been on the side of true love because shortly after, Claudius was struck down, killed by “a pestilence”, perhaps the Plague of Cyprian (250-270), one of the many epidemics that for centuries came and went, killing millions.

There seems not to have been any connection between Saint Valentine (or the celebrations in his name) and anything romantic until the notion appeared in the fourteenth century verse of Geoffrey Chaucer (circa 1344-1400) but the idea caught on to the extent that by the mid-fifteenth century, it was well-known and the secular practices attached to 14 February appear to have been tolerated by the Church and survived even the later puritans who disapproved of just about everything.  The fifteenth century customs are said to have begun in the circles associated with the French & English royal courts but it may simply be that the records of that class have survived better and the tales of February being the month when birds find their mates became part of the folk etymology.  The earliest known use of a valentine being “a letter or card sent to a sweetheart” dates from 1824 and the custom of sending special cards or letters on this date flourished in England in the mid-nineteenth century, declining gradually until the early years of the 1900s.  In the 1920s, modern capitalism (led by card manufacturers) revived the idea and for those selling cards, chocolates and flowers, 14 February has since provided good business and the rise of the internet has done little to blunt demand, virtual roses and chocolates just not the same.

The universal language of love.

Flowers, chocolate and stylized red hearts being the universal lingua franca when seeking courtship with a young lady, even in the People's Republic of China (PRC), Valentine’s Day (情人节, qíngrén jié) has become a thing.  The Chinese Communist Party (CCP) approve not at all of decadent Western influence and Christian saints (the only "true" saints being venerable figures like the General Secretary of the CCP) but it's good for business and adds to GDP so, simultaneously the day is tolerated and ignored.  The idea though has spread, several other days to one degree or another also marked including (1) White Valentine’s Day (白色情人节, báisè qíngrén jié) on 14 March when the tradition is for women who have a month earlier received something to respond with a gift of chocolate, (2) 520 Day (wǔ’èr línga) on 20 May; it's pronounced as wǔ èr líng which sounds like “I love you” (wǒ ài nǐ) in Mandarin and it's said to be entirely the invention of Chinese business, (3) the Qi Xi Festival (七夕节, qīxì jié) celebrated on 7 July on the lunar calendar (which occurs usually in August) and based on the romantic tale of two lovers who can meet but once a year, (4) the Lantern Festival (元宵节, yuánxiāo jié) held on the 15^th day in the lunar calendar; it has ancient origins from the days when this was one of the few occasions young women left the home, going out to light a lantern which signified they were single and willing to meet a partner and (5) Single’s Day (双十一, shuāng shíyī) on 11 November, a recent invention said originally to have been a kind of dating society created by students at Nanjing university but which was quickly co-opted by rapacious Chinese commerce; even in the PRC it was criticized for blatant consumerism (it’s by value now one of the world’s biggest on-line shopping days although analysts are cautioning the downturn in the economy and rising youth unemployment may affect sales in 2024).  Still, even with all those options, with the recent awareness of the demographic problem created by all those “leftover women” choosing to remain single and not have babies, the CCP may decide to encourage Valentine's day.  Even those who marry often can't be induced to have more than one child so the most obvious catchment for increased procreation are the young singles: Valentine's Day target market.  The CCP is better at social engineering than many Western governments and may be tempted to make Valentine's Day compulsory, penalties imposed on eligible bachelors and spinsters "at risk" (the historic term for women deemed capable of falling pregnant) found to have neither sent nor received a box of chocolates.

Blip

Blip (pronounced blip)

(1) A spot of light on a radar screen indicating the position of a plane, submarine, or other object (also as pip); any similar use on other electronic equipment such as an oscilloscope.

(2) By adoption from the use in radar (and applied very loosely), any small spot of light on a display screen.

(3) In any tracked metric (typically revenue, sales etc), a brief and usually unexpected.

(4) In general use, an aberration, something unexpected and (usually) fleeting (often in the expression “blip on the radar”).

(5) In electronic transmissions (audible signals), a pip or bleep (also both onomatopoeic of short, single-pitch sounds).

(6) By extension, any low level, repetitive sound (rare).

(7) In the slang of software developers, a minor bug or glitch (retrospectively dubbed blips if promptly fixed (or re-labeled as “a feature”)).

(8) A specific data object (individual message or document) in the now defunct Google Wave software framework.

(9) In informal use, to move or proceed in short, irregular movements.

(10) In automotive use, briefly to apply the throttle when downshifting, to permit smoother gear-changing (the origin in the days of pre-synchromesh gearboxes, especially when straight-cut gears were used) and still used in competition to optimize performance but most instances by drivers of road cars are mere affectations (used as noun & verb).

(11) In informal use, abruptly to change a state (light to dark; on to off etc), sometimes implying motion.

(12) In broadcast media (and sometimes used on-line), to replace offensive or controversial words with a tone which renders them inaudible (a synonym of “bleep”, both words used in this contexts as nouns (a bleep) and verbs (to bleep out).  In live radio & TV, a junior producer or assistant was usually the designated “blipper” or “bleeper”.

1894: An onomatopoeic creation of sound symbolism, the speculation being it may have been based on the notion of “blink” (suggesting brevity) with the -p added to bli- as symbolic of an abrupt end, the original idea to capture the experience of a “popping sound”.  The use describing the sight and sound generated by radar equipment was first documented in 1945 but may have been in use earlier, the public dissemination of information about the technology restricted until the end of World War II (1939-1945).  The verbs (blipped & blipping) came into use in 1924 & 1925 respectively while the first documented use of the noun blipper dates from 1966 although “bleeper” appeared some fifteen year earlier and the role was acknowledge as early as the 1930s.  Blip is a noun & verb, blipped & blipping are verbs and blippy, blippier & blippiest are adjectives; the noun plural is blips.

The blipster

One unrelated modern portmanteau noun was blipster, the construct a blend of b(lack) + (h)ipster, used to refer to African-Americans (and presumably certain other peoples of color (PoC)) who have adopted the visual clues of hipster culture.  Whether the numbers of blipsters represent the sort of critical mass usually associated with the recognition of sub-cultures isn’t clear but as in medicine where a novel condition does not need to be widely distributed (something suffered even by a single patient can be defined and named as a syndrome), the coining of blipster could have been inspired by seeing just one individual who conformed to being (1) African American and (2) appearing in some ways to conform to the accepted parameters of hipsterism.  Labeling theory contains reservations about this approach but for etymologists it’s fine although there is always the risk of a gaboso (generalized observation based on single observation).  Predictably, there is debate about what constitutes authentic blipsterism because there are objections by some activists to PoCs either emulating sub-cultures identified as “white” or taking self-defining interest in aspects of that culture (such as those associated with hipsterism).  What seems to be acceptable is a stylistic fusion as long as the fashions are uniquely identifiable as linkable with traditional (ie modern, urban) African-American culture and the cultural content includes only black poets, hip-hop artists etc.

The Blipvert

The construct of blipvert (also historically blip-vert) was blip + vert.  Vert in this context was a clipping of advertisement (from the Middle French advertissement (statement calling attention)), the construct being advertise +‎ -ment.  The -ment suffix was from the Middle English -ment, from the Late Latin -amentum, from -mentum which came via Old French -ment.  It was used to form nouns from verbs, the nouns having the sense of "the action or result of what is denoted by the verb".  The suffix is most often attached to the stem without change, except when the stem ends in -dge, where the -e is sometimes dropped (abridgment, acknowledgment, judgment, lodgment et al), with the forms without -e preferred in American English.  The most widely known example of the spelling variation is probably judgment vs judgement.  In modern use, judgement is said to be a "free variation" word where either spelling is considered acceptable as long as use is consistent.  Like enquiry vs inquiry, this can be a handy where a convention of use can be structured to impart great clarity: judgment used when referring to judicial rulings and judgement for all other purposes although the approach is not without disadvantage given one might write of the judgement a judge exercised before delivering their judgment.  To those not aware of the convention, it could look just like a typo.

As both word and abbreviation “vert” has a number of historic meanings.  One form was from the Middle English vert, from Old French vert, from Vulgar Latin virdis (green; young, fresh, lively, youthful) (syncopated from Classical Latin viridis)  In now archaic use it meant (1) green undergrowth or other vegetation growing in a forest, as a potential cover for deer and (2) in feudal law a right granted to fell trees or cut shrubs in a forest.  The surviving use is in heraldry where it describes a shade of green, represented in engraving by diagonal parallel lines 45 degrees counter-clockwise.  As an abbreviation, it's used of vertebrate, vertex & vertical and as a clipping of convertible, used almost exclusively by members of the Chevrolet Corvette cult in the alliterative phrase "Vette vert", a double clipping from (Cor)vette (con)vert(ible).

Vette vert: 1967 Chevrolet Corvette L88 convertible which sold at auction in 2013 at Mecum Dallas for US$3,424,000, a bit short of the L88 coupé which the next year realized US$3,850,000 at Barrett-Jackson Scottsdale; that remains the record price paid for a Corvette at auction.  The L88 used a 427 cubic inch (7.0 litre) V8 with a single four barrel carburetor, tuned to produce between 540-560 (gross) horsepower although for official purposes it was rated at 430, slightly less than the advertised output of the L71 427 which, with three two barrel carburettors was the most powerful version recommended for “street” use.  The L88 was essentially a race-ready power-plant, civilized only to the extent cars which used it could be registered for road use but, demanding high-octane fuel available only in a limited number of locations and not offered with creature comforts like air-conditioning, it really was meant only for race tracks or drag strips.  For technical reasons, L71 buyers couldn’t order air-conditioning either but were at least allowed to have a radio, something the noise generated by the L88 would anyway have rendered mostly redundant.

When humans emulated CGI: Max Headroom, 1986, background by Amiga 1000.

A blipvert is a very brief advertisement (a duration of one second or less now the accepted definition although originally they could three times as long).  The concept first attracted widespread attention in the 1980s when it was an element in the popular television show Max Headroom, a production interesting for a number of reasons as well as introducing “blipvert” to a wide audience.  In Max Headroom, blipverts were understood as high-intensity television commercials which differed from the familiar form in that instead of being 20, 30 or 60 seconds long, they lasted but three, the line being they were a cynical device to discourage viewers from switching channels (“channel surfing” not then a term in general use).  The character Max Headroom (actually an actor made up to emulate something rendered with CGI (computer generated imagery)) was said to be pure software which had attained (or retained from the downloaded “copy” of the mind taken from a man killed after running into a “Max Headroom” warning sign in a car park) some form of consciousness and had decided to remain active within the television station’s computer network.  In this, the TV show followed a popular trope from science fiction, one which now underpins many of the warnings (not all by conspiracy theorists) about the implications of AI (artificial intelligence).  Although a creation of prosthetics rather than anything digital, the technique was made convincing by using a background generated on an Amiga 1000 (1985), a modest machine by today’s standards but a revelation at the time because not only was the graphics handling much better than on many more expensive workstations but even by 1990, despite what IBM and Microsoft were telling us, running multi-tasking software was a better experience on any Amiga than trying it on a PS/2 running OS/2.

On television, the stand-alone blipvert never became a mainstream advertising form because (1) it was difficult, (2) as devices to stimulate demand in most cases they appeared not to work and (3) the networks anyway discouraged it but the idea was immensely influential as an element in longer advertisements and found another home in the emerging genre of the music video, the technique perfected by the early 1990s; it was these uses which saw the accepted duration reduced from three seconds to one.  To the MTV generation (and their descendents on YouTube and TikTok), three seconds became a long time and prolonged exposure to the technique presumably improved the ability of those viewers to interpret such messages although that may have been as the cost of reducing the attention span.  Both those propositions are substantially unproven although it does seem clear the “video content generations” do have a greater ability to decode and interpret imagery which is separate for any explanatory text.  That is of course stating the obvious; someone who reads much tends to become better at interpreting words than those who read little.  Still, the blipvert has survived, the advertising industry finding them especially effective if used as a “trigger” to reference a memory created by something earlier presented in some form and those who find them distasteful because they’re so often loud and brash just don’t get it; that’s the best way they’re effective.

Alex (Malcolm McDowell (b 1943)) being re-sensitised (blipvert by blipvert) in Stanley Kubrick's (1928-1999) file adaptation of A Clockwork Orange (1971).

The concept of the blipvert is sometimes attributed to US science fiction (SF) writer Joe Haldeman (b 1943) who described something close to the technique in his novel Mindbridge (1976) and it’s clearly (albeit in longer form) used in the deprogramming sessions in Anthony Burgess’s A Clockwork Orange (1962) but use predates both books.  In 1948, encouraged by their success in countering the Partito Comunista d'Italia (PCd'I; the Communist Party of Italy) in elections in the new Italian republic (the success achieved with a mix of bribery, propaganda, disinformation and some of the other tricks of electoral interference to which US politicians now so object when aimed at US polls), the newly formed US Central Intelligence Agency (CIA) turned their attentions to France where the perception of threat was even greater because the infiltration of the press, trade unions, universities, the military and many other organs of state was rife.  The US was well-placed to run effective propaganda campaigns because, uniquely in devastated, impoverished Europe, it could distribute the cubic money required to buy advertising space & airtime, employ cooperative journalists, trade union leaders & professors and even supply scarce commodities like newsprint and ink.  To try to avoid accusations of anything nefarious (and such suggestions were loud, frequent and often not without foundation) much of the activity was conducted as part of Marshall Plan Aid, the post-war recovery scheme with which the US revived post-war European economies with an injection of (what would in 2024 US$ terms) be something like US$182 billion.  As well as extensively publicizing the benefits of non-communist life compared with the lot of those behind the iron curtain, the CIA published books and other pieces by defectors from the Soviet Union.  One novelty of what quickly became an Anglo-American psychological operation (the British Political Warfare Executive (PWE) having honed successful techniques during wartime) was the use of 2-3 second blipverts spliced into film material supplied under the Marshall Plan.  The British were well aware the French were especially protective of what appeared in cinemas and would react unfavourably to blatant propaganda while they might treat something similar in print with little more than a superior, cynical smile.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

The blipvert is sometimes grouped with subliminal advertising and that’s convenient but they’re different both in practice and definitionally and the rule of thumb can be expressed as (1) if it can (briefly) be seen it’s a blipvert and (2) if it can’t be seen it’s subliminal.  No doubt media studies academics (of which there seem now to be many) could punch holes in that and cite a dozen or more exceptions but as a definition it at least hints in the right direction.  What subliminal advertising involves is the presentation of understandable information (which can be images, sound or text) at a level below the conscious awareness of the viewer, the idea being (unlike the confrontational blipvert) to bypass conscious perception.  The extent to which subliminal messaging is an effective way to influence consumer behaviour is debated (as is the notion of whether it’s manipulative and unethical) but the continued use of the technique in political campaigns does suggest that in that specialized field of consumer behaviour, there must be many convinced of the efficacy.  Certainly it appears to work although the less subtle forms are quickly deconstructed and critiqued, such as the sudden adoption in sports, almost as soon as tobacco advertising was banned, of color schemes triggering memories of cigarette packets.

A Marlboro Man lights up.  The "Marlboro 100s" in the gold & white pack were so-named because each stick was 100 mm (4 inch) long.

After some years of prevarication, in 2005 the European Union (EU) banned tobacco advertising “in the print media, on radio and over the internet” at the same prohibiting “tobacco sponsorship of cross-border cultural and sporting events”.  Making unlawful the promotion of a known carcinogen responsible over a lifetime of use for shortening lifespan (on average) by just under a decade sounds now uncontroversial but at the time it had been bitterly contested by industry.  Of interest to some was that despite the introduction of the laws being known for some two years, only couple of months earlier, Ferrari had signed a fifteen year, billion dollar sponsorship deal with Philip Morris, best known for their Marlboro cigarette and “Marlboro Man” advertising campaign which featured a variety of men photographed in outdoor settings, five of whom ultimately died of smoking-related diseases.

Variations on a theme of red & white.  Ferrari Formula One cars: F2007 (2007) in Marlboro livery (left), F10 (2010) with "bar code" (centre) and F14 (2014) in post bar-code scheme.

Ferrari’s lawyers took their fine-toothed legal combs to the problem and came up with a way to outsmart the eurocrats.  The Formula One (F1) cars Scuderia Ferrari ran began to appear in what had become the traditional red & white livery (the same combination used on Marlboro’s signature packets) but in the space where once had been displayed the Marlboro logo, there was instead a stylized “bar code”.  In response to a number of accusations (including many by those in the medical community) that the team was guilty of “backdoor advertising” of cigarettes, in 2008 a statement on the company website said it was “baffled”:

"Today and in recent weeks, articles have been published relating to the partnership contract between Scuderia Ferrari and Philip Morris International, questioning its legality.  These reports are based on two suppositions: that part of the graphics featured on the Formula 1 cars are reminiscent of the Marlboro logo and even that the red colour which is a traditional feature of our cars is a form of tobacco publicity.  Neither of these arguments have any scientific basis, as they rely on some alleged studies which have never been published in academic journals. But more importantly, they do not correspond to the truth.  "The so-called barcode is an integral part of the livery of the car and of all images coordinated by the Scuderia, as can be seen from the fact it is modified every year and, occasionally even during the season. Furthermore, if it was a case of advertising branding, Philip Morris would have to own a legal copyright on it.  "The partnership between Ferrari and Philip Morris is now only exploited in certain initiatives, such as factory visits, meetings with the drivers, merchandising products, all carried out fully within the laws of the various countries where these activities take place. There has been no logo or branding on the race cars since 2007, even in countries where local laws would still have permitted it.  The premise that simply looking at a red Ferrari can be a more effective means of publicity than a cigarette advertisement seems incredible: how should one assess the choice made by other Formula 1 teams to race a car with a predominantly red livery or to link the image of a driver to a sports car of the same colour? Maybe these companies also want to advertise smoking!  It should be pointed out that red has been the recognised colour for Italian racing cars since the very beginning of motor sport, at the start of the twentieth century: if there is an immediate association to be made, it is with our company rather than with our partner.”

When red & white was just the way Scuderia Ferrari painted their race cars: The lovely, delicate lines of the 1961 Ferrari Typo 156 (“sharknose”), built for Formula One's “voiturette” (1.5 litre) era (1961-1965), Richie Ginther (1930–1989), XXIII Grosser Preis von Deutschland (German Grand Prix), Nürburgring Nordschleife, August 1961.

The suggestion was of course that this was subliminal marketing (actually unlawful in the EU since the late 1950s) the mechanics being that Ferrari knew this would attract controversy and the story was that at speed, when the bar code was blurred, it resembled the Marlboro logo; racing cars do go fast but no evidence was ever produced to demonstrate the phenomenon happened in real world conditions, either when viewed at the tracks or in televised coverage.  It was possible using software to create a blurred version of the shape and there was a vague resemblance to the logo but that wasn’t the point, as a piece of subliminal marketing it worked because viewers had been told the bar code would in certain circumstances transform into a logo and even though it never did, the job was done because Marlboro was on the mind of many and doubtlessly more often than ever during the years when the logo actually appeared.  So, job done and done well, midway in the 2010 season, Ferrari dropped the “bar code”, issuing a press release: “By this we want to put an end to this ridiculous story and concentrate on more important things than on such groundless allegations.”

Brand

Brand (pronounced brand)

(1) The kind, grade, or make of a product or service, as indicated by a stamp, trademark, or such.

(2) A mark made by burning or otherwise, to indicate kind, grade, make, ownership (of both objects and certain animals) etc.

(3) A mark formerly put upon slaves or criminals, made on the skin with a hot iron.

(4) Any mark of disgrace; stigma.

(5) A kind or variety of something distinguished by some distinctive characteristic.

(6) A set of distinctive characteristics that establish a recognizable image or identity for a person or thing.

(7) A conflagration; a flame.  A burning or partly burned piece of wood (now rare except regionally although the idea of brand as “a flaming torch” still exists as a poetic device).  In the north of England & Scotland, a brand is a torch used for signalling. 

(8) A sword (archaic except as a literary or poetic device).

(9) In botany, a fungal disease of garden plants characterized by brown spots on the leaves, caused by the rust fungus Puccinia arenariae

(10) A male given name (the feminine name Brenda was of Scottish origin and was from the Old Norse brandr (literally “sword” or “torch”).

(11) To label or mark with or as if with a brand.

(12) To mark with disgrace or infamy; to stigmatize.

(13) Indelibly to impress (usually in the form “branded upon one’s mind”)

(14) To give a brand name to (in commerce including the recent “personal brand).

Pre 950: From the Middle English, from the Old English brond & brand (fire, flame, destruction by fire; firebrand, piece of burning wood, torch (and poetically “sword”, “long blade”) from the Old High German brant, the ultimate source the primitive Indo-European bhrenu- (to bubble forth; brew; spew forth; burn).  It was cognate with the Scots brand, the Dutch & German Brand, the Old Norse brandr, the Swedish brand (blaze, fire), the Icelandic brandur and the French brand of Germanic origin.  The Proto-Slavic gorěti (to burn) was a distant relation.  Brand is a noun & verb, brander is a noun, brandless is an adjective, branded is a verb and branding is a noun & verb; the noun plural is brands.  Forms (hyphenated and not) like de-brand, non-brand, mis-brand & re-brand are created as required and unusually for English, the form brander seems never to have been accompanied by the expected companion “brandee”.

Some work tirelessly on their “personal brand”, a term which has proliferated since social media gained critical mass.  Lindsay Lohan’s existence at some point probably transcended the notion of a personal brand and became an institution; the details no longer matter.

The verb brand dates from the turn of the fifteenth century in the sense of “to impress or burn a mark upon with a hot iron, cauterize; stigmatize” and originally described the marks imposed on criminal or cauterized wounds, the used developed from the noun.  The figurative use (often derogatory) of “fix a character of infamy upon” emerged in the mid-fifteenth century, based on the notion of the association with criminality.  The use to refer to a physical branding as a mark of ownership or quality dates from the 1580s and from this developed the familiar modern commercial (including “personal brands”) sense of “brand identity”, “brand recognition”, “brand-name” etc.  Property rights can also attach to brands, the idea of “brand-equity”.

Although it’s unknown just when the term “branding iron” (the (almost always) iron instrument which when heated burned brands into timber, animal hides etc) was first used (it was an ancient device), the earliest known citation dates only from 1828.  The “mark made by a hot iron” was older and in use since at least the 1550s, noted especially of casks and barrels”, the marks indicating variously the maker, the type of contents, the date (of laying down etc) or the claimed quality..  By the early-mid nineteenth century the meaning had broadened to emphasise “a particular make of goods”, divorced from a particular single item and the term “brand-name” appears first to have been used in 1889, something significant in the development of the valuable commodity of “brand-loyalty” although that seems not to have been an acknowledged concept in marketing until 1961.  The idea of “brand new” is based on the (not always accurate) notion a brand was the last thing to be applied to a product before it left the factory.

BMC ADO16 brands, clockwise from top left: Wolseley 1300, Riley Kestrel 1300, MG 1300, Austin 1300 GT, Morris 1100 and Vanden Plas Princess 1300.  The British Motor Corporation's (BMC) ADO16 (Austin Drawing Office design 16) was produced between 1962-1974 and was a great success domestically and in many export markets, more than two million sold in 1.1 & 1.3 litre form.  The Austin & Morris brands made up the bulk of the production but versions by Wolseley, Riley, MG & Vanden Plas versions were at various times available.  All were almost identically mechanically with the brand differentiation restricted to the interior trim and the frontal panels.  This was the high (or low) point of the UK industry's “badge engineering”.  The abbreviation ADO is still sometimes said to stand for “Amalgamated Drawing Office”, a reference to the 1952 creation of BMC when the Austin & Morris design & engineering resources were pooled.  Like many such events subsequently, the amalgamation was more a “takeover” than a “merger” and the adoption of “Austin Drawing Office” reflected the priorities and loyalties of Leonard Lord (later Lord Lambury, 1896–1967), the former chairman of Austin who was appointed to head the conglomerate.  The appearance of “Amalgamated Drawing Office” appears to be a creation of the internet age, the mistake still circulating.

Since the beginnings of mass-production made possible by powered industrial processes and the ability to distribute manufactured stuff world-wide, brand-names have become (1) more prevalent and (2) not of necessity as distinctive as once they were.  Historically, in commerce, a brand was an indication of something unique but as corporations became conglomerates they tended to accumulate brands (sometimes with no other purpose than ceasing production in order to eliminate competition) and over time, it was often tempting to reduce costs by ceasing separate development and simply applying a brand to an existing line, hoping the brand loyalty would be sufficient to overlook the cynicism.  The British car manufactures in the 1950s use the idea to maintain brand presence without the expense of developing unique products and while originally some brand identity was maintained with the use of unique mechanical components or coachwork while using a common platform, by the late 1960s the system had descended to what came to be called “badge engineering”, essentially identical products sold under various brand-names, the differences restricted to minor variations in trim and, of course, the badge.

Australia Day vs Invasion Day: The case for a re-brand

Although it came to be known as “Australia’s national day” and in some form or other had been celebrated or at last marked since the early nineteenth century, as a large-scale celebration (with much flag waving) it has been a thing only since the 1988 bi-centennial of white settlement.  What the day commemorated was the arrival in 1788 in what is now Sydney of the so-called “First Fleet” of British settlers, the raising of the Union Flag the first event of legal significance in what ultimately became the claiming of the continental land-mass by the British crown.  Had that land been uninhabited, things good and bad would anyway have happened but in 1788, what became the Commonwealth of Australia was home to the descendants of peoples who had been in continuous occupation sine first arriving up to 50,000 years earlier (claims the history extends a further 10,000 remain unsupported by archaeological evidence); conflict was inevitable and conflict there was, the colonial project a violent and bloody business, something the contemporary records make clear was well understood at the time but which really entered modern consciousness only in recent decades.

What the colonial authorities did was invoke the legal principle of terra nullius (from the Latin terra nūllīus (literally “nobody's land”)) which does not mean “land inhabited by nobody” but “land not owned by anyone”.  The rational for that was the view the local population had no concept of land “ownership” and certainly no “records” or “title deeds” as they would be understood in English law.  Given that, not only did the various tribes not own the land but they had no system under which they could own land; thus the place could be declared terra nullis.  Of late, some have devoted much energy to justifying all that on the basis of “prevailing standards” and “accepted law” but even at the time there were those in London who were appalled at what was clearly theft on a grand scale, understanding that even if the indigenous population didn’t understand their connection to the land and seas as “ownership” as the concept was understood in the West, what was undeniable by the 1830s when the doctrine of terra nullius was formally interpolated into colonial law was that those tribes understood what “belonged” to them and what “belonged” to other tribes.  That’s not to suggest it was a wholly peaceful culture, just that borders existed and were understood, even if sometimes transgressed.  Thus the notion that 26 January should better be understood as “Invasion Day” and what is more appropriate than a celebration of a blood-soaked expropriation of a continent is there should be a treaty between the colonial power (and few doubt that is now the Australian government) and the descendants of the conquered tribes, now classified as “first nations”.  Although the High Court of Australia in 1992 overturned the doctrine of terra nullius when it was recognized that in certain circumstances the indigenous peoples could enjoy concurrent property rights to land with which they could demonstrate a continuing connection, this did not dilute national sovereignty nor in any way construct the legal framework for a treaty (or treaties).

The recognition that white settlement was an inherently racist project based on theft is said by some to be a recent revelation but there are documents of the colonial era (in Australia and elsewhere in the European colonial empires) which suggest there were many who operated on a “we stole it fair and square” basis and many at the time probably would not have demurred from the view 26 January 1788 was “Invasion Day” and that while it took a long time, ultimately that invasion succeeded.  Of course, elsewhere in the British Empire, other invasions also proved (militarily) successful but usually these conflicts culminated in a treaty, however imperfect may have the process and certainly the consequences.  In Australia, it does seem there is now a recognition that wrong was done and a treaty is the way to offer redress.  That of course is a challenging path because, (1) as the term “first nations” implies, there may need to be dozens (or even hundreds according to the count of some anthropologists) of treaties and (2) the result will need to preserve the indivisible sovereignty of the Commonwealth of Australia, something which will be unpalatable to the most uncompromising of the activists because it means that whatever the outcome, it will still be mapped onto the colonial model.

As the recent, decisive defeat of a referendum (which would have created an constitutionally entrenched Indigenous advisory body) confirmed, anything involving these matters is contentious and while there are a number of model frameworks which could be the basis for negotiating treaties, the negotiating positions which will emerge as “the problems” are those of the most extreme 1% (or some small number) of activists whose political positions (and often incomes) necessitate an uncompromising stance.  Indeed, whatever the outcome, it’s probably illusory to imagine anything can be solved because there are careers which depend on there being no solution and it’s hard to envisage any government will be prepared to stake scare political capital on a venture which threatens much punishment and promises little reward.  More likely is a strategy of kicking the can down the road while pretending to be making progress; many committees and boards of enquiry are likely to be in our future and, this being a colonial problem, the most likely diversion on that road will be a colonial fix.

One obvious colonial fix would be a double re-branding exercise.  The New Year’s Day public holiday could be shifted from 1 January to December 31 and re-branded “New Year’s Eve Holiday”, about the only practical change being that instead of the drinking starting in the evening it can begin early in the day (which for many it doubtless anyway does).  Australia Day could then be marked on 1 January and could be re-branded to “Constitution Day” although given the history that too might be found objectionable.  Still, the date is appropriate because it was on 1 January 1901 the country and constitution came into existence as a consequence of an act of the Imperial Parliament, subsequently validated by the parliament of the Commonwealth of Australia (an institution created by the London statute).  It’s the obvious date to choose because that was the point of origin of the sovereign state although in the narrow technical sense, true sovereignty was attained only in steps (such as the Statute of Westminster (1931)), the process not complete until simultaneously both parliaments passed their respective Australia Acts (1986).  The second re-branding would be to call 26 January “Treaty Day” although the actual date is less important than the symbolism of the name and Treaty Day could be nominated as the day on which a treaty between the First Nations and the Commonwealth could be signed.  The trick would be only to name 26 January as the date of the signing, the year a function of whenever the treaty negotiations are complete.  The charm of this approach is the can can be kicked down the road for the foreseeable future.  Any colonial administrator under the Raj would have recognized this fix.

Cameo

Cameo (pronounced kam-ee-oh)

(1) A technique of engraving upon a gem or other stone, as onyx, in such a way that an underlying stone of one color is exposed as a background for a low-relief design of another color.

(2) A gem or other stone so engraved; a medallion, as on a brooch or ring, with a profile head carved in relief

(3) A literary sketch, small dramatic scene, or the like, that effectively presents or depicts its subject.

(4) As "cameo, "cameo role" or "cameo appearance", a minor part played by a prominent performer in a single scene of a production, originally un-credited yet deliberately obvious (a la Alfred Hitchcock (1899–1980)).  In modern use, the sense has extended to any brief appearance, credited or not.

(5) In commercial use, a color of creamy neutral ivory, the name an allusion to the hue most associated with the jewelry.

(6) The industry slang for "cameo lighting", a technique used on stage or set usually by restricting the output of a spotlight to a narrower beam and the reverse effect of "silhouette lighting" (a complementary chiaroscuro technique).  

1375–1425: From the Italian cam(m)eo from the Old French camaieu, of uncertain origin; replacing late Middle English camew & cameu both direct borrowings from the Old French.  The ultimate root is held usually to be the Medieval Latin cammaeus (later camaeus), of unknown origin but both the Arabic qamaa'il (flower buds) and the Persian chumahan (agate) have been suggested as the source.  Cameo is a noun & verb and cameoed & cameoing are verbs; the noun plural is cameos or cameoes.

In the early fifteenth century, kaadmaheu, camew, chamehieux and many other spellings, all from the early thirteenth century in Anglo-Latin circulated, all meaning "engraving in relief upon a precious stone with two layers of colors" (such as onyx, agate, or shell and done so as to utilize the effect of the colors).  These fell soon from use as the words derived from the Medieval Latin cammaeus and the Old French camaieu prevailed.  By the nineteenth century, use extended to other raised, carved work on a miniature scale.  The transferred sense of "small character or part that stands out from other minor parts" in a plays etc is from 1928, a derivation from the earlier meaning "short literary sketch or portrait", first noted in 1851, a transferred sense from cameo silhouettes.  A cameotype was a small, vignette daguerreotype mounted in a jeweled setting, the first examples of which were produced in 1864.

Cameo & Silhouette

A classic, simple silhouette (left), a nineteenth century hardstone cameo in 18 karat yellow gold in the mid-nineteenth century Etruscan Revival style (centre) and a  silhouette with the detailing which became popular in the late 1700s (right).

As artistic representations, there's obviously some overlap between a silhouette and a cameo but they are different forms.  A silhouette is inherently a two dimensional rendering of a shape (typically a portrait but they can be of any scene or object) which classically were simple and of a solid colour (usually black) on a contrasting (usually white or cream) background.  Originally, there was no detailing of features but that soon became common.  Silhouette portraits were highly popular in the eighteenth & nineteenth centuries and the form was especially popular with untrained (indeed unskilled) amateurs because of the cheapness and simplicity of the form, a finished work requiring little more than two sheets of paper (black & white), a pair of scissors and a pot of glue.  A cameo differs in that it is three-dimensional, an embossed or raised piece, usually in relief.  The most prized antique cameos are those engraved on semi-precious gemstones, agate, forms of onyx, shells and lava but in modern use synthetic materials are not uncommon and, being small and able to be rendered in a single piece, can be 3D printed although the quality of these doesn’t (yet) match something hand-carved.

Cameo.com

Launched in March 2017, cameo.com is a US-based distribution & content-sharing website, its niche being a platform on which celebrities and others can sell personalized video messages to fans or anyone else prepared to pay, the site claiming more than thirty-thousand sources are available.  The price per clip is said to extend from US$5 to US$3000 and operates as a dynamic supply and demand curve, the price said to rise or fall in response to elasticity in demand, all determined by an AI algorithm which is predictive (able to anticipate a rise in demand and adjust prices accordingly).

For US$400 (or US$20 for a DM), one can receive a personalized video message from Lindsay Lohan.  The service limits the text to two-hundred and fifty (250) characters so economy of language is encouraged.  The client is able to request the theme and possible topics might include relationship counselling, fashion advice, career management & international relations.  In most cases, it seems not necessary to approach this with undue urgency, many of the celebrities available on Cameo.com "for a limited time!" have been listed for some years.

Lindsay Lohan at the Mean Girls (2024) premiere, New York, January 2024.

Lindsay Lohan’s cameo in the 2024 (musical) re-make of Mean Girls (2004) attracted comment for a number of reasons but what most impressed many was the fee, reported by entertainment industry magazine Variety as US$500,000.  While that sum is unverified, what has been confirmed is that her cameo (in the math competition scene) required four hours on set; given the simplicity of the math, Variety didn’t bother printing its calculation of the hourly rate but given the 2004 production was shot over three months for which Ms Lohan was paid a reputed US$1 million, it’s clear inflation alone doesn’t account for the differential.  Still, any commodity is worth only what a buyer is prepared to pay and it’s a specialized supply & demand curve because there’s only one Lindsay Lohan.

Parvenu

Parvenu (pahr-vuh-noo or pahr-vuh-nyoo)

(1) A person who has recently or suddenly acquired wealth, importance, position or the like, but has not yet developed or acquired the conventionally appropriate manners, dress, surroundings etc.

(2) Being or resembling a parvenu; characteristic of a parvenu.

1802: From the from French parvenu (said of an obscure fellow (often from "the provinces") who has made a great fortune), noun use of the past participle of the twelfth century parvenir (to arrive), from the Latin pervenire (to come up, arrive, attain) the construct being per- (through) from the primitive Indo-European root per- (forward (thus “through")) + venire (to come) from a suffixed form of primitive Indo-European root gwa- (to go, come).  Parvenu has been used as an adjective since 1828.  In the French, parvenue is the feminine form; parvenu/parvenue is one of the few words in English with two forms distinguished according to gender although, in the anyway rare use, the masculine form, incorrect or not, is almost universal.  Parvenu is a noun & adjective and parvenudom, parvenuess & parvenuism are nouns; the noun plural is parvenus.  One imagines the adjective parvenuistic & adverb parvenuistically might be handy but no dictionaries list them as standard forms.

Parvenu dream house, land & BMW package.  Package deals where certain "appropriate" items are included with the property are now not uncommon.

Parvenu and the more recent Australian invention CUB (cashed up bogan) do seem to mean much the same thing and there’s certainly some overlap but there are nuances.  Both refer to those who have recently and suddenly become richer yet lack the cultural and social skills to match what is typically expected of those with wealth.  However, conventions of use seem to suggest while a parvenu tends to come from the middle-class and is often an employee, a CUB is quintessentially from the trades and will likely be self-employed.  The parvenu will drive an Audi, the CUB a pickup truck which by any standards will, to many, seem huge.

The parvenu and the CUB are terms laden with classism.  The idea is of those newly arisen (ie the nouveau riche), especially if by some accident or luck or circumstances, being thought by those already there not worthy of their new assertion of status and despised for their attempts to persuade, the sort of people David Lloyd George (1863–1945; UK Prime Minister 1916-1922), speaking of his Liberal Party colleagues, called “jumped-up grocers”.  The CUB by comparison is stereotypically unaware of or indifferent to the conventions of polite society and, content with materialism, makes little attempt socially to climb; should they take up golf, it's because they want to play the game, not just to belong to the "right club".  That means they’re despised for other reasons; multiple huge televisions in vulgar houses thought not tasteful, hence the view it’s just appalling for such people to have money because they have not the taste to know how it should be spent.  Snobs then, especially the poorer ones, look down on the nouveau riche while the pragmatic tend often not to worry so much about the "nouveau" as long as the "riche" is enough.  As a social stratum, CUB has proved most useful for snobs because, unlike the English equivalent chav, there’s no linkage with ethnicity and thus no disapprobation visited upon those who apply the label, classism apparently not yet a suspect category among the woke.

The "Mean Girls" house.

Listed by RE/MAX Realtreon Barry Cohen Homes Inc, an ideal house for a parvenu has re-appeared on the market, made more desirable still by having a pop-culture pedigree, being the home of Regina George (Rachel McAdams (b 1978)) in Mean Girls (2004).  Located in one of Toronto’s exclusive Bridle Path neighbourhood, the mansion has a total floor exceeding 18,000 square feet (1700 m³) and in configured with 13 bedrooms & 14 bathrooms;  it would thus suit a large family or a couple with many friends who like to visit.  Sited on a private, gated estate, the property covers two acres (.8 hectares) and includes staff quarters and a detached coach house with its own guest suite.  Obviously big by domestic standards, it has appeared on the marked on a number of occasions over the last decade, offered for CND$14.8m in 2015 and not selling, despite a price cut of CND$2m some months later.  It re-appeared in 2022, advertised at what was clearly an ambitious CND$27m, soon discounted to CND$23.8m, shortly raised by CND$100K.  In 2024, the asking price is CND$19,995,000 (US$14.95m) and for that the buyer will get desirable features like cathedral ceilings and a twin “Scarlett O'Hara” staircase, similar in scale to the one some wedding venues use for photographs with the train of the bridal grown cascading down the treads.  For those who focus on practicalities, the main bedroom’s walk-in closet is said to be bigger than many Toronto apartments and thus able to accommodate all but the most extravagant collectors of shoes and handbags while the garage can handle six cars, the driveway able comfortably to offer parking to another 20.  Potential parvenu purchasers should run the numbers: annual running costs (excluding utilities but including insurance, taxes and staff costs) would exceed CND$220,000.