Video

Video (pronounced vid-ee-oh)

(1) A visual product (usually moving images), with or without audio, saved on some form of playable media.

(2) The visual element (film, television etc), as in a program or script, pertaining to the transmission or reception of the image (as distinct from audio).

(3) The visual component of any transmission.

(4) Of or relating to the electronic apparatus for producing the television pictures; of or relating to television, especially the visual elements.

(5) A clipping of video cassette or video cassette recorder (VCR).

1935: From the Latin video (I see), first person singular present indicative of vidēre (to see), on the model of “Audio”, thus the appended –o.  The adjective came into use in 1935 (as the visual equivalent of audio) while the noun in the sense of “that which is displayed on a television screen” dates from the early British Broadcasting Corporation (BBC) transmissions in 1937; the early form used by the technical staff was “video transmission” echoing “audio transmission” in radio.  The first known instance of “videogame” in print dates from 1973 although by then consumer products have been available for some eighteen months and it’s possible that among developers or users, the term had earlier been in use.  Whereas all audio (tapes, clips, grabs etc) contain exclusively sound, a quirk of video media is that most contain both visual and audio content; in practice, this cause no confusion because the conventions are well-understood.  Other conventions have also evolved.  Movie obviously has some overlap with video a some long-form commercial product (such as the typical feature film) would always be described as a “movie” or a “film” rather than a video bit if the same thing exists on tape or optical media, it will often be called a “video”, especially if on tape (videotape the generic term).  In an optical disc it’s more likely to be called a DVD, a product which in 1995 actually began life as the “Digital Video Disc” but was soon renamed “Digital Versatile Disc” because the eight-fold increase in capacity compared to the CD (Compact Disc) meant they were a convenient low-cost storage option in computing.  Even discs in the more recent Blu-Ray optical format appear often to be called “DVDs” at the consumer level, an indication Blu-Ray came too late to gain critical mass as the industry switched to streaming and weightless distribution to static libraries.  The videocassette (more often used as video + cassette) seems first to have been mentioned in patent application documents in 1970, the Videocassette recorder (VCR) first available at the consumer level in 1971.

Many of the futurists who predicted something like the internet got much right but few predicted the upload aspect of sites like YouTube and TikTok, the conjunction of a high percentage of the population enjoying both the possession of a video camera and access to bandwidth meaning that within years there were billions of content providors, many of whom found an audience.  Such videos are rarely called “movies” and are described variously with terms like “videos”, “clips”, “vids” or “shorts”.  Modifiers have been applied to “video” to created whatever meaning is needed including direct-to-video, full-motion video, home video, martyrdom video, video arcade, video camera, video clip, video conference, video game, video journalism, video nasty, videographer, video-jockey, videotape and videogram.  Video is a noun, verb & adjective, videoing & videoed are verbs; the noun plural is videos or videmus.  The plural videmus (the first-person plural form of the Latin verb) is rare and used usually for humorous effect.

Video meliora, proboque, deteriora sequor

The Latin phrase video meliora, proboque, deteriora sequor is from the Roman Poet Ovid’s (Publius Ovidius Naso; 43 BC–17 AD) Metamorphoses, appearing in a passage in which Medea acknowledges her obligations towards her father and her homeland but decides anyway to desert her people and run off with Jason.  Poets and others have since used the words to refer to those who know right from wrong and choose to do wrong, the purpose to illustrate either human weakness or immorality.  In English, the best known of the authors who cited the phrase are the worthy John Locke (1632–1704) and deliciously wicked Thomas Hobbes (1588–1679) and earlier, Saint Augustine of Hippo (354–430) couldn’t resist, noting “he sees what the rectitude of actions requires and he wants it and is unable to do it”, something on which he may have reflected when writing in Confessiones (Confessions (397-400)) of his prayer to God: “Oh, Master, make me chaste and celibate - but not yet!”

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

Video meliora, proboque, deteriora sequor appears in The Wise Virgins, the second novel published by Leonard Woolf (1880–1969) and a work which until re-published a decade after his death was neglected and tended to be assessed only as the catalyst for what proved the worst of the breakdowns suffered by his wife, the novelist Virginia Woolf (née Stephen; 1882–1941).  The book was released two years after their marriage and the first drafts had been begun during the honeymoon in Spain; something which over the year has drawn the odd wry comment.  The autobiographical elements were undisguised, the subjects the two newly-wed protagonists and a supporting cast drawn from the Bloomsbury set and although for decades dismissed, it’s regarded now as an engaging satire of the last days of the pre-1914 world of English society.  For the modern reader, it’s a compelling tragedy, a tale of someone who attempts to escape society’s conventions but through his own weakness of character finds himself trapped in that very world.

Leonard and Virginia Woolf, a photographic postcard, Dalingridge Place, West Hoathly, Sussex, 23 July 1912.

Commercially, The Wise Virgins was a failure and Leonard Woolf took the opportunity to blame the unfortunate timing of publication: “The war killed it dead” he recorded in his autobiography, not bothering to list the work in the index.  There’s long been the idea he wasn’t unhappy to see it buried; Virginia Woolf read The Wise Virgins three months after publication and although with the bloodless austerity of a don she noted in her diary that the work was “very good in some ways and very bad in others”, within a fortnight she descended into what would prove the worst of her many breakdowns and the only one, feminist critics like to mention, during which she rejected her husband, refusing for some two months to see him.  Virginia Woolf's own works, including her two fictional portraits based on him are more sympathetic to his memory, his character in The Wise Virgins perhaps a portrait of what he imagined he might have been had he not repressed his worse impulses and certainly, Leonard Woolf’s reputation has not suffered like that of Ted Hughes (1930–1998; Poet Laureate 1984-2008) after the suicide of his wife Sylvia Path (1932-1963).  As with many a roman-à-clef, one must always be conscious that much is fiction but it’s a tale of the fate of another flawed man and the quote from Ovid is not misplaced.

Flibbertigibbet

Flibbertigibbet (pronounced flib-er-tee-jib-it)

(1) A chattering or flighty, light-headed person.

(2) Someone who gossips (archaic)

(3) An imp; a fiend or goblin (archaic).

1440-1450: From the late Middle English flepergebet or flipergebet; a reduplicative compound of obscure origin thought almost certainly imitative of idle chatter and as a "nonsense word" meant to sound like fast talking, it was long applied only to women.  As the name of a devil or fiend it dates from circa 1600 (along with Frateretto, Hoberdidance & Tocobatto) and until the eighteenth century, more than a dozen alternative spellings existed although most were doubtlessly mere mistakes.  Although no etymologists appear to support the noting it might be an alternative source, many note the alteration of flibbergib (toady, sycophant) which could have been from the Old Norse fleipra-geipa(re) (babbler of nonsense). The construct of the wholly hypothetical Old Norse term would have been fleipra (a variant of fleipa (to babble, tattle)) + geipa (to talk nonsense, to boast) or geipare (one who speaks nonsense, a braggart).  Fleipa was the source of the "flip-" element in the English flippant; the original meaning of flibbergib was “chatterer”.  The alternative spelling is flibberty-gibbet.  Flibbertigibbet is a noun and flibbertigibbety & flibbertigibbish are (potentially useful) adjectives; the noun plural is flibbertigibbets.  There's no record of an adverb.

Shakespeare, language and respectability

All etymologists list flibbertigibbet as a pseudo-compound.  A compound is a word or word group made up from two or more parts that work together as a unit to express a specific concept whereas a pseudo-compound is a word which merely looks like it is a compound but, even if built from real words, the final meaning bears no relationship to the components.  Flibbertigibbet is simply an imitation of meaningless or babbling speech and it’s had many different spellings over the centuries, the Oxford English Dictionary (OED) listing fifteen, noting fibbergib is likely the original.  An overarching influence in the meaning was the patriarchy; although structurally gender-neutral, it was for centuries an exclusively feminine form, the linguistic paradigm apparently unable to conceive that boys and men could be flighty, scatter-brained chatterers.  The earliest known use dates from around 1450 as fleper-gebet and, about a century later, it was a respectable enough term for Bishop Hugh Latimer (circa 1487–1555) to use it in a sermon delivered before Edward VI (1537–1553; King of England and Ireland 1547-1553), though he wrote it as flybbergybe.

David Garrick (1717–1779) in the character of King Lear (Shakespeare, King Lear, Act III, Scene 1).  An engraving (1761) by James McArdell (1729–1765) following Benjamin Wilson (1721–1788), Metropolitan Museum of Art, New York.

It was the influence of William Shakespeare (1564–1616) which standardized the current spelling as flibbertigibbet, if not the meaning.  In King Lear (circa 1605) it’s the name of one of five fiends possessing Edgar and in this sense was used also to describe Puck, the mischievous fairy in A Midsummer Night’s Dream (circa 1595).  Sir Walter Scott (1771–1832) would later use Flibbertigibbet as the name of an impetuous urchin child in his novel Kenilworth (1821).  As a device, flibbertigibbet was said to be "imitative of meaningless or babbling speech" but when technology made audio recording possible, sound engineers found the word "rhubarb" repeated in rapid sequence by as few as four people with different voice tones almost exactly replicated background conversation and it was possible to create the illusion of a handful of people or dozens just by adjusting the volume.

A most respectable actor: Lindsay Lohan on stage in Speed-the-Plow (1998) by David Mamet (b 1947), London, October 2014.  Actors today owe a debt to David Garrick because he was the one who made being a thespian something respectable.

Shakespeare's influence on language, the stage and the structure of performance is well known but some of those who built or enhanced their reputations performing or interpreting his work also left their mark.  Although Garrick's work as a playwright has never been highly regarded, as a producer and theatre manager it was his innovations which transformed theatre in both England, Europe and ultimately North America.  It was Garrick who more than any other who was responsible for making a career on the stage, if not entirely respectable in the eyes of "the better classes", at least no longer disreputable.  In something which would have been remarkable only a generation or two earlier, his funeral was conducted at Westminster Abbey and he was buried in Poets' Corner.  London's (still exclusively male) Garrick Club is named after him and it retains a membership which includes many theatrical types.

Feminism

Feminism (pronounced fem-uh-niz-uhm)

(1) A doctrine advocating social, political, and all other rights of women equal to those of men.

(2) In both its structured and ad hoc forms, a movement for the attainment of such rights for women (sometimes used with initial capital letter).

(3) Feminine character (obsolete except for historic references).

1851: From the French féminisme, ultimately from the Classical Latin fēminīnus, the construct being the Latin fēmina (woman) + ism.  The first known use in French dates from 1837.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  It seems first to have been used in in English in 1851, originally as a neutral term meaning "the state of being feminine".  The sense of "advocacy of women's rights" began in 1895 ("political feminism" often traced from here although given the history that is misleading) and the word came soon to be used as a "loaded" descriptor of the female character, a kind of informal measure of the patriarchal view of femininity, often in criticism of artistic performance or literature.  Feminism & feminist are nouns, feministic is an adjective and feministically is an adverb; the most common noun plural is feminists but given the proliferation of terms created with modifiers, feminisms are often referenced even if the word is not used.  So productive has the word feminism proved that there are literally more than a hundred derived forms including the:  geographical (Afro-feminism; Euro-feminism), political (anarcho-feministic, radical feminism), humorous (femocrat; femnazi), structural (post-feminism; lipstick feminism; postmodern feminism) and contested (male-feminism; trans-feminism).

Feminism is a widely used word with an accepted definitional range but there’s no universal understanding pattern of use and, like words such as “academic” or “liberal”, the meaning conveyed widely can vary, the senses ranging from the chauvinistically aggressive to the contemptuous.  That of course transfers to “feminist” which while procedural as an adjective (relating to or in accordance with feminism), as a noun it really means what the user wants it to mean because it’s not like many other “–ist” creations (physicist, scientist et al) which are understood as simple descriptors.  Even “artist” is uncontroversial at the linguistic level (one who creates what they claim to be art) although whether what they produce can be considered “art” might be disputed.  The -ist suffix was from the Middle English -ist & -iste, from the Old French -iste and the Latin -ista, from the Ancient Greek -ιστής (-istḗs), from -ίζω (-ízō) (the -ize & -ise verbal suffix) and -τής (-tḗs) (the agent-noun suffix).  It was added to nouns to denote various senses of association such as (1) a person who studies or practices a particular discipline, (2), one who uses a device of some kind, (3) one who engages in a particular type of activity, (4) one who suffers from a specific condition or syndrome, (5) one who subscribes to a particular theological doctrine or religious denomination, (6) one who has a certain ideology or set of beliefs, (7) one who owns or manages something and (8), a person who holds very particular views (often applied to those thought most offensive).  Feminists have noted the issue, the journalist & author Rebecca West (1892–1983) once remarking: “I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat or prostitute.” 

Waves

The notion of feminism being not a fixed manifesto but a process in incremental waves is from a 1968 piece in the New York Times Magazine by writer Martha Lear (b 1932).  The context was to note the appearance a decade earlier of second-wave feminism, focusing now on unofficial inequalities, unlike the first wave which was essentially structuralist.  While lineal, there’s overlap between the waves and, in both popular culture and academia, some resistance to change.  Whatever it’s other implications, feminism needs to be considered a political construct and it operates, a does politics, through cross-cutting cleavages; in the same way the formation of the G8 (the Group of 8, an assembly of advanced industrial economies created when Russia was added to the G7) didn’t mean the G7 ceased to exist, the successive waves in feminism both absorbed and operated in parallel with earlier waves.

First-wave feminism (1895-1950s): In this “de jure” period, focus was on legal issues such as women's suffrage, property rights and political candidacy.

Second-wave feminism (1960s-1980s): Even before equality in legal rights was wholly achieved, the movement broadened the debate to include sexuality, family, the workplace, reproductive rights and other de facto inequalities. Attention to first-wave issues focused on child custody and divorce law.

Third-wave feminism (1990-2000s): Although there were cultural links, the intellectual origins of 3WF lie in an article by feminist Rebecca Walker in 1992 and although never exactly defined, it was said to emphasis an interest in individualism and diversity (which hadn't yet become DEI (diversity, equity and inclusion)).  Controversial even at the time, with strains of libertarianism now competing with the historic collectivist model, it sought to change the parameters of feminism.

Fourth-wave feminism (circa 2010-):  Regarded as a least partially technologically deterministic, 4WF is thought to have emerged circa 2008-2012 as social media gained critical mass.  It focuses on intersectionality and examines the interconnected systems of power that maintain the marginalized of certain groups in society.  4WF advocates for greater representation of these groups in all places within the power-elite, arguing equality for women will become possible only if policies and practices incorporate all groups.  Some have suggested the need for a 5WF but no coherent work has been published.

Fourth wave feminist: Lindsay Lohan images from a photoshoot by Terry Richardson (b 1965) for Love Magazine, 2012.

Sapphism

Sapphism (pronounced saf-iz-uhm)

A less frequently used word for lesbianism; often in poetic or literary use.

1885-1890: Named after Sappho (Ψάπφω Psáppho in the Aeolic Greek) (circa 630-570 BC), a poet of the isle of Lesbos, the construct being Sapph(o) + -ism.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Sapphism & sapphist are nouns and sapphic is a noun & adjective; the noun plural is sapphists.  Sapphistry is a quasi-jocular literary term meaning "a seductive style said to be associated with women writing for a female audience" and presumably modelled on "sophistry".  Sapphistry is said to differ from "chick-lit" (an often derogatory (or at least dismissive) term describing literature aimed at younger women which focuses on the dilemmas of post second-wave feminism romance) in that it contains at least hints of the lesbionic.

Sappho

Remembered for her lyric poetry, Sappho lived on the Greek island of Lesbos, from which is derived the word lesbian, the meaning of which has shifted over time.  Prior to the late nineteenth century, it was used to describe things of or relating to the island, including a local wine.  First extended by poets and critics in the 1870s to allude to erotic relationships between women, it entered medical literature in the 1890s, gradually supplanting sapphist and sapphism and become the standard descriptor early in the twentieth century.

American Sapphic, Lindsay Lohan & former special friend Samantha Ronson by Ben Tegel after American Gothic (1930) by Grant Wood (1891-1942).

Sappho is known to written thousands of lines, but for the complete Ode to Aphrodite, only fragments survive, some discovered as recently as 2014.  The poetry has been influential for two millennia, during which it has been read by critics searching for hints of Sappho’s own sexuality, their judgements colored often by the social mores prevailing at the time.  Surviving mostly in fragmentary pieces, Sappho's text is often a challenge for translators who face having to render verse into English when it can't be certain what a word in the original actually meant, one smudged letter shifting a meaning or disguising whether it be verb or noun.  Translators' notes are thus helpful.

Sappho And Erinna In A Garden At Mytilene, (1864) by Simeon Solomon (1840-1905) watercolour on paper, Tate Britain.

Ode to Aphrodite by Sappho

Aphrodite, subtle of soul and deathless,

Daughter of God, weaver of wiles, I pray thee

Neither with care, dread Mistress, nor with anguish,

            Slay thou my spirit!

But in pity hasten, come now if ever

From afar of old when my voice implored thee,

Thou hast deigned to listen, leaving the golden

            House of thy father

With thy chariot yoked; and with doves that drew thee,

Fair and fleet around the dark earth from heaven,

Dipping vibrant wings down he azure distance,

            Through the mid-ether;

Very swift they came; and thou, gracious Vision,

Leaned with face that smiled in immortal beauty,

Leaned to me and asked, "What misfortune threatened?

            Why I had called thee?"

"What my frenzied heart craved in utter yearning,

Whom its wild desire would persuade to passion?

What disdainful charms, madly worshipped, slight thee?

            Who wrongs thee, Sappho?"

"She that fain would fly, she shall quickly follow,

She that now rejects, yet with gifts shall woo thee,

She that heeds thee not, soon shall love to madness,

            Love thee, the loth one!"

Come to me now thus, Goddess, and release me

From distress and pain; and all my distracted

Heart would seek, do thou, once again fulfilling,

            Still be my ally!

Club

Club (pronounced kluhb)

(1) A heavy stick, usually thicker at one end than at the other, suitable for use as a weapon; a cudgel.

(2) A group of persons organized for a social, literary, athletic, political, or other purpose.

(3) The building or rooms occupied by such a group.

(4) An organization that offers its subscribers certain benefits, as discounts, bonuses, or interest, in return for regular purchases or payments.

(5) In sport, a stick or bat used to drive a ball in various games, as golf.

(6) A nightclub, especially one in which people dance to popular music, drink, and socialize.

(7) A black trefoil-shaped figure on a playing card.

(8) To beat with or as with a club.

(9) To gather or form into a club-like mass.

(10) To contribute as one's share toward a joint expense; make up by joint contribution (often followed by up or together).

(11) To defray by proportional shares.

(12) To combine or join together, as for a common purpose.

(13) In nautical, use, to drift in a current with an anchor, usually rigged with a spring, dragging or dangling to reduce speed.

(14) In casual military use, in the maneuvering of troops, blunders in command whereby troops get into a position from which they cannot extricate themselves by ordinary tactics.

(15) In zoological anatomy, a body part near the tail of some dinosaurs and mammals

(16) In mathematical logic and set theory, a subset of a limit ordinal which is closed under the order topology, and is unbounded relative to the limit ordinal.

(17) In axiomatic set theory, a set of combinatorial principles that are a weaker version of the corresponding diamond principle.

(18) A birth defect where one or both feet are rotated inwards and downward.

1175-1225: From the Middle English clubbe, derived from the Old Norse klubba (club or cudgel) akin to clump, from Old English clympre (lump of metal) related to the Middle High German klumpe (group of trees).  The Proto-Germanic klumbon was also related to clump.  Old English words for this were sagol and cycgel.  The Danish klőver and Dutch klaver (a club at cards) is literally "a clover."  Ultimate root is the classical Latin globus or glomus (forming into a globe or ball), a later influence the Middle Low German kolve (bulb) and German Kolben (butt, bulb, club).  The sense of a "bat used in games" is from mid-fifteenth century; the club suit in the deck of cards is from the 1560s although the pattern adopted on English cards is the French trefoil.  The social club emerged in the 1660s, apparently an organic evolution from the verbal sense "gather in a club-like mass", first noted in the 1620s, then, as a noun, the "association of people", dating from the 1640s.  The Club Sandwich was probably first offered in 1899, the unrelated club soda in 1877, originally as the proprietary name Club Soda.  Club, clubbishness & clubbing are nouns & verbs, clubber is a noun, clubbed is a verb & adjective, clubby & clubbish are adjectives and clubbily is an adverb; the noun plural is clubs.

On her Only Fans page, Tash Petersen shows her club membership.

Something of a local legend in the world of vegan activism, Tash Peterson (b circa 1995) is an animal rights activist based in Perth, Australia.  Not actually part of the the militant extreme of the movement which engages in actual physical attacks on the personnel, plant & equipment of the industries associated with animal slaughter, Ms Peterson's form of direct action is the set-piece event, staged to produce images and video with cross-platform appeal, the footage she posts on social media freely available for re-distribution by the legacy media, her Instagram feed providing a sample of her work in various contexts.  The accessories used include blood (reputedly from slaughterhouses) and very fetching figure-fitting costumes styled to resemble various animals including cows, her favored locations including the meat section of supermarkets, cafés and restaurants serving animal flesh, processing facilities associated with the slaughter industry and any events celebrating the carnivorous.  Ms Peterson's other club membership is that of the vegansexuals (vegans who chooses to have sex or pursue sexual relationships only with other vegans).

The Club Sandwich

A majority of historians of food suggest the club sandwich, as an item able to be ordered, first appeared on a menu in 1899 at the Union Club of New York City.  It was however made with two toasted slices of bread with a layer of turkey or chicken and ham between them, served warm, not the three slices with which it’s now associated; at that point the "club" was merely self referential of the institution at which it was served.  Others suggest it originated in 1894 at an exclusive gambling club in New York’s Saratoga Springs.  The former is more accepted because there’s documentary evidence while the latter based on references in secondary sources.  It’s a mere etymological point; as a recipe, what’s now thought of as a club sandwich had doubtless been eaten for decades or centuries before the words Club Sandwich appeared on a menu.

The notion that club is actually an acronym for "chicken and lettuce under bacon" appears to be a modern pop-culture invention, derived from a British TV sitcom, Peter Kay’s Car Share (episode 5: Unscripted, 7 May 2018) in what’s claimed to be an un-scripted take, although, on television, very little is really ad-lib and "reality" has a specific technical meaning.  On the show, the discussion was about the difference between a BLT (bacon, lettuce & tomato) and a club sandwich.  It spread quickly on the internet but was fake news.

Seemingly sceptical: Lindsay Lohan contemplates club.

Ingredients

12 slices wholegrain or rye bread

12 rashers rindless, shortcut, peach-fed bacon

Extra-virgin olive oil

2 free-range eggs

1/2 cup whole egg mayonnaise

12 cos lettuce leaves

320g sliced lean turkey breast

4 ripe Paul Robeson heirloom tomatoes, sliced

A little freshly-chopped tarragon

Ground smoked sea salt & freshly cracked black peppercorns

Instructions

(1) Preheat a grill tray on medium.  Place half the bread under grill and cook until lightly toasted.  Repeat with remaining bread.

(2) Lightly brush both sides of bacon with oil.  Place under grill and cook for 2-4 minutes each side according to taste.  Once removed, place on a paper towel, turning over after one minute.

(3) Fry eggs, preferably leaving yokes soft and runny.  Fold tarragon into mayonnaise according to taste.   

(4) Spread 8 of the slices of toast with mayonnaise.  Arrange half of the lettuce, turkey and tomatoes over 4 slices.  Evenly distribute the fried eggs.

(5) Top with a second slice of toast with mayonnaise. Then, add remaining lettuce, bacon and tomato. Season well with salt and pepper. Top with remaining pieces of toast.

(6) Cut each sandwich in half or quarters according to preference, using toothpicks driven through centre to secure construction.

Variations

Chefs are a dictatorial lot and tend to insist a club sandwich must be a balanced construction with no predominant or overwhelming taste or texture.  Trick is to agree with everything they say and then make things to suit individual taste.  By varying the percentages of the ingredients, one can create things like a bacon club with extras and vegetarian creations are rendered by swapping bacon and turkey for aubergine and avocado.  A surprising number find tomato a mismatch, some add cheese or onion while many prefer butter to mayonnaise.  In commercial operations like cafés, tradition is to serve clubs with French fries but many now offer salads, often with a light vinaigrette dressing.  Served with soup, it’s a meal.

1946 Lincoln Club Coupe (body style 77).  When production of the V12 Lincoln Zephyr (1936-1942) resumed in 1946, the cars were sold simply as Lincolns with no model designation, differentiated by the style of coach-work (Sedan, Club Coupe & Convertible Coupe).  When production ended in 1948, it was the last of the American V12s.

The mysterious term “club coupe” emerged in the 1930s to distinguish the style from the “business coupe”, the latter a two door car with only a front seat, the rear compartment used to augment the space in the trunk (boot), the target market the numerous “travelling salesmen” who needed a vehicle with lots of secure storage for their wares.  What the term “club coupe” described was a two-door car with a rear passenger including a bench seat for two or three.  The use of the word “club” was an example of “aspirational branding”, a marketing flourish intended to suggest something more upscale than the utilitarian business coupe, the invocation that of the style and exclusivity of the “private club”.  Being a product of the marketing department, “club coupe” was never precisely defined and while the characteristics associated with the style were sometimes identifiable they were never consistent.

1951 Ford Custom Deluxe Club Coupe; long model names are nothing new.

The mid-century tendency was to use a body shorter than that of a sedan but retaining the convenience of a full-size back seat (unlike the single-seat business coupe) but as the “two door sedan” emerged as a descriptor things became fuzzy and by the time the two door hardtops appeared at scale in the 1950s, it wasn’t surprising “club coupe” fell from favour.  Ford in 1954 offered a club coupe but they were the next season renamed “Tudor sedan” (ie a two-door sedan) but made the use murkier still by calling the Customline Six two-door a "Tudor Sedan" and the new V8 Fairlane a “Club Sedan”, business coupes and club sedans lingering for years in the line-up but the club coupe vanished until 1966.  The 1960s revival was a use of the word to allude to the upmarket fittings once associated with the more luxurious club coupes of the pre-war years and like “landau”, “brougham” and such, was just another model designation, suggestive of some link to the past.

Promotional images used for 2015 Holden Commodore Clubsport R8 25th anniversary edition.  Note the bogan-themed tyre marks; Holden knew their target-market.

The meaning denoted was different in 1990 when Holden added the V8 HSV (Holden Special Vehicles) Clubsport to the VN range as a “de-contented” entry-level model, along the lines of the original Plymouth Road Runner (1968-1970), the message being: fewer fittings meant lower cost and higher performance.  The Clubsport would remain in the line-up until the end of Commodore production in 2017 although for various reasons, equipment levels steadily increased.

1992 Porsche 911 Club Coupé in Familiengrün.

Porsche also used the word and until the US use in the 1930s which was an allusion to the generic “private club”, the German like was to a literal club.  In 2012, Porsche celebrated the company’s 60th anniversary and part of the programme was the creation of 13 911 Club Coupés, the unusual production volume a tribute to the 13 fanboys who formed the world’s first “Porsche Club”: the Westfälischer Porsche Club Hohensyburg.  Although “fanboy” is understood to mean something like übertriebener Fan (excessively obsessive fan), blinder Anhänger (blind follower) or fanatischer Anhänger (fanatical follower), German has absorbed the English slang “fanboy” and uses it unmodified.  Based on the 991 series 911, the Club Coupé was bundled with the Sport Design package, X51 Powerkit, body-colored Sport Techno wheels, PCCB (Porsche Ceramic Composite Brakes which used a ceramic disk-rotor reinforced with carbon fibre), Club-themed door sills, and PASM (Porsche Active Suspension Management).  One marker of uniqueness was the color; although the factory listed the hue as Brewster Green, it was actually known internally as Familiengrün (Family Green), used for Wolfgang Porsche’s personal 911s.

Bob

Bob (pronounced bobb)

(1) A short, jerky motion.

(2) Quickly to move up and down.

(3) In Sterling and related currencies, a slang term for one shilling (10c); survived decimalisation in phrases like two bob watch, still used by older generations).

(4) A type of short to medium length hairstyle.

(5) A docked horse’s tail.

(6) A dangling or terminal object, as the weight on a pendulum or a plumb line.

(7) A short, simple line in a verse or song, especially a short refrain or coda.

(8) In angling, a float for a fishing line.

(9) Slang term for a bobsled.

(10) A bunch, or wad, especially a small bouquet of flowers (Scottish).

(11) A polishing wheel of leather, felt, or the like.

(12) An affectionate diminutive of the name Robert.

(13) To curtsy.

(14) Any of various hesperiid butterflies.

(15) In computer graphics (especially among demosceners), a graphical element, resembling a hardware sprite, that can be blitted around the screen in large numbers.

(16) In Scotland, a bunch, cluster, or wad, especially a small bouquet of flowers.

(17) A walking beam (obsolete).

1350–1400: From the Middle English bobben (to strike in cruel jest, beat; fool, make a fool of, cheat, deceive), the meaning "move up and down with a short, jerking motion," perhaps imitative of the sound, the sense of mocking or deceiving perhaps connected to the Old French bober (mock, deride), which, again, may have an echoic origin. The sense "snatch with the mouth something hanging or floating," as in bobbing for apples (or cherries), is recorded by 1799 and the phrase “bob and weave” in boxing commentary is attested from 1928.  Bob seems first to have been used to describe the short hair-style in the 1680s, a borrowing probably of the use since the 1570s to refer to "a horse's tail cut short", that derived from the earlier bobbe (cluster (as of leaves)) dating from the mid fourteenth century and perhaps of Celtic origin and perhaps connected in some way with the baban (tassel, cluster) and the Gaelic babag.  Bob endures still in Scots English as a dialectical term for a small bunch of flowers.

The group of bob words in English is beyond obscure and mostly mysterious.  Most are surely colloquial in origin and probably at least vaguely imitative, but have long become entangled and merged in form and sense (bobby pin, bobby sox, bobsled, bobcat et al).  As a noun, it has been used over the centuries in various senses connected by the notion of "round, hanging mass," and of weights at the end of a fishing line (1610s), pendulum (1752) or plumb-line (1832).  As a description of the hair style, although dating from the 1680s, it entered popular use only in the 1920s when use spiked.  As a slang word for “shilling” (the modern 10c coin), it’s recorded from 1789 but no connection has ever been found.  In certain countries, among older generations, the term in this sense endures in phrases like “two bob watch” to suggest something of low quality and dubious reliability.

UK Prime Minister Lord Salisbury (Robert Arthur Talbot Gascoyne-Cecil, 1830–1903; UK Prime Minister for thirteen years variously 1885-1902 (prime-minister since "God knows when" in Churchill's words)).

The phrase "Bob's your uncle" is said often to have its origin in the nepotism allegedly extended by Lord Salisbury to his favorite nephew Arthur Balfour (1848–1930; UK Prime Minister 1902-1905), unexpectedly promoted to a number of big jobs during the 1880s.  The story has never convinced etymologists but it certainly impressed the Greeks who made up a big part of Australia's post-war immigration programme, "Spiro is your uncle" in those years often heard in Sydney and Melbourne to denote nepotism among their communities there.

The other potential source is the Scottish music hall, the first known instance in in a Dundee newspaper in 1924 reviewing a musical revue called Bob's Your Uncle.  The phrase however wasn't noted as part of the vernacular until 1937, six years after the release of the song written by JP Long, "Follow your uncle Bob" which alluded to the nepotistic in the lyrics:

Bob's your uncle
Follow your Uncle Bob
He knows what to do
He'll look after you

Partridge's Dictionary of Slang and Unconventional English (1937) notes the phrase but dates it to the 1890s though without attribution and it attained no currency in print until the post-war years.  Although it's impossible to be definitive, the musical connection does seem more convincing, the connection with Lord Salisbury probably retrospective.  It could however have even earlier origins, an old use noted in the Canting Dictionary (1725) in an entry reporting "Bob ... signifies Safety, ... as, It's all Bob, ie All is safe, the Bet is secured."

Of hair

A bob cut or bob is a short to shoulder-length haircut for women.  Historically, in the west, it’s regarded as a twentieth-century style although evidence of it exists in the art of antiquity and even some prehistoric cave-paintings hint it may go way back, hardly surprising given the functionality.  In 1922, the Times of London, never much in favor of anything new, ran a piece by its fashion editor predicting the demise of the fad, suggesting it was already passé (fashion editors adore the word passé).  Certainly, bobs were less popular by the 1930s but in the 1960s, a variety of social and economic forces saw a resurgence which has never faded and the twenty-first century association with the Karen hasn't lessened demand (although the A-line variant, now known in the industry as the "speak to the manager" seems now avoided) and the connection with the Karen is the second time the bob has assumed some socio-political meaning; when flaunted by the proto-feminists of the 1920s, it was regarded as a sign of radicalism.  The popularity in the 1920s affected the millinery trades too as it was the small cloche which fitted tightly on the bobbed head which became the hat of choice.  Manufacturer of milliner's materials, hair-nets and hair-pins all suffered depressed demand, the fate too of the corset makers, victims of an earlier social change and one which would in the post-war years devastate the industries supporting the production of hats for men.

Variations on a theme of bob, Marama Corlett (b 1984) and Lindsay Lohan, Sick Note, June 2017.

Hairdressers have number of terms for the variations.  The motifs can in some cases be mixed and even within styles, lengths can vary, a classic short bob stopping somewhere between the tips of the ears and well above the shoulders, a long bob extending from there to just above the shoulders; although the term is often used, the concept of the medium bob really makes no sense and there are just fractional variations of short and long, everything happening at the margins.  So, a bob starts with the fringe and ends being cut in a straight line; length can vary but the industry considers shoulder-length a separate style and the point at which bobs stop and something else begins.  Descriptions like curly and ringlet bobs refer more to the hair than the style but do hint at one caveat, not all styles suit all hair types, a caution which extends also to face shapes.

Asymmetrical Bob: Another general term which describes a bob cut with different lengths left and right; can look good but cannot (or should not) be applied to all styles.   

A-line bob: A classic bob which uses slightly longer strands in front, framing the face and, usually, curling under the chin; stylists caution this doesn’t suit all face shapes.

Buzz-cut bob: Known also as the undercut (pixie) bob, and often seen as an asymmetric, this is kind of an extreme inverted mullet; the the usual length(s) in the front and close-cropped at the back.  It can be a dramatic look but really doesn’t suit those above a certain BMI or age.

Chin-length bob: Cut straight to the chin, with or without bangs but, if the latter is chosen, it’s higher maintenance, needing more frequent trims to retain the sharpness on which it depends.  Depending on the face shape, it works best with or without fringe.

Inverted bob: A variation on the A-line which uses graduated layers at the back, the perimeter curved rather than cut straight. Known also as the graduated bob, to look best, the number of layers chosen should be dictated by the thickness of growth.

Shaggy bob: A deliberately messy bob of any style, neatness depreciated with strategic cutting either with scissors or razor, a styling trick best done by experts otherwise it can look merely un-kept.  The un-kept thing can be a thing if that’s what one wants but, like dying with gray or silver, it's really suitable only for the very young.  Some call this the choppy and it’s known in the vernacular of hairdressing as the JBF (just been fucked).

Spiky bob: This differs from a JBF in that it’s more obviously stylised.  It can differ in extent but with some types of hair is very high maintenance, demanding daily application of product to retain the directions in which the strands have to travel.    

Shingle bob: A cut tapered very short in the back, exposing the hairline at the neck with the sides shaped into a single curl, the tip of which sits at a chosen point on each cheek.  This needs to be perfectly symmetrical or it looks like a mistake.

Shoulder-length bob: A blunt bob that reaches the shoulders and has very few layers; with some hair it can even be done with all strands the same length.  Inherently, this is symmetrical.

Speak to the manager bob: Not wishing to lose those customers actually named Karen, the industry shorthand for the edgy (and stereotypically in some strain of blonde) bob didn’t become “Karen”.  The classic SttM is an asymmetric blonde variation of the A-line with a long, side-swept fringe contrasted with a short, spiky cut at the back and emblematic of the style are the “tiger stripes”, created by the chunky unblended highlights.  It's now unfashionable though still seen.