Paste

Paste (pronounced peyst)

(1) A mixture of flour and water, often with starch or the like, used as a glue to cause paper or other material to adhere to something.

(2) Any soft, smooth material or preparation which has characteristics of plasticity.

(3) In cooking and baking, a transitional state of some doughs, especially when prepared with shortening, as used for making pie crust and other types of pastry.

(4) Any of various semisoft fruit confections of pliable consistency (almond paste; guava paste etc).

(5) In manufactured food, a preparation of fish, tomatoes, or other food reduced to a smooth, soft mass, as for a relish or for seasoning (eg fish-paste).

(6) In pasta making, a transitional phase during preparation.

(7) A mixture of clay, water etc, for making pottery or porcelain.

(8) In jewelry manufacture, a brilliant, heavy hard lead (glass), (as strass), used for making artificial gems; an artificial gem of this material.

(9) In slang, a hard smack, blow, or punch, especially on the face; used figuratively (usually as “a pasting”) to describe a decisive defeat by a large margin in political, commercial or sporting contexts.

(10) In narcotics production, a by-product of the cocaine refinement process, later sold as a product and the basis for other forms.

(11) To fasten or stick with paste or the like.

(12) To cover with something applied by means of paste.

(13) In computers, to insert something cut or copied (text, images, links etc) into a file.

(14) In physics, a substance which behaves as a solid until a sufficiently large load or stress is applied, at which point it assumes the characteristics of a fluid.

(15) In mineralogy, the mineral substance in which other minerals are embedded.

(16) An alternative name for both pasta and pastry (both long obsolete).

1350–1400: From the Middle English paste (dough for the making of bread or pastry), from the Middle French paste (dough, pastry (and source of the French pâte)), from the Late Latin pasta (dough, pastry cake, paste), from the Ancient Greek πάστα pastē, pásta & pastá (barley porridge), a noun use of the neuter plural of pastós, verbid of pássein (to strew, to sprinkle).  The sense of a "glue mixture, a dough used as a plaster seal" dates from circa 1400, the meaning extended by circa 1600 to "a composition just moist enough to be soft without liquefying".  The use to refer to the heavy glass (made from ground quartz etc) and used most often costume jewelry (imitation gem stones) began in the 1600s.  A pasta was originally a kind of gruel sprinkled with salt, gaining the name probably by association with baste.  Paste is a doublet of pasta and patty.  Paste had actually been in use as a surname since the mid-twelfth century.  The present participle pasting and the past participle pasted & pasted.  In the context of adhesive agents, the synonyms include cement, fix, gum, plaster, stickum & glue.

The verb paste (to stick with paste or cement) dates from the 1560s and was derived from the noun, the meaning "apply paste to, cover by pasting over" emerging circa 1600.  The slang sense "hit hard" was first noted in 1846, probably an alteration of baste (in the sense of "beat" and thus related in meaning to lambaste) influenced by some sense of paste.  The form in the Middle English was pasten (to make a paste of; bake in a pastry).  The noun “paste-up” was first used in 1930 in the printing trades to refer to "a plan of a page with the position of text, illustrations etc indicated", a direct formalization of the oral phrase, the adoption of the “pasteboard” on which the positions were marked, a simultaneous development (since the 1540s, pasteboard had been a type of thick paper, gaining the name from the original method of construction being several single sheets pasted together).  The term pastiness (resembling paste in consistence or color) dates from the 1650s and was typically applied to someone looking slightly grey (a la the flour & water mix of paste) and thus ill, rather than someone with a pale complexion.

Based in Atlanta, Georgia, Paste Magazine is a monthly music and entertainment digital publication, the evolution of which is emblematic of the effect the internet has exerted on the industry.  Taking advantage of the low-cost entry to global distribution offered by the conjunction of weightless production and the roll-out of broadband, Paste began in 1998 as a website which, as revenue grew, was able, between 2002-2010, to expand to include glossy print editions.  However, the decline in subscriptions and the always low newsstand sales forced it, like many, to revert to an exclusively on-line presence.  Focused on its target demographic, the content is what some analysts describe as: “middlebrow pop-culture, beyond a fanzine, short of academic analysis.”

The pastry in the sense of “food made with or from paste or having it as a principal ingredient” was first described as such in the mid-fifteenth century although as a dish, it’s an ancient recipe.  It wasn’t originally limited to sweet & fruit-filled creations and the adoption by the Middle English paste is thought to have been influenced by the Old French pastoierie (pastry (source of the Modern French pâtisserie)), from pastoier (pastry cook) or else the Medieval Latin pasteria (pastry).  There had been pastry cooks and chefs since the 1650s but the now-familiar specific sense of "small confection made of pastry" didn’t become standardized until the years immediately before the First World War (1914-1918).  Toothpaste (also as tooth-paste) was first sold in 1832.  Earlier there had been tooth-powder (from the 1540s) and tooth-soap (circa 1600), both of which followed the tradition method used for centuries to make a paste for cleaning which was to mix powdered charcoal (or soot) with salt and water until the desired consistency was achieved.

The adjectival sense “cut-and-paste” (made or composed by piecing together existing parts) actually pre-dates computers, noted first in 1938 to refer to edited photographs (also known as ”trick photography”).  The phrase was borrowed in the mid-late 1950s to describe either outright plagiarism or work created variously in haste, carelessly, or without any sense of originally or inspiration and was applied especially to journalism.  The companion term “copy and paste” in the 1970s joined “cut and paste” as technology evolved; in the 1980s, the two processes were integrated into computer operating systems, the two steps usually mediated by the user.  To illustrate the practice, this blog makes great use of "copy and paste", reveals little which is original and seems not at all inspired.  

Rubber pasties on dagmars: 1957 Cadillac Eldorado Brougham.

Pasties were adhesive patches women wore over the nipples, the purpose either (1) to permit exotic dancers to perform while still conforming with local ordinances or (2) as a modesty device to prevent unwanted protrusions through clothing; the devices had been long available but were first recorded as being sold using the plural diminutive from the verb in 1957 and a rubber analogue was sometimes used on the dagmars which had been added to US automobiles since the 1940s.  Often supposed to have been inspired by the propeller hubs of twin-engined fighter aircraft, the designers were actually invoking the motif of a speeding artillery shell and it was only later they came to be associated with anything anatomical.  By the mid-1950s they'd developed to become increasingly large and prominent, the dagmar’s rubber pastie protecting both the device and whatever (or whomever) it might hit.

Packed as a tablet and approved by the US FDA (Federal Drug Administration) in April 2019, Gelesis’s (a biotech company) Plenity is an oral, non-systemic, superabsorbent hydrogel developed for the treatment of overweight and obesity.  It's listed by the FDA as a medical device rather than a medicine because it achieves its primary intended purpose through mechanical modes of action.  The content of the tablets is made with citric acid and cellulose to create a non-toxic paste.

Gelesis released Plenity into a buoyant market for tech stocks, underwritten by a SPAC (Special Purpose Acquisition Corporation).  Results however, dependent essentially on commission-based sales staff marketing the paste pills directly to family doctors (GPs), proved disappointing and in early 2022 the company announced layoffs.  In common with many tech stocks, valuations of the so-called "SPAC merger deals", sharply have plummeted.

Good things can be wrapped or covered in pastry.  Lindsay Lohan’s chicken pot pie with leeks and veal meatballs appears in Jamie’s Friday Night Feast Cookbook (Penguin Books, 2018).  It serves 8.

Ingredients

2 onions
2 carrots
2 small potatoes
2 medium leeks
Olive oil
300g free-range chicken thighs, skin off, bone out
300g skinless boneless free-range chicken breast
4 rashers of higher-welfare smoked streaky bacon
1 knob of unsalted butter
50g plain flour
700ml organic chicken stock
2 tablespoons English mustard
1 heaped tablespoon creme fraiche
A ½ bunch (15g) of fresh woody herbs
White pepper
3 sprigs of fresh sage
300g minced higher-welfare veal (20% fat)
1 large free-range egg
300g plain flour, plus extra for dusting (for pastry)
100g shredded suet (for pastry)
100g unsalted butter (cold) (for pastry)

Instructions

Preheat oven to 180C (350F).  Peel and roughly chop the onions and carrots, then peel the potatoes and chop into 2cm (¾ inch) chunks.  Trim, halve and wash the leeks, then finely slice.

Place a large pan on a medium heat with one tablespoon of oil.  Chop chicken into 3cm (1¼ inch) chunks, roughly chop bacon and add both to the pan.  Cook for a few minutes, or until lightly golden. A dd the onions, carrots, potatoes and leeks, then cook for a further 15 minutes or until softened.  Add the butter, then stir in the flour to coat.

Gradually pour in the stock, then add the mustard and creme fraiche.  Tie the woody herb sprigs together with string to make a bouquet garni and add to the pan. Cook for 10 more minutes, stirring regularly, then season with white pepper.

Meanwhile, for the pastry, put the flour and a good pinch of sea salt into a bowl with the suet; cube and add the butter. Using the thumb and forefingers, rub the fat into the flour until it resembles coarse breadcrumbs.

Slowly stir in 100ml of ice-cold water, then use the hands to bring it together into a ball without over-working.  Wrap in clingfilm and place in the fridge to chill for at least 30 minutes, during which, make the meatballs.

Pick and finely chop the sage, season with salt and pepper, then with the hands scrunch and mix with the veal.  Roll into 3cm (1¼ inch) balls, gently place in a large pan on a medium heat with half a tablespoon of oil and cook for 10 minutes or until golden all over, jiggling occasionally for even cooking.

Transfer the pie filling to a large (250 x 300mm (10-12 inch)) oval dish, discarding the bouquet garni.  Leave to cool, then dot the meatballs on top.

Roll out pastry on a clean, flour-dusted surface until it's slightly bigger than pie dish. Eggwash edges of dish, then place the pastry on top of the pie, trimming off any overhang, pinching the edges to seal and make a small incision in the centre. Use any spare pastry to decorate the pie if preferred.  Eggwash the top, bake for 50 minutes or until the pastry is golden and the pie is piping hot.  Leave to stand for 10 minutes before serving.

Solidifying coca paste.

As late as the mid-1970s, in the United States, the medical establishment and scientists working the field entertained few concerns about cocaine, essentially because (1) thousands of years of use in South & Central America suggested the base ingredient was not harmful, (2) there were any number of narcotics flooding the US market which were of greater concern, (3) cocaine was anyway so expensive that it was used only by a tiny number of people and (4) alcohol and tobacco use produced outcomes in society a thousand time worse (doctors emphasizing the last two points by pointing out that while clinicians would regularly see cirrhosis of the liver, most would spend their entire careers never seeing a case induced by vintage champagne).

Indeed, in the late 1970s, the only people concerned about cocaine use in the US seemed to be politicians who equated the drug’s widespread depiction in film and television as a glamorized thing associated with wealth, power and decadence, with an actual popularity of consumption.  Hence the origins of the moral panic around cocaine, something perhaps inevitable after the white power was “rediscovered” earlier in the decade after being barely noticed by law enforcement agencies since the 1940s.  Many US scientists even advocated legalization.  What changed both the concerns and the consequences in the US was paste.  Known in Peru and Bolivia as pasta basica de cocaina (or more commonly) basé or basuco, paste was a glutinous substance that oozed from the solvent-soaked coco leaves during the manufacture of the white powder ultimately sold in North America, Europe and other first-world markets.  Once discarded as a unwanted by-product, those with access to the paste had begun drying it to crumble in cigarettes.  Smoked, it was absorbed almost instantly through the air sacs of the lungs (which have the surface area the size of a tennis court) a vastly more efficient mechanism compared with the nasal membranes which are the passage for the traditional "snorting" of cocaine.  Reaching the brain within twenty seconds, the difference was extraordinary, users reporting a hit which offered an intensity of pleasure like no other.  Unfortunately, there was a price to pay, the rush lasting only minutes, replaced as it dissipated by a craving as intense as the initial experience had been, addiction instantaneous.

Paste however wasn’t suitable for distribution in rich markets because it truly was an industrial waste product with side-effects, containing residues of not only the toxic solvents used in the process such as kerosene and battery acid but stuff as diverse as lead and cement dust.  What was needed was a marketable, mass-produced form of paste because it had which had the two characteristics which cocaine lacked, an intense high and an irresistible addictiveness (like LSD, cocaine really isn’t addictive).  The solution emerged in the US in the early 1970s in a relatively straight-forward process which removed the hydrochloride salt from the refined powder, thereby freeing the cocaine base which could be heated and inhaled, hence the slang “freebasing”.  Chemically however, that was inefficient and made no economic sense so freebasing remained restricted to dealers, chemists (amateur & professional) or those with a lot of disposable income so inclined.

Rare though the economics of the early process made use, the consequences were noted and it was clear to researchers that if ever it became possible to produce an inhalable paste at scale and a lower price, there would be an epidemic of use.  A combination of circumstances, including the change by the Carter administration (1977-1981) of long-practiced US policies towards the helpful (if distasteful) administrations in Central America and the subsequent actions of the Reagan administration (1981-1989) in the region, meant that’s exactly what happened.  By the early 1980s, increases in volumes and improvements in distribution had seem the street price of cocaine in the US collapse, inducing producers to create a variation of paste, “crack” cocaine (named because of the sound it made while being consumed) which could be sold in tiny, conveniently packaged quantities to a vastly expanded market which, given the extraordinarily addictive properties, created its own inertia.  As a business model, it was good; cheap, transportable and enjoying a long shelf life, crack was highly profitable and the scourge of many US cities for more than a decade after the early 1980s.  Crack transformed the demographics of cocaine consumption in the US; what had been the preserve of an upper-middle class elite shifted to be the choice of the lowest-income communities and the effects were profound, including a reaction to the disparity in sentencing between the few cocaine users actually prosecuted and those imposed on huge numbers of crack users.

Still controversial are the allegations the Central Intelligence Agency (CIA) was involved with the distribution of crack in US cities as a by-product of the need to generate the funds needed to help effect regime change in Nicaragua, the money needed after the Congress shut off US assistance to the Contras, the rebel movement opposing the Sandinista government (which begat also the Iran-Contragate scandal).  An internal CIA investigation found that while there had been some involvement in trafficking narcotics to fund the Contras, there was nothing to link the agency with distribution in US cities.  Journalist Gary Webb's (1955-2004) 1998 book about the allegations (Dark Alliance) is an engaging but difficult read (a companion dramatis personae would help).  It covers so much that unless one is an expert in the history of the trade, it's hard to draw conclusions.  Relying on the reviews, one is inclined to be skeptical about many of the linkages he made.

Butyraceous

Butyraceous (pronounced byoo-tuh-rey-shuhs)

Of the nature of, resembling, or containing butter.

1660–1670: A compound word, the construct being the Latin būtȳr(um) + -aceous.  Butyro-, a combining form of Latin būtȳrum (butter) was borrowed from the Ancient Greek βούτῡρον (boútūron) and -aceous was from the New Latin, derived from the Classical Latin -aceus (of a certain kind) and related to –ac & -ax, the Latin adjectival suffixes.  The construct of the Ancient Greek βούτῡρον was βοῦς (boûs) (cow) +‎ τυρός (turós) (cheese).  Synonyms include buttery, waxy, slippery, creamy, oiled, lubricant, lustrous, polished, rich, sleek, smooth, soapy, soothing, swimming, unctuous, adipose, oleaginous, lardy, lubricative & lubricous.

Making fake Sizzler cheese toast

Ingredients

(1) Thick sliced bread.

(2) Butter (room temperature).

(3) Pecorino cheese (shredded or grated).

Instructions

(1) Combine equal amounts of butter with parmesan and mix to create a paste.

(2) Using suitable knife, spread the butter/cheese paste on one side of bread.

(3) Pan-fry the bread paste-side down in frying pan over a medium heat and place a lid or flat plate over bread so it can steam while cooking.  Cook until golden brown and serve.

Notes

Sizzler use Pecorino cheese but toast can be made with Parmesan, the original using shredded cheese but grated or shaved can also be used, the latter able to produce a slightly chunky effect some prefer.

Sizzler has always used only white bread but it works with wholemeal or wholegrain varieties.  The recipe is best in its simple form but garlic powder, dried herbs or small quantities of sliced or grated onion can be added to the mix.  Some recommend beating the butter before adding the cheese.  This doesn’t affect the taste but is said both to reduce the cooking time and produce a toast with a slightly different texture.  Margarine should not be used.

Lindsay Lohan, Butter Nightclub, New York City, 2006.

Fellmonger

Fellmonger (pronounced fel-muhng-ger)

A preparer of skins or hides of animals; a person who deals in animal skins or hides.

1520–1530: A compound word fell + monger.  Fell was from the Middle English fellen, from the Old English fellan & fiellan (to cause to fall, strike down, fell, cut down, throw down, defeat, destroy, kill, tumble, cause to stumble) from the Proto-Germanic fallijaną (to fell, to cause to fall), causative of the Proto-Germanic fallaną (to fall); root was the primitive Indo-European (s)pōl- (to fall) and it was cognate with the Dutch vellen (to fell, cut down), the German fällen (to fell) and the Norwegian felle (to fell).  Monger was from the Middle English mongere & mangere from the Old English mangere (merchant, trader, dealer & mangian (to trade, to traffic) from the Proto-Germanic mangōną, from the Latin mangō (dealer, trader), perhaps from the Ancient Greek μάγγανον (mánganon) (contrivance, means of enchantment) from the primitive Indo-European mang- (to embellish, dress, trim).  Fellmonger & fellmongery are nouns and fellmongering & fellmongered are verbs; the noun plural is fellmongers.

Lindsay Lohan in leather, London, October 2015.

In the traditional sense of the world, a profession was understood to be a specialization in occupational activity.  What it meant was that a certain pursuit was either the exclusive source of an individual’s income or the most substantial part.  Not entirely facetiously, the business of prostitution has been said to be the “world’s oldest profession” with espionage just a little more recent.  While neither claim may be literally true, both are acknowledged to be ancient and obviously enduring but one profession likely to have been pursued almost as long and been part of just about any culture which has been studied was that of the fellmonger who prepared and processed the skins of animals, transforming them into the leather which people could use variously for footwear, clothing, shelters, receptacles, weapons, decorations and the myriad of items which were used when constructing useful devices and even machines.  Before even fabrics were woven from plant or animal fibres, there was leather and it was the fellmongers who developed the art and science which made the material stronger, longer lasting and better adaptable to more purposes.  A highly skilled business which demanded both skill & patience, the essence of the fellmonger’s trade was the ability expertly to strip the wool or fur from an animal hide and grade the raw skin into the various categories sought by tanners and other processors.  As well as dealing in the skins, many fellmongers also operated as tanners and in the early pre-industrial societies, vertical integration was sometimes attractive and the ownership and operation of a fellmongery and tannery might come under a common ownership.  Sometimes tertiary production such as that of a saddler might also be attached although it appears artisan trades such as cobblers remained independent.  The fellmonger thus extracted from the skins of dead sheep, goats, lambs and even dogs, products such as wool, pelts, skins, parchments, vellums and chamois leathers, much of which was sold to or passed on to a tannery which for centuries used oak bark in the dyeing processes.

Who wore it best?  Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) in leather.  Probably no material is as sexy as leather and even in latex the Supreme Leader couldn't look more alluring; Lindsay Lohan probably envies the Supreme Leader rocking leather.  In the DPRK, only the Supreme Leader and his family are permitted to don black leather; the consequences of violating this rule are severe.

Although less so than tanning, fellmongry was a messy, smelly business, most located close to rivers because the process demanded an abundant supply of pure clean water, the tide carrying out to sea the sludge and effluents.  When the skins arrived (and to avoid even more unpleasantness that had to be as soon as possible after slaughter), they were washed in warm, soapy water to be cleansed of all blood and then soaked so the tissue would swell to a living condition.  Once done, they were cleansed with a paste made from lime and sodium sulphate which “fed” the pelts, opening the pores so the wool could be stripped which was done in the “Pulling Room” where the fellmonger “pushed the wool”, grading it as went.  Once pulled, the wool was taken to a drying room where, once cool, it was stacked in bales to be ready for sale.  A paste made of Fuller's Earth or Whiting (calcium carbonate or chalk) was then rubbed into the pelts which were exposed to a moderate heat which ensured the fat on the pelts softened and was easily removed.  The clean pelts, after being bleached with a weak solution of chloride of lime were placed in floor pits to be “pickled” in a solution of salt & sulphuric hydrochloric acid and, once pickled, they were ready for dispatch to the tannery.  Historically, tanners graded skins into 10-12 categories and depending on the classification, they might be sold to manufacturers making fancy leather goods, parchments, vellums, leathers and glues.  Animal skins are remarkable in that they can be rendered as a material tough enough for saddles or boots or sufficiently soft & pliable for use in fine needlework and smooth enough to be used as writing material.

Chocolate

Chocolate (pronounced chok-lit (U) chaw-kuh-lit, chok-uh-lit, chawk-lit)

(1) A preparation of the seeds of cacao, roasted, husked, and ground, often sweetened and flavored, as with vanilla.

(2) A beverage made by dissolving such a preparation in milk or water, served hot or cold.

(3) A sweet (sweetmeat (archaic), lolly or candy) made from such a preparation or an individual piece of this sweet.

(4) In the spectrum of commercially produced or described colors, a moderate to deep brown color.

Circa 1600: From the Mexican Spanish chocolate, from the Nahuatl (Aztecan) chocola-tl (chocolate) or cacahua-tl (chocolate, chocolate bean); the -tl meaning "water".   It’s thought the first element might be related to xocalia (to make something bitter or sour from xococ (sour; bitter)).  It was made with cold water by the Aztecs, whereas the Conquistadors mixed it with hot, hence the suggestion the European forms of the word might have been influenced by Yucatec Maya chocol (hot).  It was brought first to Spain in the 1520s and, predictably, spread quickly to the rest of Europe, gaining great popularity by the seventeenth century thought originally as drink made by dissolving chocolate in milk or water, the solid forms now familiar coming later.  The standardization in spelling must have come later because in an entry in his diary on 24 November 1664, Samuel Pepys (1633–1703) noted “To a Coffee-house, to drink jocolatte, very good.”

There are those who contest the orthodox etymology, asserting that the Nahutal words upon which it depends didn’t exist in the language until the mid-eighteenth century.  The dissenters prefer chicolātl, a survivor in several modern Nahuatl dialects, as the original form, the chicol- element referring to the specially shaped wooden stick used to prepare chocolate.  Semi-solid forms were on sale by the 1640s in the form of a paste or cake made of ground, roasted, sweetened cacao seeds, the recognisably modern product, described as “chocolate candy" and later just “chocolate” widely available in the later nineteenth century, “chocolate milk” recorded since 1845.  Chocolate chips became available in pre-made form for the consumer market in 1940, having for some time been supplied in bulk to manufacturers for products such as chocolate chip cookies.  Use to describe a color, a dark reddish-brown, dates from 1771 in the forms “chocolate” and “chocolate-brown”.  The adjectival use in the sense of "made of or flavored with chocolate" is attested from 1723.  Although chocolatey (made of or resembling chocolate) apparently can’t be found in print before 1922 and choclatiness seems not to exist although chocolateness is used in commerce, often by specialised retailers which is a bit more imaginative than the eighteenth century “chocolate dealer” and it spawned variations such as chocorama, and chocology.  Devotees are said to be chocophiles while those who cheerfully admit an addiction are chocoholics.  The specialised occupation of chocolatier (maker of chocolate confections) was noted in French in 1865 and such jobs still exist.

In praise of dark chocolate

Made from cocoa solids, sugar and cocoa butter and without using milk, dark chocolate is rich, the degree of bitterness determined by the percentage of cocoa in the mix.  There’s no exact definition of how much cocoa needs to be present for a chocolate to be defined as dark with products available ranging from 50 to over 90%, the most popular being in the 70 to 80% range.  Nutritional content varies greatly because that’s determined by the quantities of cocoa butter and sugar used.  A 70% mix is a high-fat food, a 20g serving (six small squares in most blocks) contains just over 8g of fat, of which 5g is saturated and it’s high in sugar, with around 6g per 20g serving.  The off-set is that it’s a good source of fibre and protein, with approximately 2g of each per 20g serving.  By comparison, an 85% mix is higher in fat but lower in sugar, the protein and fibre content just a little higher and the salt content is negligible although there are variations with added sea-salt.

Lindsay Lohan slicing her chocolate birthday cake.

Although it should never be a high proportion of any diet, dark chocolate does offer some nutritional benefits, being naturally high in iron, magnesium, copper and manganese.  Iron is important in the production of red blood cells which carry oxygen around the body while copper triggers the release of iron to form haemoglobin, the platform which contains the oxygen.  Magnesium ensures the parathyroid glands work normally to produce hormones important in bone health and helps create and activate enzymes, including those which break down food.

A long known benefit of dark chocolate is as a source of antioxidants and flavanols, helpful in maintaining vascular endothelium function (the cells that line the insides of blood vessels) which reduces the risk of cardiovascular disease.  Because of the density, the concentration of these phytonutrients is actually higher than in blueberries and pomegranates, fruits recommended as sources of antioxidants.  There may also be some neuro-protective effects, offering some protection against Alzheimer’s disease but the research is far from conclusive although there does seem to be a small anti-inflammatory effect which helps those with digestive conditions such as inflammatory bowel syndrome.

However, like the much-quoted, but often misunderstood, findings about the health benefits from drinking red wine, there’s nothing from any research to suggest a heavy consumption of dark or any other chocolate is anything but bad.  All the research seems to say is that if one is going to eat chocolate, dark is preferable and consumption should be no more than 20g (typically six small or two large squares, depending on the cut of the block) no more frequently than daily and only as part of a balanced diet.  As a general principle, the darker the better so a chocolate with 90% cocoa offers more benefits than one with less, remembering the flavored products (orange, caramel, raspberry etc) will be higher in sugar.

Ghirardelli Intense Dark 92% Cacao Chocolate.

Making dark chocolate is a relatively long process.  Cacao beans are picked when ripe, cleaned and left to ferment for two to nine days, using naturally present yeasts or a yeast-based starter, depending on bean and manufacturer.  The beans are then covered by banana leaves or put in wooden sweating boxes, temperature, humidity and aeration all adding to the flavor.  Once fermented, the beans are dried and roasted, using a process not greatly different from that used for coffee, this darkens them to a rich brown, enhancing the depth and complexity of the flavor and aroma.  The roasted beans are winnowed (removing the bean’s outer shell, or hull) and the inner bean (or nibs) are then ground or milled at high pressure to produce the cocoa mass (known also as chocolate liquor) and cocoa butter.

The cocoa mass and cocoa butter are then mixed with sugar, producing a paste for conching (a sequence of rolling, kneading, heating and aerating the mixture under heat until it becomes smooth and creamy).  The longer the conche, the smoother will be the chocolate so some premium products can be conched for a week whereas dark chocolate for cooking or the industrial production of food will be processed for only a few hours.  Once conched, a stabiliser such as soy lecithin is added, along with any additional flavors, such as sea salt or vanilla, after which the mix is tempered, a process in which chocolate is brought slowly to the necessary temperature before being poured into molds.  Once cooled, it’s then in its final form: stable, solid and edible.

Foodies, noting the intensity, suggest Cabernet Sauvignon works best with the darkest of dark chocolate, recommending Grenache, Malbec, Merlot, Tawny Port, Shiraz and Zinfandel for anything with a cocoa content under 75%.

There are many spreadable cheeses and those nutty and dense which combine well with chocolates up to 80%.  For the darkest strains, triple cream or blue cheeses work best but, of course, blue cheese goes with anything.

Winds of change

The noun xocolatophobia describes the exceedingly rare condition in which a patient displays an irrational or disproportionate fear of chocolate.  There are even product-specific instances of the syndrome, the authoritative PhobiaWiki listing M&Mphobia (also known as Mumuphobia and Moukaimouophobia) while noting "not much is known about this phobia".  There’s little to suggest the mental health community has devoted much attention to M&Mphobia and the condition has never appeared in the American Psychiatric Association’s (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM).  It’s speculated that M&Mphobia may be linked to the anthropomorphism Mars Wrigley use in their marketing material and perhaps even related to achondroplasiaphobia (fear of little people).  Mars Wrigley appears never to have addressed the issue but in early 2022 did announce a “multi-pronged approach” to "creating a world where everyone feels they belong and society is inclusive", the first innovation a makeover for each of the colorful M&M characters.  The manufacturer indicated the changes were to give each of the six characters a "fresh, modern take" on their traditional look and "more nuanced personalities to underscore the importance of self-expression and power of community through storytelling."

The differences were subtle and many may not notice but the most commented upon was the green M&M trading her signature white go-go boots for a pair of "cool, laid-back sneakers to reflect her effortless confidence".  Brown, the other female M&M probably will also be breathing a sigh of relief because after strutting in stilettos since 1940, she gets a pair of more comfortable kitten-heeled pumps.  Further to empower feminist solidarity, Mars Wrigley confirmed the brown & green M&M’s combative days were over and they’re now card-carrying members of the sisterhood, “together throwing shine and not shade".  The changes were well received by some.  National Public Radio’s (NPR) political correspondent Danielle Kurtzleben (b 1983) seemed pleased the green M&M had been liberated from her white boots (with all that they imply) and discussed social reproduction theory, “how patriarchy and capitalism violently reinforce each other”, and what a sexy female M&M “says about gender as a construct”.

The other M&M characters also received slight adjustments to their personalities, notably the eternally morose orange M&M who, while still hardly ebullient, has learned to "embrace his true self, worries and all".  The orange M&M’s condition should now be considered cognizant of the latest edition of the DSM (DSM-5-TR, March 2022) which introduced the diagnosis of Generalized Anxiety Disorder (GAD).  Details of all the changes are available on a Q&A page on the Mars Wrigley website and Cathryn Sleight (b 1964, then Chief Growth Officer at Mars Wrigley) issued an explanatory press release:

"M&M’S has long been committed to creating colorful fun for all, and this purpose serves as a more concrete commitment to what we’ve always believed as a brand: that everyone has the right to enjoy moments of happiness, and fun is the most powerful way to help people feel that they belong."

It’s not the first time the characters have been adjusted.  Between 1976-1987 the red M&M was actually banished from the packet in reaction to public disquiet about a synthetic red dye (FD&C Red No. 2, also known as amaranth) used in the industrial production of food and linked to cancer in a 1971 Russian study.  Amararanth had been much used in the US, included in products as diverse as ice-cream and hot dog casings and although tests by the Food & Drug Administration (FDA) produced inconclusive results in humans, it was found the dye caused malignant tumors in female rats.  The FDA thus concluded amaranth could not be presumed safe for human consumption and in 1976 issued a ban.  Red M&Ms had never actually been colored using the agent but, aware of the controversy, the red M&M was removed from production, not returning until 1987 by which time the usual amnesia had overtaken the land.

The FDA however continued to review red dyes and in January 2025 issued a bulletin banning FD&C Red No 3 (Erythrosine) from foods, dietary supplements and ingested medicines sold in the US.  To permit an orderly transition, the agency set 1 January 2027 as the date by which it must be removed from food while the pharmaceutical industry was granted a further twelve months; any products imported into the US also be subject to the new edict.  In advising the new regulation the FDA noted: “Evidence shows cancer in laboratory male rats exposed to high levels of FD&C Red No.3” although it added: “Importantly, the way that FD&C Red No. 3 causes cancer in male rats does not occur in humans.”.  That caveat however does affect the agency’s testing protocol which is based on the “Delaney Clause” (a 1950s amendment sponsored by New York Democrat Congressman James Delaney (1901–1987)) which states the FDA cannot classify a color additive as safe if it has been found to induce cancer in humans or animals.

Curiously, FD&C Red No. 3 has been banned from use in cosmetics (notably lipstick) for almost four decades while still being allowed in foods and ingested medications, an apparent anomaly which has seen much lobbying from groups such as the Center for Science in the Public Interest (CSPI) which organized the a petition calling in the ban and that for forty-odd years the food and pharmaceutical industries have been able to continue using the stuff is a testament to the quality (and doubtlessly the largess) of their lobbyists.  According to Food Scores (a database compiled by the Environmental Working Group (EWG)), some 3000 foods are known to contain Red No. 3 and the newly mandated “…consistency between what we put on our skin and what we put into our mouths” was welcomed.  It may also be an example of the anticipation the new administration which takes office on 20 January 2025 will be Trump 2.0 and not Trump 1.1, Donald Trump’s (b 1946; US president 2017-2021; president elect 2024) incoming head of the Department of Health and Human Services, Robert F Kennedy Jr (RFK Jr, b 1954) having already flagged he intended to follow Australia, Japan and the EU (European Union) in restricting the use of the dye to products such as leather or fabrics.  RFK Jr’s interest in the matter extends also to limiting the way highly-processed, high-sugar, “empty calorie” foods are made attractive to children, bright colors a trick the business has for decades been exploiting.  As well as the nutritional concerns, such foods have been linked with childhood obesity and behavioral issues.

Cloisonné

Cloisonné (pronounced kloi-zuh-ney or klwa-zaw-ney (French))

(1) A decorative technique for metalwork, especially brass, whereby colored enamel is baked between raised ridges of the metal; among those for whom "price-taggery" is the measure of things, it was sometimes disparaged as a cheaper alternative to jeweled encrustation or filigree.

(2) Pertaining to, forming, or resembling cloisonné or the pattern of cloisonné.

(3) As applied to metalwork, objects decorated by this technique collectively.

1863: From the French cloisonné (divided into compartments, partitioned (especially in reference to surface decoration)), from the twelfth century Old French cloison (partition), from cloisonner (enclosure; to divide into compartments) from the Provençal clausiō, from the Vulgar Latin clausiōn, stem of clausiō (closed), noun of action from past participle stem of claudere (to close; shut).  The alternative spelling cloisonne is now more common in English.  Cloisonné is a noun; the noun plural is cloisonnés.  The noun cloisonnism describes a school of postimpressionist painting and the verb cloisonner (to partition, to compartmentalize) is French.

Lindsay Lohan wearing vintage art deco bracelet in triangulated black & white, May 2007.

There were several steps in the cloisonné enamel process and they have been little changed since the process was first used in Egypt prior to 1800 BC when gold ornaments were inlaid with small pieces of turquoise, lapis lazuli, carnelian and garnet, the inlays held in position by ribs soldered to the gold base.  Although there’s no surviving evidence in archaeological digs, the speculation of Egyptologists is that goldsmiths and glass workers collaborated to forge or fabricate their creations using artificial gems.  Pieces of colored glass were substituted for the stones and some appear to have been cemented in place.  The modern sequence is usually:

(1) Design and Preparation: The artisan will create a two dimensional sketch which develops into a detailed design; this can be on paper or a digital rendering which is then transferred onto a metal object, made usually of bronze, copper or gold.

(2) Wire Application (Cloisons): Thin metal wires (usually of copper or gold) are shaped to suit the design; these are soldered or glued to the metal surface, forming compartments (cloisons).  It’s these wires which lend a three dimensional form to the design, acting as the barriers which will contain the various enamel colors.

(3) Enamel Filling: Enamel (powdered glass which is mixed with water to form a paste) is applied within the cloison compartments.  While there are designs which used only the one shade of enamel, historically the style is associated with contrasting colors, some vivid, some dark.

(4) Firing: Once the compartments have been filled, the object is fired in a high-temperature kiln.  This causes the enamel to melt, fusing it with the metal; depending on the design, multiple firings may be required to build up the enamel layers and achieve the desired thickness and finish.

(5) Polishing: After the final firing, the surface of the object is polished, this both smoothing the enamel to its final shape and enhancing the color.  As part of this process, some enamel may be removed so the metal wires are granted greater prominence better to define the shapes.

French Second Empire gilt cloisonné enamel carriage clock, circa 1870.

The intricate metalwork and detailed cloisonné engravings associated with the clocks of the First French Empire have always attracted collectors and there’s a view in the industry they’re superior in just about every way to those of the Second Empire.  They certainly tend to be more expensive.  There are those who prefer the later clocks, especially the more restrained.  For the discerning, a sub-genre of Second Empire horology was the carriage (or travelling) clock, small, sturdy and created in shapes suitable to packing in regular-sized boxes.  The earliest were purely functional with little embellishment but their diminutive form appealed to designers seeking to create exquisite miniatures.  From the mid-century on, an increasing number were produced for household use and it’s doubtful many were much used by those on the move.

1967 Ferrari 275 GTB/4 NART Spider.

The cloisonné "N.A.R.T." badge.

The Ferrari 275 GTB/4 NART Spider was a roadster commissioned by Ferrari's North American concessionaire, Italian-born Luigi Chinetti (1901–1994) who ran the N.A.R.T, (North American Racing Team) and wanted to offer something in the spirit of the charismatic 250 California Spiders (1957-1963).  Built by Ferrari's coachbuilder Scaglietti, the N.A.R.T. Spider was certainly a worthy successor but, being very much a traditional sports car with few of the luxury fittings to which buyers had quickly become accustomed, demand was subdued, most preferring its less raucous companion, the 330 GTS which pampered occupants with niceties like power steering, electric windows and air conditioning.  The NART's high price didn't help and of the planned run of 25, only ten were built.  Thus mostly unwanted when new, as a used car the performance of the 275 NART has been stellar, chassis #10709 selling at auction in 2013 for US$27.5 million.  Informally always known as the "NART Spider" despite the factory not using the designation, the only hint of its unusual gestation was a cloisonné badge with the N.A.R.T.'s logo, installed on the Kamm tail.

1967 Ferrari 275 GTB/4 NART Spider.

The NART's existence also created a footnote in the history of Ferrari nomenclature.  Although the ten made have always been regarded as official factory models, Enzo Ferrari (1898-1988) was noticeably restrained in his enthusiasm for the venture and instead of being named 275 GTS/4 as would have been the current practice, it was listed in the records of both Scaglietti and the factory as the 275 GTB/4 NART spider.  That may have been because there had already been a 275 GTS (1964-1966) although it had been replaced by the 330 GTS by the time the NART cars were built or it may simply have been Il Commendatore didn't like his plans being changed.  Because of the high prices the things attract when from time to time they are offered at auction, the sales are always well publicized and the modern practice seems sometimes to label them as "NART 275 GTB/4S", "NART 275 GTB/4s" or "NART 275 GTB/4*S".  Given the well-known history and status of the NARTs, the appended "S" seems superfluous however written.