Sketch

Sketch (pronounced skech)

(1) A simply or hastily executed drawing or painting, especially a preliminary one, giving the essential features without the details, later to be elaborated.

(2) A rough design, plan, or draft, as of a book.

(3) A brief or hasty outline of facts, occurrences etc.

(4) As thumbnail sketch, a piece of text which summaries someone or something.

(5) A short, usually descriptive, essay, history, or story.

(6) A short play or slight dramatic performance, as one forming part of a variety or vaudeville program; a short comedy routine (a skit).

(7) To make a sketch.

(8) To summarize, to set forth in a brief or general account.

(9) In metallurgy, to mark a piece of metal for cutting.

(10) In music, a short evocative instrumental piece, used especially with compositions for the piano.

(11) In the slang of the Irish criminal class, as “to keep (a) sketch), to maintain a lookout; to be vigilant; watch for something.

(12) In journalism, as parliamentary sketch, a newspaper article summarizing political events which attempts to make serious points in a lest than obviously serious manner (mostly UK).

(13) In category theory, a formal specification of a mathematical structure or a data type described in terms of a graph and diagrams (and cones (and cocones)) on it. It can be implemented by means of “models” (functors) which are graph homomorphisms from the formal specification to categories such that the diagrams become commutative, the cones become limiting (ie products) and the cocones become colimiting (ie sums).

1660–1670: From the Dutch schets (noun), from the Italian schizzo, from the Latin schedium (extemporaneous poem), noun use of neuter of schedius (extempore; hastily made), from the Ancient Greek σχέδιος (skhédios) (made suddenly, off-hand, unprepared), from σχεδόν (skhedón) (near, nearby), from ἔχω (ékhō) (I hold).  The German Skizze, the French esquisse & the Spanish esquicio are also from the Italian schizzo.  The related forms are the nouns sketcher & sketchiness, the adverbs sketchily & sketchingly and the adjectives sketchlike and sketchable.

Sketch became a verb in the 1660s in the sense of “present the essential facts of" and was derived from the earlier noun. This idea of a sketch as a “brief account” by 1789 had enlarged to a "short play or performance, usually comic", still maintaining the connection from art as something less than full-scale, the reference to comedy suggesting something slight rather than a serious work.  The sketch-book was first recorded in 1820.  That sense extended beyond text to art and design from 1725 when it came also to mean "draw, portray in outline and partial shading", firstly to describe simple drawings, referring later to preparatory work for more elaborate creations.  The adjective sketchy is noted from 1805, describing art “having the form or character of a sketch".  The colloquial sense of "unsubstantial, imperfect, flimsy" is from 1878, possibly to convey the sense of something "unfinished".  Adumbrate (faint sketch, imperfect representation), actually pre-dates sketch, noted first in the 1550s.  It was from the Latin adumbrationem (nominative adumbratio) (a sketch in shadow, sketch, outline).  The meaning "to overshadow" is from the 1660s at which time emerged the derived forms adumbrated and adumbrating and related forms are adumbration (noun), adumbrative (adjective) and adumbratively (adverb).

Sketches of Spain

Although not yet regarded as the landmark in jazz it would come to be in the decades which followed its release in 1959, even in 1960 Miles Davis’ (1926-1991) Kind of Blue had already created among some aficionados an expectation; realising it was something special, this was what they hoped would be the definitive Davis style and they were anxious for more.  The next release however, wasn’t indicative of what was to come, Workin' with the Miles Davis Quintet (1960 Cat# Prestige P-7166) was the third of four albums assembled from sessions recorded long before the Kind of Blue sessions and released to fulfil contractual obligations to the independent label Prestige.  Although some purists were pleased, after Kind of Blue, the music seemed old-fashioned.

Miles Davis, Kind of Blue, (1959, Columbia, Cat# CS 8163).

Davis had enjoyed considerable success in the 1950s but, needing the distribution and promotional network of a major label to reach a wider audience, he’d signed with Colombia (CBS internationally).  The early Colombia releases had been well received but it was the sixth, Kind of Blue, which made him a star beyond the world of jazz, the album selling in volumes unprecedented in the genre; to date, over four million copies are said to have been shipped.  Davis had been innovative before, his performance at the 1954 Newport Jazz Festival defining what had come to be called “hard bop” (a flavor of jazz influenced by other forms, especially rhythm and blues) but the appeal extended little beyond already established audiences.  What made Kind of Blue so significant was that Davis essentially created modal jazz which shifted the technique from one where the players worked within a set chord progression to soloists creating melodies using modes which could be deployed alone or in multiples.  Musicians explain the significance of this as a movement to the horizontal (the scale) rather than the traditional vertical (the chord).  In the somewhat insular world of jazz, that would anyway have been interesting but the sound captivated those beyond and was a landmark in what would come to be known as musical fusion, the cross-fertilisation of sound and technique.  Among composers, fusion was nothing new but Kind of Blue realised its implications in a tight, seductive package.

Miles Davis, Sketches of Spain, (1959, Columbia, Cat# CS 8271).

Sketches of Spain too was a fusion but it was different to what had come before and no attempt to be Kind of Blue II.  For one thing, the sound was big, recorded in the famously cavernous converted church in Manhattan which for decades was Colombia’s recording studio.  Lined with old timber and with a ceiling which stretched 100 feet (30 m) high, technicians called it the “temple of sound” because of the extraordinary acoustic properties.  The ensemble too was big, a necessity because this time the fusion was with the orchestral, the long opening track an arrangement by Davis and Gil Evans (1912-1988) of the adagio movement of Joaquín Rodrigo’s (1901-1999) guitar concerto, Concierto de Aranjuez.  Such was the extent of the fusion there were traditionalists who doubted Sketches of Spain could still be called jazz; they saluted the virtuosity but seemed to miss the sometimes arcane complexities in construction inaccessible except to the knowing few.

Miles Davis, Bitches Brew (1970, CBS, Cat# S 66236).

A wider world however was entranced and technical progress needs also to be noted.  Colombia had recorded Davis before in the then still novel stereo but even fans acknowledged the mono pressings remained superior and it wasn’t until 1960, after extensive testing and the refinement of equipment that the technique had been perfected.  Sketches of Spain was lush or austere as the moment demanded, listeners new to stereo especially enchanted at being able to hear the sounds hanging in a three-dimensional space, each instrument a distinct object in time and place.  Nobody asked for mono after that.  Influential as it was, to Davis, Sketches of Spain was just another phase.  Ten years later, noting the increasing sparse audiences in jazz clubs and aware a new generation had different sensibilities, Davis would fuse with other, more recent traditions and Bitches Brew would cast his shadow over a new decade.

Six photographs of Lindsay Lohan, rendered in software as pencil sketches.

Thumbnail

Thumbnail (pronounced thuhm-neyl)

(1) The (finger)nail of the thumb.

(2) As thumbnail sketch, anything quite small or brief, as a small drawing or short essay, a précis or summary.

(3) In printing, a small, rough dummy.

(4) In journalism, a half-column portrait in a newspaper (also called the porkchop).

(5) Something quite small or brief; concise.

(6) Concisely to describe (something or someone).

(7) In computing (on the graphical user interfaces (GUI) of operating systems), a small image used as a preview of the original which loads upon clicking the thumbnail.  Unlike an icon, which is (Usually) a representative symbol, a thumbnail is a smaller copy of the original larger image (although technically, a thumbnail can be constructed which reports a smaller file size than the original).

1595–1605: The construct was thumb + nail.  Thumb was from the Middle English thombe, thoume & thoumbe, from the Old English þūma, from the Proto-West Germanic þūmō, from the Proto-Germanic þūmô from Proto-Indo-European tūm- (to grow).  The spellings thum, thume & thumbe were still in use in the late seventeenth century but are all long obsolete.  Nail was from the Middle English nail & nayl, from the Old English næġl, from the Proto-West Germanic nagl, from the Proto-Germanic naglaz, from the primitive Indo-European hnogh- (nail).  The earliest known instance of the phrase “thumbnail sketch” in the sense of "drawing or sketch of a small size" (though usually not literally the size of a thumbnail) dates from 1852, the verb usage adopted in the 1930s.  Thumbnail is a noun & adjective; thumbnailer is a noun, thumbnailed is a verb & adjective and thumbnailing is a verb; the noun plural is thumbnails.

Fifteen images of Lindsay Lohan’s thumbnails.

The term "thumbnail sketch" began with architects, designers and artists who quickly would create small, conceptual sketches of their ideas so they could be tested without the time or effort required to render at full-scale.  While it’s possible some may literally have been the size of a actual thumbnail, most would have been larger and the term was chosen just as something indicative of “smallness”.  The practice or architects and others creating small sketches was of course ancient and may even have been associated with prehistoric cave painting but it was in the mid-nineteenth century the term “thumbnail sketch” came to be used.  The use of the thumbnail sketch (including the companion “pencil test” in graphic design) is now universal in industries where images need to be created and the techniques learned proved useful in the 1980s when icons became widely used in the on were used on graphical user interfaces (GUI) of operating systems.  In text, in the 1950s, the thumbnail sketch came to be applied to any a précis or summary and has always been prevalent in publishing and criticism (as brief plot summaries, reviews etc) and as short-form biographical data, especially when assembled in a list of those so profiled.

Thumbnail sketches of recent Australian administrations

Kevin Rudd (right) & Cardinal Pell (left), 2010.

Kevin Rudd (b 1957; Australian prime-minister 2007-2010 & 2013): There have been few Australian prime-ministers who entered office with such goodwill as that enjoyed by Kevin Rudd and none who have so quickly squandered it all.  Mr Rudd’s win in 2007 was a testament to his personal popularity and a reasonable achievement given that, by any standards, on paper, the previous government shouldn’t have lost office, there being no crisis, an outstandingly good fiscal position, low unemployment and no serious scandals.  Essentially, the electorate seemed bored by a decade-odd of dull competence and Mr Rudd was new, presentable and in his nerdy, weird way, appealing and thus the country voted.  His honeymoon wasn’t noticeably short but he had the misfortune to be prime-minister when the global financial crisis (GFC) hit and while for many reasons, Australia was relatively unaffected, the stresses it induced revealed tensions in his government and his background as a public servant wasn’t useful whenever decisiveness was required; long used to providing advice to others who made decisions, his government stuttered under the weight of committees and boards of enquiry.  A contrast with this intellectual timidity was his reputation for arrogance and abrasiveness when dealing with his colleagues and this didn’t help him maintain their support; he lost an internal party vote in 2010 and the Australian Labor Party (ALP) choose another leader.  In 2023, it was announced Dr Rudd would be Australia’s next ambassador to the United States and there are rumors he’s negotiated a secret, back-channel deal whereby he reports directly to the prime-minister and not, as is usual, to the foreign minister.

Julia Gillard (left) & Kevin Rudd (right), 2013.

Julia Gillard (b 1961; Australian prime minister 2010-2013):  Julia Gillard is thus far the only woman to become Australia’s prime-minister and some of the treatment she endured in office might make a few women wonder if reaching the top of the greasy pole is worth the price to be paid.  That said, it’s still a good gig and many will try.  Metaphorically knifing her predecessor in the back meant her premiership didn’t start in the happiest of circumstances and it didn’t help and he made little attempt to conceal his thoughts on recent events.  The poison spread through the party and the healthy majority gained in 2007 was lost in the 2010 election, the Gillard government surviving only with the support of three independents, all of whom extracted their own price.  Bizarrely as it might seem to some, Rudd returned for a while as foreign minister, an unhappy experience for many.  It couldn’t last and it didn’t, Mr Rudd resigning and unsuccessfully contesting the leadership.  Still despite it all, on paper, the Gillard government managed things successfully in a tight parliament and although the actual achievements were slight, they probably exceed expectations.  Ms Gillard is probably best remembered for her “misogyny” speech which deservedly went viral because it was highly entertaining although it did reveal someone sensitive to criticism and one wonders if she’d ever reviewed some of things said about male politicians over the centuries.  It’s clearly a more sensitive age but nor did she appear to see any inconsistencies between the words spat at her and her use of “poodle” and “mincing” (with all that they imply) when decrying one of her male opponents.  As it was, Mr Rudd got his revenge, toppling her in 2013 although his victory may have seemed pyrrhic (his second coming lasting three months-odd), he was probably content.

Tony Abbott (left) & Vladimir Putin (right) with koalas, 2014.

Tony Abbott (b 1957; Australian prime-minister 2013-2015): One probably disappointed that Ms Gillard was in 2013 replaced was Mr Abbott because all the indications were the Liberal-National coalition’s victory in the 2013 election would have produced a landslide-scale majority rather than the merely comfortable one achieved against Mr Rudd.  Still, the majority was sufficient for Mr Abbott easily to purse his objectives and he immediately set to reducing expenditure, cutting taxes, stopping irregular immigration (his famous “stop the boats” campaign lent three word slogans (3WS) a new popularity which endures to this day) and attacking trade unions.  He was a very different character from Mr Rudd but similarly inept in managing public perception of his government.  In his thoughts, there was a certainly of purpose Mr Rudd lacked but the core problem was that his world view seemed to have been set in stone by the Jesuits who taught him while he was training for the priesthood and while much had changed since the fourteenth century, he’d not moved on.  Thus created were the tensions which marked his government which was split between technocratic realists, right-wing fanatics, a genuinely liberal wing and his coalition partners, the National Party which was devoted to the horse trading necessary to extract the money required to pork-barrel their electorates.  Presiding over this lot as a leader with thoughts were more akin to the old Democratic Labor Party (DLP) than anything from the third millennium, it’s probably remarkable Mr Abbott lasted as long as he did.  The 2014 budget which made big cuts was blamed by many for his demise and while it’s true it was badly designed and poorly explained, it does appear Mr Abbott, while one of the most formidably focused and effective oppositions leaders, simply lacked the skills needed to be prime-minister.  In 2013, he lost an internal party ballot to the man he’d replaced in a similar vote in 2009.

Malcolm Turnbull (right) & Peter Dutton (left) roadside billboard (2016).

Malcolm Turnbull (b 1954; Australian prime minister 2015-2018):  There was an unusually great public optimism which immediately surrounded Mr Turnbull’s accession to office.  So encouraging were the polls that he probably should have gone to an early election as Anthony Eden (1897-1977; UK prime-minister 1955-1957) did in 1955, thus avoiding the grinding down of energy inevitable in “fag-end” administrations.  Instead he delayed, making the same mistake as Gordon Brown (b 1951; UK prime-minister 2007-2010) and John Gorton (1911-2002; Australian prime-minister 1968-1971) and the early support evaporated, the government surviving the 2016 election with only a slender majority.  Being from the liberal wing, Mr Turnbull really wasn’t a good fit as leader of the modern Liberal Party he’d been accepted only because he was rich, a virtue which in the party tends to mean other vices are overlooked (if not forgiven).  This allowed him sometimes to prevail but ultimately it was the corrosive and related issues of energy and an emissions reduction policy which proved his nemesis.  Even if the public didn’t fully understand the intricacies of the issue (and the especially complex mechanisms in the associated legislation), increasingly they were being persuaded by the science underlying climate change and just wanted the matter resolved.  The factions in the Liberal-National coalition had for more than a decade been torn asunder by climate policy and the divisions poisoned public perception of the government; Mr Abbott may have been wrong in how he handled the matter in 2013 but he was at least certain and decisive and was accordingly rewarded.  Support for Mr Turnbull eroded and in an amusingly chaotic leadership coup in 2018, he lost the leadership.  In retirement, he found common cause with Mr Rudd as they joined to complain about the undue influence Rupert Murdoch’s (b 1931) News Corporation exerts in Australian politics, especially the national daily The Australian which, despite a notionally small distribution, is highly effective in setting agendas, forcing other outlets to pursue News Corp's pet issues.

The Turnbull administration is remembered also for imposing the "bonk ban", a consequence of one of the many extra-parliamentary antics of "bonking Barnaby" (Barnaby Joyce, b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022 and known also within the beltway as "the beetrooter", a nicknamed explained as (1) an allusion to this often florid complexion and (2) the use of "root" in Australia to refer to sexual intercourse).  Mr Turnbull was a keen student of etymology and having once worked as a journalist was fond of the alliterative phrase so when writing his memoir (A Bigger Picture (2020)) he included a short chapter entitled "Barnaby and the bonk ban".  As well as the events which lent the text it's title, the chapter was memorable for his inclusion of perhaps the most vivid thumbnail sketch of Barnaby Joyce yet penned:

"Barnaby is a complex, intense, furious personality.  Red-faced, in full flight he gives the impression he's about to explode.  He's highly intelligent, often good-humoured but also has a dark and almost menacing side - not unlike Abbott (Tony Abbott (b 1957; prime-minister of Australia 2013-2015)) - that seems to indicate he wrestles with inner troubles and torments."

Mr Turnbull and Mr Joyce in parliament, House of Representatives, Canberra, ACT.

The substantive matter was the revelation in mid-2017 the press had become aware Mr Joyce (a married man with four daughters) was (1) conducting an affair with a member of his staff and (2) that the young lady was with child.  Mr Turnbull recorded that when asked, Mr Joyce denied both "rumors", which does sound like a lie but in the narrow sense may have verged on "the not wholly implausible" on the basis that, as he pointed out in a later television interview, the question of paternity was at the time “...a bit of a grey area”.  Mr Joyce and his mistress later married and now have two children so all's well that end's well (at least for them) and Mr Turnbull didn't so much shut the gate after the horse had bolted as install inter-connecting doors in the stables.  His amendments to the Australian Ministerial Code of Conduct (an accommodating document very much in the spirit of Lord Castlereagh's (1769–1822; UK foreign secretary 1812-1822) critique of the Holy Alliance) banned ministers from bonking their staff which sounds uncontroversial but was silent on them bonking the staff of the minister in the office down the corridor.  So the net effect was probably positive in that staff having affairs with their ministerial boss would gain experience through cross-exposure to other portfolio areas although there's the obvious moral hazard in that they might be tempted to conduct trysts just to engineer a transfer in the hope of career advancement.  There are worse reasons for having an affair and a bonk for a new job seems a small price to pay.  It's been done before.

Scott Morrison (left) & Grace Tame (right), 2022.

Scott Morrison (b 1968; prime-minister 2018-2022): There are a few candidates who deserve to be regarded as Australia’s worst prime-minister (some of them quite recent) but the uniquely distinguishing feature of assessments of Mr Morrison’s term is that so many view it with such distaste.  His narrow victory in the 2018 election was a remarkable personal achievement but that proved the high-water mark of his administration.  Many critiques noted his lack of background, his experience limited to sales, marketing and slogans which has its place but did seem to result in him viewing a democracy rather as a sales manager views his employer’s customer loyalty programmes: Just as only good customers are entitled to the benefits of membership, in the Morrison government it seemed only electorates which returned coalition members were deserving of funding.  That did change in the run-up to an election; then marginal electorates which might elect coalition members attracted largess and while all parties do this, few have been so so blatant or extreme as Mr Morrison.  He also blundered in foreign affairs, publicly and pugnaciously calling for an international enquiry into the origins of the SARS-COV-2 virus responsible for the COVID-19 pandemic.  That was a good idea but it should have been handled through the usual channels, not as foghorn diplomacy and the assumption of most was he was looking forward to going to his church (one where they clap, sing, strum guitars and the preacher assures the congregation God approves of surf-skis and big TVs) and telling everyone he’d stood up to the Godless atheists in the Chinese Communist Party.  Then there was the matters like the way a submarine contract was cancelled (costing the taxpayer a few hundred million) and the “robodebt” scandal (which turned out to be unlawful) which cost an as yet uncertain millions more.  Robodebt also exposed the contrast between his attitude to poor people who might be entitled to small welfare payments and that towards corporations which benefited from COVID-19 payments intended for those suffering certain defined losses in revenue.  When it was pointed out many companies which had received millions actually increased their revenue during the pandemic, Mr Morrison made it clear they could keep the money.  Maybe poor people should become Liberal Party donors.

Thumbnails of Lindsay Lohan image files in a sub-directory.

Embellish

Embellish (pronounced m-bell-lysh)

(1) To decorate, garnish, bedeck or embroider an object.

(2) To beautify by ornamentation; to adorn.

(3) To enhance a statement or narrative with fictitious additions.

1300–1350: From the Middle English embelisshen from the Anglo-French, from the Middle French embeliss- (stem of embelir), the construct being em- (The form taken by en- before the labial consonants “b” & “p”, as it assimilates place of articulation).  The en- prefix was from the Middle English en- & in-.  In the Old French it existed as en- & an-, from the Latin in- (in, into); it was also from an alteration of in-, from the Middle English in-, from the Old English in- (in, into), from the Proto-Germanic in (in).  Both the Latin and Germanic forms were from the primitive Indo-European en (in, into) and the frequency of use in the Old French is because of the confluence with the Frankish an- intensive prefix, related to the Old English on-.) + bel-, from the Latin bellus (pretty) + -ish.  The –ish suffix was from the Middle English –ish & -isch, from the Old English –isċ, from the Proto-West Germanic -isk, from the Proto-Germanic –iskaz, from the primitive Indo-European -iskos.  It was cognate with the Dutch -s; the German -isch (from which Dutch gained -isch), the Norwegian, Danish, and Swedish -isk & -sk, the Lithuanian –iškas, the Russian -ский (-skij) and the Ancient Greek diminutive suffix -ίσκος (-ískos); a doublet of -esque and -ski.  There exists a welter of synonyms and companion phrases such as decorate, grace, prettify, bedeck, dress up, exaggerate, gild, overstate, festoon, embroider, adorn, spiff up, trim, magnify, deck, color, enrich, elaborate, ornament, beautify, enhance, array & garnish.  Embellish is a verb, embellishing is a noun & verb, embellished is a verb & adjective and embellisher & embellishment are nouns; the noun plural is embellishments.

The meaning "dress up (a narration) with fictitious matter" was first noted in the mid-fifteenth century and was an acknowledgement of a long (if sometimes hardly noble) literary tradition.  It was exemplified by the publication in 1785 by German author Rudolf Erich Raspe (1736-1794) of Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia, a collection of extraordinary stories, based (loosely) on the tales told by the real-life Baron Hieronymus Karl Friedrich, Freiherr von Münchhausen (1720-1797).  The real baron was prone to quite some exaggeration in the tales of his travels but never went as far as Herr Raspe had his fictional baron flying to the moon.  The technique of enhancing a statement or narrative with fictitious additions (ie lies) was later perfected by the author and one-time Tory politician Lord Archer of Weston-super-Mare (b 1940) and crooked Hillary Clinton (b 1947).

Lindsay Lohan in bikini embellished with faux (synthetic) fur, photo-shoot for the fifth anniversary of ODDA magazine, April 2017.

In the matter of Stormy Daniels and Donald Trump

Various matters relating to a payment allegedly made by (b 1946; US president 2017-2021) to adult film star (and director in the same genre) Stormy Daniels (Stephanie Gregory Clifford; b 1979) are currently before a New York criminal court.  When a member of Mr Trump’s legal team suggested she may have a  “propensity to embellish” when giving evidence, counsel was using the word “embellish” in the crooked Hillary sense of “lie”.  Lawyers have many ways to suggest those being cross-examined are lying and embellish is one of the more euphemistic though not as inventive as “economical with the truth”.  That one will forever be associated with former UK cabinet secretary Sir Robert Armstrong (1927-2020; later Baron Armstrong of Ilminster) who, under cross-examination in the “Spycatcher” trial (1986), when referring to a letter, answered: “It contains a misleading impression, not a lie. It was being economical with the truth.”  Whether the old Etonian was aware of much post-Classical writing isn’t known (at Christ Church, Oxford he read the “Greats” (the history and philosophy of Ancient Greece & Rome)) but he may have been acquainted with Mark Twain’s (1835-1910) Following the Equator (1897) in which appeared: “Truth is the most valuable thing we have.  Let us economize it.” or the earlier thoughts of the Anglo-Irish Whig politician Edmund Burke (1729-1797) who in his Two Letters on the Proposals for Peace with the Regicide Directory (1796) noted: “Falsehood and delusion are allowed in no case whatsoever: But, as in the exercise of all the virtues, there is an economy of truth.”  Just as likely however is that Sir Robert had been corrupted by his long service in HMG (Her Majesty’s Government) and was thinking of: “The truth is so precious, it deserves an escort of lies.”, a phrase often attributed (as are many) to Sir Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955), but there’s some evidence to suggest he may have picked it up from comrade Stalin (1878-1953; Soviet leader 1924-1953) and even if it wasn’t something the old seminarian coined, it was the mantra by which he lived so he deserves some credit.  Sir Robert’s phrase entered the annals of legal folklore and was good enough to have been lifted from a script from the BBC satire Yes Minister.

Courtroom sketch of defendant, judge, prosecutor & witness by Jane Rosenberg (b 1949), Manhattan Criminal Court, New York, 7 May 2024.

The work of courtroom sketch artists became a feature of the trial process in many Western courts during the years when photography was banned and Ms Rosenberg has since 1980 become of of the most highly regarded practitioners.  Of her art, she was quoted, in a statement she stressed was non-political and not a comment on the legal merit of his case, that Mr Trump was “fun to draw”.  Something of the character of law will be lost if the courtroom sketch artist is replaced by an artificial intelligence (AI) bot.

The exchange on 7 May wasn’t the first time “propensity” and “embellish” had been entered into the trial transcript.   On 23 April, the court heard about former National Enquirer publisher David Pecker’s (b 1951) “secret arrangement” negotiated in 2015 with Mr Trump and his then attorney (and “fixer”) Michael Cohen (b 1966), the terms of which included the publication (1) promoting Mr Trump’s presidential ambition and (2) publicizing Mr Cohen’s “research” relating to Mr Trump’s opponents: “He would send me information [about the others seeking the Republican nomination for the 2016 presidential election] and that was the basis for our story, and we would embellish (in the National Enquirer tradition "embellish" is a spectrum word ranging in meaning from "exaggerate" to "untrue").” Mr Pecker testified, adding the arrangement was kept secret from all but a handful of his senior executives: “I told them [the National Enquirer’s East and West Coast bureau chiefs] we were going to try and help the campaign, and to do that we would keep it as quiet as possible.”  National Enquirer has bureaux; who knew?

Stormy Daniels.

The day before, Mr Trump’s team pursued a line of questioning designed to cast doubt on Mr Cohen’s credibility, suggesting that for him Mr Trump has become “an obsession” and that he wishes to see him incarcerated and has “a propensity to lie.”  “He has a goal, an obsession, with getting Trump.  I submit to you he cannot be trusted.  His entire financial livelihood depends on President Trump’s destruction… You cannot make a serious decision about President Trump by relying on the words of Michael Cohen.” Counsel argued.  Mr Cohen had certainly left no doubt the case was on his mind, the previous night posting on-line that he’d experienced some “…mental excitement about this trial...” and the testimony he would deliver.

The highlight thus far however came when the state called to the stand Ms Daniels where in greater detail than expected she described the encounter with Mr Trump which led to the hush-money scheme.  The word the press seemed to settle on for their reports was “salacious” but the two things which most struck legal analysts was (1) the unusually wide interpretative latitude the judge appeared to allow himself when deciding the nature of the many details Ms Daniels should be allowed to introduce and (2) the curious reticence of defence counsel in objecting to the course things were taking.  Both of these aspects may be considered if the case goes on appeal when often a ruling is made on what evidence is relevant and what is so prejudicial that under the evidentiary rule it shouldn’t have been admitted and heard by the jury.

Stormy expression: Donald Trump at the defense table, Manhattan Criminal Court, New York, 7 May 2024.

Over lunch, Mr Trump’s team must have discussed these matters because they moved a motion requesting the judge declare a mistrial on the grounds Ms Daniels’ testimony contained prejudicial and irrelevant comments which: “…aside from pure embarrassment…,” these details did nothing but “…inflame the jury.”  The judge did acknowledge Ms Daniels was a difficult witness to control and agreed: “...it would have been better if some of these things had been left unsaid.” but denied the motion, saying defense counsel should have raised more objections during the testimony and that cross-examination would permit them to redress things, adding that at one point he had intervened to limit her statements simply because the defence had not.  The defense did actually raise a number of objections, a slew of which the judge upheld, after which he cautioned the witness: “Just listen to the question, and answer the question.”  Some may have recalled the infamous cross-examination of Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) by Justice Robert Jackson (1892–1954; US Supreme Court Justice 1941-1954; Chief US Prosecutor at the Nuremberg (IMT) trials of Nazi war criminals 1945-1946) at the first Nuremberg Trial (1945-1946) when the judges of the IMT (International Military Tribunal) declined to “control the witness”, leaving Justice Jackson increasingly exasperated by Göring’s long answers which the prosecutor though mostly irrelevant but which were of great interest to at least some of the judges and permitted under the terms of the court’s charter.  Of course, the IMT wasn’t limited by New York’s rules on admissibility of evidence.

Stormy Daniels (2019) by Robert Crumb.  Robert Crumb (b 1943) is an US cartoonist, associated since the 1960s with the counter-culture and some strains of libertarianism; he was one of the most identifiable figures of the quasi-underground (in the Western rather than the Warsaw Pact sense) comix movement.

However, in one exchange during defense cross examination, there was no question of any propensity to embellish, counsel asking: “Am I correct in that you hate President Trump?” to which Ms Daniels replied: “Yes.”  No ambiguity there and although not discussed in court, her attitude may not wholly be unrelated to Mr Trump’s rather ungracious description of her as “horse face”.  Really, President Trump should be more respectful towards a three-time winner of F.A.M.E.'s (Fans of Adult Media and Entertainment) much coveted annual "Favorite Breasts" award.

Donald Trump leaving Manhattan Criminal Court, New York, 7 May 2024.

Speaking briefly to reporters after leaving the court, Mr Trump said: “This was a very big day, a very revealing day, as you see, their case is totally falling apart, they have nothing on the books and records and even something that should bear very little relationship to the case, it's just a disaster for the DA.”

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.

Marquisette

Marquisette (pronounced mahr-kuh-zet or mahr-kwuh-zet)

A lightweight open leno weave fabric of cotton, silk etc; very popular under the Raj.

1907: From the French, diminutive of marquise (a marchioness), from the Medieval Latin marchionissa (feminine form of marchion) from Late Latin marcha, from which Frankish picked up markōn (to mark, mark out, to press with the foot).  The Proto-Germanic was markō (area, region, edge, rim, border).  Marquisette fabric is constructed using a leno weave and was originally made only from silk for use in bridal wear and evening gowns.  More commonly nowadays, it is made from cotton, wool or synthetic fibres and is used for drapes and mosquito nets.  Marquisette, along with voile, was a robing fabric especially suitable for travel and for draping over other dresses.  Early in the twentieth century, Deliniator magazine adopted the light, limp fabric for the newly fashionable directorie look.

Marilyn Monroe, President Kennedy and the marquisette dress

In a marquisette dress, Marilyn Monroe (1926-1962) sang happy birthday Mr President to President John Kennedy (JFK, 1917-1963; US president 1961-1963) at a Democratic Party fundraiser at New York's Madison Square Garden on 19 May 1962, ten days before his actual birthday.  Within three months, she would be dead.

An impressive piece of structural engineering (so body-hugging Ms Monroe had to sewn into it) and an eye-catching design, the dress was cut from a sheer, flesh-colored silk marquisette, adorned with 2500 hand-sewn (and intricately positioned) rhinestones and the famously sultry performance did nothing to dispel rumors the two might be having an affair.  In 1962 it cost US$1,440.33 (equivalent to some US$10,000 in 2022) and it remained part of Ms Monroe's estate until sold at auction by Christie's in 1999 for US$1.3 million.  Subsequently, it was purchased in 2016 for US$4.8 million by Ripley's Believe It Or Not Museum in Florida. 

RFK, Marilyn Munroe & JFK.

The first conceptual sketch of the dress was the debut project of US fashion designer Bob Mackie (b 1939) who two years earlier had left the Chouinard Art Institute to work for French costume designer Jean Louis (1907-1997) and year later, he revealed to Vogue magazine that until the pictures of the Madison Square Garden performance were published, he had no idea of the use to which his sketch was to be put.  Marilyn Munro was certainly aware of the impact the translucent look would have and was seeking a “work-around” to the problem of her employer (Twentieth Century Fox) not permitting her to be dressed too revealing in films.  Having just lost weight and concluded she was looking better than ever, she wanted an outfit with what Mackie called “the wow factor” and that she certainly got.  Sixty years on, dresses which approach functional nudity are commonplace but in 1962 the clinging, shimmering creation which moved with her, caused a sensation.  The garment is also a reminder of the way history unfolds according to the chance interaction of events.  Had JKF not won the 1960 presidential election "by an electoral eyelash", the song would doubtlessly never have been performed.  Marilyn Munroe would not have dressed as she did to sing happy birthday Mr President to Richard Nixon (1913-1994; US president 1969-1974).  

The two superstars of the 1950s.  Maria Callas and Marilyn Monroe, back-stage after the performance.

Remarkably, despite being in the limelight that evening, Ms Monroe purchased five tickets (at US$1000 each) to the event because it was the only way to guarantee her attendance at the private supper which followed.  At the after-party she enjoyed a number turns on the dance floor with the president’s brother, Robert Kennedy (RFK, 1925–1968; US attorney general 1961-1964) although it was reported she left with JFK via a basement corridor and a private elevator to his suite at the next-door Carlyle Hotel, returning the next day to Los Angeles.  There, according to her biographer, she was contacted by one of his aides telling her not to again contact him.  They would never meet again and within three months, she was dead.

At the 2020 Met Gala, Kim Kardashian (b 1980) wore the famous marquisette dress.  It couldn’t be expected to cause quite the same stir as sixty years earlier because, cut from a sheer, silk marquisette that almost exactly matched Ms Monroe’s skin-tone, the 2500 hand-sewn rhinestones were intricately positioned to respond to the particular gait she chose for that evening and, under the limelight in the darkened amphitheater, as she moved, the crystals sparkled and the dress came alive.  It was quite a design.  In the hard, white light of the Met Gala’s red carpet, it couldn’t be expected to work the magic it did all those years ago and, not shimmering in the darkness, it seemed lifeless and perhaps it would have benefited from the contrast her lustrous natural hair would have lent but Ms Kardashian wore it well, attracting admiration (and criticism from the usual suspects) too for the reasonable achievement of shedding some 16 lbs (7¼ kg) in three weeks to ensure a comfortable fit.  Digesting the implications of that, keen-eyed fashionistas noted the vintage white coat which Ms Kardashian kept strategically positioned below the small of her back for the ritual walk to and up the staircase, some taking to Twitter to wonder if it was there to conceal that things were quite fully done-up.

The theory is plausible; it’s always been known that in 1962, Ms Monroe had to be “sewn-into” the dress just before the performance.  The day after the Met Gala, photographs circulated purporting to show Ms Kardashian with a generously sized, pear-shaped lacuna between the seams, accompanied with the accusation that the images showing things done up had been digitally modified and the haters were certainly out, one distressed soul lamenting that for Ms Kardashian to wear the dress "...was an absolute disgrace, a tacky photo opportunity" and that "...one of the most important items of clothing in history, is now tainted with the stain of the Kardashians."  There are people who do take pop-culture very seriously.  The green dress she changed into after her ascent had similar lines (and perhaps slightly more generous dimensions) but was certainly done-up and anyway, in either, she looked gorgeous.