Nipple

Nipple (pronounced nip-uhl)

(1) In anatomy, the small, conical projection near the center of the areola of each mammary gland (breast); also called mamilla, papilla or teat.  In females, the nipple contains the outlets of the milk ducts.

(2) Something resembling (often in scaled-up form) a female’s nipple, as the mouthpiece of a nursing bottle or pacifier (in some places an informal word for a pacifier).

(3) Any device resembling a nipple in shape or function.

(4) A mechanical device through which liquids or gases can be passed in a regulated manner; as grease nipple a small drilled bush, usually screwed into a bearing (or other component needing periodic replenishment of a greasing agent) through which grease is introduced.

(5) In plumbing & gas-fitting, a short piece of pipe with threads on each end, used for joining valves.

(6) Any small physical protrusion on an automotive or machine part or any other part that fits into a groove on another part (now rare).

(7) In computer (hardware) slang, the pointing device in the centre of the keyboard of certain laptops, partially fulfilling the functionality of a mouse, trackball or track-pad (although some (male) users insist it is called “the clit”).

(8) In pre-modern ballistics, a perforated segment that fits into part of the breech of a muzzle-loading gun, on which the percussion cap is fixed.

(9) In the design of bicycles, an internally threaded piece which holds a bicycle spoke in place on the rim.

(10) To fit (a baby's bottle etc) with a nipple (archaic).

(11) To give one's nipple to (a baby) to allow breastfeeding (archaic).

1520–1530: From the Middle English nipple, from the earlier neble, nibble, nible & nepil (all of which may be derived from nib & neb (tip; point).  The Old English nypel (elephant’s trunk) was formed analogously as “a protuberance from one's neb”.  The late twelfth century pap & pappe (nipple of a woman's breast) was first attested in Northern and Midlands writing, probably from a Scandinavian source (there’s no record in the Old Norse but there was the dialectal Swedish pappe), from the primitive Indo-European imitative root pap- (to swell), the source also of the Latin papilla (nipple) which may have influenced the English papula (a swelling, pimple) and the Lithuanian papas (nipple).  The spellings neple, nypil, nyppell, neapel, neaple, neble and all obsolete.  Nipple is a noun & verb, nippling is a verb and nippleless & nippled are adjectives; the noun plural is nipples.

One extinct verb which, perhaps surprisingly, wasn’t revived even after it became apparent trends of use on the internet suggested it might be helpful, was expapillate (bare the breasts to the nipples), identified by the outstandingly good Online Etymology Dictionary as an entry in an early English "dictionary", published in eleven editions between 1623 and the 1650s.  The book was neither a prescriptive or descriptive work encompassing the whole language but was described as “An Interpreter of Hard English Words”, an approach others later took including Wilfred Funk (1883–1965) in his Word Origins and Their Romantic Stories (1950), the idea being to focus on the less known or more obscure.  The construct of expapillate was ex- + papillate.  The ex- prefix was from the Middle English, from words borrowed from the Middle French, from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out).  It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изъ (izŭ) (out) & the Russian из (iz) (from, out of).  The “x” in “ex-“, sometimes is elided before certain constants, reduced to e- (eg ejaculate).  The Latin papillate was the vocative masculine singular of papillātus (having nipples or buds; shaped like a nipple or bud) and was used in English as a transitive verb (to cover with papillae) and intransitive verb (to take the form of a papilla, or of papillae).

In 1974, The British Medical Journal (BMJ) used the term "guitar nipple" to describe "the irritation to the breast that can occur from the pressure of the guitar against the body."  That was indicative of the trend in the English-speaking world for newly-identified (and sometimes novel) conditions to be constructed with English elements, rather than the Latin historically used.  In the same spirit, two years later a contributor to the JAMA (Journal of the American Medical Association) was more imaginative still, coining "hot pants syndrome" when documenting cases in which a burn to the skin had been induced by a patient carrying a battery-powered transistor radio in the pocket of their trousers.  There was also in 1978 the NEJM's (New England Journal of Medicine) "disco digit" which referred to "a sore or infected finger caused by too much finger snapping while dancing."    

Jaguar tool kit supplied with 1966 E-Type (XKE, 1961-1974).  The grease gun (left) was used to force grease into various components through grease nipples.  This wauntil recent decades a regular part of automobile maintenance and remains an essential part of the servicing schedules of heavy vehicles and machinery.

Until the 1970s, it was common for cars to need periodic “greasing” of certain components, a process which involved attaching a “grease gun” to a “grease nipple” which permanently was mounted on the relevant part; manually, the gun (usually a type of plunger) was used to force grease through the nipple.  This was undertaken either by owners, chauffeurs or mechanics at service stations who routinely would perform an “oil and grease” which included (all or some of): changing the engine, gearbox & differential oil, replacing the filter(s) and greasing all required grease points.  On more expensive vehicles, “one-shot lubrication” systems (known also as CLS (centralized lubrication systems) & ALS (automated lubrication systems)) were introduced during the 1920s, the technology adapted from the hardware used in aviation and marine engineering.  Although some attempts were made to create wholly automated systems, the most widely used were those which incorporated a foot pump for the driver to press at specified intervals; this action forced grease from a central reservoir to the required points.  Being a sealed system, this meant that nowhere in the system were grease nipples required (although some often still were included in components which demanded less frequent attention or were of a design which made their inclusion in the CLS plumbing too difficult.  ALS systems remain common in many places including heavy machinery, ships and the industrial plant used in factories, power plants etc.

The standard grease nipple used on the Jaguar E-Type (XKE) (left) and a diagram with a legend listing the E-Type's oil, brake fluid, transmission fluid and grease nipple locations.  The grease nipples are indicated by the obelus (†).  In automobiles, by the 1970s the need for multiple grease points or one-shot lubrication had begun to be eliminated (although some older designs maintained the legacy for decades) as advances in metallurgy and lubrication technology permitted the development of sealed, maintenance-free components which are “packed with grease" and thus “lubricated for life”.  However, for heavy-duty machines such as trucks and earth-moving equipment operating in adverse conditions, there are often still components demanding regular greasing and thus grease nipples are still a thing.

Also a thing is the “nipple orgasm”, at least for those for whom a nipple is a “hardwired erogenous zone” responsive to stimulation; that's a sub-set of the population and there are probably no reliable estimates of the prevalence.  Although in humans orgasms are typically thought an ejaculative, vaginal or clitoral phenomenon, sexologists list more than a dozen types, varying in instance or intensity based on the individual, the circumstances and sensitivity to stimulation.  When warming to the topic, these specialists will also discuss the details of “energetic orgasms” (which can, without physical touch, be triggered by meditation or fantasy) and “sleep orgasms”, said to have been experienced by an “estimated” 37% of women and 83% of men.  Quite how those numbers were obtained isn’t clear but helpfully, in 2011, New Jersey-based neuroscientist, psychotherapist & sex therapist Dr Nan Wise (b 1967) undertook a study to reveal how nipple stimulation affects the brain.  What Dr Wise wanted to build on was the existing understanding “…the clitoris, vagina and cervix are mapped on the genital sensory cortex”, something which sits between the brain’s two hemispheres and which she labels “hedonistic pleasure zone” or, more illustratively “the crotch of the brain”.

What Dr Wise did was have the study’s subjects stimulated with various mental fantasies while in an MRI (magnetic resonance imaging) machine, allowing her team to observe how distinct parts of the brain responded to various experiences.  The results were generally in line with expectations except that nipple stimulation proved an outlier.  While her hypothesis had been there would have been activity in the brain region associated with chest sensation (the theory being nipple orgasms might occur because stimulation of the organ releases oxytocin, a hormone that can cause uterine contractions, potentially leading to vaginal orgasm), instead it was found nipple stimulation activated the genital sensory cortex itself, leading Dr Wise to conclude: “The nipples are a hardwired erogenous zone, like the genitals, when nipples are stimulated, the brain gets activated, and regions processing the sensation communicate with those responsible for pleasure.”  This tied in with one of the accepted dictums in neuroscience: “neurons that fire together wire together” and the study’s findings do seem to suggest it is plausible there exists a neural pathway between the nipples and the genitals.  Sexologists however caution individual responses will vary and techniques which produce pleasing results for one will induce no response in others.  So, YMMV (your mileage many vary) and the sexologists recommend experimentation.

The SKIMS Nipple Bra

Wearing it well: Kim Kardashian in SKIMS "nipple bra"

The admirable (and much admired) Kim Kardashian (b 1980) in October 2023 announced the latest addition to her SKIMS product line: a bra with “built in” nipples, designed to be prominent enough obviously to protrude through clothing.  Said to offer the “ultimate shock factor” (although after the shocks of the last decade-odd, some of which those associated with Kardashian clan have instigated, that may be hyperbolic) the viewer response suggested many weren’t certain whether product was real or a gimmick designed to attract publicity.  It certainly attracted publicity but turned out to be real (with SKIMS part number).  Even if the concept wasn't as “innovative” as claimed, the promotional approach in the video certainly was, the spin being that if women can don a bra to emulate one of the more pleasing consequences of cold weather, the psychological effect might be they’ll be less inclined to turn on (or up) the air-conditioner, thus reducing energy use, thereby lowering carbon emissions, meaning a lesser contribution to the concentration of atmospheric CO₂ (and other greenhouse gasses) which causes accelerated climate change including higher temperatures.  That seems to be drawing a long bow but doubtlessly somewhere there will be published research which can be spun to support (or at least not disprove) each of the steps in the internal Kardashian logic.  It was certainly an example of the way commerce is attempting to monetize concerns about climate change.  

As Ms Kardashian put it: “The earth’s temperature is getting hotter and hotter. Sea levels are rising. The ice sheets are shrinking. I’m no scientist, but I believe everyone can do their skillset to do their part.  That’s why I’m introducing a brand-new bra with a built-in nipple so matter how hot it is, you’ll always look cold.  Some days are hard but these nipples are harder. And unlike the icebergs, these aren’t going anywhere.”  The bra was said to be available in six colors with a stated “10% of sales” (the exact math of that calculation not disclosed) to be a “one off donation” to 1% for the Planet (a multi-national collective of businesses pledged to gifting at least 1% of their annual revenue to “environmental causes”).  So it sounded like a real product with a real part-number (not then listed) but there were those who thought the release date being Halloween (October 31) might suggest it might not be wholly serious.  Even had it not been real, it would have been a good case-study for students of such things learning the craft of the promotional video clip, the only opportunity missed being Ms Kardashian should first have appeared in a scientist's white lab coat, peeling it off as she spoke the words "I'm no scientist".  The part-number's later appearance in the catalogue verified the availability.

Kylie Jenner (b 1997), Met Gala 2026, Metropolitan Museum of Art, New York City, May 2026.

Keeping it in the family, Kylie Jenner’s outfit for the Met Gala 2026 featured a bodice with “built-in nipples”; unfortunately the method of construction wasn’t disclosed but the consensus was the placement was “perfect” although the scale may suggest some artistic license for effect.  Fashion critics watch the Met Gala with great interest and their analysis was the concept of the piece was of a “…gown being slipped off, revealing the bodice beneath”, Ms Jenner thus captured “…in the process of undressing” as it were.  It was a playful idea and though such things are no longer able to shock, genuinely it was original and should be commended.  The event's “dress code” for 2026 was “fashion is art” though at the Met Gala it's more “suggested theme” than enforced code and designers have always interpreted things liberally.  While it could be argued Ms Jenner’s ensemble was more artifice than art, nobody seemed to mind and she wore it well.   

The 1970s: Rudi's sheer bra (left & right) and the original Nipple Bra.

It’s not a new idea.  In the early 1970s, several manufacturers advertised a line of bras with cups in a sheer fabric which offered coverage and support (within a limited mass range) but clung to the nipples' definition, the most celebrated being those of Austrian-born Rudolf "Rudi" Gernreich (1922–1985), remembered as the "designer" of the "monokini" (ie a bikini supplied without the top part).  This approach was for those who wanted to display the profile of their own nipples.  The "Nipple Bra" offered enhanced engineering was the ancestor of the SKIMS bra in that rather than using, as Herr Gernreich did, the human body's "built-in" nipples, it provided some.  The pitch all those decades ago was aimed at those who wanted to look “provocative” and in 1975 to achieve that the “Nipple Bra” cost US$20 (US$114.42 adjusted for 2023) so Ms Kardashian setting her price at US$120.00 seems not unreasonable.  The somewhat obtuse contribution to averting climate change aside, reaction to the product included the observation the bra will provide permanently “perfectly aligned nipples”, something not always achieved by the real things because, like most body parts, between left and right, there’s often some variation in size, shape, direction or distance from the ground.  Like many aspects of structural engineering, “perfect alignment” is achieved often with slight adjustments to variables like strap length.

Rudi not required: Lindsay Lohan displays perfect alignment, Venice Beach, Los Angeles, California, 2011.

In the United States, patent law exists to protect inventions, processes, and methods rather than abstract ideas and the general criteria (interpreted with some latitude) for eligibility is that an invention should be novel, non-obvious, and useful.  What does qualify is the implementation or embodiment of an idea in a tangible form so while a mere thought or concept can't be patented, a specific application or embodiment of that idea can be and this includes a new product, process, machine, or composition of matter.  Within all that, patents can be granted to cover improvements made to existing inventions.  Whether SKIMS have applied for or been granted a patent isn't clear but several for products in this vein have been granted over the last 50-odd years.  On 24 August 1976 Mr Jakob E. Schmidt of Charlestown, Indiana was granted U.S. patent #3976083 (Brassiere Having Simulated Nipples) as well as #4241737 & #4127128 covering “Brassiere Having Simulated Nipples and Attachable-Detachable Nipple Simulators”.

Conceptual drawing supplied with application for patent #3976083 (Brassiere Having Simulated Nipples), granted 24 August 1976.  The patent expired 24 August 1993.

The abstract filed with the application for #3976083 included: A brassiere is disclosed having cups which are provided with a nipple-like protuberance simulating the bulge of a natural nipple. The nipple-like bulge or protuberance may be a built-in component of the brassiere, usually situated under the fabric of the cup; a component which is permanently attached to the external surface of the brassiere cop; or an individual structure which may be attached to or detached from the brassiere cup as will, by means of several linkage and attachment mechanisms.  Simulated nipples for a brassiere would offer an acceptable compromise for ladies who do not wish to go without a brassiere and a welcome release from the subconscious effects of the suppression brought on by wearing brassieres of the types variously available, which obliterate the nipple.  That’s informative but Ms Kardashian might have phrased things in a more "Tik-Tok friendly" way. 

A nipple patch (left), the nipple patch writ large to function as a special-purpose bra (centre) and the advertising concept (right) which could be used by the manufacturers of either the "nipple bra" or the "nipple patch".  All that would be required is transposing the photographs, depending on whether the object was to display or conceal.

However, while one niche market will like the idea of being “so provocative”, there are others who find the sight of their own nipples “too provocative” and for this niche, there are ranges of products which offer coverage and concealment, smoothing away any suggestion of a nipple with patches which can be worn under bras with cups of even the most sheer fabric.  Self-adhesive (using a skin-friendly temporary glue), they can also be used without a bra and the same technology has been adapted to larger-scale units which actually function as a bra.  Marketed as being ideal to be used when wearing “backless” dresses or tops, they’re also said to be easier to use than the “fashion tape” (better known in the industry as “booby tape” or “tit tape”), especially if being self-applied.  Helpfully, if one changes one’s mind after having smoothed away the nipples, stick-on nipples are available in a range of styles and colors.

Piece from Miguel Castro Freitas’s “Stardust Aphrodite” collection for Mugler, Paris Fashion Week, October. 2025.

Miguel Castro Freitas’s (b 1980) first collection for Mugler was called “Stardust Aphrodite” and the designer described the pieces as “a trilogy of glorified clichés”, the three elements being (1) oversize and bulky, with big fluffy fabrics or shoulder pads, (2) severely tailored with extreme hourglass figures or (3) lightweight, sheer dresses; critics detected some overlap in the use of the motifs.  Although there were a number of nods to Mugler’s historic use of materials in bulk for dramatic effect, the collection otherwise tended to the “less”, one eye catching piece a gown with sparkly silver stars, its straps hung from bare-breasted nipple piercings.  To re-assure those whose toes had curled, critics noted that one was made from “a very lightweight fabric”.  The technique had be seen before, a “nipple grown” the best-remembered thing from the catwalk from one of Mugler’s shows in 1998 and this year’s model was an acknowledged homage but apart from that, it certainly was on-theme, Victoria’s Secret unlikely to see much business generated from those taken with Stardust Aphrodite.

A fragment from Fashion Feed’s take on Paris Fashion Week, 2025.

Of course the point of the catwalk is it makes it possible to see a garment in motion, interacting with the body.  That can be transformative: an outfit that on a hanger or mannequin seemed bland or lifeless can, when worn by a strutting model, come alive although equally, one which seemed admirable when static might reveal flaws of design or in construction once on the move.  Had the already infamous “nipple-piercing gown” been assessed purely on the technical criteria usually applied it would have been judged a success because the suspended sparkly chiffon flowed and swished as the designer knew it would but that achievement wasn’t much commented upon because the usual factions quickly were posting, the l'art pour l'art (art for art's sake) crowd calling the piece “an artistic vision” and dismissing criticism as the unwanted intrusion of a resurgent “purity culture” while those who disapproved called it “inappropriate” and yet another example of the way women’s bodies are exploited for the benefit of the “male gaze”.

One perhaps daring observation was that despite “many of the biggest names in women’s fashion being gay men… their designs often over-sexualise women instead of empowering them.”  Quite how much of the collective energy of gay men over the years been devoted to empowering women isn't known but Indian fashion commentator Pranjal Jain (b 2001) seemed to speak for her faction by adding that having a model parade “…a topless dress down the runway” and presenting it homage to the original of a quarter-century earlier was absurd because in the particular social & political context of the late 1990s such a dress could be understood as something “sensuous and provocative” but in 2025, “…what the fuck was the topless dress doing next to structured blazers and mini dresses?  I can tell you, the dress was a social media stunt engineered for virality.  Yet again, a man using a woman’s body for shock value.”  “Here”, she concluded, “is a perfect example of how fashion is political and historical, because context matters.”  As it has been for centuries, the critical deconstruction of frocks remains a serious matter.

Chappell Roan on the red carpet, Grammy Awards, Crypto.com Arena, Los Angeles, California, February 2026.  The rich auburn hair worked well with the hues of the gown and body art.

Even if Mugler’s “Stardust Aphrodite” didn’t at once migrate from the Paris catwalk to high street stores, the house didn’t abandon the motif and in February 2026, singer Chappell Roan (stage name of Kayleigh Rose Amstutz, b 1998) wore another of Mugler's interpretations (this time a burgundy gown) for the walk down the red carpet at the 68^th Annual Grammy Awards.  Predictably the event’s most publicized outfit, men everywhere doubtless were intrigued at the possibilities but the immediate reaction of women, regardless of their views of the aesthetic, may have been an involuntary curling of the toes as they imagined donning the gown.  That phenomenon is known as “mirror-touch synesthesia” which describes the experience when, upon observing another individual being touched or injured, a corresponding tactile or pain sensation is elicited in the anatomically matching location in the observer’s own body.  It’s very common but is a spectrum condition, most experiencing it as momentary sensation but in rare cases there have been patients for whom the effects have been long-lasting.  Technically, it’s triggered by a (usually temporary) reduction in the “self–other distinction” at the neural processing level, the causes thought to include (1) an heightened cross-activation between the visual and somatosensory cortices and (2) hyperactive or atypical functioning of the brain’s mirror neuron system.  There seems to be evidence an individual’s susceptibility to mirror-touch synesthesia is more significant in frequency of occurrence than the perception of the extent of the sensation (eg severity of an injury) witnessed.

Mirror-touch synesthesia is quite specific in its “virtual emulation” and differs from the vicarious responses (typically, a flinching when seeing someone suffer an injury) in being usually qualitatively stronger and manifested by a location-specific somatic sensation; it may run in parallel with emotional empathy (which happens typically without the literal bodily sensation) but is a separate phenomenon.  There are of course exceptions and the traditional (probably culturally obligatory) reaction of cricketers seeing a batsman struck “in the groin region” by a ball (delivered sometimes at 90 mph (145 km/h) or more) is one of mirth rather than empathy.

Drawing the lens: Chappell Roan photographed in front of the backdrop.

It would however seem the toes of mirror-touch synesthetes may uncurl because in the many photographs and video clips circulated, Ms Roan appeared not at all discomforted and the physics of that would have been determined by (1) the use of faux nipple piercings, (2) the lightweight fabric and (3) the gathering at the waist, ensuring each nipple had to bear the weight only of a few square inches of material.  No doubt pleased (if not surprised) by the interest generated, Ms Roan insisted it was not “that outrageous of an outfit”, adding “the look’s actually so awesome and weird” before concluding “I recommend just exercising your free will; it’s really fun and silly.”  The look was complimented with temporary body art, an extensive lace panel spread over her bare back with a pony on the chest, both credited to artist Jenny Collins of Puppy Puppy Playtime; the gold choker and earrings were by Buccellati.  Perhaps disappointing some, the outfit made only a one-off appearance on the red carpet, Ms Roan changing into something warmer when serving as an award-presenter.

Skims Ultimate Pierced Nipple Push-up Bra.

Of course, for such gowns to work (and that really is the correct expression), it relies on the wearer's nipples having appropriate fittings and these can be real (as body-piercings) or faux (attached with an adhesive or clamping device, the latter on the model of “clip-on” earrings).  However, what the use of light-weight fabrics should make possible is the material's attachment directly to the nipples with either a transparent surgical-grade glue or strategically placed double-sided tape ("boob-tape" or "tit-tape" in the jargon) but some of the effect would be lost because of the extent of the surface area of skin such adhesives would require.  More to the point, were it not done with genuine fittings (piercings or clamed-on), some of the “edginess” would be lost and it was this vibe Skims picked up on in the promotional video for “The Ultimate Pierced Nipple Push-up Bra”.  The tag line was: “Our sexiest bra gets even hotter with a faux nipple piercing design so you can get the ‘Ooo’ without the ouch!” and there’s no reason why, for certain events (if not the street), a Mugleresque gown couldn’t be hung from the bra’s fittings.  Done well, it could look good although Ms Jain likely would remain unimpressed.

Skims promotional video: “The Ultimate Pierced Nipple Push-up Bra”. 

Paparazzo

Paparazzo (pronounced pah-puh-raht-soh or pah-pah-raht-tsaw (Italian))

A freelance photographer, especially one who takes candid pictures of celebrities to sell to publishers; noted for their symbiotic invasion of the privacy of the subjects.

1961: A borrowing of the Italian surname Paparazzo, a character (the freelance photographer) in Federico Fellini's (1920–1993) 1960 film La Dolce Vita.  The more familiar noun plural (which can be used for all purposes regardless of context) is paparazzi, pronounced pah-puh-raht-see or pah-pah-raht-tsee.

The surname carries no meaning within the film; there’s no historic or etymological relationship either to the plot or photography.  The name is not uncommon in the region of Calabria and Fellini is said to have borrowed it from a travel book, By the Ionian Sea (1901) by George Gissing (1857–1903) which the director was reading (in Italian translation) during filming in 1959; in the book is mentioned a hotelier, Signor Coriolano Paparazzo.  The photographer in the film is played by Walter Santesso (1931-2008).  Paparazzo, which technically is the singular form only, is hardly ever used to refer to an individual photographer, the plural paparazzi instead the preferred form which is so pervasive that a female photographer, who should be a (morphologically standard in Italian) paparazza, is also a paparazzi.  Some dictionaries even list an alternative spelling for the plural as paparazzos but there seems no evidence of use and it may exist only because the rules of English say it can.  Paparazzo is a noun and because of the patterns of use, while paparazzi has probably become assimilated and is thus now part of the English language, the less-commonly used paparazzo probably remains "foreign". 

The quality of symbiosis is sometimes strained: Lindsay Lohan and the paparazzi.  For everything you do, there’s a price to be paid.

All forms must now be thought full-assimilated English words and the exclusive use of paparazzi has become correct English.  Because of the circumstances under which paparazzo, paparazzi & paparazza entered English, as a re-purposing of a proper noun, the “rules” under which they operate are those defined by the pattern of use.  The users spoke and it’s now paparazzi all the way.  Paparazzi is thus both noun-singular and noun-plural, masculine & plural.  Historically, there will be those who insist it has become a plurale tantum (from the Latin pluralia tantum (plural only)), a noun that appears only in the plural form and does not have a singular variant for referring to the individual object.  Some dictionaries do allow it can refer also to nouns the singular form of which is rare or archaic.  All bases seem covered.  One shouldn’t too deeply dwell on plural forms from other languages which in English have taken on a life of their own, despite remaining obviously “foreign”.  Spaghetti is an Italian plural which translates literally as “little straps” but in English it’d sound absurd to say “the spaghetti are delicious”. 

The paparazzi focus on Socks, circa 1992.

Lindsay Lohan of course understood the potentially transactional relationship between paparazzi and subject and could exploit as well as being exploited but did admit one of the attractions of life in Dubai is there the parasitic profession is banned.  Not all however can move and for eight years Socks was resident in Washington DC where, although becoming accustomed to being photographed, he seemed never to perfect any signature poses.  Socks (1989-2009) was FCOTUS (First Cat of the United States 1993-2001)) and belonged to Chelsea Clinton (b 1980; FDOTUS (First Daughter of the United States 1993-2001)).

The "freelance" status may be misleading in that there have been paparazzi known to to work exclusively for one buyer (who was more likely an agent than an editor or publisher) although for this reason and that they certainly weren't formally on the payroll.  In most cases though the paparazzi can be thought of as proto-gig economy workers in that from an industrial relations viewpoint they were independent contractors even if in some cases their entire income might come from the one entity (indeed, some had signed contracts of exclusivity guaranteeing at least a right of first refusal with a scale of payment on some negotiated basis).

The symbiosis of stars and the paparazzi

Anita Ekberg (1931–2015) in Federico Fellini's (1920–1993) La Dolce Vita (translated variously as "the sweet life" or "the good life", 1960, left) and soon after, on location (as it were) in London's Berkley Hotel (right).  The famous scene in La Dolce Vita was shot while she splashed in the waters of Rome's Trevi Fountain.

Ms Ekberg understood the often symbiotic relationship between paparazzi and their subjects, sometimes willing sometimes not.  Long after the event, cheerfully she would admit the famous incident in the lobby of London’s Berkley Hotel when her dress “burst” open, was a publicity stunt pre-arranged with a freelance photographer.  Although doubtlessly well-rehearsed, as might be expected from a trained actor it was one of history's more accomplished "planned wardrobe malfunctions".  Frequently, interpretations of Ms Ekberg's technique is seen on social media platforms (real people don't call them "the socials") but not all the young ladies who have followed in her wake so well disguise the artifice.

Artifice

Artifice (pronounced ahr-tuh-fis)

(1) A clever trick or stratagem; a cunning, crafty device or expedient; wile.

(2) Trickery; guile; a crafty but underhanded deception.

(3) Cunning; ingenuity; inventiveness; a trick played out as an ingenious, but artful, ruse.

(4) A skilful or artful contrivance or expedient.

(5) A strategic manoeuvre that uses some clever means to avoid detection or capture; a tactical move to gain advantage.

(6) To construct by means of technical skill or some specialised art (cited by many sources as archaic but still used and useful in this sense).

1525–1535: From the Middle English in the sense of “workmanship, the making of something by craft or skill”, from the fourteenth century Middle French artifice (skill, cunning), from the Old French from the Latin artificium (art, craft, skill, talent, craftsmanship; profession, trade, an employment) from artifex (genitive artificis) (artist, actor; craftsman, master (of a craft or trade); mastermind, schemer; one possessed of a specific skill), the construct being ars- (art; skill) + -fex (from facere (to make; to do)), from the primitive Indo-European root dhe (to set; to put).  As a suffix in Latin, -fex was used to represent a maker or producer.  Synonyms include subterfuge, deception, deceit and duplicity but there’s also an array of associative words such as gimmick, contrivance, duplicity, inventiveness, dodge, manoeuvre, play, scam, savvy, stratagem, machination, ploy, subterfuge, ruse, racket, tactic, expedient, device, wile and gambit.  The original meanings survive but have tended to have receded in use compared with the sense of “crafty; a device; trickery” which emerged in the 1650s.  Artifice is a noun & verb, artificer is a noun and artificing & artificed are verbs; the noun plural is artifices.

Some artifice involved: Pamela Anderson (b 1967), mostly real.

The adjective artificial dates from the late fourteenth century in the sense of “something not natural or spontaneous”, from the Old French artificial, from the Latin artificialis “of or belonging to art”, again from artificium.  The adverb artificially (by art or human skill and contrivance) dates from the early fifteenth century while the noun artificiality (appearance of art; insincerity) emerged in the 1760s, the earlier form was artificialness, documented in the 1590s; the Middle English artificy survived until the early fifteenth century.  In English, the earliest use seems to be the phrase “artificial day” (that part of the day from sunrise to sunset (as opposed to the “natural” days 24 hours)).   The early fifteenth century idea of something artificial being something The meaning “made by man, contrived by human skill and labor” was the basis of the morphing in the 1700s to “anything made in imitation of, or as a substitute for, what is natural, whether real (light, tears) or not (teeth, flowers).  The third sense (these all still running in parallel) of “full of affectation, insincere” was in use by the 1590s, the subtlety different “fictitious, assumed, not genuine” by the 1640s.  So the use depends on context: when people no peak of artificial intelligence, the implication is of “a machine which can emulate and improve upon human thought processes” and not “fake intelligence” which means something else, although, given some of the dubious results which have been provided by the early implementations of generative AI, it’s clear some fake intelligence has been produced.

The Artifice.

Founded in 2009 and based in Sweden, the Artifice is an English-language on-line magazine focusing on popular culture topics such as film, manga, anime, television, comics, on-line gaming and such.  It's a most interesting venture because the model is a platform available to anyone writing in English, submissions vetted by an editorial panel which provides criticism and suggests improvements, those published subsequently invited to contribute to the editorial process.  It's an intriguing collaborative approach, something really practical in the on-line environment and vaguely analogous with open-source software, the difference being Artifice's authors provide their content as a finished product, not something intended for others to modify and distribute though doubtlessly that happens.

The abbreviation AI is now familiar because of the sudden rise in interest in packaged generative artificial intelligence, prompted by the availability of products such as ChatGPT, ClickUp or the still embryonic extensions which bolt a version onto Google’s & Microsoft’s web browsers (Chrome and Bing respectively); Collins Dictionary named “AI” their “word of the Year 2023”, noting the sudden spike of interest in the topic wasn’t reflected in an increase on-line of the use of the words “artificial” or “intelligence” because both in general use and as a search term, “AI” had become ubiquitous.  Artificial intelligence (the science and engineering of making intelligent machines) was coined in 1956 but the abbreviation came into use only in 1971.  Since 1894, within various parts of veterinary science and livestock management, AI had been used to refer to “artificial insemination”, a mechanical form of introducing semen where required.  Most associated with cattle, when some artificiality was introduced to human reproduction, the term “in vitro fertilisation” (IVF) was preferred although it is a very different process in which fertilisation is achieved by combining an egg with sperm in vitro (from the Latin, translated literally as “in the glass”, hence the memorable (if misleading) early phrase “test-tube baby.  Because “in vitro” has become so common in English it’s probably assimilated and thus (in this context) no longer italicized.  In this it’s similar to something like the even more common de facto which, because assimilated for most purposes, is not italicized except when used in the context of legal proceedings, a nod to its status as Latin legal language.

Beware of imitations: Bees can’t be fooled but humans need a guide.

Adolf Hitler's (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) "table talk", his meandering discussions (often monologues) over meals or other informal gatherings were notoriously repetitive and quite a strain for his regular audience to sit through.  Some of the topics were predicable but one subject often mentioned was artificial honey, his interest in the concocted stuff apparently because he was provided with much of the sticky syrup in his rations while serving in the Imperial German Army (1871–1919) during World War I (1914-1918).  His sweet tooth was well-documented and whether or not it was his influence, the substance appeared in the list Ernährungsrichtlinie für die Verbrauchslenkung (Nutrition guidelines for consumption control), published in the March 1939 edition Zeitschrift für Spiritusindustrie (Spirit Industry Magazine), the presence of artificial honey and milk powder indicating the regime's multi-pronged approach to food security (although they also sponsored research on fat made from coal which sounds less tempting).  Of late, artificial honey has become controversial in a number of jurisdictions, not because of concerns about the safety of the product but because it is sometimes represented as “natural honey”.

Migraine

Migraine (pronounced mahy-greyn or mee-greyn)

(1) An extremely severe paroxysmal headache, usually confined to one side of the head and often associated with nausea; hemicrania.

(2) A neurological condition characterised by such headaches

1325–1375: From the Middle English, from the Old French migraigne, from (as an imperfect echoic) the Medieval Latin hēmicrānia (pain in one side of the head, headache) and the Greek hemikrania, the construct being hemi (half) + kranion (skull).  The earliest form in English was megrim or mygrame with the spelling revised in 1777 to adopt the French form.  It’s never been clear if any of the European forms are a calque of the Egyptian gs-tp (headache), a construct of gs (half) + tp (head); the link between the Egyptian magical papyri and the Greek hēmikranía (ἡμικρανία) is undocumented and could be coincidental.  The corrupt form megrim was in common use between the fifteenth & early twentieth centuries is now obsolete although it did for a while endure in its secondary senses of "depression; low spirits" (and curiously, "a whim or fancy").  The pronunciation mee-greyn is said to be most prevalent in Scotland.  Migraine is a noun and migrainoid & migrainous are adjectives; the noun plural is migraines.

Technically, a migraine is a severe, often recurring, headache, usually affecting only one side of the head, characterized by sharp pain and often accompanied by nausea, vomiting, sensitivity to light, and visual disturbances.  Vasodilation in the brain causes inflammation which results in pain, but the exact cause of migraine remains unknown.  In casual use there’s a tendency, not restricted to hypochondriacs, to use word to describe even mild headaches.

Donald Trump, Crooked Hillary Clinton & Boris Johnson demonstrate the single-handed reaction to a migraine.

Despite advances, the exact causes of migraines are yet fully to be understood and although there's a consensus migraines are complex neurological conditions triggered by various factors, it may be they are inherent to the nature of being human and while treatments may improve, many neurologists have cautioned there may never be a “cure” although it’s noted a susceptibility to migraines seems to run in families, suggesting there may be a genetic predisposition.  At the physical level, abnormalities in the brain's nerve pathways and chemical signaling are believed to be involved, changes in the levels of neurotransmitters such as serotonin, dopamine, and norepinephrine suggested as causative agents.  The triggers appear to vary between individuals although the most commonly mentioned include foods such as aged cheeses, chocolate, caffeine, and artificial sweeteners, alcohol, stress, hormonal changes (seemingly only in women), changes in sleep patterns, sensory stimuli (bright lights, loud noises, strong odors), weather changes, and certain medications.  Critical too appear to be (1) abnormalities in the brainstem and its interactions with the trigeminal nerve (a major pain pathway) and (2) fluctuations in blood flow to the brain, including constriction and dilation of blood vessels.  Interestingly, as varied as the causes may be, so too is the effectiveness of the treatments and doctors frequently report a regimen some patients finds most efficacious might achieve nothing on others reporting the same symptoms, and possible triggers.

Lindsay Lohan demonstrates the two-handed reaction to a migraine although, given the migraine typically afflicts only one side of the head, this may be a more common response to the (usually) less severe but more widespread headache.

The Migraine Pose

A staple of portrait photography for decades, the migraine pose isn’t new but Instagram is a big-machine database and it’s now easy to identify trends and spikes in techniques.  The migraine look seems to have peaked in late 2018 and although still often posted, the historic moment of the trend seems to have passed.  The pose is achieved by using one hand to pulling the face up by the temples, a look reminiscent of someone suffering a migraine.  Classically done with one hand because the headache from which it borrows the name usually is localised to one side of the head, models adopt the look because it tightens the face, renders cheekbones more prominent and lifts the brows, a kind of instant facelift.  The hand may be placed on the temples, forehead or crown but should be done with a light touch, not a gripping of the head or hair.  Models also caution neophytes not to neglect the hands and nails because nothing spoils even a perfectly composed photograph like a poor manicure.

Gigi Hadad: The perfect migraine pose by a professional model.  With that bone structure and flawless skin, she doesn't need the artifice the technique can lend those falling short of her structural ideal but the pose adds variety to a photo shoot and photographers still like it.

Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022):  Although Mr Joyce seems frequently to adopt the migraine pose, the consensus is it's not an attempt to make himself more attractive in photographs and it's likely he actually suffers headaches.  These could be caused by many things.

Of course, Mr Joyce may also have been the cause of migraines in a few of his colleagues.  He's pictured here in 2018 with Malcolm Turnbull (b 1954; Australian prime-minister 2015-2018).