Melodrama

Melodrama (pronounced mel-uh-drah-muh or mel-uh-dram-uh)

(1) A dramatic form (used in theatre, literature, music etc) that does not observe the laws of cause and effect and that exaggerates emotion and emphasizes plot or action at the expense of characterization.

(2) Loosely, (sometimes very loosely), behavior or events thought “melodramatic” (overly dramatic displays of emotion or behavior and applied especially to situations in which “things are blown out of proportion”).

(3) In formal definition (seventeenth, eighteenth & nineteenth centuries), a romantic dramatic composition characterized by sensational incident with music interspersed.

(4) A poem or part of a play or opera spoken to a musical accompaniment (technically, a passage in which the orchestra plays a somewhat descriptive accompaniment, while the actor speaks).

(5) A popular nickname conferred on highly-strung young women with a Mel*.* given name (Melanie, Melissa, Melina, Melinda, Melisandre, Melodie, Melody et al).

1784 (used in 1782 as melodrame): From the French mélodrame (a dramatic composition in which music is used), the construct being mélo- , from the Ancient Greek μέλος (mélos) (limb, member; musical phrase, tune, melody, song) + drame (refashioned by analogy with the Ancient Greek δρᾶμα (drâma) (deed, theatrical act) and cognate to the German Melodram, the Italian melodramma and the Spanish melodrama.  The adjective melodramatic (pertaining to, suitable for, or characteristic of a melodrama) came into use in 1789 (unrelated to political events that year).  Melodrama, melodramaticism, melodramaturgy, melodramatics & melodramatist are nouns, melodramatize, melodramatizing & melodramatized are verbs, melodramatic is an adjective and melodramatically is an adverb; the noun plural is melodramas or melodramata.

As late as the mid-nineteenth century “melodrama” was still used of stage-plays (usually romantic & sentimental) in which songs were interspersed, the action accompanied by orchestral music appropriate to the situations.  By the 1880s, the shift towards a melodrama being understood as “a romantic and sensational dramatic piece with a happy ending” and this proved influential, the musical element ceasing gradually to be an essential feature, the addition of recorded sound to “moving pictures” (movies) the final nail in the coffin.  Since then, a “melodrama” is understood to be “a dramatic piece characterized by sensational incidents and violent appeals to the emotions, but with (usually) a happy ending”.

The origins of melodrama lie in late sixteenth century Italian opera and reflect an attempt to convince audiences (or more correctly, composers and critics) that the form (ie opera or melodrama) was a revival of the Classical Greek tragedy.  It was a time in Europe when there was a great reverence for the cultures of Antiquity, something the result of the scholars and archivists (and frankly the publicists) of the Renaissance building a somewhat idealized construct of the epoch and the content providers noted the labels, the German-British Baroque composer Frederick Handel (1685–1759) using both for his works.  In the late eighteenth century French dramatists began to develop melodrama as a distinct genre by elaborating the dialogue and adding spectacle, action and violence to the plot-lines, a technique still familiar in the 2020s, sensationalism and extravagant emotionalism as effective click-bait now it was for ticket sales in earlier times.

The use of “melodrama” to refer to the life of a troubled popular culture figure represents a bit of a jump in meaning but it’s now well-understood.

The path of the musical form had earlier been laid in text, something becoming a more significant influence as the spread of the printing press made mass-market publications more accessible and they spread even within non-literate populations because as public and private readings became common forms of entertainment.  Although elements of what would later be understood as melodrama exist in the gloomy tragedies of the French novelist Claude Prosper Jolyot de Crébillon (1707–1777), more of an influence on the composers would be those who wrote with a lighter touch including the Swiss philosopher Jean-Jacques Rousseau (1712–1778) whose Pygmalion (1775) and French theatre director and playwright René-Charles Guilbert de Pixerécourt (1773–1844) whose Le Pèlerin blanc ou les Enfants du hameau (The White Pilgrim (or The Children of the Village)) both came to be regarded as part of the inchoate framework of the genre.  Literary theorists still debate the matter of cause & effect between melodrama and the growing vogue of the Gothic novel, one of fiction’s more emotionally manipulative paths, many concluding the relationship between the two was symbiotic.

There was also the commercial imperative.  Literary historians have documented the simultaneous proliferation of melodramas produced for the English stage during the nineteenth century (notably adaptations of novels by popular authors such as Charles Dickens (1812–1870) and Sir Walter Scott (1771–1832)) and the paucity in original work of substance.  There are some who have argued the writers had “lost their ear” for dramatic verse and prose but it more likely they realized they had “lost their audiences” and these were people with bills to pay (the term “potboiler” was coined later to describe “books written only to provide food for the stove” but few authors of popular fiction have ever been far removed from concerns with their sales).  The reason the melodramas which flourished in the 1800s were so popular will be unsurprising to modern film-makers, political campaign strategists and other content providers for they can be deconstructed as a class of naively sensational entertainment in which the protagonists & antagonists were excessively virtuous or exceptionally evil (thus all tiresome complexities reduced for something black & white), the conflict played out with blood, thrills and violence (spectres, ghouls, witches & vampires or the sordid realism of drunkenness, infidelity or personal ruin used as devices as required).

The word “melodrama” appears often in commentaries on politics and that’s a trend which was probably accelerated by the presentation moving for most purposes to screens and Donald Trump (b 1946; US president 2017-2021) revolutionizing the business by applying the tricks & techniques of reality TV (itself an oxymoron) meant the whole process can now be thought an unfolding melodrama, indeed, the Trump model cannot work as anything else.  The idea of “politics as theatre” was first discussed in the US in the 1960s but then a phenomenon like Mr Trump would have been thought absurdly improbable.

Because of the popularity of the form, melodrama has rarely found much favor with the critics and that old curmudgeon Henry Fowler (1858–1933) in A Dictionary of Modern English Usage (1926) noted (and, one suspects, not without some satisfaction) that the term generally was “…used with some contempt, because the appeal of such plays as are acknowledged to deserve the title is especially to the unsophisticated & illiterate whose acquaintance with human nature is superficial, but whose admiration for goodness and detestation of wickedness is ready & powerful.”  Henry Fowler moved among only a certain social stratum.  He added that the task of the melodramatist’s was to establish in the audience’s mind the notion of the dichotomous characters as good & wicked and then “…provide striking situations that shall provoke and relieve anxieties on behalf of poetic justice.”  One device once used to produce the desired effect was of course music and a whole academic industry emerged in the mid-twentieth century to explain how different sounds could be used to suggest or summon certain emotions and because music increasingly ceased to be an essential part of the melodramatic form, the situations, dialogue and events in purely textual productions became more exaggerated.

Decadence

Decadence (pronounced dek-uh-duhns or dih-keyd-ns)

(1) The act or process of falling into an inferior condition or state; deterioration; decay.

(2) Synonyms: decline, retrogression, degeneration

(3) Moral degeneration or decay; turpitude.

(4) Unrestrained or excessive self-indulgence.

(5) The decadent movement in literature (often with an initial capital and extended sometimes to the visual arts).

1540–1550: From the early fifteenth century French décadence, from the Medieval Latin dēcadentia (decay), from the Late Latin dēcadent-, stem of dēcadēns (falling away), the present participle of the Vulgar Latin dēcadere (to fall away; to decay), an etymologically restored form of the Latin dēcidere (to fall away, fail, sink, perish”), the construct being de- (apart, down) + cadere (to fall (from the primitive Indo-European root kad- (to fall)).  The meaning “process of falling away from a better or more vital state” dates from the 1620s while the use to define epochs is traced by some historians to the sense used of “decadent” in 1837 by Thomas Carlyle (1795–1881): “…in a state of decline or decay (from a former condition of excellence)”, decadent from the from French décadent (a back-formation from décadence).  The use to refer (disparaging) the perceived corruption of literary values began in the 1850s and thirty years later was common in both French and English criticism.  The addition of the sense of decadence being “a form of self-indulgence” seems not to have emerged until the late 1960s when it was applied (negatively) to the counter-culture but modern commerce soon re-packaged to use it of products marketed as “desirable and satisfying”; creamy desserts were often so labeled and the cake “Chocolate Decadence” became a generic term, the recipes varying greatly in detail.  Originally, the term “decadence” was used of “a period of historical decline, particularly of empires or civilizations” but, from the late nineteenth century, it shifted to become a literary & artistic word describing a movement and later a type of moral or cultural behavior, particularly human behavior that is seen as self-indulgent or excessive.  Finally, it became the name of a chocolate cake, something (vaguely) linked to association philosophers and historians would make between the decline of civilizations declined from periods of greatness into moral and structural decay, often with a focus on materialism and indulgence.  Decadence & decadency are nouns, decadent is a noun & verb and decadently is an adverb; the noun plural is decadences.

The related adjective deciduous was from the Latin dēciduus (falling down or off), from dēcidō (fall down) and is now most familiar from the arboreal branch of biology where it describes trees which shed their leaves (variously in winter, the fall (autumn) or the dry season.  However, in the technical language of anatomy it’s used of body parts which fall off or are shed, at a particular time or stage of development (ie not the result of injury or disease) and more generally can be used figuratively of things transitory or ephemeral, this mostly as a literary device.  Obviously also related is the noun decay, from the Middle English decayen & dekeyen (to decrease, diminish), from the Anglo-Norman decaeir (to fall away, decay, decline), from the Vulgar Latin dēcadere.  Decay describes the process or result of being gradually decomposed; rot, decomposition and is widely used of qualities such as (1) a deterioration of condition; loss of status, quality, strength, or fortune, (2) civic, societal or moral decay and (3) systemic decay.  It was also once used of overthrows of governments and even now has a technical meaning in computer programming.

Lindsay Lohan arriving at the Maddox Gallery to attend the Tyler Shields (b 1982) Decadence exhibition private view, London, February 2016.

Despite the spelling, unrelated is the noun “decade”.  Decade (the spelling decad long obsolete) was from the Middle English decade, from the Old French decade, from the Late Latin decādem ((set of) ten), from the Ancient Greek δεκάς (dekás), from δέκα (déka) (ten).  In English, the reference to a “span of ten years” was originally a clipping of the phrase “decade of years”, that seeming tautology existing because over the centuries there have been also “decades of soldiers” (ie ten men), “decades of days” (in history a period of ten days, particularly those in the ancient Egyptian, Coptic, and French Revolutionary calendars, “decades of books” (a work in ten parts or books, particularly such divisions of Roman historian Livy’s (Titus Livius; 59 BC–17 AD) Ab Urbe Condita (literally “From the Founding of the City” and in English usually styled as History of Rome), “decades of prayers” (in the rituals of the Roman Catholic Church, a series of prayers counted on a rosary, typically consisting of an Our Father, followed by ten Hail Marys, and concluding with a Glory Be and sometimes the Fatima Prayer), “decades of stuff” (things which existed as a group, set or series of ten),  The dominant, modern sense of “a period of ten years” dates from the seventeenth century while the notion it “usually” is one beginning with a year ending in 0 and ending with a year ending in 9” was (more or less) formalized in the nineteenth.  In technical use “decade” has been re-purposed in some specialist fields including the Braille language (to refer to the various sets of ten sequential characters with predictable patterns), electronics (of devices or components used to represent digits and physics & engineering (of the interval between any two quantities having a ratio of 10 to 1).

For what most people do most of the time, a decade is “a period of ten years beginning with a year ending in 0 and ending with a year ending in 9” (ie the 1980s, 1990s etc) bit it remains correct that a decade can be any period of that duration (such as 1994-2003).  May style guides don’t approve of this, not because it’s technically wrong but because it can tend to confuse if things are not carefully phrased.  That seems wise advice although the suggestion terms like decennium or decennary can be a substitute for “non-standard” ten-year periods is unlikely to catch on.  Words nerds note that the computation protocol for something like “the 1970s” is xxx0-xxx9 whereas for “real” decades it’s xxx1-xxx0, following the practice for centuries and millennia, something which creates the certain anomalies because there was no “year 0”, the Western calendrical shifting directly from 1 BC to 1 AD.  “Decadence” and “decade” do however sometimes mix: the Japanese term Lost Decade (失われた10年) (Ushinawareta Jūnen) coined in the late 1990s to describe the period of national economic stagnation in precipitated by the collapse of the asset price bubble (notably Tokyo commercial floor-space) which began in 1990.  The phenomenon though endured and economists responded in subsequent decades by adding 失われた20年(lost 20 years) and 失われた30年 (lost 30 years).  The 2020s are showing little indication of a return to high growth and given Japan’s structural challenges (debt rations and an aging & declining population, there’s an expectation 失われた40年 will appear in the late 2020.

The other chocolate cake: Chocolate Decadence Soap by Heritage Downs: Aus$6.50 (inc GST) per cake; the gift for the chocaholic who has everything.

In the history of art or literary theory, “decadent” was in the nineteenth century iused to describe a period during which the output was “qualitatively in decline” compared with the (perceived) excellence of a former age.  Historically, it was applied to the Alexandrine period (300-30 BC) the period after the death of Augustus (Gaius Julius Caesar Augustus (known also as Octavianus (Octavian)); 63 BC-14 AD, founder of the Roman Empire (27 BC-476 AD) and first Roman emperor 27 BC-14 AD).  In modern use it’s applied to the late nineteenth century symbolist movement in France (the poetry a particular target).  The movement emphasized the autonomy of art (exemplified in the contemporary phrase l'art pour l'art (art for art's sake), the need for sensationalism & melodrama, egocentricity, the bizarre or (wholly or partially) artificial, and the superior “outsider” position of the artist who was “in” yet not quite unambiguously “of” society; a critic rather than a participant (which of course was a reference to middle-class (or bourgeois society).  What is now classified as “decadent” poetry was preoccupied with personal experience, self-analysis, perversity, the suffering of artists and elaborate and exotic sensations.

View of Amalfi (1844), pencil, ink & water colour by John Ruskin (1819-1900).

In France the exemplar of decadence was the poet & critic Charles Baudelaire (1821–1867) whose book of lyric poetry Les Fleurs du mal (The Flowers of Evil; the first version published in 1857) is regarded still a manifest of the movement (though some conservative critics prefer “cult”) and the deconstructions who trace the changes in tone (he continued to add material until his death) regard it as something of a “journal” of the times.  In English translation, Les Fleurs du mal is some 300 pages and, in the way of the movement, the poetic forms are not “traditional” and some of the imagery is as suggestive as the thematic motifs of eroticism, suffering, sin, evil and death which will delight some and repel others and the latter wishing to explore the movement might find more accessible the novel À rebours (Against the Grain (published also as Against Nature); 1884) by the French author & art critic Joris-Karl Huysmans (pseudonym of Charles-Marie-Georges Huysmans (1848–1907)); it’s a slimmer volume which English poet & critic Arthur Symons (1865–1945) would later describe as the movement’s “breviary” (in this context “a brief summary”).  There were many notable figures who devoted their lives to proving their allegiance to this aesthetic cult and the preoccupation with decay, ruins sadness and despair was appealing to nihilists and neo-Romantics, linked even with twentieth century German fascism which was styled (however misleadingly) as a revival of purity and a return to Classical roots.  It never caught on in quite the same way in the English-speaking world the influences are clear in the work of “excessively civilized” & “troubled” figures like the Irish writer Oscar Wilde (1854–1900) and English aesthete John Ruskin.

Chocolate Decadence Cake by Vegan Peace (Striving towards peacefully sharing our Earth).

Ingredients (wet & dry to be mixed separately)

1½ cups whole wheat pastry flour (or gluten-free all-purpose flour) (dry).
1 cup organic white sugar (not powdered) (dry).
3 tablespoons cocoa powder, sifted if lumpy (not Dutch process cocoa) (dry).
1 level teaspoon baking soda (dry).
¼ teaspoon sea salt (dry).
1 teaspoon vanilla extract (wet).
1 tablespoon apple cider vinegar (wet).
1½ cup oil (sunflower, non-virgin olive, melted coconut, or safflower) (wet).
1 cup chocolate soymilk (wet).

Freaky Frosting Ingredients

5 tablespoons plus 1 teaspoon non-hydrogenated margarine.
2¼cups plus 4 teaspoons organic powdered (confectioner's) sugar.
5 tablespoons plus 1 teaspoon cocoa powder (sifted if lumpy).
2 teaspoons vanilla extract.
Pinch of sea salt.
½ cup chocolate soymilk.

Directions

(1) Preheat oven to 350° F (175° C).

(2) Oil 9 x 9 inch (230 x 230 mm) pan or a dozen muffin cups.

(3) Mix wet & dry ingredients separately ensuring each is lump-free and well-mixed.

(4) Gently combine wet-mix & dry-mix do not “over-mix” (the batter will at this point taste strange but this will disappear in the baking process.

(5) Pour mix into oiled baking pan or muffin cups and bake until the point where a knife inserted in the centre comes out clean (ie no trace of liquid or semi-liquid batter).  For cupcakes, this should take about 20 minutes; for the pan between 30-40 minutes.

(6) Remove from oven and allow cake to cool before frosting.

Frosting Directions

(7) Using electric beater, whip margarine in a large bowl until fluffy (do not over-whip.

(8) Slowly add in remaining ingredients one at a time, in the order listed.  Beat at high speed until very fluffy, using a rubber spatula to scrape down the sides of bowl as needed.

(9) Refrigerate frosting until cake has cooled.

(10) Frost cake, ideally after allowing frosting to warm to room temperature before serving cake.  A chocolate decadence may be decorated with edible flowers, raspberries, strawberries, chocolate shavings or whatever else seems to suit.

Punkess

Punkess (pronounced puhngk-es)

A feminine form of “punk”.

1976: The construct was punk + -ess.  The word was coined by fashion & pop culture writer Blair Sabol (b 1944) and appeared in the “Observations” column in the October 1976 edition of Vogue magazine.  Punkess is a noun; the noun plural is punkesses.

Vogue cover, October, 1976.

In coining “punkess”, Ms Sabol’s grammar was sound because appending the –ess suffix is the orthodox way to feminize a noun.  The -ess suffix was from the Middle English -esse, from the Old French -esse, from the Late Latin -issa, from the Ancient Greek -ισσα (-issa) and was appended to words to create the female form.   It displaced the Old English -en (feminine suffix of nouns).  The other often used suffix was–ette, from the Middle English -ette, a borrowing from the Old French -ette, from the Latin -itta, the feminine form of -ittus.  Properly applied, it was used to form nouns meaning a smaller form of something and thus related to –et, from the Middle English -et, from the Old French –et & its feminine variant -ette, from the Late Latin -ittus (and the other gender forms -itta & -ittum).  It was used to form diminutives, loosely construed.  Because of (1) the link with the Latin –itta (the feminine form of –ittus) and (2) the historic tendency to conflate diminutive forms (ie smaller, lesser, inferior) with “female”, the association of the use of the –ette suffix with feminized forms emerged and on some cases entered standard English (majorette (female drum major); usherette (female usher) et al).  The use became less common as gender-neutral language spread.

Vogue Observations (OB) page, October 1976.  In 1976, a pair of raw-hide, knee-high boots, hand-stitched in (just) post-Franco Spain, listed with a RRP (recommended retail price) of US$68 and for “darkening and waterproofing”, the purchase included a tin of ”Graza de Caballo (pig oil, goose grease, and essence of almond).”  Vogue remains an Oxford comma holdout.

So the grammar was (at least historically) sound but whether Ms Sabol’s choice was sociologically well-founded may to some have seemed dubious.  The word “punk” has enjoyed an extraordinary range of use since the seventeenth century and although its origin (in American English)  is murky, all uses thought forks of “punk” in the sense of “rotten wood dust used as tinder” (used thus since at least the late 1670s), evolving by the mid-nineteenth century to mean “something worthless”, personalized by 1910 to mean “an undesirable person (thus the link with petty criminals).  By 1976 however, what Ms Sabol (indirectly) was referencing was the “punk rock” movement which, musically, had actually been around for almost a decade but although the term “punk rock” had in the US appeared in the US pop-music press as early as 1972, it didn’t enter mainstream use until 1976-1977 when the industry (and there have been discussions about cause & effect) realized they had a marketable commodity to package.

An AI (artificial intelligence) generated female punk, who, were she IRL (in real life), might not have a Vogue subscription.

The punk persona of the 1976 punks was such that the female punk musicians stereotypically would have found the notion of “punkess” absurd; they were simply punks making their music.  Of course Ms Sabol was writing in Vogue, discussing not jarring music but the attitude of the women she called the harbingers of “punkess preakness”, those for whom “toughness and aloofness” was not “their trade, but rather feistiness and endurance”  In other words, punkness (for the Vogue readership) describes a kind of “selective attitudinal transference”.  It’s not correct to say critiques of language disparaging or dismissive of women didn’t exist in 1976, the point being that such objections tended then variously to be ignored or devalued, the critics marginalized but Ms Sabol’s crew of punkesses might have approved of the label; a generation earlier, there were those who would have called them “tough broads” so it may have seemed like progress.  Despite that, “punkess” never caught on although “punkette” was used by a number of publications, usually in the context of “young women who adopt the fashion aesthetic of the punk subculture”.

Punkess crooked Hillary Clinton iPhone 16 case by Harold Ninek.

“Punk” proved one of the more adaptable words in English, all traceable to the original sense of “something worthless”.  The re-purposing included (1) “pre World War I (1914-1918) bread of not the highest quality”, (2) “driftwood”, (3) “toxic or poor quality liquor”, (4) “a homosexual”, (5) within the homosexual community “a (usually weak, young) man kept by a man for sexual purposes”, (6) a “ineffectual or worn-out boxer”, (7) “insincerity” (which may have been an imperfect echoic of the slang “bunk”, (8) “Chinese insect repellent”, (9) “certain tobacco products”, (10) “some strains of cannabis”, (11) a “novice” at a trade (much used in the construction industry). (12) “a criminal” (historically much associated with petty crime and “juvenile delinquency”), (13) “decayed or rotted timber”, (14) “a foolish or absurd argument”, (15) a type of incense, (16) “a fungus (polyporus fomentarius etc) sometime dried for use as tinder”) (ie harking back to the seventeenth century original), (17) “a harlot or prostitute” (which gains linguistic respectability for having appeared in William Shakespeare’s (1564–1616) The Merry Wives of Windsor (1602): “This punk is one of Cupid’s carriers…” & Measure for Measure (1604): “She may be a punk, for many of them are neither maid, widow nor wife”, (18) “used or discarded fruits & vegetables”, (19) a 1970s pop-culture philosophy described as “hip nihilism”, (19) “a photographer’s assistant”, (20) a clipping of “punk rock” or “punk rocker”, (21) “the fashion styles associated with punk rockers and their audiences” (labeled “aggressively dumb” by some who didn’t approve), (22) in pyrotechnics, “a stick coated with a slow-burning paste, used to ignite fireworks, (23) “poverty and the poor”, (24) (as a verb) “to obtain” (often with a hint of the illicit), (25) (as verb) “to puncture a tyre” and (26) “a young elephant”.  Under the Raj, a punkah (or punka) was “a fan, especially made of leaf or cloth and hung from the ceiling”.  Punkah was from the Hindi पंखा (paṅkhā) (fan), from the Sanskrit पक्षक (pakṣaka), from पक्ष (pakṣa) (wing).  Before the advent of electricity a punkah remotely was operated manually by a servant, known as the “punkah-boy” or “punkahwallah” (depending on age).  Wallah was from Hindi -वाला (-vālā) either in the sense of “pertaining to” or (which etymologists think more likely) “man in charge”.

Celebration of Spring at St. Paedophilia’s—The Annual Running of the Altar Boys (2002) by Pat Oliphant.

Australian-born US political cartoonist Pat Oliphant (b 1935) used the device of a little penguin as his alter ego and that penguin’s name was “Punk”.  Punk often appeared in Oliphant’s cartoons, making some wry comment or asking a question.  One of the most controversial pieces appeared as “Celebration of Spring at St. Paedophilia’s—The Annual Running of the Altar Boys” in which Punk says: “I’ll call the bishop”, receiving the answer: “The bishop has first dibs.”  Widely condemned by the hierarchy of the US church, some newspapers refused to print the cartoon and others didn’t add it to their more widely-distributed on-line editions.  Oliphant’s cartoons are now held in the collection of the National Library of Congress.

Of cyberpunks and cybergoths

Punk has been used as a prefix to create literally dozens of forms and punkitude (the quality or state of being a punk; punkishness; adopting or projecting a punkish persona) captures the flavor of many, the construct being punk + att(itude).  Also existing in many forms, the suffix –punk seems first to have been used in 1986 to create cyberpunk and it spiked in 1992 with the coining of steampunk (although some sources claim this was first seen in 1989).  It’s used to apply the aesthetic or (perceived) attitudes of the 1970s (and beyond) punk subculture (loosely defined) on genres previously unrelated.

A cyberpunk Lindsay Lohan sipping martinis with Johnny Depp and a silver alien by AiJunkie.

The youth subcultures “cyberpunk” and “cybergoth” had common threads in the visual imagery of science fiction (SF) but differ in matters of fashion and political linkages.  Academic studies have suggested elements of cyberpunk can be traced to the dystopian Central & Eastern European fiction of the 1920s which arose in reaction to the industrial and mechanized nature of World War I but in its recognizably modern form it emerged as a literary genre in the 1980s, characterized by darkness, the effect heightened by the use of stark colors in futuristic, dystopian settings, the cultural theme being the mix of low-life with high-tech.  Although often there was much representation of violence and flashy weaponry, the consistent motifs were advanced technology, artificial intelligence and hacking, the message the evil of corporations and corrupt politicians exploiting technology to control society for their own purposes of profit and power.  Aesthetically, cyberpunk emphasized dark, gritty, urban environments where the dominant visual elements tended to be beyond the human scale, neon colors, strobe lighting and skyscrapers all tending to overwhelm people who often existed in an atmosphere of atonal, repetitive sound.

Cybergoth girls: The lasting legacy of the cybergoth's contribution to the goth aesthetic was designer colors, quite a change to the black & purple uniform.  Debate continues about whether they can be blamed for fluffy leg-warmers.

The cybergoth thing, dating apparently from 1988, thing was less political, focusing mostly on the look although a lifestyle (real and imagined) somewhat removed from mainstream society was implied.  It emerged in the late 1990s as a subculture within the goth scene, and was much influenced by the fashions popularized by cyberpunk and the video content associated with industrial music although unlike cyberpunk, there was never the overt connection with cybernetic themes.  Very much in a symbiotic relationship with Japanese youth culture, the cybergoth aesthetic built on the black & purple base of the classic goths with bright neon colors, industrial materials, and a mix of the futuristic and the industrial is the array of accessories which included props such as LED lights, goggles, gas masks, and synthetic hair extensions.  Unlike the cyberpunks who insisted usually on leather, the cybergoths embraced latex and plastics such as PVC (polyvinyl chloride), not to imitate the natural product but as an item while the hairstyles and makeup could be extravagantly elaborate.  Platform boots and clothing often adorned with spikes, studs and chains were common but tattoos, piercings and other body modifications were not an integral component although many who adopted those things also opted to include cybergoth elements. 

Although there was much visual overlap between the two, cyberpunk should be thought of as a dystopian literary and cinematic genre with an emphasis on high-tech while cybergoth was a goth subculture tied to certain variations in look and consumption of pop culture, notably the idea of the “industrial dance” which was an out-growth of the “gravers” (gothic ravers), movement, named as goths became a critical mass in the clubs built on industrial music.  While interest in cyberpunk remains strong, strengthened by the adaptability of generative AI to the creation of work in the area, the historic moment of cyberpunk as a force in pop culture has passed, the fate of many subcultures which have suffered the curse of popularity although history does suggest periodic revivals will happen and elements of the look will anyway endure.

Evil

Evil (pronounced ee-vuhl)

(1) Morally wrong or bad; immoral; wicked; morally corrupt.

(2) Harmful; injurious (now rare).

(3) Marked or accompanied by misfortune (now rare; mostly historic).

(4) Having harmful qualities; not good; worthless or deleterious (obsolete).

Pre 900: From the Middle English evel, ivel & uvel (evil) from the Old English yfel, (bad, vicious, ill, wicked) from the Proto-Germanic ubilaz.  Related were the Saterland Frisian eeuwel, the Dutch euvel, the Low German övel & the German übel; it was cognate with the Gothic ubils, the Old High German ubil, the German übel and the Middle Dutch evel and the Irish variation abdal (excessive).  Root has long been thought the primitive Indo-European hupélos (diminutive of hwep) (treat badly) which produced also the Hittite huwappi (to mistreat, harass) and huwappa (evil, badness) but an alternative view is a descent from upélos (evil; (literally "going over or beyond (acceptable limits)")) from the primitive Indo-European upo, up & eup (down, up, over).  Evil is a noun & adjective (some do treat it as a verb), evilness is a noun and evilly an adverb; the noun plural is evils.

Evil (the word) arrived early in English and endured.  In Old English and all the early Teutonic languages except the Scandinavian, it quickly became the most comprehensive adjectival expression of disapproval, dislike or disparagement.  Evil was the word Anglo-Saxons used to convey some sense of the bad, cruel, unskillful, defective, harm, crime, misfortune or disease.  The meaning with which we’re most familiar, "extreme moral wickedness" existed since Old English but did not assume predominance until the eighteenth century.  The Latin phrase oculus malus was known in Old English as eage yfel and survives in Modern English as “evil eye”.  Evilchild is attested as an English surname from the thirteenth century and Australian-born Air Chief Marshall Sir Douglas Evill (1892-1971) was head of the Royal Air Force (RAF) delegation to Washington during World War II (1939-1945).  Despite its utility, there’s probably no word in English with as many words of in the same vein without any being actually synonymous.  Consider: destructive, hateful, vile, malicious, vicious, heinous, ugly, bad, nefarious, villainous, corrupt, malefic, malevolent, hideous, wicked, harm, pain, catastrophe, calamity, ill, sinful, iniquitous, depraved, vicious, corrupt, base, iniquity & unrighteousness; all tend in the direction yet none quite matches the darkness of evil although malefic probably come close.  

Hannah Arendt and the banality of evil

The word evil served English unambiguously and well for centuries and most, secular and spiritual, knew that some people are just evil.  It was in the later twentieth century, with the sudden proliferation of psychologists, interior decorators, sociologists, criminologists, social workers and basket weavers that an industry developed exploring alternative explanations and causations for what had long been encapsulated in the word evil.  The output was uneven but among the best remembered, certainly for its most evocative phrase, was in the work of German-American philosopher and political theorist Hannah Arendt (1906–1975).  Arendt’s concern, given the scale of the holocaust was: "Can one do evil without being evil?"

Whether the leading Nazis were unusually (or even uniquely) evil or merely individuals who, through a combination of circumstances, came to do awful things has been a question which has for decades interested psychiatrists, political scientists and historians.  Arendt attended the 1961 trial of Adolph Eichmann (1906-1962), the bureaucrat responsible for transportation of millions of Jews and others to the death camps built to allow the Nazis to commit the industrial-scale mass-murder of the final solution.  Arendt thought Eichmann ordinary and bland, “neither perverted nor sadistic” but instead “terrifyingly normal”, acting only as a diligent civil servant interested in career advancement, his evil deeds done apparently without ever an evil thought in his mind.  Her work was published as Eichmann in Jerusalem: A Report on the Banality of Evil (1963).  The work attracted controversy and perhaps that memorable phrase didn’t help.  It captured the popular imagination and even academic critics seemed seduced.  Arendt’s point, inter alia, was that nothing in Eichmann’s life or character suggested that had it not been for the Nazis and the notion of normality they constructed, he’d never have murdered even one person.  The view has its flaws in that there’s much documentation from the era to prove many Nazis, including Eichmann, knew what they were doing was a monstrous crime so a discussion of whether Eichmann was immoral or amoral and whether one implies evil while the other does not does, after Auschwitz, seems a sterile argument.

Evil is where it’s found.

Hannah Arendt's relationship with Martin Heidegger (1889–1976) began when she was a nineteen year old student of philosophy and he her professor, married and aged thirty-six.  Influential still in his contributions to phenomenology and existentialism, he will forever be controversial because of his brief flirtation with the Nazis, joining the party and taking an academic appointment under Nazi favor.  He resigned from the post within a year and distanced himself from the party but, despite expressing regrets in private, never publicly repented.  His affair with the Jewish Arendt is perhaps unremarkable because it pre-dated the Third Reich but what has always attracted interest is that their friendship lasted the rest of their lives, documented in their own words in a collection of their correspondence (Letters: 1925-1975, Hannah Arendt & Martin Heidegger (2003), Ursula Ludz (Editor), Andrew Shields (Translator)).  Cited sometimes as proof that feelings can transcend politics (as if ever there was doubt), the half-century of letters which track the course of a relationship which began as one of lovers and evolved first into friendship and then intellectual congress.  For those who wish to explore contradiction and complexity in human affairs, it's a scintillating read.  Arendt died in 1975, Heidegger surviving her by some six months.

New York Post, November 1999.

In 1999, Rupert Murdoch’s (b 1931) tabloid the New York Post ran one of their on-line polls, providing a list of the usual suspects, asking readers to rate the evil to most evil, so to determine “The 25 most evil people of the last millennium”.  The poll received 19184 responses which revealed some “recency bias” (a cognitive bias that favors recent events over historic ones) in that some US mass-murderers were rated worse than some with more blood on their hands but most commented on was the stellar performance of the two “write-ins”: Bill Clinton (b 1946; US president 1993-2001) & crooked Hillary Clinton (b 1947; US secretary of state 2009-2013), the POTUS coming second and the FLOTUS an impressive sixth, Mr Murdoch’s loyal readers rating both more evil than Saddam Hussein (1937–2006; president of Iraq 1979-2003), Vlad the Impaler (Vlad Dracula or Prince Vlad III of Wallachia (circa 1430-circa 1477); thrice Voivode of Wallachia 1448-circa 1477 or Ivan the Terrible (Ivan IV Vasilyevich (1530–1584; Grand Prince of Moscow and all Russia 1533-1584 & Tsar of all Russia 1547-1584).

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

While fun and presumably an indication of something, on-line polls should not be compared with the opinion polls run by reputable universities or polling organizations, their attraction for editors looking for click-bait being they’re essentially free and provide a result, sometimes within a day, unlike conventional polls which can cost thousands or even millions depending on the sample size and duration of research.  The central problem with on-line polls is that responders are self-selected rather than coming from a cohort determined by a statistical method developed in the wake of the disastrously inaccurate results of a poll “predicting” national voting intentions in the 1936 presidential election.  The 1936 catchment had been skewered towards the upper-income quartile by being restricted to those who answered domestic telephone connections, the devices then rarely installed in lower-income households.  A similar phenomenon of bias is evident in the difference on-line responses to the familiar question: “Who won the presidential debate?”, the divergent results revealing more about the demographic profiles of the audiences of CBS, MSNBC, CNN, ABC & FoxNews than on-stage dynamics on-stage.

Especially among academics in the social sciences, there are many who object to the frequent, almost casual, use of “evil”, applied to figures as diverse as serial killers and those who use the “wrong” pronoun.  Rightly on not, academics can find “complexity” in what appears simple to most and don’t like “evil” because of the simple moral absolutism it implies, the suggestion certain actions or individuals are inherently or objectively wrong.  Academics call this “an over-simplification of complex ethical situations” and they prefer the nuances of moral relativism, which holds that moral judgments can depend on cultural, situational, or personal contexts.  The structuralist-behaviorists (a field still more inhabited than a first glance may suggest) avoid the word because it so lends itself to being a “label” and the argument is that labeling individuals as “evil” can be both an act of dehumanizing and something which reinforces a behavioral predilection, thereby justifying punitive punishment rather than attempting rehabilitation.  Politically, it’s argued, the “evil” label permits authorities to ignore or even deny allegedly causative factors of behavior such as poverty, mental illness, discrimination or prior trauma.

There are also the associative traditions of the word, the linkages to religion and the supernatural an important part of the West’s cultural and literary inheritance but not one universally treated as “intellectually respectable”.  Nihilists of course usually ignore the notion of evil and to the post-modernists it was just another of those “lazy” words which ascribed values of right & wrong which they knew were something wholly subjective, evil as context-dependent as anything else.  Interestingly, in the language of the polarized world of US politics, while the notional “right” (conservatives, MAGA, some of what’s left of the Republican Party) tends to label the notional “left” (liberals, progressives, the radical factions of the Democratic Party) as evil, the left seems to depict their enemies (they’re no longer “opponents”) less as “evil” and more as “stupid”.

The POTUS & the Pope: Francis & Donald Trump (aka the lesser of two evils), the Vatican, May 2017.

Between the pontificates of Pius XI (1857–1939; pope 1922-1939) and  Francis (b 1936; pope since 2013), all that seems to have changed in the Holy See’s world view is that civilization has moved from being threatened by communism, homosexuality and Freemasony to being menaced by Islam, homosexuality and Freemasony.  It therefore piqued the interest of journalists accompanying the pope on his recent 12-day journey across Southeast Asia when they were told by a Vatican press secretary his Holiness would, during the scheduled press conference, discuss the upcoming US presidential election: duly, the scribes assembled in their places on the papal plane. The pope didn’t explicitly tell people for whom they should vote nor even make his preference obvious as Taylor Swift (b 1989) would in her endorsement mobilizing the childless cat lady vote but he did speak in an oracular way, critiquing both Kamala Harris (b 1964; US vice president since 2021) and Donald Trump (b 1946; US president 2017-2021) as “against life”, urging Catholic voters to choose the “lesser of two evils.”  That would have been a good prelude had he gone further but there he stopped: “One must choose the lesser of two evils. Who is the lesser of two evils?  That lady or that gentleman? I don’t know.”

Socks (1989-2009; FCOTUS (First Cat of the United States 1993-2001) was Chelsea Clinton's (b 1980) cat.

The lesser of two evils: Australian-born US political cartoonist Pat Oliphant’s (b 1935) take on the campaign tactics of Bill Clinton (b 1946; US president 1993-2001) who was the Democratic Party nominee in the 1996 US presidential election against Republican Bob Dole (1923–2021).  President Clinton won by a wide margin which would have been more handsome still, had there not been a third-party candidate.  Oliphant’s cartoons are now held in the collection of the National Library of Congress.  It’s not unusual for the task presented to voters in US presidential elections to be reduced to finding “the lesser of two evils”.  In 1964 when the Democrats nominated Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) to run against the Republican's Barry Goldwater (1909–1998), the conclusion of many was it was either “a crook or a kook”.  On the day, the lesser of the two evils proved to be crooked old Lyndon who won in a landslide over crazy old Barry.

Francis has some history in criticizing Mr Trump’s handling of immigration but the tone of his language has tended to suggest he’s more disturbed by politicians who support the provision of abortion services although he did make clear he sees both issues in stark moral terms: “To send migrants away, to leave them wherever you want, to leave them… it’s something terrible, there is evil there. To send away a child from the womb of the mother is an assassination, because there is life. We must speak about these things clearly.”  Francis has in the past labelled abortion a “plague” and a “crime” akin to “mafia” behavior, although he did resist suggestions the US bishops should deny Holy Communion to “pro-choice” politicians (which would have included Joe Biden (b 1942; US president 2021-2025), conscious no doubt that accusations of being an “agent of foreign interference” in the US electoral process would be of no benefit.  Despite that, he didn’t seek to prevent the bishops calling abortion is “our preeminent priority” in Forming Consciences for Faithful Citizenship, the 2024 edition of their quadrennial document on voting.  Some 20% of the US electorate describe themselves as Catholics, their vote in 2020 splitting 52/47% Biden/Trump but that was during the Roe v Wade (1973) era and abortion wasn’t quite the issue it's since become and a majority of the faith in the believe it should be available with only around 10% absolutist right-to-lifers.  Analysts concluded Francis regards Mr Trump as less evil than Ms Harris and will be pleased if his flock votes accordingly; while he refrained from being explicit, he did conclude: “Not voting is ugly.  It is not good.  You must vote.”