Ultracrepidarian

Ultracrepidarian (pronounced uhl-truh-krep-i-dair-ee-uhn)

Of or pertaining to a person who criticizes, judges, or gives advice outside their area of expertise

1819: An English adaptation of the historic words sūtor, ne ultra crepidam, uttered by the Greek artist Apelles and reported by the Pliny the Elder.  Translating literally as “let the shoemaker venture no further” and sometimes cited as ne supra crepidam sūtor judicare, the translation something like “a cobbler should stick to shoes”.  From the Latin, ultra is beyond, sūtor is cobbler and crepidam is accusative singular of crepida (from the Ancient Greek κρηπίς (krēpís)) and means sandal or sole of a shoe.  Ultracrepidarian is a noun & verb and ultracrepidarianism is a noun; the noun plural is ultracrepidarians.  For humorous purposes, forms such as ultracrepidarist, ultracrepidarianish, ultracrepidarianize & ultracrepidarianesque have been coined; all are non-standard.

Ultracrepidarianism describes the tendency among some to offer opinions and advice on matters beyond their competence.  The word entered English in 1819 when used by English literary critic and self-described “good hater”, William Hazlitt (1778–1830), in an open letter to William Gifford (1756–1826), editor of the Quarterly Review, a letter described by one critic as “one of the finest works of invective in the language” although another suggested it was "one of his more moderate castigations" a hint that though now neglected, for students of especially waspish invective, he can be entertaining; the odd quote from him would certainly lend a varnish of erudition to trolling.  Ultracrepidarian comes from a classical allusion, Pliny the Elder (circa 24-79) recording the habit of the famous Greek painter Apelles (a fourth century BC contemporary of Alexander the Great (Alexander III of Macedon, 356-323 BC)), to display his work in public view, then conceal himself close by to listen to the comments of those passing.  One day, a cobbler paused and picked fault with Apelles’ rendering of sandals and the artist immediately took his brushes and pallet and touched-up the errant straps.  Encouraged, the amateur critic then let his eye wander above the ankle and suggested how the leg might be improved but this Apelles rejected, telling him to speak only of shoes and otherwise maintain a deferential silence.  Pliny hinted the artist's words of dismissal may not have been polite.

So critics should comment only on that about which they know.  The phrase in English is usually “cobbler, stick to your last” (a last a shoemaker’s pattern, ultimately from a Germanic root meaning “to follow a track'' hence footstep) and exists in many European languages: zapatero a tus zapatos is the Spanish, schoenmaker, blijf bij je leest the Dutch, skomager, bliv ved din læst the Danish and schuster, bleib bei deinen leisten, the German.  Pliny’s actual words were ne supra crepidam judicaret, (crepidam a sandal or the sole of a shoe), but the idea is conveyed is in several ways in Latin tags, such as Ne sutor ultra crepidam (sutor means “cobbler”, a word which survives in Scotland in the spelling souter).  The best-known version is the abbreviated tag ultra crepidam (beyond the sole), and it’s that which Hazlitt used to construct ultracrepidarian.  Crepidam is from the Ancient Greek κρηπίς (krēpís) and has no link with words like decrepit or crepitation (which are from the Classical Latin crepare (to creak, rattle, or make a noise)) or crepuscular (from the Latin word for twilight); crepidarian is an adjective rare perhaps to the point of extinction meaning “pertaining to a shoemaker”.

The related terms are "Nobel disease" & "Nobel syndrome" which are used to describe some of the opinions offered by Nobel laureates on subjects beyond their specialization.  In some cases this is "demand" rather than "supply" driven because, once a prize winner is added to a media outlet's "list of those who comment on X", if they turn out to give answers which generate audience numbers, controversy or clicks, they become "talent" and may be asked questions about matters of which they know little.  This happens because some laureates in the three "hard" prizes (physics, chemistry, physiology or medicine) operate in esoteric corners of their discipline; asking a particle physicist something about plasma physics on the basis of their having won the physics prize may not elicit useful information.  Of course those who have won the economics gong or one of what are now the DEI (diversity, equity and inclusion) prizes (peace & literature) may be assumed to have helpful opinions on everything.

Jackson Pollock (1912-1956): Blue Poles

Number 11 (Blue poles, 1952), oil, enamel and aluminum paint with glass on canvas.

In 1973, when a million dollars was a still lot of money, the NGA (National Gallery of Australia), a little controversially, paid Aus$1.3 million for Jackson Pollock’s (1912-1956) Number 11, 1952, popularly known as Blue Poles since it was first exhibited in 1954, the new name reputedly chosen by the artist.  It was some years ago said to be valued at up to US$100 million but, given the increase in the money supply (among the rich who trade this stuff) over the last two decades odd, that estimate may now be conservative although the suggestion in 2016 the value may have inflated to as much as US$350 million was though to be "on the high side".  Blue Poles emerged during Pollock’s "drip period" (1947-1950), a method which involved techniques such throwing paint at a canvas spread across the floor.  The art industry liked these (often preferring the more evocative term "action painting") and they remain his most popular works, although at this point, he abandoned the dripping and moved to his “black porings phase” a darker, simpler style which didn’t attract the same commercial interest.  He later returned to more colorful ways but his madness and alcoholism worsened; he died in a drink-driving accident.

Alchemy (1947), oil, aluminum, alkyd enamel paint with sand, pebbles, fibres, and broken wooden sticks on canvas.

Although the general public remained uninterested (except in the price tags) or sceptical, there were critics, always drawn to a “troubled genius”, who praised Pollock’s work and the industry approves of any artist who (1) had the decency to die young and (2) produced lots of stuff which can sell for millions.  US historian of art, curator & author Helen A Harrison (b 1943; director (1990-2024) of the Pollock-Krasner House and Study Center, the former home and studio of the Abstract Expressionist artists Jackson Pollock and Lee Krasner in East Hampton, New York) is an admirer, noting the “pioneering drip technique…” which “…introduced the notion of action painting", where the canvas became the space with which the artist actively would engage”.  As a thumbnail sketch she offered:

Number 14: Gray (1948), enamel over gesso on paper.

“Reminiscent of the Surrealist notions of the subconscious and automatic painting, Pollock's abstract works cemented his reputation as the most critically championed proponent of Abstract Expressionism. His visceral engagement with emotions, thoughts and other intangibles gives his abstract imagery extraordinary immediacy, while his skillful use of fluid pigment, applied with dance-like movements and sweeping gestures that seldom actually touched the surface, broke decisively with tradition. At first sight, Pollock's vigorous method appears to create chaotic labyrinths, but upon close inspection his strong rhythmic structures become evident, revealing a fascinating complexity and deeper significance.  Far from being calculated to shock, Pollock's liquid medium was crucial to his pictorial aims.  It proved the ideal vehicle for the mercurial content that he sought to communicate 'energy and motion made visible - memories arrested in space'.”

Number 13A: Arabesque (1948), oil and enamel on canvas.

Critics either less visionary or more fastidious seemed often as appalled by Pollock’s violence of technique as they were by the finished work (or “products” as some labelled the drip paintings), questioning whether any artistic skill or vision even existed, one finding them “…mere unorganized explosions of random energy, and therefore meaningless.”  The detractors used the language of academic criticism but meant the same thing as the frequent phrase of an unimpressed public: “That’s not art, anyone could do that.”

Number 1, 1949 (1949), enamel and metallic paint on canvas. 

There have been famous responses to  “That’s not art, anyone could do that” but Ms Harrison's was practical, offering people the opportunity to try.  To the view that “…people thought it was arbitrary, that anyone can fling paint around”, Ms Harrison conceded it was true anybody could “fling paint around” but that was her point, anybody could, but having flung, they wouldn’t “…necessarily come up with anything” by which she meant the wouldn't necessarily come up with anything of which the critical establishment (a kind of freemasonry of the art business) would approve (ie could put a price tag on).

Helen A Harrison, The Jackson Pollock Box (Cider Mill Press, 96pp, ISBN-10:1604331860, ISBN-13:978-1604331868).

In 2010, Ms Harrison released The Jackson Pollock Box, a kit which, in addition to an introductory text, included paint brushes, drip bottles and canvases so people could do their own flinging and compare the result against a Pollock.  After that, they may agree with collector Peggy Guggenheim (1898-1979) that Pollock was “...the greatest painter since Picasso” or remain unrepentant ultracrepidarians.  Of course, many who thought their own eye for art quite well-trained didn't agree with Ms Guggenheim.  In 1945, just after the war, Duff Cooper (1890–1954), then serving as Britain's ambassador to France, came across Pablo Picasso (1881–1973) leaving an exhibition of paintings by English children aged 5-10 and in his diary noted the great cubist saying he "had been much impressed".  "No wonder" added the ambassador, "the pictures are just as good as his".

Dresses & drips: Three photographs by Cecil Beaton (1904-1980), shot for a three-page feature in Vogue (March 1951) titled American Fashion: The New Soft Look which juxtaposed Pollock’s paintings hung in New York’s Betty Parsons Gallery with the season’s haute couture by Irene (1872-1951) & Henri Bendel (1868-1936).

Beaton choose the combinations of fashion and painting; pairing Lavender Mist (1950, left) with a short black ball gown of silk paper taffeta with large pink bow at one shoulder and an asymmetrical hooped skirt best illustrates the value of his trained eye.  Critics and social commentators have always liked these three pages, relishing the opportunity to comment on the interplay of so many of the clashing forces of modernity: the avant-garde and fashion, production and consumption, abstraction and representation, painting and photography, autonomy and decoration, masculinity and femininity, art and commerce.  Historians of art note it too because it was the abstract expressionism of the 1940s which was both uniquely an American movement and the one which in the post-war years saw the New York supplant Paris as the centre of Western art.  There have been interesting discussions about when last it could be said Western art had a "centre".

Blue Poles, upside down.

Although the suggestion might offend the trained and discerning eyes of art critics, it’s doubtful that for ultracrepidarians the experience of viewing Blue Poles would much be different were it to be hung upside down.  Fortunately, the world does have a goodly stock of art critics who can explain that while Pollock did more than once say his works should be interpreted “subjectively”, their intended orientation is a part of the whole and an inversion would change the visual dynamics and gravitational illusions upon which the abstraction effects depend would be changed.  It would still be a painting but, in a sense, not the one the artist painted.  Because the drip technique involved “flinging and poring paint” onto a canvas spread across a studio’s floor, there was not exactly a randomness in where the paint landed but physics did mean gravity exerted some pull (in flight and on the ground), lending layers and rivulets what must be a specific downward orientation.  Thus, were the work to be hung inverted, what was in the creative process a downward flow would be seen as “flowing uphill” as it were.  The compositional elements which lent the work its name were course the quasi-vertical “poles” placed at slight angles and its these which are the superstructure which “anchor” the rest of the drips and, being intrinsically “directional”, they too have a “right way up”.  There is in the assessment of art the “eye of the beholder” but although it may be something they leave unstated, most critics will be of the “some eyes are more equal than others” school.

Mondrian’s 1941 New York City 1 as it (presumably correctly) sat in the artist's studio in 1944 (left) and as it was since 1945 exhibited (upside-down) in New York and Düsseldorf (right).  Spot the difference.

So although ultracrepidarians may not “get it” (even after digesting the critics’ explanations) and wouldn’t be able to tell whether or not it was hung correctly, that’s because they’re philistines.  In the world of abstract art however, even the critics can be fooled: in 2022, it was revealed a work in Piet Mondrian’s (1872-1944) 1941 New York City 1 series had for 77 years been hanging upside down.  First in exhibited in 1945 in New York’s MOMA (Museum of Modern Art), the piece was created with multi-colored adhesive paper tape and, in an incorrect orientation, it has since 1980 hung in the Düsseldorf Museum as part of the Kunstsammlung Nordrhein-Westfalen’s collection.  The decades-long, trans-Atlantic mistake came to light during a press conference held to announce the Kunstsammlung’s new Mondrian exhibition and the conclusion was the error may have been caused by something as simple as the packing-crate being overturned or misleading instructions being given to the staff.  1941 New York City 1 will remain upside because of the condition of the adhesive strips.  “The adhesive tapes are already extremely loose and hanging by a thread” a curator was quoted as saying, adding that if it were now to be turned-over, “…gravity would pull it into another direction.  And it’s now part of the work’s story.”  Mondrian was one of the more significant theorists of abstract art and its withdrawal from nature and natural subjects.  “Denaturalization” he proclaimed to be a milestone in human progress, adding: “The power of neo-plastic painting lies in having shown the necessity of this denaturalization in painterly terms... to denaturalize is to abstract... to abstract is to deepen.”  Now even ultracrepidarians can understand.

Eye of the beholder: Portrait of Lindsay Lohan in the style of Claude Monet (1840–1926) at craiyon.com and available at US$26 on an organic cotton T-shirt made in a factory powered by renewable energy.

Whether the arguments about what deserves to be called “art” began among prehistoric “artists” and their critics in caves long ago isn’t known but it’s certainly a dispute with a long history.  In the sense it’s a subjective judgment the matter was doubtless often resolved by a potential buyer declining to purchase but during the twentieth century it became a contested topic and there were celebrated exhibits and squabbles which for decades played out before, in the post modern age, the final answer appeared to be something was art if variously (1) the creator said it was or (2) an art critic said it was or (3) it was in an art gallery or (4) the price tag was sufficiently impressive.

So what constitutes “art” is a construct of time, place & context which evolves, shaped by historical, cultural, social, economic, political & personal influences, factors which in recent years have had to be cognizant of the rise of cultural equivalency, the recognition that Western concepts such as the distinction between “high” (or “fine”) art and “folk” (or “popular”) art can’t be applied to work from other traditions where cultural objects are not classified by a graduated hierarchy.  In other words, everybody’s definition is equally valid.  That doesn’t mean there are no longer gatekeepers because the curators in institutions such as museums, galleries & academies all discriminate and thus play a significant role in deciding what gets exhibited, studied & promoted, even though few would now dare to suggest what is art and what is not: that would be cultural imperialism.

Eye of the prompt 1.0: An AI (artificial intelligence) generated portrait of Lindsay Lohan by ChatGPT imagined in "drip painting style", this one using an interpretation which overlaid "curated drips" over "flung paint".  This could be rendered using Ms Harrison's Jackson Pollock Box but would demand some talent.

In the twentieth century, it seemed to depend on artistic intent, something which transcended a traditional measure such as aesthetic value but as the graphic art in advertising and that with a political purpose such as agitprop became bigger, brighter and more intrusive, such forms also came to be regarded as art or at least worth of being studied or exhibited on the same basis, in the same spaces as oil on canvas portraits & landscapes.  Once though, an unfamiliar object in such places could shock as French painter & sculptor Marcel Duchamp (1887-1968) managed in 1917 when he submitted a porcelain urinal as his piece for an exhibition in New York, his rationale being “…everyday objects raised to the dignity of a work of art by the artist's act of choice.”  Even then it wasn’t a wholly original approach but the art establishment has never quite recovered and from that urinal to Dadaism, to soup cans to unmade beds, it became accepted that “anything goes” and people should be left to make of it what they will.  Probably the last remaining reliable guide to what really is "art" remains the price tag.

Eye of the prompt 1.1: An AI (artificial intelligence) generated portrait of Lindsay Lohan by ChatGPT imagined in "drip painting style", this one closer to Pollock’s “action painting” technique.

His drip period wholly non-representational, Pollock didn’t produce recognizable portraiture so applying the technique for this purpose demands guesswork.  As AI illustrates, it can be done but, in blending two incompatible modes, whether it looks much like what Pollock would have produced had he accepted a “paint Lindsay Lohan” commission, is wholly speculative.  What is more likely is that even if some sort of hybrid, a portrait by Pollock would have been an abstraction altogether more chaotic and owing little to the structure on which such works usually depend in that there probably would have been no central focal point, fewer hints of symmetry and a use of shading producing a face not lineal in its composition.  That’s what his sense of “continuous motion” dictated: no single form becoming privileged over the rest.  So, this too is not for the literalists schooled in the tradition of photo-realism but as a work it’s also an example of how most armed with Ms Harrison's Jackson Pollock Box could with "drip & fling" produce this but not necessarily would produce this, chaos on canvas needing talent too.

1948 Cisitalia 202 GT (left; 1947-1952) and 1962 Jaguar E-Type (1961-1974; right), Museum of Modern Art (MoMA), New York City.

Urinals tend not to be admired for their aesthetic qualities but there are those who find beauty in stuff as diverse as math equations and battleships.  Certain cars have long been objects which can exert an emotional pull on those with a feeling for such things and if the lines are sufficiently pleasing, many flaws in execution or engineering can be forgiven, sometimes to the point they become part of the charm.  New York’s MoMA in 1972 acknowledged such creations can be treated as works of art when they added a 1948 Cisitalia 202 GT finished in “Cisitalia Red” (MoMA object number 409.1972) to their collection, the press release noting it was “…the first time that an art museum in the U.S. put a car into its collection.”  Others appeared from time-to-time and while the 1953 Willys-Overland Jeep M-38A1 Utility Truck (MoMA object number 261.2002) perhaps is not conventionally beautiful, its brutish functionalism has a certain simplicity of form and in the exhibition notes MoMA clarified somewhat by describing it as a “rolling sculpture”, presumably in the spirit of a urinal being a “static sculpture”, both to be admired as pieces of design perfectly suited to their intended purpose, something of an art in itself.  Of the 1962 Jaguar E-Type (informally sometimes as XKE or XK-E in the US) open two seater (OTS, better known as a roadster and acquired as MoMA object number 113.996), there was no need to explain because it’s one of the most seductive shapes ever rendered in metal.  Enzo Ferrari (1898-1988) attended the 1961 Geneva International Motor Show (now defunct but, on much the same basis as manufacturers east of Suez buying brand-names such as MG, Jaguar and such, the name has been purchased for use by an event in staged in Qatar) when the E-Type made its stunning debut and part of folklore is he called it “the most beautiful car in the world”.  Whether those words ever passed his lips isn’t certain because the sources vary slightly in detail and il Commendatore apparently never confirmed or denied the sentiment but it’s easy to believe and to this day many agree just looking at the thing can be a visceral experience.  The MoMA car is finished in "Opalescent Dark Blue" with a grey interior and blue soft-top (there are those who would prefer it in BRG (British Racing Green) over tan leather) and although as a piece of design it's not flawless, anyone who can't see the beauty in a Series 1 E-Type OTS truly is an ultracrepidarian.   

Frango

Frango (pronounced fran-goh)

(1) A young chicken (rare in English and in Portuguese, literally “chicken”).

(2) Various chicken dishes (an un-adapted borrowing from the Portuguese).

(3) In football (soccer) (1) a goal resulting from a goalkeeper’s error and (2) the unfortunate goalkeeper.

(4) The trade name of a chocolate truffle, now sold in Macy's department stores. 

In English, “frango” is most used in the Portuguese sense of “chicken” (variously “a young chicken”, “chicken meat”, “chicken disk” etc) and was from the earlier Portuguese frângão of unknown origin.  In colloquial figurative use, a frango can be “a young boy” and presumably that’s an allusion to the use referring to “a young chicken”.  In football (soccer), it’s used (sometimes trans-nationally) of a goal resulting from an especially egregious mistake by the goalkeeper (often described in English by the more generalized “howler”.  In Brazil, where football teams are quasi-religious institutions, such a frango (also as frangueiro) is personalized to describe the goalkeeper who made the error and on-field blunders are not without lethal consequence in South America, the Colombian centre-back Andrés Escobar (1967–1994) murdered in the days after the 1994 FIFA World Cup, an event reported as a retribution for him having scored the own goal which contributed to Colombia's elimination from the tournament. Frango is a noun; the noun plural is frangos.

The Classical Latin verb frangō (to break, to shatter) (present infinitive frangere, perfect active frēgī, supine frāctum) which may have been from the primitive Indo-European bhreg- (to break) by not all etymologists agree because descendants have never been detected in Celtic or Germanic forks, thus the possibility it might be an organic Latin creation.  The synonyms were īnfringō, irrumpō, rumpō & violō.  As well as memorable art, architecture and learning, Ancient Rome was a world also of violence and conflict and there was much breaking of stuff, the us the figurative use of various forms of frangō to convey the idea of (1) to break, shatter (a promise, a treaty, someone's ideas (dreams, projects), someone's spirit), (2) to break up into pieces (a war from too many battles, a nation) and (3) to reduce, weaken (one's desires, a nation).

A frangō in the sense of the Classical Latin: Lindsay Lohan with broken left wrist (fractured in two places in an unfortunate fall at Milk Studios during New York Fashion Week) and 355 ml (12 fluid oz) can of Rehab energy drink, Los Angeles, September 2006.  The car is a 2005 Mercedes-Benz SL 65 AMG (R230; 2004-2011) which earlier had featured in the tabloids after a low-speed crash.  The R230 range (2001-2011) was unusual because of the quirk of the SL 550 (2006-2011), a designation used exclusively in the North American market, the RoW (rest of the world) cars retaining the SL 500 badge even though both used the 5.5 litre (333 cubic inch) V8 (M273).

The descendents from the Classical Latin frangō (to break, to shatter) included the Aromanian frãngu (to break, to destroy; to defeat), the Asturian frañer (to break; to smash) & francer (to smash), the English fract (to break; to violate (long obsolete)) & fracture ((1) an instance of breaking, a place where something has broken, (2) in medicine a break in a bone or cartilage and (3) in geology a fault or crack in a rock), the Friulian franzi (to break), the German Fraktur ((1) in medicine, a break in a bone & (2) a typeface) & Fraktion (2) in politics, a faction, a parliamentary grouping, (3) in chemistry, a fraction (in the sense of a component of a mixture), (4) a fraction (part of a whole) and (5) in the German-speaking populations of Switzerland, South Tyrol & Liechtenstein, a hamlet (adapted from the Italian frazione)), the Italian: frangere (1) to break (into pieces), (2) to press or crush (olives), (3) in figurative use and as a literary device, to transgress (a commandment, a convention of behavior etc), (4) in figurative use to weaken (someone's resistance, etc.) and (5) to break (of the sea) (archaic)), the Ladin franjer (to break into pieces), the Old Franco provençal fraindre (to break; significantly to damage), the Old & Middle French fraindre (significantly to damage), the Portuguese franzir (to frown (to form wrinkles in forehead)), the Romanian frânge (1) to break, smash, fracture & (2) in figurative use, to defeat) and frângere (breaking), the Old Spanish to break), and the Spanish frangir (to split; to divide).

Portuguese lasanha de frango (chicken lasagna).

In Portuguese restaurants, often heard is the phrase de vaca ou de frango? (beef or chicken?) and that’s because so many dishes offer the choice, much the same as in most of the world (though obviously not India).  In fast-food outlets, the standard verbal shorthand for “fried chicken” is “FF” which turns out to be one of the world’s most common two letter abbreviations, the reason being one “F” representing the once infamous "F-word", one of English language’s most un-adapted exports.  One mystery for foreigners sampling Portuguese cuisine is: Why is chicken “frango” but chicken soup is “sopa de galinha?”  That’s because frango is used to mean “a young male chicken” while a galinha is an adult female.  Because galinha meat doesn’t possess the same tender quality as that of a frango, (the females bred and retained mostly for egg production), slaughtered galinhas traditionally were minced or shredded and used for dishes such as soups, thus: sopa de galinha (also as canja de galinha or the clipped caldo and in modern use, although rare, sopa de frango is not unknown).  That has changed as modern techniques of industrial farming have resulted in a vastly expanded supply of frango meat so, by volume, most sopa de galinha is now made using frangos (the birds killed young, typically between 3-4 months).  Frangos have white, drier, softer meat while that of the galinha is darker, less tender and juicer and the difference does attract chefs in who do sometimes offer a true sopa de galinha as a kind of “authentic peasant cuisine”.

There are also pintos (pintinhos in the diminutive) which are chicks only a few days old but these are no longer a part of mainstream Portuguese cuisine although galetos (chicks killed between at 3-4 weeks) are something of a delicacy, usually roasted.  The reproductive males (cocks or roosters in English use) are galos.  There is no tradition, anywhere in Europe, of eating the boiled, late-developing fertilized eggs (ie a bird in the early stages of development), a popular dish in the Philippines and one which seems to attract virulent disapprobation from many which culturally is interesting because often, the same critics happily will consume both the eggs and the birds yet express revulsion at even the sight of the intermediate stage.  Such attitudes are cultural constructs and may be anthropomorphic because there’s some resemblance to a human foetus.

Lindsay Lohan at Macy's and Teen People's Freaky Friday Mother/Daughter Fashion Show, Macy's Herald Square, New York City, August 2003.  It's hoped she had time for a Frango.

Now sold in Macy’s, Frangos are a chocolate truffle created in 1918 for sale in Frederick & Nelson department stores.  Although originally infused with mint, many variations ensued and they became popular when made available in the Marshall Field department stores which in 1929 acquired Frederick & Nelson although it’s probably their distribution by Macy's which remains best known.  Marshall Field's marketing sense was sound and they turned the Frango into something of a cult, producing them in large melting pots on the 13th floor of the flagship Marshall Field's store on State Street until 1999 when production was out-sourced to a third party manufacturer in Pennsylvania.  In the way of modern corporate life, the Frango has had many owners, a few changes in production method and packaging and some appearances in court cases over rights to the thing but it remains a fixture on Macy’s price lists, the troubled history reflected in the “Pacific Northwest version” being sold in Macy's Northwest locations in Washington, Idaho, Montana and Oregon while the “Seattle version” is available in Macy's Northwest establishments.  There are differences between the two and each has its champions but doubtless there are those who relish both.

A patent application (with a supporting trademark document) for the Frango was filed in 1918, the name a re-purposing of a frozen dessert sold in the up-market tea-room at Frederick & Nelson's department store in Seattle, Washington.  The surviving records suggest the “Seattle Frangos” were flavoured not with mint but with maple and orange but what remains uncertain is the origin of the name.  One theory is the construct was Fr(ederick’s) + (t)ango which is romantic but there are also reports employees were told, if asked, to respond it was from Fr(ederick) –an(d) Nelson Co(mpany) with the “c” switched to a “g” because the word “Franco” had a long established meaning.  Franco was a word-forming element meaning “French” or “the Franks”, from the Medieval Latin combining form Franci (the Franks), thus, by extension, “the French”.  Since the early eighteenth century it had been used when forming English phrases & compound words including “Franco-Spanish border” (national boundary between France & Spain), Francophile (characterized by excessive fondness of France and all things French (and thus its antonym Francophobe)) and Francophone (French speaking).

Hitler and Franco, photographed at their day-long meeting at Hendaye, on the Franco-Spanish border, 23 October 1940.  Within half a decade, Hitler would kill himself; still ruling Spain, Franco died peacefully in his bed, 35 years later.

Remarkably, the Frango truffles have been a part of two political controversies.  The first was a bit of a conspiracy theory, claiming the sweet treats were originally called “Franco Mints”, the name changed only after the outbreak of the Spanish Civil War (1936-1939) in which the (notionally right-wing and ultimately victorious) Nationalist forces were led by Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975) and the explanation was that Marshall Field wanted to avoid adverse publicity.  Some tellings of the tale claim the change was made only after the Generalissimo’s meeting with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) at Hendaye on 23 October 1940.  Their discussions concerned Spain's participation in the War against the British but it proved most unsatisfactory for the Germans, the Führer declaring as he left that he'd rather have "three of four teeth pulled out" than have to again spend a day with the Caudillo.  Unlike Hitler, Franco was a professional soldier, thought war a hateful business best avoided and, more significantly, had a shrewd understanding of the military potential of the British Empire and the implications for the war of the wealth and industrial might of the United States.  The British were fortunate Franco took the view he did because had he agreed to afford the Wehrmacht (the German armed forces) the requested cooperation to enable them to seize control of Gibraltar, the Royal Navy might have lost control of the Mediterranean, endangering the vital supplies of oil from the Middle East, complicating passage to the Indian Ocean and beyond; it would have transformed the strategic position in the whole hemisphere.  However, in the archives is the patent application form for “Frangos” dated 1 June 1918 and there has never been any evidence to support the notion “Franco” was ever used for the chocolate truffles.

Macy's Dark Mint Frangos.

The other political stoush (late nineteenth century Antipodean slang meaning a "fight or small-scale brawl") came in 1999 when, after seventy years, production of Frangos was shifted from the famous melting pots on the thirteenth floor of Marshall Field's flagship State Street store to Gertrude Hawk Chocolates in Dunmore, Pennsylvania, the decision taken by the accountants at the Dayton-Hudson Corporation which had assumed control in 1990.  The rationale for this shift was logical, demand for Frangos having grown far beyond the capacity of the relatively small space in State Street to meet demand but it upset many locals, the populist response led Richard Daley (b 1942; mayor (Democratic Party) of Chicago Illinois 1989-2011), the son of his namesake father (1902–1976; mayor (Democratic Party) of Chicago, Illinois 1955-1976) who in 1968 simultaneously achieved national infamy and national celebrity (one’s politics dictating how one felt) in his handling of the police response to the violence which beset the 1968 Democratic National Convention held that year in the city.  The campaign to have the Frangos made instead by a Chicago-based chocolate house was briefly a thing but was ignored by Dayton-Hudson and predictably, whatever the lingering nostalgia for the melting pots, the pragmatic Mid-Westerners adjusted to the new reality and, with much the same enthusiasm, soon were buying the Pennsylvanian imports.

Macy's Frango Mint Trios.

Doubtlessly to the delight of economists (sweet-toothed or not), there appears to be a “Frango spot market”.  Although the increasing capacity of AI (artificial intelligence) has improved the mechanics of “dynamic pricing” (responding in real-time to movements in demand), as long ago as the Christmas season in 2014, CBS News ran what they called the “Macy's State Street Store Frango Mint Price Tracker”, finding the truffle’s price was subject to fluctuations as varied over the holiday period as movements in the cost of gas (petrol).  On the evening of Thanksgiving, “early bird” shoppers could buy a 1 lb one-pound box of Frango mint “Meltaways” for US$11.99, the price jumping by the second week in December to US$14.99 although that still represented quite a nominal discount from the RRP (recommended retail price) of US$24.00.  Within days, the same box was again listed at US$11.99 and a survey of advertising from the previous season confirmed that in the weeks immediately after Christmas, the price had fallen to US$9.99.  It may be time for the Chicago Mercantile Exchange (CME) to open a market for Frango Futures (the latest “FF”!).

Chopstick

Chopstick (pronounced chop-stik)

(1) A harmonically and melodically simple waltz for piano played typically with the forefinger of each hand and sometimes having an accompanying part for a second player.  Originally, it was called The Celebrated Chop Waltz, written in 1877 by British composer Arthur de Lulli (the pen name of Euphemia Allen (1861-1949)); it’s used often as a two-finger exercise for those learning the piano and then name comes from the idea of the two fingers being arrayed in a chopstickesque way (should be used with an initial capital).

(2) In hand games, a game in which players hold up a number of fingers on each hand and try, through certain moves, to eliminate their opponent's hands.

(3) A pair of thin sticks (of ivory, wood, plastic etc), typically some 10 inches (230 mm) in length, used as eating utensils by the Chinese, Japanese, and others in East Asia as well as by those anywhere in the world eating food associated with these places.

(4) As an ethnic slur, a person of East Asian appearance.

(5) In fishing gear, a long straight stick forming part of various fishing tackle arrangements (obsolete).

(6) In parts of Australia where individuals are subject to “attack” by “swooping” magpies, the use of cable ties on bicycle helmets to produce long, thin (ie chopstickish) protrusions which act as a “bird deterrent”.

(7) In automotive slang, the “parking guides” (in some places known as “gutter scrapers”) mounted at a vehicle’s extremities to assist when parking or navigating tight spaces.  They have been replaced by sensors and cameras but were at the time an impressively effective low-tech solution.

1590s (contested): The construct was chop + stick.  The use to describe the eating utensil was first documented in 1637 and may have been a transfer of the sense from the earlier use to describe fishing tackle (in use since at least 1615) which was based on the physical resemblance (ie long & thin).  The “chop” element was long listed by dictionaries as being from the Chinese Pidgin English chop (-chop) (quick), a calque from the Chinese 筷子 (kuàizi) (chopstick”), from 快 (kuài) (quick) but this is now thought improbable because there is no record of Chinese Pidgin English until the eighteenth century.  The notion of the link with Chinese Pidgin English appeared first in the 1880s with the rationale: “The Chinese name of the article is ‘kwai-tsz (speedy-ones)” which was a decade later refined with the explanation “Possibly the inventor of the present word, hearing that the Chinese name had this meaning, and accustomed to the phrase chop-chop for ‘speedily,’ used chop as a translation.”  This became orthodoxy after being picked-up for inclusion in the OED (Oxford English Dictionary (1893)), a publication so authoritative it spread to most until English language dictionaries from the late 19th century onwards.  The chronological impossibility of the Pidgin English theory was first noted by Kingsley Bolton (b 1947) in Chinese English: A Sociolinguistic History (2003).  The English form is now thought to come simply from the use of the Chinese, modified over time and oral transmission.  The current orthodoxy is the Pidgin English chop (quick; fast) was from the Cantonese word chāu (快) (quick).  The construct of the Chinese kuàizi (筷子) was kuài (筷) (quick) + zi (子) (a diminutive suffix).  Stick was from the Middle English stikke (stick, rod, twig), from the Old English sticca (twig or slender branch from a tree or shrub (also “rod, peg, spoon”), from the Proto-West Germanic stikkō, from the Proto-Germanic stikkô (pierce, prick), from the primitive Indo-European verb stig, steyg & teyg- (to pierce, prick, be sharp).  It was cognate with the Old Norse stik, the Middle Dutch stecke & stec, the Old High German stehho, the German Stecken (stick, staff), the Saterland Frisian Stikke (stick) and the West Flemish stik (stick).  The word stick was applied to many long, slender objects closely or vaguely resembling twigs or sticks including by the early eighteenth century candles, dynamite by 1869, cigarettes by 1919 (the slang later extended to “death sticks” & “cancer sticks).  Chopstick, chopstickful, chopstickery & chopsticker are nouns, chopsticking & chopsticked are verbs and chopstickish & chopstick-like are adjectives; the noun plural is chopsticks and the word is almost always used in the plural (sometimes as “a pair of chopsticks”).  The adjective chopstickesque is non-standard.

Niche market: a pair of chopsticks in 18-carat gold, diamonds, pearls, and ebony by Erotic Jewellery, Gold Coast, Australia.  The chopsticks were listed at Aus$139,000 and have the environmental benefit being of endlessly reusable and are also dual-purpose, the pearl mounted at the end of one chopstick detachable and able to be worn as a necklace.

In English, chopstick has proved productive.  A chopsticker is one who uses chopsticks, chopstickery describes the skill or art of using chopsticks, a chopstickful describes the maximum quantity of food which can be held in one pair of chopsticks (a la “mouthful”), chopstick land was a slang term for China (used sometimes of East Asia generally) but is now listed as a microaggression, chopstick legs (always in the plural) is a fashion industry term describing long, thin legs (a usually desirable trait), chopstickology is a humorous term used by those teaching others the art of using chopsticks (on the model of “mixology” (the art of making cocktails), “Lohanology” (the study of Lindsay Lohan and all things Lohanic), “sockology” (the study of socks) etc), a chopstick rest is a small device upon which one's chopsticks may be placed while not in use (known also as a chopstick stand), chopstickless means lacking or not using, chopsticks, chopsticky is a adjective (the comparative “more chopsticky”, the superlative “most chopsticky”) meaning (1) resembling a chopstick (ie “long and thin”) (chopstick-like & chopstickish the alternative adjectives in this context), (2) suitable for the use of chopsticks or (3) characterized by the use of chopsticks (the companion noun chopsticky meaning “the state of being chopstickish”.  Chopstickism was once used of things considered Chinese or Asian in character but is now regarded as a racist slur (the non-standard chopstickistic similarly now proscribed).

They may be slender and light but because annual use is measured in the millions, there is a significant environmental impact associated with chopsticks including deforestation, waste and carbon emissions.  Beginning in the early twenty-first century, a number of countries in East Asia have taken measures designed to reduce the extent of the problem including regulatory impositions, technological innovation and public awareness campaigns.  In 2006, the Chinese government levied a 5% consumption tax on disposable wooden chopsticks and later began a “Clean Your Plate” publicity campaign to encourage sustainable dining practices.  In Japan, although disposable chopsticks (waribashi) remain common, some local governments (responsible for waste management) promote reusable options and businesses have been encouraged to offer reusable or bamboo-based alternatives although the RoK (Republic of Korea (South Korea)) went further and promoted reusable metal chopsticks, devices which could last a lifetime.

The Chork

Although the materials used in construction and the possibilities of recycling have attracted some interest, there has in hundreds of years been no fundamental change in the chopstick’s design, simply because it long ago was (in its core function) perfected and can’t be improved upon.  However, in 2016, the US fast food chain Panda Express (which specializes what it describes as “American Chinese cuisine”) displayed the chork (the construct being ch(opstick) + (f)ork).  Designed presumably for the benefit of barbaric Westerners unable to master a pair of chopsticks (one of the planet’s most simple machines) the chork had been developed by Brown Innovation Group (BIG) which first revealed its existence in 2010.  BIG has created a website for the chork which explains the three correct ways to use the utensil: (1) Employ the fork end as one might a conventional fork, (2) break the chork in two and use like traditional chopsticks or (3) use what BIG call cheater/training mode in which the chopstick component is used with the fork part still attached.  Unfortunately for potential chorkers, Panda Express used the chork only as a promotional tool for the "General Tso's Chicken" launch but they remain available from BIG in packs of 12 & 24, both manufactured in the PRC (People's Republic of China).

Richard Nixon, détente and soupgate

Comrade Nikita Khrushchev (1894–1971; Soviet leader 1953-1964, left) and (then vice president) Richard Nixon (1913-1994; US president 1969-1974, right)during the Кухонные дебаты (Kukhonnye debaty) (kitchen debate), conducted in a “model American kitchen” built for the American National Exhibition, Sokolniki Park, Moscow, 24 July 1959.  The pair (through interpreters) debated the respective virtues of communism verses capitalism, the backdrop being what was said to be a model of a “typical American kitchen”, packed with labor-saving appliances and recreational stuff “able to be afforded by the typical American family”.  Neither party persuaded the other but when finally able to choose between dialectical materialism and consumer materialism, most former Soviet comrades opted for the latter.

Richard Nixon (right) and HR Haldeman (1926–1993; White House chief of staff 1969-1973, left), the White House, 1 January 1972.

Although this photograph is sometimes captioned as being taken in the Oval Office, Nixon used that room only for formal meetings or ceremonial events and usually worked from this smaller, adjoining office.  The stacks of paper are not untypical examples of what workplaces often were like before personal computers transformed things and although the printed page has proved remarkably enduring, the days of the stacks mostly are done.  There was though one exception to that.  When in 2014 the House Select Committee on Benghazi (one of the many scandals involving crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) was sitting, the State Department requested crooked Hillary provide all the emails stored on her “personal mail server” which, controversially, she’d used for official US government business and "other purposes".  A period of negotiations with her legal team ensued (given crooked Hillary’s past, it was a busy team) and what ended up being provided was a dozen file boxes filled with print-outs of over 30,000 emails (calculated to be around 64 reams of paper or a stack some 10½ feet (3.25 metres) high).  The reason crooked Hillary refused to provide the material in digital form was presumed to be (1) in digital form it would have been easier for analysts to search for data and (2) concerns that even though she’d had her staff delete from the server some 32,000 messages (claimed to be “personal”), a forensic analysis of a granular message file might have revealed all or some of what had been deleted.  Crooked Hillary’s use of her so called "home-brew" mail server has never satisfactorily been explained and the contents of the deleted emails may never be known.

Richard Nixon became famous for some things and infamous for others but one footnote in the history of his administration was that he banned soup.  In 1969, Nixon hosted a state dinner for Pierre Trudeau (1919–2000; prime minister of Canada 1968-1979 & 1980-1984) and the next day complained to HR Haldeman that formal dinners “take forever”, suggesting “Why don’t we just leave out the soup course?”, adding “Men don’t really like soup.” (other than wives & waitresses, state dinners were then substantially a male preserve).  Well-acquainted with the social ineptitude of his boss, Haldeman had his suspicions so called the president's valet and asked: “Was there anything wrong with the president’s suit after that dinner last night?”  “Why yes…”, the valet responded, “…he spilled soup down the vest.”  Not until Gerald Ford (1913–2006; US president 1974-1977) assumed the presidency was soup restored to White House menus to the relief of the chefs who couldn’t believe a dinner was really a dinner without a soup course.

Richard Nixon, détente and chopsticks

A chopstick neophyte in Beijing: Comrade Zhou Enlai (1898–1976; premier of the People's Republic of China (PRC) 1949-1976, left), Richard Nixon (centre) and comrade Zhang Chunqiao (1917–2005, right) at the welcome banquet for President Nixon's visit to the PRC, Tiananmen Square, Beijing, 26 February 1972.  After the death of comrade Chairman Mao (Mao Zedong 1893–1976; chairman of the Chinese Communist Party (CCP) 1949-1976), in a CCP power struggle, Zhang (a prominent figure in the Cultural Revolution (1966-1976)) was arrested, becoming one of the “Gang of Four” (which included the late chairman’s last wife).  After a typically efficient CCP-approved trial, he was sentenced to death but was granted a two-year reprieve and his sentence was later commuted to life in prison before being reduced to 18 years.  Released on humanitarian grounds in 1998 to enable him to receive treatment for cancer, he died in 2005.

The event in Beijing was not a “state visit” because at the time no formal diplomatic relations existed between the two nations (the US still recognized the Taiwan-based RoC (Republic of China (which Beijing regards still as a “renegade province”)) as the legitimate government of China). For that reason, the trip was described as an “official visit”, a term not part of diplomatic protocol.  There are in history a few of these fine distinctions: technically, diplomatic relations were never re-established between Berlin and Paris after the fall of the Third Republic in 1940 so ambassadors were never accredited which means Otto Abetz (1903-1958), who fulfilled the role between 1940-1944, should be referred to as “de facto” German ambassador (as the letters patent made clear, he acted with full ambassadorial authority).  In July 1949, a French court handed Abetz a twenty-year sentence for crimes against humanity; released in 1954, he died in 1958 in a traffic accident on the Cologne-Ruhr autobahn and there are conspiracy theorists who suspect the death was “an assassination”.  The de facto ambassador was the great uncle of Eric Abetz (b 1958; Liberal Party senator for Tasmania, Australia 1994-2022, member of the Tasmanian House of assembly since 2024), noted in Australian legal history for being the first solicitor in the city of Hobart to include color on his firm's letterhead.

Longing for a chork.

Still, whatever the detail of the protocol, the PRC's hospitality was lavish and it certainly looked (and tasted) like a state visit.  Both the US and the PRC had their own reasons for wishing to emerge from the “diplomatic deep-freeze” (Moscow something of a pivot) and it was this event which was instrumental in beginning the process of integrating the PRC into the international system.  The “official visit” also introduced into English the idiomatic phrase “Nixon in China” (there are variations) which describes the ability of a politician with an impeccable reputation of upholding particular political values to perform an action in seeming defiance of them without jeopardizing his support or credibility.  For his whole political career Nixon had been a virulent anti-communist and was thus able to make the tentative approach to the PRC (and later détente with the Soviet Union) in a way which would not have been possible for someone without the same history.  In the same way the Democratic Party’s Bill Clinton (b 1946; US president 1993-2001) was able during the 1990s to embark on social welfare “reform” in a way no Republican administration could have achieved.

The chopstick as a hair accessory: Lindsay Lohan (b 1986, left) in The Parent Trap (1998) and Hilary Duff (b 1987, right) at Nickelodeon's 15th Annual Kids Choice Awards, Barker Hangar, Santa Monica, California, April, 2002.  These outfits might now be described as "cultural appropriation".

Following the visit, there was also a culinary ripple in the US.  Since the nineteenth century, Chinese restaurants had been a fixture in many US cities but the dishes they served were often very different from those familiar in China and some genuinely were local creations; fortune cookies began in San Francisco courtesy of a paperback edition of “Chinese Proverbs” and all the evidence suggests egg rolls were invented in New York.  The news media’s coverage of the visit attracted great interest and stimulated interest in “authentic” Chinese food after some of the menus were published.  Noting the banquet on the first night featured shark’s fin soup, steamed chicken with coconut and almond junket (a type of pudding), one enterprising chap was within 24 hours offering in his Manhattan Chinese restaurant recreation of each dish, a menu which remained popular for some months after the president’s return.  Mr Nixon’s favorite meal during the visit was later revealed to be Peking duck and around the US, there was a spike in demand for duck.

One of the menus from the official visit (not from a banquet but one of the "working dinners").  Clearly, the president's fondness for duck had been conveyed to the chef.

The graphic is the National Emblem of the People's Republic of China and in a red circle depicts a representation of Tiananmen Gate, the entrance gate to the Forbidden City imperial palace complex, where in 1949 comrade Chairman Mao Zedong declared the foundation of the PRC (People's Republic of China) in 1949.  The five stars are those from the national flag, the largest representing the CCP, the others the four revolutionary social classes defined in Maoism (the peasantry, proletariat, petty bourgeoisie & national bourgeoisie).  Although Maoism was criticized by comrade Stalin (1878-1953; Soviet leader 1924-1953) and others for being “ideologically primitive”, it has over the decades proved a practical and enduring textbook for insurgencies and revolutionary movements, especially where those involved substantially are rural-dwellers.  Although comrade Stalin may have been sceptical about comrade Mao's contribution to Marxist theory, Maoism has endured and its many (bloody) successes would have surprised Karl Marx (1818-1883) who saw the potential for revolution only in the urban proletariat slaving in factories, grumbling that peasants were impossible to harness as a movement because they: "...were like potatoes, all the same and yet all different."