Jail

Jail (pronounced jeyl)

(1) A prison (in some places used generally of institutions of incarceration, in others tending to be applied to structures used for the detention of those awaiting trial or convicted of minor offenses).

(2) To take into or hold in lawful custody; to imprison; to incarcerate.

(3) In horse racing, the condition created by the requirement that a horse claimed in a claiming race not be run at another track for some period of time (usually 30 days).

(4) In dodgeball (and related games), the area where players who have been struck by the ball are confined.

(5) In computing, as used by certain variants of Linux, an implementation of a sandbox in which can be run an instance of another OS (operating system).

1225–1275: From the Middle English gayole, gaylle, gaille, gayle, gaile, gaiole, jaiole & jaile, from the Old North French gaiole, gayolle & gaole and the Old French jaiole (cage), from the Medieval Latin gabiola, from the Vulgar Latin gaviola, a variant of the Late Latin caveola (small cage, cell), diminutive of the Classical Latin cavea (cavity, coop, cage).  Regionalism in language was one more common (especially in eras when population movement (particularly in rural areas)) was more limited and the two spellings in the Old French variants reflect the independent linguistic evolutions, the spelling “gaole” indicative of a pronunciation in use until the seventeenth century.  It fully displaced the native Middle English quartern (prison, jail, cell), from the Old English cweartern (jail, prison) and partially displaced the native Middle English lok, from the Old English loc (enclosure, pen; jail, prison) (from which English gained “lock”) and the Middle English carcern, from the Old English carcern, from the Latin carcer (prison, jail).  In the Old English, there were many words meaning jail (regionalism also a factor here) including heaþor & heolstorloca (the latter meaning also “jail cell”), clūstorloc, dung (the latter meaning also also “dungeon”), hlinræced, nirwþ, nīedcleofa, hearmloca and nearu.  Jail & jailing are nouns & verbs; enjail, rejail, jailor (or jailer) & jailoress (or jaileress) are nouns, jailed & enjailed are verbs, jailless, jailish, jailable, nonjailable & jaillike are adjectives; the noun plural is jails.

In English, there are seeming anomalies which must baffle those learning the tongue and make them wonder how such a messy and sometimes inconsistent language became something of the world’s lingua franca.  Were it possible to have a committee edit the lexicon and eliminate the pointlessly troublesome, not only might something be done about homophones like “razed” (demolished) and “raised” (built) but the “gaol” (still used in parts of the English-speaking world to mean “jail”) would be retired and “jail” would become universal.  Jail as a noun dates from the thirteenth century and the persistence of “gaol” as the preferred form in the UK is attributed to the continued use in statutes and other official documents although there may also have been some reluctance to adopt “jail” because this had come to be regarded as an Americanism.

Some idiomatic and slang uses

Things to find on the web.

A “jailbreak” literally is “an escape from jail” but it was adopted in the ecosystem created by the computer industry to refer to modification to the hardware or firmware of an electronic device (mobile phones, tablets, gaming consoles etc) to allow the installation and use of software not officially supported or explicitly excluded by the manufacturer.  With the coming of AI (artificial intelligence) LLMs (large language models), jailbreak also became the term for a prompt which in some way bypasses any ethical restrictions imposed by the vendor.  In ice hockey, the jailbreak is a rule applied in some leagues under which a penalty is ended if the short-handed team scores; the goal scored in such circumstances is a jailbreak.  Any prisoner who emerges from jail (whether by a jailbreak or by more regular means) is said to be a “jailbird” and there are more than a dozen formal & informal terms for “jail” including slammer, hoosegow, jailhouse, big house, Uncle Sam’s hotel etc.

2022 Dodge Challenger SRT Hellcat Redeye Widebody Jailbreak in Go Mango with satin black accents over black Laguna leather and Alcantara upholstery.  Because of the design of the front splitter, this model was supplied ex-factory with the one-piece yellow "underwire". 

Unexpectedly, during the 2010s, "underwire" entered the lexicon of automotive slang when it was used to describe a plastic part fitted temporarily as a protective piece.  The yellow plastic fitting (pictured above on the leading edge of the Challenger's splitter) was called a "splitter guard" which was unimaginative but the factory didn't envisage them as consumer items and the term was merely explanatory for the information of those preparing cars for sale.  Installed to prevent damage during shipping, it was part of dealer preparation instructions to remove the pieces but leaving them attached became a cult and some cars were even retro-fitted.  An element in that was the "end of an era" vibe and large number of the vehicles in Dodge's "Last Call" runs (of which there were many) were purchased as investments to be stored away for the day when V8s are no longer produced and collectors will be anxious to pay much for the way things used to be done.  How well that will work out remains to be seen but with the "Last Call" runs typically in batches of more than 3000, most of them weren't, in collectable terms, especially rare.  

2023 Dodge Challenger SRT Demon 170 Jailbreak in Panther Pink with satin black accents over black Alcantara and Laguna leather.

In the Demon 170 Jailbreak program, there were 40 exclusive paint colors and this is the sole example in Panther Pink.  The model was rated at 1025 HP and, with a different design of front splitter, was fitted with a two-piece underwire.  The first Supermarine Spitfires and Hawker Hurricanes which in 1940 fought the Messerschmitt Bf 109s & Bf 110s in English skies during the Battle of Britain were rated at 1030 HP and while the power characteristics of car and aeroplane were very different, the numbers are indicative of 80-odd years of progress. 

Dealers cautioned against the trend, noting the pieces weren't specifically molded to ensure a perfect fit so dirt and moisture were prone to being trapped in the gaps and this could scuff the paint.  They were known also as "damage guards" and "scuff guards" but more imaginative souls dubbed them the "underwire" while serious students of such things suggested a better simile might have been "pastie", while acknowledging Chrysler followed the lead of the underwear manufacturers in having available both single and two-piece "underwires" although this was coincidental and deterministic, dictated by the splitter design.  Women have been known to remove from bras especially intrusive underwires (a "comfort thing") but whether on splitters they were kept or discarded might have seemed an improbable subject for dispute but with cars, men always find a reason to argue about something.  Although probably it would have preferred to discuss horsepower, superchargers and such, Chrysler noted the cultural phenomenon and, while obviously reluctant to upset either faction, did issue a statement to a magazine which had requested comment:

"The splitter guards on Dodge Charger and Challenger have taken on a life of their own. They originally made their debut in the 2015 model year to protect the performance fascias on SRT models during shipment from the manufacturing facility to the dealer, and, yes, they are designed to be removed before delivery.  But today, they have their own Facebook page, and many of our performance enthusiasts have active debates on whether to keep or remove them. Some owners say they are even selling them in the aftermarket.  Obviously, they weren't part of the original design, so we started with yellow guards and shifted to pink, but they are still so popular that we may shift them yet again to black. Wherever we land, this is another example of how our customers are passionate about every part of their Dodge muscle cars."

1970 Dodge Challenger hardtop 440 Six Pack in Panther Pink High Impact (code FM3) over black vinyl (code X9) with houndstooth cloth inserts (code 5).  On the Challenger, Panther Pink (FM3) was offered only in the spring of 1970.

By the twenty-first century, long done were the days in the early 1950s when Chrysler Corporation was run by men with an ethos that cars should be designed so “a gentleman can drive one while wearing his hat” and if that dictated stodgy looking vehicles, so be it.  That changed with the release of the 1955 range and from then on, for better or worse it was all about style but by the early 2000s, the company reached the same conclusion as GM (General Motors) and Ford: automotive aesthetics attained their peak in the late 1960s and what’s been done since hasn’t been as good.  Accordingly, for the release of the third generation (although many don’t count the second because it was a badge-engineered Japanese import) Challenger (2008-2023), Dodge produced a most accomplished re-imagining of the first (1970-1974), a vehicle which was a costly commercial failure although that was due more to external conditions than the thing’s dynamic qualities.  Between 2008-2023 the Challenger was produced in a bewildering number of variants, many with some of the longer multi-part model names and it’s doubtful if any but the most devoted fan-boys could either recall or deconstruct the configuration of them all.

Designer colors and more: Publicity shot for the Porsche Sonderwunsch programme; note the rubber laid down on the concrete.

On intriguing piece of nomenclature was “Jailbreak” which Chrysler’s marketing types picked up from the use in various sub-cultures to circumvent manufacturers’ restrictions on devices like smartphones although this was a case of Dodge “hacking itself” (using “hack” loosely) because the Jailbreak “customization program” was explained as a way in which buyers could bypass the previous limitations on what could be ordered with which, enabling them to “mix ’n’ match”.  The concept is of course familiar in the fiscally rarefied air breathed in placed like the Porsche Sonderwunsch (special request) office but it wasn’t new to Detroit, Cadillac in the happy days of the 1960s, despite in a typical year offering literally over a hundred combinations of interior & exterior combinations also offered buyers the chance to make “special requests”.  There's no record of Cadillac attempting to act as the "good taste police" and presumably if some buyer did ask for an aesthetically dubious combination, duly it was built although the factory did refuse to use light colors on dashboard pads or package shelves because of the risk of reflections in the glass.  The deviations from the production line rationalization which was designed for optimal efficiency of course came at a cost and took additional time but everything was priced at a level to ensure the profitability to which Cadillac had become accustomed.

The jailbreak programme was also available on the Charger.

For Dodge the Jailbreak programme was run on similar lines and while not quite an “anything goes” approach, it was more permissive and for the Challenger’s final two seasons (2022-2023), buyers of SRT Hellcat or SRT Hellcat Redeye models could “fine-tune” things like paint, interior trim, wheels, stripes, badges and other items in a way the factory had not previously permitted.  As icing on the jailbreak cake, the SRT Hellcat Redeye Jailbreak cars received a more potent engine, rated at 807 horsepower, a number which would have seemed a fantasy in the era of the second generation Challenger when the most powerful engine offered probably generated (in comparable terms) around 435-445 HP.

The Royal Navy's Battle Cruisers opening fire in the opening stages of the Battle of Jutland, 31 May 1916, (1919), oil on canvas by Lionel Wyllie (1851–1931).

Fought in 1916 between the UK’s Royal Navy and the Navy of the German Empire (the so-called “Second Reich”), the battle of Jutland in 1916 was the closest the world got to the clash on the high seas of fleets of dreadnoughts, an event the navalists and theorists had for a generation be expecting or hankering.  For a variety of reasons it proved anti-climatic (though at a cost of over 8,000 lives) but while a tactical victory for the Germans (in terms of ships sunk or damaged and causalities), strategically the British succeeded in ensuring for the rest of of World War I (1914-1918) their opponents were confined to a pocket of the Baltic, denied access to the North Sea and thus the Atlantic; this enabled the Royal Navy’s blockade of Germany to be maintained.  Summing up, the New York Times concluded: “The prisoner gave his jailor a bloody nose but at the end of the day was back behind bars in his jail cell.”  Barely noticed except in the halls of the admiralties (where it made a great impression) was the vulnerability of the battlecruiser, a class of ship of which much had been expected although at Jutland they were used in a way the theorists who suggested the configuration had neither intended nor recommended.

The concept of a “black jail” is ancient; it’s a jail where people can, for whatever reason, be imprisoned by some agency of state, often in secret and with no recourse to legal remedies or other procedures.  It can be thought of as a particular example of “being disappeared” and the use of such institutions was the origin of the judicial writ of habeas corpus (from the Latin habeas corpus ad subjiciendum (“You (shall) have the body to be subjected to (examination)”) which in the common law tradition can be translated as “bring them before the court so the lawfulness of their detention may be assessed”.  First seen in England in the twelfth century, the writ to this day remains (in Western nations) one of the core protections afforded to citizens.  In 2002, shortly after it invaded the place as an administrative convenience, the US established such a jail in Afghanistan and apparently it was controlled by the Department of Defence’s (now again the Department of War) intelligence office and staff from Army Special Operations although other agencies were known to have provided “specialized services”.  Existing always on a “neither confirm nor deny” basis, the US Black Jail was an example of the way things get done when it’s required to process irregular combatants in extreme conditions.

It illustrated too the use of language: Among nations party to the relevant conventions, whereas prisoners of war (ie those combatants who meet the definition) are held in “PoW (prisoner of war) Camps” and never lose their military status; others can end up in “jails”.  Of course, it can’t be certain organs of the state in some Western countries aren’t still in secret maintaining “black jails”, possibly without the knowledge of elected governments.  The system of concentration camps created during the Third Reich (1933-1945) began as a way for the state to regularize what had unexpectedly “sprung-up” as a number of “black jails” created informally by party members to imprison their many opponents and enemies.  It was a classic example of the essentially criminal, gangster nature of the Nazi state and while the authorities didn’t object to most of those in the black jails being incarcerated, they wanted it done on an organized, professional basis.  Structurally, the operation of the concentration camps was also a microcosm of the whole Nazi project: Those who could send victims to the camps or have them released had no say of what happened within the camps while those running the places could order neither an individual’s jailing nor their release.

Jail juice comes pre-packaged.

In 2011, the Salt Lake Tribune reported a case of botulism in jail juice fermented in a cell in the Utah State Prison, the source traced to a “bad” potato.  The prisoner responsible for the brew (containing powdered juice mix and several types of fresh and canned fruit) told medical staff he added the “two-week old baked potato” because he thought it would “accelerate fermentation”.

Jail juice is prison slang (originally a US form but now widely used, even beyond the English-speaking world) for the various forms of improvised alcoholic beverages (typically fermented) brewed in correctional facilities.  There are other slang forms of the concoctions including “prison hooch”, “swish”, “prison wine”, “toilet wine” & “loaf brew” (some forms of white bread said to be a good additive in the process once crumbed) but most descriptive was “pruno”.  Dating from the late 1930s, the name was derived from the use of prunes, then in ample supply in many US prison kitchens.  The term pruno became generic, later applied regardless of the fruit used in the fermentation.  A “phone jail” is a place (usually in schools) in which the mobile phones of students are locked away for certain durations (which can be short or the whole school day).  “Jailbait” describes someone (almost always female) who is (1) obviously sexually mature yet (2) was (or appeared to be) under the legal age of consent and was (3) considered attractive or seductive.  The term references the legal concept of statutory rape under which an adult engaging in consensual sexual relations with someone under whatever is the relevant age in that jurisdiction can convicted and jailed.

Lindsay Lohan “Mug Shots” coffee mugs.

In November, 2011, in a hearing held at Los Angeles Superior Court Airport branch, Lindsay Lohan was sentenced to 30 days in jail at Lynwood's Century Regional Detention Facility.  The penalty was imposed after she admitted violating the terms of her probation from a 2007 DUI (driving under the influence) case; she had failed to attend community service appointments at a Los Angeles women's shelter.  However, just 4½ hours into the 30-day sentence, she was handed a “get out of jail free card”, released because of chronic over-crowding in California's jail system.  Sometimes, you get lucky.

At least one “Get out of jail free” card has been included in every version of the Monopoly board game since first it was released in 1935 although most editions have featured two, one from the “Chance” stack, the other from “Community Chest”.  What possession of the card confers is the ability (as the name implies) for a player to move on from the jail square without having to throw three doubles (of the dice) in a role or pay a fine although, in certain circumstances, it can be adventitious for a player not to use the card and “remain in jail”, something which sometimes happens IRL (in real life).  From the board game comes the idiomatic use of “a get-out-of-jail-free card” to refer to “a certain privilege or advantage providing relief from an undesirable situation or immunity from punishment or consequences”.  Historically, states have sometimes offered similar devices although they’ve never been available for those accused of serious offences.

Macy’s department store, Herald Square, Manhattan, New York City.

In George Orwell’s (1903-1950) novel Nineteen Eighty-Four (1949), the Ministry of Love was responsible for the dispensation of fear and suffering and its most dreaded institution was Room 101, located in the basement of their headquarters.  Room 101 was a torture chamber in which the ruling party subjected prisoners to their individual worst nightmares and greatest fears, the purpose being finally to destroy any residual resistance.  Less threatening though equally specific is Room 140 at Macy’s department store Herald Square flagship store in Manhattan, New York City.  One of a few private “jails” in New York, those accused of shoplifting are escorted by security guards to Room 140’s cells where they can be held for hours, the stories told suggesting the detained are asked to sign an admission of guilt and pay sometimes hundreds of dollars in “fines”, sometimes without any conclusive proof of an offence.  That may sound medieval but a majority of US states do have on the books legislation which offer retailers often a wide latitude forcefully to hold and subsequently fine suspects, even if, technically, nothing has been stolen or criminal charges have been dropped.  The US industry’s problem is real because as much as US$15 billion is each year lost to shoplifting and the purpose of the laws is both a tacit admission the state would prefer not to be involved in “low dollar value” matters and a way to enable stores to recoup some losses.  Under New York's long-standing law, retailers may collect a penalty of five times the cost of the stolen merchandise (up to US$500 per item), plus as much as US$1,500 if the “recovered” merchandise isn't in a condition to be sold.  A conviction is not a pre-condition to bring a civil claim.

If ever Macy's comes under new management, hopefully the new operators will have a better sense of the sardonic and rename "Room 140" to "Room 101".

In operation, application has been controversial with claims retailers abuse the law by engaging in “racial profiling”, targeting minorities and holding customers for hours as a form of duress; Macy’s has in the past paid a settlement to the state to settle a number of claims.  Macy’s maintain their corporate policies prohibit coercion when recovering fines, recently issuing a statement: “Our policy of exercising our right to pursue a civil recovery payment is consistent with common practice in the retail industry and within the parameters of the law.”  Many retailers detain suspected shoplifters although few have their own jail cells and Macy’s is unusual in requesting the on-the-spot payment of fines.

Croissant

Croissant (pronounced krwah-sahn (French) or kruh-sahnt (barbarians))

A rich, buttery, often crescent-shaped, roll of leavened dough or puff paste.

1899:  From the French croissant (crescent), present participle of the verb croître (to increase, to grow), from the Middle French croistre, from the Old French creistre derived from the Classical Latin crēscēns & crēscentem, present active infinitive of crēscō (I augment), drawn from the Proto-Italic krēskō. The ultimate root was the primitive Indo-European ḱreh (to grow, become bigger).  Correct pronunciation here.  

The Austrian Pastry

Like some other cultural artefacts thought quintessentially French (French fries invented in Belgium; Nicolas Sarkozy (b 1955; French president 2007-2012) from here and there; the Citroën DS (1955-1975) styled by an Italian) the croissant came from elsewhere, its origins Austrian, the Viennese kipferl a crescent-shaped sweet made plain, with nuts or other fillings.  It varies from the French classic in being denser and less flaky, made with softer dough.  First noted in the thirteenth century at which time, it was thought a “sweet” it was another three-hundred years before it came to be regarded as a morning pastry.  Tastes changed as new techniques of baking evolved and around the turn of the seventeenth century, recipes began to appear in Le Pâtissier François using Pâte feuilletée (puff pastry), these being the first recognisably modern croissants.

Culinary histories include a number of (likely apocryphal) tales of why the croissant adopted a crescent shape.  One suggests it was baked first in Buda to celebrate the defeat of the Ummayyad (the Umayyad Caliphate (661–750) was the second of the four major caliphates created after the death of the prophet Muhammad (circa 570-632)) forces by the Franks in the Battle of Tours (732), the shape representing the Islamic crescent moon although more famous is the notion it was designed after the battle of 1683 when the Ottomans were turned back from the gates of Vienna.  A baker, said to have heard the Turks tunneling under the walls of the city as he lit his ovens to bake the morning bread, sounded an alarm, and the defending forces collapsed the tunnel, saving the city.   To celebrate, bread was baked in the shape of the crescent moon of the Turkish flag.

Portrait of Marie Antoinette (1755–1793; Queen of France 1774-1792) (1769), oil on canvas by Joseph Ducreux (1735-1802).

The official title of the portrait was Archduchess Maria Antonia of Austria and it was created as the era’s equivalent of a Tinder profile picture, the artist summoned in 1769 to Vienna to paint a pleasing rendering of the young lady the Hapsburg royal court planned to marry off to Louis, Dauphin of France (1754-1973) who would reign as Louis XVI (King of France 1774-1792)).  Tinder profile pictures can be misleading (some pounds and even more years sometimes vanishing) so the work must be considered in that context although she was barely fourteen when she sat so it may be true to the subject.  Ducreux’s portrait was the first glimpse the prince had of his intended bride and it must have been pleasing enough for him metaphorically to "swipe right" and the marriage lasted until the pair were executed with the blade of the guillotine.  As a reward, Ducreux was raised to the nobility as a seigneur de la baronnie (lord of the barony, the grade of of baron granted to roturiers (commoners)) and appointed premier peintre de la reine (First Painter to the Queen), outliving the royal couple.

A more romantic tale attributes the pastry to Marie Antoinette, who, as an Austrian, preferred the food of her homeland to that of the French court and, at state dinners, would sneak off to enjoy pastries and coffee.  There is no documentary evidence for her having re-christened the kipferl as the croissant but the story is she so missed what she knew as kipfel (German for crescent) that she commanded the royal baker to clone the treat.  More prosaic, but actually verified by historical evidence, is that August Zang (1807-1888), a retired Austrian artillery officer founded a Viennese Bakery in Paris in 1839 and most food historians agree he is the one most likely to have introduced the kipfel to France, a pastry that later inspired French bakers to create crescents of their own.  The first mention of the croissant in French is in French chemist Anselme Payen’s (1795-1871) Des Substances alimentaires (1853), published long after Marie-Antoinette’s time in court, the first known printed recipe, using the name, appearing in Swiss chef Joseph Favre’s (1849-1903) Dictionnaire universel de cuisine (1905) although even that was a more dense creation than the puffy thing known today.

Once were croissants: 1967 Mercedes-Benz 600 (with "jam rolls", left), 1969 Mercedes-Benz 600 (with "croissants" (better known as "rabbits ears"), centre) and 1990 Mercedes-Benz 560 SEL (with boring "headrests", right).

Mercedes-Benz introduced their Kopfstütze (literally “head support” although in the factory’s technical documents the design project was the Kopfstützensystem (head restraint system)) when the 600 (W100, 1963-1981) was displayed at the 1963 Frankfurt Motor Show, the early cars having only a rear-pair as standard equipment (there was an expectation many 600s would be chauffeur-driven) with the front units optional but the hand-built 600 could be ordered with one, two, three or four Kopfstützen (or even none although none seem to have be so-configred ordered).  In 1969 the design was updated and over three weeks the new type was phased in for the models then in production.  While a totally new design (one cognizant of the US safety regulations which had mandated them for the front seats of passenger vehicles) with a different internal structure and mounting assembly, the most distinctive aspect was the raised sides which some compared to the “pagoda” roof then in use on the W113 (230, 250 & 280 SL, 1963-1971) roadster but this was coincidental.  In the early press reports the shapes were described with culinary references, the previous versions said to resemble a Biskuitrolle mit Marmelade (jam filled sponge roll) while the new generation was more like a croissant.  In the English-speaking world, neither term caught on, the older style was called something like “older style” while the new came to be known as “rabbits ears” which was much more charming.  Uncharmed, the humorless types at the factory continued to call them teilt (split) or offener Rahmen (open-frame).  The “rabbits ears” were phased out in 1979 although the low volume 600 retained them (along with the archaic rear swing-axles!) until the last was built in 1981.  The design introduced in 1979 seems never to have been compared to any kind of food and it reverted to lateral symmetry although the structure was noticeably more vertiginous.

Petit-déjeuner à Paris: café; croissant; Gauloises.

In 2025, to enjoy this pleasure began to demand a little more planning after the French government banned the smoking of cigarettes in all outdoor areas where children can be present (US$130 on-the-spot fine).  Vaping was still allowed (!) so there was that and terrasses (the outdoor areas of coffee shops bars) were exempt.  It's good Jean-Paul Sartre (1905–1980) & Simone de Beauvoir (1908–1986) didn't live to see this day. 

Although the famous shape is much admired, for purists, the choice is always the un-curved croissant au beurre, (butter croissant), the more eye-catching crescents being usually the ordinaires, made with margarine.  The taste in the English-speaking world for things like ham-and-cheese croissants is regarded by the French as proof of Anglo-Saxon barbarism although they will tolerate a sparse drizzle of chocolate if it’s for children and food critics reluctantly concede the almond croissant (with a frangipane filling, topped with slivered almonds and a dusting of powdered sugar) is “…enjoyed by younger women”.  Generally though, the French stick to the classics, eschewing even butter, a croissant being best enjoyed unadorned and taken with a strong black coffee and while some will insist this should be accompanied with a Gitanes, that is optional.

The cube croissant, an Instagram favorite.

Although much focused upon, the shape of a croissant of course becomes less relevant when eaten when the experience becomes one of taste and texture.  For that reason the pastry used has long attracted those chefs for whom food offers architectural possibilities and while for more than a century one-offs have been created for competition and special event, in recent years the phenomenon of social media has been a design stimulant, Instagram, TikTok etc fuelling a culinary arms race and patisseries have built (sometimes short-lived) product lines in response to viral videos.  Fillings have of course been a feature but it’s the shapes which have been most eye-catching (and by extension click-catching which is the point for the content providers). There have been “croissants” in the shape of spheres, discs, pyramids, spirals, wedges and cubes, the last among the more amusing with chefs referencing objects and concepts such as dice, cubist art and, of course, the Rubik’s Cube.  Many have been just a moment while some have for a while trended.

Dominique Ansel's Cronut, stacked and sliced.

Some have endured for longer such as the Cronut (the portmanteau’s construct being cro(issant) + (dough)nut) and so serious was New York based French pastry chef Dominique Ansel (b 1978) that in 2013 he trademarked his creation.  In the familiar shape of a doughnut, the composition was described as “a croissant-like pastry with a filling of flavored cream and fried in grapeseed oil.”  Interviewed by Murdoch tabloid the New York Post, the chef revealed it took “two months of R&D (research & development)” before the Cronut was perfected and the effort was clearly worthwhile because after being released in his eponymous bakery in Manhattan’s SoHo neighbourhood, the city’s food bloggers (a numerous and competitive population) responded and within days photographs circulated of dozens waiting for opening time, a reaction which prompted the application to the US Patent and Trademark Office.  In the way of such things, around the planet “clones”, “tributes”, “knock-offs”, “imitations”, “rip-offs” (the descriptions as varied as the slight changes in the recipes introduced presumably to fend off a C&D (cease and desist letter)) soon appeared.  Predictably, some were called “Doughssants” (the Germanic eszett a nice touch) although others were less derivative.

New York Post, August 16 2022.

Monsieur Ansel in 2015 released Dominique Ansel: The Secret Recipes, a cookbook which included the Cronut recipe and the thing in its authentic form was clearly for the obsessives, the instructions noting making one or a batch was a three-day process.  In its review of the year, Time magazine nominated the Cronut as one of the “best inventions of 2013”, prompting one cultural commentator (another species which proliferates in New York City) to observe the decadence of the West had reached the point the breakdown of society was close.  There may have been something in the idea the new “Visigoths at the Gates of Rome” were actually pastry chefs because in the wake of the Cronut the city was soon flooded with all sorts of novel sugary treats, mostly elaborations of croissants, doughnuts and, it being NYC, bagels.  By 2022 the New York Post was prepared to proclaim: “Move over cronuts! NYC's hot new baked good is the Suprême”, the defenestrator from Noho’s Lafayette Grand Café and revealed to be a “unique circular croissant filled with pastry crème and topped with ganache and crushed up cookies.”  Again of the Instagram & TikTok age, queues were reported even though at a unit cost of US$8.50 it was two dollars more expensive than a Cronut, the price of which had increased fairly modestly since 2013 when it debuted at US$5.00.

All the recent variations on the croissant are built on the theme chefs have for centuries understood is the easy path to popularity: FSS; add fat, salt & sugar, the substances mankind has for millennia sought.  Once it took much effort (and often some risk) to find these things but now they’re conveniently packaged and widely available at prices which, although subject to political and economic forces, remain by historic standards very cheap.  Often, we don’t even need to seek out the packages because so much of the preparation and distribution of food has been outsourced to specialists, mostly industrial concerns but the artisans persist in niches.  That’s certainly true of the croissant, few making their own whether basic or embellished and one of the latest of the croissant crazes is FSS writ large: the crookie.

Miss Sina's crookie (without added topping or powered sugar).

A crookie is a croissant stuffed with chocolate chip cookie dough and its very existence will be thought particularly shameful by some Parisian purists because it was first sold in December 2023 by the Boulangerie Louvard, located on Rue de Châteaudun in Paris’s 9^th arrondissement which, in an Instragram post announced the arrival: “Our pure butter croissant, awarded the seventh best croissant in the Île-de-France region in 2022, is made every morning with a 24-hour fermented milk sourdough and layered with Charente butter.  For our cookie dough, we use one of the best and purest chocolates in the world, from @xoco.gourmet.”  Offered originally in a test batch to test the market, the boulangerie soon announced “The concept was well received, so we're keeping it.  Available every day in-store!”

Unlike a Cronut which (at least in its pure form) demands three days to make, the charm of the crookie is its elegant simplicity and Instagrammers quickly deconstructed and posted the instructions:

(1) With a serrated knife, cut open a croissant lengthwise, leaving a “hinge” at the back.

(2) Add 2-3 tablespoons of your chocolate chip cookie dough (from a packet or home-made).

(3) Close the two sections of croissant wholly encasing the dough.

(4) When the dough is almost cooked (time will vary according to oven and the volume of dough but it takes only a few minutes), remove from oven.

(5) Add more cookie dough to the top of croissant and return to the oven for final bake.

(6) When the outside is crispy and the centre gooey, remove from oven and top with a dusting of powdered sugar.

Some crookie critics don't recommend either adding the second lashing of dough or the powered sugar because they tend to "overwhelm" the croissant and limit the surface area, thereby denying the dish some of the essential crispiness.  

The croissant in fashion

Louis Vuitton Loop (part number M81098).  Created by Nicolas Ghesquière (b 1971) for the Cruise 2022 Collection, the Loop is described as a "half-moon baguette" and was inspired by the earlier Croissant bag, the original a less fussy design but the details in the new reflect modern consumer preference.

Rendered by Vovsoft as cartoon character: a brunette Lindsay Lohan in croissant T-shirt.

While a handbag lends itself well to the shape of a crescent, it does inherently limit the efficiency of space utilization but this aspect is often not a primary goal in the upper reaches of the market.  With garments however, although actually a common component because the shape makes all sorts of engineering possible such as the underwire of the bra or other constructions where any sort of cantilever effect is demanded, it’s usually just an element rather than a design motif.  As a playful touch, a distinctive crescent moon or croissant might appear on a T-shirt or scarf but it’s rare to see a whole garment pursue the theme although they have appeared on the catwalks where they attract the usual mix of admiration and derision.   

Sarah Jessica Parker (b 1965) in "croissant dress".

Sometimes though, such things escape the catwalk.  In 2022 the actor Sarah Jessica Parker appeared in Home Box Office's (HBO) And Just Like That, a spin-off (2021-2022) of the Sex and the City TV series (1998-2024), wearing an orange Valentino couture gown from the house’s spring/summer 2019 collection.  It recalled a large croissant, the piece chosen presumably because the scene was set in Paris although it must have been thought the viewers needed the verisimilitude laid on with a trowel because also prominent was a handbag in the shape of the Eifel Tower.  A gift to the meme-makers, admiration for the dress was restrained.

Adhesive

Adhesive (pronounced ad-hee-siv or ad-hee-ziv)

(1) Something coated with glue, paste, mastic, or other sticky substance (which may be intended for either temporary or permanent purposes); a substance that causes something to adhere, as glue or rubber cement.

(2) Figuratively, tenacious or clinging.

(3) Sticking fast; sticky; apt or tending to adhere; clinging.

(4) In physics, of or relating to the molecular force that exists in the area of contact between unlike bodies and that acts to unite them.

(5) The quality or degree of stickiness in the physical sense; relating to adhesion.

(6) In philately, a postage stamp with a gummed back, as distinguished from one embossed or printed on an envelope or card.

1660s: The adjective meaning “sticky, cleaving or clinging” was from the French adhésif, from the Latin adhaesivus, from adhaereō (supine adhaesum). The French construct was formed from the Latin adhaes-, past-participle stem of adhaerere (stick to), the source also of adherent.  The noun was derived from the adjective and emerged in 1881, original as a descriptor of postage stamps (as a clipping of the original (1840) adhesive stamp, the word later adopted in philately as a technical distinction between the classic stick-on stamps and other types.  Around the turn of the twentieth century, it was used in the general sense of "a substance that causes to adhere", as a point of differentiation from simple glue.  The spelling adhæsive is obsolete.

Because of the use in engineering, science, industry & commerce, adhesive is a popular modifier, the forms including adhesive capsulitis, adhesive tape, hot melt adhesive, self-adhesive, adhesive bra, adhesive bandage, adhesive binding, adhesive plaster & adhesive tape.  Words related to adhesive (in the physical or figurative sense depending on context) sense include gummy, sticky, adherent, holding, hugging, pasty, adhering, agglutinant, attaching, clinging, clingy, gelatinous, glutinous, gooey, gummed, mucilaginous, resinous, tenacious, viscid & viscous.  Adhesive is a noun & adjective, adhesion is a noun, adhesively is an adverb and adhesiveness is a noun; the noun plural is adhesives.

Piet Mondrian, neo-plastic painting and adhesive tape

Piet Mondrian’s (1872-1944) 1941 New York City 1 is a series of abstract works created with multi-colored adhesive paper tape.  One version first exhibited at New York’s Museum of Modern Art (MOMA) in 1945 has since 1980 hung in the Düsseldorf Museum as part of the Kunstsammlung Nordrhein-Westfalen’s collection and recently it was revealed for the past 77 years it has been hanging upside down.  The work is unsigned, sometimes an indication the artist deemed it unfinished but Mondrian left no notes.

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. 

The decades-long, trans-Atlantic mistake came to light during a press conference held to announce the Kunstsammlung’s new Mondrian exhibition.  During research for the show, a photograph of Mondrian’s studio taken shortly after his death showed the work oriented in the opposite direction and this is being treated as proof of the artist’s intension although experts say the placement of the adhesive tape on the unsigned painting also suggests the piece was hung upside down.  How the error occurred is unclear but when first displayed at MOMA, it may have been as simple as the packing-crate being overturned or misleading instructions being given to the staff.  However, 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.”

1941 New York City 1, Paris Museum of Modern Art.

The curator made the point that as hung, the interlacing lattice of red, yellow, black and blue adhesive tapes thicken towards the bottom, suggesting a sparser skyline but that “…the thickening of the grid should be at the top, like a dark sky” and another of Mondrian’s creations in a similar vein (the oil on canvas New York City I (1942)) hangs in the Musée National d’Art Moderne in Paris with the thickening of lines at the top.  Whether Mondrian intended 1941 New York City 1 to be part of his oeuvre or it was just a mock-up in adhesive tape for the oil-on canvas composition to follow isn’t known, artists having many reasons for leaving works unsigned.  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."   

Lindsay Lohan adhesive stickers.

Adhesives in applied structural engineering

Conventional "backless" bras.

The term "backless bra" can be misleading in that most of them aren't actually built without a back-strap; rather the strap is engineered in a variety of ways to sit well below the shoulder-blades, usually somewhere around the lower back; the "backless" is a reference to the back-strap not being visible when the wearer is clothed.  Often that's enough to suit the outfit with which it's being paired but sometimes there's a need to expose the whole back and here an adhesive bra can be the solution.  Adhesive bras (single-use and re-usable and sometimes called "stick-on bras" or "stickies") are specialized devices which have a large part of the surface-area facing the skin coated with a medical-grade adhesive.  Made usually from silicone or polyurethane and available in a variety of designs (in one and two-piece configurations), almost all are strapless or backless and the variations in design exist to accommodate the different clothes under which the bra will be worn.  One chooses one’s adhesive bra cognizant of the dress or top to be worn, the idea being that once dressed, only skin and fabric should be visible.  In cases where no commercially available adhesive bra is quite right, a variety of medical-grade tapes (sold as tit-tape, skin-tape, boob-tape etc) can be used including double-sided versions which can hold the fabric of clothes in place.  These have the advantage of being able to be rendered in whatever shape is required but can be difficult to apply single-handedly although boyfriends and girlfriends should be anxious to assist.  Experts suggest avoiding the cheapest on the market because some of there are not medical grade and there's the risk of minor skin damage and consequent infection.

For those (regardless of size) who don’t require lift and need only to minimize lateral movement, the two-piece units (which can use a central coupling depending on the outfit) are ideal because they are available in versions with a smaller surface area, some of which use a higher percentage of the adhesive material to adhere to skin below the bust-line which can be helpful.  These are essentially a modern variation of the pasties (adhesive patches worn over the nipples by exotic dancers) from the late 1950s with some structural engineering added to enhance support.

Most two-piece adhesive bras are a pair of stand-alone units but some offer the option of centre-adjustments.  The methods vary, some using Velcro, the familiar hook & eye combination or buckles but the most popular type use shoe-lace style ties.  The scope of adjustment offered is not only lateral (forcing the flesh towards the centre) but also vertical (forcing the flesh upwards), both movements enhancing cleavage and this permits the same bra to be used for more than one style of outfit.

Although mostly associated with backless and strapless styles, adhesive bras are also available which accommodate plunging necklines.  The two-piece units allow designers to display a cut to the waist but more modest renditions, optimized for cleavage, use a kind of cantilever, usually called the “plunge”.

Adhesive cooperate with rather than defy the laws of physics and there are limits to the volumes which can be accommodated.  As a general principle, as the movable mass (and in this case there’s not always a direct correlation between weight and volume) increases, the surface area of the adhesive material which adheres to skin above the functional centre of gravity (essentially the pivot point) should increase.  That means larger sizes can be handled for backless dresses and even plunges are possible but it won’t be possible always to display the skin on the upper poles and designs required to secure a greater mass can be less comfortable because they often include some variation of an underwire to guarantee structural integrity.  As with all forms of structural engineering (essentially, making push equal pull), the physics involved means there are limits to what can be done.