Decadence

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

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

(2) Synonyms: decline, retrogression, degeneration

(3) Moral degeneration or decay; turpitude.

(4) Unrestrained or excessive self-indulgence.

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

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

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

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

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

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

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

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

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

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

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

Ingredients (wet & dry to be mixed separately)

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

Freaky Frosting Ingredients

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

Directions

(1) Preheat oven to 350° F (175° C).

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

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

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

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

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

Frosting Directions

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

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

(9) Refrigerate frosting until cake has cooled.

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

Abrosexual

Abrosexual (pronounced ab-ruh-seks-uhl (U) or ab-roh-sek-shoo-uhl (non-U))

Describing, noting, acknowledging or relating to a person whose sexual orientation is fluid and may from time to time fluctuate.

2013: The construct was abro- + sexual.  Abro- was not a standard suffix but was an adaptation of the Ancient Greek ἁβρός (feminine ἁβρᾱ́, neuter ἁβρόν) (habrós) (graceful, delicate, pretty) which scholars of the Classics note appeared usually in verse (though never in epic poetry) and was rare in early texts written in prose.  In abrosexual it was used in the sense of “graceful, delicate, pretty” (presumably because in Antiquity it was used especially of the human body) but originally it could also describe something splendid in appearance, an elegance of style or (often in a derogatory manner), dainty, luxurious or effete, thus the transferred sense of “delicate”, applied often to those from the Orient.  The construct of abrosexual appears one of English’s linguistic novelties and is unrelated to abrogate (now best known from the use in administrative law) which, dating from 1526, was from the Middle English abrogat (abolished), from the Latin abrogātus, the perfect passive participle of abrogō (repeal), the construct being ab (away) + rogō (ask, inquire, propose).

The word –sexual was a noun or adjective describing a state or style of sexuality, the construct being sex + -ual.  Sex was from the Middle English sexe (gender), from the Old French sexe (genitals; gender), from the Latin sexus (gender; gender traits; males or females; genitals), from the Proto-Italic seksus, from the primitive Indo-European séksus, from sek- (to cut, cut off, sever), thus the meaning “section, division (into male and female)”.  The use as it applied to women was influenced by the Middle French le sexe (women), traces of this development noted in the late sixteenth century.  The usage for third and additional sexes was calqued from the French troisième sexe (third gender), which was applied first to “masculine women” in 1817 and male homosexuals in 1847 (the first such reference in English apparently to in reference to Catholic clergy, a theme which continues, one of the internal criticisms of the Roman Curia (the Holy See’s ecclesiastical cum bureaucratic apparatus, the establishment which runs the Vatican) that it is a “gay cabal”.  Perhaps surprisingly, the use of the word “sex” to describe “sexual intercourse” seems not to have appeared in print until 1899 when was used in that context in HG Wells’ (1866-1946 and a noted proponent of “free love”) novel Love and Mr Lewisham; obviously an abbreviation rather than a euphemism and etymologists presume the use would for some time have been “verbal shorthand” in oral use.  Modernity arrived in 1929 when DH Lawrence (1885–1930) introduced the phrase “have sex” to idiomatic English; it caught on.  The –ual suffix was a back-formation from Latin adjectives ending in –uālis (formed from fourth-declension nouns suffixed with –ālis) and an alternative form of –al.  Abrosexual is an adjective and a (non-standard) noun; the noun plural is abrosexuals.  The companion word is the (non-standard) abroromantic.

Abrosexual seems first to have appeared on-line in 2013 but interest has recently spiked for reasons not immediately clear, sexual fluidity hardly a new idea; the current feeling seems to be it has become increasingly popular as a form of self-identification, one which has the advantage of infinite variability (no consistency demanded).  One early criticism of the word was it was unnecessary because the “P” in the LGBTQQIAAOP glossary referred to “pansexual” (those attracted to a person because of their personality; sex and gender both irrelevant) which seemed to cover the behavior.  The difference however is that pansexuality is a permanent state whereas abrosexuality is an identity in which orientation may shift, the implication presumably that whatever might be the orientation to which one has shifted, as long as it lasts, it is exclusive although how that maps onto some states has never been explained.  For example, a bisexual may be attracted almost exclusively to one gender and may then shift to favor almost exclusively the other: is that an example of fluidity within the rubric of bisexuality, an instance of abrosexuality or both.  In other words, must the shift be only between the LGBTQQIAAOP categories or can it also refer to degrees of intensity, a definitional puzzle complicated further by the multisexual umbrella which covers those whose preference span a number of categories.

The Abrosexual Pride flag.

The annual Abrosexual Pride Day is 2 July and of course, by definition, abrosexuals are not restricted to than one celebration.  An asexual might mark International Asexuality Day on 6 April and then shift to become a lesbian, thus enjoying also Lesbian Visibility Day on 26 April, Lesbian Day on 8 October and Coming Out Day 72 hours later.  There is also an acknowledged abrosexual flag although the origin of the design is contested as is the meaning represented by the choice of colors; the most popular suggestion being green signaling queer attraction, the fade to and from white the effortless transition and the pink the actual shift.  The hues are those of a watermelon, the use of which is analogous with the contemporary use of the N-word which is permissible only by (certain) people of color (PoC) in that it should be spoken only by those who identify was abrosexual, use by others a slur or micro-aggression depending on context.  It's not the first time "watermelon" has been co-opted: in Thailand the word is used to describe soldiers who are "green on the outside, red on the inside", the reference being to (1) the green military fatigues they wear and (2) red being the color of the political opposition (the establishment using the yellow of the royal family).  So abrosexuality is a permanent state of orientational flux.  Even if one switches from one to another only once in one’s life, one remains at least a latent abrosexual, however much one may rationalize such things as “just a phase” because the modern politics of sexuality are predicated on the “born like this” paradigm; the shifts inherent in abrosexuality are an inherent part of one and not a lifestyle choice like becoming a vegan or joining the Freemasons.  Phases might exist but they’re part of the whole and all are equally authentic but abrosexual doesn't belong in the LGBTQQIAAOP glossary; it is a process, not a category.

Just a phase: Lindsay Lohan with former special friend Samantha Ronson.

There are however those who have suggested such things could be a purely situational occurrence; a thing of time and place.  Interviewed in January 2018, Lindsay Lohan was asked about if she considered herself “sexually fluid” to which she responded with an unambiguous “No, I definitely like men”.  Probed further about her sometimes tempestuous relationship with former special friend Samantha Ronson she seemed amused and replied “I was living in LA.  I'm not saying it's a bad thing…” and that expanded a little on her observation in 2013: “I know I’m straight. I have made out with girls before, and I had a relationship with a girl.  But I think I needed to experience that and I think I was looking for something different.”  She concluded her 2018 comments by noting she was “having a break from relationships at the moment… not forever, but just for now."  In Ms Lohan’s case the fondness for women may just have been an “LA induced” phase and (now a married mother) she’s permanently straight but “not forever, but just for now” is the essence of abrosexuality.

Coriaceous

Coriaceous (pronounced kawr-ee-ey-shuhs, kohr-ee-ey-shuhs or kor-ee-ey-shuhs)

(1) Of or resembling leather.

(2) In botany, a surface (usually a leaf) distinguished having the visual characteristics of leather.

1665-1675: from Late Latin coriāceus (resembling leather in texture, toughness etc), the construct being corium (skin, hide, leather (and also used casually to refer to belts, whips and other leather items, and upper layers (ie analogous with a skin or hide) in general such as crusts, coatings, peels or shells)), from the Proto-Italic korjom, from the primitive Indo-European sker & ker- + -aceous.  The suffix –aceous was from the New Latin, from the Classical Latin -aceus (of a certain kind) and related to the Latin adjectival suffixes –ac & -ax.  It was used (1) to create words meaning “of, relating to, resembling or containing the thing suffixed” and (2) in scientific classification, to indicate membership of a taxonomic family or other group.  The comparative is more coriaceous and the superlative most coriaceous.  Coriaceous & subcoriaceous are adjectives and coriaceousness is a noun.

Botanists classify coriaceous leaves by degree.  The common greenbrier (Smilax rotundifolia) (left) is listed as subcoriaceous (ie somewhat or almost coriaceous) while the Shining Fetterbush (Lyonia lucida) is distinguished by glossy coriaceous leaves with a prominent vein along margins (right).

In late 1967, as a prelude to the next year’s introduction of the XJ6, Jaguar rationalized its saloon car line-up, pruning the long-running Mark II range from three to two, dropping the 3.8 litre model and re-designating the smaller-engined pair (the 2.4 becoming the 240, the 3.4 the 340), thus bringing the nomenclature into line with the recently released 420.  The standardization exercise extended to the big Mark X which became the 420G but curiously the S-Type’s name wasn’t changed and it became the only Jaguar in which the 3.8 litre engine remained available as a regular production option, the E-Type (XKE) having earlier adopted the 4.2.  So the 240, 340, S-Type (3.4 & 3.8) and 420 (all based on the 1959 Mark 2 (itself a update of the 1955 2.4)) all remained in production, along with the Daimler 250 (the re-named 2.5 fitted with Daimler’s 2.5 litre V8) and to add a further quirk, a dozen 340s were built to special order with the 3.8 liter engine.  Production of all ceased in 1968 with the coming of the XJ6 except the big 420G (which lasted until 1970 although sales had for some time slowed to a trickle), the 240 (available until 1969 because Jaguar wasn’t until then able to offer the 2.8 liter option in the XJ6) and the Daimler 250 (which also ran until 1969 until the Daimler Sovereign (an XJ6 with a Daimler badge) entered the showrooms).

1967 Jaguar Mark 2 3.8 with leather trim (left) and a "de-contented" 1968 Jaguar 240 with the "slimline" bumpers, Ambla trim and optional  rimbellishers (right).

Given the new revised naming convention wasn’t carried over the XJ6 (rendering the 420G an alpha-numeric orphan for the last year of its existence), there’s since been speculation about whether the Jaguar management had a change of mind about how the XJ6 was to be labeled or the changes were just an attempt to stimulate interest in the rather dated Mark 2 and its derivatives.  That certainly worked though perhaps not quite as Jaguar intended because Mark 2 sales spiked in 1968 and the oldest models (240 & 340) handsomely outsold both the newer 420 and the by then moribund S-Type.  Probably the change in name had little to do with this and more significant was the price cutting which made the 240 & 340 suddenly seem like bargains, the 240 especially.  Dated they might have looked in the year the NSU Ro80 debuted, but they still had their charm and the new price drew in buyers whereas the 420 suffered because it was known the XJ6 would soon be available and expectations were high.

The renewed interest in the 240 was at least partly because Jaguar had finally devoted some attention to the breathing of its smallest engine, straight-port heads and revised SU carburetors increasing the power to the point where a genuine 100 mph (160 km/h) could be attained, something not possible since the lighter 2.4 (retrospectively known as the Mark 1) ended production in 1959.  The 100 mph thing was something the factory was quite sensitive about because in the 1950s (when it was still quite an achievement) it had been a selling point and for most of the Mark 2’s life, Jaguar were reluctant to make 2.4s available for testing.  The 240’s new performance solved that problem and it was the biggest seller of the revised range (4446 240s vs 2800 340s) although those who read the small print might have been disappointed to note the fuel consumption; both models weighed about the same but the small engine had to work much harder, the 340 barely more thirsty.

1962 Jaguar Mark 2 3.8 with leather trim (left) and 1968 Jaguar 240 with Ambla trim.  It was only when the optional leather trim was specified that the fold-down "picnic tables" were fitted in the front seat-backs. 

The real thing: Lindsay Lohan in leather (albeit with faux fur sleeves).

Still, with the 240 selling in 1968 for only £20 more than the what a 2.4 had cost in 1955, it was soon tagged “the best Jaguar bargain of all time” but that had been achieved with some cost-cutting, some of the trademark interior wood trim deleted, the fog and spot lamps replaced by a pair of chromed grilles, the hubcap design simplified and “slimline” bumpers fitted in place of the substantial units in place since 1959, this not only saving weight but a remarkable amount of the cost of production.  The revised cars were not as generously equipped as before (although some of the “de-contenting” had been introduced late in Mark 2 production) but a long option list remained and on it were some items once fitted as standard, the list including a choice of five radio installations with or without rear parcel shelf-mounted speaker, a laminated windscreen, chromium-plated wheel rimbellishers for steel wheels, Ace Turbo wheel trims for steel wheels, a tow bar, a locking petrol filler cap, front seat belts, the choice of radial, town and country, or whitewall tyres, automatic transmission, overdrive (for the manual transmission), wire wheels, fast ratio steering box, a fire extinguisher, Powr-Lok differential, rear window demister, heavy-duty anti-roll bar, close-ratio gearbox, tinted glass, a driver’s wing mirror, childproof rear door locks, an integrated ignition & starter switch (steering column), reclining front seats, power-assisted steering & leather upholstery.

It was the moving of the leather trim to the option list which is said to have made the greatest contribution to the price cuts.  The replacement fabric was Ambla, one of a class of coriaceous materials which have come variously to be referred to as faux leather, pleather, vegan leather, Naugahyde, synthetic leather, artificial leather, fake leather & ersatz leather.  First manufactured in the US, most production now is done in China as well as upholstery, the fabric is use for just about anything which has ever been made in leather including clothing, footwear, gloves, hats, belts, watch bands, cases, handbags, sports items, firearm holsters, luggage and a myriad besides.  It does appear that as early as the fifteenth century, the Chinese were experimenting with ways synthetic leather could be manufactured but it doesn’t appear anything was ever produced at scale and it was only when petroleum-based plastics became available in the US in the late nineteenth century that it became viable to mass produce a viable alternative to leather.  Historically, most of the products were petroleum-based but vegetable-based alternatives are now attracting much interest as attention has focused on the environmental impact of the traditional petro-chemical based approach.

1967 Mercedes-Benz 250 SE with MB-Tex trim (left) and 1971 Mercedes-Benz 300 SEL 6.3 with leather trim.

One of the best known coriaceous materials in the 1960s and 1970s was MB-Tex, a vinyl used by Mercedes-Benz which by far was the synthetic which most closely resembled genuine leather.  That was something made easier by the Germans using a process which resulted in slightly thicker tanned hide than those from Italy, Spain or England and this meant that replicating the appearance was more easily attained.  What most distinguished MB-Tex however was the durability and longevity.  Unlike leather which demanded some care and attention to avoid wear and cracking, it wasn’t uncommon for 20 or 30 year old MB-Tex to look essentially as it did when new and many who sat in them for years may have assumed it really was leather.  It certainly took an expert eye to tell the difference although in a showroom, moving from one to another, although the visual perception might be much the same, the olfactory senses would quickly know which was which because nothing compares with the fragrance of a leather-trimmed interior.  For some, that seduction was enough to persuade although those who understood the attraction of the close to indestructible MB-Tex, there were aerosol cans of “leather smell”, each application said to last several weeks.

For the incomparable aroma of leather.

The factory continued to develop MB-Tex, another of its attractions being that unlike leather, it could be produced in just about any color although, now colors (except black, white and shades of grey) have more or less disappeared from interior schemes, that functionality is not the advantage it once was.  As a fabric though, it reached the point where Mercedes-Benz dropped the other choices and eventually offered only leather or a variety of flavors of MB-Tex.  That disappointed some who remembered the velour and corduroy fittings especially popular in the colder parts of Europe but the factory insisted MB-Tex was superior in every way.  Also lamented were the exquisite (though rarely ordered) mohair interiors available for the 600 Grosser (W100, 1963-1981).  Apparently, the factory would trim a 600 in MB-Tex upon request but nobody ever was that post modern and most buyers preferred the leather, however coriaceous might have been the alternative.

Only

Only (pronounced ohn-lee)

Adverb

(1) Without others or anything further; alone; solely; exclusively.

(2) No more than; merely; just.

(3) As recently as.

(4) In the final outcome or decision.

Adjective

(5) Being the single one or the relatively few of the kind.

(6) Having no sibling or (less common) no sibling of the same sex (also a noun in this context).

(7) Mere (obsolete).

(8) Single in superiority or distinction; unique; the best.

Conjunction

(9) But (introducing a single restriction, restraining circumstance, or the like).

(10) Except (frowned upon by some).

Pre 900: From the Middle English oonly, onli, onlych, onelich & anely, from the Old English ānlich, ānlīc & ǣnlich (like; similar; equal; unique, solitary, literally "one-like”), from the Proto-Germanic ainalīkaz (one + -ly).  It was cognate with the Old Frisian einlik, the obsolete Dutch eenlijk, the German ähnlich (similar), the Old Norse álíkr, the Old High German einlih, the Danish einlig and the Swedish enlig (unified).  Synonyms include solitary & lone in one context and peerless & exclusive in the other.  Only is a noun, adjective, adverb & conjunction, onliness, onlyer & onlier are nouns and onliest & onlest are adjectives ; the noun plural is either onlys or onlies (both rarely used).

Only’s use as an adverb (alone, no other or others than; in but one manner; for but one purpose) and a conjunction (but, except) developed in Middle English.  In English, the familiar distinction of only and alone (now usually in reference to emotional states) is unusual; in many languages the same word serves for both although Modern German has the distinction in allein/einzig.  The mid fifteenth century phrase "only-begotten" is biblical, translating Latin unigenitus and Greek monogenes; the Old English word was ancenned. The term "only child" has been in use since at least the early eighteenth century.  The derived forms were once in more frequent use than now.  Someone who only adheres to the particular thing mentioned, excluding any alternatives. Onlyism (definitely non-standard) used to be quite a thing in Christianity in matters where there were different versions of documents and among Church of England congregations (often in the same parish) some were once adamant that only a certain edition of the Book of Common Prayer was acceptable and the others represented revisionism, heresy or, worse of all, smelled of popery.  Thus there were 1549-onlyiers, 1559-onlyiers, 1562-onlyiers etc.  The same factionalism of course continues to exist in many religions (and in secular movements and institutions too) but onlier has faded from use.  The adjectives onliest & onlest (a superlative form of only used almost exclusively in the US) are now rare and onlest is used mostly in African American Vernacular English (AAVE).  

The construct of the Old English ānlīc being ān (one) + -līc (-ly), only is thus understood in Modern English as on(e) + -ly.  One was from the Middle English oon, on, oan & an, from the Old English ān (one), from the Proto-West Germanic ain, from the Proto-Germanic ainaz (one), from the primitive Indo-European óynos (single, one).  It was cognate with the Scots ae, ane, wan & yin (one); the North Frisian ån (one), the Saterland Frisian aan (one), the West Frisian ien (one), the Dutch een & één (one), the German Low German een; the German ein & eins (one), the Swedish en (one), the Norwegian Nynorsk ein (one), the Icelandic einn (one), the Latin ūnus (one) & Old Latin oinos and the Russian оди́н (odín); doublet of Uno.

The –ly prefix was from the Middle English -ly, -li, -lik & -lich, from the Old English -līċ, from the Proto-West Germanic -līk, from the Proto-Germanic -līkaz (having the body or form of), from līką (body) (from whence Modern German gained lich); in form, it was probably influenced by the Old Norse -ligr (-ly) and was cognate with the Dutch -lijk, the German -lich and the Swedish -lig.  It was used (1) to form adjectives from nouns, the adjectives having the sense of "behaving like, having a likeness or having a nature typical of what is denoted by the noun" and (2) to form adjectives from nouns specifying time intervals, the adjectives having the sense of "occurring at such intervals".

The different phonological development of only and one was part of the evolution of English.  One was originally pronounced in the way which endures in only, atone and alone, a use which to this day persists in various dialectal forms (good 'un, young 'un, big 'un et al), the long standard pronunciation "wun" emerging around the fourteenth century in southwest and west England.  William Tyndale (circa 1494–1536), who grew up in Gloucester, used the spelling “won” in his translations of the Bible which were first published between 1525-1526 and the form slowly spread until it was more or less universal by the mid-eighteenth century.  The later use as indefinite pronoun was influenced by the unrelated French on and Latin homo.

Tyndale, before being strangled and burned at the stake in Vilvoorde (Filford near Brussels).  Woodcut from The Book of Martyrs (1563) by John Foxe (circa 1516-1587).

The cardinals and bishops in England probably neither much noticed nor cared about Tyndale’s phonological choice but they certainly objected to his choice of words in translation (church became “congregation” and priest became “elder”) which appeared to threaten both the institution of the Church and the centrality to Christianity of the clerical hierarchy.  Tried for heresy in 1536, he was pronounced guilty and condemned to be burned at the stake although, for reasons not documented, he was, after a ceremonial defrocking, strangled until dead while tied to the stake, his corpse then burned.

Activist herbivore Tash Peterson (b circa 1995, centre) at a vegan protest, Perth, Australia.

Although a thing which pedants enjoy correcting, the placement of “only” as a modifier matters only if putting it one place or the other would hinder clarity; there’s never been an absolute grammatical rule and, as long as the meaning is clear, it’s probably better to adopt whatever is the usual conversational style.  Strictly speaking, although “We only fuck vegans” means an assertion of a life consisting of nothing else, most would understand it as a statement of one who is prepared to contemplate intimacy only with vegans.  The best compromise to adopt is probably that recommended for handling the split infinitive: Use the more exact “We fuck only vegans” in formal use such as in writing and the more natural, conversational “We only fuck vegans” otherwise.  Note that a sign held aloft at a protest, although obviously something “in writing” is not an example of formal use; it’s just part of the conversation.

No ambiguity: Lindsay Lohan in sweatshirt from the I Only Speak LiLohan range.

Care must be taken to avoid ambiguity, especially in writing because the intonations of speech and other visual clues are not there to assist in the conveying of meaning.  Were one to say “She only fucks vegans after midnight”, quite what is meant isn’t clear and the sentence is better rendered either as “she fucks only vegans after midnight" (ie carnivores need not apply) or “she fucks vegans only after midnight” (ie vegans must wait till the midnight hour).  In informal English, only is a common sentence connector but again, this should be avoided in formal writing where “only” should be placed directly before the word or words that it modifies.

Vegan

Vegan (pronounced vee-guhn or vey-guhn)

(1) A vegetarian who omits all animal products from their diet and does not use animal-based or sourced products such as leather or wool.

(2) Someone from Vega, towns in Scandinavia, the US or (mostly in fiction) other places so named.

(3) A collective name adopted in the 1980s by fans of the singer-songwriter, Suzanne Vega (b 1959).

1944: A modern English construct, veg (contraction of vegetable) + an, coined by Donald Watson (1910-2005) to distinguish those who abstain from all animal products (eggs, cheese, etc) from those who merely refuse to eat the animals.  The -an suffix occurred originally in adjectives borrowed from Latin, formed from nouns denoting places (Roman; urban) or persons (Augustan) but now productively forms English adjectives by extension of the Latin pattern.  The suffix an, and its variant ian also occurs in a set of personal nouns, mainly loanwords from French, denoting one who engages in, practices, or works with the referent of the base noun (historian; theologian); this usage especially productive with nouns ending in ic (electrician; logician; technician ).  Vegan is a noun & adjective, vegansexual is a noun and veganism, vegansexualism & veganist are nouns; the noun plural is vegans.

Donald Watson was an English animal rights advocate who founded The Vegan Society in 1944.  Although the actual establishment of the society was either 5 or 12 November (the records are contradictory), World Vegan Day is each year celebrated on 1 November.  In 1984, a dissident faction broke from the group and formed The Movement for Compassionate Living and ever since, veganism has been a contested space, the factions including (1) radicals who pursue direct action against the slaughter industry and its customers, (2) purists who exclude to whatever extent possible the presence of animal products in their lives while variously tolerating, ignoring or disapproving of those who don't and (3), vegetarians who can't resist nice handbags and shoes.  Latest vegan news here. 

The Sexual Politics of Meat

While still an undergraduate at the University of Rochester, Carol J Adams (b 1951) was instrumental in having women's studies courses added to the syllabus.  A long-time vegan, she later gained a masters from Yale Divinity School but her core interest remained feminism and in 1990, building on earlier essays, she published The Sexual Politics of Meat, an exploration of her vegetarian-feminist, pacifist, intersectional critical theory.

Her most novel concept was the "absent referent", used to explain the consumption of meat and the objectification of women in pornography, the referent literally absent in the case of the life of the dismembered beast being consumed; metaphorically in the oppression of the life of the subjects of pornography.  Adams constructed parallels within the patriarchal system, men’s sense of entitlement over animals similar to their varying expectations of the right to abuse, exploit, or degrade women in the use of their bodies.  Structurally she noted, language is replete with terms and phrases which interchangeably can be used to describe either women or animals with a hierarchy of use based on speciesism depending on men’s perceptions of degrees of female attractiveness.  All such use she claimed, regardless of how else it could be classified, is hate speech.

Most graphic was the notion of the pornography of meat which drew a visual comparison between meat advertised for sale on shelves and the portrayal of women in various media; two different forms of consumption which use the same techniques of production and distribution.  Within the western consumer model, Adams found a construct of white male supremacy which relegated all others, different races, non-human animals and women, to inferior roles or places.

Linder Sterling in meat dress (1982).

Linder Sterling (b 1954) is a radical feminist artist.  In November 1982, as part of a punk performance in Manchester’s Haçienda club, she appeared in a dress made from meat, while packages of leftover raw meat wrapped in pornography were distributed to the audience.  The performance culminated with a quite aggressive critique of the exploitation of women which, at the time, seems genuinely to have been confronting.

Lady Gaga in meat dress (2010).

By 2010, the "waves" had made feminism diffuse, the inherently post-modern platform of social media had imposed on pop-culture an inevitable equivalency of value and there was perhaps no longer a capacity to shock, just to be photographed.  Lady Gaga’s (b 1986) meat dress (asymmetrical, with cowl–neck), worn at the MTV Video Music Awards is now remembered as just another outfit, named by many as the fashion statement of 2010.  While there was cultural comment, the piece's place in history is as a frock, not for any meaning, implied or inferred.  Lady Gaga though remained phlegmatic, quoted later as saying, "... it has many interpretations.”  She later clarified things by saying the meat dress wasn't significant as a piece of clothing but was intended as a comment on the state of the fashion industry and the importance of focusing on individuality and inner beauty rather than superficial appearances.  One implication may have related to impermanence; because the garment was made wholly from raw meat, it had to be preserved with chemicals before and after the event but there are limits to what's chemically possible and the parts of the garment which had decomposed were discarded before the remains were dried and a permanent coating applied.  The preserved dress has since been displayed.  Lady Gaga no longer wears "meat-based" clothing.  

Tash Peterson letting people know how sausages are made.

Something of a local legend in the world of vegan activism, Tash Peterson (b circa 1995) is an animal rights activist based in Perth, Australia.  Not actually in the militant extreme of the movement which engages in actual physical attacks on the personnel, plant & equipment of the industries associated with animal slaughter, Ms Peterson's form of direct action is the set-piece event, staged to produce images and video with cross-platform appeal, the footage she posts on social media freely available for re-distribution by the legacy media, her Instagram feed providing a sample of her work in various contexts. Ms Peterson is a vegansexual (a vegan who chooses to have sex or pursue sexual relationships only with other vegans).

Her events have included approaching people in the meat section of supermarkets, wearing a blood-soaked butcher's apron while carrying the simulated carcass of a chicken, donning a rather fetching cow-skin (presumably synthetic) bodysuit in front of a milk and yoghurt display while carrying a sign surmising the processes of industrial dairy farming in anthropomorphic terms, wearing bloodied clothing to fast food outlets while using a megaphone to address queues of customers, explaining the details of what's done to animals so they can enjoy their burgers and, eschewing even the sensible shoes she usually wears, adorned in nothing but a pair of knickers and liberally smeared with (what she claimed to be her own menstrual) blood, staging a protest in Perth's Louis Vuitton shop, shouting at the customers and calling them "animal abusers".

Tash Petersen on OnlyFans.

Ms Peterson was banned from all licensed venues in Western Australia after storming pubs and restaurants, her critique of course the content of the meals rather than their sometimes dubious quality; after that, she travelled briefly to the eastern states but has since returned to Perth.  She has an active and apparently lucrative account on OnlyFans with all that that implies but there is an element of animal rights activism even there so whether her two interests should be thought vertical or horizontal integration might be an interesting question for economic theorists.

Fellow club member Lindsay Lohan who remained a carnivore.

Veganism can be merely a personal choice and there are many who have adopted at least the dietary aspects simply because they believe there are benefits for their health but it can also be a political statement and political statements need publicity, the preferred modern form being the celebrity endorsement and if need be, one paid for.  In 2010, the animal rights organisation PETA (People for the Ethical Treatment of Animals) offered to subsidize Lindsay Lohan's stint in rehab, on the condition she became a vegan.  For PETA, it was the chance to make the point that while undergoing treatment for substance addiction, Ms Lohan would be able also to rid herself "... of one more toxic substance: meat.", adding "As you know, a crucial part of any recovery is showing charity to others. One way to do this is to be kind to animals, the Earth, and your own body. You'll never regret it." 

Ms Lohan had previously attracted the attention of the organization, in 2008 making their "worst dressed list" after being photographed wearing fur.  According to E! Online, PETA offered to contribute US$20,000 towards the US50,000 cost of the court-ordered stay, half to be paid for adopting the vegan diet while in rehab, the remainder if the diet was followed for one year following her release.  The encourage acceptance of the offer, it was accompanied with a vegan-care pack including a DVD about the slaughter industry called Glass Walls (narrated by Paul McCartney (b 1942)) and a vegetarian/vegan starter kit.  While rehab went well, the offer apparently wasn't taken up and although she seems to now eschew fur, her Instagram feed continues to feature much leather (handbags & shoes) and meat (the odd recipe provided including a chicken pie and machboos, a favorite in the Middle East).