Grand

Grand (pronounced grand)

(1) Impressive in size, appearance, or general effect.

(2) Stately, majestic, or dignified.

(3) Highly ambitious or idealistic.

(4) Magnificent or splendid.

(5) Noble or revered.

(6) Highest, or very high, in rank or official dignity.

(7) Main or principal; chief; the most superior.

(8) Of great importance, distinction, or pretension.

(9) Complete or comprehensive (usually as the “grand total”).

(10) Pretending to grandeur, as a result of minor success, good fortune, etc; conceited & haughty (often with a modifier such as “rather grand”, awfully grand” or “insufferably grand”).

(11) First-rate; very good; splendid.

(12) In musical composition, written on a large scale or for a large ensemble (grand fugue, grand opera etc) and technically meaning originally “containing all the parts proper to a given form of composition”.

(13) In music, the slang for the concert grand piano (sometimes as “concert grand”).

(14) In informal use, an amount equal to a thousand pounds or dollars.

(15) In genealogy, a combining (prefix) form used to denote “one generation more remote” (grandfather, grand uncle etc).

1350–1400: From the Middle English graund, grond, grand, graunt & grant, from the Anglo-Norman graunt, from the Old French grant & grand (large, tall; grown-up; great, powerful, important; strict, severe; extensive; numerous), from the Latin grandis (big, great; full, abundant; full-grown (and figuratively “strong, powerful, weighty, severe”, of unknown origin.  Words conveying a similar sense (depending on context includes ambitious, awe-inspiring, dignified, glorious, grandiose, imposing, large, lofty, luxurious, magnificent, marvelous, monumental, noble, princely, regal, royal, exalted, palatial; brilliant, superb opulent, palatial, splendid, stately, sumptuous, main, large, big & august.  Grand is a noun & adjective, grander & grandest are adjectives, grandness is a noun and grandly an adverb; the noun plural is grands.

In Vulgar Latin it supplanted magnus (although the phrase magnum opus (one’s great work) endured) and continued in the Romanic languages.  The connotations of "noble, sublime, lofty, dignified etc” existed in Latin and later were picked up in English where it gained also the special sense of “imposing”.  The meaning “principal, chief, most important” (especially in the hierarchy of titles) dates from the 1560s while the idea of “something of very high or noble quality” " is from the early eighteenth century.  As a general term of admiration (in the sense of “magnificent or splendid” it’s documented since 1816 but as a modifier to imply perhaps that but definitely size, it had been in use for centuries: The Grand Jury was an invention of the late fifteenth century, the grand tour was understood as “an expedition around the important places in continental Europe undertaken as part of the education of aristocratic young Englishmen) as early as the 1660s and the grand piano was name in 1797.  In technical use it was adapted for use in medicine as the grand mal (convulsive epilepsy with loss of consciousness), borrowed by English medicine from the French grand mal (literally “great sickness”) as a point of clinical distinction from the petit mal (literally “small sickness”) (an epileptic event where consciousness was not lost).

The use of the prefix grand- in genealogical compounds is a special case.  The original meaning was “a generation older than” and the earliest known reference is from the early thirteenth century in the Anglo-French graund dame (grandmother) & (later) grandsire (grandfather), etymologists considering the latter possibly modeled on the avunculus magnus (great uncle).  The English grandmother & grandfather formally entered the language in the fifteenth century and the extension of the concept from “a generation older than” to “a generation younger than” was adopted in the Elizabethan era (1558-1603) thus grandson, granddaughter et al.  Grand as a modifier clearly had appeal because in the US, the “Big Canyon” was in 1869 re-named the Grand Canyon and the meaning "a thousand dollars" dates from 1915 and was originally US underworld slang.  In the modern era grand has been appended whenever there’s a need economically to convey the idea of a “bigger or more significant” version of something thus such constructions as grand prix, grand slam, grand larceny, grand theft auto, grand unification theory, grand master (a favorite both of chess players and the Freemasons) etc.

The Grand Jury

Donald Trump in Manhattan Criminal Court, April 2022.

The Manhattan grand jury which recently indicted Donald Trump (b 1946; US president 2017-2021) on 34 felony counts of falsification of business records in the first degree is an example of an institution with origins in twelfth century England although it didn’t generally become known as the “grand jury” until the mid-1400s.  At least some of the charges against Mr Trump relate to the accounting associated with “hush-money” payment made in some way to Stormy Daniels (b 1979; the stage name of Stephanie Gregory although Mr Trump prefers “horseface” which seems both ungracious and unfair) but if reports are accurate, he’ll have to face more grand juries to answer more serious matters.

A grand jury is a group of citizens (usually between 16-23) who review evidence presented by a prosecutor to determine whether the case made seems sufficiently compelling to bring criminal charges.  A grand jury operates in secret and its proceedings are not open to the public, unlike a trial before a jury (a smaller assembly and classically a dozen although the numbers now vary and once it was sometimes called a petit jury).  It is this smaller jury which ultimately will pronounce whether a defendant is guilty or not; all a grand jury does is determine whether a matter proceeds to trial in which case it will issue an indictment, which at law is a formal accusation.  The origins of the grand jury in medieval England, where it was used as a means of investigating and accusing individuals of crimes was to prevent abuses of power by the king and his appointed officers of state although it was very much designed to protect the gentry and aristocracy from the king rather than any attempt to extend legal rights to most of the population.

The grand jury has been retained in the legal systems of only two countries: the US and Liberia.  Many jurisdictions now use a single judge or magistrate in a lower court to conduct a preliminary hearing but the principle is the same: what has to be decided is whether, on the basis of the evidence presented, there’s a reasonable prospect a properly instructed (petit) jury would convict.  In the US, the grand jury has survived because the institution was enshrined in the Fifth Amendment to the Constitution: “No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger.”  The grand jury was thought a vital protection against arbitrary prosecutions by the government, and it was included in the Bill of Rights (1689) to ensure individuals would not be subject to unjustified criminal charges.  There is an argument that, by virtue of England’s wondrously flexible unwritten constitution, the grand jury hasn't been abolished but they're merely no longer summoned.  It's an interesting theory but few support the notion, the Criminal Justice Act (2003) explicitly transferring the functions to the Crown Prosecution Service (CPS) and the model of the office of Director of Public Prosecutions (DPP) has been emulated elsewhere in the English-speaking world.  Presumably, a resuscitation would require the DPP to convene a grand jury and (if challenged on grounds of validity) the would courts have to concur but as late as 1955 an English court was prepared to hold a court which had not sat for centuries was still extant so the arguments would be interesting.

The “Grand Mercedes”: The Grosser tradition

Der Grossers: 1935 Mercedes-Benz 770 K (W07) of Emperor Shōwa (Hirohita, 1901–1989, emperor of Japan 1926-1989 (left)), Duce & Führer in 1939 Mercedes-Benz 770 K (W150) leading a phalanx of Grossers, Munich, 1940 (centre) and Comrade Marshal Josip Broz Tito (1892–1980) in 1966 Mercedes-Benz 600 Landaulet (W100), Belgrade, 1967 (right).

Produced in three series (770 K (W07 1930–1938 & W150 1939-1945) & 600 (W100 1963-1981)) the usual translation in English of “Grosser Mercedes” is “Grand Mercedes” and that is close to the German understanding which is something between “great”, “big” and “top-of-the-line”.  In German & Austrian navies (off & one) between 1901-1945, a Großadmiral was the equivalent to the (five star) Admiral of the Fleet (UK) or Fleet Admiral (US); it was disestablished in 1945.  When the 600 (driven to extinction by two oil crises and an array of regulations never envisaged when it was designed) reached the end of the line in 1981, it wasn’t replaced and the factory didn’t return to the idea until a prototype was displayed at the 1997 Tokyo Motor Show.  The specification and engineering was intoxicating but the appearance was underwhelming, a feeling reinforced when the production version (2002-2013) emerged not as an imposing Grosser Mercedes but a Maybach, a curious choice which proved the MBAs who came up with the idea should have stuck to washing powder campaigns.  The Maybach, which looked something like a big Hyundai, lingered for a decade before an unlamented death.

Grand, Grand Prix & Grand Luxe

1967 Jaguar 420 G (left), 1969 Pontiac Grand Prix J (centre) and 1982 Ford XE Falcon GL 5.8 (351) of the NSW (New South Wales) Highway Patrol (right).

Car manufacturers were attracted to the word because of the connotations (bigger, better, more expensive etc).  When in 1966 Jaguar updated their slow-selling Mark X, it was integrated into what proved a short-lived naming convention, based on the engine displacement.  Under the system, with a capacity of 4.2 litres (258 cubic inch) the thing had to be called 420 but there was a smaller saloon in the range so-named so the bigger Mark X was renamed 420 G.  Interestingly, when the 420 G was released, any journalist who asked was told “G” stood for “Grand” which is why that appeared in the early reports although the factory seems never officially to have used the word, the text in the brochures reading either 420 G or 420 “G”.  The renaming did little to encourage sales although the 420 G lingered on the catalogue until 1970 by which time production had dwindled to a trickle.  The tale of the Mark X & 420 G is emblematic of the missed opportunities and mismanagement which would afflict the British industry during the 1970s & 1980s.  In 1961, the advanced specification of the Mark X (independent rear suspension, four-wheel disk brakes) made it an outstanding platform and had Jaguar fitted an enlarged version of the Superb V8 they had gained with their purchase of Daimler, it would have been an ideal niche competitor in mid-upper reaches of the lucrative US market.  Except for the engine, it needed little change except the development of a good air-conditioning system, then already perfected by Detroit.  Although the Daimler V8 and Borg-Warner gearbox couldn't have matched the ultimate refinement of what were by then the finest engine-transmission combinations in the world, the English pair certainly had their charms and would have seduced many.    

Pontiac’s memorable 1969 Grand Prix also might have gained ("Grand Prix" most associated with top-level motorsport although it originally was borrowed from Grand Prix de Paris (Big Prize of Paris), a race for thoroughbred horses staged at the Longchamps track) the allure of high performance, something attached to the range upon its introduction as a 1962 model (although by 1967 it had morphed into something grand more in size than dynamic qualities).  The 1969-1970 cars remain the most highly regarded, the relative handful of SJ models built with the 428 cubic inch (7.0 litre) HO (High Output) V8 a collectable, those equipped with the four-speed manual gearbox the most sought-after.  It was downhill from the early 1970s and by the next decade, there was little about the by then dreary Grand Prix which seemed at all grand.

During the interwar years (1919-1939) “deluxe” was a popular borrowing borrowed from the fashion word, found to be a good label to apply to a car with bling added; a concept which proved so profitable it remains practiced to this day.  Deluxe (sometimes as De luxe) was a commercial adaptation of the French de luxe (of luxury), from the Latin luxus (excess), from the primitive Indo-European lewg- (bend, twist) and it begat “Grand Luxe” which was wholly an industry invention.  Deluxe and Grand Luxe eventually fell from favour as model names for blinged-up creations became more inventive but the initializations L, DL & GL were adopted by some, the latter surviving longest by which time it was understood to signify just something better equipped and thus more expensive; it’s doubtful many may a literal connection to “Grand Luxe”.

In the matter of Grand Theft Auto (GTA5): Lindsay Lohan v Take-Two Interactive Software Inc et al, New York Court of Appeals (No 24, pp1-11, 29 March 2018)

In a case which took an unremarkable four years from filing to reach New York’s highest appellate court, Lindsay Lohan’s suit against the makers of video game Grand Theft Auto V was dismissed.  In a unanimous ruling in March 2018, six judges of the New York Court of Appeals rejected her invasion of privacy claim which alleged one of the game’s characters was based on her.  The judges found the "actress/singer" in the game merely resembled a “generic young woman” rather than anyone specific.  Unfortunately the judges seemed unacquainted with the concept of the “basic white girl” which might have made the judgment more of a fun read.

Beware of imitations: The real Lindsay Lohan and the GTA 5 ersatz, a mere "generic young woman".

Concurring with the 2016 ruling of the New York County Supreme Court which, on appeal, also found for the game’s makers, the judges, as a point of law, accepted the claim a computer game’s character "could be construed a portrait", which "could constitute an invasion of an individual’s privacy" but, on the facts of the case, the likeness was "not sufficiently strong".  The “… artistic renderings are an indistinct, satirical representation of the style, look and persona of a modern, beach-going young woman... that is not recognizable as the plaintiff" Judge Eugene Fahey (b 1951) wrote in his ruling.  Judge Fahey's words recalled those of Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) when in Jacobellis v Ohio (378 U.S. 184 (1964) he wrote: “I shall not today attempt further to define… and perhaps I could never succeed in intelligibly doing so.  But I know it when I see it…”  Judge Fahey knew a basic white girl when he saw one; he just couldn't name her.  Lindsay Lohan's lawyers did not seek leave to appeal.

Wiggle

 Wiggle (pronounced wig-uhl)

(1) To move or go with short, quick, irregular movements from side to side.

(2) To cause to wiggle; move quickly and irregularly from side to side.

(3) A wiggling movement or course.

(4) A wiggly line.

(5) In (mostly northern) US cooking, a form of tuna casserole (usually made with tinned peas or carrots and used also to describe describe creamed tuna on toast; known as a bechamel sauce, especially in the New England states.

1175–1225: From the Middle English wiglen; akin to the Old English wegan (to move), wēg (motion) & wicga (insect) and probably related to the Norwegian vigla (to totter), frequentative of vigga (to rock oneself).  The Dutch and Middle Low German was wiggelen, though to be from the Middle Dutch wigelen (to wiggle) and perhaps the Middle Low German wigelen, frequentative of wiegen (to rock) from wiege (cradle).  The most common idiomatic form is “get a wiggle on”, an informal, usually friendly, suggestion to hurry.  Synonyms include twist, squirm, jerk, wag, writhe, jiggle, wave, wriggle, shimmy, zigzag, waggle, twitch & worm and forms are created as required including the intriguing outwiggled & outwiggling.  Wiggle is a noun & verb, wiggler is a noun, wiggly is an adjective and wiggled & wiggling are verbs; the noun plural is wiggles.  

Donald Trump meets the Wiggles.

Formed in Australia in 1991 as a television musical quartet, The Wiggles were noted for their distinctive and brightly colored skivvies (red, yellow, blue and purple).  Although there were personnel changes (which sometimes attracted controversy), during its first two decades, the membership was exclusively male but in 2012, Emma Watkins (b 1989), previously performing anonymously as Dorothy the Dinosaur, became the Yellow Wiggle and the group dynamics changed, such was her popularity with the audience that almost instantly she dominated, the male members now barely noticed except as her performing backdrop.  This had the advantage of rendering the red, blue and purple wiggles essentially commodities and thus easily replaced without adverse audience reaction but did seem to create a dependence on her which some suggested might might threaten the longer-term survival of the brand.  Those concerns will soon be tested by a raft of changes in the wake of the Yellow Wiggle's announcement in October 2021 she was passing on the skivvy, retiring from the group to pursue a Ph.D in sign language and dance.  For students of branding and marketing that would have been interesting enough but it coincided with the Wiggles deciding to revamp the line-up to encompass a more ethnically diverse range of performers, presumably to entice interest from the parents of more ethnically diverse families, the theory being they too have disposable income to spend on concerts and merchandize.  For all sorts of reasons, the outcome will be interesting.

In the jargon of fashion, a “wiggle dress” is a garment with a hem is narrower than the hips, the cut inducing the wearer to walk in short strides with the legs close together, the sway producing a wiggle of the hips.  A “wiggle” is subtly different from a “wobble” or a “jiggle” as Lindsay Lohan illustrates.

Camisole

Camisole (pronounced kam-uh-sohl)

(1) A short garment worn underneath a sheer bodice to conceal the underwear; also called cami (pronounced kam-ee).

(2) A woman's dressing jacket or short negligée.

(3) A sleeved jacket or jersey once worn by men (now obsolete but occasionally revived as a catwalk novelty).

(4) As camisole de force, a straitjacket with long sleeves (mostly historic references).

1816: From the French and the Old Occitan (also called Old Provençal) camisola, the construct being camis(a) + -ola; the Late Latin camīsa (shirt) was also the source of chemise and the Latin suffix -ola was added to a noun to form a (sometimes pejorative) diminutive of that noun; a variant was the Late Latin camisia (shirt or nightgown).  The thread was well-known in romance languages, the Old Portuguese camisa (shirt) was from the Late Latin camisia (shirt), from Transalpine Gaulish (of Germanic origin) from the Proto-Germanic hamiþiją (clothes, shirt, skirt), from the primitive Indo-European ḱam- (cover, clothes).  The modern use meaning a “sleeveless undergarment for women” dates from circa 1900 but for most of the late nineteen the century it generally meant "straitjacket” (a restraint for lunatics). Camisole is a noun & verb and camisoled is a verb & adjective; the noun plural is camisoles.

Camisole de force: The straitjacket

Crooked Hillary Clinton in Camisole de force (digitally altered photo).

Although ad-hoc wearable physical restraints had existed long before, the camisole de force (straitjacket) was invented circa 1772 by Irish doctor David MacBride (1726-1778), the more romantic story of it being a creation of a Monsieur Guilleret, a tapestry maker at Bicêtre Hospital, apparently a myth.  The basic concept endures to this day although they are now less used, having largely been supplanted by camisoles chimiques (or neuroleptics (a class of psychotropic drugs used to treat psychosis)).  The only fundamental change in design is that modern camisoles de force are made with sleeves, the early types restraining the arms directly under the fabric were found to be most uncomfortable.

Camisole de force on the catwalk: Straitjacket chic by Gucci and others.

Catwalks were once a place where fashion existed for fashion's sake and while there could be social or political implications in what was worn, the messaging usually had to be some sort of overt threat to the establishment for much of a protest to be raised.  However, we live now in more sensitive times and designers have to be aware of factors as diverse as religion, ethnicity, skin color, sexual orientation, age, body mass index (BMI) and the seemingly all-encompassing "cultural appropriation".  Gucci recently had to withdraw from sale a jumper (US$890, Stg£715) after critics found it too reminiscent of blackface minstrels, the connection being the built-in half-balaclava with knitted plump red lips.  That fixed, the fashion house was then accused of cultural appropriation because one of their headpieces (US$790, Stg£635) too closely resembled a Sikh turban.   To clarify the extent of the sin, the US-based Sikh Coalition issued a statement: "The Sikh turban is not just a fashion accessory, but it's also a sacred religious article of faith."

Madness (an now unfashionable word banned in polite company; the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) recommending "mental disorder" or "psychiatric disorder") may also be on fashion's banned list after Ayesha Tan-Jones (b 1993, who is non-binary and uses they/them pronouns) staged a non-oral, verbal protest while on the catwalk (they might prefer the less exploitative "runway") in the Gucci show at Milan Fashion Week 2019.  Tan-Jones and other models were dressed in white jumpsuits for the show (and it can't be long before even the use of white is declared "problematic"), some of which used the motif of the straitjacket.  On their hands, Tan-Jones had written the words "Mental health is not fashion", clearly not accepting Gucci's rationale the designs were meant to represent "how through fashion, power is exercised over life, to eliminate self-expression".  That has some linguistic tradition because women have in the past not infrequently described demands to be fashionable as "a straitjacket" but Tan-Jones presumably would prefer the notion remain a simile rather than a publicity stunt.

Ayesha Tan-Jones on the catwalk, Milan Fashion Week, September 2019. 

After the show, Tan-Jones issued their own statement, writing "Straitjackets are a symbol of a cruel time in medicine when mental illness was not understood, and people's rights and liberties were taken away from them, while they were abused and tortured in the institution.  It is in bad taste for Gucci to use the imagery of straitjackets and outfits alluding to mental patients, while being rolled out on a conveyor belt as if a piece of factory meat."  That was followed up with another post which added they, along with some of the other models in the show, were donating to mental health charities a portion (% not mentioned) of the modeling fees paid by Gucci.  "Many of the other Gucci models who were in the show felt just as strongly as I did about this depiction of straitjackets, and without their support I would not have had the courage to walk out and peacefully protest" they said.  In response, the fashion house didn't address the substantive issued raised but did confirm straitjacket chic was just "...a statement for the fashion show and will not be sold", adding the line was intended as "...an antidote to the colourful designs in the rest of the Spring/Summer 2020 show".

Lindsay Lohan in camisole.

Snood

Snood (pronounced snood)

(1) A headband once worn by young unmarried women in Scotland and northern England.

(2) A headband for the hair.

(3) A pouch or net-like hat or part of a hat or fabric that holds or covers the back of a woman's hair.

(4) In zoology, a long fleshy appendage of pendulous red skin that hangs over the upper beak of male turkeys.

(5) A short line of horsehair, gut, monofilament etc, by which a fishhook is attached to a longer (and usually heavier) line; a snell.

(6) A piece of clothing to keep the neck warm; a neck-warmer.

(7) To bind or confine (the hair) with a snood or (in other contexts) to put on a snood.

Pre 900: From the Middle English snod (fillet, ribbon (the plural was snoden)), from the Old English snōd (headdress, fillet, ribbon for the hair), from the Proto-Germanic snōdō (rope, string), from the primitive Indo-European snohtéh (yarn, thread), from sneh & snehi- (to twist, wind, weave, plait).  It was cognate with the Scots snuid (snood) and the Swedish snod & snodd (twist, twine) and related in various ways to the Old Saxon snōva (necklace), the Old Norse snúa (to turn, twist) & snúðr (a twist, twirl), the Old Irish snathe (thread) and the English needle.  The alternative spellings were snod & sneed, both now obsolete.  In Dutch, snood means “villanous and criminal.  The Dutch form was from the Middle Dutch snôde, from the Old Dutch snōthi, from the Proto-Germanic snauþuz (bald, naked, poor), from the primitive Indo-European ksnéw-tu-s, from the root ksnew- (to scrape, sharpen) and cognates included the German schnöde and the Old Norse snauðr.  Snood is a noun & verb and snooding & snooded are verbs; the noun plural is snoods.

In the Medieval period, snoods were most associated with young unmarried girls, the implication being “in a state of maidenhood or virginity” so were something like advertising one’s status on Facebook as “single”.  Merely adorning one’s hair with a snood was of course no guarantee of chastity so the system was open to abuse but social media profiles can be misleading so in a thousand or more years little seems to have changed.  Modern adaptations of the word have been opportunistic.  Since 1938 snood has been used to describe the pouch or net-like “bags” use to contain hear at the back of the scalp and these were well-documented as widely worn in the Middle Ages but nobody seems to have thought them snoods which were culturally specific.  The accessories dating from the late 1930s were sold in parallel with conventional hairnets and were worn almost exclusively by women, long hair for men not then a thing in the West.  Typically, they were a close-fitting hood worn over the back of the head but differed from a hairnet proper in that the fit was looser, and they were constructed with a noticeably thicker yarn, weaved in a coarser mesh.  The way they were worn varied greatly according to the preference of the user and the nature of the hair to be contained.  Sometimes, a tighter-mesh band around the forehead or crown, running over or behind the ears and under the nape of the neck held things in place, the woven “bag” containing the hair dangling at the back.  There were also snoods fashioned from a solid fabric, but the advertising of the era suggests these were for fashion rather than function and tended to be colored to match an outfit.  Snood-like constructions are also worn by some women in a variety of religions which demand some form of hair-covering although the interpretation varies.  In the post-war years as health regulations began more rigorously to be imposed in food production and other sensitive facilities, snood seems briefly seems to have been used to describe the hairnets which were being mandated for employees and others in the space.  There were “hair snoods” and “beard snoods” but it was a brief linguistic phenomenon and soon it was hairnets all the way down.

Samir Nasri (b 1987) in football snood.

In Association football (soccer), the word was for some years used to describe the specialized garments players used as “neck-warmers”.  Popular with some players and understandably so in a sport played in the depths of the northern winter, the team managers were divided on their desirability and there were reports that as recently as 2009, (male) media commentators (presumably from a nice warm commentary position) were recorded as saying snoods as neck-warmers were “unmanly”.  Use of such as word would now probably see a commentator cancelled (or worse) and if may be that if a player chose again to wear one on grounds of the ubiquitous H&S (health & safety), they might find officialdom too timid to react. 

Nike Football Snood.

Demand clearly exists because manufacturers continue to maintain the product lines despite bans on their use at the professional level, the International Football Association Board (IFAB) and the Fédération internationale de football association (FIFA, the International Association Football Federation) acting in 2011.  The concern apparently was on grounds of player safety, the suspicion that injuries might result from a snood being pulled from behind and in those circumstances the awarding a penalty for the infringement would not be sufficient because the need was to avoid injuries, not simply punish transgressors.  However, there was no empirical data and the risks were all theoretical so both authorities outlawed the things on the technical basis of them being “not an approved part of the football kit”.  The football snoods aren’t actually exclusively “neck-warmers” because, fully unfolded, they actually can cover the nose and ears, both vulnerable areas in cold conditions and in competitions where they’re not banned, they’re popular with goalkeepers, usually the most static position on the pitch.  So, instead of being thought of as neck-warmers, they’re really half-balaclavas and in the US, where “football” is something different, they’re often called “soccer scarfs”.

Lindsay Lohan illustrates the difference in a muffler (designed for warmth, left) and a scarf (designed to be decorative, centre).  A football player is a fully extended football snoot, worn in extended, half-balaclava style (right); in the US these are sometimes called “soccer scarfs”.

There is a logic to that although “soccer muffler” might be more precise although, lacking the alliterative punch, it’s unlikely to catch on.  Until well into the twentieth century, muffler and scarf were used interchangeably but with the introduction of the baffled mechanical device used to reduce the noise from car engines, the automotive use swamped the linguistic space and muffler became less associated with the neck accessory.  Historically, muffler was mostly British in use, Americans always preferring scarf but scarf is now almost universal although in the upper reaches of the fashion business however, the distinction is sometimes still drawn between the two, a scarf defined as an accessory to enhance the look and made from fabrics like silk, cotton or linen whereas a muffler is more utilitarian, bulkier and intended to protect from the cold and thus made from wool, mohair or something good at retaining body-heat.  Confusingly, muffler occasionally is used in commerce as a label of something which looks like a small blanket, worn over the shoulders and resembling an open poncho.

Macabre

Macabre (pronounced muh-kah-bruh, muh-kahb or muh-kah-ber)

(1) Gruesome and horrifying; ghastly; horrible; grim.

(2) Of, pertaining to, dealing with, or representing death, especially its grimmer or uglier aspect.

(3) Of or suggestive of the allegorical dance of death, the danse macabre.

1400–1450: As Macabrees daunce, a Middle English borrowing from the Middle French danse (de) Macabré (dance of death), of uncertain origin, thought perhaps identified with the Medieval Latin chorēa Machabaeōrum a representation of the deaths of Judas Maccabaeus and his brothers, but there’s no documentary evidence.  An interesting technical point is the French pronunciation with a mute “e” is a misreading of the Middle French forms.  The abstracted sense of "characterized by gruesomeness" was used first in French in 1842, spreading to English by 1889 and dictionaries date a racial sense from 1921.  The sense "comedy that deals in themes and subjects usually regarded as serious or taboo" was first recorded in 1961, in the figurative sense of "morbid".  The origin, although contested, is most associated with the French left and new wave of the late 1950s (pièce noire, comédie noire) which may have and the source of the terms “black comedy” & “dark comedy” in English.  A revisionist theory suggests derivation from the Spanish macabro, from the Arabic مَقَابِر‎ (maqābir) (cemeteries), plural of مَقْبَرَة‎ (maqbara) or مَقْبُرَة‎ (maqbura).  Borrowing from the Arabic in plural form is not unusual (eg magazine, derived from the plural مخازن (maxāzin) of the Arabic singular noun مخزن (maxzan) (storehouse; depot; shop) so the theory is etymologically possible but, like the preferred French source, evidence is wholly lacking.  Related meanings include spooky, ghastly, ghoulish, grisly, morbid, gruesome, weird, frightening, grim, lurid, cadaverous, deathly, dreadful, frightful, ghostly, hideous, horrible, offensive & scary; Macabre is an adjective, macabrely the adverb.  The alternative spelling is macaber but few approve.  Macabre is an adjective.

Dance of Death

Danse Macabre of Basel, memento mori painting, unknown artist, circa 1450, Basel Historical Museum.

The Danse Macabre (Dance of Death) was an artistic genre of allegory dating from the late middle ages; exploring the universality of death, it made clear that however exulted or lowly one’s station in life, the Dance Macabre unites all.  It was a popular artistic motif in European folklore and the most elaborated of medieval macabre art.  During the fourteenth century, Europe was beset by deathly horrors, recurring famines, the Hundred Years’ War and, looming over all, the Black Death.  All these were culturally assimilated throughout Europe, the omnipresent chance of either a sudden or a long and painful death spurring not only a religious desire for penance but also a sometimes hysterical desire for amusement while such things remained possible; a last dance as cold comfort.  The Danse Macabre satisfied these desires, the dance-with-death allegory originally a didactic dialogue poem to remind people of the inevitability of death and to advise them strongly to be prepared at all times for death.

During the fifteenth and early sixteenth centuries, the theme was a source of the vivid and stark paintings on the walls of churches and the cloisters of cemeteries and ossuaries.  Art of the Danse Macabre was typically a depiction of the personification of death summoning representatives from all walks of life to dance along to the grave; often included were popes, emperors, kings, children and labourers. They were produced as mementos mori (a phrase from the Latin which translates literally as "remember that you will die"), artistic or symbolic reminders of the inevitability of death and intended to remind the living of the fragility of life and how one should try to live a more fulfilling and purposeful life, making the most of one's brief few years.  The tradition, although it became increasingly detached from its religious associations, never died and has enjoyed periodic resurgences over the last six-hundred years, notably after horrific events such as pandemics or the First World War.  COVID-19 seemed not to stimulate similar art; popular culture’s preferred platforms have shifted.

Sense of the macabre: Terry Richardson's (b 1965) suicide-themed shoot with Lindsay Lohan, 2012.

Sconce

Sconce (pronounced skons)

(1)  A bracket for candles or other lights, placed on a wall, mirror, picture frame etc (a development of the earlier use relating to candles).

(2) The hole or socket of a candlestick (for holding the candle).

(3) A fortification; a small detached fort or defense work, as to defend a pass, bridge etc; a protective screen or shelter (obsolete).

(4) In the University of Oxford, informally to fine an undergraduate for a breach of rules or etiquette (the penalty drinking a specified quantity of ale); a fine so imposed; a mug or tankard used in sconcing (typically a beer bong).

(5) The head or skull; sense or wit (now rare, probably obsolete); a piece of armor for the head; headpiece; helmet (now for historic reference only).

(6) A poll tax; a mulct or fine.

1350–1400: From the Late Middle English sconce, sconce & sconse (defensive fortification or fortification work), from the Old French esconce (hiding place; lantern) from the Medieval Latin scōnsa, an aphetic variant of abscōnsa (noun use of feminine past participle of abscondere (to conceal; dark lantern) (also the source of the modern abscond)).  The Latin absconsus (hidden) was the perfect passive participle of abscond (hide).  Related was the Dutch schans (defensive fortification or fortification work) and the Middle High German Schanze (bundle of brushwood).  The Dutch word also had an interesting evolution, used to mean (1) a type of small fort or other fortification, especially as built to defend a pass or ford, (2) a hut for protection and shelter; a stall, (3) a fragment of a floe of ice ( (4) as fixed seat or shelf.  Sconce is a noun & verb and sconced & sconcing are verbs;  the noun plural is sconces.  In English, while other meanings emerged, in military use sconce continued to be used to refer to fortifications or defensive works and during the English Civil War (1642-1651) a sconce was a small fortification or earthwork that was built quickly to defend a position. 

An Oxford tradition

Beer bong half-yard.

A tradition of the Oxford colleges, a sconcing was a demand a person drink a tankard of ale as a penalty for some breach of etiquette.  The word in this context is attested from 1617 and originally described a monetary fine imposed for a more serious breach of discipline, the use as a kind of high table drinking game becoming common only in the early nineteenth century.  Offences which might have attracted a sconce included talking at dinner about women, religion, politics, one's work, the portraits hung in the college hall or making some error in the reciting of the Latin Grace.  Originally reserved for the senior scholar or fellow at each table, the right to demand a sconce (usually in Classical Latin (and mixing in later variants was not tolerated) or Ancient Greek) was later extended to all.  The quantity of a sconce varied from two imperial pints (1.1 litres) and three and three-quarters (2.1 litres) although the larger measures are believed to have been "rare".  The Oxford tradition was essentially the same as "fining" at Cambridge although in the narrow technical sense, a sconce was the act of issuing a penalty rather than the penalty itself, a distinction often lost on undergraduates, especially after a couple of sconces.

Lindsay Lohan with bandaged sconce: Falling for Christmas (2022).

In the Netflix film Falling for Christmas, the plot line includes Lindsay Lohan suffering trauma-induced amnesia after a blow to the sconce.  In English slang (UK and most of the Commonwealth although it seems not to have reached the critical mass needed for survival in the US & Canada) the use of sconce (which may have peaked in the early nineteenth century although any measure of oral use is difficult to estimate) to mean "the head, the skull" remained common until just after World War I (1914-1918).  Etymologists suspect the decline may have been the result of UK & Commonwealth troops mixing with those from other nations and developing a preference for their slang, a trend by which US English (formal & informal) has influenced the language for well over a century.

Leman

Leman (pronounced lem-uhn or lee-muhn)

(1) A sweetheart; lover; beloved.

(2) A mistress.

(3) As Lac Léman, the French name for Lake Geneva.

1175-1225: From the Middle English lemman (loved one of the opposite sex; paramour, lover; wife (and also (1) "a spiritually beloved one; redeemed soul, believer in Christ; female saint devoted to chastity; God, Christ, the Virgin Mary" & (2) "a term of intimate address to a friend or lover")), variant of leofman, from the Old English lēofmann (lover; sweetheart; attested as a personal name), the construct being lief +‎ man (beloved person).  Lief was from the Middle English leef, leve & lef, from the Old English lēof (dear), from the Proto-Germanic leubaz.  It was cognate with the Saterland Frisian ljo & ljoo, the West Frisian leaf, the Dutch lief, the Low German leev, the German lieb, the Swedish and Norwegian Nynorsk ljuv, the Gothic liufs, the Russian любо́вь (ljubóv) and the Polish luby.  Man is from the Middle English man, from the Old English mann (human being, person, man), from the Proto-Germanic mann (human being, man) and probably ultimately from the primitive Indo-European man or mon (man).  The origins of the use of "Dear" as a salutation in letters (a convention some preserve in email though apparently not in other digital comms) is thought derived ultimately from the the Old English leofman (the construct being leof (dear) + man) as a term of intimate address to a friend or lover.

Bader Shammas (b 1987) and his leman.

A linguistic relic, leman applied originally either to men or women and had something of a romantic range.  It could mean someone of whom one was very fond or something more although usage meant the meaning quickly tended to the latter; a sweetheart or paramour.  In the narrow technical sense it could still be applied to men although it has for so long been a deliberate archaic device and limited to women, it would be confusing.  It tends now to be used as a term of disparagement against women in the same way a suggestion of the mendacious is thought a genteel way to call someone a liar.  In early-modern English, alternative spellings did emerge, lemman between the thirteenth and seventeenth centuries and remarkably, lemon in the fifteenth and sixteenth.  No explanation for lemon in this context has emerged and it may have been an imperfect echoic.  The word certainly had a curious path on its way to obscurity, beginning as meaning "one's beloved", it came to be applied to God, Christ, the Blessed Virgin and other notables of Christianity before being specifically re-purposed around the turn of the fourteenth century to mean "one's betrothed" yet by the late 1500s it had acquired the  at the turn of the sense of a "concubine or mistress".   

The Faerie Queene (1590) by Edmund Spenser (circa 1552-1599)

Woodcut illustration for Book II (Cantos VII-XII) of the Faerie Queene.

As long ago as the late sixteenth century, leman was rare word, supplanted by other forms, some gender-specific.  However, that very quality of the obsolescent made it attractive as a literary device for those seeking some historic flavor, the use exemplified in The Faerie Queene, an epic-length poem recounting tales of knightly exploits.  Written in a deliberately archaic style, Spenser merged history and myth, drawing especially on the Arthurian legends with each of the books an allegorical following of a knight who represents a particular virtue (holiness, temperance, chastity, friendship, justice and courtesy) which will be tested by the plot.  It’s long been of interest to Shakespearean scholars because book two appears to be a source for much of King Lear.  It’s also attracted the attention of feminist critics.

Such is the crueltie of womenkynd,
When they have shaken off the shamefast band,
With which wise Nature did them strongly bynd,
T’obay the heasts of mans well ruling hand,
That then all rule and reason they withstand,
To purchase a licentious libertie.
But virtuous women wisely understand,
That they were borne to base humilitie,
Unlesse the heavens them lift to lawfull soveraintie. (Book five) 

The poem is unfinished: Spenser planned twelve books but only six were completed, a seventh left incomplete.

Faire Venus seemde vnto his bed to bring

Her, whom he waking euermore did weene

To be the chastest flowre, that ay did spring

On earthly braunch, the daughter of a king,

Now a loose Leman to vile seruice bound. (Book one)