Bloviate

Bloviate (pronounced bloh-vee-yet)

Pompously to speak or discourse at length in a boastful manner.

1857: A coining in US English, a construction in pseudo-Latin, based on deviate on the pattern of blow (in the senses of “a blowhard” (to boast)) + -ate.  Blow was from the Middle English blowen, from the Old English blāwan (to blow, breathe, inflate, sound), from the Proto-West Germanic blāan, from the Proto-Germanic blēaną (to blow) (linked to the modern German blähen), from the primitive Indo-European bhleh- (to swell, blow up) (linked to the Latin flō (to blow) and the Old Armenian բեղուն (bełun) (fertile).  The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.

Bloviate was noted in the US in 1890 by a visiting English lexicographer who traced the origins to 1857 as a Midwestern (apparently in Ohio where it meant "to talk aimlessly and boastingly) word which gained the sense of “to indulge high falutin' language” when applied to politicians.  Bloviate was itself thus something of a bloviation because it was a way of saying “windbag” or “blowhard” with a Latin suffix lending a classical flavor.  It was apparently most used (at least in print; casual oral use would have been more prolific) of politicians (predictably fertile ground one suspects) but it faded from use by the early twentieth century, only to be revived during the administration of Warren Harding (1865–1923; US president 1921-1923) who quickly became notorious for his tangled, ornate and occasionally incomprehensible prose.  The biographical evidence suggests Harding reserved his bloviatory ways for his public persona, his language at the poker table as direct as is expected at such a place, something confirmed in the memoir of one of his many mistresses.  Harding of course is associated also with his alleged invention of “normalcy”, claimed to be a mistake during a speech laden with alliterative flourishes in which he said "not nostrums, but normalcy", the claim being he intended to use “normality”.

“America’s present need is not heroics, but healing; not nostrums, but normalcy; not revolution, but restoration; not agitation, but adjustment; not surgery, but serenity; not the dramatic, but the dispassionate; not experiment, but equipoise; not submergence in internationality, but sustainment in triumphant nationality.”

In saying "normalcy" he may have misspoken (ie a mistake rather than as a synonym for lie as crooked Hillary Clinton uses the word) or perhaps Harding liked the word; questioned afterwards he said he found it in a dictionary which probably was true although whether his discovery came before or after the speech wasn't explored.  Harding’s choice was much-derided at the time, normalcy had certainly existed since at least 1857, originally as a technical term from geometry meaning the "mathematical condition of being at right angles, state or fact of being normal in geometry" but subsequently it had appeared in print as a synonym of normality on several occasions.  Still, it was hardly in general use though Harding gave it a boost and it’s not since gone extinct, now with little complaint except from the linguistically fastidious.  Anyway, at the time it did him little harm.  The speech was delivered during the 1920 presidential election and Harding was elected in a landslide, the Republican ticket taking the Electoral College 404-127 with 60.4 against 34.1% of the popular vote.  In an example of how the electoral map has changed over a century, in 1920 the Democratic Party’s successes were almost exclusively south of the Mason-Dixon Line.

The political re-alignment in the US, 1920-2020; Democrats are blue, Republicans red.  

So electoral behavior in the US has changed in a century but the rhetorical habits of politicians probably haven't and bloviate made its second comeback in the 1990s.  Apparently the combination of the emergence of Newt Gingrich et al as neo-bloviators and the novel medium of the internet spread the word, giving it a niche, first on the bulletin boards and later on blogs, twitter and social media as technology unfolded, the 24/7 news cycle and the proliferation of political commentators meaning the ranks swelled.  In every electoral cycle since 1994, bloviators have been identified and shamed or celebrated as required.  Harding was at least self-aware, proud of his skill at “speaking as long as the occasion warrants and saying nothing” but still annoyed critics like the humorist HL Mencken (1880-1956) who dismissed the content of Harding’s English as a “loud burble of words fit only for morons and small-town yokels” although even he acknowledged the technique was so honed that “a sort of grandeur creeps into it.”

Noted bloviator Newt Gingrich (b 1943; speaker of the US House of Representatives 1995-1999 (right)) with Joe Biden (b1942; US president since 2021 (left)).  Biden now doesn’t so much bloviate as ramble and meander.

It was the idea of “fake grandeur” that saw Barack Obama (b 1961, US president 2009-2017) labeled a bloviator by some but that was as misleading as it was to call Donald Trump “the bloviating billionaire”.  Obama at his worst talked what Lord Beaverbrook (1879-1964) would have called “high falutin' nonsense” but was usually quite direct.  Trump too was direct and never tried, like George W Bush (b 1946; US president 2001-2009) or Sarah Palin (b 1964) to lend gravitas to the message with fancy (an in some cases invented) words in the manner of a Norman Mailer (1923-2007), William F Buckley (1925-2008), Gore Vidal (1925-2012), Allen Ginsberg (1926-1997), Conrad Black (b 1944), Christopher Hitchens (1949-2011) and David Foster Wallace (1962-2008), bloviators all.

Noted bloviators William F Buckley (left) and Gore Vidal (right) in one of their famous debates on the ABC network in 1968.

Conducted in the milieu that was the drama of the 1968 Republican and Democratic Party conventions, ABC envisaged it as an exchange between intellectuals of the right and left but what made it a ratings hit was Vidal calling Buckley a "crypto-Nazi" to which he responded, "Listen, you queer, stop calling me a crypto-Nazi or I'll sock you in your goddamn face and you'll stay plastered".  Overnight, it transformed the way the broadcast media covered politics in the US and it’s from this "debate" that the descent began towards ideological confrontation and partisan commentary.  In political science, there had long been the "politics as theatre" school of thought but it was from this debate that the packaging of politics as entertainment was allowed to evolve undisguised.

Trump is better thought of as a rodomont, the essence of rhodomontade being vain boasting, bragging and blustering without any suggestion of the use of obscure or big words; the undercurrent of everything Trump says is “I’m really rich” and that’s all that matters.  It dates from the 1610s (the earlier rodomontado noted in the 1590s), and was from the French rodomontade, a reference to the vain boasting of Rodomonte, a character who appears in two epic poems of the Italian Renaissance: Ludovico Ariosto's (1474–1533) Orlando Furioso (1516) and Matteo Maria Boiardo's (1440–1494) Orlando Innamorato (1483-1495).  In the dialectal Italian, the name translates literally as "one who rolls (away) the mountain" and it came by the 1680s to be used as a verb imparting the idea of “one who boasts, brags and talks big".

A noted rodomont with a noted bloviatrix: Donald Trump (b 1946; US president 2017-2021) with crooked Hillary Clinton (b 1947), 2016 presidential election debate.

A non standard variation is bloviatrix (literally “a woman who bloviates”) and now of course it would be less incorrect to call one a bloviator but it was always intended as a jocular coining.  The –trix suffix was from the primitive Indo-European -trih, from -tḗr and was cognate with the Sanskrit suffix -त्री (-trī) (as in जनित्री (janitrī) (mother) though most dictionaries now tag –trix as dated.  It was appended usually to create female agent nouns and for masculine agent nouns ending in -tor, the feminine equivalent ending in -trix was historically preferred (and etymologically consistent) but social forces now operate with some severity in English and the modern practice is to adopt either gender-neutral terms, even other feminine suffixes (-a, -ess, -ette & -ine) falling from favor.  It endures where the meaning conveyed is so specific that any substitution would be either misleading or just silly, dominatrix the most obvious example and it’s usually the case these derived terms were borrowed directly from Latin, rather than formed in English (where in recent centuries the creations tended variously to be jocular, poetic or derogatory).  The Latin forms were just part of the lexicon such as cantrīx (female singer), based on cantor (male singer), from canō (I sing), tōnstrīx (female barber) based on tōnsor (male barber), from tondeō (I shear, shave) & meretrīx (prostitute (literally “she who earns”), from mereō (I merit, deserve, earn).  The Latin suffix was picked up by other European languages including the Catalan -triu, the French –trice, the Italian –trice and the Portuguese & Spanish –triz.

Bloviate is also jocular slang in the engine-building community.  Because of the phonetic similarity to “blown V8” (ie a V8 engine with forced (super- or turbo-charged) induction), it’s used to refer to such machinery.  The comparative and superlative forms presumably are “very bloviated” & “most bloviated” respectively, based on the extent of atmospheric boost delivered.

A noted bloviate: Mopar Direct Connection 1500 HEMI Crate Engine (Part Number: DSR1500-DC) @ US$59,990.  The 1500 is “most bloviated”.

Dodge's Hellephants (as crate engines) are 426 cubic inch (7.0 litre) V8s, based on the Gen III HEMI V8 in five versions ranging from 900 to 1500hp, all using DSR’s 3.0 litre (183 cubic inch) IHI supercharger and available with either cast-iron or aluminium blocks.  Not remotely lawful for use in the US in road-registered vehicles built after 1975, most are used in some form of competition and although such things are thought by many to be in their last days, the crate engines may remain available until (1) they’re outlawed, (2) demand falls to the point production is no longer viable or (3) pressure-groups force Chrysler to stop.  As recently as twenty-odd years ago, there was much nostalgia about "the way things used to be done" but, on any objective measure, the Hellephants are better than anything which came before.  Despite that, some things will always be cherished for the flaws and quirks which give them their character and for some, the old ways, while not better, will remain more enchanting.    

Thistle

Thistle (pronounced this-uhl)

(1) Any of numerous perennial composite plants of the genera Cirsium, Cynara, Carduus, Onopordum and related genera, having prickly-edged leaves, pink, purple, yellow, or white dense flower heads, and feathery hairs on the seeds: family Asteraceae (composites).

(2) A common term for many other prickly plants.

(3) The national emblem of Scotland since the fifteenth century.

(4) As the Most Ancient and Most Noble Order of the Thistle (1687), a United Kingdom order of chivalry associated with Scotland; the word denoting membership of this order.

Pre 900: From the Middle English thistel, from the Old English thīstel (the earlier form was þistel).  The origin was probably the Proto-Germanic þistilaz & thistilaz, the source also of the Old Saxon thistil, the Old High German distil & thīstil, the German Distel, the Old Norse þistell & thīstill, the Scots thrissel, the Danish tidsel, the Dutch distel and the Icelandic þistill.  The root is uncertain origin but may have been an extended form of the primitive Indo-European (s)teyg & steig- (to prick, stick, pierce).  The adjective is thistly and the noun plural thistles.

Insignia of The Most Ancient and Most Noble Order of the Thistle.

The Most Ancient and Most Noble Order of the Thistle is an order of chivalry of the United Kingdom which, unusually, is one of a small class in the personal gift of the sovereign whereas most are conferred on the basis of a recommendation from the various governments where the British monarch remains head of state.  The order was founded in 1687 by King James VII of Scotland (1633-1701; James II of England and Ireland) who at the time asserted it was a revival of an earlier order but historians doubt the claim, the royal warrant of 1687 containing some dubious history and most doubtful chronology.  Nor is there any documentary evidence to support the idea an award in some way linked to the thistle was instituted after the Scottish victory at the Battle of Bannockburn in 1314, the earliest vaguely plausible claim dating from the fifteenth century when James III (1451-1488) adopted the thistle as the royal insignia and minted coins depicting thistles.  There’s nothing however to support any link with knighthoods or other orders of chivalry and all that is certain is that the thistle became established as an emblem of Scotland, attached firstly to the royal court and later to the national identity.

The troublesome Bull Thistle.

Not discouraged by tiresome, inconvenient history, in 1687 James VII issued letters patent for an order of knighthood "reviving and restoring the Order of the Thistle to its full glory, lustre and magnificency".  Intended to be exclusive, membership was limited to twelve but James was deposed in the Glorious Revolution (1688) and no appointments to the order were made beyond the original eight although the exiled House of Stuart continued to issue what came to be referred to as “the Jacobite Thistle”, these not acknowledged by the British Crown.  The award of the Thistle resumed in 1704, before even the 1707 Acts of Union under which the kingdoms of England and Scotland united as a single sovereign state known as Great Britain.  The motto of the order is Nemo me impune lacessit (No one provokes me with impunity), an adoption of that which had been used by the Royal Stuart dynasty of Scotland since at least the 1570s.  It's used also by three of the British Army's Scottish regiments and appears on both the royal coat of arms of the Kingdom of Scotland and the version of the royal coat of arms of the United Kingdom used in Scotland.

In the UK’s order of precedence, Knights and Ladies of the Thistle rank second only to the Order of the Garter and the wives, sons, daughters and daughters-in-law of Knights of the Thistle also can rise a few notches on the order of precedence, a courtesy not extended to any relative of a Lady of the Thistle, something which must be seen as an anomaly in the early twenty-first century but which probably cannot easily be reformed in isolation, any alteration in these things likely to trigger a chain-reaction of events in a system designed to resist change.  The television show Yes Minister did offer an alternative explanation for the mechanism for awarding the Thistle, suggesting “…a committee sits on it”.

Sir Robert Menzies (1894–1978; prime minister of Australia 1939-1941 & 1949-1966) in his Knight of the Thistle robes.

Like the Most Noble Order of the Garter (1348) and the Royal Victorian Order (1896), the Thistle lies in the personal gift of the sovereign rather than being an award made by governments as is the case with most honors.  Unusually too, the Thistle is geographically specific, awarded only to those with some connection to Scotland, although, they need not be actually Scottish.  The equivalent Irish Order, the Most Illustrious Order of St Patrick (1783) was for those with an association with Ireland handled in a similar manner to the Thistle but awards were restricted after independence was granted to Eire (southern Ireland) in 1922 and the order has been dormant (though not abolished) since 1936.  This follows the practice applied to imperial honors tied to particular colonies of the Raj and the old British Empire, the Indian (the Most Exalted Order of the Star of India (1861) & the Most Eminent Order of the Indian Empire (1878)) and Burmese (the Order of Burma (1940)) orders dormant since the respective grants of independence in 1947 & 1948.  Presumably, were Scotland to become an independent state, the Thistle too would lapse into a similar state of abeyance.

Clan Lindsay car seat covers.

Clan Lindsay is a Scottish clan of the Scottish Lowlands although the origins of the Lindsay name lie in England, south of the border.  Lindsay is a toponym (a word derived from the name of a locality), itself drawn from the Old English toponym Lindesege (Island of Lind), a reference to the city of Lincoln, in which Lind is the original Brittonic form of the name, the “island” referring to Lincoln being an island in the surrounding fenland.  Under Roman occupation, the area in Lincolnshire now occupied by the city of Lincoln was known as Lindum Colonia, shortened in the Old English to Lindocolina and later to Lincylene, Lindum a Latinized form of a native Brittonic name which had been reconstructed as Lindon (pool or lake).  In the late nineteenth century, as the modern convention in the Western World (Christian name + Surname) became (more or less) standardized, like many others, surnames Lindsay and Lindsey began to be used as given names although it wasn’t until the mid-1960s that it became common in the Commonwealth to use them for girls, a trend which spread quickly to the US and by late in the century, the use for boys rapidly declined, the two trends presumably not unrelated.

Lindsay Lohan in tartan for Freaky Friday (2003) costume test photos (left), the Clan Lindsay tartan garden flag with swan crest, augmented by the thistle (national flower of Scotland) emblems (centre) and Clan Lindsay T-Shirt with stylized thistle (right).  The Clan Lindsay motto is Endure Fort (Endure Bravely).

Perpendicular

Perpendicular (pronounced pur-puhn-dik-yuh-ler)

(1) Vertical; straight up and down; upright; normal at right angles to a horizontal plane.

(2) In geometry, meeting a given line or surface at right angles.

(3) Maintaining a standing or upright position; standing up; exactly upright; extending in a straight line toward the centre of the earth, etc.

(4) In architecture, noting or pertaining to the last style of English Gothic, prevailing from the late fourteenth to the early sixteenth centuries and characterized by by stiff, rectilinear lines and the use of predominantly vertical tracery, an overall linear, shallow effect, depressed or four-centre arch, fan-tracery vaulting, panelled walls and fine intricate stonework (should be used with an initial capital letter so it’s not confused with being a purely geometric reference).

(5) In rock-climbing, a sharply pitched or precipitously steep mountain face.

(6) Moral virtue or uprightness; rectitude (largely obsolete).

(7) In Admiralty jargon, either of two lines perpendicular to the keel line, base line, or designed water line of a vessel.

(8) In surveying, a device such as a plumb line that is used in making or marking a perpendicular line.

(9) In historic slang, a meal taken while standing at the bar of a tavern (obsolete).

1350–1400: From the Middle French perpendiculaire, from the Old French perpendiculer, from the Latin perpendiculāris (vertical, as a plumb line), the construct being perpendicul(um) (plumb line), from pendēre (to weigh hang) and perpendere (carefully to balance (the construct of which was per- (thoroughly) + pendēre (to hang, cause to hang; to weigh)) from the primitive Indo-European root spen & pen (to draw, stretch, spin) + āris.  The suffix -aris was a form of -ālis with dissimilation of -l- to -r- after roots containing an l (the alternative forms were -ālis, -ēlis, -īlis & -ūlis); it was used to form adjectives, usually from noun, indicating a relationship or a "pertaining to”.  The French borrowing replaced the Middle English perpendiculer(e) and is the source of the modern pendant.  The noun from existed from the 1570s (the earlier noun was the circa 1400 perpendicle) and in astronomy, navigation and related matters, it was in the late fifteenth century the sense of a line "lying at right angles to the horizon" developed from an earlier adverb referring to "at right angles to the horizon.

The noun perpensity (consideration, a pondering, careful attention) appears first to have been used in the early eighteenth century, the construct being the Latin perpens- (past-participle stem of perpendere (carefully to balance) and has since the late nineteenth century been listed either as archaic or obsolete.  Perpendicular is a noun and adjective, perpendicularness & perpendicularity are nouns and perpendicularly is an adverb; the noun plural is perpendiculars.  Although perpendicular describes what nominally is an absolute value, most dictionaries acknowledge the comparative more as perpendicular & the superlative as most perpendicular, reflecting the use of the word to describe also the “quality of that which tends towards”, hence the existence in geometry, mathematics, architecture & engineering of the presumably helpful adjective quasiperpendicular to refer to the mysterious “partially perpendicular”.

In audio engineering, a perpendicular recording is the technique of creating magnetic data storage using vertical as opposed to longitudinal magnetization.  The synonym used in a technical context is orthogonal (independent of or irrelevant to each other).  To most, the idea of the perpendicular is simple but it’s been borrowed to describe some complex concepts such as the perpendicular universe (though these perhaps by definition seem usually to be referred to in the plural as perpendicular universes) which exists to distinguish it from a parallel universe (which must in some way be different).  The perpendicular universe is thus one of the competing notions (some insist these are legitimate theories) of multiple universes which are in some way parallel (as opposed to sequential or circular) though not of necessity perpendicular.  Seems clear enough.

The Perpendicular Pronoun:  The first-person singular pronoun "I"

There is a general rule defining when to use “I” or “me” in a sentence and that is the first person singular pronoun is “I” when it’s a subject and “me” when it’s an object (the subject is the person or thing doing something, and the object is having something done to it and the often quoted example to illustrate the difference is the sentence “I love you”.  “I” is the subject of the sentence. “You” is the object of the sentence (also the object of one's affection).

Lindsay Lohan and her sister Aliana at the Melbourne Cup, 2019.

In most cases it’s easier to deconstruct the sentence than think about the rule.  To work if one should say (1) “Lindsay and I are going to the Melbourne Cup” or (2) “Lindsay and me are going to the Melbourne Cup”, deconstruction confirms (1) is correct because “I am going to the Melbourne Cup” works and “Me is going to The Melbourne Cup” does not.  That’s fine but because “me” is often wrongly used, something of a perception has evolved to suggest it must always be wrong and “I” must always be correct. However, everything depends on the sentence.  It’s correct to say “Lindsay and I both picked the winning horse” but it’s also right to say “A selfie of the winning horse with Lindsay and me”, something which can be checked by redacting either “Lindsay and” or “and me”.

Lindsay Lohan in Falling for Christmas (Netflix, 2022)

Modern English use has anyway actually banished the perpendicular pronoun from places where once it was a marker of the educated.  To say “It is I” remains supported by historic grammatical correctness but sounds now so strange (because the common form is “It’s me”) that many would it’s wrong.  Pedants fret over things like this but the world has moved on and if in answer to the question “Is that you Ali” the response came “This is she”, the antiquated correctness might discombobulate one while “It’s me” would not.

Pagophagia

Pagophagia (pronounced pag-off-faghia)

(1) The excessive and constant eating of ice, often as part of extreme dieting.

(2) A craving to eat ice, sometimes associated with iron-deficiency anemia.

Pre 900: A compound word, the construct being págo(s) + -phagia.  Págos is from the Byzantine Greek, the perfective stem of ἔφαγον (éphagon) (I ate; I devoured), singular first-person aorist active indicative form (by suppletion) of ἐσθίω (esthíō) (I eat; I devour).  Phagia is from the Ancient Greek πάγος- (phag-) (stiff mass; frost; ice) from pēnunai, (to stick, stiffen), from the primitive Indo-European root pag.  It was used also in a derogatory, figurative sense to describe a cold, unfriendly person (in the sense of one metaphorically cold like ice).

Ice, diet and the DSM

Pagophagia (the excessive consumption of ice or iced drinks), is often regarded as a recent phenomenon and a novel manifestation of pica (a disorder characterized by craving and appetite for non-edible substances, such as ice, clay, chalk, dirt, or sand and named for the jay or magpie (pīca in Latin), based on the idea the birds will eat almost anything) but in texts from Classical Greece are warnings in the writings of both the physician Hippocrates (circa 460–circa 370 BC) and the polymath Aristotle (384–322 BC) concerning the dangers of the excessive intake of cold or iced water.  The cause of the death of Theophilus (Byzantine (Eastern Roman) Emperor 829-842) was officially dysentery but, based on the original texts of Byzantine historians and chroniclers of the era, modern researchers speculate the cause of death may have been related to Theophilus' pagophagia (snow eating), a long-time habit he indulged to relieve the symptoms of gastric inflammation.  In the medical literature, from the sixteenth century on, there are discussions and illustrative case histories about the detrimental effect of immoderate usage of cold water, ice and snow, frequently in the context of eating disorders, another range of conditions with a long history.

A noted feature of the fifth edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-5 (2013)), was the more systematic approach taken to eating disorders, variable definitional criteria being defined for the range of behaviours within that general rubric.  What may have appeared strange was including the ice-eaters within the psychological disorder Pica which is characterized by the manifestation of appetite for non-nutritive substances including sharp objects (acuphagia), purified starch (amylophagia), burnt matches (cautopyreiophagia), dust (coniophagia), feces (coprophagia), sick (emetophagia), raw potatoes (geomelophagia), soil, clay or chalk (geophagia), glass (hyalophagia), stones (lithophagia), metal (metallophagia), musus (mucophagia), ice (pagophagia), lead (plumbophagia), hair, wool, and other fibres (trichophagia), urine (urophagia), blood (hematophagia (sometimes called vampirism)) and wood or derivates such as paper & cardboard (xylophagia).  DSM-5 also codified the criteria for behaviour to be classified pica.  They must (1) last beyond one (1) month beyond an age in infancy when eating such objects is not unusual, (2) not be culturally sanctioned practice and (3), in quantity or consequence, be of sufficient severity to demand clinical intervention.  Interestingly, when the text revision of DSM-5 (DSM-5-TR, 2022) was released, the sentence “individuals with atypical anorexia nervosa may experience many of the physiological complications associated with anorexia nervosa” was added to the description of the atypical anorexia nervosa example to clarify that the presence of physiological consequences during presentation does not mean that the diagnosis is the (typical) anorexia.

However, it must be remembered the DSM is a tool for the clinician and, while it can be a useful source document for the lay-reader, there are other publications better suited to those self-diagnosing or informally assessing others.  An individual for whom the only symptom of pica is abnormally high and persistent ice consumption doesn’t of necessity need to be subject to the treatment regime imposed on more undiscriminating consumers.

The pro-ana community does recommend the eating of ice, not merely as a food substitute but because the body needs to burn energy both to melt the ice and subsequently restore the body to its correcting operating temperature.  With frozen water, this effect is greatest in negative calorie terms but the discount effect applies even to iced confections.  If a frozen confection is listed as containing a calorie content of 100 (25 grams of carbohydrate @ 4 calories per gram), this does not include the energy the body expends to melt the ice and the net consumption is actually around 72 calories.

All things in moderation: Lindsay Lohan enjoying ice-cream and (an allegedly virgin) iced mojito, Monaco 2015.

Pro-ana does NOT however approve of frozen confections, the preferred one litre of frozen water containing zero calories yet demanding of the body a burn of around 160 calories to process, the energy equivalent of running one mile (1.6 km).  The practical upper limit per day appears to be between 3-5 litres (.8-1.3 gallons) depending on the individual and it’s speculated a daily intake much over eight litres may approach toxicity, essentially because the localized symptoms would be similar to hypothermia and some organs fail optimally to work when body temperature drops too much.  Paradoxically, pro-ana also notes, ice shouldn’t be eaten when one is too hot.  After running, the body actually exerts energy through the active effort of dissipating excess heat and if one were to ingest large amounts of ice as one was cooling off, some of the heat generated would be neutralized by the coolness of the ice, minimizing some of the energy burning benefits.  There’s also the need to avoid dental damage; pro-ana recommending it be allowed to melt in the mouth or consumed as shaved ice.

Crop

Crop (pronounced krop)

(1) In agriculture, the cultivated produce of the ground, both while growing and when harvested.

(2) In aggregate, the yield of such produce for a particular season.

(3) The yield of some other product in a season.

(4) A supply produced in a given (not necessarily annual or seasonal) period.

(5) A collection or group of persons or things appearing or occurring together (often as “current crop”, “this year’s crop etc”).

(6) The stock or handle of a whip.

(7) In equine use, variously (1) a short riding whip consisting of a stock without a lash (also called riding crop) or (2) less commonly, the lashing end of a whip, both styles used in the BDSM community.

(8) In zoology, a pouch in the esophagus of many birds, in which food is held for later digestion or for regurgitation to nestlings (also called the craw);  a chamber or pouch in the foregut of arthropods and annelids for holding and partly crushing food.

(9) In agriculture, the act of cropping (including having animals crop by allowing them to eat what’s growing).

(10) A mark produced by clipping the ears (used with cattle and other livestock).

(11) In hairdressing, a close-cropped hairstyle or a head of hair so cut.

(12) An entire tanned hide of an animal.

(13) In mining, (1) an outcrop of a vein or seam or (2) tin ore prepared for smelting.

(14) To cut off or remove the head or top of plants, grass etc; to cut off the ends or part of something; to cut short.

(15) As crop-top (or crop top & croptop), a shirt or top cut high to expose the midriff.

(16) In photography and image manipulation, to cut off unwanted parts of a print, negative or digital image (historically those parts at the edges but the term has long been used for general editing).

(17) The entire tanned hide of an animal.

(18) In medicine and pathology, a group of vesicles at the same stage of development in a disease.

(19) In geology, the shortened form of outcrop.

(20) In architecture, the foliate part of a finial.

Pre 900: From the Middle English crop & croppe, from the Old English crop & cropp & croppa (sprout, or top of a plant, bunch or cluster of flowers, ear of wheat (or other grain), paunch, crown of a tree, craw of a bird, a kidney), from the Proto-West Germanic kropp, from the Proto-Germanic kruppaz (body, trunk, crop), from the primitive Indo-European grewb- (to warp, bend, crawl).  It was cognate with Dutch krop (crop), the German Low German Kropp (a swelling on the neck, the craw, maw), the German Kropf (the craw, ear of grain, head of lettuce or cabbage), the Swedish kropp (body, trunk), the Norwegian kröypa (to bend), the Old Norse kroppr (rump, body) and the Icelandic kroppur (a hunch on the body).  Crop was related to crap and was a doublet of group and croup.  The verb was from the Middle English croppen (to cut, pluck and eat), from the Old English croppian.  It was cognate with the Scots crap (to crop), the Dutch kroppen (to cram, digest), the Low German kröppen (to cut, crop, stuff the craw), the German kröpfen (to crop), the Icelandic kroppa (to cut, crop, pick); the sense of all was literally, to remove the crop (top, head, ear) of a plant.  Crop is a noun & verb, cropping & cropped (cropt was the archaic spelling); the noun plural is crops.

Lindsay Lohan in crop tops.  All these photographs have been cropped to render them in the same aspect ratio.

Crop started modestly enough for a word which evolved to enjoy such a definitional range and use idiomatic form: In the Old English it meant only (1) craw of a bird & (2) rounded head or top of a herb and while the latter is found also in High German dialects, the subsequent developments in the sense of “head or top” generally and of “produce to be harvested from the fields” appear exclusive to English.  The meaning "grain and other cultivated plants grown and harvested" (especially "the grain yield of one year"), having been in Anglo-Latin in the early 1200s, was adopted in Middle English a century later, the sense development thought something which happened under the influence of the early thirteenth century verbal meaning "cut off the top of a plant".  From the notion in agriculture of “top” cam the use to describe the "upper part of a whip" which evolved by the 1560s be the "handle of a whip" (1560s) and thus by 1857 "a kind of whip used by horsemen in the hunting field" (1857).  Unlike traditional whips (which were really one long lash), it proved useful in having a rigid handle and thus could be hand for things like opening gates or other tasks when a wand or stick helped.

Riding crops are a staple device in the BDSM (Bondage, Discipline (although some say Dominance & submission is more indicative of actual practice) & SadoMasochism) community.  The photograph at the right was a "mid-session" promotional shot and has been cropped. 

The general sense of "anything gathered when ready or in season" dates from the 1570s and the idea of the “thick, short head of hair" was from 1795, both developed from the late fourteenth century sense of "top or highest part of anything".  In Middle English, crop and rote (the whole plant, crop and root) was figurative of totality or perfection.  The concept of the crop-circle dates from a surprisingly recent 1974 although they had been noted before.  The verb in the sense of “cut off the top of a plant” evolved from the verb around the turn of the thirteenth century, extended by circa 1350 to animals (originally of sheep) feeding on plants.  The general meaning “to cut off” dates from the mid fifteenth century, used from circa 1600 to refer to the practice of “cutting off a part of the ear of an animal as a mark of identification and ownership”.  In tailoring, as a term to describe the clipping of cloth, it’s been in use since 1711 and surprisingly perhaps, in fashion the staple crop top seems first to have been described as such only after 1984.  Crop and harvest can for many purposes be used interchangeably to refer to a season’s produce.  Yield refers to the return in food obtained from land at the end of a season of growth and can also be used in highly technical ways to measure metrics of specific efficiency and output.  Crop also denotes the amount produced at one cutting or for one particular season while harvest denotes either the time of reaping and gathering, or the gathering, or that which is gathered: the season of harvest; to work in a harvest; a ripe harvest.  Produce once described little more than household vegetables and still has that sense but the use has expanded.

Top before & after: The undesirable part of the photo has been cropped-out.  Lower before & after: The undesirable part of the photo has been edited-out.

In photography and image manipulation, cropping is the cutting off of un-wanted parts of a print, negative or digital image.  Technically, a crop is performed only at the edges and the removal of any other part is an edit by "crop" has long been industry slang for just about any modification.

Crop-up (to sprout, appear apparently without design from below the surface), although now most associated with agriculture was actually a mid-nineteenth century borrowing from mining where it referred to the geological phenomenon of the veins of ore or strata of rock “coming to the surface and becoming visible on the ground", that use noted since the 1660s.  The cropper dates from 1858 (usually as “come-a-cropper”) was a fall, originally from horseback and, as it usually involved the rider being thrown over the horse's head, there was always the connotation of failure but it now refers to a fall of any kind and elicits usually sympathy or myth depending on the severity of injury.  Also based on the idea of “head, sprout or top”, outcrop was first use in geology in 1801 to mean “exposure of rocks at the surface”.  The noun sharecropper (and share-cropper) was coined 1887 to describe the particular form of leasehold used in the southern US whereby a land-holder would lease land to a tenant to plant and harvest, also receiving a defined share of the crop. The noun share-crop came into use in 1867 and was used as a verb by 1871 although the noun sharecropping seems not to have been in use before 1936.  The cash-crop was one produced for sale rather than consumption; a bumper crop was a very good harvest (based on an old meaning of bumper as “big, full to the brim”); and crop rotation was a method of agricultural management designed to preserve the fertility of soil and limit the proliferation of pests; crop dusting was the spraying of crops with fertilizer or insecticide from low-flying aircraft dubbed crop-dusters; the cream of the crop is the best of any particular group.

Sketch

Sketch (pronounced skech)

(1) A simply or hastily executed drawing or painting, especially a preliminary one, giving the essential features without the details, later to be elaborated.

(2) A rough design, plan, or draft, as of a book.

(3) A brief or hasty outline of facts, occurrences etc.

(4) As thumbnail sketch, a piece of text which summaries someone or something.

(5) A short, usually descriptive, essay, history, or story.

(6) A short play or slight dramatic performance, as one forming part of a variety or vaudeville program; a short comedy routine (a skit).

(7) To make a sketch.

(8) To summarize, to set forth in a brief or general account.

(9) In metallurgy, to mark a piece of metal for cutting.

(10) In music, a short evocative instrumental piece, used especially with compositions for the piano.

(11) In the slang of the Irish criminal class, as “to keep (a) sketch), to maintain a lookout; to be vigilant; watch for something.

(12) In journalism, as parliamentary sketch, a newspaper article summarizing political events which attempts to make serious points in a lest than obviously serious manner (mostly UK).

(13) In category theory, a formal specification of a mathematical structure or a data type described in terms of a graph and diagrams (and cones (and cocones)) on it. It can be implemented by means of “models” (functors) which are graph homomorphisms from the formal specification to categories such that the diagrams become commutative, the cones become limiting (ie products) and the cocones become colimiting (ie sums).

1660–1670: From the Dutch schets (noun), from the Italian schizzo, from the Latin schedium (extemporaneous poem), noun use of neuter of schedius (extempore; hastily made), from the Ancient Greek σχέδιος (skhédios) (made suddenly, off-hand, unprepared), from σχεδόν (skhedón) (near, nearby), from ἔχω (ékhō) (I hold).  The German Skizze, the French esquisse & the Spanish esquicio are also from the Italian schizzo.  The related forms are the nouns sketcher & sketchiness, the adverbs sketchily & sketchingly and the adjectives sketchlike and sketchable.

Sketch became a verb in the 1660s in the sense of “present the essential facts of" and was derived from the earlier noun. This idea of a sketch as a “brief account” by 1789 had enlarged to a "short play or performance, usually comic", still maintaining the connection from art as something less than full-scale, the reference to comedy suggesting something slight rather than a serious work.  The sketch-book was first recorded in 1820.  That sense extended beyond text to art and design from 1725 when it came also to mean "draw, portray in outline and partial shading", firstly to describe simple drawings, referring later to preparatory work for more elaborate creations.  The adjective sketchy is noted from 1805, describing art “having the form or character of a sketch".  The colloquial sense of "unsubstantial, imperfect, flimsy" is from 1878, possibly to convey the sense of something "unfinished".  Adumbrate (faint sketch, imperfect representation), actually pre-dates sketch, noted first in the 1550s.  It was from the Latin adumbrationem (nominative adumbratio) (a sketch in shadow, sketch, outline).  The meaning "to overshadow" is from the 1660s at which time emerged the derived forms adumbrated and adumbrating and related forms are adumbration (noun), adumbrative (adjective) and adumbratively (adverb).

Sketches of Spain

Although not yet regarded as the landmark in jazz it would come to be in the decades which followed its release in 1959, even in 1960 Miles Davis’ (1926-1991) Kind of Blue had already created among some aficionados an expectation; realising it was something special, this was what they hoped would be the definitive Davis style and they were anxious for more.  The next release however, wasn’t indicative of what was to come, Workin' with the Miles Davis Quintet (1960 Cat# Prestige P-7166) was the third of four albums assembled from sessions recorded long before the Kind of Blue sessions and released to fulfil contractual obligations to the independent label Prestige.  Although some purists were pleased, after Kind of Blue, the music seemed old-fashioned.

Miles Davis, Kind of Blue, (1959, Columbia, Cat# CS 8163).

Davis had enjoyed considerable success in the 1950s but, needing the distribution and promotional network of a major label to reach a wider audience, he’d signed with Colombia (CBS internationally).  The early Colombia releases had been well received but it was the sixth, Kind of Blue, which made him a star beyond the world of jazz, the album selling in volumes unprecedented in the genre; to date, over four million copies are said to have been shipped.  Davis had been innovative before, his performance at the 1954 Newport Jazz Festival defining what had come to be called “hard bop” (a flavor of jazz influenced by other forms, especially rhythm and blues) but the appeal extended little beyond already established audiences.  What made Kind of Blue so significant was that Davis essentially created modal jazz which shifted the technique from one where the players worked within a set chord progression to soloists creating melodies using modes which could be deployed alone or in multiples.  Musicians explain the significance of this as a movement to the horizontal (the scale) rather than the traditional vertical (the chord).  In the somewhat insular world of jazz, that would anyway have been interesting but the sound captivated those beyond and was a landmark in what would come to be known as musical fusion, the cross-fertilisation of sound and technique.  Among composers, fusion was nothing new but Kind of Blue realised its implications in a tight, seductive package.

Miles Davis, Sketches of Spain, (1959, Columbia, Cat# CS 8271).

Sketches of Spain too was a fusion but it was different to what had come before and no attempt to be Kind of Blue II.  For one thing, the sound was big, recorded in the famously cavernous converted church in Manhattan which for decades was Colombia’s recording studio.  Lined with old timber and with a ceiling which stretched 100 feet (30 m) high, technicians called it the “temple of sound” because of the extraordinary acoustic properties.  The ensemble too was big, a necessity because this time the fusion was with the orchestral, the long opening track an arrangement by Davis and Gil Evans (1912-1988) of the adagio movement of Joaquín Rodrigo’s (1901-1999) guitar concerto, Concierto de Aranjuez.  Such was the extent of the fusion there were traditionalists who doubted Sketches of Spain could still be called jazz; they saluted the virtuosity but seemed to miss the sometimes arcane complexities in construction inaccessible except to the knowing few.

Miles Davis, Bitches Brew (1970, CBS, Cat# S 66236).

A wider world however was entranced and technical progress needs also to be noted.  Colombia had recorded Davis before in the then still novel stereo but even fans acknowledged the mono pressings remained superior and it wasn’t until 1960, after extensive testing and the refinement of equipment that the technique had been perfected.  Sketches of Spain was lush or austere as the moment demanded, listeners new to stereo especially enchanted at being able to hear the sounds hanging in a three-dimensional space, each instrument a distinct object in time and place.  Nobody asked for mono after that.  Influential as it was, to Davis, Sketches of Spain was just another phase.  Ten years later, noting the increasing sparse audiences in jazz clubs and aware a new generation had different sensibilities, Davis would fuse with other, more recent traditions and Bitches Brew would cast his shadow over a new decade.

Six photographs of Lindsay Lohan, rendered in software as pencil sketches.