Ambergris

Ambergris (pronounced am-ber-grees or am-ber-gris)

The waxy, sometimes opaque (the color from ash-gret to jet black) morbid secretion of the sperm whale intestine, usually found floating on the ocean or washed ashore: used in perfumery and (historically), in cooking & folk medicine.

1375–1425: From the Old & Middle French ambre gris (literally gray amber) which replaced the Middle English imbergres.  The construct was thus amber + gris.  Amber was from the Middle English ambre & aumbre, from the Old French aumbre & ambre, from the Arabic عَنْبَر‎ (ʿanbar), (ambergris), from the Middle Persian anbar & ambar (ambergris).  The word displaced the Middle English smulting (from Old English smelting (amber)), the Old English eolhsand (amber), the Old English glær (amber), and the Old English sāp (amber, resin, pomade).  Most etymologists seem to conclude the Arabic anbar entered European languages via Medieval Latin.  Gris was from the Old French or the Old Occitan gris (grey), both from the Frankish grīs, from the Proto-Germanic grīsaz (grey) and was akin to the Old High German grīs (grey) (source of the modern German greis) and the Dutch grijs (grey).  The now largely obsolete spellings were amber-gris & amber gris and the latter was for centuries the usual form, the single-word spelling not predominate until the nineteenth century.  During the seventeenth century, folk etymologies interpreted the form as “amber grease” or “amber of Greece” and regionally both were for some time in common use.  Until the twentieth century, the clipping “amber” was also in use and this was the original form, the “grey” element appended in the fourteenth century as a point of differentiation after the adoption in Romance languages of “amber” as the term to describe Baltic amber (the resin associated with fossils) and gradually, that use came to replace “yellow amber” (ambre jaune).  In modern use, amber is understood as the color and the resin white ambergris is the whale secretion.  Ambergris is a noun; the noun plural is plural ambergrises (although ambergris is in common use).

Lindsay Lohan in an advertisement for FCUK (French Connection UK).  According to FCUK, their fragrances have never used ambergris in the mix.

Curiously, the knowledge of the origin of ambergris was for centuries lost to European science.  Notes about the relationship of the substance to whales were later found in the papers of the eleventh century physician Constantinus Africanus (a Muslim of North African origin who spent the latter part of his life practicing his profession in Italy) but as late as the eighteenth century the matter was still subject to speculation, some of the theories as bizarre as anything contemplated during Antiquity to explain the existence of the mysterious eel and others were also baffled; both the Malays and the Chinese attributed the source of ambergris to either sea-dragons or sea-serpents.  It was though prized for its scent and authors noted the relationship between color and fragrance: the darker the less pleasing one was to the nose.  However, chefs had to be cautious because as noted by the English poet & satirist Alexander Pope (1688-1744): A little whiff of it, by snatches, is very agreeable; but when a man holds a whole lump of it to his nose, it is a stink and strikes you down”.  It was thus much enjoyed but only in small doses and rather as a little truffle might be grated today over a plate of scrambled eggs, so was ambergris once used, eggs with a dusting said to be the favorite dish of Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685).

Chanel No.5 concentrate.

That a waxy substance which is a mixture of steroid derivatives (consisting mainly of cholesterol) and secreted by the intestinal tract of the sperm whale should be a prized ingredient of the most expensive scents amuses many, some of who enjoy telling those daubed with the stuff they’re wearing “whale shit”, “whale vomit” or “whale snot”.  That’s of course not correct and in some cases, there’s not even a direct connection with the big mammals, even some high-end perfume houses using a synthetic ambroxide rather than ambergris and recent research has determined a gene from balsam fir is a most efficient producer of ambroxide so use of the traditional ingredient might become more rare still.  There’s long been speculation about whether the famous Chanel No.5 even included ambergris and the conclusion of most is that certainly once it did but now nobody is quite sure; Chanel have always declined to comment.  Both the natural and synthetic compounds produce an apparently unique chemical called ambrein and while the fragrance is the most obvious property, the perfume houses prized it also as a fixative, something which extends the endurance of the potency of the fluid (and thus the appeal to the olfactory senses) by reducing the natural propensity to evaporate.  In some jurisdictions the trade in (and even the gathering of) ambergris is prohibited, a reflection of the practice applied to trade in the body parts of other threatened species but the ban has be criticized because no whale is harmed (or even approached) in the harvesting process.

Three shades of grey: White, brown & black ambergris.

Ambergris is expensive for the most obvious reason in a world of supply and demand: rarity.  For reasons not understood, it appears fewer than 2% of sperm whales produce the substance and chunks of it can drift for years in the ocean currents before washing ashore to be collected, either by a lucky beachgoer or (more probably) by professional harvesters who study tidal charts and the migration patterns of whale herds to determine the most likely spots for a crop.  It can certainly be a lucrative business, brokers or perfumers paying thousands of dollars a kilogram and it’s the color (there are three color-based grades) and quality which determines the value, not the volume.  The white ambergris is the highest grade and thus the most expensive, possessing what aficionados describe as a “well-rounded, delicately soft, sweet, marine scent” and one which intensifies with age, an ambergris left undiscovered for years will “cure” finally to mature as a dusty, bright white chunk.  While less exalted, brown ambergris is the most versatile of the three and adaptable for use in more variations of scent, straddling the qualities and characteristics of the white and black.  Brown ambergris is noted for its woodier, tobacco-like fragrance and is probably closest in nature to musk.  Black ambergris is said by some to be almost brutish but, lack the delicate tones of the light shades, this can be an advantage for those formulating something like an aromatherapy oil which will be dispersed over a large space.  Noted for a pungent smell, it uses are limited because to most it seems more faecal than brown or white ambergris, but it’s very primitiveness makes it attractive for the niche market it serves.  In a sense it’s just another commodity so the retail prices do bounce around but the lighter shades tend to sell for as much as US$35 a gram.

Meme

Meme (pronounced meem)

(1) Any unit of cultural information, such as a practice or idea, that is transmitted orally or by repeated action (by imitation) from one mind to another, through generations, in a manner comparable to the transmission of genes; the synonym is culturgen

(2) On the internet, a cultural item in the form of an image, video, phrase etc, that is spread and often altered in a creative or humorous way.

(3) In Internet slang, a derogatory term to describe something not to be taken seriously (meme job, meme degree etc).

(4) To turn into a meme; to use a meme.

1976: From the Ancient Greek mīmeîsthai (to imitate, copy) and a shortening of mimeme, from the Ancient Greek μίμημα (mīmēma) (imitated thing) from μιμεῖσθαι (mīmeîsthai) (to imitate), from μῖμος (mimos) (imitation, copy; mime).  Structurally, the word was shortened (following the model of gene) from mimeme and anglicized to emulate the form of a noun derived from the Ancient Greek mīméomai with the deverbal suffix -μα (-ma), from μῖμος (mîmos).  The word was coined by British evolutionary biologist Richard Dawkins (b 1941) and used first in his 1976 book The Selfish Gene.  The construct was m(ime) +‎ -eme and Dawkins apologized to classical scholars for what they would think a most improper form, explaining he wanted something monosyllabic and if they preferred they could think of it as related to the French word même (“same or alike” although the meaning does shift with the context of use).  Helpfully, he added it should be pronounced to rhyme with “cream”.  In the way English forms proliferate (often with short lives) on the internet, meme has been the source of many coining including dank meme, memeable, memedom, memesque, meme-maker, memeable, memed, memeplex, meme-pool, memescape, memetic, memeworthy, memey, memome & memeable.  Meme is a noun & verb; the noun plural is memes 

Barack Obama (b 1961; US president 2009-2017) & crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).

The more widely used concept of “a cultural fragment distributed on the internet” was created by lawyer Michael Godwin (b 1956) of the Electronic Frontier Foundation (EFF) and was first documented in 1994, use beginning to spike in 1997.  Godwin was the author also of Godwin's law (rule) which states that the longer an online exchange lasts, the greater the probability that some comparison with Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945) or the Nazi regime will be invoked.  There’s some evidence suggesting the rule may not (statistically) operate as described but it remains a useful tool for determining the point at which a discussion has passed a certain threshold.  The concept of the meme is very old, examples noted in the graffiti of Antiquity and anthropologists have cited prehistoric example; the pre-internet exemplar in the modern age being "Kilroy was here" which proliferated with extraordinary rapidity during World War II (1939-1945).  Many languages have adopted meme, some in the original sense from biological science, most in the more recent application used on the internet but there are other meanings.  There was the French même and the Turkish meme was from the Ottoman Turkish ممه‎ (nipple, breast (and described by most dictionaries as “a childish term”)), following the Ancient Greek μᾰ́μμη (mámmē) and the Persian ممه‎ (mame).  Meme is a noun, verb & adjective and meamed & meaming are verbs;the noun plural is memes.

Looking over her shoulder: Donald Trump (b 1946; US president 2017-2021 and since 2025) watching wife Melania (b 1970, US First Lady 2017-2021 and since 2025) voting.

Dawkins coined meme to describe the concept of the intra- and trans-generational cultural spread of ideas and cultural phenomena, his construct being analogous with the agent of evolutionary biology, the gene.  He didn’t claim the idea was new, noting the earlier work of geneticists & ethologists and as early as 1904 German zoologist Richard Semon (1859-1918) had published The Mneme and mneme in which he included his theory which explored a vaguely similar idea although one which was later disproved as understandings of genetics improved.  Closer to the thoughts of Dawkins was La Vie des Termites (The Life of White Ants (1926)), an entomological book by Nobel laureate in literature Maurice Maeterlinck (1862–1949) which remains controversial because of the extent of the author’s plagiarism although he would later acknowledge a debt to the nineteenth century work of English biologist TH Huxley (1825–1895).

Memes can be self-generated for purposes of ambush marketing.  Lindsay Lohan risked going straight to Hell by purloining Pope Francis (1936-2025; pope 2013-2025) to promote Xanax.

Dawkins' point was that evolution depended ultimately only a self-replicating unit of transmission which, in biological evolution, was the gene and by analogy, human behaviour and cultural evolution could helpfully be described, at least in part, by memes, subject as they were to the influences and pressures of evolution.  Also, just as genes don’t always replicate as exact duplicates, memes existed and replicated imperfectly, things being combined, refined and rejected, the interactions creating new memes and thus, over time, cultures in some ways stayed the same; in others, things changed.  The concept was well-received by cultural theorists and critics but less effusive were many scientists, some of whom felt the gene/meme analogy a bit strained because, unlike genetic material, memes couldn’t be studied by the scientific method nor reduced to mathematical description, there being nothing even vaguely similar to the DNA which is the definable code of the gene.

Churchill, Roosevelt & Stalin, Yalta, 1945.  Things weren't always happy between the three.

Held in Livadia, Yusupov, and Vorontsov palaces at Yalta in the Soviet Union between 4-11 February 1945, the Yalta Conference was the second of the three decisive meetings between the leaders of government of the United Kingdom, United States and the Soviet Union, the first being Tehran (28 November-1 December 1943) and the third Potsdam (17 July-2 August 1945).  Of the three, it was the business done at Yalta which was most decisive and what was agreed there decided for decades the political and military dynamics in Europe and beyond.  More to the point, just as significant was what the UK and US allowed themselves to believe comrade Stalin had agreed to, what unfolded on the ground somewhat different.  Of the leaders, only comrade Stalin (1878-1953; Soviet leader 1924-1953) was there from start to finish, Harry Truman (1884–1972; US president 1945-1953) attending the Potsdam conference because of the death of Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) while midway through that event, Clement Attlee (1883–1967; UK prime-minister 1945-1951) replaced Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) after the latter’s defeat in the general election.  If comrade Stalin needed any proof democracy was a bad idea, the results of the UK’s 1945 election provided plenty.  The group photographs from the Yalta Conference were among the most re-produced images from World War II and they’re been repurposed by the meme-makers:

Comrade Bernie Sanders, (b 1941; US senator (independent) for Vermont since 2007 and "Crazy Bernie" in Donald Trump's (b 1946; US president 2017-2021 and since 2025) naming system) bookends the Yalta Conference with comrade Stalin.

The image of comrade Bernie was from him in mittens at Joe Biden's (b 1942; US president 2021-2025) inauguration, Washington DC, 20 January 2021.  Vermont folk are used to cold winters and the mittens were knitted by Vermont elementary school teacher Jen Ellis.  The publicity generated by the inauguration photograph saw a sudden spike in demand and within hours of the posting, orders for thousands of pairs had been received.  Noting the interest, Ms Ellis immediately made three pairs for auction, the proceeds split between charities and her daughter's college fund.  An artisan creator and not in a position to support mass-production, the mitten-maker entered an arrangement with a manufacturer to produce a range of socks with the same pattern, the proceeds going to Vermont food banks, a cause which doubtlessly comrade Bernie supported.

Lindsay Lohan sitting at Churchill's right hand.

The image of Lindsay Lohan in 2007, resting (just before dawn) in a Cadillac Escalade in Los Angeles in May 2007 was one of that year's most widely circulated memes, creators taking advantage of the striking similarity between her sleeping form and that of L'Estasi di Santa Teresa (The Ecstasy of Saint Teresa; sometimes called The Transverberation of Saint Teresa), a sculptural group in white marble, carved by Gianlorenzo Bernini (1598-1680) in 1652 and located in the Cornaro Chapel (1626), at Santa Maria della Vittoria, Rome.  The famous photo of Lindsay Lohan was taken during her "troubled starlet" phase.

A quadrilateral meeting to discuss German war guilt reparations and allied debts accumulated during World War I (1914-1918): Raymond Poincaré (1860–1934; President of France 1913-1920, left), Andrew Bonar Law (1858–1923; Prime Minister of the United Kingdom 1922-1923. centre-left), Benito Mussolini (1883-1945; Duce (leader) & Prime-Minister of Italy 1922-1943, centre right) and Georges Theunis (1873–1966; Prime Minister of Belgium 1921-1925 & 1934-1935, right), 10 Downing Street, London, December 1922.

Memes can be retrospective.  This was an obscure photograph which until the twenty-first century had appeared only in some specialist history texts but as the internet achieved critical mass, memes became a thing and Mussolini’s sanpaku eyes were a gift for the meme-makers, most captions suggesting the duce may have had a sudden premonition of his own unfortunate end although others offered: “I feel naked without a moustache”, “I think I have imposter syndrome”, “Oh God, I just pooped my pants”, “I know one of these men is a Freemason but I don't know which” and “I wonder if they can tell I've smoked some weed”.  However, although not noted as a mystic, he may have sensed another's impending death, “sitteth at the right hand”, Andrew Bonar Law then having only months to live.

Objectum

Objectum (pronounced ob-jikt-tum or ob-jekt-tum)

(1) In the categorization of human sexuality (also as object sexuality or objectophilia), a form of interest focused on one or a number of particular inanimate objects.  It must not be confused with sexual objectification.

(2) In philosophy, a now mostly obsolete descriptor of that towards which cognition is directed, as contrasted with the thinking subject; anything regarded as external to the mind, especially in the external world.

Pre 1000:  From the Medieval Latin objectum (something thrown down or presented (to the mind)), noun use of the neuter of objectus (past participle of objicere) from obicere, the construct being ob- (against; facing (a combining prefix found in verbs of Latin origin)) + jec- (combining form of jacere (to throw)) + -tus (past participle suffix) and a gloss of the Ancient Greek ἀντικείμενον (antikeímenon).  From this Middle English gained objecten (to argue against), from the Middle French objecter & objeter from the Latin objectāre (to throw or put before, oppose) and later (circa 1325-1375), the more familiar object (something perceived, purpose, objection).  The sense of object describing a “tangible and visible thing” emerged in the late fourteenth century from the Old French object and directly from Medieval Latin obiectum (thing put before (the mind or sight)).  Objectum is a noun & adjective and objectism is a noun; the noun plural is objectums. 

The O in LGBTQQIAAOP

Objectum Sexuality (OS) and objectum romanticism (OR), both often clipped to "objectum", is the attraction to inanimate objects, a feeling which can be sexual, romantic or both and can be a form of tertiary attraction.  The objects to which an objectum individual is attracted are often called "beloved objects" and not infrequently have names and personalities given to them by their objectum lover.  Beloved objects have included buildings, light fittings, bridges, cars, statues, fences, water, musical instruments, articles of clothing, and amusement park rides although objects do not have to be tangible and can include logos or letters, thus the linking by some psychiatrists to synesthesia.  Some objectum people are poly-amorous, dedicated to many objects, some are devoted to a single thing and both may either be also attracted to people or drawn exclusively to objects.  Objectum sexuality is different from a sexual paraphilia as a paraphilia does not imply a devoted personal relationship, feeling mutual and reciprocal attraction, and usually does not include animistic beliefs.  Academic work has developed a spectrum defining the differences between object fetishism and objectum orientation, the most interesting interactions presumably at the margins.

The modern, somewhat opportunistic, adoption of objectum by the OS/OR community wasn’t widely embraced by the medical profession which preferred first objectophilia and later, object sexuality although, in American psychiatry, prior to the publication of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM), objectophilia was regarded as just another example of "psychopathic personality with pathologic sexuality".  The DSM-I (1952) included sexual deviation as a personality disorder of a sociopathic subtype although objectophilia attracted little professional interest, probably, and quite reasonably, because the “victims” were inanimate.  The DSM-II (1968) and subsequent DSM editions, up to DSM-IV-TR (2000) continued this neglect of the topic, DSM-IV-TR noting a paraphilia is not diagnosable as a psychiatric disorder unless it causes distress to the individual or harm to others.  The DSM-5 (2013) formalised this approach, both the definitional and clinical distinctions now focused on harm to individuals rather than deviations from defined norms.

Some objects are so beautiful, people fall in love.  Ferruccio Lamborghini (1916-1993) gazing at the Lamborghini Miura (1963-1973), Sant’Agata, Italy, 1966.

The Lamborghini Miura first appeared (without the bodywork) at the 1965 Turin Motor Show when a rolling chassis was displayed, the packaging intriguing knowing onlookers, the mid-mounted transverse V12 engine the highlight of what was clearly a revolutionary design though even at the time, engineers speculated about how layout would affect its driving characteristics.  The interest at Turin however was nothing like the reaction the following year when the Miura was displayed at the Geneva Salon.  It had been at Geneva half-a-decade earlier when the Jaguar E-Type (1961-1974) had created such a sensation but while the E-Type was the final stylistic evolution of the classic 1930s-1950s roadster, the Miura was a glimpse of the future, the influence of its lines seen still in the hypercars of the twenty first century.  Built in three distinct versions, the factory introduced changes designed to ameliorate some of the characteristics induced by the physics of unusual layout and while the behavior (exhibited at the very high speed of which it was capable) was to some extent tamed, a Miura at the limits was never something predictable in the manner of contemporary front-engined Ferraris.  None of that now much matters because the Miura is achingly beautiful and were it not contrary to the laws of man and God, there would be those who would marry one.

Flag of the Objectum movement.

In the spirit of the rainbow banner which began as the symbol of the gay liberation movement (though it's now used generally by a number of the sub-sets in the LGBTQQIAAOP aggregation), the objectum community has its own flag.  Blue represents physical objects, whether man-made or nature based; gray references abstract or non-tangible inanimate objects; yellow is eye catching and bright, representing public objects; purple is muted and calming, representing personal objects; white represents the animistic belief held by many of the OS & OR; the red circle represents the objectum community and is filled in with the flag’s core color of white to represent the spirit the objectum sense in their beloved objects.

A tactile relationship: Mr & Mrs Eiffel.

Erika Eiffel (b 1972, née LaBrie) was probably the woman who brought objectum sexuality to a wider (if not wholly receptive) audience when in 2008 the documentary Married to the Eiffel Tower appeared online.  It "celebrated" a long-term relationship which dated back a decade although Mrs Eiffel changed her surname only in 2007 after a commitment ceremony and she heads Objectum Sexuality Internationale (OSI), a 400-strong association of object-oriented individuals.  The documentary would have been more interesting had it not focused on the least interesting aspects of OS & OR: The sexual nature of the relationships and the notion the inclination is a quest for control attributable to prior abuse and mental illness.

Just good friends: Lindsay Lohan in polka dots with la tour Eiffel, Paris Fashion Week, 2019.

Being click-bait, that was of course as inevitable as the ferocity of the reaction but whatever the feelings of YouTube viewers, the profession has moved on and for some time has not diagnosed objectum sexuality as a psychiatric disorder and both the definitional and clinical distinctions now focus on harm to individuals rather than deviations from defined norms.  The basis for the change in view appears to be that OS & OR should be thought of as just another fork of the human condition, the logical (if not commonly pursued) conclusion for those (like Henry Ford (1863-1947) and others) happy to admit they are at their most content when alone with a machine.  That was certainly Mrs Eiffel’s profile.  A world-class recurve archer, while never attracted to romantic associations with people in her lifetime there have been many significant relationships with inanimate objects including a Japanese sword, her archery bows, a bridge, machinery she’s operated and of course, la tour Eiffel.

Especial

Especial (pronounced ih-spesh-uhl)

(1) Special; exceptional; outstanding.

(2) Of a particular kind, or peculiar to a particular one; particular.

(3) In commerce (as "special"), whatever an advertiser wishes it to mean.

1350-1375: From the Middle English especial, from the Old and Middle French especial (pre-eminent, important) from the Latin speciālis (pertaining to a particular kind or species) from species (appearance, form, beauty), from specere (to look).  In French, the forms differed: Latin words with initial sp-, st- and sc- usually acquired an e- when borrowed by Old French whereas Modern French has restored the word to spécial.  The adverb especially emerged in the late fourteenth century, shortly after the adjective.  Especial is an adjective and (in commerce with an initial capital) a proper noun, the rare especialness is a noun and especially is an adverb; the proper noun plural is Especials.

Meanings of special and especial are essentially the same yet usage differs.  Special is common, especial rare, specially is rare, especially common.  Most dictionaries however maintain especial and especially should have a more limited use than special and specially.  Special is always used in preference to especial when the sense is one of being out of the ordinary.  Special is also used when something is referred to as being for a particular purpose.  Where an idea of pre-eminence or individuality is involved, either especial or special may be used,  In informal English however, special is usually preferred in all contexts but especially tends to prevail, probably because it’s a sound which more easily rolls of the tongue.  Special is by far more common than especial; the Corpus of Contemporary American English (COCA) claims special is used some six-hundred times for every time especial is used.  It’s more economical too for unlike especial, special does not demand to be followed by a noun.  However, all of this applies to English and in Spanish the adjective especial is common.  To purists, use of especial should be rare and use confined to particular contexts where it collocates with particular nouns and especially where it avoids conflicts with other specific meanings: An especial interest or an especial value meaning something different than a special interest or special value.  In A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) observed the characteristic sense of especial & especially was "pre-eminence of the particular as opposed to the ordinary" whereas special & specially were used to convey the idea of the "particular as opposed to the general".  However, he proceeded to acknowledge modern practice which tended to use such special for all such purposes, leaving it for the recipient to pick up the meaning from the context, something he seemed to concede was "possible" if not "preferable" and he noted the continuing popularity of especially, lamenting only that it appeared to encourage tautology, constructions like "more especially" condemned.      

Special relativity: Being especially special

Holden, the General Motors (GM) Australian subsidiary, for over a decade had it pretty easy, enjoying a fifty-percent market share despite by the early 1960s its products being, whatever their other virtues, outdated and underpowered.  GM would later respond but in the short-term, resorted to a bit of tarting-up (the term "bling" would come later but as early as the 1950s designers described add-on decorative bits as "gorp", creating a noun & verb from the acronym which stood for "granola, oats, raisins, peanuts", a popular nutritional mix carried by hikers, bush-walkers and such (the designers' notion being the adding of a bit of everything).  Holden had for ten years used the Special designation for their up-market offering but in 1962 added a new top of the range model called the Premier, meaning the Special was no longer so special.  Despite this, the name endured another six years before becoming the Kingswood which was no more special and the new name meant nothing in particular.  Confusing things still further, for most of the years it existed, the Special was actually the best-selling Holden, the other models, the Standard and the shorter-lived Business, enjoyed lower sales so in that sense, the Special was the standard model rather than the Standard.

So, by 1968, GM had in Australia ceased to call anything Special though much of their advertising continued to suggest everything they sold was special in some way.  In the US, GM's use of the Special badge started sooner and lasted longer, Buick using it first in 1936, curiously for their lowest-priced model, a placement similar to that seen sometimes in education where it was applied to classes or schools for those with learning difficulties (although that use has ceased, falling foul of the linguistic treadmill).  Buick of course no more wanted their customers to make a connection with "special education" any more than with Albert Einstein's (1879-1955) theory of special relativity which explains how space and time are linked for objects moving at a consistent speed in a straight line.  Buick's interest in relativity was probably limited to that between the models in its line-up and Special really meant nothing other than being a word thought to have generally positive associations.

With the introduction in 1962 of the Premier, Holden’s Special had ceased to be the most expensive of the line but as competition increased and rising prosperity overtook the land, it was clear “more special” names had to be concocted to convince the middle-class they were buying something for the “upper middle-class” and during the 1960s and 1970s Holden added “Brougham”, “Statesman” and “Caprice”, suffixes like “De Ville” & “SL/E” sometimes appended to versions a bit more special.  In 1971, when advertising the first Statesman De Ville, the company even neglected to include the “Holden” name anywhere in the copy, the corporate logo instead surrounded by a Cadillacesque wreath.  The approach didn’t last and between 1974 and the end of production in 2017, it was the “Holden Caprice” (sometimes as “Holden Statesman Caprice”) which was top-of the-range.

1953 Buick Special's 263 cubic inch straight-eight.  Although it didn't exactly live up to the implications in the "Fireball" name, the characteristics suited the profile of Buick buyers.

Then as now, Buick buyers didn’t like change but sometimes progress meant it was forced upon them.  The 1953 Buick Special was the last of the Buick overhead valve (OHV) straight-eights after a two decade run of legendary reliability and smoothness, and it existed to ensure the last stocks of the old engine were used, the new 322 cubic inch (5.3 litre) OHV "nailhead" V8 introduced that year for the rest of the range; the 1953 Special is a footnote also for the last appearance of 6-volt electrics in a Buick.  The straight-eight’s swansong was a bit low key because the big 320 (5.2) unit was dropped after 1952 so the 1953 Specials left the line with a the 263 (4.3) version which although labelled “Fireball”, was renowned for unobtrusive smoothness rather than high-performance and in that spirit Chrysler later adopted the name for V8s equally polite.  The technology of the time required two editions of the Special’s straight-eight, the one using the “Dynaflow” two-speed (semi) automatic transmission rated at 130 horsepower (HP) while the one coupled with the three-speed manual made 125, the only difference between the two the head gasket and valve lifters, the Dynaflow-equipped fitted with a thinner steel shim gasket & hydraulic lifters.  The thinner gasket raised the compression ratio from 7:1 to 7:6 although the consequent additional output was slight and not enough to compensate for the energy consumed by the Dynaflow’s operations.

The 1969 Buick GS Sport Wagon was much more special than that year’s rather mundane Special Deluxe.  Like the similar model from Oldsmobile, the Sport Wagon was notable for the roof-mounted skylights.

After a brief hiatus, the Buick Special returned in 1938, its run in cars of various sizes almost uninterrupted until 1970.  In 1968 however, Buick must have had a moment of doubt that the Special may no longer be special enough and the range was renamed Special Deluxe, a change that lasted but two years.  In the 1970s and 1990s, there would be two half-decade long revivals but in 1996, the Special finally went extinct, not even Buick's entry into the Chinese market enough to encourage a revival, even though consumers in the Far-East respond famously well to bling.  Historically, Buick used the "Special" name in the sense a supermarket labels goods being sold at a reduced price (at least apparently although retailers have many tricks which render this often illusory) in that the Buick Special was almost always the lowest-cost line although mechanical specifications often matched more expensive models.  This approach differed from that used by Holden which (in pre-Premier days) used "Special" to designate "more expensive".

Ferrari and the Speciale    

1966 Ferrari 365 P Berlinetta Speciale.  That translates as "special coupé" and probably everything sounds better in Italian than English.  To the ears of English-speakers, a reading in Italian from a lawn-mower repair-manual sounds like the words of a lyric poet.

The Ferrari 365 P Berlinetta Speciale was a design by Pininfarina shown in 1966 and was both a test bed for a racing project and an exploration of the possibility of a mid-engined V12 road car, the styling taking cues from the designer’s smaller Dino 206 Berlinetta Speciale, built in 1965.  Reflecting the origin of its race-car chassis, the 365 Speciale was configured with three-abreast seating and a central driving position, a layout seat McLaren would later adopt for their F1 (1992-1998).  In a nod to the seating, the car is sometimes referred to as the 365 Berlinetta Tre-posti (three seater).  Among coupés, the three seat configuration has been done, a handful of the early Lamborghini 350 GTs (1964-1966) having an unusual 2+1 arrangement with a centrally mounted rear bucket seat and the Matra-Simca Bagheera (1973-1980) used three-abreast seating.  Most dubious of the 2+1s was the surprisingly popular option of a transversely mounted rear seat Mercedes-Benz did for a while offer in the W113 Roadster (230, 250 & 280 SL, 1963-1971; the so-called "Pagoda").  Though it could accommodate an adult-sized human, the factory listed it as the Kindetsitz (child's seat, code 565) while German men sometimes preferred Schwiegermutterplatz or Schwiegermuttersitz (mother-in-law seat).  That the factory would offer (in a convertible!) a “child's seat” which sat sideways and was fitted with no restraint system is an indication of how things have changed.  Ferrari still use speciale as a name and over the years there have been some quite distinctive models including Pininfarina's 330 GTC Speciale.

1965 Dino 206 Berlinetta Speciale.

The Dino Speciale would influence the later Dino 206 & 246 road cars, produced by Ferrari between 1967-1974.  The relationship with the 365 is obvious but, being scaled up to accommodate the big V12, the lines aren’t as harmonious as the dainty V6 Dino, reflecting the difficulties stylists had applying the layout when using bulky engines.  Still, the 365 P Speciale provided the factory with valuable experience in the then novel concept and traces of the shape are evident in what did in 1971 emerge as the 365 GT/4 Berlinetta Boxer, the prototype which would become Ferrari’s first mid-engined twelve-cylinder car to achieve series- production.  The Boxer's svelte shape was however made possible by flattening the vee to 180^o, something which proved a more satisfactory solution to the problem than the transverse location of the 60^o V12 Lamborghini used in 1966 for the Miura.  Achingly beautiful though the Miura was, its behaviour at speed could be tricky, exactly the reason Ferrari chose not to make the Stradale.       

1965 Ferrari 250 LM Stradale.

The 365 Speciale was actually the second mid-engined V12 road car Ferrari built; in 1965, the 250 LM Stradale (road) had been displayed at the Geneva Motor Show.  Based on the Le Mans 24 Hour winning 250 LM, it was a prototype for what was planned to be a small batch of road cars but Enzo Ferrari (1898-1988), then anyway dubious about the very idea of mid-engined V12s with all-independent suspension falling into the hands of amateurs, vetoed the project, the Stradale still just too much a racing car to let the unskilled rich unleash one on the streets.  The 250 LM (1963-1965) was a contemporary of the Ford GT40 and the pair were among the last racing cars which, slightly civilized, were sold also as road-going versions.   

Mean Girls Special Collector's Edition (2004) on DVD, Paramount Pictures (part number D341604D).

There’s no defined standard for what is included in “special” editions of commercially released films but unlike “director’s cut” versions which to some extent change the actual content of the original releases (cinema, optical, TV or streaming), “special editions” tend to be the original plus a bundle of “extras”.  Assembled usually as “featurettes”, typically, the additional content will consist of interviews with the cast, director or writers, out-takes, bloopers, deleted scenes, advertising and other promotional material and sometimes commentaries from critics or commentators with expertise in some issue of interest.  For nerds, there’s sometimes even content about technical aspects of production, an addition most often seen with product made with much use of special effects but discussions about matters such as the fashions used might also appear.

The Mean Girls Special Collector's Edition included (1) discussions about casting, (2) an interview with Rosalind Wiseman (b 1969), author of Queen Bees and Wannabes (2002) on which the Mean Girls screenplay was based, (3) commentary by the writers and producers, (4) “Word Vomit” (the Blooper Reel), (5) deleted scenes with commentary, (6) “Plastic Fashion” (a discussion about costume design and the use of clothing as a metaphor for character development), (7) interstitials (advertising material created with original material not used in the final cut) and (8) promotional trailers for other Paramount films.

Odalisque

Odalisque (pronounced ohd-l-isk)

(1) A female slave or concubine in a harem, especially one attached to the Ottoman seraglio.

(2) Any of a number of representations of such a woman or of a similar subject, as by Ingres, Matisse et al (initial capital letter).

(3) In informal use, (1) a desirable or sexually attractive woman and (2) in painting, a reclining female figure in some state of undress (contested).

1680s: From the 1660s French odalique (the intrusive -s- perhaps from -esque), from the Ottoman Turkish اوطه‌لق‎ (ōdalik) (maid-servant (sometimes translated as concubine)), the construct being اوده‎ (oda or ōdah) (room in a harem (literally “chamber, hall”) + lιk (the noun suffix of appurtenance).  In French, the suffix was sometimes confused with Greek -isk(os) (of the nature of, belonging to), hence the alternative spelling odalisk where was still circulating well into the twentieth century.  The spread of the Ottoman Empire from Asia to Europe meant useful or intriguing words from Ottoman Turkish entered other languages.  Some use the French or English forms but other variations included the Catalan odalisca, the Dutch odalisk, the German Odaliske, the Hungarian odaliszk, the Icelandic ódalíska, the Italian odalisca, the Portuguese odalisca, the Russian одали́ска (odalíska), the Serbo-Croatian одалиска (odaliska) and the Spanish odalisca.  Odalisque is a noun; the noun plural is odalisques)

An odalisque and the quality of odalisque: Odalisque à la culotte rouge (Odalisque in red trousers) (1921), oil on canvas by Henri Matisse (1869-1954), Musée de l'Orangerie, Paris, France (left) and Lindsay Lohan (2008) in the same vein (right).

Matisse was one of many painters drawn to the exoticism of the orient and painted a series of “Odalisque works”.  There was a time when what white male artists did defined what was art but in recent decades, the depictions by Western artists of aspects of culture east and south of Suez have become controversial, the popular word “problematic” often heard.  Even as historical artefacts, it’s difficult now not to be aware of the complicated legacy such imagery evokes, the Western construct of “Orientalism”, although born of a time when such places were far removed from the industrial society of the post-Enlightenment West, jarring when considered using the twenty-first century standards of representing race and gender.  The objectification by white male artists of women (oriental or not), of course had a long history but it adds another layer when those depicted are the prisoners of a harem, a commodity maintained at the pleasure of a man and discarded at whim.  Did Matisee and the others reveal their colonial attitudes by focusing only on the female body as something which existed aesthetically to please men while ignoring the inherent violence beneath the surface?  There have always been those who argue the artist has the right not to be troubled by (or even know about) such things and the l'art pour l'art (art for art's sake) school will always have a following but the recent deconstructions of patriarchal and colonial structures of power do mean that while such works can still be enjoyed, to admit such an indulgence is becoming harder to sustain.

Odalisque au pantalon rouge (Odalisque in Red Pants) (circa 1925), oil on canvas by Henri Matisse, Fundación Museos Nacionales, Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.  The real one is on the left, the forgery on the right.

As commodity however, Matisses remain desirable.  Sometime between 1999-2002, his Odalisque au pantalon rouge (Odalisque in Red Pants) was stolen from the Venezuelan national gallery in Carracus and replaced with a forgery.  The crime remained un-noticed until 2003 and the work was recovered some fourteen years later, the circumstances of the disappearance remaining as murky as Venezuela’s politics but the scandal did attract much attention especially given it was the only Matisse hung in any of the nation’s museums and the only of his Odalisques on display anywhere in Latin America.  After being recovered in 2012 in Miami by the US Federal Bureau of Investigation (FBI), the real and the fake were (side-by-side) exhibited as a kind of installation, accompanied by collateral displays which documented the technical differences between the two, the security protocols by which cultural institutions determined patrimony and the systems maintained to monitor any theft of patrimony, according to the regulations of each country and those of the International Council of Museums (ICOM).

US and Mexican nationals were convicted on charges of attempting to sell the stolen Odalisque but most Venezuelans appeared to draw the weary conclusion that official corruption was involved.  It was only when in 2002 the museum received a message telling them the painting was being offered for sale that a check was made and it was found the one on the gallery’s walls not just a fake but a poorly executed one.  Nevertheless, it had hung there for at least two years, an embarrassing photograph from 2000 emerging which showed then President Hugo Chávez (1954–2013; Venezuelan president 1999-2013 (except during a few local difficulties in 2002)) standing in the museum with the fake Matisse behind him.  An investigation began but, as often happens in Venezuela, it proved inconclusive although it did reveal word of the painting being on the market had been received as early as 2000 but the matter, for whatever reason, wasn’t pursued.  When the FBI made their arrests, the suspects told them the painting had been stolen and replaced by museum employees, something which elicited little surprise in Carracus and nor was anyone much shocked when an audit revealed several other pieces were missing, none of which have been recovered.  Under Chavez, Western art was not regarded as anything of importance and, given the country’s problems in the years since, it’s likely that if ever another audit is performed, a few more things might be found to be missing.

An odalisque and the quality of odalisque: Odalisque (circa 1880), oil on canvas by Jean-Joseph Benjamin-Constant (1845–1902)  Metropolitan Museum of Art, New York City (left) and Lindsay Lohan in the same vein, Vanity Fair photo-shoot, 2010 (right).