Weimar

Weimar (pronounced vahy-mahr, wahy-mahr, veye-mahr or weye-mahr)

(1) A city in Thuringia, in central Germany, the scene (in 1919) of the adoption of the constitution of the German state which came (retrospectively) to be known as the Weimar Republic.

(2) A German surname (of habitational origin).

(3) As Weimar Republic, The sovereign German republic (1918-1933), successor state to the German Empire (1871-1918 and now sometimes referred to as the “Second Reich”) and predecessor to the Nazi regime (the “Third Reich”, 1933-1945).

Pre 1100: The construct was the Old High German wīh (holy; sacred) + meri (sea; lake; pond; standing water, swamp).  The name can therefore be analysed as something like “holy pond” or “sacred lake” but what religious significance this had or which aquatic feature was involved is not known.  A settlement in the area of what is now Weimar has existed since at least the early Middle Ages and there is a document dated 999 which makes reference to the town as Wimaresburg but how long this, or some related form had be in use is unknown.  Over time, the changes presumably reflected as desire for convenience and simplification (not an imperative always noted in evolution of the German language) and during the early centuries of the second millennium the place seems to have been known as Wimares, Wimari & Wimar before finally becoming Weimar.  In a manner not unusual in the Holy Roman Empire (800-1806), it was the seat of the County of Weimar, one of the administrative and commercial centres of Thuringia but in 1062 merged with the County of Orlamünde to form Weimar-Orlamünde, which existed until 1346 when the Thuringian Counts' War (a squabble between several local barons) erupted.  In the settlement which followed, Weimar was taken by the Wettin clan as an agreed fief and over time developed into a major city.  Weimar is a proper noun, Weimarization & Weimarize are nouns and Weimarian is a noun & adjective; the noun plural is Weimars.

One native to or an inhabitant of Weimar is a Weimarer (strong, genitive Weimarers, plural Weimarer, feminine Weimarerin).  The adjective Weimarian (of or relating to the Weimar period (1918-1933) in German can be used in any context but is most often applied to the art & culture associated with the era rather than politics or economics.  The comparative is “more Weimarian”, the superlative “most Weimarian”).  The noun Weimarization (a state of economic crisis leading to political upheaval and extremism) is used exclusively to describe the political and financial turmoil of the Weimar years.  The verb Weimarize (to cause to undergo Weimarization) is the companion term and is applied in much the same was as a word like “Balkanize” as a convenient word which encapsulates much in a way no other can.  The Weimaraner is a breed of dog, bred originally in the region as a hunting dog, the construct being Weimar + the German suffix -aner (denoting “of this place”).

In a constitutional sense, the Weimar Republic came into existence on 11 August 1919 when the national assembly of the German state met in the city to adopt the new Weimar Constitution.  Despite that, many historians use the label to cover the whole period between abdication on 9 November 1918 by Wilhelm II (1859 1941; German emperor (Kaiser) & King of Prussia 1888-1918) and the Nazis taking office on 30 January 1933.  The constitution created what structurally was a fairly conventional federal republic (known officially as the Deutsches Reich (German Reich)), the constituent parts of which were the historic Länder (analogous with the states in systems like the US or Australia though the details of the power sharing differed), each with their own governments, assemblies and constitutions.  Historians regards the inherent weakness of the structure as one of the factors which contributed to the political instability, economic turmoil and social unrest for which the era is remembered but the external forces are thought to have been a greater influence, notably the harsh terms imposed by the Treaty of Versailles (1919) and the extraordinary level of war reparations, the latter particularly associated with the hyper-inflation of 1923.  However, it was a time of unusual social & political freedom and there was an outpouring of innovative cultural creativity.  One thing which tends to be obscured by what came later was that by 1928 the system had been stabilized and the economy was stable.  In the last election prior to the Wall Street Crash (1929), the Nazi vote has slumped to 3% and the party was an outlier with few prospects and it was only the depression of the early 1930s which doomed Weimar.

Lindsay Lohan in court, Los Angeles, 2011.

Actually, rather than the pleasant city in Thuringia which lent the constitution its name, it was Berlin, the national and Prussian capital which came most to be associated with the artistic and sexual experimentation of the republic.  Although most of went on in the place was little different than in other conservative German cities it was the small but highly visible numbers of those enjoying the excesses which attracted attention.  In his novel Down There on a Visit (1962) Christopher Isherwood (1904–1986) wrote of the sort of warning respectable folk would in the 1920s offer to anyone who seemed to need the advice:

“Christopher - in the whole of Thousand Nights and One Night, in the most shameless rituals of the Tantra, in the carvings on the Black Pagoda, in the Japanese brothel-pictures, in the vilest perversions of the oriental mind, you couldn’t find anything more nauseating than what goes on there, quite openly, every day. That city is doomed, more surely than Sodom ever was."  And then and there I made a decision - one that was to have a very important effect on the rest of my life. I decided that, no matter how, I would get to Berlin just as soon as ever I could and that I would stay there a long, long time.

Weimar art: Der Künstler mit zwei erhängten Frauen (The Artist with Two Hanged Women), watercolour and graphite on paper by Rudolf Schlichter (1890-1955).   

Isherwood left London by the afternoon train for Berlin on 14 March 1929, taking a room next to the Hirschfeld Institute for Sexual Science from which he explored the city’s “decadence and depravity” enjoying just about every minute and by his own account every gay bar and club, of which there were many.  That niche was only one of many to which the Berlin of Weimer catered, all fetishes seemingly there from morphine, cocaine and opium houses to a club at which membership was restricted to a “coven of coprophagists [who] gorged a prostitute on chocolate, gave her a laxative and settled down to a feast.”  Actually, at the time, there was plenty of depravity among the Nazis, however much the public platform of the party might stress traditional values and they were as condemnatory as the Pope of such as communists, homosexuals and Freemasons (The Roman Catholic Church among the institutions Hitler admired along with the British Empire and comrade Stalin (and Stalin really was a construct)).  Indeed, in his writings and the recollections of his contemporaries about his discussions, Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) didn’t much dwell on moral matters but he would spend much effort condemning those aspects of German culture he believed the Weimar generation were corrupting including “modernist architecture, Dadaist art, Jewish psychoanalysis, experimental theatre, short shirts, lipstick, bobbed hair, dances like the foxtrot and jazz” (the last of which he derided as “a degenerate negroid sound”).

Weimar art: Sonnenfinsternis (Eclipse of the Sun (1926)), oil on canvas by George Grosz (1893-1959).  Weimar was not untouched by surrealism.

The lurid tales of Weimar Berlin from the diaries of Christopher Isherwood et al now entertain rather than shock as once they would have managed but the expressionist art which flourished at the time remains striking.  A stridently experimental fork of the European avant-garde, the Weimar artists chose to ignore traditional aesthetic conventions and according to some critics the painters were fascinated by ugliness, the composers by atonal dissonance.  They were also artists who were predominately urban and focused upon the city, its decadence and corrosive influence upon the individual.  The Weimar period was the time also when the phrase magischer Realismus (magic realism) was coined, more accurately to describe what had come to be known as the Neue Sachlichkeit (new objectivity).  Magic realism is now thought of as a literary genre in which fantastical elements are interpolated into life-like depictions of the world but the first use was in 1925 by German art historian Franz Roh (1890–1965) who observed many artists in the Weimar Republic were rejecting (or at least ignoring) the idealistic style (fashionable before World War I (1914-1918) and which had combined naturalistic depiction with an amplification of beauty and virtue), in favor of something recognizably realistic yet blended with uncanny elements.  Roh’s understanding of magic realism was at least partially an acknowledgement of technology: the influence of photography and moving pictures (film).  Then as now, there was debate about whether there was some point at which realism stopped and surrealism began but the distinction was that magic realism was a distortion of the actual material world for some political or other didactic purpose whereas surrealism explored the abstractions which lurked in the subconscious mind. 

In the Weimar style: The Rt Hon Theresa May MP (2023), a portrait of Lady May (b 1956; UK prime-minister 2016-2019) by Saied Dai (b 1958).

Painted by Tehran-born Saied Dai, it will hang in  Portcullis House, Parliament's office complex where many MPs have their offices and not since Graham Sutherland’s (1903–1980) portrait of Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) was unveiled in 1954 has a painting of one of the country’s prime-ministers attracted so much interest, the reception of such works not usually much more than perfunctory.  Sutherland was commissioned (as second choice; Sir Herbert Gunn's (1893–1964) fee deemed too high) by the ad hoc “Churchill Joint Houses of Parliament Gift Committee” to paint a portrait to mark the prime-minister’s eightieth birthday and on 30 November 1954, the members of the Commons & the Lords assembled in Westminster Hall to mark the occasion.  Paid for by parliamentary subscription (the idea of paying for such a thing from their own pockets would appal today’s politicians), it was intended the work would remain with Churchill until his death after which it would be gifted to the state to hang in the Palace of Westminster.

Winston Churchill (1954) by Graham Sutherland.

Things didn’t work out that way.  Churchill, not anyway much enjoying the aging process loathed the painting and felt betrayed by the artist, the preliminary sketches he’d been shown hinting at something rather different.  Initially, he sulked, first saying he wouldn’t attend the event, then that he’d turn up only if the painting wasn’t there but his moods often softened with a little coercion and he agreed to make a short speech of thanks at the unveiling, his most memorable lines being: “The portrait is a remarkable example of modern art. It certainly combines force and candour.”  It wasn’t hard to read between the lines and when delivered to Churchill’s country house, the painting was left in a storeroom, never unwrapped and never again to be seen, Lady Churchill (Clementine Churchill (Baroness Spencer-Churchill; 1885–1977) in 1956 incinerating it in what was described as “a huge bonfire”.  That she'd executed one of history’s most practical examples of art criticism wasn't revealed until 1979.  Curiously, when first she saw it in 1954 she admired the work, Somerset Maugham (1874–1965) who was with her at the time noting she “liked the portrait very much” and was much “moved and full of praise for it.”  Her view soon changed.

The better-received May portrait was commissioned this time by the Speaker's Advisory Committee on Works of Art at a cost of Stg£28,000 (in adjusted terms somewhat less than the 1,000 guineas paid in 1954; this time all from the tax payer) and Mrs May (she doesn’t use the title she gained in 2020 upon her husband being knighted (for “political service”) in Boris Johnson’s (b 1964; UK prime-minister 2019-2022) remarkable (and belated) Dissolution Honours List) was reported as saying she thought the portrait a “huge honour”.  When interviewed, the artist said his “…aim was to produce not just a convincing physical likeness, but also a psychological characterization, both individual and yet archetypal - imbued with symbolism and atmosphere.  A good painting needs to be a revelation and also paradoxically, an enigma. It should possess an indefinable quality - in short, a mystery.”

A work of careful composition, critics have found in it influences from the Renaissance and mannerism but it’s most obviously in the spirit of the German expressionists identified with the Weimar Republic and the addition of a convallaria majalis (the "lily of the valley" which flowers in May) was the sort of touch they would have admired.  Interestingly, Mr Dai expressed relief he’d not been asked to render Mr Johnson on canvas which is understandable because while an artist could permit their interpretative imagination free reign and produce something memorable, Mr Johnson over the decades has been a series of living, breathing caricatures and it would be challenge for anyone to capture his “psychological characterization”.  The Weimaresque May in oil on canvas works so well because it’s so at variance with the one-dimensional image of the subject which has so long been in the public mind.  Whether it will change the perception of Mrs May in the minds of many isn’t known but critics have mostly admired the work and views of her premiership do seem to have been revised in the light of the rare displays of ineptitude which have marked the time in office of her three successors.

After Weimar: Der Bannerträger (The Standard Bearer (circa 1936)) oil on plywood by Hubert Lanzinger (1880-1950).  The post card with the inscription Ob im Glück oder Unglück, ob in der Freiheit oder im Gefängnis, ich bin meiner Fahne, die heute des Deutschen Reiches Staatsflagge ist, treu geblieben (Whether in good fortune or misfortune, whether in freedom or in prison, I have remained loyal to my flag, which is now the state flag of the German Reich) was issued in 1939, one of many such uses of the image which depicts Hitler as a knight in shining armor on horseback, bearing a Swastika flag.  As he did whenever a  postage stamp with his image was sold, the Führer received a tiny fee as a royalty; multiplied by millions, he gleaned quite a income from his pictures.  In one of the many examples of the fakery which underpinned Nazism (and fascism in general), Hitler was “terrible on horseback".

Der Bannerträger was an example of the type of art which proliferated in both Nazi Germany and the Soviet Union, works intended to enforce the personality cult around Hitler and comrade Stalin (1878-1953; Soviet leader 1924-1953) and reinforce the messaging of both regimes.  Hitler, although he dutifully acknowledged them when they were presented, really did regard them as a kind of kitsch and although he understood their utility as propaganda pieces, they aroused in him little interest.  What he really liked in a painting was beauty as he defined it and in this his differentiation was something like his views on architecture where the standards imposed on the “functional” varied from his expectations of the “representational”.  Hitler would admire modern architecture rendered in steel & glass if it was being used for a factory or warehouse; there it was a matter of efficiency and improving working conditions but for the public buildings of the Reich, he insisted on classical motifs in granite.  In painting, he distinguished between what was essentially “advertising” and “real” art which the expressionism of the Weimar era certainly was not; the “…sky is not green, dogs are not blue and anyone who paints them as such has a sick mind” was his summary of thought on the Weimar art movement.  His preference was for (1) the Neoclassical which drew inspiration from the Greek and Roman art of Antiquity and his fondness extended not only to the voluptuous female nudes historians like to mention but also to the idealized, heroic figures representing nobility and heroism; with these he identified, (2) realistic landscapes, particularly those of the German countryside at its most lovely, (3) German Academic Realism which produced intricately detailed realistic representations of subjects, (4) depictions from Norse mythology which created a link between the legends and the idealized vision of the Nazi project and (5), traditional portraiture, if realistic and flattering (certainly demanded of the many painted of him).

Women in Weimer art: Margot (1924), oil on canvas by Rudolf Schlichter (1890-1955) (left), Porträt der Tänzerin Anita Berber (Portrait of the Dancer Anita Berber (1925)), oil and tempera on plywood by Otto Dix (1891–1969) (centre) and Bean Ingram (1928), oil on canvas by Herbert Gurschner (1901-1975) (right). 

Books of which the Nazis didn’t approve could be burned and the proscribed music not played but the practical public servants in the finance ministry knew much of the Entartete Kunst (degenerate art) removed from German (and later Austrian) galleries was highly sought by collectors in other countries and valuable foreign exchange was obtained from these sales (some of which in the post-war years proved controversial because of the provenance of some pieces sold then and later; they turned out to have been “obtained” from occupied territories or Jews).  Hitler despised Dadaism, Expressionism, Cubism, and Surrealism and expected others in the Reich to share his view but an exhibition of Entartete Kunst in Munich in 1937 proved an embarrassing one-off for the regime because people from around the country travelled to see it and it was the most attended art show of the Third Reich.  It was Weimar’s revenge.

Heresy

Heresy (pronounced her-uh-see)

(1) Opinion or doctrine at variance with the orthodox or accepted doctrine, especially of a church or religious system.

(2) The maintaining of such an opinion or doctrine.

(3) In Roman Catholic canon law, the wilful and persistent rejection of any article of faith by a baptized member of the church.

(4) Dissent, iconoclasm, dissension.

1175–1225: From Middle English heresie from Old French heresie and Late Latin haeresis (school of thought, philosophical sect) derived from the Greek haíresis (act of choosing, derivative of haireîn (to choose)).  Source of the Greek was haireisthai (take, seize), middle voice of hairein (to choose) of unknown origin but likely derived from the primitive ser (to seize), thought also to be the root of both the Hittite šaru and the Welsh herw, both best translated as “booty".  The modern meaning emerged from the use by early Christian writers who used the literal translation from the Latin (sect or doctrine) to convey their disapproval of unorthodox thoughts or ideas.  The Greek word was used in the New Testament in reference to the Sadducees, Pharisees, and even the Christians, as sects of Judaism, but in English bibles it usually is translated as sect.   The meaning "religious belief opposed to the orthodox doctrines of the Church" evolved in Late Latin and was adopted for non-religious use as early as the late fourteenth century.

The Church of England Rejects Heresy Courts Proposal

Lindsay Lohan offering salvation to a heretic, (Machete (2010)).  The revolver is a Smith & Wesson Model 500 (8.38" barrel; .50 Magnum load)

In mid-1999, in a rare moment of clarity, the Church of England flirted, after a gap of one-hundred and fifty years, with the re-introduction of heresy trials to deal with clergy accused of deviation in matters of doctrine or ritual.  The last heresy trial was in 1847, when the Bishop of Exeter (Henry Phillpotts (1778–1869; Anglican Bishop of Exeter 1830-1869) accused the Reverend George Cornelius Gorham (1787–1857) of being unsound on the doctrine of "baptismal regeneration", Mr Gorham not agreeing a person was cleansed of original sin at baptism and born again into Christ.  Although the Court of Arches agreed with the bishop, on appeal, the Judicial Committee of the Privy Council overturned the ruling which caused a (very Anglican) controversy about whether a secular court should be able to rule on matters of doctrine (as opposed to law or procedure).  Since then clergy and bishops have been (more or less) free to deviate from doctrine without punishment and the Right Reverend David Jenkins (1925-2016), a former Bishop of Durham (1984-1994), famously raised a few eyebrows when he discussed his heterodoxic view on the virgin birth and bodily resurrection of Christ.  The new disciplinary procedure for clergy was to include offences against "doctrine, ritual and the ceremonial" because those who profess atheism or deny the doctrine of the Trinity or the Incarnation “should be disciplined”.

Heretic crooked Hillary Clinton being burned at the stake (digitally altered image).

Although not as well known as other inquisitions, in England, in the sixteenth century Reformation during the reign of Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547), about 60 heretics were executed.  Heresy laws were repealed in 1547, but reintroduced in 1554 by Mary I (1516–1558; Queen of England and Ireland 1553-1558 & Queen of Spain 1556-1558), under whom about 290 heretics were burned at the stake after the restoration of papal jurisdiction.  Executions of some 180 religious opponents continued under Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603) but on grounds of treason rather than heresy although the offence remained on the books.  To the condemned, it must have seemed a tiresome technical distinction.  The last execution of a "heretic" in England occurred in 1612 although technically that was for the offence of blasphemy.  Puritanical, if not quite to the end but certainly for as long as they could, there was one later execution in Scotland in 1697 when Thomas Aikenhead (circa 1676-1697) was accused, inter alia, of denying the doctrine of the Trinity.  In a example of Scottish judicial modernization, Mr Aikenhead was hanged rather than burned at the stake although they retained blasphemy as a capital offence until 1825. 

Unfortunately, after mulling over things for half-a–decade, the General Synod of the Church of England rejected the revival of a heresy court and didn’t, even more regrettably, consider bringing back burnings at the stake.  It seems there were fears the court could be used to enforce a traditionalist view, targeting clergy, who for example, support same-sex marriages or gay clergy, both now apparently matters of greater theological importance than a belief in the resurrection.  That does seem strange given it’s the central tenet of Christianity but that’s clearly become view from both the General Synod and Lambeth Palace.  In an address to the synod, displaying his flair for simultaneously changing the subject and answering a different question than the one asked, then Archbishop of Canterbury, Dr Rowan Williams (b 1950; Archbishop of Canterbury 2002-2012), said it was important for the church “…to be able to speak out against issues like Apartheid.  The question I think we ought to be asking is whether this does or does not serve the integrity or credibility of the church in the long run.  I believe that such a measure can serve the integrity and credibility of the church if we do indeed step back in this way.  It is over twenty years since the World Alliance of Reform Churches declared that the theological justification for Apartheid was a heresy.  It would be, I think a very incredible and inadequate Christian church which did not have the resource to say something like that.”

Pope Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) and Cardinal George Pell (1941-2023) discuss the fate of heretics.

Mezzanine

Mezzanine (pronounced mez-uh-neen)

(1) In architecture, a low story between two other stories of greater height in a building, especially when the low story and the one beneath it form part of one composition; an entresol (in general use referred to as “mezzanine” or “mezzanine floor”, most historically between the ground and first levels because so many were added to take advantage of the high ceilings often found in these voids.  A mezzanine is an intermediate floor (occasionally called a “sub-storey” or “demi-storey”) which does not extend over the whole floor-space below and can thus be visualized a kind of (usually large) large balcony overlooking the floor below; many were atop “grand” staircases which were often the focal point of ground floors.

(2) By extension (and used loosely), an apartment, room, restaurant etc on such an intermediate floor.

(3) In theatre (and other performance spaces) design, the lowest balcony or forward part of such a balcony (North American use and known sometimes as the “dress circle”), the seats there usually sold either at a premium or a discount against the “orchestra” seats depending on the structure.

(4) In theatre design, a space under the stage, from which contrivances such as traps are worked (obsolete).

(5) In financial markets, an intermediate stage in a financial process, known variously as “mezzanine funding”, “mezzanine capital”, or “mezzanine debt” (“mezz” the shorthand of traders).

(6) In interior design, an additional layer of flooring, laid over a floor either to raise the height, conceal imperfections or afford protection from water penetration (the latter common in server rooms & farms).

(7) As “mezzanine window”, a a small window at the height of a mezzanine floor or an attic.

(8) In computer hardware, as mezzanine board, the gender-neutral replacement term for the earlier daughter boards (which plugged into motherboards (now the gender neutral system board)

(9) In figurative use, any intermediate or ancillary stage or device (rare except in engineering (engineering) where it’s used to describe things fulfilling an intermediate or secondary function.  Curiously, software engineers & coders seem not to use the term, possibly to avoid confusion with the hardware devices.

1705–1715: From the French mezzanine & its etymon the Italian mezzanino (a low story between two higher ones in a building), from mezzano (middle (adjective) & go-between (noun)) the construct being mezzan(o) (in either sense of “middle”), from the Latin mediānus (median; of the middle) + -ino (the diminutive suffix).  Mezzano was from the Latin adjective mediānus (central, middle), from medius (mid, middle), ultimately from a construct of the primitive Indo-European root médyos or médhyo (middle)) + -ānus (the suffix meaning “of or pertaining to”).  The word was almost exclusive to architects before the early twentieth century when it came to be used on New York’s Broadway to mean “lowest balcony in a theater”, presumably because the use of something so Italianesque might justify charging a premium for the ticket.  The Italian mediānus was an element also in words like mediator (an agent who interposes between two parties), medium (that size between big & small) and medieval (a creation of Modern English from the New Latin medium aevum (the middle age, thus pertaining to or suggestive of the Middle Ages), the construct being medi(ānus) (the middle) + aev(um) (age) + -al (the Latin adjectival suffix appended to various words (often nouns) to make an adjective).  Mezzanine is a noun & adjective and mezzanining & mezzanined are verbs; the noun plural is mezzanines.  Because mezzanine was a particular specification in architecture, historically, adjectives like mezzaninesque or mezzaninish would have been absurd but given the fertile imaginations of those engineering new financial products, they may yet come into vogue.

417 & 419 Venice Way, Venice Beach, Los Angeles, California where, during 2011, Lindsay Lohan lived (in 419 (right)).  This style of construction is sometimes called a “pigeon pair” but these two are only "semi-mirrored" because there are detail differences in the architecture.  Next door (417) lived Ms Lohan's former special friend Samantha Ronson.  Each four bedroom (3½ bathrooms) house included a floating stairway leading to a mezzanine which the property’s agent described as “ideal for a studio or office”.

419 Venice Way: Ground level showing the floating staircase to the mezzanine (left) and the mezzanine (right).

In casual use, many refer to smaller mezzanines as balconies but architects note the latter tend to be installed on a building’s exterior while a mezzanine is inherently an indoor feature.  While the motifs of ether can be used either inside or out, by convention the indoor/outdoor convention of use dictates the choice of nomenclature.  A mezzanine is an intermediate level which is built with a partial floor which doesn’t fully cover the floor and historically many were added between the ground and first levels to take advantage of the high ceilings often found in these voids, many featuring the so-called “grand staircases” which were often the focal point of ground floors.  By contrast, a balcony is an elevated platform typically attached to the upper exterior of a building to provide a space onto which people may sit or stand for a variety of purposes.

Lobby (foyer) of Stamford Plaza Brisbane, Queensland, Australia with the “grand staircase” leading to the mezzanine.  Wedding photographers are especially fond of big staircases because they provide the ideal base for the train of a bride’s dress to fall in a photogenic way.

Penta Mezzanine’s conceptual diagram of mezzanine financing.

The idea of mezzanine financing emerged in the US early in the twentieth century and is a highly variable mechanism involving a hybrid mix of debt and equity, the use of mezzanine in this context reflecting its “middle or intermediate” position between senior debt and equity in the corporate structures.  Mezzanine was a niche in US capital markets until the early post-war years when un-met demand in the gap between conventional (secured) bank loans and equity investment was identified and in the buoyant trans-Atlantic economy of the era it proved ideally suited to the increasingly popular leveraged buyouts (LBOs) and mergers & acquisitions (M&A) because of the flexibility and the acceptance of subordinated forms of capital.  By later standards the use of mezzanine instruments was on a small scale but the techniques developed lad the basis for the boom in corporate financing which flared in the newly deregulated environment of the 1980s and 1990s when the volume LBOs & M&A activity was such that some institutions were able to devote entire divisions to service the market.

Mezzanine financing is now part of financial industry in just about every developed economy and provides a source of capital combines debt and equity, almost always at a higher cost than traditional arrangements so while not regarded as a “last resort” in the way that term in used in banking, the device exists to fill the shortfall (ie the bit “in the middle”) between need and what conventional sources decide is justified by the risk.  Demanding (1) a premium interest rate to provide capital which is subordinated to other debts in the case of liquidation or bankruptcy & (2) taking an equity position are the ways the risk-reward math can be made to work for both parties and mezzanine financing continues to exists because it fulfills a need, thus ensuring there is both supply & demand to sustain the model.

Freelance

Freelance (pronounced free-lans or free-lahns)

(1) A person who works selling work or services by the hour, day, job etc, rather than working on some regular basis for one employer; also as freelancer or free-lancer; self-employed, free agent, unaffiliated.

(2) A person who contends in a cause or in a succession of various causes, as he or she chooses, without personal attachment or allegiance (applied often to politicians who tend to supports several causes or parties without total commitment to any one).

(3) The act of working as a freelancer; used often as a modifier.

(4) Of or relating to freelancing or the work of a freelance.

(5) A mercenary soldier or military adventurer in medieval Europe, often of knightly rank, who offered his services to any state, party, or cause (retrospectively applied).

1820: The construct was free + lance.  Free was from the Middle English free, fre & freo, from the Old English frēo (free), from the Proto-West Germanic frī, from the Proto-Germanic frijaz (beloved, not in bondage), from the primitive Indo-European priHós (dear, beloved), from preyH- (to love, please); from this evolved the related modern English friend.  It was cognate with the West Frisian frij (free), the Dutch vrij (free), the Low German free (free), the German frei (free), the Danish, Swedish & Norwegian fri (free) and the Sanskrit प्रिय (priyá).  The verb is from the Middle English freen & freoȝen, from the Old English frēon, & frēoġan (to free; make free), from the Proto-West Germanic frijōn, from the Proto-Germanic frijōną, from the primitive Indo-European preyH-.  Germanic and Celtic are the only Indo-European language branches in which the primitive Indo-European word with the meaning of "dear, beloved" acquired the additional meaning of "free" in the sense of "not in bondage".  This was an extension of the idea of "characteristic of those who are dear and beloved" (those who were friends and others in the tribe as opposed to the unfree, those of other tribes, slaves etc).  The evolution was comparable with the Latin use of liberi to mean both "free persons" and "children of a family".  Lance was from the Middle English launce, from the Old French lance, from the Latin lancea.  Ultimate root was via the Celtic & Celtiberian, possibly from the primitive Indo-European plehk- (to hit) and related to the Ancient Greek λόγχη (lónkhē).  The hyphenated form (free-lance, free-lancer et al) is a correct alternative but should be used with the usual convention of English use: consistency within a document.  If an alternative hyphenated form is used for one word, it should be used for all where the option exists.

The first know instance is in Ivanhoe (1820) by Sir Walter Scott (1771–1832) to describe a medieval mercenary warrior or "free-lance", the meaning lying in the notion of his arms (lance, sword etc) being freely available for hire and not sworn to any lord's services). Scott’s description of them resembles that of the Italian condottieri (a leader or member of a troop of mercenaries).  It became a figurative noun circa 1864, most frequent used when applied to writers & journalists from 1882, the unhyphenated “freelance” attested from 1898.  The Oxford English Dictionary (OED) listed it as a verb in 1903 and in modern use the word has morphed into an adjective, and an adverb, as well as the familiar derivative noun freelancer.  The sense of politicians who tended to go off on tangents and champion causes unrelated to the party platform they were hired to pursue was known since the late nineteenth century, sometimes with the implication (drawn from Sir Walter Scott’s picture of soldiers for hire by anyone) of mercenary motives.

The emergence of the gig economy doesn’t indicate any great change in the understanding of freelancing, the category of “gig worker” defined more by the method by which they obtain their work.  Gig worker encompasses just about any independent worker, including contingent and freelance workers, the convention of use being that they pickup their hours from a digital platform rather than the historically conventional channels.  Gig workers were understood not to be hired as employees by the company with which they contract to do the job, instead being freelance contractors, each individual task a separate contract.  That idea has been challenged in several jurisdictions with some courts and tribunals finding, in some cases, the nature of the relationship between freelancer and platform and the pattern of work performed being such that, within existing law, a conventional employer-employee relationship exists with all that implies.  This dispute is ongoing in many places and is played-out within the micro political economy.  

By contrast, a contingent worker is employed by a different company (usually a staffing agency or recruiter, often known as labour hire companies) than the one for which they’ll actually be performing the task.  The agency acts as the intermediary between the worker and the company, finding the jobs and the workers, billing the client and paying the contingent workers.  Contractors are different again and can be freelancers or contingent workers, the distinction being that they are deployed usually for fixed terms of longer duration than a gig.  There’s no precise definition but while a gig might last only minutes, a contract typically is measured in weeks or more.  The "freelance" status may be misleading in that there have been some known to to work exclusively for one entity (which might be an agent or other third-party) and for this reason and that they certainly weren't formally on the payroll.  In most cases though the freelancers can be thought of as proto-gig economy workers in that from an industrial relations viewpoint they were independent contractors even if in some cases their entire income might come from the one entity (indeed, some had signed contracts of exclusivity on some negotiated basis).     

Former Australian senator Cory Bernardi and animal welfare

Freelancing: Former Australian senator Cory Bernardi (b 1969; senator for South Australia 2006-2020) is a member of the Roman Catholic laity noted for leaving the Liberal Party in 2017 to form his own party, the Australian Conservatives.  Such creations, drawn often from the extremes of mainstream parties (of the left, right or single-issue operations) are usually short lived, the political inertia and structural advantages the incumbents create for each other being hard to topple; it’s tough even to sustain co-existence.  So it proved for the Australian Conservatives, Bernardi in 2019 announcing he was dissolving and consequently deregistering the party.  Electoral support had proved not only elusive but barely detectable although the senator claimed to be happy with the project’s outcomes, noting the Liberal-National Coalition's upset victory in 2019 was proof "common sense" had returned to national politics which was "all we, as Australian Conservatives, have ever sought to do”.  Rarely has spin been so spun.   

Bernardi’s most publicised contribution to political discourse happened in 2012 when he suggested allowing same-sex marriage would lead to “legalised polygamy and bestiality”.  "The next step, quite frankly, is having three people or four people that love each other being able to enter into a permanent union endorsed by society - or any other type of relationship" the senator was quoted as saying.  "There are even some creepy people out there... [who] say it is OK to have consensual sexual relations between humans and animals.  Will that be a future step? In the future will we say, 'These two creatures love each other and maybe they should be able to be joined in a union'.  "I think that these things are the next step."

His views attracted scant support from his colleagues, even several who opposed marriage equality distancing themselves from Bernardi’s view it was the thin end of the homosexual wedge, a step on a slippery slope of depravity descending to the violation of beasts of the field.  The backlash compelled Bernardi’s resignation as parliamentary secretary to the leader of the opposition, Tony Abbott (b 1957; Australian prime-minister 2013-2015).  In accepting the resignation, Mr Abbott described the comments as "ill-disciplined", adding they were “…views I don't share...” and “I think it's pretty clear that if you want to freelance, you can do so on the backbench."

From the backbench, the freelancer released a short statement saying he had resigned "in the interests of the Coalition", one of his thoughts with which few disagreed.  Sadly, even from organisations like PETA (People for the Ethical Treatment of Animals) he never received any credit for his efforts to protect goats and other hapless creatures from the predations of packs of crazed gay marriage advocates.  Despite that, the former senator found his natural home working as one of the right-wing fanatics at Rupert Murdoch's Sky News where his thoughts are imparted to an appreciative audience which believes the ills of this world are the consequence of conspiracies by the Freemasons, the Jews, the Jesuits and the Secret Society of the Les Clefs d'Or.  His viewers agree with everything he says.

The paparazzi are the classic freelancers.

Hood

Hood (pronounced hood)

(1) A soft or flexible covering for the head and neck, either separate or attached to a cloak, coat and similar garments.

(2) Something resembling or suggestive of such a covering (especially in shape) and used in botany to describe certain petals or sepals.

(3) In North America and other places subject to that linguistic influence, the (usually) hinged, movable part of an automobile body covering the engine (the bonnet in the UK and most of the old British Empire).  Despite geographical spread, the phrase “under the hood” is now close to universal, referring to (1) the engine of an automobile & (2) by extension, the inner workings or technical aspects of anything (a computer’s specifications etc).

(4) In the UK and most of the old British Empire, the roof of a carriage or automobile, able to be lowered or removed (ie on a convertible, cabriolet, roadster, drophead coupé (DHC) et al).  In North America and other places subject to that linguistic influence such things tend variously to be called soft-tops or convertible tops.

(5) A metal cover or canopy for a stove, fitted usually with a ventilation system (a flue or extractor fan).

(6) In falconry, a cover for the entire head of a hawk or other bird, used when not in pursuit of game.

(7) On academic gowns, judicial robes etc, an ornamental ruffle or fold on the back of the shoulders (in ecclesiastical garments, and in cults such as the Freemasons, also used as a mark of one’s place in the hierarchy).

(8) In nautical use, as hooding ends, one of the endmost planks (or, one of the ends of the planks) in a ship’s bottom at bow or stern which fits into the stem and sternpost rabbets.  When fitted into a rabbet, these resemble a hood (covering).

(9) In zoology, a crest or band of color on the head of certain birds and other animals (such as the fold of skin on the head of a cobra, that covers or appears to cover the head or some similar part).

(10) In anatomy (the human hand), over the extensor digitorum, an expansion of the extensor tendon over the metacarpophalangeal joint (the extensor hood (dorsal hood or lateral hood).

(11) In colloquial use in palaeontology, the osseous or cartilaginous marginal extension behind the back of many dinosaurs (also known as the “frill”).

(12) As the suffix –hood, a native English suffix denoting state, condition, character, nature, etc, or a body of persons of a particular character or class, formerly used in the formation of nouns: childhood; likelihood; knighthood; priesthood and of lad appended as required (Twitterhood, Instahood etc, subsets of Twitterverse & Instaverse respectively).

(13) In slang, a clipping of hoodlum.

(14) In slang, a clipping of neighborhood, especially an urban neighborhood inhabited predominantly by African Americans of low socioeconomic status (a part of African American Vernacular English (AAVE) and adopted also by LatinX) although use in these communities does now transcend economic status.

(15) To furnish with or fit a hood; to cover with or as if with a hood.

(16) In medieval armor, a range of protective cloakings or coverings

Pre 900: From the Middle English hode, hod, hude, hudde & hoode (hoodes apparently the most common plural), from the Old English hōd, from the Proto-Germanic hōdaz, (related to the Old High German huot (hat), the Middle Dutch hoet and the Latin cassis helmet) and cognate with the Saterland Frisian Houd, the Old Frisian hōde, the West Frisian & Dutch hoed, the Proto-Iranian xawdaH (hat), the German Low German Hood and the German Hut (hat).  The Old English hād was cognate with German –heit and was a special use used to convey qualities such as order, quality, rank (the sense surviving academic, judicial & ecclesiastical garments).  The ultimate source is uncertain but most etymologists seem to support the primitive Indo-European kad & kadh (to cover).  Hood is modified as required (chemical hood, clitoral hood, un-hood, de-hood, fume hood, hood-shy, hood unit, hoodwink, range hood, riding hood etc) and something thought hood-shaped is sometimes described as cuculliform.  Hood is a noun & verb, hooded & hooding are verbs, hoodless hoodesque & hoodlike are adjectives; the noun plural is hoods.

Hooded: Lindsay Lohan in hoodie, JFK Airport, New York City, NYC April 2013. The bag is a Goyard Saint Louis Tote (coated canvas in black).

Hood as clipping of hoodlum (gangster, thug, criminal etc) dates from the late 1920s and would influence the later use of “hoodie” as a slur to refer to those wearing the garment of the same name, the inference being it was worn with nefarious intent (concealing identity, hiding from CCTV etc.  Hood as a clipping of neighborhood (originally especially an urban (inner-city) neighborhood inhabited predominantly by African Americans of low socio-economic status) dates from circa 1965 and became part of African American Vernacular English (AAVE) and was adopted also by LatinX) although use in all communities does now transcend economic status.  It was an alternative to ghetto (a word with a very different tradition) and encapsulated both the negative (crime, violence, poverty) & positive (group identity, sense of community) aspects of the low-income inner city experience.  Although a part of AAVE, it never formed part of Ebonics because its meaning was obvious and, to an extent, integrated into general US vernacular English.  The phrase “all good in the hood” is an example of the use of the clipping.

Blu-Ray & DVD package art for Red Riding Hood (2006).  In US use, "alternate" seems to have been accepted as a synonym for "alternative".  Few seem to mind.

The verb hood in the sense of “to put a hood” & “to furnish with a hood” on dates from circa 1400 while although hooded & hooding aren’t attested until decades later, it’s possible the use emerged at much the same time.  The Old English hod was typically "a soft covering for the head" which extended usually over the back of the neck but only in some cases did it (permanently or ad-hoc) attach to some other garment.  The modern spelling emerged early in the fifteenth century and indicated a “long vowel” although that pronunciation is long extinct.  The word was picked up in medicine, botany & zoology in the seventeenth century while the use to describe the “foldable or removable covers on a carriage which protects the occupants from the elements” was documented since 1826 and that was used in a similar context by the manufacturers of prams and baby-carriages by at least 1866.  The meaning “hinged cover for an automobile engine” was in use in the US by 1905 while across the Atlantic, the British stuck to “bonnet”.  The fairy tale (some read it as a cautionary tale) Little Red Riding Hood (1729) was a translation of Charles Perrault's (1628-1703) Petit Chaperon Rouge which appeared in his book Contes du Temps Passé (Stories or Tales from Past Times (1697)).

The suffix -hood (a word-forming element meaning “state or condition of being”) was an evolution of the Old English -had (condition, quality, position) which was used to construct forms such as cildhad (childhood), preosthad (priesthood) & werhad (manhood); it was cognate with German –heit & -keit, the Dutch -heid, the Old Frisian & Old Saxon -hed, all from the Proto-Germanic haidus (manner, quality (literally “bright appearance”, from the primitive Indo-European skai & kai- (bright, shining) which was cognate with the Sanskrit ketu (brightness, appearance).  It was originally a free-standing word but in Modern English survives only in this suffix.

HMS Hood in March 1924.  The last battlecruiser built for the Royal Navy, it was 860 feet (262 metres) in length, displaced 47,000 tons and had a main armament of eight 15 inch (380 mm) guns.

HMS Hood (1918-1941) was a Royal Navy battlecruiser named after Admiral Samuel Hood, first Viscount (1724–1816), one of five admirals the family would provide.  Although the Battle of Jutland (1916) had exposed the inherent limitations of the battlecruiser concept and the particular flaws in the British designs, the building of the Hood anyway continued and the revisions made in the light of the Jutland experience in some way exacerbated the ship’s problems; weight was added without fully affording the additional protection required.  The Admiralty was aware of this and of the four battlecruisers of her class planned, Hood was the only one completed as the Navy embarked on a re-design but the naval disarmament agreed between the major powers in the aftermath of World War I (1914-1918) meant none were built (indeed no navy would launch a new battlecruiser until the 1980s and even then the notion was thought strange) and for almost two decades Hood remained the largest warship in the world.

Naval architecture, fire control ballistics and aviation had however moved on in those years and although the biggest warship afloat (the “Mighty Hood” in the public imagination), Hood was outmoded but as late as the early 1930s this mattered little because the prospect of war between the big powers seemed not only remote but absurd.  Hood is still thought one of the most elegant warships ever and it spent those years touring the empire and other foreign ports, her fine lines and apparent might impressing many although the Admiralty was well aware the days of Pax Britannica were over.  Much comment has been made about the design flaw which resulted in the Hood sinking in minutes after a shell from the German battleship Bismarck, fired from a range of some ten miles (16,000 m), penetrated the deck (some modern analysts contest this because of technical details relating to the angle of fire available to the German gunners), causing the magazine to explode, essentially splitting the hull in two.  In fairness to the Kriegsmarine (the German navy), it was a good shot but at that range, it was also lucky, that essential element in many a battle.

In structural linguistics, the term “Americanisms” is used to describe several sub-sets of innovations in English attributed to those (and their descendents) who settled in North America.  They include (1) spellings (color vs colour), most of which make more sense than the originals, (2) simplification of use (check used for cheque as well as its other meanings), (3) coinings (sockdolager (decisive blow or remark), a nineteenth century American original of contested origin) and (4) alternatives (suspenders vs braces).  Hood was one word where used differed in the US.  In the UK, the hood was the (traditionally leather but latterly a variety of fabrics) folding top which began life on horse-drawn carriages and later migrated to cars which eventually were, inter alia, called cabriolets, drophead coupés or roadsters.  In the US the same coachwork was used but there the folding tops came to be called “soft tops”, one reason being the hood was the (usually) hinged panel which covered the engine.  In the UK, that was called a bonnet (from the Middle English bonet, from the Middle French bonet (which endures as the Modern French bonnet), from the Old French bonet (material from which hats are made), from the Frankish bunni (that which is bound), from the Proto-Germanic bundiją (bundle), from the primitive Indo-European bend- (to tie).  The origins of the use of bonnet and hood as engine coverings were essentially the same: the words were in the nineteenth century both used on both sides of the Atlantic to describe cowls or coverings which protected machinery from the elements, impacts etc (the idea based on the familiar garments) and it was only chance that one use prevailed in one place and one in the other.  There were other differences too: what the British called the boot the Americans said was the trunk which on the early automobiles, like many of the stage coaches they replaced, indeed it was.

Unhinged: Not all hoods were hinged.  In 1969, some Plymouth Road Runners (left) and Dodge Super Bees (right) could be ordered with a lightweight, fibreglass hood held in place by four locking pins.  Known as the "lift-off hood", it need two conveniently to remove the thing so it wasn't the most practical option Detroit ever offered but to the target market, it was very cool.

Portico

Portico (pronounced pawr-ti-koh or pohr-ti-koh)

(1) In architecture, a covered (but not enclosed) entrance to a building, the structure consisting of a roof supported by columns or piers, usually attached to the building as a porch.

(2) The Stoic philosophy, named after the public porch on the agora of Athens where Zeno taught (now obscure and used only in the history or teaching of academic philosophy).

1595–1605: An Italian borrowing from the Latin porticus (gate; entrance), the construct being porta + -icus.  Porta is from the primitive Indo-European root per- (to pass through or over), probably as a feminine nominalization of pr-tó- (passed through; crossed) and related to the Ancient Greek πόρος (póros) (means of passage).  The –icus suffix is from the i-stem + -cus, occurring in some original cases and later used freely.  It was cognate with the Ancient Greek -ικός (-ikós), the Proto-Germanic –igaz, the Old High German and Old English -ig, the Gothic -𐌴𐌹𐌲𐍃 (-eigs) and the Proto-Slavic –ьcь.  The Slavic form fossilized into a nominal agent suffix, but probably originally also served adjectival functions.  The Latin porticus was a doublet of porche and both plural forms, porticoes & porticos, are acceptable.

Portico at front entrance of the Port Office building, Edward Street, Brisbane, Queensland, Australia. The architect was Francis Drummond Greville Stanley (1839—1897) who completed the design between 1875-1877 while appointed Queensland Government Architect.

First widely used as a formalised style in Ancient Greece, a portico is a porch which provides cover over the entrance to a building.  Until recently, historians of architecture insisted on a portico being a structure supported by columns or pillars but without walls, variations of the theme usually called colonnades or ante rooms.  Now, the more general term "porch" seems often extended to what used to be a portico.

Drayton Hall, Charleston, South Carolina.

Drayton Hall, a fine example of Palladian architecture, is thought to have been completed in the early 1750s.  On the west façade, it features an unusual, recessed, double projecting portico, one striking aspect of which is the twinned staircases.  Symmetrically paired staircases leading up to porticos were a common feature in antebellum architecture but it’s rare to see them attached at right angles, the style of the plantation era tending to favour sweeping curves.

Villa Cornaro, Venice.

Drayton Hall’s double-layer portico is said to be the first of its kind in North America and influenced by similar constructions in Italy by Renaissance architect Andrea Palladio (1508–1580) who lent his name to this style.  His Villa Cornaro, a country estate in Piombino Dese, near Venice, he designed in 1551-1552, leaving an interesting discussion of the building in the second volume of I quattro libri dell'architettura (The Four Books on Architecture (1570)).

Lindsay Lohan approaching the portico of the "London house" in Parent Trap (1998).   The house is 23 Egerton Terrace, Knightsbridge London, SW3 although in the film it's labelled Number 7.