Frango

Frango (pronounced fran-goh)

(1) A young chicken (rare in English and in Portuguese, literally “chicken”).

(2) Various chicken dishes (an un-adapted borrowing from the Portuguese).

(3) In football (soccer) (1) a goal resulting from a goalkeeper’s error and (2) the unfortunate goalkeeper.

(4) The trade name of a chocolate truffle, now sold in Macy's department stores. 

In English, “frango” is most used in the Portuguese sense of “chicken” (variously “a young chicken”, “chicken meat”, “chicken disk” etc) and was from the earlier Portuguese frângão of unknown origin.  In colloquial figurative use, a frango can be “a young boy” and presumably that’s an allusion to the use referring to “a young chicken”.  In football (soccer), it’s used (sometimes trans-nationally) of a goal resulting from an especially egregious mistake by the goalkeeper (often described in English by the more generalized “howler”.  In Brazil, where football teams are quasi-religious institutions, such a frango (also as frangueiro) is personalized to describe the goalkeeper who made the error and on-field blunders are not without lethal consequence in South America, the Colombian centre-back Andrés Escobar (1967–1994) murdered in the days after the 1994 FIFA World Cup, an event reported as a retribution for him having scored the own goal which contributed to Colombia's elimination from the tournament. Frango is a noun; the noun plural is frangos.

The Classical Latin verb frangō (to break, to shatter) (present infinitive frangere, perfect active frēgī, supine frāctum) which may have been from the primitive Indo-European bhreg- (to break) by not all etymologists agree because descendants have never been detected in Celtic or Germanic forks, thus the possibility it might be an organic Latin creation.  The synonyms were īnfringō, irrumpō, rumpō & violō.  As well as memorable art, architecture and learning, Ancient Rome was a world also of violence and conflict and there was much breaking of stuff, the us the figurative use of various forms of frangō to convey the idea of (1) to break, shatter (a promise, a treaty, someone's ideas (dreams, projects), someone's spirit), (2) to break up into pieces (a war from too many battles, a nation) and (3) to reduce, weaken (one's desires, a nation).

A frangō in the sense of the Classical Latin: Lindsay Lohan with broken left wrist (fractured in two places in an unfortunate fall at Milk Studios during New York Fashion Week) and 355 ml (12 fluid oz) can of Rehab energy drink, Los Angeles, September 2006.  The car is a 2005 Mercedes-Benz SL 65 AMG (R230; 2004-2011) which earlier had featured in the tabloids after a low-speed crash.  The R230 range (2001-2011) was unusual because of the quirk of the SL 550 (2006-2011), a designation used exclusively in the North American market, the RoW (rest of the world) cars retaining the SL 500 badge even though both used the 5.5 litre (333 cubic inch) V8 (M273).

The descendents from the Classical Latin frangō (to break, to shatter) included the Aromanian frãngu (to break, to destroy; to defeat), the Asturian frañer (to break; to smash) & francer (to smash), the English fract (to break; to violate (long obsolete)) & fracture ((1) an instance of breaking, a place where something has broken, (2) in medicine a break in a bone or cartilage and (3) in geology a fault or crack in a rock), the Friulian franzi (to break), the German Fraktur ((1) in medicine, a break in a bone & (2) a typeface) & Fraktion (2) in politics, a faction, a parliamentary grouping, (3) in chemistry, a fraction (in the sense of a component of a mixture), (4) a fraction (part of a whole) and (5) in the German-speaking populations of Switzerland, South Tyrol & Liechtenstein, a hamlet (adapted from the Italian frazione)), the Italian: frangere (1) to break (into pieces), (2) to press or crush (olives), (3) in figurative use and as a literary device, to transgress (a commandment, a convention of behavior etc), (4) in figurative use to weaken (someone's resistance, etc.) and (5) to break (of the sea) (archaic)), the Ladin franjer (to break into pieces), the Old Franco provençal fraindre (to break; significantly to damage), the Old & Middle French fraindre (significantly to damage), the Portuguese franzir (to frown (to form wrinkles in forehead)), the Romanian frânge (1) to break, smash, fracture & (2) in figurative use, to defeat) and frângere (breaking), the Old Spanish to break), and the Spanish frangir (to split; to divide).

Portuguese lasanha de frango (chicken lasagna).

In Portuguese restaurants, often heard is the phrase de vaca ou de frango? (beef or chicken?) and that’s because so many dishes offer the choice, much the same as in most of the world (though obviously not India).  In fast-food outlets, the standard verbal shorthand for “fried chicken” is “FF” which turns out to be one of the world’s most common two letter abbreviations, the reason being one “F” representing the once infamous "F-word", one of English language’s most un-adapted exports.  One mystery for foreigners sampling Portuguese cuisine is: Why is chicken “frango” but chicken soup is “sopa de galinha?”  That’s because frango is used to mean “a young male chicken” while a galinha is an adult female.  Because galinha meat doesn’t possess the same tender quality as that of a frango, (the females bred and retained mostly for egg production), slaughtered galinhas traditionally were minced or shredded and used for dishes such as soups, thus: sopa de galinha (also as canja de galinha or the clipped caldo and in modern use, although rare, sopa de frango is not unknown).  That has changed as modern techniques of industrial farming have resulted in a vastly expanded supply of frango meat so, by volume, most sopa de galinha is now made using frangos (the birds killed young, typically between 3-4 months).  Frangos have white, drier, softer meat while that of the galinha is darker, less tender and juicer and the difference does attract chefs in who do sometimes offer a true sopa de galinha as a kind of “authentic peasant cuisine”.

There are also pintos (pintinhos in the diminutive) which are chicks only a few days old but these are no longer a part of mainstream Portuguese cuisine although galetos (chicks killed between at 3-4 weeks) are something of a delicacy, usually roasted.  The reproductive males (cocks or roosters in English use) are galos.  There is no tradition, anywhere in Europe, of eating the boiled, late-developing fertilized eggs (ie a bird in the early stages of development), a popular dish in the Philippines and one which seems to attract virulent disapprobation from many which culturally is interesting because often, the same critics happily will consume both the eggs and the birds yet express revulsion at even the sight of the intermediate stage.  Such attitudes are cultural constructs and may be anthropomorphic because there’s some resemblance to a human foetus.

Lindsay Lohan at Macy's and Teen People's Freaky Friday Mother/Daughter Fashion Show, Macy's Herald Square, New York City, August 2003.  It's hoped she had time for a Frango.

Now sold in Macy’s, Frangos are a chocolate truffle created in 1918 for sale in Frederick & Nelson department stores.  Although originally infused with mint, many variations ensued and they became popular when made available in the Marshall Field department stores which in 1929 acquired Frederick & Nelson although it’s probably their distribution by Macy's which remains best known.  Marshall Field's marketing sense was sound and they turned the Frango into something of a cult, producing them in large melting pots on the 13th floor of the flagship Marshall Field's store on State Street until 1999 when production was out-sourced to a third party manufacturer in Pennsylvania.  In the way of modern corporate life, the Frango has had many owners, a few changes in production method and packaging and some appearances in court cases over rights to the thing but it remains a fixture on Macy’s price lists, the troubled history reflected in the “Pacific Northwest version” being sold in Macy's Northwest locations in Washington, Idaho, Montana and Oregon while the “Seattle version” is available in Macy's Northwest establishments.  There are differences between the two and each has its champions but doubtless there are those who relish both.

A patent application (with a supporting trademark document) for the Frango was filed in 1918, the name a re-purposing of a frozen dessert sold in the up-market tea-room at Frederick & Nelson's department store in Seattle, Washington.  The surviving records suggest the “Seattle Frangos” were flavoured not with mint but with maple and orange but what remains uncertain is the origin of the name.  One theory is the construct was Fr(ederick’s) + (t)ango which is romantic but there are also reports employees were told, if asked, to respond it was from Fr(ederick) –an(d) Nelson Co(mpany) with the “c” switched to a “g” because the word “Franco” had a long established meaning.  Franco was a word-forming element meaning “French” or “the Franks”, from the Medieval Latin combining form Franci (the Franks), thus, by extension, “the French”.  Since the early eighteenth century it had been used when forming English phrases & compound words including “Franco-Spanish border” (national boundary between France & Spain), Francophile (characterized by excessive fondness of France and all things French (and thus its antonym Francophobe)) and Francophone (French speaking).

Hitler and Franco, photographed at their day-long meeting at Hendaye, on the Franco-Spanish border, 23 October 1940.  Within half a decade, Hitler would kill himself; still ruling Spain, Franco died peacefully in his bed, 35 years later.

Remarkably, the Frango truffles have been a part of two political controversies.  The first was a bit of a conspiracy theory, claiming the sweet treats were originally called “Franco Mints”, the name changed only after the outbreak of the Spanish Civil War (1936-1939) in which the (notionally right-wing and ultimately victorious) Nationalist forces were led by Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975) and the explanation was that Marshall Field wanted to avoid adverse publicity.  Some tellings of the tale claim the change was made only after the Generalissimo’s meeting with Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) at Hendaye on 23 October 1940.  Their discussions concerned Spain's participation in the War against the British but it proved most unsatisfactory for the Germans, the Führer declaring as he left that he'd rather have "three of four teeth pulled out" than have to again spend a day with the Caudillo.  Unlike Hitler, Franco was a professional soldier, thought war a hateful business best avoided and, more significantly, had a shrewd understanding of the military potential of the British Empire and the implications for the war of the wealth and industrial might of the United States.  The British were fortunate Franco took the view he did because had he agreed to afford the Wehrmacht (the German armed forces) the requested cooperation to enable them to seize control of Gibraltar, the Royal Navy might have lost control of the Mediterranean, endangering the vital supplies of oil from the Middle East, complicating passage to the Indian Ocean and beyond; it would have transformed the strategic position in the whole hemisphere.  However, in the archives is the patent application form for “Frangos” dated 1 June 1918 and there has never been any evidence to support the notion “Franco” was ever used for the chocolate truffles.

Macy's Dark Mint Frangos.

The other political stoush (late nineteenth century Antipodean slang meaning a "fight or small-scale brawl") came in 1999 when, after seventy years, production of Frangos was shifted from the famous melting pots on the thirteenth floor of Marshall Field's flagship State Street store to Gertrude Hawk Chocolates in Dunmore, Pennsylvania, the decision taken by the accountants at the Dayton-Hudson Corporation which had assumed control in 1990.  The rationale for this shift was logical, demand for Frangos having grown far beyond the capacity of the relatively small space in State Street to meet demand but it upset many locals, the populist response led Richard Daley (b 1942; mayor (Democratic Party) of Chicago Illinois 1989-2011), the son of his namesake father (1902–1976; mayor (Democratic Party) of Chicago, Illinois 1955-1976) who in 1968 simultaneously achieved national infamy and national celebrity (one’s politics dictating how one felt) in his handling of the police response to the violence which beset the 1968 Democratic National Convention held that year in the city.  The campaign to have the Frangos made instead by a Chicago-based chocolate house was briefly a thing but was ignored by Dayton-Hudson and predictably, whatever the lingering nostalgia for the melting pots, the pragmatic Mid-Westerners adjusted to the new reality and, with much the same enthusiasm, soon were buying the Pennsylvanian imports.

Macy's Frango Mint Trios.

Doubtlessly to the delight of economists (sweet-toothed or not), there appears to be a “Frango spot market”.  Although the increasing capacity of AI (artificial intelligence) has improved the mechanics of “dynamic pricing” (responding in real-time to movements in demand), as long ago as the Christmas season in 2014, CBS News ran what they called the “Macy's State Street Store Frango Mint Price Tracker”, finding the truffle’s price was subject to fluctuations as varied over the holiday period as movements in the cost of gas (petrol).  On the evening of Thanksgiving, “early bird” shoppers could buy a 1 lb one-pound box of Frango mint “Meltaways” for US$11.99, the price jumping by the second week in December to US$14.99 although that still represented quite a nominal discount from the RRP (recommended retail price) of US$24.00.  Within days, the same box was again listed at US$11.99 and a survey of advertising from the previous season confirmed that in the weeks immediately after Christmas, the price had fallen to US$9.99.  It may be time for the Chicago Mercantile Exchange (CME) to open a market for Frango Futures (the latest “FF”!).

Tenebrous

Tenebrous (pronounced ten-uh-bruhs)

Dark; gloomy; obscure.

1375-1425: From the late Middle English tenebrose (full of darkness, gloomy), from the Anglo-Norman tenebrous (the earlier spelling was tenebrus), from the eleventh century Old French tenebros (dark, gloomy) (which endures in modern French as ténébreux), from the Latin tenebrōsus (dark), from tenebrae (darkness, shadows).  The Latin forms may have been dissimilated from the earlier temebrai, from the primitive Indo-European root temsro- (dark), an adjective from temos- (darkness).  The adjective tenebrous indicates a high degree of darkness but not an absolute absence of light, the comparative is thus more tenebrous and the superlative most tenebrous.  Tenebrous is now a literary word valued by poets because of the relative novelty of the rhyming and is used also figuratively (as early as the 1670s it was deployed to suggest someone was “morally or mentally dark”.  Tenebrous, tenebricose & tenebrific are adjectives, tenebrity, tenebrousness & tenebrosity are nouns and tenebrously is an adverb; the noun plural is tenebrosities.  The alternative spelling is tenebrious and except in literary use, the verb tenebrize is now obsolete.

Salomè con testa del Battista (Salome with the Head of John the Baptist, circa 1608), oil on canvas by Caravaggio (Michelangelo Merisi da Caravaggio; 1571–1610), National Gallery, London.

Tenebrosity (darkness, gloom, obscurity) was from the early fifteenth century, tenebrious (pertaining to darkness, of a dark nature) dates from the 1590s, tenebrity (quality of being dark) was in use by at least 1792 while tenebrific (producing darkness), dating from the late 1760s, was implied in the earlier tenebrificating, recorded in 1743.  In 1818, it was reported in a London publication there was a theory darkness was not simply the absence of light, but that certain heavenly bodies (called Tenebrific Stars), emitted rays of positive darkness, which produced what commonly was called “night”.  This is how science evolves, theories existing to compete as explanations for this and that until disproved.  The early fifteenth century Tenebrer (bearer of darkness) was an epithet of Satan.  One variant which didn’t endure was recorded in the mid-seventeenth century was tenebrion (one that will not be seen by day, a lurker, a night-thief (also a “night-spirit” and “hobgoblin”)).  In Christianity, the Tenebrae is a religious service celebrated by the Western Church on the evening before or early morning of Maundy Thursday, Good Friday, and Holy Saturday, involving the gradual extinguishing of candles while a series of readings and psalms are chanted or recited.  In fine art, the related tenebrism describes a style of painting using very pronounced chiaroscuro, with darkness a dominating feature of the image and a tenebrist is an artist applying the method.  Works in the genre are said to be tenebristic and in the late nineteenth century those painting in this manner (described usually as “in the style of Caravaggio” were called the tenebrosi; by 1959 the preferred term among art historians was tenebrism.

Illustrating the adjectival: Lindsay Lohan tenebrous (left), more tenebrous (centre) and most tenebrous (right), from Pop Magazine photo-shoot, Fall/Winter 2007.

The MOGAI

MOGAI stands for “Marginalized Orientations, Gender Alignments and Intersex” and is something of an omnibus term, acting as an umbrella term for sexual orientations, gender identities and intersex traits not considered “mainstream” although the very notion of “mainstream” is now a morass of cross-cutting claims, some factions demanding inclusion, others insisting on their separateness.  Whatever has been the track of MOGAI since its emergence in 2015, the original intent seems to have been one of “inclusiveness” and in that sense it’s both a logical extension of the LGBTQ+ concept and a recognition that so many categories could be identified the “extended model” (ie LGBTQQIAAOP and such) was becoming unmanageable.  Even “LGBTQ+” was in a sense counter-productive because in relegating certain letters (and thereby individuals or groups) to the “+”, there was an act of marginalization which, in the modern construct could be deemed a microaggression.  What advocates emphasize is that MOGAI exists for marginalized identities and it’s also as a kind of clearing house for novel or less recognized gender labels.  

DSM-5-TR (Text revision (2022) of DSM-5 (2013)).

In the narrow technical sense, MOGAI is a classification system but its focus on non-binary and other gender identities that are not cisgender seems to have acted to encourage the growth in the creation of categories and while some have “filled a gap”, there’s also clearly been linguistic adventurism in the same way some have been beyond imaginative in the coining of long German compound nouns and others have describe phobia despite there being no evidence of the particular fear ever having been defined as a clinical condition or even reported, a phenomenon the marvellously comprehensive Phobiapedia cheerfully acknowledges.  Whereas the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) exists to codify mental health conditions including phobias, MOGAI is just one of many list of gender identities but one which commands interest simply on the basis of numbers: it has spawned literally hundreds of entries and while some are “variations on a theme”, the breadth is striking.

The DSM contains two obviously tenebricose conditions, Social Anxiety Disorder and Seasonal Affective Disorder (a mood disorder characterized by recurrent depressive episodes that occur at particular times of the year, usually in winter), tenebrous used of the former figuratively, of the latter literally.  In a decision which may have been an agenda item on one of the editorial committee's meeting, it was decided the acronym “SAD” would be applied to Seasonal Affective Disorder (presumably on the basis it described the sadness associated with dark, wintery conditions); Social Anxiety Disorder typically is abbreviated as SoAD and the differentiation makes sense because while sadness can be associated with SoAD, it's the prime dynamic of SAD.  Multiple uses of acronyms is of course common but within the one publication it could confuse for the editors made a wise choice.  First described in 1984, SAD was included in the revision to the third edition (DSM-III-R (1987)) as a “seasonal pattern”, a modifier applied to recurrent forms of mood disorders, rather than as an independent entity.  In the DSM-IV (1994), its status as a standalone condition was changed, no longer classified as a unique mood disorder but instead a specifier (called “with seasonal pattern”) for the “recurrent major depressive disorder that occurs at a specific time of the year and fully remits otherwise”.  In the DSM-5 (2013), although there were detail changes in terminology, the disorder was again identified as a type of depression (Major Depressive Disorder with Seasonal Pattern).  The symptoms of SAD often overlap with the behaviors & mood changes noted in clinical depression, the novelty being the condition manifesting usually during the fall (autumn) & winter when temperatures and lower and the hours of sunlight fewer, the symptoms tending to diminish with the onset of spring.

A gathering of high tech, robotic lawnmowers: Four Stihl iMows of the apocalypse.

Suggested collective nouns for lawnmowers have included “graze”, “scythe”, “lawn” & “swathe” but the most evocative was the (presumably Australian) “startyafuquer” (pronounced stahrt-yuh-fuhk-ah).  Most “high tech” lawnmowers are controlled using a cell phone app but some include the feature of a user being able to create their own voice-activation command set so “startyafuquer” could be recorded as the “start command”, the obvious companion phrase being “stopyafuquer”.

While notably less common, there are those who experience SAD during the summer and in either case it’s seen more frequently in women; SAD appears to be possible at any age but is most typically suffered in the age range 18-30.  In the US, the dynamic of the condition is illustrated by the diagnosis of SAD ranging from 1.4% of the population in sunny Florida to 9.9% in often gloomy Alaska and, after some initial scepticism, the condition was accepted as legitimate by most of the profession although there has been some contradictory research.  Although in a sense SAD has for centuries been documented in the works of poets and artists, it wasn’t until the mid-twentieth century that structured research began and it has been linked to a biochemical imbalance in the brain prompted by exposure to reduced hours of daylight and a reduction in sunlight.  It’s thought that as the seasons go by, some experience a shift in their internal “biological clock” (circadian rhythm) which induces the mechanism to become asynchronous with their daily schedule.  Predictably, SAD appears more prevalent among those living far from the equator where the conditions in winter are exaggerated.  Seemingly paradoxically, clinicians treating SAD do in some cases recommend “outdoor activities” on the basis (1) of “confronting the problem” as is sometimes done for fears (heights, spiders etc) and (2) its frequent effectiveness in countering depression.  One popular activity suggested is gardening and while many have reported it as therapeutic, those suffering from Sponeopapaaughprosebeeanthropopcacareophobia (the phobia describing the “fear of high tech lawn mowers”) would need to be cautious in their choice and handling of equipment.   

Gender lists are however not “peer reviewed” in the traditional sense (controversial as that model of academic publishing has become) so in a sense all the categorization systems are of equal validity with users free to determine which works best for them.  That’s democratic and how a classic marketplace of ideas operates but does mean it’s a field in which most are left to make of it what they will.  It would be interesting to compare a “comprehensive list” curated by academics in the now well-populated discipline of “gender studies” with the hundreds of entries which the MOGAI community hosts.  In the most recent edition of the DSM (DSM-5-TR, 2022), while there are five sub-types of specific phobias: (1) animals, (2) the natural environment, (3) blood, injections, medical procedures and such, (4) situational types (airplanes, elevators, enclosed spaces etc) and (5) other types, officially, terms like nomophobia, coulrophobia, globophobia, arachibutyrophobia etc) are no longer accepted clinical terms used in psychiatry and instances are grouped to be diagnosed as “Specific Phobia, other type”.  Remarkably, given the frequency of use of xxx-phobia in general use, only two explicitly are mentioned in the DSM and they are not unrelated: Agoraphobia (an extreme or irrational fear of entering open or crowded places or leaving one's home) and Social Anxiety Disorder (SoAD or Social anxiety).

The MOGAI community's lists of gender types are an invaluable resource but can be challenging for those suffering Albumistaphobia (the phobia describing the “fear of lists”).

Still, even if many of MOGAI’s entries might not survive an academic cull, there would be gender theorists or activists who might acknowledge the entire set because a syndrome need not be widespread to be defined as such: a single case can establish the diagnosis.  Word nerds too must have been impressed by the diversity and intricacy (if not always the grammar and spelling) because MOGAI definitions can also be mapped onto specific systems or sets of labels, such as the Celestial Gender System (based on celestial bodies) or the Restaurant System (based on restaurants and eateries).  What that has meant is that as well as serious contributions, the MOGAI community has seen the creation of new labels of dubious practical validity which, like some alleged phobias, clearly exist just because their creation was possible and fun.  Those schooled in labelling theory might also be interested because, once created and vested with the “validity” of appearing in a “gender list” on the internet, a label can gain some gravitational pull and convince readers they’ve just discovered their “true gender” identity or identities.  As patients can create the diagnosis, so the diagnosis can create the patient.

Xenogender

A xenogender identity is one in which a person's gender is connected to an aesthetic or sensory experience.  It is non-binary and applies concepts beyond traditional male, female or androgynous categories to describe a gender that cannot be contained by traditional human understandings of gender.  Xenogender claims to be all-encompassing and is this positioned as an umbrella term for identities related to abstract sources like animals, plants, concepts and imaginary or inanimate objects; the linkages need not in any way be literal or concrete and can be simply a device people use to best articulate how their gender “feels” (or “appears” for those who view themselves from beyond their own physical body) to them.  Some xenogenders are used by the neurodivergent community but the essence of xenogenderism is they cannot be exclusive and thus cannot be used in an exclusionary way.

Hallowgender

Hallowgender (or Halloweengender) is an aesthetigender in which one's gender is tied closely to “the silly part of Halloween and the Halloween aesthetic” (ie it focuses on the fun rather than the dark and scary).  The first known use of hallowgender was by Tumblr user asukazepplinsoryu in 2014.

Flags of the Hallowgender.

Left to right: (1) The original hallowgender flag, designed by an anonymous user; (2) the first alternate hallowgender flag designed by Tumblr user ask-pride-color-schemes; (3) the second alternate hallowgender flag designed by Tumblr user momma-mogai-sphinx, (4) the third alternate hallowgender flag designed by Tumblr user momma-mogai-sphinx and (5) the fourth alternate hallowgender flag designed by FANDOM user WriterThatArts.  In the ecosystem of gender-diversity, flags have become a thing; the gay liberation movement's Rainbow flags are the best-known but there are banners for many non-cisgender sub-sets and other divergencies including the still much-marginalized Objectum community.  

TFS: The Tenebrous Gender System

A fork of the MOGAI community, the TGS (Tenebrous Gender System) was said to have been created by Tumblr user Hallowgender who on 12 September 2020 published a codified version; under TGS, all sub-types are in some way and to some degree connected to “darkness and gloominess”.  All are related also to other things or concepts and that some of those might stand in stark contradiction to darkness and gloominess was noted without further comment.  In a sign of the times, TGS, with seven categories, is said to be “one of the smallest gender systems” and that reflects the recent proliferation from something which for millennia usually was represented as a binary.  Each TGS category has a flag:

Tenebrariarumian: A gender that is dark, enveloping, and colorful.  It is gloomy, calming and cold.  Exemplar: Billie Eilish (b 2001).

Tenebrasian: A gender that is dark, separating, and sullen.  It is gloomy, tumultuous and warm.  Exemplar: Lindsay Lohan (b 1986).

Tenebellariumian: A gender that is flamboyant, dark, cool, and wintry. It is gloomy, calming, and freezing as well but may tend also to fluidity and can be similar to Burlesgender.  Exemplar: Kim Kardashian (b 1980).

Tenebrationisian: A gender that is masculine, toasty, calming, and similar to the sea at night.  It is gloomy, calming, and connected to anchors, boats, and summer.  Exemplar: Alexandria Ocasio-Cortez (AOC, b 1989).

Tenebricosumian: A gender that is cautious, wintry, dark and comforting.  It is small, fluid, and flux.  Exemplar: Bernie Sanders (b 1941).

Tenebricumian: A gender that is icy, soft, watery and comforting. It is large, fluid, and flux.  Exemplar: Sydney Sweeney (b 1997).

Tenebrosumian: A gender that is icy, soft, electric and powerful.  It is large, fluid and flux as well.  It can be connected to lights in a city at night, blankets and snowy afternoons.  Exemplar: Jessica Simpson (b 1980).

Aesthetigender

Aesthetigender was said to have been coined in 2014 by Tumblr user curiosityismysin and the original description read: “a gender experience that is derived from, or the embodiment of, an aesthetic”; from that came the mission creep which saw the term evolve from a “standalone gender” to being an entire sub-category of MOGAI genders to the point where it is one of the largest.  The nature of the beast is such that within the rubric of aesthetigender it’s an irrelevance to try to determine where one ends and another begins and the extent of proliferation anyway made overlap inevitable.  As might be imagined, a category in which the imperative is “a gender which in some ways relates to an aesthetic” is so broad that probably all MOGAI genders could be made to fit under the umbrella, including terms that aren't obviously “aesthetically linked” because just as “everything is text”, in a sense, “everything has an aesthetic”.  That has to be right because the root of aesthetigender ultimately can be traced back to a rejection of gender as a binary and the nonbinary activist movement really began as something aesthetic before a conceptual framework was built.  The MOGAI community now lists over 600 known aesthetigenders and while some (like many entries in the phobia lists) are variants, jocular coinings or exercises in novelty, such is the breadth, there must be something for just about everyone; some illustrative examples are:

Abandoe: a gender similar to that of an abandoned house; could be dead, genderless or of themes being empty and intimidating.

Adorbian: a xenic alignment to cuteness or cute things.

Aesthetigxrl: a girl or woman who is also aesthetifluid.  Your aesthetigenders act as an overlay, affecting pronouns and desired presentation.  If the aesthetic is heavily aligned with a different gender, your gender might be obscured until the aestheticgender changes. Comes under the genderfluid umbrella. (Gxrl can be substituted with your main gender (bxy, boy, girl, xen, enby ect).

Ancientus: a gender that feels like it is becoming ancient and unused, regardless of whether it is or is not.

Animecoric: a gender related to animecore.

Antiancientius: a gender that feels like it is coming back from being ancient and unused to being new and used

Arcage: a gender that feels locked up in a coffin or mausoleum, it’s desolate and unused but can be revisited and used for a small amount of time.  It can also be related to coffins, cemeteries and Halloween.

Autumnusian: a slightly neutral gender related to autumn (fall), fallen leaves, oak trees, the smell of maples, rain, and/or the sun.

Bellusgender: a gender relating to anything beautiful to the user’s eye (can be flowers, pets etc).

Burlesgender: A gender that is ineffable, extremely hard to label, but is flamboyantly and fabulously androgynous.  It was first coined as Ziggystardustgender but changed due to this referencing a fictional character.

Camogender: a gender that’s hard to see on the outside, almost invisible, but very deep and full of meaning on the inside. Can be thick or thin but is always not what it appears to be.

Cosmiccoric: a gender that feels like you’re a cosmic entity, one with the universe, especially when meditating.

Crystalforestgender: a gender associated with both crystals and forests or that is easily described by both forests and crystals.

Demi-Smoke: a transcendental, spiritual gender roughly drifting to other genders that are unable to be foreseen or understood, shrouded in darkness within your inner visual.  Elevating through mystery and caused by a lack of inner interpretation and one’s dark emotional states.

Derkazgender: where you feel like parts of your gender are hidden or concealed in darkness.

Djender: a gender that is harsh and jagged.

Elegender: a gender up to interpretation by individuals, but in essence is an ethereal gender that is unable to be understood by either the individual or others; a gender that cannot be explained; a dainty, elegant, or delicate gender.

Estetikgender: when your gender is influenced by your current aesthetic.

Fatugender: a useless gender.

Fractigender: a gender identity characterized by different genders occurring with different intensities, and yet still connected (either through expression, interpretation, or being experienced simultaneously).  This identity is based on the Latin fractus (broken), perfect passive participle of frangō (break, fragment), the idea being a pattern that repeats on smaller and smaller scales, and different locations.

Genderabyssalis: a gender that is dark, deep, and abyssal.  It may be connected to darkness, dimness, and cold nights.  It can be masculine or neuter-aligned, but need not be.

Genderamburo: a gender that feels slightly scorched or burnt.

Genderardere: a gender that feels like it has been burnt/scorched, but still remains.

Genderatrum: a gender shrouded into darkness. It feels gloomy and unwelcoming, isolating itself from other genders.

Gendercalefecere: a gender that feels like it warms, and then quickly cools again.

Gendercimiterium: a gender related to graveyards.  It feels buried underneath other genders, and trapped forever more.

Genderclock: a xenogender related with time and clocks.

Gendergothica: a gender that feels Gothic or related to Gothic architecture or literature.

Gendermortes: A gender that fades into death.

Gendermortuss: A gender that feels dead or is barely clinging to life.

Gendernoir: A gender related to the noir aesthetic.

Genderplush: A gender related to teddy bears.

Gendertextus: a gender that is woven into other genders.

Icegender: A cold gender that's disconnected from emotion

Lolitagender: A gender related to Lolita fashion.

Magikavine: A gender related to the color purple, dark circus aesthetics, and magic.

Mermaidcoric: A gender related to mermaidcore.

Multioculaec: a gender related to having or wanting multiple eyes (Based off Wingphinaec).

Naufragiumgender: a gender simply abandoned.  It is similar to a shipwreck in that it just plainly disappears for a while, later to be rediscovered by advancing into the depths of gender.

Necrogender: a gender that used to exist but is now 'dead' or nonexistent.

Nightshadegender: when your gender feels ominous and dangerous if wrongly handled.

Noirgender: an aesthetic gender based on being goth.

Noxnidorian: A gender that’s related to the night and specifically the smell of the night.

Nymphetic: genders relating to the nymphet/doelette/coquette/faunlet aesthetic & fashion, without k!nk attatched

Ophthalmogender: a gender described by your own eye and its characteristics at some point.

Opscugender: a dark, murky gender, hard to describe or see.

Pastelgothcoric: a gender related to pastel gothcore, or just pastel goth in general!

Petrichic: a xenic-alignment with rain, storms, and water.

Pictogender: a gender that can only be described through imagery. A pictogender individual might only be able to describe their gender with icons, symbols, emojis, color gradients, or some other visual.

Pinkcoric: A gender related to pinkcore.

Punque: a gender characterized by the punk aesthetic, fashion, culture, music and attitude.  Can be used as a descriptor or as a noun.

Puppetic: A xenogender related to puppets/marionettes.

Sadcoric: A gender related to sadcore

Sapphiregender: A gender that is aesthetically related to sapphires, a gender that is feminine, non-binary, and vaguely fluid.

Savmysterius: a masculine xenogender that feels shrouded in fog and is hard to define. It’s slightly fluid, golden and ancient, and draws influence from many sources, including: crystals & forests, stars & death, old gods & demons, angels and the fae.

Sexygender: a gender that is very, very sexy

Shampooium: a dermagender that feels sudsy like shampoo, and makes other genders feel healthy as well.

Shipwreckian: a gender somehow connected to shipwrecks, the deep sea, shades of blue and warm ocean waters.

Sliwarmasix: a slightly warm gender, it hovers slightly above other genders and never flares up.

Somnigender: a gender identity related to, dependent upon, or inexorably connected to a feeling of sleepiness or tiredness. Alternately, it can refer to a gender that is difficult or impossible to perceive or identify due to feelings of sleepiness or tiredness.  Not a narcolepsy/insomnia-based neurogender, just general sleepiness.

Squishyic: a xenogender related to squishies.

Starboy: A gender related to boasting, cyberpunk, and crime.

Tenebric: a gender that feels cold and dark; it smells of moss and nature.

Traumacoric: A gender related to traumacore.

Urbisgender: a gender built like a city, composed of many, many parts that all function to help one another; full of many small parts and things to discover.

Vampcoric: a coric gender related to vampirecore.

Wanderlust Gender: a labyrinthine, eerie gender that’s impossible to navigate or map, but which causes no anxiety.  This gender is fun to explore even if it’s easy to get lost in.

Windowgender: a gender feeling like the space between the glass and the screen of the window thus either a free-flowing gender or for those who feel their genders are transparent!

Wingphinaec: a gender related to wings or having wings!

Witchcoric: a xenogender related to witchcore.

Xenoirgender: A gender based in emo, scene and other offshoots of goth.

Zombiecoric: a masculine, feminine or neutral gender based around zombiecore; feels decayed & dark, which isn’t necessarily a bad thing.

Vorticism

Vorticism (pronounced vawr-tuh-siz-uhm)

A short-lived movement in the British avant-garde, nurtured by Wyndham Lewis, which climaxed in a London exhibition in 1915 before being absorbed.

1914: The construct was vortic + -ism.  The Latin vortic was the stem of vortex, (genitive vorticis), an archaic from of vertex (an eddy of water, wind, or flame; whirlpool; whirlwind whirl, top, crown, peak, summit), from vertō (to turn around, turn about) from vertere (to turn), from the primitive Indo-European wer (to turn; bend).  The –ism suffix is from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Vorticism is a noun, vorticist is a noun & adjective and vorticistic is an adjective; the noun plural was vorticists,  The forms vorticistically & vortical seem never to have come into use.

Hieratic head of Ezra Pound (1914), by Henri Gaudier-Brzeska (1891-1915).

The name Vorticism was said to have been coined in 1914 by the poet Ezra Pound (1885–1972) years before fascism and madness possessed his soul.  Pound had already used the word "vortex" to describe the effect modernist poetry was having on intellectual thought in Europe and he used the word not in the somewhat vague sense it often assumed when used figuratively to suggest swirling turbulence but rather as a mathematician or meteorologist might: an energy which gathers from the surrounding chaos what’s around, imparts to it a geometrical form which, intensifying as it goes, arrives at a single point.  Pound’s coining of the name is generally accepted but some historians claim the name was chosen by the Italian futurist Umberto Boccioni (1882-1916) who claimed all creative art could emanate only from a vortex of emotions.

Blast Magazine, July 1915.

Vorticism flourished only briefly between 1912-1915 as an overly aggressive reaction to what was held to be an excessive attachment to and veneration for delicacy and beauty in art and literature, preferring to celebrate the tools of modernity, the violence and energy of machines.  In painting and sculpture the angles were sharp and the lines bold, colors displayed in juxtaposition to emphasize the starkness of their difference and there was a reverence for geometric form and repetition.  The movement in 1914 published its own magazine: Blast: the Review of the Great English Vortex which was more manifesto than critique, a London-based attempt to gather together the artists and writers of the avant‐garde in one coherent movement.  It wanted the shock of the new.

Composition (1913), by Wyndham Lewis (1882-1957).

The idea was an art which reflected the strains of the vortices of a modern life in what was increasingly a machine age.  Thus, although it remains a footnote in the history of modern art, the label Vorticism refers to a political and sociological point rather than a distinct style such as contemporaries like Cubism or Futurism.  The timing was of course unfortunate and the outbreak of World War I (1914-1918) robbed Vorticism of much of its initial energy; the exhibition eventually staged in London’s Doré Gallery in 1915 remained a one-off and, like much of the pre-1914 world, Vorticism didn’t survive the World War.

Dance Hall Scene (circa 1913), by CRW Nevinson (1889-1946).

Being unappreciated at the time, most of the paintings of the vorticists were lost but retrospectives have been assembled from what remains and the still extant photographic record and there’s now a better understanding of the legacy and the influence on art deco, dada, surrealism, pop art, indeed, just about any abstract form.  Graphic art too benefited from the techniques, the sense of line and color identifiable in agitprop, twentieth century advertising and, most practically, the “dazzle” camouflage used by admiralties in both world wars as a form of disguise for ships.

Juan Garrido, a graphic designer based in Caracas, Venezuela, created the display typeface Vorticism in 2013.  Reflecting the cultural and linguistic influences, while there are a number of typefaces called futurism (or some variation) and some based on the word "vortex", Mr Garrido's "Vorticism" is uniquely named.

Lindsay Lohan in the Vorticism typeface.

Ezra Pound (1919), by Wyndham Lewis.

Even in 1912, Vorticism’s use of bold, abstract, and geometric forms (often depicting movement and mechanical apparatuses) wasn’t new but the movement had an energy which attracted those wanting to create imagery which marked a dramatic break from the representational forms which then were still dominant early in the ear which would come to be known as the dawn of modernity.  In that sense, Vorticism is understood as one of a number of movements embracing a new aesthetic reflecting the dynamism and energy of the modern world.  That as a distinct entity Vorticism didn’t endure was in a way an indication of success rather than failure because its motifs and techniques were co-opted to serve as foundational aspects of many movements in modern art, the abstract and geometric forms underpinning Futurism and Constructivism as well as becoming a staple of commercial graphic art and advertising.  Perhaps the most obvious influence was the artistic legitimization of the integration of text into images, a practice borrowed from commerce and a notable signature of Dada and Surrealism.  The use of text as a visual element challenged traditional boundaries between different art forms, a tension which enabled Pop art to create was in some ways a novel ecosystem.  However, those same motifs have been used also as something illustrative of the destructive tendencies of the speed and spread of mechanical and industrial reality which the vorticists championed and Precisionism & Bauhaus celebrated, at least in a sanitized and idealized way which hid the essential ugliness below.