Omnibus

Omnibus (pronounced om-nuh-buhs)

(1) A now less commonly used term for a bus (a public mass-transit vehicle).

(2) A volume of reprinted works of a single author or of works related in interest or theme, by extension later applied to a television or radio programme consisting of two or more programmes earlier broadcast.

(3) Something pertaining to, including, or dealing with numerous objects or items at once, the best known example being the omnibus bills submitted to a legislature (a number of bills combined as one).

(4) As a pre-nominal, of, dealing with, or providing for many different things or cases. 

(5) In philately, a stamp issue, usually commemorative, that appears simultaneously in several countries as a common issue.

(6) In public transportation, a service which stops at every station, as opposed to a point-to-point express.

(7) In literary use as a humorous device, a jack of all trades (a person with knowledge in multiple fields, usually with some hint of lacking competence in at least some).

(8) In restaurants, both (1) a waiter’s assistant (obsolete, replaced by busboy or (now more commonly) busser or commis waiter) & (2) later the small, wheeled cart used by a waiter's assistant.

1829: A adoption in English to describe a "long-bodied, horse-drawn, four-wheeled public vehicle with seats for passengers", from the French voiture omnibus (carriage for all, common (conveyance)), from the Latin omnibus (for all), dative plural of omnis (all), ablative of omnia, from the primitive Indo-European hep-ni- (working), from hep- (to work; to possess) or hop- (to work; to take).  Bus was thus a convenient shortening to describe the (then horse drawn) forms of public transport and subsequent uses by analogy with transporting (even weightless) stuff is derived from this.  The present participle is omnibusing or omnibussing and the past participle omnibused or omnibussed; the noun plural is either omnibuses or (for the public transportation) omnibusses; the attractive omnibi unfortunately wholly non-standard.

Omnibus entered English to describe a “horse-drawn, long-bodied, four-wheeled public vehicle with seats for passengers” in 1829 as a borrowing from the French where it had been in use for a decade, introduced in Paris in the winter of 1819-1820 by a Monsieur Jacques Lafitte (1761-1833) who used the term voiture omnibus”, combining the French word for "carriage" with the Latin phrase meaning "for all".  An Englishman named George Shillibeer (1797-1866) was the coach-builder to whom Lafitte awarded the contract to build his omnibuses and after returning to London, he built similar models, introducing them in 1929 to immediate success.  In the manner of the Brougham and Hansom cabs, they were known first as Shillibeers (and use of his name to describe the vehicles did persist until late in the nineteenth century) but omnibus was soon preferred and that for more than a century remained the official designation (and indeed still appears in some legislation and ordinances) but predictably, the public preferred the more phonetically economical "bus" and that endures to this day.  Encouraged by his success, Mr Shillibeer remained entrepreneurial, introducing in 1858 the “funeral omnibus” which combined in the one vehicle (in separate compartments), accommodation for both coffin (casket) and mourners.  Thus a combination of bus and hearse, the advertising suggested that for smaller funeral parties it would be cheaper than hiring multiple vehicles (with their attendant staff and horses).  Perhaps for cultural reasons it seems not to have been a success, but hearses with similar configuration are used in some countries and, in the West, some are built with seating for up to four passengers, apparently intended for the undertaker’s staff.

Lindsay Lohan display advertising on Italian omnibus, Milan.

The use of omnibus to describe a junior staff member in a restaurant who was assigned essentially “all the tasks the waiters preferred not to do” dates from 1880 and came soon to be applied to the wheeled carts such helpers used to more around crockery, cutlery, flatware and such.  This simultaneous use may have proved confusing or else three syllables was just too much because by 1913 the carts were being called busses and their operators busboys (although that seems not to have survived our more gender-sensitive age and “commis waiter” seems now preferred (usually as “commis”).  Omnibus was the name of a long-running live TV series (1952-1961) hosted on US television by expatriate English journalist Alistair Cooke (1908-2004).  The use of omnibus to describe a legislative bill which addresses a number of vaguely related (or even wholly dissimilar) matters in the one document technically dates from 1842 although, as an adjective referring to legislation "designed to cover many different cases, embracing numerous distinct objects", it was in use in the US as early as 1835 and is most famously associated with the act (made of five separate bills) passed in 1850 to secure the Compromise of 1850 which (temporarily) defused a political confrontation between slave and free states over the status of territories acquired in the Mexican–American War.

The Man on the Clapham Omnibus

1932 Lancia Autoalveare, a triple-decker omnibus which served the Rome-Tvoli route.  The upper deck was apparently, at least on some occasions, designated as "non-smoking" but history doesn't record whether the bus company enjoyed any more success than the government of Italy in enforcing such edicts.

The phrase “man on the Clapham omnibus” was one adopted (apparently from early in the twentieth century) by judges of English courts to illustrate the “reasonable person”.  The word “reasonable” had been in English since circa 1300 as a borrowing from the Old French raisonable and the Latin rationabilis (from ratio) and in this context was an attempt by example encapsulate “the average man” or “the man in the street”, judges varying in their descriptions of this construct but meaning usually something like “a reasonably intelligent and impartial person unversed in legal esoteric” (Jones v US, DC Court of Appeals).  When the phrase was in 1903 used by Lord Justice Sir Richard Collins MR, the Clapham omnibus would have been horse drawn and he credited the expression to one he’d heard mentioned by a previous Lord of Appeal in Ordinary, Lord Bowen (1835-1894).

The judicial choice of a bus passenger was based on the idea that such a person could be thought to be representative of an upstanding, respectable and thoroughly ordinary member of society, one for whom views of things were not infected by legal technicalities.  The choice of Clapham was significant only that it was an unexceptional London suburb something like many of dozens that might be said to have been “typical” of the city.  The man on the Clapham omnibus was thus in the tradition of legal fictions, a hypothetical person used for illustrative purposes, the first known instance of which in Western legal tradition was the creation by Roman jurists of the figure of bonus pater familias (good family father) a chap said to be not only respectable but unrelentingly and reliably average in every aspect of life.  In the Canadian province of Quebec, the very similar standard of the bon père de famille is derived from the Roman bonus pater familias.  The reasonable man (now of course a reasonable person) is a necessity in many aspects of law because so many standards upon which cases are decided depend on the word reasonable.  Were the consequences of an action reasonably foreseeable?  Would a reasonable person believe a certain thing told to them?  Was a claim by advertisement reasonable?  Was the violence used reasonable given the manner in which the defendant was assaulted.

Crooked Hillary dumping on deplorables, Georgia, 2016.

Omnibuses have long been used by politicians for their campaign tours.  They offer lots of advantages, being offices and communications centres with at least some of their running costs offset by a reduction in staff travel expenses.  Additionally, with five large, flat surfaces, they are a rolling billboard although that can be good or bad.  In 2016, one of crooked Hillary Clinton’s campaign buses was photographed in Lawrenceville, Georgia dumping a tank full of human waste onto the street and into a storm drain.  The local news service reported that when police attended the street was “…was covered in toilet paper and the odor was noxious”.  Hazmat crews were called to clean up the scene and the matter was referred to the environmental protection division of Georgia’s Department of Natural Resources.  The Democratic National Committee (DNC) later issued an apology, claiming the incident was “an honest mistake.”  Using the word “honest” in any statement related to crooked Hillary Clinton is always a bit of a gamble and there was no word on whether the dumping of human excrement had been delayed until the bus was somewhere it was thought many deplorables may be living.  If so, that may have been another “honest mistake” because Gwinett County (in which lies Lawrenceville) voted 51.02% Clinton/Kaine & 45.14% Trump/Pence although the symbolism may not have been lost on much of the rest of Georgia; state wide the Republican ticket prevailed 50.38% to 45.29%.

Crooked Hillary Clinton’s campaign buses also attracted memes referencing a crash and a breakdown.  Both were fake news but surprisingly prescient, the Clinton/Kaine ticket securing an absolute majority of votes cast but failing to gain the requisite numbers in the Electoral College because the campaign neglected adequately to target areas in states the DNC regarded either (1) solidly in the possession of their machine or (2) populated by folk from the "basket of deplorables" and thus worthy only of a dumping of shit, figurative and literal.  Like the candidate, the 2016 campaign was something like what was planned for 2008, taken from the cold-room, rechauffed and served with the claim it was fresh.  It wasn't quite that the staff had "learned nothing and forgotten everything" but it does seem the operation was top-heavy with political operatives and lacking in those with a mastery of the techniques of data analysis.  All the evidence suggests there was no lack of data, just an inability to extract from it useful information. 

Before Photoshop imbued all with cynical disbelief, the triple decked omnibus was a popular vehicle for April fool's day pranks, the photograph on the left published in Lisbon on the day in 1951.  The one on the right is from 1926 and was in the German magazine Echo Continental (trade publication of the auto and truck parts manufacturer Continental AG) which "reported" the development of Berlin's new triple-decker city omnibus.  So lovely are the art deco lines, it's a shame it wasn't real.

Bus

Bus (pronounced buhs)

(1) A large motor vehicle, having a long body, equipped with seats or benches for passengers, usually operating as part of a scheduled service; sometimes called omnibus, motorbus or trolleybus

(2) A similar horse-drawn vehicle.

(3) A passenger automobile (or airplane in casual use) used in a manner resembling that of a bus.

(4) In electrical transmission, short for of busbar.

(5) In ballistics, the part of a MIRV (multiple independently-targetable re-entry vehicle (an exoatmospheric ballistic missile)) payload containing the re-entry vehicles, guidance and thrust devices.

(6) In astronautics, a platform in a space vehicle used for various experiments and processes.

(7) In computer architecture, a communication system that transfers data between components inside or between computers. This expression covers all related hardware components (wire, optical fibre, etc) and software, including communication protocols.

1832: A clipping of the French omnibus.  Omnibus dates from 1829 and was used to describe a "long-bodied, horse-drawn, four-wheeled public vehicle with seats for passengers", from the French voiture omnibus (carriage for all, common (conveyance)), from the Latin omnibus (for all), dative plural of omnis (all), ablative of omnia, from the primitive Indo-European hep-ni- (working), from hep- (to work; to possess) or hop- (to work; to take).  Bus was thus a convenient shortening to describe the (then horse drawn) forms of public transport and subsequent uses by analogy with transporting (even weightless) stuff is derived from this.  The present participle is omnibusing or omnibussing and the past participle omnibused or omnibussed; the noun plural is either omnibuses or (for the public transportation) omnibusses; the attractive omnibi unfortunately wholly non-standard.  The sense "to travel by omnibus" dates from 1838; the transitive meaning "transport students to integrate schools" is American English from 1961.  The meaning "clear tables in a restaurant" is first attested 1913, probably from the four-wheeled cart used to carry dishes. The electrical sense is derived from a figurative application of the automotive sense; the use in computer architecture followed this model.  “To miss the bus” in the figurative sense of a lost opportunity is from 1901 and credited as an Australian invention (although the OED lists a figurative “miss the omnibus” from 1886).  It was most famously used by Neville Chamberlain (1869–1940; UK prime-minister 1937-1940) during the "Phoney War".  On 5 April 1940, confident the previous eight months spent building up armaments meant the west was now invulnerable to invasion, Chamberlain felt sufficiently confident to declare to the House of Commons "Hitler has missed the bus".  The Wehrmacht invaded four days later.

The bus wars

For IBM, the decision in 1980 to adopt an open bus architecture for the original PC was a good idea at the time.  Anticipating the PC being a niche-market product, the open bus was seen as a way to encourage sales by encouraging smaller manufacturers to produce expansion boards (cards) but not involving IBM in what would be an activity of marginal profitability. However, the PC soon became a huge sales success and the open bus meant manufacturers were soon producing their own PCs, not just the expansion cards and by the mid-1980s, IBM weren’t best pleased to find of all the PCs being sold, relatively few were genuine IBMs.  Their response in 1987 was to develop a proprietary bus for the new range (the PS/2 PCs & the OS/2 operating system) which, unlike open architecture, would attract royalties from the cloners, the new bus called Micro Channel Architecture (MCA).  Technically MCA offered many advantages, most obviously an early implementation of the soon-familiar plug’n’play which (usually) worked surprisingly well as well as a twenty percent increase in bus speed.  Apart from the cost, the main drawback was the lack of backward compatibility; not only did third-party manufacturers have to re-tool to design and produce new motherboards & cards, consumers could not re-use their existing cards, something important at the time.

8-bit ISA (XT)

16-bit ISA (AT)

32-bit EISA

32-bit VESA

16-bit MCA

32-bit MCA

A pack of the biggest cloners didn’t like this and responded with their own design, an enhancement of the original AT (which they re-named Industry Standard Architecture (ISA)) called Extended Industry Standard Architecture (EISA) which either matched on felt only slightly short of the technical improvements provided by MCA.  EISA advantages were (1) cost breakdown, (2) it was free for anyone to use and (3) backward compatibility.  IBM wasn’t impressed, stressing the technical superiority of 16 & 32-bit MCA, noting a mixing of 8, 16 and 32-bit cards in the one bus would inevitability result in one device getting very hot, leading to what they called “…a silicon barbeque”.  For a while, the bus wars raged and while it’s true MCA was better, it wasn’t that much better so for many the additional costs were hard to justify.  Had the bus wars continued, it could have gone either way because while EISA was free, it was a cul-de-sac, it’s development potential limited whereas IBM could have both improved MCA and lowered its licensing fees.  However, the development of the the PCI (Peripheral Component Interconnect) bus rendered both MCA and EISA (and the short-lived VESA) obsolete.  When USB (Universal Serial Bus) devices became ubiquitous, the whole system board became unknown to all but the nerds.

Bus scene in Mean Girls (2004). 

Surreal

Surreal (pronounced suh-ree-uhl (U) or sur-reel (non-U))

(1) Of, relating to, or characteristic of surrealism, an artistic and literary style; surrealistic.

(2) Having the disorienting, hallucinatory quality of a dream; unreal; fantastic & and incongruous.

(3) As surrealism, an artistic movement and an aesthetic philosophy that, inter alia, explored the “liberation of the mind” by emphasizing the critical and imaginative powers of the subconscious.

(4) In mathematics as surreal numbers, a collection of numbers which includes both the real numbers and the infinite ordinal numbers, each real number surrounded by surreals, which are closer to it than any real number.

1936: A back formation from surrealism, the construct being ; sur- +‎ realism, from the French surréalisme, the construct being sur- (beyond) +‎ réalisme (realism).  Sur- ((over in the sense of “on top of” & over- in the sense of “excessive; excessively; too much”)) was from the Old French sur-, sour-, sor- & soure-, from a syncopation of the Latin super- (above, on top, over; upwards; moreover, in addition, besides) from the Proto-Italic super, from the primitive Indo-European upér (over, above (and cognate with the Ancient Greek ὑπέρ (hupér) (above) and the Proto-Germanic uber (which in English became “over”)).  The English sur- was from the Middle English sur-, from the Old French sur-, sour-, sor- & soure-, a syncopic form of the Latin super.  Sur is a doublet of super-, over- and hyper-.  Real was from the Middle English real, from the Old French reel, from the Late Latin reālis (actual), from the Latin rēs (matter, thing), from the primitive Indo-European rehís (wealth, goods).  Surreal is a noun & adjective, surreally is an adverb, surrealism & surreality are nouns and surrealistic is an adjective; the noun plural is surreals.

Lobster Telephone (1936) by Salvador Dali, one of a dozen-odd originals (in colors and shades of cream created by the artist).

In French, the noun surréalisme appeared first in the preface to Guillaume Apollinaire's (1880-1918) play Les Mamelles de Tirésias (1916-1917 and first performed in 1917).  The word was taken up in the 1920s by French intellectuals who created a number of (competing) Manifeste de Surréalisme (Surrealist manifesto) which were documents exploring the nature of human psychology and the way the radical imagination could produce transformative art.  Such was the nature of their texts, inspiration was offered to groups as diverse as landscape painters and anarchists and anyone else attracted to the idea (if not the business) of revolution.  The English form of the word appeared first in 1931, the French spelling having been in use since 1927.  Surrealist as an adjective and noun (from the 1917 French surréaliste) has been in use since 1925 while the adjective surrealistic dates from 1930.

La Trahison des Images (The Treachery of Images) (1929), oil on canvas, by Rene Magritte (1898-1967), Los Angeles County Museum of Art.

The French text Ceci n’est pas une pipe (This is not a pipe) is an act of deconstruction, a statement that a painting is a representation of something, not the object itself.  It’s a statement of the obvious but is both in the artistic tradition of opposition to oppressive rationalism and an influential strand in the history of Surrealism and Pop Art.

Mama, papa is wounded! (1927) by Yves Tanguy (1900-1955), oil on canvas, Museum of Modern Art, New York.

One of the motifs of surrealist painters was a deliberate disconnection between the title of a work and any immediately obvious meaning. Tanguy’s Mama, papa is wounded! was a painting in one of the recognized surrealist styles: a landscape of wide vista littered with abstract shapes, the title taken from a case-study in a psychiatry textbook.  Beyond mentioning he’d imagined the whole canvas before lifting a brush, Tangay gave no clue about the meaning, but coming so soon after Great War, many focused on a link with the many French causalities of the conflict, the depiction of their horrific injuries also part of an artistic movement in the post-war years.

Swans Reflecting Elephants (1937), oil on canvas by Salvador Dali (1904-1989)

Salvador Dali remains the best-known surrealist painter and Swans Reflecting Elephants is an example of his paranoiac-critical method, which attempted to use art to represent how subconscious thought might summon the irrational imagery when in a state of psychosis or paranoia.  The work is interesting too in that it’s the most perfect example of a double image, the trees and swans reflected in the mirror-like surface of the water as lake as elephants.  Dali himself would sometimes discuss the usefulness of the mirror as a device to explore the divergence between conscious reality and the world of the subconscious.

Jean-Martin Charcot, documentary photographs of hysteria patients at La Salpêtrière Asylum 1878, printed in Le Cinquantenaire de L’hystérie (La Révolution Surréaliste (1928)) by André Breton (1896–1966) & Louis Aragon (1897–1982).  Breton & Aragon lamented that hysteria (which they called "the greatest poetic discovery of the late nineteenth century") was being redefined by the new discipline of psychiatry as merely a symptom of mental illness which could be eliminated by suggestion alone.

The link between surrealist art and madness long intrigued the medical community and the interest later extended to the relationship with modernism in general.  Remarkably, it wasn’t until 1980 with the publication of the third edition (DSM-III) that the diagnosis “hysteria” was removed from the Diagnostic and Statistical Manual of Mental Disorders.  Hysteria had for centuries been a kind of omnibus diagnosis, applied to those (almost always women) displaying an extraordinary array of mental and physical symptoms, the gendered hysteria derived from the Ancient Greek word for uterus.  To many Surrealists, hysteria was the state in which a poetic expression of the mind’s wilder impulses could be unleashed, meaning that instead of being silenced, this fundamental condition of being female could usefully be objectified.  History and art met in the decade of the surrealists because the 1930s was a time to be hysterical, less about what was happening than the fear of what was to come but the reaction to the Exposition Internationale du Surréalisme, an exhibition by surrealist artists held in Paris in January-February 1938 was not despair or shock but indifference, the novelty of the form having passed, the claim the exhibition needed to be understood as a single installation convincing few.  In the history of the movement, the peak had actually passed and although surrealist works would continue to be produced (and actually mass-produced as wildly popular prints) in the post-war world, the output was repetitive.  The avant-garde having plundered from surrealism what could be carried off, explored other directions.

Woman’s Dinner Dress (February 1937) by Elsa Schiaparelli (1890-1973), printed silk organza and synthetic horsehair, Philadelphia Museum of Art.

The fragments however endure.  Elsa Schiaparelli was an Italian fashion designer who took the objects made famous by the Futurists, Dadaists, & Surrealists and integrated them into clothing, her most memorable piece a white evening gown adorned with a large Daliesque lobster.  A design which would now attract little attention, at the time it was a sensation, its audacity a contrast with the solid pastels and other subdued hues with which Coco Chanel (1883-1971) had defined Parisian sophistication.  The playful designs she adopted (a telephone-shaped handbag, buttons in the shape of lollipops, fingernail gloves and hats in shapes borrowed from industry and agriculture) were not always original but she lent them a respectability in the world of high-fashion. 

In the surreal style: Salvador Dali (2021) by Javier Peña and Lindsay Lohan by Mohamad Helmi on Displate.

Cad, Bounder & Rotter

Cad (pronounced kad)

(1) A local town boy or youth, as contrasted with a university or public school student.

(2) A man who behaves in a dishonorable or irresponsible way, especially towards women (now rare but not yet archaic). 

(3) A servant at a university or public school.

(4) In architecture and engineering, as CAD, the acronym for Computer Aided (or Assisted) Design.

(5) In medicine, as CAD, the acronym for Coronary Artery Disease.

(6) In computing, an abbreviation for the Ctrl+Alt+Del keyboard combination.

(7) In currency trading (ForEx), as CAD$, the code of the Canadian dollar

(8) In EU financial regulation as CAD1 & CAD2, the acronyms for Capital Adequacy Directives.

(9) A person who stood at the door of an omnibus to open and shut it, and to receive fares; bus conductor (UK archaic).

1730: A shortening of cadet, used originally of servants, later (1831) of town boys by students at Oxford and English public schools (though curiously, at Cambridge alone it meant "snob"), then "townsman" generally.  Between 1780-1790, it came to be adopted as a shortening of “caddie” (used to describe “a person who runs errands and does odd jobs”, a use thought of Scottish origin from the boys who carried clubs for golfers).  The Scots picked up caddie from the French cadet, from the dialectal capdet (chief, captain), from the Latin capitellum, diminutive of caput (head).  Cad seems, in the mid nineteen century (documented 1838-1868) also to have meant a "person lacking in finer feelings" but this use faded, replaced by other words as cad came to be applied mostly to upper class men behaving badly.  The related forms are caddish, caddishly & caddishness.

A CAD rendering (right) of Herbie, published on the GrabCAD Community site.  CAD (Computer Aided (or Assisted) Design) systems used to be the (very expensive) preserve of architects and engineers, the most sophisticated systems usually maintained by corporations.  Now, thanks in part to open source software, professional quality CAD systems are available to hobbyists, used often in conjunction with 3D printers.

Bounder (pronounced boun-der)

(1) A person who is thought to have attempted, to have bounded to a higher social strata, often based on newly acquired wealth; social climber.

(2) A person, beast or thing that bounds.

(3) A dishonourable, morally reprehensible man (archaic, replaced by cad).

(4) That which limits; a boundary (technical use only).

1535–1545: Originally an English slang term applied to a “person of objectionable social behaviour”, it came by the late nineteenth century (attested 1882) to describe a “would-be stylish person”, a sense later extended to bounding (uninvited as it were) from a lower to higher social class to another), the implication being such social mobility is possible but depended on the bounder being accepted by the higher class.

The construct is bound + -er.  Bound is from the Middle English bound & bund (preterite) and bounden, bunden, ibunden & ȝebunden (past participle) from the Old English bund-& bunden (ġebunden) respectively.  The –er suffix is from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought likely a borrowing from the Latin ārius.  Use was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our) from the Latin -(ā)tor, from the primitive Indo-European -tōr.

Rotter (pronounced rot-ah)

A person thoroughly bad, worthless, objectionable, unpleasant, or despicable.

1889: The construct is rot(t) + er.  Rot is from the Middle English rotten & roten from the Old English rotian (to rot, become corrupted, ulcerate, putrefy), from the Proto-Germanic rutāną (to rot).  The –er suffix is from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought likely a borrowing from the Latin ārius.  Use was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our) from the Latin -(ā)tor, from the primitive Indo-European -tōr.  Since use was first documented in the late nineteenth century, meaning has never shifted from "person deemed objectionable on moral grounds".

In the hierarchy of linguistic moral disapprobation, rotter is handy because it condemns someone as unambiguously bad.  There are synonyms such as scamp, rascal or rogue which can be applied humorously or affectionately (though usually with a sympatric adjective) but a rotter is just bad.  This probably applies too to disparagements like blackguard, creep, villain & scoundrel but they do rely on some specific conduct to justify the appellation whereas a rotter can be thought a rotter for no particular reason; they’re just a rotter.

Cad, bounder or rotter?

Lindsay Lohan with notorious rotter Harvey Weinstein (b 1952).

Former US film producer, co-founder in 1979 of film & television production & distribution company Miramax and convicted sex offender Harvey Weinstein is probably regarded by most as having ticked all the cad, bounder & rotter boxes.  Opinions may vary on whether one label should be lent more emphasis than another but it doubtful many would think none are applicable.  

The word cad evolved in the British class system and once was a general cultural put-down, based on it being an earlier descriptor of the servant-class and thus carrying the implication of a lack of finer tastes or manners but other words proved more attractive for this and, by early in the twentieth century, cad had come to refer to a man who behaves in a dishonorable or irresponsible way, especially toward women.  The British class system’s put-downs however are in themselves nuanced, class-based things and the point about cad was it applied only to the well-bred, chaps aware of the gentlemanly codes, but who failed to live up to them.

Barnaby Joyce with his (now estranged) wife and four daughters.

There were thus no cads in the working class or the middle classes because, knowing no better, they couldn’t be blamed; they knew not what they did.  Those from the lower classes (and especially the aspirational middle-class) certainly could be bounders and anyone could be a rotter but to be a cad, one had to come from the upper strata.  The shift in meaning from earlier times was noted by Anthony West in his biography (Aspects of Life (1984)) of his father, HG Wells (1866–1946), a man of modest origins.  In the nineteenth century of Wells’ youth, a cad was “…a jumped-up member of the lower classes who was guilty of behaving as if he didn't know that his lowly origin made him unfit for having sexual relationships with well-bred women.”  Now, Wells would be called a bounder but not a cad.

The Honorable Barnaby Joyce (b 1967; variously thrice Deputy Prime-Minister of Australia (between local difficulties), 2016-2022), House of Representatives, Canberra ACT, Australia, 2018.  Definitely a cad but not a bounder and opinions will be divided on whether or not he's a rotter.  Some will be forever convinced while the more thoughtful might concede he was one of those chaps who "could be a bit of a rotter"

Spectrum condition: The redness in the face of the honourable Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022) is used by his colleagues to gauge where his state of mind lies in the adjectival progression of the plethoric (left), the more plethoric (comparative; centre) and the most plethoric (superlative; right).

In mid 2024 Mr Joyce announced he'd given up alcohol, the abstinence inspired by an earlier "incident" in which he was filmed lying drunk on the footpath (sidewalk) next to a Canberra planter box, conducting a mumbled, expletive-laden conversation with his wife.  He said he'd since lost 15 kg (33 lb) and given up smoking (it not known if politicians lie about such claims).  Interestingly, political scientists seem generally to expect the well-publicized event (one of a number featuring Mr Joyce) would probably result in him increasing his margin at the next election (sprawled drunk in a city street making him "authentic" and "relatable").  When interviewed, the once "notorious drunkard" said: "Maybe at some stage I’ll have a beer again, but at the moment, nah".

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.