Swagger

Swagger (pronounced swag-er)

(1) A manner, conduct, or gait thought an ostentatious display of arrogance and conceit.

(2) To walk or strut with a defiant or insolent air.

(3) To boast or brag noisily.

(4) To bring, drive, force, etc by means of bluster (now rare).

(5) Elegantly fashionable and confident (listed by some dictionaries as “rare” but in UK use it remains understood as a way of differentiating from “arrogant” and appears often in the form “a certain swagger” on the model of a phrase like “a certain grandeur”).

(6) In historic Australian (mostly rural) slang, an alternative name for a “swagman” or “swaggie” (an itinerant worker who carried a swag (a kind of roll-up bed) (archaic).  Swagman remains familiar in Australia because of the opening line of the bush ballad Waltzing Matilda: “Once a jolly swagman camped by a billabong”.

1580–1590: The construct was swag + -er and it was a frequentative form of swag (in the sense of “to sway”), an early use of which appears in William Shakespeare’s (1564–1616) A Midsummer Night's Dream (1595): “What hempen homespuns have we swaggering here?” (Puck in Act III, Scene 1) and it appears also in Henry IV, Part 2 (circa 1598) & King Lear (circa1605).  The verb swag (in the Shakespearian sense of “to strut in a defiant or insolent manner” (which then could also mean “a gait with a sway or lurch”) was from the Middle English swaggen, swagen & swoggen, probably from the Old Norse sveggja (to swing, sway) and may be compared with the dialectal Norwegian svaga (to sway, swing, stagger).  The meaning “to boast or brag” was in use by the 1590s to describe the antics of the concurrent agent-noun swaggerer (blusterer; bully; boastful, noisy fellow), the noun appearing in the early eighteenth century in the sense of “an insolent strut; a piece of bluster; a boastful manner”.  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Swagger is a noun & verb, swaggerer is a noun, swaggering is an adjective and swaggeringly is an adverb; the noun plural is swaggers.  The verb (used with object) out-swagger was used as a kind of “loaded” superlative, suggesting someone’s swagger had been “topped” by that of another.

Swaggering: Lindsay Lohan in swagger coat, New York City, March 2024.

A swagger coat was a (usually) calf-length overcoat with a distinctive cut which flared out below the knee.  They became fashionable in the early decades of the twentieth century, the wide, roomy silhouette, often without a belt, allowing for a “swaggering” or flowing appearance when worn.  The relaxed fit lent the garment a casual elegance and they often were worn, cloak-like, cast over the shoulders.  Swagger coats were commonly made from heavier fabrics like wool or tweed, making them ideal for outerwear in cooler weather and their air of “quiet sophistication” has made them a timeless classic.  A swagger stick was a short stick carried by a military officer as a symbol of authority but should not be confused with a field-marshal’s baton which was a symbol of the highest military rank.  Swagger sticks were shorter than a walking-cane, tended to be made from rattan or bamboo and adorned with a polished metal tip or cap.  A symbol rather than a practical tool, they are still seen during formal parades or other ceremonial events.  A “swagger-jack” was someone who copied or imitated the actions, sayings or personal habits of another.  The word “swagger” often carries a negative connotation but there’s a long tradition in the UK of it being used to distinguish for someone thought “arrogant”.  When one reviewer wrote of the Rolling Stones album Beggars Banquet (1968) as being the band “at their most swaggeringly debauched”, he really was giving them a compliment.  Much can context influence meaning.

The Swagger Portrait

A swagger portrait is a grand, usually large and often ostentatious portrait, typically commissioned by wealthy or influential individuals to display their status, power and prestige.  The term came into use in the late nineteenth century at the height of the British Empire when countless generals, admirals, politicians, governors, viceroys and others less exalted (though perhaps more deserving) decided it was something they deserved.  The distinguishing characteristics were (1) an imposing dimensionality, larger than life renditions not uncommon, (2) elaborate staging and poses, (3) an attention to detail, something of significance to the subjects often were dripping with decorations or precious jewels which demanded to be captured with precision and (4) a certain grandeur, something at which some artists excelled.  An exemplar of the breed was John Singer Sargent (1856-1925).

Portrait of Theodore Roosevelt (1903; left), oil on canvas by Théobald Chartran (1849–1907) and Portrait of Theodore Roosevelt (1903; right), oil on canvas by John Singer Sargent.

Nobel Peace Prize laureate Theodore Roosevelt (1858–1919; US President 1901-1909), famous also for waging war and shooting wildlife, after being impressed by Théobald Chartran’s portrait of his wife, invited the French artist to paint him too.  He was so displeased with the result, which he thought made him look effete, he refused to hang the work and later supervised its destruction.  Roosevelt then turned instead to expatriate US artist John Singer Sargent.  The relationship didn’t start well as the two couldn’t agree on a setting and during one heated argument, the president suddenly, hand on hip, took on a defiant air while making a point and Sargent had his pose, imploring his subject not to move.  This one delighted Roosevelt and was hung in the White House.

Portrait of Madame X (1884), oil on canvas by John Singer Sargent, Metropolitan Museum of Art, Manhattan.

A controversial work in its time, Madame X was Virginie Amélie Avegno Gautreau (née Avegno; 1859–1915) a banker's wife.  Unusually in the tradition of swagger portraits, Madam X was not a commission but undertaken on the painter's initiative and he understood the critics as well as he knew his subjects, knowing the juxtaposition of a black satin gown and porcelain-white skin would create a sensation.  However he understood the Parisian bourgeoisie less well and after being exhibited at the Paris Salon of 1884, the public reception was such that Singer was just about run out of town.  However, the painting made his reputation and it remains his best known work.

The Duke of Wellington (1812), oil on canvas by Francisco Goya (1812-1814), The National Gallery, London.

Arthur Wellesley (1769-1852; First Duke of Wellington was a British military hero and a less successful Tory politician although he remains remembered as a classic “Ultra”, a calling which is a hallmark of twenty-first century ideology.  Goya’s work is a typical military swagger portrait and it was for his battlefield exploits rather than in parliament which saw him granted the rare distinction of a state funeral.

Portrait of Empress Eugénie (1854), oil on canvas by Franz Xaver Winterhalter (1805-1873), Metropolitan Museum of Art, Manhattan.

The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba) was the wife of Napoleon III (Charles-Louis Napoléon Bonaparte, 1808–1873; first president of France (1848-1852) and the last monarch as Emperor (1852-1870)) and it wasn't an easy gig for her so she deserved a swagger portrait more than many, Winterhalter painting several.  They have many the elements of the swagger portraiture of royalty, lavish fabrics, the subject in regal attire, as much an almost as much an installation as any of the sumptuous surrounds, the message conveyed one of status, power and beauty.

Flounce & Ruffle

Flounce (pronounced flouns)

(1) To go with impatient or impetuous, exaggerated movements.

(2) To throw the body about spasmodically; flounder.

(3) An act or instance of flouncing; a flouncing movement.

(4) A strip of material gathered or pleated and attached at one edge, with the other edge left loose or hanging: used for trimming, as on the edge of a skirt or sleeve or on a curtain, slipcover etc.

1535–1545: Of obscure and contested origin.  Some sources suggest something akin to words from old dialectal Scandinavian forms such as the Norwegian flunsa (to hurry) or the Swedish flunsa (to plunge; to splash) but the first record of these is two centuries after the English is first documented.  Thus more preferred is a derivation of the obsolete Old French frounce (wrinkle), from the Germanic froncir (to wrinkle) and the eventual spelling in English was probably influenced by bounce.  Notions of "anger, impatience" began to adhere to the word during the eighteenth century although, as a noun of motion, use dates from the 1580s.  The use to describe “an ornamental gathered ruffle sewn to a garment by its top edge” (a kind of ruffle) was first noted in 1713, from the fourteenth century Middle English frounce (pleat, wrinkle, fold) from the Old French fronce & frounce (line, wrinkle; pucker, crease, fold) from the Frankish hrunkjan (to wrinkle), ultimately derived from the Proto-Germanic hrunk.  Flounce, flounciness & flouncing are nouns & verbs, flounced is a verb, flouncier, flounciest & flouncey are adjectives and flouncily is an adverb; the noun plural is flounces.  In the industry, "flouncy" is sometimes used as noun, applied to garments flouncier than most.

Ruffle (pronounced ruhf-uhl)

(1) To destroy the smoothness or evenness of; to produce waves or undulations.

(2) In avian behaviour, for a bird to erect the feathers, usually to convey threat, defiance etc.

(3) To disturb, vex, or irritate; disturbance or vexation; annoyance; irritation; a disturbed state of mind; perturbation.

(4) Rapidly to turn the pages of a book.

(5) In the handling of playing cards, rapidly to pass cards through the fingers while shuffling.

(6) In tailoring, to draw up cloth, lace etc, into a ruffle by gathering along one edge.

(7) In military music, in the field of percussion, the low, continuous vibrating beating of a drum, quieter than a roll (also called a ruff).

(8) To behave riotously; an arrogantly display; a swagger (obsolete).

(9) In zoology, the connected series of large egg capsules, or oothecae, of several species of American marine gastropods of the genus Fulgur.

(10) In LGBTQQIAAOP slang, the passive partner in a lesbian relationship, known also as a “fluff”.

1250-1300: From Middle English ruffelen, possibly from the Old Norse hruffa & hrufla (to graze, scratch) or the Middle Low German ruffelen (to wrinkle, curl) but beyond that the origin is unknown.  It was related to the Middle Dutch ruyffelen and the German & Low German ruffeln.  The meaning "disarrange" (hair or feathers) dates from the late fifteenth century; the sense of "annoy, distract" is from the 1650s.  As one could become ruffled, so too one be unruffled, that adjectival form dating from the 1650s.  The literal meaning, in reference to feathers, leaves and such was first recorded in 1816.  Synonyms (though sometimes overlapping or inaccurately applied) as applied to fabrics include strip (of fabric), frill, pleat & furbelow.  As applied to the state of mind there’s disarrange, disorder, wrinkle, rumple, disturbance, agitation, commotion, flurry & perturbation.  One popular use of "unruffled" is to describe the characteristics of an engine which does its stuff smoothly, unobtrusively and seemingly effortlessly (the latter a matter of perception rather than mechanical understanding).  Ruffle is a noun & verb, ruffler & rufflement are nouns, ruffled & ruffling are verbs, ruffly & ruffleable are adjectives and rufflingly is an adverb; the noun plural is ruffles.

Ruffled silk thong in rose pink by Daisysilk.

The use in dressmaking to describe “an ornamental frill" is attested from 1707, derived from the verb ruffle.  Related stylistically to the ruffle is the ruff in the sense of the large, stiffly starched collar especially common in the seventeenth century, a style which dated from the 1520s; used originally in reference to sleeves, it came to be applied to collars after the 1550s, almost certainly a a shortened form of ruffle which described something physically much bigger.  As applied to playing cards, it’s actually a separate word, dating from the 1580s, from a former game of that name.  In this context, word is from the French roffle, from the early fifteenth century romfle, from the Italian ronfa, possibly a corruption of trionfo (triumph).  The game was popular between 1590-1630.  The now obsolete sense of an arrogant display or swagger is from the fifteenth century and the origin is obscure but may related to some perception of those who wore ruffs or ruffles.  The meaning as used in the percussion section of military bands is from 1715–1725 and may have been imitative of the drum sound.

Consciously or not, designers can find themselves adding to whatever post-modernism now is.  Whether overlap or irony, when it hard to work out where the ruffle ends and the flounce begins; pragmatists sometimes admit defeat and describe it all as "frills".   

Describing various flavors of embellishment, flounce and ruffle have long been used interchangeably but in the narrow technical sense they’ve never been synonymous.  A ruffle is a piece of material gathered, usually at the top, the fullness extending the entire length of the fabric, while a flounce tends to flare, almost always smooth at the top and wider and fuller towards the bottom.  In dressmaking, as in any engineering discipline, terminological exactitude should be encouraged because one would be disappointed to receive ruffles if one really wanted a bit of flounce.  For those for who the distinction seems abstract, all such creations can be regarded as just “frilly” although, even within the industry, there are those who call flounces “circular ruffles”.

Lindsay Lohan in ruffles.

As a general principle, a ruffle is created by the manipulation of a piece of fabric cut in the shape of a rectangle.  Actual geometric precision is not required because depending on the garment and the effect desired, the shape may vary but it will at least tend towards the rectangular.  The technique is to gather the fabric at the top into a smaller area; when this is sewn into a seam line, typically at the waist or neck-line, the pleats created by the gather will fall naturally, the swishing movement inherent in the fullness of the fabric being the ruffle.  The outcome is determined by the fabric’s relationship of width and length and the weight and type of material used.

The first ruffles were probably nothing to do with fashion but merely a layered appendage to protective clothing, usually as a form of water-proofing.  In the decorative sense, although antecedents can be identified in ancient Egyptian art, in their modern form they appeared first in the mid-fifteenth century as attachments to the collars of chemises which, as happens in fashion, grew in shape and complexity into the large and elaborated ruffled constructions associated with Tudor England.  Since, although the flow and flourish has waxed and waned, the ruffle has never really gone away, despite the wishes of those who prefer more austere lines.  The ruffle can also be a device, the design adaptable to either (1) add visual bulk to a small bustline or (2) disguise a large bustline. 

Lindsay Lohan, flouncing about in flounces.

The construction of a flounce differs in that the pattern tends always towards the circular, the cut technically the shape of a donut although those both ambitious and skillful can render flounces used both irregular and more complex curves although one often under-appreciated factor in success is the weight and flexibility of the material chosen: the outcome is determined by depth of the curve, the width of the fabric and the weight and type of material used.  For a flounce successfully to work, it needs to “flounce” and the movement can be influenced as much by weight as cut.  It’s the inner edge of the donut which, without any gather, is sewn into the seam while the outside edge of becomes the fullness at the hem, the volume created by virtue of the longer line.  Because the inner edge is so much shorter, there’s not the same need to gather so the results tends to be soft billows of fabric rather than pleats.  The same technique can be used to create a layered effect where the material flares out not at all but instead follow the line of the garment; this is achieved by a cut where the inner edge is much closer in length to the outer so the shape is closer to a crescent.

The flounced and ruffled neckline: Salma Hayek demonstrates the difference.  Salma Hayek’s fine choice of clutch purses always catches the eye.

Ruffles and flounces are most associated with a wrap which extends around the garment but variations of the shape of the cuts and the techniques of attachment are used whenever something voluminous needs to be attached. Flounced and ruffled necklines and sleeves use the same rectangle versus donut model as the larger interpretations, both often used in scalloped cuts.  There being a geometric limit to the degree of flouncing that can be achieved for the cut alone, it’s possible further to exaggerate the effect with the insertion of a godet (from the Middle French godet, from the Dutch kodde (a piece of cylindrical wood)), a wedge-shaped section of fabric which deepens the floating wave at the hem without adding to the bulk gathered at the point of attachment.

Sometimes ruffled: The last King of Italy

Umberto II while Prince of Piedmont, a 1928 portrait by Anglo-Hungarian painter Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László). Note the ruffled collar and bubble pantaloons.

Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983) was the last king of Italy, his reign as Umberto II lasting but thirty-four days during May-June 1946; Italians nicknamed him the Re di Maggio (May king) although some better-informed Romans preferred regina di maggio (May queen).  At the instigation of the US and British political representatives of the allied military authorities, in April 1944 he was appointed regent because it was clear popular support for Victor Emmanuel III (1869-1947; King of Italy 1900-1946) had collapsed.  Despite Victor Emmanuel’s reputation suffering by association, his relationship with the fascists had often been uneasy and, seeking means to blackmail the royal house, Mussolini’s spies compiled a dossier (reputably several inches thick), detailing the ways of his son’s private life.  Then styled Prince of Piedmont, the secret police discovered Umberto was a sincere and committed Roman Catholic but one unable to resist his "satanic homosexual urges” and his biographer agreed, noting the prince was "forever rushing between chapel and brothel, confessional and steam bath" often spending hours “praying for divine forgiveness.”  After a referendum abolished the monarchy, Umberto II lived his remaining 37 years in exile, never again setting foot on Italian soil.  His turbulent marriage to Princess Marie-José of Belgium (1906-2001) produced four children but historians consider it quite possible none of them were his.

Coquetry

Coquetry (pronounced koh-ki-tree or koh-ke-tree)

(1) Actions designed to excite erotic attention, without intending to reciprocate such feelings (now applied exclusively of women towards men); flirtatious teasing.

(2) A display of affectation of amorous interest or enticement (now applied exclusively of women towards men); flirtation.

(3) The behavior or the arts of a coquette.

1650s: The English coquetry (effort to attract from a motive of vanity or amusement, trifling in love) was from the French coquetterie, from the verb coqueter (to flirt).  Coquèterie is the modern spelling, now understood as “vanity, knack for fashion and appearance”.  The suffux –eire was from the Old French –erie and equivalent to -ier +‎ -ie; it was used, inter alia, to denote nouns describing qualities or properties.  Coquetry is a noun, coquet is a noun & verb, coquettish is an adjective and the noun plural is coquetries.

Coquèterie (1911), oil on canvas by Félix Vallotton (1865–1925).  At least one critic translated coquèterie as used by Vallotton as “sauciness”.

The original form in French was the early seventeenth century coquet (a beau (literally “a little cockerel”)), the construct being coq (cockerel) + -et (the masculine diminutive suffix) which came to referred to “someone apparently amorous who seeks to appear romantically attractive out of vanity", a meaning derived from the idea of "to swagger or strut like a cock (although the bird’s reputation for lustfulness may have been influential)).  The word was applied to both sexes but after circa 1700 came to be used exclusively of flirtatious women (who we now call a coquette), the adjective coquettish (resembling a coquette, characterized by coquetry) dating from 1702; the extension of meaning to the point where it extended to become also a pure synonym for flirtation (divorced from purpose), seems not to have developed until the late twentieth century.  In ornithology taxonomy, coquettes are several species of hummingbird in the genus Lophornis, and the Racket-tailed coquette in the genus Discosura.

A coquettish Lindsay Lohan, 2016.

Coquetry is a word which must be used with care because it describes behavior, the art and science of the coquette, not her purpose or intent.  An act of coquetry will always be flirtatious but while it (1) may be deployed to seek courtship, (2) there may be hidden agendas or ulterior motives or (3) she may be doing it just for practice or for no particular reason, there being women for whom coquettishness is either habit or calling.

Portrait

Portrait (pronounced pawr-trit, pawr-treyt, pohr-trit or pohr-treyt)

(1) A likeness of a person, especially of the face, as a painting, drawing, or photograph (when used as a modifier: a portrait gallery).

(2) A verbal description of someone or something, especially if pertaining to an individual’s character.

(3) Relating to or producing vertical, upright orientation of computer or other digital output, with lines of data parallel to the two shorter sides of a page or screen (as opposed “landscape” in which the relationship is inverted).  The use was formalized in digital technology as applied to aspect ratios (page layouts, images, monitors etc).

(4) In printing (of a publication or an illustration in a publication), being of greater height than width.

1560–1570: From the Middle English portrait (a figure, drawn or painted), either a back formation from portraiture or directly from the French portrait, from the Middle French portraict & pourtraict (a drawing, image, etc), the noun use of the past participle of portraire (to portray), from the thirteenth century Old French portret, from the Latin prōtrahō.  Wherever used, the various forms were always applied especially to pictures or representation of the head and face of a person drawn from life.  The spelling pourtraict is obsolete.  Portrait is a noun, verb & adjective, portraitist & portraiture are nouns and portraiting & portraited are verbs and portraitlike & portraitesque are adjectives; the noun plural is portraits.

An image of Lindsay Lohan, digitally rendered in the style of an oil on canvas portrait.

Artists painting their own image had been a part of art for centuries but the term “self-portrait” entered English in 1821, a direct translation of the German Selbstbildnis (the construct being selbst +‎ Bildnis).  The portraiture (the art of making portraits; a painting, picture, or drawing) emerged in the late fourteenth century and was from the twelfth century Old French portraiture (portrait, image, portrayal, resemblance).  The term Fayum (a city in Egypt, and the associated region) portrait (also known as the "mummy portrait" or "Faiyum portrait" describes the class of naturalistic portraits rendered on the wooden boards attached to mummies from the Coptic period.  Produced between the first & third centuries AD, they were a sub-set of the school of panel painting popular in late Antiquity and have been an invaluable source of information for historians, revealing much about fashion, social structures and aspects of religious beliefs and the associated politics.  Fayum was from the Arabic الفَيُّوم‎ (al-fayyūm), from the Coptic (ph̀iom) (the sea, Fayum), from the Egyptian pꜣ ym (Lake Moeris (literally “The Lake”), the construct being pꜣ (the) + ym (lake).  The term “swagger portrait” is one of the informal terms used to describe a work (not of necessity a portrait as one is now conventionally understood) which is rendered in a style deliberately to emphasize their wealth, status or importance.

The portrait versus landscape aspect ratio was much discussed in the early days of televising live sport on television, the producers concluding there were "landscape sports" and "portrait sports".  Human vision is naturally in a landscape aspect which is why the 16:9 (width x height) ratio works so well in computer monitors and it's said to explain why architecture which follows the dimensionality of the DL envelope is thought to be so pleasing; almost all  the early television screens were in a landscape shape (typically 4:3 or 6:4).  Thus, sports like most football codes (covered with cameras on the long sides and played on a rectangular field) were thought "landscape" and worked best on TV while the forms played on ovals involving much high kicking (such as Australian Rules) was inherently portrait.  Some portrait sports were suitable however because of their small scale.  Tennis was a portrait sport which had to be covered from the small ends but the rectangular courts were small and with attention to camera angles, could be made to work well.  Cricket was (sort of the same) although much panning was involved to cover the rest of the ground when required.     

“Portrait bust” in marble (circa 1895) of Otto von Bismarck (1815-1989; Chancellor of the German Empire 1871-1890) by the German Sculptor Reinhold Begas (1831-1911).

In sculpture, what had been known as the “portrait statue” came after the 1690s to be known as the “portrait bust” although both terms meant “sculpture of upper torso and head” and these proved a popular choice for military figures because the aspect enabled the inclusion of bling such as epaulettes, medals and other decorations and being depictions of the human figure, busts came to be vested with special significance by the superstitious.  In early 1939, during construction of the new Reich Chancellery in Berlin, workmen dropped one of the busts of Otto von Bismarck by Reinhold Begas, breaking it at the neck.  For decades, the bust had sat in the old Chancellery and the building’s project manager, Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945), knowing Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) believed the Reich Eagle toppling from the post-office building right at the beginning of World War I (1914-1918) had been a harbinger of doom for the nation, kept the accident secret, hurriedly issuing a commission to the German sculptor Arno Breker (1900–1991) who carved an exact copy.  To give the fake the necessary patina, it was soaked for a time in strong, black tea, the porous quality of marble enabling the fluid to induce some accelerated aging.  Interestingly, in his (sometimes reliable) memoir (Erinnerungen (Memories or Reminiscences) and published in English as Inside the Third Reich (1969)), even the technocratic Speer admitted of the accident: “I felt this as an evil omen”.

Bust was from the sixteenth century French buste, from the Italian busto (upper body), from the bustum (funeral monument, tomb (originally “funeral pyre, place where corpses are burned”)) which may have been a shortened form of ambustum, the neuter of ambustus (burned around) and past participle of amburere (burn around, scorch), the construct being ambi- (around) + urere (to burn).  The alternative etymology suggests a link with the Old Latin boro, the early form of Classical Latin uro (to burn) and the sense development in Italian is thought related to the Etruscan custom of keeping the ashes of the dead in an urn shaped like the person when alive.  After the mind-1720s, it was used as a term to describe the “trunk of the human body above the waist” and it’s for this reason it was in the 1880s adapted to mean “the bosom; the measurement around a woman's body at the level of her breasts”.

The Supreme Leader presides over the Fifth Enlarged Meeting of the Eighth Central Military Commission of the WPK, 12 March 2023, the task of the generals & admirals being to write down his every word which, dilligently, they do.  The portraits behind the Supreme Leader (both in landscape aspect) are of the Great Leader (left) and the Dear Leader (right).  Preserving the images of the photographers in the (portrait aspect) mirror was a nice, post-modern, touch.

In August 2023, with tropical storm Khanun bearing down on the DPRK (North Korea) coast, the state media issued instructions that citizens must “with urgency” and “at any cost” focus on “ensuring the safety” of items depicting the three members of the Kim dynasty: Kim Il-sung (Kim I, 1912–1994; Great Leader of DPRK 1948-1994); Kim Jong-il (Kim II, 1941-2011; Dear Leader of DPRK 1994-2011) and Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK since 2011).  Presumably because they would be more susceptible to the storm’s heavy rain and strong winds than sturdier objects like statutes, the Rodong Sinmun (official newspaper of the ruling Workers' Party of Korea (WPK)) emphasized citizens’ “foremost focus” must be ensuring the preservation of portraits of the Kims although they did caution the need also to safeguard the large number of statues, mosaics, murals and other monuments to the Kim dynasty which has ruled North Korea since its foundation in 1948.

Meeting of the WPK to commemorate the Supreme Leader’s tenth anniversary of his assumption of leadership of the party, Pyongyang, April 2022.  The Supreme Leader’s portrait is displayed in an oval which is not unusual in DPRK Kim iconography.

The order was an interesting insight into the way the regime regards the symbolism of representational objects as a part of its legitimacy but they have set the population an onerous task given the sheer volume of portraits which exist.  At least one each of the Great Leader & Dear Leader are known to hang in every house, café, bus, train carriage or shop and in public buildings there might literally be dozens.  In recent years, it’s been noted portraits of the Supreme Leader have also been more frequently seen and analysts have for years regarded the Kim dynasty’s mode of operation as something like a theocratic state in which the leader and his ancestors are worshiped.  Implicit in that is that statues and portraits are beyond being merely symbolic but are really sacred icons; just as every citizen must be willing (anxious even) to die protecting the leader, so must they be prepared to sacrifice themselves to save his portrait.  It's never been revealed whether any of the Kims read Oscar Wilde's (1854–1900) The Picture of Dorian Gray (1890) but if so, they've learned well.

DPRK citizens during flooding in 2022 (left) & 2012 (centre & right), searching for portraits of the Great Leader, Dear Leader & Supreme Leader that they might be able to save.

Sandwich

Sandwich (pronounced sand-wich or san-wich)

(1) Two or more slices of bread or the like with a layer of meat, fish, cheese etc between each pair.

(2) A type of cake with noticeably distinct horizontal layers. 

(3) To insert something between two other things (used figuratively also of ideas, concepts, historic events etc).

(4) In engineering or construction, a technique of assembly in which materials (which need not be flat) are joined in two or more layers.

(5) To eat one or more sandwiches (archaic except in literary or poetic use).

1762: Named after John Montagu (1718-1792), fourth of Earl Sandwich, a bit of a cad and gambler who, during marathon sessions at the tables, would eat slices of cold meat between bread rather than rise for a meal and thus "miss a bet".  However, the earl’s biographer suggested his subject was a serious chap, committed to the navy, politics and the arts and the sandwiches were actually eaten at his desk at the Admiralty but the legend is much preferred.  It was in his honor Captain James Cook (1728-1779) named the Hawaiian Sandwich islands in 1778 when Montagu was First Lord of the Admiralty (then the UK's minister for the Royal Navy).  The family name is from the place in Kent which in the Old English was Sandwicæ (sandy harbor; trading center).  In structural linguistics, a "sandwich" word is one in which two or more syllables have been split (al la slices of bread) and filled with another word.  Use of the technique is common and exemplified by an opinion such as: "Fox News is just Murdoch propafuckinganda".  The term was coined by US lexicographer Dr Harold Wentworth (1904-1965).  A "sandwichery" is a place where sandwiches are sold and the noun sandwichness (the state or quality of being a sandwich) seems only ever used as jocular term food reviews.  Sandwich, sandwichness & sandwichery are nouns, verb & adjective, sandwiched is a verb and sandwichlike, sandwichy & sandwichless are adjectives; the noun plural is sandwiches (the always rare sandwichs probably now extinct).

There are a least dozens and likely more than a hundred recorded descriptions of sandwiches with names drawn variously from the fillings, type of bread, method of preparation, (alleged) regional origin or occasion when served but the word has also appeared in idiomatic use including: “nothing sandwich” (a sandwich with a bland taste (used also figuratively as a synonym of “nothingburger” to suggest something is of less significance than its appearance or treatment accorded deserves)); “soup sandwich” (something or someone thought disorganized, incompetent, fundamentally flawed or unfinished; “air sandwich” (a sandwich consisting only of bread and a sauce or spread, but no filling (in figurative use a strategy that has high-level direction and low-level administrative support but in operation is close to inert); “Elvis sandwich” (a sandwich made peanut butter, sliced or mashed banana, and sometimes bacon on toasted bread, based on the fondness the singer Elvis Presley (1935-1977) had for the concoction (a banana smeared with peanut butter was reputedly a favourite snack of Bill Clinton (b 1946; POTUS 1993-2001)); “shit sandwich” (something highly undesirable that is rendered more acceptable or palatable by the addition of more tolerable or agreeable components); “tavern sandwich” a sandwich consisting of unseasoned ground beef and sautéed onions in a bun); “barley sandwich” (a glass of beer (synonymous with “liquid lunch”); “lead sandwich” (a method of suicide in which a shotgun is placed in the mouth and discharged  (100% success rate as might be expected)) and “prawn (shrimp) sandwich brigade” (those who attend sporting event to socialize and enjoy the hospitality in corporate hospitality boxes rather than having any interest in the event).  In physics a “nanosandwich” is a nanoscale structure consisting of a dielectric layer between two discs and in chemistry a “sandwich compound” is any compound in which a metal atom is located between the faces of two planes of atoms, especially between two rings.   

Sandwich is a town in Barnstable County, Massachusetts, its population 20,675 at the last census; the oldest town on Cape Cod, in 2014, Sandwich turned 375 years old.  Sandwich has a police department: They are the Sandwich Police.

The Sandwich Police cruiser is a second generation (1998-2011) Ford Crown Victoria (1992-2011), built on the corporation's "Panther" platform (1978-2011).  When Ford ceased production of the Crown Victoria, it was the last of the old-style (BoF (body-on-frame), V8, RWD (rear wheel drive), full-sized cars which were the backbone of the US industry for the first four post-war decades.  Although by the 1990s judged archaic by the US motoring press (and some international journalists who drove them in 2009 expressed amazement such a thing was still made), the demise of the Crown Victoria was a matter of regret for US police departments and many other fleet operators (notably rental car companies) because the CV's combination of virtues (robust, reliable, spacious, low TCO (total cost of ownership)) made them ideally suited for "heavy duty use" and in fleets, even today, some remain faithfully in service.  In truth, if driven within it's limitations, a CV (or the companion Mercury Grand Marquis) could be a satisfying experience for what it lacked in refinement it compensated for in other ways and for those who yearn still for the way things used to be done, the more desirable of the CVs (or the corporate stablemate Mercury Grand Marquis) can be a good choice.

More sandwich police: A police officer at the Ingham Subway in Queensland, Australia preparing a sub, an event held by Subway Australia on 2 November, 2018 to mark World Sandwich Day.  On the day, 329,814 sandwiches were assembled for needy families.

There is doubt whether the sandwich became so-named as early as 1762 because the first documented account of the earl’s culinary innovation was written in 1770 but it certainly caught on.  The sandwich board, the two-sided mobile advertising carried on the shoulders was first so-described in 1864 and someone employed to "wear" the device was sandwichman (a word now probably extinct although sandwich boards still occasionally are seen, carried presumably by sandwichpersons).  The Wall Street Journal once described the sandwich as "Britain's biggest contribution to gastronomy" but, given the parlous reputation of the rest of their pre-modern cuisine, the WSJ may have been damning with faint praise.  Regardless, while Lord Sandwich may have lent his name, the historical record suggests sandwiches have been eaten since bread was first baked, pre-dating the earl by thousands of years.

In 2022, with Lindsay Lohan on location in Ireland for the shooting of the Netflix film Irish Wish (2024), Westport Café The Creel created a sandwich to honor the famous visitor.  The Lindsay LoHam included 'nduja sausage, Monterey Jack cheese, mixed grated cheddar, caramelized onions and, naturally enough given the name, ham.  Irish Wish remains available to stream but the Lindsay LoHam enjoyed only a limited release.

By convention, when more than two slices of bread are used it becomes a "club sandwich" and it's now not uncommon for filled bread rolls, pita, flatbreads, etc also to be sold as sandwiches.  When the filling is spread atop a single slice of bread, it can be called an "open sandwich" which (historically) is oxymoronic but in commerce the term is well-established; dating from the 1920s, these first appeared on menus as "open face sandwich" but the term was soon clipped.  Over millennia, there must have been countless inventions and re-inventions of variants of the sandwich and the innovations have been linguistic as well as culinary, one noted concoction the muffuletta, a thick, round sandwich, typically containing ham, salami, and cheeses and topped with an olive salad, a specialty of New Orleans; it seems first to have been served in the late 1960s, the name from the Sicilian dialect, from the Italian muffoletta (a round hollow-centered loaf of bread), from muffola (mitten), from the French moufle.  In New Orleans, among the muffuletta cognoscenti, there is a heated faction and a room-temperature faction.  Another delicacy is the fried brain sandwich which, although now associated with things south of the Mason-Dixon line, was apparently first offered in St Louis, Missouri.  Self-explanatory, it's made with thinly sliced fried slabs of calf’s brain on white toast; to some a genuine delicacy, to others it'd be an acquired taste.  Etymologists note that confusingly, in the US, some restaurants (said to be most often those “specializing in barbecue”) use “sandwich” in its adjectival sense when serving a meal that is smaller than either lunch or dinner yet not so modest to be thought “a snack”.  These offerings do not imply that of necessity what’s served will be in the form of “a sandwich” although some may be, the point being what’s on the menu is “something smaller than what appears on the lunch and dinner menus”.

Quintessential Grilled Cheese: The ultimate cheese toastie.

In 2017, Guinness World Records officially recognized the “Quintessential Grilled Cheese” on the menu at New York City’s Serendipity3 as the planet’s most expensive commercially available sandwich.  Then listed at US$214, it was made with Dom Perignon champagne-infused French Pullman bread, 23-karat edible gold, a rare Italian cheese and grass-fed white truffle butter.  Served on a Baccarat crystal plate with a bowl of South African lobster tail tomato bisque, the restaurant required customers to order 48-hour in advance.  Obviously not a typical cheese toastie, the core ingredient was Caciocavallo Podolico, an extremely rare Italian cheese made from the milk of a mere 25,000-odd cows grazing on fennel, licorice, and wild strawberries; accounting for some of the sandwich’s high price, the beasts lactate only for a few weeks over May-June.  The luxury toastie still appears on Serendipity 3's menu (along with the “World's most expensive fries” but interestingly, the restaurant have not advised any increase in the price, despite recent inflation and the spike in the gold price.  Given it need to be ordered in advance, presumably it's now on a PoA (price on application) basis.  Still, renowned also for its Frrrozen Hot Chocolate (there’s a $25,000 “Haute” version of that which must be remarkable), Serendipity 3 does sound the ideal place for a first date although it would raise expectations and one should choose the place only if one has the disposable income for regular return visits.

Lindsay Lohan next to pink ice cream truck, Salt Lake City, Utah, 2021.

In 2021, RadarOnline (a pop culture aggregation handler published by RMG (Radar Media Group)) reported that while on-location in Salt Lake City, Utah for the shooting of the Netflix movie Falling for Christmas (2022), Lindsay Lohan bought ice cream sandwiches for the film crew.  Ice cream is in Utah a popular commodity because of what's laid down in the Word of Wisdom, (a kind of etiquette guide cum rulebook) for members of The Church of Jesus Christ of Latter-day Saints (the Mormons).  The Word of Wisdom is properly styled the Doctrine and Covenants (the D&C (1835)) and is the Mormon scriptural canon, section 89 containing the dietary rules proscribing, inter-alia, the consumption of alcohol, tobacco and hot drinks (ie tea & coffee).  Noted Mormon Mitt Romney (b 1947; Republican nominee in the 2012 US presidential election, US senator (Republican-Utah) 2019-2025) usually looks so miserable not only because of what has become of the Republican Party but because the D&C's index of the forbidden denies him the simple indulgence of a cup of coffee.  The rules also explain why manufacturers of chocolate, candy & soda have long found the Mormons of Utah a receptive and lucrative market; other than the joyful singing of hymns, the sugary treats are among their few orally enjoyed pleasures.  In Utah, as well as ice cream sandwiches, there's a ready market too for “dirty sodas”; Mormons aren’t allowed to do anything “dirty” (though it's rumored some do) and a dirty soda (a soda flavored with “spikes” of cream, milk, fruit purees or syrups) is about as close to sinfulness as a reading of the D&C would seem to permit.  Mormans sometimes team an ice cream sandwich with their dirty soda and for those who want more, ice cream cakes are also a big seller.  

Replacing humans with mechanical devices has a long history: Automated dystrybutor piwa i kanapek (beer and sandwich dispenser), Kraków, Poland.  It was installed in May 1931.

In the mid 1950s when English in the US was more regionalized than it would become, in New York City a sandwich typically was sold as a “hero” while in other parts it might be a grinder (based on the ground meat often used as the base of the filling) or a submarine (based on the use of a long, tubular bread roll, the use carried-over when other types of bread were used).  The “poor boy” was a description from New Orleans of uncertain origin but presumed related to the idea of a sandwich being a “cheap meal” to take-away while richer folks sat in the diner and ate off a plate.  Most intriguing was the “hoagie” which definitely emerged in the Pennsylvanian city of Philadelphia though the history is disputed.  One explanation is the original was a “big sandwich” in the form a filled split-roll (al la those served by the modern Subway chain) and thus resembling in shape a large cigar, the linguistic link claimed to be with “stogie”, a common slang term for a cigar, the construct thought to be stoga + -ie, the first element derived from the Conestoga Cigar Company which in the 1880s was one of the first Pennsylvanian cigar factories.  The connection sounds plausible but is undocumented.  The professionals seem unconvinced by the alternative suggestions: (1) a folk-etymology alteration of the Greek gyro (a back-formation from the plural gyros, from the Ancient Greek γύρος (gýros) (from the turning of the meat on a spit) or (2) some connection with the US popular musician Hoagland “Hoagy” Carmichael (1899-1981).  The Greek link is undocumented and thought “vague” and although as a songwriter Hoagy Carmichael enjoyed success as early as the late 1920s, his fame as a performer wasn’t established until a decade later and in Philadelphia the sandwiches were being sold as “hoggies” as early as 1935, thus the conclusion his later celebrity status might have influenced a change in the spelling, “Hoagies” on sale by 1945.  It is of course possible the original “hoggie” was derived from “hog” on the basis of at least some of the sandwiches being “pork rolls” but of this there’s no evidence.  As a footnote, although rarely seen without a cigarette, Mr Carmichael seems not to have been a cigar smoker.

1959 Lotus Elite S1.

The Lotus Elite (Type 14) was produced in two series (S1, 1957-1960; S2, 1960-1963) and was a rolling catalogue of innovation and clever re-purposing of off-the-shelf parts.  One of its most distinctive features was borrowed from aviation: the stressed-skin fibreglass monocoque construction which obviated entirely the need for a chassis or space-frame, the body an integrated, load-bearing structure created using the “sandwich technique”.  The only substantial steel components were a sub-frame supporting the engine and front suspension and a hoop to which was attached the windscreen, door hinges and jacking points.  The company’s philosophy was “simplify, then add lightness” while lent the Elite some delightful characteristics but even had all components been produced in accordance with the specification, many parts of the structure were so close to the point of failure that some revisions to the design would anyway have been necessary but the early cars were far from perfect.  The contact for the fabrication of the bodies had been won by a boat-builder, then one of the few companies with much experience in molding fibreglass.

Club sandwich: The Elite's triple-layer monocoque.

However, the Elite was a more complex design than a boat hull and fibreglass was still a novel material, even Chevrolet in the United States, with access to the financial and engineering resources of General Motors, found early in the production of the Corvette there were lessons still to be learned.  Unlike many boats which used a single or double-layer method, the Elite’s body consisted of three stressed-fiberglass layers (thus in industry jargon a “club sandwich”) which, when joined in a monocoque, created the bulkheads and eight torsion boxes gave the structure its strength and stiffness although the success was something of a surprise.  The designer, working in the pre-CAD (computed-aided design) era and with no experience of the behavior of fibreglass, had doubted the material would be strong enough so had the first prototype built with some steel and aluminum plates sandwiched between the layers with mounting brackets bonded in points at the rear to support the suspension and differential mountings.  In subsequent tests, these proved unnecessary but so poorly molded were many of the layers that structural failures became common, the resin porings of inconsistent thickness creating weaknesses at critical points, suspension struts and differentials known to punch themselves loose from mountings or even tear away chunks of the supposedly supporting fibreglass.

Le Mans 24 Hour, June 1959:  Lotus Elite #41 leads Ferrari 250TR #14. The Ferrari (DNF) retired after overheating, the Elite finishing eighth overall, winning the 1.5 litre GT class.

Needing an operation more acquainted with the tight tolerances demanded in precision engineering, after finishing some Elites, Lotus switched suppliers, the molding contract granted to the Bristol Aeroplane Company. This transformed quality control and the remaining 750-odd Elites carried an S2 designation, the early cars retrospectively (but unofficially) dubbed S1.  Even so, despite the improved, lighter and stiffer shell, it would be another generation before the structural implications of fibreglass would fully be understood and the flaws inherent in the design remained, suspension attachment points sometimes still prone to detachment, Lotus content to the extent it now happened only under extreme loading rather than habitually.  The combination of light-weight, a surprisingly powerful engine and a degree of aerodynamic efficiency which few for decades would match delivered a package with a then unrivalled combination of performance and economy.  On the road, point-to-point, it was able to maintain high average speeds under most conditions and only in then unusual places like the German Autobahns with their unlimited speeds could heavier, more powerful machines assert their advantage.  On the circuits, it enjoyed an illustrious career, notable especially for success in long-distance events at the Nürburgring and Le Mans.  The frugal fuel consumption was an important factor too, as well as claiming five class trophies in the Le Mans 24 hour race, the Elite twice won the mysterious Indice de performance (an index of thermal efficiency), a curious piece of mathematics actually designed to ensure, regardless of other results, a French car always would win a trophy for something.

Charlotte Brontë (1816–1855).

Elizabeth Gaskell's (1810–1865) 1857 biography (a very Victorian work) long loomed over the memory of Charlotte Brontë because it portrayed the author of the deliciously depraved eponymous protagonist in Jane Eyre (1847) as the doomed, saint-like victim of the circumstances which crushed her and the consumption which stalked her.  The old curmudgeon G.K. Chesterton (1874–1936) reckoned that while a good biography told one much about the subject, a bad one revealed all one needed to know about the author.  Gaskell’s crafted miserabilia of course created a legend of its own, a kind of death cult for those for whom victimhood isn’t quite enough so Charlotte Brontë has long been on the emo reading list (a very specific sub-set of the canon).  However, whatever might have been the tone of reviews penned by those critics who found little to admire in works by women, even jaded types like literary editors were captivated by her words, George Smith (1865-1932) who worked for the publishing house Smith, Elder & Co at Cornhill noting in his diary: “After breakfast on Sunday morning I took the manuscript of Jane Eyre to my little study, and began to read it.  The story took me captive.  When the servant came to tell me that luncheon was ready I asked him to brim me a sandwich and a glass of wine, and still went on with Jane Eyre.  Dinner came; for me the meal was a very hasty one; and before I went to bed that night I had finished reading the manuscript.”  She deserved better than the gloomy impression left by Elizabeth Gaskell and history has been kind although even George Smith who admired her thought he discerned what she really wanted from life, writing in The Critic in 1901: "I believe she would have given all her genius and all her fame to be beautiful.  Perhaps few women ever existed more anxious to be pretty than she, and more angrily conscious of the circumstance that she was not pretty."  That was perhaps toxic masculinity as expressed by the literary middle class but Anthony Trollope (1815-1882) focused just on the work, writing in his Autobiography (1883): "I venture to predict that Jane Eyre will be read among English novels when many whose names are now better known shall be forgotten."  

Of the fourth Earl of Sandwich who got a bit of fun out of life

Portrait of John Montagu, fourth Earl of Sandwich (1783) by Thomas Gainsborough (circa 1727-1788), National Maritime Museum, Greenwich.

John Montagu was one of the more interesting chaps to sit in the House of Lords.  Rich and well-connected, he was a libertine in the milieu of the aristocratic swagger of the eighteenth century, his country house described by a contemporary as “the scene of our youthful debaucheries, the retreat of your hoary licentiousness.”  There’s never been any suggestion Sandwich was in his self-indulgence any more depraved than many of his companions but certainly, he fitted-in.

In his lifetime, the earl’s fame came not from the eponymous snack but his long affair with Miss Martha Ray (1746-1779), a most becoming and talented young singer.  It’s never been known when first they made friends but she lived with him as his mistress from the age of seventeen (he was then forty-five), the relationship producing nine children.  The concubinage of Miss Ray he  enjoyed while his wife was suffering from mental illness and while it’s not recorded if her condition was triggered by her husband’s ways, given he conducted an affair also with his sister-in-law, there must be some suspicion.

Montagu's behavior attracted the interest of many, including John Wilkes, a prominent satirist who wrote a number of pieces critical of the earl’s politics and ridiculing his (not so) private life.  Montagu’s revenge was swift.  Wilkes didn’t write only publicly-published satire, he also had a small circle of socially elite subscribers to his other literary output.  That was pornography, and the earl was a subscriber.  To discredit Wilkes, Lord Sandwich rose in the House of Lords and read extracts from Wilkes’ The Essay on Women which he prefaced by telling their lordships “…it was so full of filthy langue (sic) as well as the most horrid blasphemies”.  The earl did not exaggerate and even today the words would shock and appall their lordships although, it must be admitted, it's always been a place where members easily are appalled (or at least affect to be).  The vengeance backfired, the Lords ruling his speech a breach of procedure which sounds a mild rebuke but in that place was a damning censure.  It also provoked Wilkes who responded with tales of Sandwich’s “debauchery, miserliness and lack of good faith” and a biography published in the 1760s labelled him “an arsonist and thief”.  His reputation never recovered although, when masticating a sandwich, we all still should remember him and be glad.

Portrait of Martha Ray (in pussy bow) by Nathaniel Dance-Holland  (1735–1811).

Miss Ray’s end was sadder still.  Lord Sandwich granted her a generous allowance and obtained a flat in Westminster so she had somewhere to live during those times when, for whatever reason, she couldn’t stay in his house.  He also introduced her to a young soldier, James Hackman (circa 1752-1779) who became obsessed with her and soon turned into what would now be called a stalker.  In 1779, Hackman resigned his commission to join the church and it seems he and Ms Ray may have had a brief liaison but she declined his offers of marriage, apparently because she thought his social status and financial means inadequate to keep he in the style to which she'd become accustomed.  Not handling rejection well, Hackman remained infatuated, became obsessively jealous and renewed the pursuit.  One evening in April 1779, after following her to the Royal Opera House at Covent Garden, he shot her dead, apparently under the impression she had taken another lover, which may or may not have been true.  Immediately after the murder, Hackman attempted suicide but succeeded only in wounding himself and was arrested.  Two days after she was buried, the Reverend Hackman was sentenced to be hanged and within the week he died on the Tyburn gallows in a public execution before “a large crowd”.