Golconda

Golconda (pronounced gol-kon-duh)

(1) A ruined fortress city in Telangana in West Andhra Pradesh near Hyderabad city, India, capital of one of the five Muslim kingdoms of the Deccan (1512-1687) which was then annexed to the Mogul empire; it was once famed as a centre of diamond cutting.

(2) A rich mine or other source of great wealth (usually without initial capital).

(3) An ostentatious display of jewelry (usually without initial capital).

(4) As Golconda diamond, either a diamond with an origin in the Golconda region or (informally), a diamond of the highest quality (graded Type IIa, of pure carbon and devoid of nitrogen, large and of the highest clarity.

Pre 1200: The Urdu گولکنڈہ‎ (Golkaṇḍa), an Urduization of the the Telugu గొల్లకొండ (gollakoṇḍa (literally “shepherd’s hill)), the construct being గొల్ల (golla) (of or pertaining to shepherds) + కొండ (koṇḍa) (hill); it was Romanized as Gullakōnḍa.  The first Golconda fort was erected during the eleventh century, and, modest by later standards, was originally a small mud-brick structure built as a military outpost of the Kakatiya Empire.  On the basis of archaeological excavations, it’s believed the Kakatiya ruler Ganapatideva (1199–1262) re-constructed the fort in stone and on a larger scale although it’s not clear when the name “Golconda fort” came into use, the earliest known written records dating from the mid-1400s.  In the early sixteenth century, the fort was transformed into a fortified citadel by Sultan Quli Qutb-ul-Mulk (1485–1543), founder of the Qutb Shahi dynasty, which ruled the Sultanate of Golconda between 1518-1687 with Golconda its capital city.  Golconda has been borrowed as a locality name in the US (Illinois New York & Nevada), Trinidad and Tobago and Australia (Tasmania).  Golconda is a noun, proper noun, golcondic is an adjective; the noun plural is plural golcondas.

Before the nineteenth century, India’s mines were the world’s only known source of diamonds and those found in the Golconda region remain among the finest known.  Because of geographic convenience and the existence of the fortified citadel as a secure facility, Golconda was for more than a century the world’s preeminent centre for diamond cutting and polishing.  It was these associations which led to the word Golconda becoming (1) a descriptor of the finest diamonds, (2) a metonym for a rich mine or other lucrative venture and (3) an ostentatious display of jewelry (as both noun “a golconda of ropes and gems”) and adjective (“a golcondic array”)).

A golcondic display: Mary, Crown Princess of Denmark (b 1972) wearing the Danish parure including the Ruby Tiara.

The grand ruby and diamond wreath tiara from the Danish ruby parure is an illustrious piece with a notable provenance.  Worn by generation of women from the Swedish and Danish royal houses, it was constructed from hair ornaments worn at Napoleon Bonaparte’s (1769–1821; leader of the French Republic 1799-1804 & Emperor of the French from 1804-1814 & 1815) imperial coronation, a grand event befitting the status of an emperor who saw himself as Charlemagne’s successor albeit one who would preside over something more dynamic than the recently dissolved Holy Roman Empire.  Attuned to the importance of spectacle, Napoleon actually provided funds for his marshals to purchase jewels for their wives so his coronation procession at Notre-Dame would glitter.  That wasn’t an inexpensive matter because in the euphoria of victory, Napoleon had created a remarkable (though politically shrewd) eighteen, topping even the dozen batons a similarly intoxicated Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945) would hand out in 1940.

One of the wives ended up with a suite which included a necklace, girandole earrings, a large corsage brooch and two hair ornaments in the shape of branches, with pavé-set diamond leaves & ruby berries.  In the way the royal families of Europe operated, jewels often accompanied daughters and nieces as they were passed from palace to palace, country to country as marriage arrangement demanded and the coronation suite moved for some time to Sweden before, in 1869 arriving in Denmark where they’ve since remained, their destination chosen because the ruby set is red & white, the colors of the Danish flag.  In 1898 the ornaments were connected to become a kind of bandeau which, in 1935, was re-modelled into a full wreath tiara which, in an unusual disposition, Ingrid of Sweden (1910–2000; Queen of Denmark 1947-1972) didn't include in the many jewels she left to her three daughters but bequeathed instead to her grandson, Crown Prince Frederik of Denmark (b 1968).  The ruby parure was thus earmarked for his spouse although at law, the arrangement had the historically unusual effect of meaning the title to a tiara passed to a man rather than a woman.

Golconda (1953), oil on canvas by René Magritte (1898–1967), The Menil Collection, Houston, Texas.

Depicting a vision of almost identically dressed figures against a background of ordinary Belgium suburban architecture, the men in bowler hats and dark overcoats may be falling like rain drops, floating upwards or suspended in mid-air, indeed, some may be in one state and others in another, the painter giving no hint, movement neither implied nor denied.  The bowler hat was a favourite motif of Magritte and is best known from his later The Son of Man (1964) and although his work is most associated with the traditions of impressionism and surrealism, Magritte was of bourgeois origin and often wore a bowler hat, critics making of that and its relationship to his art what they chose.  The title Golconda was suggested by Magritte’s friend, the poet Louis Scutenaire (1905-1987) and it’s been the subject of much interpretation, commentators variously finding themes of alienation, individualism, repression and economic exploitation.

Coronet

Coronet (pronounced kawr-uh-nit, kawr-uh-net, kor-uh-nit, or kor-un-net)

(1) A small crown.

(2) A crown worn by nobles or peers (as distinct from those worn by sovereigns).

(3) A crown-like ornament for the head, as of gold or jewels.

(4) An ornament, tending to the pedimental in form, situated over a door or window.

(5) The lowest part of the pastern of a horse or other hoofed animal, just above the hoof.

(6) In heraldry, a crown-like support for a crest, used in place of a torse; also called crest coronet.

(7) The margin between the skin of a horse's pastern and the horn of the hoof.

(8) The knob at the base of a deer's antler.

(9) The traditional lowest regular commissioned officer rank in the cavalry (the equivalent of an ensign in the infantry or navy).

(10) Any of several hummingbirds in the genus Boissonneaua.

(11) A species of moth, Craniophora ligustri.

1350–1400: From the Middle English crownet & corounet, from the Middle French couronnette, from the Old French coronete (little crown) a diminutive of corone (crown) from the Latin corona (third-person singular present active subjunctive of corōnō) (crown), from the Ancient Greek κορώνη (korṓnē) (garland, wreath; a type of crown; a type of sea-bird, perhaps shearwater; a crow; anything curved or hooked (like a door handle or the tip of a bow).  Related in form, if not always function are diadem, wreath, crown, chaplet, circle, tiara, headdress, headband & anadem (a headband, particularly a garland of flowers).  Coronet is a noun; the noun plural is coronets.

Lindsay Lohan in coronet: Mean Girls (2004).

Crowns and coronet are both types of headgear worn as symbols of authority but there are technical differences between the two.  The crown is the traditional symbolic headpiece worn by a monarch and (in some cases) certain other members of royal families.  Fabricated usually from precious metals and adorned with jewels, crowns are by convention taller and more ornate than coronets but this is not an absolute rule and the symbolism of a crown as something representing sovereign power and regal authority doesn’t rely on its size.  Despite that, coronets tend to be smaller, less elaborate versions of crowns and they’re worn by members of the nobility who do not hold the rank of monarch and the consort of a monarch.  According to authoritative English sources, the general specification for a coronet dictates a small crown of ornaments  fixed on a metal ring and, as a general principle, a coronet has no arches and unlike a tiara, it wholly encircles the head.  Helpful as that may be, coronets in the wild are obviously rare (although that depends on the circles in which one moves) but commonly see as rank symbols in heraldry, adorning a coat of arms.  More opportunistically, they’re a popular symbol used in commerce.

Coronets of the United Kingdom.

In the UK, a country where there are more coronets than most, those worn by members of the House of Lords are of a defined designed according to the notch on the peerage one inhabits but surprisingly, they’re worn only for royal coronations so the 2023 event will be their first appearance en masse since 1953.  Outside of royalty, they were once exclusive to dukes but the right was granted to marquesses in the fifteenth century, to earls in the fifteenth, to viscounts (of which there are surprisingly few) in the sixteenth and barons in the seventeenth.  Coronets may not bear any precious or semi-precious stones.

1959 Dodge Silver Challenger

Chrysler’s Dodge division used the Coronet nameplate in a way typical of Detroit’s mid-century practices.  Between 1949-1959 it was a full-sized Dodge, beginning as a top-of-the-range trim before in 1955 being shifted downwards, seeing out its first iteration as an entry-level model.  One mostly forgotten footnote of the first Coronets is the 1959 range saw the first use of the Challenger name.  In 1959 the Coronet-based Challenger was an early example of a model bundled with a number of usually optional accessories and sold at an attractive discount.  The concept would become popular and the Challenger name would later be twice revived for more illustrious careers as pony cars (although the first attempt (1969-1974) was a financial disaster, the cars now much sought-after which, in their most desired configurations trade in the collector community well into six figures with the odd sale above US$1 million).

1979 Dodge Challenger (a "badge-engineered" Mitsubishi).

Although the Mopar crew don't much dwell on the matter, between 1978-1983, Dodge applied the Challenger name to a "captive import" (the then current term describing an overseas-built vehicle sold under the name of domestic manufacturer through its dealer network), a Mitsubishi coupé sold in other markets variously as the Sapporo, Lambda and Scorpion.  Although somewhat porcine (until a mid-life facelift tightened things up), it was popular in many places but never achieved the same level of success in the US (where Plymouth also sold it as the Sapporo), even though that was where the "personal coupé" had become a very lucrative market segment.   

1969 Dodge Hemi Coronet.  By 1969 the writing was on the wall for engines like the Hemi and just 97 Coronet hardtops and 10 convertibles were built.  In 1970, when the last two-door Coronets were made, production had dropped to 13 hardtops and a solitary convertible.

The Coronet’s second run was as an intermediate between 1965–1976 and it’s the 1968-1970 models which are best remembered, based on the corporate B-body platform shared with the Plymouth Belvedere and Dodge Charger.  Plymouth gained great success with their take on the low-cost, high-performance intermediate when they released the Road Runner, a machine stripped of just about all but the most essential items except for its high performance engines, including the 426 cubic inch (7.0 litre) HEMI V8.  It was a big hit, the sales wildly exceeding projections and it encouraged Dodge to emulate the approach with the Coronet Super Bee although for whatever reason, it didn’t capture the imagination as had the Road Runner and in the three seasons both were available, sold less than a third of its corporate stablemate.

1967 Dodge “Road Runner” advertisement.

Curiously though, Dodge may have missed what proved to be the priceless benefit of using the Road Runner name, in 1967 running advertisements for the Coronet R/T (“Road & Track” although “street & strip” would have been closer to the truth), which used the words “Road” & “Runner” although spaced as far apart as perhaps the lawyers advised would be sufficiently distant to avoid threats of litigation.  Plymouth solved that problem by legitimization, paying Warner Brothers US$50,000 for the Road Runner name and the imagery of the Wile E Coyote and Road Runner cartoon depictions, spending a reputed (though unverified) additional US$10,000 for the distinctive "beep, beep" horn sound, the engineering apparently as simple as replacing the aluminium strands in the mechanism with copper windings.

Donald Trump admiring the coronet worn by Miss USA Kristen Dalton (b 1986), Miss USA 2009 Pageant, Las Vegas, Nevada.  Although the beauty contest business called them crowns or cornets, most, like that worn by Ms Dalton were technically tiaras.

Recursive

Recursive (pronounced ri-kur-siv)

(1) Pertaining to or using a rule or procedure that can be applied repeatedly; periodically recurring.

(2) Drawing upon itself, referring back.

(3) In mathematics, of an expression, each term of which is determined by applying a formula to preceding terms

(4) In computing, of a program or function that calls itself (often in the form of an endlessly repeating script).

(5) In computing theory, of a function which can be computed by a theoretical model of a computer, in a finite amount of time.

(6) In computing, a set whose characteristic function is recursive.

(7) In linguistics (as recursive acronym), an acronym in which the first letter of the first word represented by the acronym is the acronym itself.

1790: From the stem of Latin recursus, perfect passive participle of recurrō (I run or hasten back; I return, revert, recur), the construct being recurs(ion) + -ive.  The –ive suffix is from the Anglo-Norman -if (feminine -ive), from the Latin -ivus; the related forms are the adverb recursively and the noun recursiveness.  Until the fourteenth century, all Middle English loanwords from the Anglo-Norman ended in -if (actif, natif, sensitif, pensif et al) and, under the influence of literary Neolatin, both languages introduced the form -ive.  Those forms that have not been replaced were subsequently changed to end in -y (hasty, from hastif, jolly, from jolif etc).  Like the Latin suffix -io (genitive -ionis), the Latin suffix -ivus is appended to the perfect passive participle to form an adjective of action.  The use in mathematics dates from 1934.  Recursive is an adjective inflected form of recursion which is a noun.  Recursive is an adjective, recursivity & recursiveness are nouns and recursively is an adverb; the noun plural is recursivities.  

The recursive acronym

Although recursive acronyms had existed before, appearing in fiction as early as 1968, the term first gained wider attention when discussed in US physicist’s Douglas Hofstadter's (b 1945) 1979 book Gödel, Escher, Bach: an Eternal Golden Braid.  Recursive acronyms typically form backwardly: either an existing ordinary acronym is given a new explanation or, a name is turned into an acronym by giving the letters an explanation of what they stand for, in each case with the first letter standing recursively for the whole acronym.

Not an easy book for those without a helpful background, even the title of Gödel, Escher, Bach is at first glance misleading because it’s not a look at the relationships between art, music and mathematics but instead an exploration of the abstract structures which exist within each.  These Hofstadter called “strange loops”, the logician Kurt Friedrich Gödel (1906–1978) having demonstrated their existence in any mathematical system of sufficient complexity.

Relativity, lithograph (1953) by MC Escher (1898–1972).

Hofstadter pursued these structural imperatives in music and art, suggesting it’s strange loops which creates consciousness, the connections and chemicals in the human brain creating the fundamental base of the framework on which are hung ideas, feelings, hopes and desires, all of which manifest further up the framework.  Consciousness became possible (and there are those who suggested inevitable) because the hierarchy clinging to the framework can twist back on itself: higher and lower levels influencing and interacting so the lower which once must have entirely determined the upper is also changed, ideas and feelings having an actual physical impact, this tangling of hierarchies being our sense of self.

Others, tentatively had posed similar questions.  Eugene Charniak’s (b 1946) strangely neglected PhD thesis (MIT, 1974) at least hinted it might be fruitful to explore the relationship of knowledge and inference to natural language understanding and Gödel, Escher, Bach is a playful, clever, if sometimes obviously contrived way to offer one explanation of how cognition emerges from a mechanistic structure which is reflected in work that cognition can allow to be created.  As a technical point, remarkably for a piece so dependent on the nuances and interplay of language, Gödel, Escher, Bach has been translated.

Many recursive acronyms come from the field of computing; it’s nerd humor.

TLA: Three Letter Acronym

AROS: AROS Research Operating System

BAMF: BAMF Application Matching Framework

BIRD: BIRD Internet Routing Daemon

GNU: GNU's Not Unix

KGS: KGS Go Server

LAME: LAME Ain't an MP3 Encoder

MINT: MINT Is Not TRAC

MiNT: MiNT is Not TOS (which later became MiNT is Now TOS)

TIARA: TIARA is a recursive acronym

UIRA: UIRA Isn't a Recursive Acronym

WINE: WINE Is Not an Emulator (was originally Windows Emulator)

XINU: Xinu Is Not Unix

XNA: XNA's Not Acronymed

XNU: X is Not Unix

Goodly

Goodly (pronounced good-lee)

(1) Of a substantial size or quantity.

(2) Of a good or fine appearance (rare).

(3) Of fine quality (obsolete).

(4) Highly virtuous (obsolete unless quantity is thought virtuous which does seem possible).

Pre 1000: From the Middle English, from the Old English gōdlīc, from the Proto-Germanic gōdalīkaz (equivalent to the Old English gōd (good)).  The construct was good + -ly.  Good was from the Middle English good & god, from Old English gōd (that which is good, a good thing; goodness; advantage, benefit; gift; virtue; property), from the Proto-West Germanic gōd, from the Proto-Germanic gōdaz, from the primitive Indo-European ghed (to unite, be associated, suit).  It was cognate with the Dutch goed, the German gut, the Old Norse gōthr, the Gothic goths & the Russian го́дный (gódnyj) (fit, well-suited, good for) & год (god) (year). The –ly prefix was from the Middle English -ly, -li, -lik & -lich, from the Old English -līċ, from the Proto-West Germanic -līk, from the Proto-Germanic -līkaz (having the body or form of), from līką (body) (from whence Modern German gained lich); in form, it was probably influenced by the Old Norse -ligr (-ly) and was cognate with the Dutch -lijk, the German -lich and the Swedish -lig.  It was used (1) to form adjectives from nouns, the adjectives having the sense of "behaving like, having a likeness or having a nature typical of what is denoted by the noun" and (2) to form adjectives from nouns specifying time intervals, the adjectives having the sense of "occurring at such intervals".  Goodly, goodlier & goodliest are adjectives and goodliness is a noun.

Lindsay Lohan with a largifical show of skin and a goodly sprinkle of freckles in Lynn Kiracofe tiara & Frye boots with Calvin Klein Original’s blue cotton jeans over white polyester and spandex XT Trunk briefs, W Magazine photo shoot, April 2005.

In English, goodly was long used to mean (1) someone or some act thought commendable or virtuous, (2) an item of high quality, (3) something or someone attractive and (4) ample or numerous in quality.  It was thus variously a synonym of many words including ample, big, biggish, burly, capacious, comprehensive, decent, extensive, good, great, gross, hefty, husky, jumbo, largish, major, massive, ponderous, respectable, sensible, beautiful & virtuous.  However, by the mid-twentieth century most senses of goodly had gone extinct and the word was only ever used of something quantitative.  Even then it was (and remains) rare but it exists in a niche populated by poets and literary novelists so its audience is thus limited.  As an example of the inconsistency in English’s evolution, the sense of virtue did survive in the noun goodliness.  An alternative to goodly when speaking of quantities was largifical and unlike goodly, it did not survive although large obviously has flourished.  The adjective largifical was from the Latin largificus, from largus (bountiful, liberal), the construct being an adaptation (via facere (in fact)) of larg(us) + faciō (do, make), from the Proto-Italic fakjō, from the primitive Indo-European dheh- (to put, place, set), the cognates of which included the Ancient Greek τίθημι (títhēmi), the Sanskrit दधाति (dádhāti), the Old English dōn (from which English ultimately gained “do”) and the Lithuanian dėti (to put).  So, beyond the confines of the literary novel, the preferred alternatives to goodly and largifical include sufficient, adequate, plenty, abundant, enough, satisfactory, plentiful, copious, profuse, rich, lavish, liberal, generous, bountiful, large, huge, great, bumper, flush, prolific, overflowing, generous & ample, the choice dictated by the nuances of need.

Tie

Tie (pronounced tahy)

(1) A knot; a fastening.

(2) A knot of hair (as at the back of a wig).  (a tiewig is (1) a wig having a tie or ties, or one having some of the curls tied up or (2) a wig that is tied upon the head; a court-wig tied with ribbon at the back).

(3) A long narrow piece of material worn, most often by men, under the collar of a shirt, tied in a knot close to the throat with the ends hanging down the front.  Also called necktie (a bow tie is never truncated to tie).

(4) A lace-up she or boot, historically as Oxford ties, Derby ties etc (now a rare use).

(5) As “twist tie”, a piece of wire embedded in paper or a strip of plastic, wound around something (typically a bag, cable etc) and tightened to secure it.

(6) A connection between people (or groups of people) or between people and institutions, ideologies etc, especially a strong connection (familiar in the phrases “ties of friends”, “ties of allegiance”, “ties that bind” etc).

(7) In construction, any of various structural members (beams, rods, stringers etc) used to keep two objects (rafters; haunches of an arch etc), from spreading or separating.

(8) In rail track construction, any of a number of closely spaced transverse beams of concrete, metal or (historically and still mostly) wood, for holding the rails forming a track at the proper distance from each other and for transmitting train loads to the ballast and roadbed (in other places known as a “sleeper”).

(9) In sport and related competitions, the situation in which two or more participants in a competition are placed equally (known variously as a “draw” or stalemate”.  The exception is long-form cricket (test & first class) where a tie (both sides having the same total of runs when the last ball has been delivered) is distinct form a draw (neither side able to force a win).

(10) In sport and related competitions, a meeting between two players or teams in a competition (mostly UK & Commonwealth use).

(11) In music, a curved line connecting two notes of the same pitch denoting that they should be played as a single note with the combined length of both notes (distinct from a slur).

(12) In typography & phonetic transcription, a curved line connecting two letters (⁀), used in the IPA to denote a co-articulation, as for example /d͡ʒ/.

(13) In statistics, one or more equal values or sets of equal values in the data set.

(14) In surveying, a bearing and distance between a lot corner or point and a benchmark or iron off site; a measurement made to determine the position of a survey station with respect to a reference mark or other isolated point.

(15) In graph theory, a connection between two vertices.

(16) To bind, fasten, or attach with a cord, string, or the like, drawn together and knotted.

(17) To draw together the parts of with a knotted string or the like.

(18) To fasten, join, or connect in any way.

(19) To confine, restrict, or limit.

(20) To bind or oblige, as to do something.

Pre 900: From the Middle English teye, tiegh & tegh (cord, rope; chain) from the Old English tēag, tēah, tēagh and tēgh (cord; chain), from the Proto-West Germanic taugu, from the Proto-Germanic taugō, from the Old Norse taug (rope) & tygill, from the primitive Indo-European dewk- and ultimately from the from the prehistoric deuk (to pull, to lead).  It was cognate with the Danish tov.  The Middle English tien and the Old English tīgan (to tie) were both derivative of the noun and related to the Old Norse teygja (to draw, stretch out) and the Old English tēon (to pull).  Tie is a noun & verb, tying is a noun & verb, tied is a verb & adjective; the noun plural is ties.

The figurative sense dates from the 1550s and the adoption in the US to describe railway sleepers is from 1857.  The meaning "equality between competitors" was first noticed in the 1670s although the meaning “to finish equal to a competitor” seems not to have been formalized until the late 1880s.  The tie-breaker (a mechanism used to force a tied match to a win) was first mentioned in 1938 and is most familiar from tennis when it was first widely used in the early 1960s.  In mist forms of sport, the “tie” is interchangeable with “draw “ except in the four-innings cricket in which, apparently uniquely, four results are possible, win, lose, draw and the (rare) tie.  The sense of a “cravat’; necktie” (usually a simple one knotted in front) dates from 1761.  The idea of the bow tie (a necktie tied in the form of a bow or a knot with two loops) was familiar by 1887 although the earlier use in the sense “a ribbon or other fabric tied in a bow-knot) was in use in 1874.

In idiomatic use, to “tie the knot” means “to form a union” (usually marriage) dates from 1707.  To “Tie one on” (get drunk) was first recorded in 1944)" is recorded from 1944.  The phrase “old school tie” has been in use since 1938 and refers literally to the neckties worn by former students of a certain English public (private) schools and is used as an allusion to the way the class system is maintained.  The “tie-in” (a specific connection) was first documented in 1934 and was said to be from a verbal phrase noted since 1793.  The verb “hog-tie” was literally the most efficient way of securing a body (by binding the hands and feet by crossing and tying them) and was first documented (it’s unclear how long the technique had been in use) in 1887.  The verb tie-dye is associated with hippies and their spiritual descendants but the technique was first patented in 1902.  In telecommunications, a "tie-line" is a dedicated line between two extensions.  The origin was in the physical wire which once ran point-to-point ("tying" the two together), the classic example the cables run by the military in the trenches of World War I (1914-1918).  The term is still used to refer to dedicated private services but most are now part of distributed networks and implemented with a combination of physical switching and software.

The RSVP - What to wear

White Tie Dress Code.

White tie, also called full evening dress or a dress suit, is now the most formal evening dress code in western culture.  For men, it consists of a black tailcoat worn over a white starched shirt, Marcella waistcoat and a white bow tie worn around a detachable collar.  High-waisted black trousers and patent leather pumps complete the ensemble; decorations need not be worn unless specified, top hats and canes the only permitted accessories.   White scarves were once frequently seen but seem now frowned upon.  For women, it’s a full-length gown.  Optional is jewelry, a tiara, a small bag and evening gloves though with accessories, fashion critics urge restraint.

Although now the most elaborate western dress code, white tie is derived from the eighteenth century movement towards a less elaborate aesthetic of style and by the 1840s was de rigueur for the small fragment of the population who moved “in society circles”.  The two great events of the twentieth century, the world wars, rent social fissures which rendered white tie extinct for all but a handful of ceremonial and state occasions such as balls at some of the old universities and royal households.  The white tie belongs mostly to the lost, pre-1914 world although still required for the annual Nobel Prize ceremony.

Black Tie Dress Code.

Transcending class distinctions, black tie is a dress code for evening events and social functions.  It emerged and evolved during the late nineteenth century, was essentially codified by the 1920s and, for men, little changed since.  For men, the elements are a white dress shirt with black bow tie, an evening waistcoat or cummerbund, a dinner jacket in black or midnight blue and polished black shoes.  This setup is known in the US as a tuxedo and in France as cravate noire.  Black tie permits variations, lighter colored jackets, dating from hot climates of the Raj, are now not unusual but variations need still to be on the theme.

By contrast with the essentially static men’s code, women's dress for black tie has been subject to trends, both in fashion and social mores.  Traditionally it was evening shoes and ankle or lower-calf length (depending on the hour) sleeveless evening gown, often set-off by a wrap or stole and, almost inevitability, gloves.  In the twenty-first century, women are essentially free to construct whatever seems to suit the occasion, a gown, a cocktail dress, a LBD (little black dress), even trousers and boots; black tie for women is now post-modern and thus more concept than code.

Black tie invitation: Lindsay Lohan interprets.

Loafer

Loafer (pronounced loh-fer)

(1) A person who loafs about; a lazy idler; a lay-about.

(2) A name for a moccasin-like, laceless, slip-on shoe, worn by both men and women.

(3) In some south-western US dialects, a wolf, especially a grey or timber wolf (often in the compound form “loafer wolf).

1830: The construct was loaf + -er.  Loaf was from the From Middle English lof & laf, from the Old English hlāf (bread, loaf of bread), from the Proto-West Germanic hlaib, from the Proto-Germanic hlaibaz (bread, loaf), of uncertain origin but which may be related to the Old English hlifian (to stand out prominently, tower up). It was cognate with the Scots laif (loaf), the German Laib (loaf), the Swedish lev (loaf), the Russian хлеб (xleb) (bread, loaf) and the Polish chleb (bread).  It was used to mean (1) a block of bread after baking, (2) any solid block of food, such as meat or sugar, (3) a solid block of soap, from which standard bar (or cake) of soap is cut or (4) in cellular automata, a particular still life configuration with seven living cells.  The origin of “use your loaf” meaning “think about it” in Cockney rhyming slang was as a shortened form of “loaf of bread” (ie “use your head”).  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.  Loafer & loafing are nouns & verbs, loafed, loafering & loafered are verbs and loaferish is an adjective; the noun plural is loafers.

The use to describe “a lazy idler” was first documented in 1830 as an Americanism which may have been short for landloafer (vagabond), similar (though not necessarily related) to the obsolete nineteenth century German Landläufer (vagabond) or the Dutch landloper.  Etymologists suggest landloafer may have been a partial translation of a circa 1995 loan-translation of the German Landläufer as “land loper” (and may be compared with the dialectal German loofen (to run) and the English landlouper) but this has little support and most regard a more likely connection being the Middle English love, loove, loffinge & looffinge (a remnant, the rest, that which remains or lingers), from Old English lāf (remainder, residue, what is left), which was akin to Scots lave (the rest, remainder), the Old English lǣfan (to let remain, leave behind).  One amusing coincidence was that in Old English hlaf-aeta (household servant) translated literally as “loaf-eater” (ie, one who eats the bread of his master, suggesting the Anglo-Saxons might still have felt the etymological sense of their lord & master as the “loaf-guard”.  The expression "one mustn't despair because one slice has been cut from the loaf" describes a pragmatic reaction to learning one's unmarried daughter has been de-flowered and is said to be of Yiddish origin but no source has ever been cited.  In modern idomatic use, the derived phrases "a slice off a cut loaf is never missed" and "you never miss a slice from a cut loaf" refer to having enjoyed sexual intercourse with someone who is not a virgin, the idea being that once the end of a loaf (the crust) has been removed, it's not immediately obvious how many slices have been cut. 

The loafer is a style, a slip-on shoe which is essentially a slipper designed as an all-weather shoe for outdoor use.  They’re available in a wide range of styles from many manufacturers and this image is just a few of the dozens recently offered by Gucci.  In the old Soviet Union (the USSR; 1922-1991), there were usually two (when available): one for men and one for women, both (sometimes) available in black or brown.

The verb loaf was first documented in 1835 in US English, apparently a back-formation from the earlier loafer and loafed & loafing soon emerged.  The noun in the sense of “an act of loafing” was in use by 1855.  What constitutes loafing is very much something subjective; a student underachieving in Latin might be thought a loafer by a professor of classics but the “hard working, much published” don who in his whole career never lifted anything much heavier than a book would probably be dismissed as “a loafer” by the laborer digging the trench beneath his study.  A “tavern loafer” was one who spent his hours drinking in bars while a “street loafer” was a synonym for a “delinquent who hung about on street corners”.  Loafer as a description of footwear dates from 1937 and it was used of lace-less, slip-on shoes worn on less formal occasions (essentially slippers designed for outdoor use, a popular early version of which was the “penny loafer”, so named because it featured an ornamental slotted leather band across the upper where a coin was often mounted.  The use in some south-western dialects as “loafer” or “loafer wolf” to describe a grey or timber wolf is based on the American Spanish lobo (wolf), reinterpreted as or conflated with loafer (idler).

Rowan Williams (b 1950; Archbishop of Canterbury 2002-2012) admiring Benedict XVI’s (1927–2022; pope 2005-2013, pope emeritus 2013-2022) red loafers, Lambeth Palace, September 2010.

When in 2013 announced he was resigning the papacy, there was much discussion of what might be the doctrinal or political implications but a few fashionistas also bid farewell to the best-dressed pontiff for probably a century and the one Esquire magazine had named “accessorizer of the year”.  In recent memory, the world had become accustomed to the white-robed John Paul II (1920–2005; pope 1978-2005) who would don colorful garments for ceremonial occasions but never wore them with great élan and eschewed the use of the more elaborate, perhaps influenced by Paul VI (1897-1978; pope 1963-1978) whose reign was marked by a gradual sartorial simplification and he was the last pope to wear the triple tiara which had since the early Middle Ages been a symbol of papal authority; briefly it sat on his head on the day of his coronation before, in an “act of humility”, it was placed on the alter where, symbolically, it has since remained.

The pope and the archbishop discuss the practicalities of cobbling.

Benedict’s pontificate however was eight stylish years, the immaculately tailored white caped cassock (the simar) his core piece of such monochromatic simplicity that it drew attention to the many adornments and accessories he used which included billowing scarlet satin chasubles trimmed with crimson velvet and delicate gold piping and others woven in emerald-green watered silk with a pattern of golden stars.  Much admired also was the mozzetta, a waist-length cape, and the camauro, a red velvet cap with a white fur border that around the world people compared with the usual dress of Santa Claus, X (then known as twitter) quickly fleshing out the history of the Coca-Cola Corporation’s role in creating the “uniform” although there was some exaggeration, the Santa-suit and hat familiar by at least the 1870s although Coca-Cola’s use in advertizing did seem to drive out all colors except red.  On popes however, the red velvet and white fur trim had been around for centuries though it fell from fashion after the Second Vatican Council (Vatican II; 1962-1965) and was thus a novelty when Benedict revived the style.

The pope farewells the archbishop.

Not all (including some cardinals) appreciated the papal bling but what attracted most attention were his bright red loafers, a style of shoe which popes have been depicted wearing since Roman times and the Holy See was forced to issue a statement denying they were hand-crafted by the high-end Italian fashion house Prada.  In their press release, the Vatican’s Press Office reminded the world the red symbolizes martyrdom and the Passion of Christ, the shoes there to signify the pope following in the footsteps of Christ.  Rather than a fashion house, the papal loafers were the work of two Italian artisan cobblers: Adriano Stefanelli and Antonio Arellano and Signor Stefanelli’s connections with the Vatican began when he offered to make shoes for John Paul II after noticing his obvious discomfort during a television broadcast.  Signor Arellano had a longer link with Benedict’s feet, having been his cobbler when, as Joseph Ratzinger, he was the cardinal heading the Inquisition (now called the Dicastery for the Doctrine of the Faith (DDF)) and as soon as Benedict’s surprise elevation was announced, he went immediately to his last and made a pair of red loafers for him (he’s an Italian size 42 (a UK 8 & a US 9)).  Upon his resignation, as pope emeritus, he retired the red loafers in favor of three pairs (two burgundy, one brown) which were a gift from a Mexican cobbler: Armando Martin Dueñas.  Pope Francis (b 1936; pope since 2013) has reverted to the austere ways of Vatican II and wears black shoes.

Channeling Benedict: Lindsay Lohan in red loafers, September 2016.

Kitsch

Kitsch (pronounced kich)

(1) Something though tawdry in design or appearance; an object created to appeal to popular sentiment or undiscriminating tastes, especially if cheap (and thus thought a vulgarity).

(2) Art, decorative objects and other forms of representation of dubious artistic or aesthetic value (many consider this definition too wide).

1926: From the German kitsch (literally “gaudy, trash”), from the dialectal kitschen (to coat; to smear) which in the nineteenth century was used (as a German word) in English in art criticism describe a work as “something thrown together”.  Among “progressive” critics, there was a revival in the 1930s to contrast anything thought conservative or derivative with the avant garde.  The adjective kitchy was first noted in 1965 though it may earlier have been in oral use; the noun kitchiness soon followed. Camp is sometimes used as a synonym and the two can be interchangeable but the core point of camp is that it attributes seriousness to the trivial and trivializes the serious.  Technically, the comparative is kitscher and the superlative kitschest but the more general kitschy is much more common.  The alternative spelling kitch is simply a mistake and was originally 1920s slang for “kitchen” the colloquial shortening dating from 1919.  Kitsch & kitchiness are nouns, kitschify, kitschifying & kitschified are verbs and kitschy is an adjective; the noun plural is kitsch (especially collectively) or kitsches.  Kitschesque is non-standard.

Kitsch can become ironic.  Lava lamps were in the 1970s briefly fashionable as symbols of the modern but were soon re-classified kitsch.  In the twenty-first century, such was the demand that re-creations of the originals became available, bought because they were so kitsch.

For something that lacks and exact definition, kitsch is probably surprisingly well-understood as a concept although not all would agree on what objects are kitsch and what are not.  Nor does is there always a sense about it of a self-imposed exclusionary rule; there are many who cherish objects they happily acknowledge are kitsch.  As a general principle, kitsch is used to describe art, objects or designs thought to be in poor taste or overly sentimental.  Objects condemned as kitsch are often mass-produced, clichéd, gaudy (the term “bling” might have been invented for the kitsch) or cheap imitations of something.  It can take some skill to adopt the approach but other items which can compliments such a thing include rotary dial phones and three ceramic ducks flying up the wall (although when lava lamps were in vogue, lava lamp buyers probably already thought the kitsch.

Lindsay Lohan: Prom Queen scene in Mean Girls (2004).  If rendered in precious metal and studded with diamonds a tiara is not kitsch but something which is the same design but made with anodized plastic and acrylic Rhinestones certainly is.

Führer kitsch: A painting attributed to Adolf Hitler.

The Nazi regime devoted much attention to spectacle and representational architecture and art was a particular interest of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945).  Hitler in his early adulthood had been a working artist, earning a modest living from his brush while living in Vienna in the years before World War I (1914-1918) and his landscapes and buildings were, if lifeless and uninspired, competent enough to attract buyers.  He was rejected by the academy because he could never master a depiction of the human form, his faces especially lacking, something which has always intrigued psychoanalysts, professional and amateur.  Still, while his mind was completely closed to any art of which he didn’t approve, he was genuinely knowledgeable about many schools of art and better than many he knew what was kitsch.  However, the nature of the “Führer state” meant he had to see much of it because the personality cult built around him encouraged a deluge of Hitler themed pictures, statuettes, lampshades, bedspreads, cigarette lighters and dozens of other items.  A non-smoker, he ordered a crackdown on things like ashtrays but generally the flow of kitsch continued unabated until the demands of the wartime economy prevailed.  In the Berghof, his alpine headquarters on the Bavarian Obersalzberg near Berchtesgaden, there were constant deliveries of things likes cushions embroidered with swastikas in which would now be called designer colors and more than one of his contemporaries in their memoirs recorded that the gifs sometimes would be accompanied by suggestive photographs and offers of marriage.  Truly that was “working towards the Führer”.

Führer kitsch: A painting attributed to Adolf Hitler.

Hitler dutifully acknowledged the many paintings which were little more than regime propaganda although the only works for which he showed any real enthusiasm were those which truly he found beautiful.  However, he knew there was a place for the kitsch… for others.  In July 1939, while being shown around an exhibition staged in Munich called the “Day of German Art”, he complained to the curator that some German artist were not on display and after being told they were “in the cellar”, demanded to know why.  The only one with sufficient strength of character to answer was Frau Gerhardine "Gerdy" Troost (1904–2003), the widow of the Nazi’s first court architect Paul Troost (1878–1934) and one of a handful of women with whom Hitler was prepared to discuss anything substantive.  “Because it’s kitsch” she answered.  Hitler sacked the curatorial committee and appointed his photographer to supervise the exhibition and the depictions of farm-workers in the field and heroic nude warriors returned.

Kitsch: One knows it when one sees it.

What is kitsch will be obvious to some while others will remain oblivious and the disagreements will happen not only at the margins.  Although there will be sensitive souls appalled at the notion, it really is something wholly subjective and the only useful guide is probably to borrow and adapt the threshold test for obscenity coined by Justice Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) in Jacobellis v Ohio (1964):

I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description and perhaps I could never succeed in intelligibly doing so. But I know it when I see it…

Kitsch also has a history also of becoming something else.  As recently as the 1970s, tea-towels, placemats, oven mitts, serving trays and plenty else was available in the West adorned with depictions of indigenous peoples, often as racist tropes or featuring the appropriation of culturally sensitive symbols.  These are now regarded as kitsch only historically and have been re-classified as examples variously (depending on the content) of cultural insensitivity or blatant racism.