Senators Bob Corker, Jeff Flake and John McCain talk a big game about
not letting the GOP be the handmaiden of trumpist corruption, but when
the chips were down last night, they voted with their party and a
tie-breaking vote from Vice President Handmaid’s Tale to pass
legislation that lets financial institutions take away your right to sue
them when they defraud you.
In particular, these clauses ban the kinds of class-action suits that
make it worth top lawyers’ time to sue deep-pocketed, well-represented
blue-chip firms that commit petty thefts against millions of people, no
one of whom is worth representing.
With the CFPB rule dead, Equifax, Wells Fargo, and other mass-scale crooks can rip off the public with total impunity.
Is there any word that’s had a wilder evolutionary path than “gothic”?
Seriously, it went from meaning this:
to this:
to this:
and finally ended up as this:
You go you funky word, keep on trucking.
There’s a good reason for that!!!
Here’s an explanation literally no one asked for, and OP probably already knows, but I like talking about all my hyperfixations, and this covers like four of them. (Now, I’m going off the top of my head and its been a few years since I took an art history class) but the jist of it is that the “new” cathedral style that ended up being called Gothic, was called so, because the flying buttresses and pointed arches, and other pointy, overdramatic details were considered kind of barbaric compared to the older style. I want to say this was the point where cathedrals went from being ‘ornate’ to ‘dear god what the fuck are you even doing?!”
So basically we have gothic as this word that means, big and old and overdramatic and vaguely threatening. Which goes perfectly with the mood needing to be set by authors who place characters dealing with a crisis of faith, or a crisis of morality, in this big old mouldering expansive tomb of a house that represents everything of the distant past and the dark secrets rotting the foundations of polite society. But…the Victorians worshipped the austere version of the greeks and neoclassical, and all that neat white marble. But also an austerity as far as people went, there was this Christian ideal to aspire to.
So the decrepit tomb aesthetic, the doom and gloom and the decaying manor house, The Fall of Usher thing, it was popular for the same reason anything creepy is popular now. That love for the morbid and forbidden has never not existed. I mean…Bram Stoker’s Dracula was a best seller when it come out because it had all of the above and THEN some.
So far we’ve got Gothic as old and decaying and overdramatic and threatening but also kind of sexy (see gothic romances, or the use of gothic romance/gothic horror to explore Victorian fears and anxieties about sex and death and immorality).
Fast forward to the late 1970s when Siouxsie and the Banshees distilled that into a look and a performance. They were a punk band, but Siouxsie dressed like a vamp, she had the Theda Bara makeup and wore Victorian lingerie on the outside, but also fishnets and pointy boots. She was the femme fatale. She had the sex and death of both Vampira and Theda Bara, but her and the band had the theatrics of Screamin Jay Hawkins. A journalist described their music as gothic, as an insult, and exploded outward from there. But…they weren’t the sole band to be described this way, or necessarily the first to sound like that or dress like that. But they had enough of all these things to have that word linked to them. And their fans, and The Cure’s fans, and Sister’s of Mercy’s fans, and Bauhaus’ fans, created the subculture and look that we call Goth now. And much of the look has fanned out and expanded from years and years of the world’s most dramatic people trying to outdo each other at the club.
That’s how we got from A to B. Thanks for coming to my TED talk.
So what you’re telling me is that “gothic” really just means “extra.”
