Posts Tagged ‘music’
“When I use a word, it means just what I choose it to mean—neither more nor less”*…
In an piece adapted/updated from his recent book, Unabridged: The Thrill of (and Threat to) the Modern Dictionary, Stefan Fatsis explores process(es) that determine our “Word[s] of the Year”…
Thirty-five years ago, the late English professor Allan Metcalf [see here] had an idea. “I was thinking that Time magazine has its Person of the Year,” he told me, “and why can’t we do for words what Time did for people?”
Metcalf assumed that the language pros at the American Dialect Society, which held the first WOTY vote in 1990, would nominate words “headed straight for our everyday vocabulary and secure places in the dictionaries.” But he misjudged human behavior. Lexicography is sober research committed quietly and alone. Word of the Year is a key party: You can’t be sure who you’ll go home with. The inaugural winner, bushlips, meaning “insincere political rhetoric,” barely lasted a news cycle.
After some eye-rolling, criteria were established: Was the word completely new? Had it been used before in other contexts? Was it “a major focus of human activity or behavior” in the previous year? Did it have staying potential? WOTY could be brand-new or newly popular. But it had to have been used widely and reflect the zeitgeist of the annum gone by.
Today there are around a dozen Words of the Year (Word of the Years?) in English, and WOTY season runs from late fall to early January. Dictionaries duke it out for attention, some touting their scientific methodology for picking a winner, others offering a nebulous alchemy of number-crunching and feel. The dialect society, the WOTY OG, conducts a live popular vote in a hotel ballroom at a language conference, the outcome based more often than not on vibes alone.
No matter the formula, selecting one word to define a year is serious business. It’s about the sharp lines of language and usage, how society adopts and spreads new terminology, and, increasingly, the dramatic ways that social media influence the way we write, talk, and interact. As a culture we’re forever searching for ways to make sense of our big, complicated, confusing world. WOTY neatly boxes up 365 days in a single, simple word (technically a “vocabulary item”; phrases, compounds, and affixes also are eligible). It’s media catnip and hot-take gold.
“It gives people this sense of ownership,” says New York Times Wordplay columnist Sam Corbin, who’s writing a book about what she calls the WOTY-verse. “We have always been exploring new ways to fill gaps in vocabulary but also respond to culture with words. It’s delicious.”
For the dialect society, which crowns a champ last, the job is so weighty that it takes two days to pick a winner—nominations one night, balloting the next. I’ve participated in around a decade’s worth of votes. I check my journalistic objectivity at the door and do my linguistic duty. Every year, a pattern emerges. A few words totally surprise, some a product of Gen Z (or Gen Alpha) or gamer culture that’s bypassed middle-aged me (hello, skibidi, a 2023 nominee). Recency bias is common—as you’d expect in a vote of trending language. So is observer bias, with crowd approval often directly proportional to shock value (the suffix -ussy winning in 2022; rawdog in 2024).
Looking at the victorious words from a distance, you might nod in recognition of a specific event (chad, 2000; bailout, 2008), cringe at terminology that dates you (World Wide Web, 1995), or wonder what the hell people were thinking (to pluto, a verb meaning to demote, as in what happened to Pluto when it was reclassified from full-fledged to dwarf planet, 2006). But that’s the genius of Word of the Year. We’re suckers for media-driven argument engines. It’s a short walk from “LeBron is better than Jordan!” to “They should have picked rizz!”
Since around 2010, when the newsy app defeated the funner nom—as in the onomatopoetic nomnomnom, to connote eating—younger voters (mostly grad students and junior faculty) have tilted the conversation away from dictionary-type words toward social media and online slang. “It’s generally who makes the best argument in the room, and you can’t predict that,” says Ben Zimmer, chair of the society’s New Words Committee.
A couple of votes stand out for me, for linguistic and cultural reasons. One was in Austin, Texas, in January 2017. Donald Trump had just been elected president, and nearly half of the WOTY nominees were related to him: post-truth, basket of deplorables, unpresidented, alt-right, fake news, locker-room banter, yuuuge. But the mood was ominous, not apocalyptic. It was, after all, pre-inauguration, pre-Charlottesville, pre-impeachments, pre-pandemic, pre-2020 election, pre-January 6, pre-felony indictments, pre-felony convictions, pre-assassination attempts, pre-2024 election, pre-ICE raids: pre-everything.
WOTY promised closure, and everyone was down for that. In the middle of the room, Dan Villareal, a linguistics postdoc, stood up. “Okay,” he said. “It’s 2016. Dumpster fire?” Earlier in the evening, the fire emoji, and also the trashcan and fire emojis used together to represent dumpster fire, won the emoji category. One of the older attendees had asked what dumpster fire meant. “It is used to describe an incredibly catastrophic situation,” Zimmer explained. “Like some people think 2016 was one long dumpster fire.”
Normalize, post-truth, and the fire emoji also got WOTY nominations—the first time an emoji had made the final group. So did woke. “Granted it’s been around a while,” cherubic Stanford linguist John Rickford, a titan in the field, said. “But only if you stay woke can you put out the dumpster fire.” The house was brought down, and I figured it was game over. But then another postdoc, Nicole Holliday, lobbied against the word—“because it was appropriated from the Black solidarity movement in the 1960s and I think that we are so late to this game and last year was anything but woke,” she said. Dumpster fire beat woke in a runoff.
The journey of the two words since then demonstrates WOTY’s unpredictability and its historical value. Dumpster fire was relatively new and the WOTY early-warning system worked; Merriam-Webster added it just 14 months later. Woke, by contrast, would take a far more disturbing linguistic ride. The dialect society voters who (literally) snapped their fingers in approval for woke would watch it get twisted by political commentators and a demagogic right-wing into what was tantamount to a slur.
The dialect society’s last two votes also feel, in hindsight, like markers. When the group gathered in New York to pick the 2023 winner, Joe Biden was president and Trump was a long shot to return to power. The Israel-Hamas war drew a nomination of ceasefire, but the Barbie movie, AI, and online slang dominated the discourse. The most spirited debate was over a word that didn’t appear in Sam Corbin’s Times write-up of the event: cunty, “having an audaciously exceptional appearance or attitude.”
The winner straddled the line between serious and fun: enshittification, meaning a gradual deterioration in the quality of internet platforms like Facebook, Twitter, and TikTok. The word captured the growing frustration with internet subservience and AI overlords. The 2024 vote, in Philadelphia, also was relatively apolitical; maybe we were all terrified about Trump’s impending inauguration. Rawdog was subversive and fun. The runner-up, sanewashing, was doomy, but more of a criticism of how the media handled Trump than of Trump himself.
Kicking off the 2025 WOTY campaign, Dictionary.com eschewed the perilous state of the union and opted for the ubiquitous (and annoying, to adults) Gen Alpha nonsense catchphrase 67 (also written 6-7 or six seven). The British dictionary Collins went with the AI term vibe coding, which it said “captures something fundamental about our evolving relationship with technology.” Other dictionaries are likely to lean into our quick descent into competitive authoritarianism and choose an existing word that was of the moment and looked up a lot: totalitarian, fascism (for which former Dictionary.com editor John Kelly made the case), deportation, crackdown, tariff, shutdown. (Surreal and unprecedented, fyi, have already had a turn; chaos is available.)
For the American Dialect Society voters, current-events words need to capture the seriousness of the political moment, possess some cultural stickiness, and be lexically dynamic. Language writer Nancy Friedman, who tracks potential WOTYs on her Substack, Fritinancy, flagged DOGE as a verb meaning to fire or purge and as a “combining form,” as in DOGEboys or DOGEbags. Various tariff spinoffs—such as tariffied, which has appeared in lots of headlines—also show promise. Other candidates unite the sober and the clever: Kavanaugh stop, broligarchy, trolligarchy, sadopopulism.
Brianne Hughes, a linguist and writer, maintains a running list of 2025 WOTY hopefuls on the alt-dictionary site Wordnik—around 250 of them so far, including #NoKings, Coldplayed, clanker, aura farming, Straw Hat Pirates, Gen Z stare, and chopped unc, a combo of the internet slang chopped and unc. (Some late additions: Young Republicans, in the wake of a Politico story revealing racist banter in a GOP group chat; Trumpstein files; and Gestapo Barbie, a derogative nickname for Homeland Security Secretary Kristi Noem.)
“Choosing the Word of the Year is No Easy Feat“- the history of who and how, from @stefanfatsis.bsky.social in @literaryhub.bsky.social
See also Fatsis on the precarious status of the dictionary: “I was reading the dictionary. I thought it was a poem about everything.”
* Lewis Carroll (Humpty Dumpty in Through the Looking-Glass)
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As we contemplate coinage, we might recall that it was on this date in 1964 that The Animals recorded “Don’t Let Me Be Misunderstood,” which had been first recorded by Nina Simone earlier that year. It was the first single released from their album Animal Tracks (followed by “We Gotta Get Out of This Place”).
“I don’t consider it my violin. Rather, I’m its violinist. I am passing through its life.”*…

Jennifer Sandlin is (perfectly understandably) blown away by cellist-turned-photographer Charles Brooks’ images of the interiors of rare musical instruments…
… Each instrument appears as if it’s straight out of a dream — some look like futuristic structures, some like fantasy castles, and others like secret lairs of fantastical creatures. It’s hard to believe they’re real, and I’m just in awe of Brooks’ photography talent.
The photographs are part of Brooks’ “Architecture in Music” series, where, he explains, he “explore[s] the hidden spaces inside fine instruments” which have included a Steinway Grand Piano, the St. Mark’s Pipe Organ, and the Lockey Hill Cello (c. 1780, England), among many others…

Read on for more of the story: “Photographer captures the stunning interiors of rare musical instruments,” from @boingboing.net. See more of Brooks’ remarkable photos on his site. And hear him tell his story here:
* Ivry Gitlis (speaking of his 1713 Stradivarius violin)
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As we cherish craftsmanship, those among us with a preference for reeds might note that today is Saxophone Day– a commemoration of the birth (on this date in 1814) of Adolphe Sax, a musician and inventor who created several new musical instruments (e.g., a redesigned bass clarinet still in use today), most notably the one that bears his name– the saxophone…
… while the brassier might celebrate the birthday (in 1854) of John Philip Sousa. A composer and conductor known primarily for American military marches (e.g., “The Stars and Stripes Forever,” National March of the United States of America. and “Semper Fidelis,” official march of the United States Marine Corps) he is widely acknowledged in the U.S. as “The March King.”
The press of unusually-intensive meetings is going to prevent posting tomorrow, so (R)D will be away for a day, returning on Saturday…
“The sound must seem an echo to the sense”*…

Of all the senses cultivated throughout the 19th century, it was the sense of hearing that experienced the most dramatic transformation, as the science of sound underwent rapid advancement. Lucas Thompson delves into a particular genre of popular acoustics primers aimed at children and amateurs alike, which reveal the pedagogical, ludic, and transcendental strivings of Victorian society…
In 1777, the German physicist Ernst Chladni, who would later be crowned the Father of Acoustics, designed an experiment that revolutionized our understanding of sound. After placing grains of sand on a thin metal plate and drawing a violin bow along one edge, Chladni watched in wonder as the sand danced and jiggled into surprising shapes — all perfectly even and symmetrical, but changing their formations depending on how the bow was used. In their beauty and complexity, these shapes (which the physicist himself cannily called “Chladni figures”) seemed to be arranged by invisible hands. In one simple and elegant experiment, sound had become visible.
Here at last was clear proof that sound was not produced by generating tiny particles of matter within air, as the dominant theorists of the seventeenth and eighteenth centuries had insisted, but was instead the result of vibrations from waves. While earlier claims about the wave-like properties of sound (which in fact date back to Aristotle’s Physics) had fallen mostly on deaf ears, Chladni’s experiment provided undeniable evidence that sound was caused by waves that could move through both air and matter.
Chladni’s ingenious demonstration also showed that sound could be observed in a variety of new ways, and would no longer be consigned to the invisible aether. Moreover, it was an easy experiment to replicate for anyone who could get their hands on a copper plate, a violin bow, and some sand. In fact, it was so widely reproduced that, in 1901, Annie Besant and Charles Leadbetter, in their wonderful (and completely bizarre) theosophical study Thought-Forms, could write that Chladni figures were “already familiar to every student of acoustics”, being “continually reproduced in every physical laboratory”…
[Thompson recounts a number of the more fascinating examples of the “citizen science” that Chladni inspired, with excerpts– and lovely illustrations– from some of the books that resulted…]
… Nowadays, the term “pop-science” is often used disapprovingly, as though something important is always lost when genuine scientific research is translated into less nuanced terms that the public can comprehend. But the hard distinction between professional and amateur science in our own era — between expertise and general interest — was not yet fully present in the nineteenth century.
To read these surprising, delightful, and often beautiful popular science books is to be made aware of the enormous gulf that has opened up between professional scientists and the public. As science became increasingly specialized in the twentieth century, the public were no longer able to follow along with new findings, let alone have any hope of reproducing important experiments. It is difficult to imagine an amateur enthusiast recreating the latest research, regarding the quantum phenomena of sound, for example, or the way that spiders “listen” to their surroundings via vibrations in their webs, at home. Of course, contemporary publishers still put out science primers, textbooks, and explainers, but something vital has vanished. The frontier of scientific discovery has receded from view, moving far beyond what non-specialists can comprehend. These nineteenth-century popularizing books arose during a brief period in which even children could somewhat keep pace with scientific advancement. They offer a crucial window into what has been lost, and reveal how new understandings of sound filtered through Victorian culture and beyond…
Experimenting with sound in 19th-century popular science: “Hooked on Sonics,” from @publicdomainrev.bsky.social.
Keep an ear out for a chance to experience the remarkable 32 Sounds (exhibition schedule here).
* Alexander Pope
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As we listen, we might send sonorous birthday greetings to Mahalia Jackson; she was born on this date in 1911. A gospel singer and civil rights activist, she is considered one of the most influential vocalists of the 20th century. Through a career spanning 40 years, Jackson was integral to the development and spread of gospel blues in black churches throughout the U.S. During a time when racial segregation was pervasive in American society, she had considerable (albeit unexpected) success in her recording career, selling an estimated 22 million records and performing in front of integrated and secular audiences in concert halls around the world, making her one of the best-selling gospel music artists.
“We are the first generation to feel the effect of climate change and the last generation who can do something about it”*…
One of the issues that vexes coordinated response is a paradox that lies at the heart of the phenomenon: Earth’s climate is chaotic and volatile. Climate change is simple and predictable. How can both be true? Joseph Howlett explains…
The Earth’s atmosphere is nothing but freely roaming molecules. Left alone, they would drift and collide, and eventually even out into a mixture that’s dynamic, yet stable and broadly unchanging.
The sun’s rays complicate things. Energy enters the Earth system in daily cycles, the bulk of it going to whichever half of the planet is tilted toward the sun (and experiencing summer). The molecules in that half acquire more energy than others, which sets the global atmosphere steadily swirling. Depending on the season and location, molecules in our atmosphere might traverse warm land, then cold seas. They might encounter a mountain range that forces them to high altitudes, where the air pressure is low and water condenses. Then they might become part of large-scale phenomena, such as currents, atmospheric rivers, turbulent jet streams and continental fronts.
These phenomena are erratic. They interact at every scale and manifest as weather, from clear sunny days to blustery blizzards and the anomalous events — from hurricanes and polar vortices to hailstorms and tornadoes — that are happening with increasing intensity. Any thought of stability is illusory; no patch of molecules dances in isolation.
The result, from seemingly simple inputs of molecules and energy, is emergent, incalculable chaos. Some individual molecule in the room you are sitting in is careening about blindly and colliding with its immediate neighbors. Zoom out — block to city, field to landscape, region to continent — and patterns appear and intermix. Complexity abounds and compounds. Nothing in the atmosphere is untethered from the rest of the global picture.
We live with this unpredictable mess of an atmosphere every day. We tote around unopened umbrellas, or refresh weather apps and watch our weekend plans dissolve. Anticipating conditions any further out than a week or two is a fool’s errand. The Earth is a complex dynamical system — an interwoven mass of moving parts, each of which requires a different branch of science to understand. Even with advanced knowledge, sophisticated algorithms and modern instruments, it defies and eludes us.
Yet this engine of chaos is now under our influence. It is incontrovertible fact that we are changing the Earth’s temperature by adding more carbon dioxide to the atmosphere. We know exactly how we are changing it — that when we double the proportion of carbon dioxide in the thin layer that rests over the surface of the Earth, the planet will become 2 to 4 degrees Celsius warmer, overall, than it is today. This conclusion has remained essentially unchanged since 1896, when the Swedish scientist Svante Arrhenius arrived at an estimate of 2 to 5 degrees. (Using an extraordinarily simplified picture of Earth, he made a number of mistakes that, in the end, balanced out.) Some details may remain uncertain, some chaos untamable, but the basic conclusion is a matter of unwavering scientific agreement — 97% is a rare degree of consensus on almost any subject. We are nearly as sure of this as we are of the causes of infectious disease, or how stars form, or the fact that life evolves through natural selection.
oth things are true: The climate system is vastly complex, and we’re certain about what we are doing to it. How can we be so confident in a hundred-year projection when we can’t predict the weather with any reliability more than a week out?
“How can it be that both are true?” said Nadir Jeevanjee, an atmospheric physicist at NOAA’s Geophysical Fluid Dynamics Laboratory, a leading institution for cutting-edge simulations of the atmosphere. “It’s a huge tension that’s lurking behind the whole conversation.”
It turns out that complexity can be a veil concealing more basic truths. An enormously complicated system can yield simple answers. You just have to ask a simple enough question…
Read on for Howlett’s fascinating– and important– explanation: “The Climate Change Paradox,” from @quantamagazine.bsky.social.
And for a reminder that this matters (as though we need one…): “Human-Caused Warming Tripled the Death Toll of European Heat Waves This Summer, New Report Shows,” from @insideclimatenews.org.
* Barack Obama
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As face reality, we might recall that on this date in 1988, the #1 song in the U.S. was Bobby McFerrin‘s “Don’t Worry, Be Happy,” the first a cappella song to reach the top of the Billboard Hot 100 chart, a position it held for two weeks.
(Produced by Colossal Pictures, Directed by Drew Takahashi)







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