1921; see jazz (n.); popularized 1922 in writings of F. Scott Fitzgerald; usually regarded as the years between the end of World War I (1918) and the Stock Market crash of 1929.
We are living in a jazz age of super-accentuated rhythm in all things; in a rhythm that (to "jazz" a word) is super-normal, a rhythm which is the back-flare from the rhythm of a super war. ["Jacobs' Band Monthly," Jan. 1921]
The battle front in Europe is not the only American front. There is a home front, and our people at home should be as patriotic as our men in uniform in foreign lands. [promotion for the Fourth Liberty Loan appearing in U.S. magazines, fall 1918]
Chinese dish of stir-fried noodles served with sauce, 1898, American English, from Chinese ch'ao mien, said to mean "fried dough."
Whereas the majority of Chinese culinary terms in English have become established since the Second World War, with the rise of the Chinese restaurant, chow mein belongs to an earlier stratum, introduced via the West Coast of America in the early years of the twentieth century, and institutionalized in the 1920s and 1930s as the archetypal Sino-American dish. [Ayto, "Diner's Dictionary"]
also gung-ho, gungho, 1942, slang motto of Carlson's Raiders (2nd Marine Raider Battalion, under Lt. Col. Evans Carlson, 1896-1947), U.S. guerrilla unit operating in the Pacific in World War II, from Chinese kung ho "work together, cooperate." Widely adopted in American English 1959.
Borrowing an idea from China, Carlson frequently has what he calls 'kung-hou' meetings .... Problems are threshed out and orders explained. [New York Times Magazine, Nov. 8, 1942]
"principal street of a (U.S.) town," 1810, from main (adj.) + street. Used allusively to indicate "mediocrity, small-town materialism" from late 19c., a sense reinforced by the publication of Sinclair Lewis's novel "Main Street" (1920).
But a village in a country which is taking pains to become altogether standardized and pure, which aspires to succeed Victorian England as the chief mediocrity of the world, is no longer merely provincial, no longer downy and restful in its leaf-shadowed ignorance. It is a force seeking to dominate the earth, to drain the hills and sea of color, to set Dante at boosting Gopher Prairie, and to dress the high gods in Klassy Kollege Klothes. Sure of itself, it bullies other civilizations, as a traveling salesman in a brown derby conquers the wisdom of China and tacks advertisements of cigarettes over arches for centuries dedicate to the sayings of Confucius. ["Main Street"]
also Al-Qaeda; name of a loosely structured jihadist movement founded c. 1989 by Osama bin Laden; from Arabic, literally "the base." A common Arabic term among Muslim radicals from the wider Islamic world who came to Afghanistan in 1980s and fought alongside local rebels against the Soviets, and who regarded themselves and their struggle not merely in Afghan terms but as the "base" or foundation of a wider jihad and revival in Islam. Used by Bin Laden's mentor, Abdallah Azzam, who referred to the "vanguard" which "constitutes the strong foundation [al-qaida al-sulbah] for the expected society." In U.S., the term first turns up in a CIA report in 1996.
Every Muslim, from the moment they realise the distinction in their hearts, hates Americans, hates Jews, and hates Christians. This is a part of our belief and our religion. For as long as I can remember, I have felt tormented and at war, and have felt hatred and animosity for Americans. [Osama bin Laden, interview aired on Al-Jazeera, December 1998]
1868, earlier alla capella (1824), from Italian, "in the style of Church music, in the manner of the chapel," literally "according to the chapel," from cappella "chapel" (see chapel). Originally in reference to older church music (pre-1600) which was written for unaccompanied voices; applied 20c. to unaccompanied vocal music generally. Italian a is from Latin ad "to, toward; for; according to" (see ad-); alla is a la "to the." Sometimes in the Latin form a capella.
Also denoting "that instruments are to play in unison with the voices, or that one part is to be played by a number instruments." ["Chambers's' Encyclopaedia," 1868]
You are not the first person puzzled by the expression "A Capella," or, at any rate, unable to understand it should signify the exact reverse of what it literally does signify. The chorales in oratorios were invariably accompanied, either by double-bass or the whole band. Hence they were, with perfect correctness, said to be performed "a capella." But, as other chorales, sung as part of the church service, were written in the same and simple style the expression "a capella" came in time to be applied to them also, despite their being sung without any instrumental accompaniment whatever. [The Music World, Sept. 11, 1875]
a phrase that stands for "absurd etymology," or generally "anything illogical, outrageous hypothesis," 1711, from the Latin phrase, taken as the outstanding example of such an error.
"A grove (lucus) [is so called] from not (a non) being light" (lucendo, ablative of lucere "to shine;" see light (n.)). That is, it is called a grove because light doesn't get into it. This explanation is found in a commentary on Virgil (Aeneid 1.22) by Servius, a 4th century grammarian, among other places. Other ancient grammarians (notably Quintilian) found it paradoxical and absurd, based on nothing more than the similarity in sound between the two words.
Modern scholarship, however, concludes that lucus and lucere probably do come both from the same PIE root (*leuk-) meaning "light, bright." De Vaan writes: "Lucus 'sacred grove, wood,' from PIE *louk-o- 'light place,' with cognates in Sanskrit loka- 'free space, world,' Lithuanian laukas 'field, land,' Latvian lauks 'field, clearing in the woods,' Old High German loh 'clearing' and English lea 'open field, meadow, piece of untilled grassy ground.' " Apparently the primeval notion in *louk-o- was a lighter place in a thick forest. Migration, change of climate, or felling of the woods might have shifted the meaning.
The new and exquisitely beautiful theatre of Drury-lane has the peculiar contrivance of an iron-curtain to secure the audience from all danger, in case of fire on the stage. Miss Farren, in the occasional epilogue, delivered on opening this new theatre, pleasantly informs the spectators that, should flames burst out in the part appropriated to the representation, they may comfort themselves with thinking that nothing can be burnt but the scenery and the actors. [The Monthly Review, June 1794]
From 1819 in the figurative sense "impenetrable barrier." In reference to the Soviet occupation of Eastern Europe, famously coined by Winston Churchill March 5, 1946, in speech at Westminster College, Fulton, Missouri, but it had been used earlier in this context (for example by U.S. bureaucrat Allen W. Dulles at a meeting of the Council on Foreign Relations, Dec. 3, 1945). The phrase had been used in the sense of "barrier at the edge of the sphere of influence of the Soviet Union" from 1920. During World War II, Goebbels used it in German (ein eiserner Vorhang) in the same sense. But its popular use in the U.S. dates from Churchill's speech.