The fresh prints of ‘bell-end’

When dance-lord Michael Flatley said he would perform at Donald Trump’s inauguration ball in January, someone cheekily redirected colossalbellend.com to Flatley’s website. (It now points to Trump’s Twitter page.) Reporting on the story, the Guardian noted: ‘Bellend is a British insult.’

Helpful, but short on detail. What kind of insult is bell-end? What does it mean, and how is it used? Where did it come from, and when, and why? And what’s bell end brie? If you gotta have more bell-end, you’re in the right place: Let Strong Language ring your bell.

Image macro of Christopher Walken in Saturday Night Live saying, "I gotta have more 'bell-end', baby!" (instead of "cowbell")

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The middle finger in American Sign Language

This is a guest post by Cory O’Brien (@bettermyths), who is currently studying American Sign Language (ASL) at Columbia College Chicago. Cory has published two swear-laden books, George Washington is Cash Money and Zeus Grants Stupid Wishes, and runs a Swear of the Month Club which you can subscribe to at: patreon.com/bettermyths.

The signers in the GIFs below are Ethan Cook and Peter Wujcik, Deaf ASL tutors at Columbia College Chicago.

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Whenever I tell someone that I’m studying American Sign Language, there is a nonzero chance that they’ll trot out the same tired joke: “Oh yeah? I know some sign language! [Flips me the bird.]” They laugh, and I laugh, and we promptly stop being friends. Really, though, these people have no idea just how right they are. It’s only that, when you’re talking about a language that has spent hundreds of years figuring out how to squeeze the absolute most meaning out of every part of a hand, merely throwing up a middle finger is the linguistic equivalent of showing up to a duel and then firing your pistol straight into the air.

In English, the middle finger is a gesture, as opposed to a word. A gesture is a physical (or verbal) action, like a nod or a head shake or a grunt, that you can’t use as a part of a longer sentence. You can’t say “[middle finger] you, Steve!” You can dress your middle finger up with all kinds of fancy pageantry – pretending to peel a banana, or scratch your eye, or crank a jack-in-the-box, for example – but the meaning is always more or less the same: Fuck you.

In ASL, the middle finger itself still isn’t a word, but it’s not exactly a gesture either. It’s a part of a word, a morpheme. Signs in ASL have five distinct elements that give them meaning: Location, Palm Orientation, Hand Shape, Movement, and Non-Manual Markers (essentially facial expressions). In ASL, the iconic meaning of the middle finger (an erect cock and balls) has been almost entirely eliminated, but the emotional connotations of the gesture have been retained. So, when incorporated into a sign, the middle finger provides the hand shape, but the meaning of that hand shape in context varies drastically depending on the other parameters used, allowing for an endless array of middle-finger-based swears and idioms. What follows is a mere sampling of that variety, and the techniques used to create it.

Directionality

Whereas in English we flip someone off with the back of our hand oriented towards the offending party, ASL has made the palm orientation a meaning component, adapting the gesture so that the middle finger points towards the object of the swear:

Peter Wujcik signs "Fuck me? Fuck you!" in ASL

This is part of a larger tendency in ASL to encode subject–object relationships with directional verbs. Another example is the idiom “Mutual Hatred”:

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The vagina(-shaming) monologues of King Lear

Many extol King Lear as Shakespeare’s greatest play. Some even vaunt it as the very height of the Western canon. For their claims, they point, inter alia, to the strength of the tragedy’s language.

Take the mad monarch as he roves the wild heath: “Blow, winds, and crack your cheeks! rage! blow!…Singe my white head!” (3.2.1-6). Or the broken father when he cradles his deceased daughter: “Thou’lt come no more,/ Never, never, never, never, never!” (5.3.306-07). The Bard’s language plunges us into the depths of Lear’s despair.

But King Lear doesn’t just feature some of Shakespeare’s strongest language. It also showcases some of his, well, strongest language. And when we give it a closer look, much of it is truly below the belt.

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Going down the coney hole

Easter: It’s a fuckable feast.

For its Christian observers, of course, Easter marks the salvific resurrection of Jesus Christ from the dead. A cornerstone of the faith, the holiday teems with symbols of new life and fertility. Celebrants observe it during the flowering of springtime. Related to the word east, Easter etymologically evokes the rebirth of “dawn.” Eggs hatch baby chicks. And rabbits…well, they fuck like rabbits.

Easter is an ancient, complex, and venerable occasion, no doubt, but this is Strong Language. Here, we like to hunt for the sweary Easter eggs scattered throughout the lawn of language. I’ve spotted one in the holiday’s cute and cuddly icon: the bunny.

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A dirty sense of humor: the dramatic climaxes of Antony and Cleopatra

You want to hear a dirty joke? You don’t have to go to a schoolyard, locker room, comedy club, or even a Republican presidential debate. No, simply go to your bookshelf, theater, laptop, or wherever you consume masterpieces of English drama and check out one of Shakespeare’s most tragic – and erotic – love stories, Antony and Cleopatra.

I read the play for the first time a few weeks back as part of my ongoing effort, as you may now be well familiar, to take on Shakespeare’s corpus this year 400 years after his death – and boy, is this some hot stuff. The play, no doubt, continues to reward viewers and readers with its complicated and sexualized construction of power and politics in the “infinite variety” (2.2.241) of its leading lady, Cleopatra, Queen of Egypt. Further developing this theme, the play also rewards audiences with some of its strong language – here, centered on taboo topics of sex and genitalia.

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