President

President (pronounced prez-i-duhnt or preza-dint (plus many regional variations)

(1) The title of the highest executive officer of most modern republics.

(2) An official appointed or elected to preside over an organized body of persons.

(3) The chief executive (and sometimes operating) officer of a college, university, society, corporation etc.  Many corporate presidents function as something like a “char(man) of the board” rather than a CEO or COO.

(4) A person who presides.

(5) An alternative form of “precedent” (long obsolete).

1325–1375: From the Middle English, from the Old French president, from Late Latin praesidēns (presiding over; president of; leader) (accusative praesidentem) from the Classical Latin praesident (stem of praesidēns), the noun use of the present participle of praesidēre (to preside over, sit in front of).  The Latin word was the substantivized present active participle of the verb praesideō (preside over) while the construct of the verb was prae (before) + sedeō (sit).  The verb’s original sense was “to sit before” (ie presiding at a meeting) from which was derived the generalized secondary meaning “to command, to govern”, praesidēns thus meaning variously “the one who presides at a meeting”, “governor or a region”, “commander of a force” etc.  In English the construct is thus understood as preside + -ent.  Preside was from the Old French presider, from Latin praesidēre, the construct being pre- (before) + sedere (to sit).  It displaced the Old English foresittan which may have been a calque of the Latin.  The –ent suffix was from the Middle English –ent (which existed, inter alia, also as –ant & -aunt.  It was from the Old French -ent and its source, the Latin -ēns (the accusative singular was -entem), suffix of present participles of verbs in the 2nd, 3rd and 4th conjugations.  The word is used with an upper case if applied honorifically (President of Italy; President Nixon etc) but not otherwise but this is of the more widely ignored rules in English.  Modifiers (minister-president, municipal president, president-elect etc) are created as required.  The spelling præsident is archaic.  President & presidency are nouns, verb & adjective, presidentship & presidenthood are nouns, presidenting & presidented are verbs, presidential is an adjective and presiˈdentially is an adverb; the noun plural is presidents.  The feminine form presidentess dates from at least 1763 and is probably obsolete unless used in humor but that may risk one’s cancellation.

US politics in the last decade has had moments of strangeness so some things which once seemed unthinkable are now merely improbable.

In the US, “president” was used in the original documents of the constitution (1787), picking up the earlier colonial use as “officer in charge of the Continental Congress” and it had also been used in several of the colonies and that in the sense of “chosen head of a meeting or group of persons”.  During and immediately after the Revolution, the tile was adopted by the chief magistrates of several states but before long all instead settled on “governor”, emulating the colonial designation.  In the US, the most common slang shortening of president is “pres”, dating from 1892 although dictionaries note the earlier existence of “prex” which was student slang for the president of a university or college.  First recorded in 1828, as a Latin verb, it meant “a request, entreaty”.  The handy initialization POTUS (President of the United States) dates from 1879 when it was created as part of the “Phillips Code” a system devised by US journalist, telegrapher & inventor Walter Polk Phillips (1846–1920) to speed up the transmission of messages across wire services and reduce their cost (the services charging per letter).  Among those in the code was SCOTUS (Supreme Court of the United States) and later (long after the original rationale had been overtaken by technology) journalists and others started using VPOTUS (Vice-President of the United States), FLOTUS (First Lady of the United States) and NPOTUS (next President of the United States) the latter once applied to both Al Gore (b 1948; VPOTUS 1993-2001 and in 2000 the NPOTUS)) and crooked Hillary Clinton (b 1947; US secretary of state 2009-2013 and in 2016 the NPOTUS).  Word nerds, pondering nomination of the latest NPOTUS (Kamala Harris (b 1964; VPOTUS since 2021) as the likely Democrat nominee are wondering what will emerge to describe her husband should she become CMOTUS (Chief Magistrate of the United States), the options presumably FGOTUS (First Gentlemen of the United States) or FHOTUS (First Husband of the United States).  Presumably FMOTUS (First Man of the United States) won’t be used.  While a Lindsay Lohan (b 1986) as POTUS is desirable (and debatably inevitable), a tilt for the nomination in 2020 would have been premature because Article II, Section 1 of the US Constitution requires one be at least 35 years old to to serve in the office.  She became eligible on 2 July 2021 so it seems only a matter of time. 

A full bucket of veep.

In the US during the nineteenth century there was a joke about two brothers: "One ran off to sea and the other became vice-president; neither were ever heard of again."  That was of course an exaggeration but it reflected the general view of the office which has very few formal duties and can only ever be as powerful or influential as a president allows although the incumbent is "a heartbeat from the presidency".  John Nance Garner III (1868–1967, vice president of the US 1933-1941), a reasonable judge of these things, once told Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) being VPOTUS was "not worth a bucket of warm piss" (which is polite company usually is sanitized as "warm spit").  For US vice-presidents, the slang veep (based on the phonetic V-P (pronounced vee-pee) is more commonly used.  Veep dates from 1949 and may have been influenced by the Jeep, the four wheel drive (4WD) light utility vehicle which had become famous for its service in World War II (1939-1945) with a number of allied militaries (the name said to be derived from an early army prefix GP (general purpose light vehicle)).  It was introduced to US English by Alben Barkley (1877-1956; VPOTUS 1949-1953), reputedly because his young grandchildren found “vice-president” difficult to pronounce.  In the press, the form became more popular when the 71-year-old VPOTUS took a wife more than thirty years younger; journalists decided she should be the veepess (pronounced vee-pee-ess).  Time magazine entered into the spirit of things, declaring the president should be Peep, the Secretary of State Steep, and the Secretary of Labor Sleep.  In the US, a number of VPOTUSs have become POTUS and some have worked out well although of late the record has not been encouraging, the presidencies of Lyndon Johnson (LBJ, 1908–1973; VPOTUS 1961-1963, POTUS 1963-1968), Richard Nixon (1913-1994; VPOTUS 1953-1961, POTUS 1969-1974), George HW Bush (George XLI, 1924-2018; VPOTUS 1981-1989, POTUS 1989-1993) and Joe Biden (b 1942; VPOTUS 2008-2017, POTUS 2021-2025 (God willing)) all ending badly, respectively in despair, disgrace, defeat and decrepitude .

Ayatollah Seyyed Ali Hosseini Khamenei (b 1939; supreme leader of of the Islamic Republic of Iran since 1989) hands Masoud Pezeshkian (b 1954, president of the Islamic Republic of Iran since 2024) the presidential seals of Office, Tehran, 28 July 2024.

Even in political science it’s not uncommon to see comparisons between “presidential system” and “parliamentary system” and while that verbal shorthand is well understood within the profession, it’s more accurate to speak of “presidential systems” because the constitutional arrangements vary so much.  Essentially, there are (1) “ceremonial presidencies” in which a president serves as head of state and may nominally be the head of the military but all executive functions are handled by a chancellor, premier or prime-minister (or equivalent office) and (2) “executive presidencies” where the roles of head of state & head of government are combined.  However, those structural models are theoretical and around the world there are many nuances, both on paper and in practice.  While there are many similarities and overlaps in presidential systems, probably relatively few are identical in the constitutional sense.  Sometimes too, the constitutional arrangements are less important than the practice.  In the old Soviet Union, the office of president was sometimes filled by a relatively minor figure, despite it being, on paper, a position of great authority, something replicated in the Islamic Republic of Iran where ultimate authority sits in the hand of the Supreme Leader (both of whom have been ayatollahs).  Many systems include something of a hybrid aspect.  In France, the president appoints a prime-minister and ministers who may come from the National Assembly (the legislature) but, upon appointment, they leave the chamber.  A US president appoints their cabinet from anywhere eligible candidates can be found but creates no prime-minister.  In the “ceremonial presidencies” there is also a spectrum of authority and the extent of that can be influenced more by the personality and ambition of a president than the defined powers.  One president of Ireland described the significance of the office as one of “moral authority” rather than legal power.

Some presidents who like being president.

(Vladimir Vladimirovich Putin; b 1952; president or prime minister of Russia since 1999).

Mr Putin was prime minister from 1999 to 2000, president from 2000 to 2008, and again prime minister from 2008 to 2012 before returning to the presidency.  The unusual career trajectory was a consequence of the Russian constitution forbidding the one person from serving as president for more than two consecutive terms.   Russia has an executive presidency, Mr Putin liked the job and his solution to (effectively) keeping it was to have Dmitry Anatolyevich Medvedev (b 1965; president of Russia 2008-2012 & prime minister of Russia 2012-2020) “warm the chair” while Mr Putin re-assumed the premiership.  Generously, one could style this arrangement a duumvirate but political scientists could, whatever the constitutional niceties, discern no apparent difference in the governance of Russia regardless of the plaque on Mr Putin’s door.

Recep Tayyip Erdoğan (b 1954; prime-minister or president of the Republic of Türkiye since 2003), pictured here meeting Lindsay Lohan, Presidential Palace, Ankara, Türkiye, 27 January 2017.  Palace sources say the president regards this meeting as the highlight of his time in office.

Mr Erdoğan has been president since 2014 having previously served as prime minister between 2003–2014.  As prime-minister under Turkey’s constitution with a non-executive president, he was head of government.  After becoming president, he expressed his disapproval for the system and his preference for Turkey’s adoption of an executive presidency.  On 15 July 2016, a coup d'état was staged by the military and, as coups d'état go (of which Türkiye has had a few), it was a placid and unambitious affair and the suspicion was expressed it was an event staged by the government itself although there’s little evidence to support this.  Mr Erdoğan blamed an exiled cleric, his former ally Fethullah Gülen (b 1941), for the coup attempt and promptly declared a state of emergency.  It was scheduled to last three months but the parliament extended its duration to cover a purge of critical journalists, political opponents, various malcontents and those in the military not overtly supportive of Türkiye.  In April 2017 Mr Erdoğan staged a national referendum (which the people duly approved), transforming the Republic of Türkiye into an executive presidency, the changes becoming effective after the presidential and parliamentary elections of June 2018.

Generalfeldmarschall Paul von Hindenburg (1847–1934; Reichspräsident (1925-1934) of Germany 1925-1934) (right) accepts the appointment of Adolf Hitler (left) as Reichskanzler (Reich Chancellor), Berlin, Germany, 21 March 1933 (Potsdam Day).  Standing behind Hitler is Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945).

Of course, if one has effectively “captured” the state, one can just decide to become president.  When in 1934 Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) was informed Generalfeldmarschall Paul von Hindenburg (1847–1934; Reichspräsident (1925-1934) of the German Weimar Republic 1918-1933) was dying, unilaterally he had replaced the constitutional procedures covering such an eventuality, the “Law Concerning the Head of State of the German Reich” (issued as a cabinet decree) stipulating that upon the president’s death the office of Reichspräsident would be abolished and its powers merged with those of the chancellor under the title of Führer und Reichskanzler (Leader and Chancellor of the Reich).  Thus, the leadership of the party, government and state (and thus the military) were merged and placed exclusively in Hitler’s hands, a situation which prevailed until his death when the office of Reichspräsident was re-created (by a legal device no more complex than a brief document Hitler called his “political testament”) as an entity separate from the chancellorship.  Interestingly though, in a manner typical of the way things were done in the Third Reich, although in 1934 there ceased to be a Reichspräsident, maintained as administrative structures were (1) the Chancellery, (2) the Presidential Chancellery and (3) what became ultimately the Party Chancellery.

Mercedes-Benz 600 Landaulets a 1966 short roof (left) and 1970 long roof ("presidential", right),  

Between 1963-1981, Mercedes-Benz built 2190 600s (W100), 428 of which were the long wheelbase (LWB) Pullman versions, 59 were configured as Landaulets with a folding roof over the passenger compartment.  Built in both six and four-door versions, the Landaulets were available with either a short or long fabric roof, the latter known informally as the "presidential" although the factory never used the designation.  Twelve of the presidentials were built, a brace were bought by Kim Il-Sung (Kim I, 1912–1994; Great Leader of DPRK (North Korea) 1948-1994) and subsequently inherited (along with the rest of North Korea) by Kim Jong-Il (Kim II, 1941-2011; Dear Leader of DPRK (North Korea) 1994-2011) and Kim Jong-Un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011).

The 1970 Landaulet pictured was purchased by the Romanian government and used by comrade president Nicolae Ceaușescu (1918–1989; general secretary of the Romanian Communist Party 1965-1989) until he and his wife were executed (by AK47) after a “people's tribunal” held a brief trial, the swiftness of which was aided by the court-appointed defense counsel who declared them both guilty of the genocide of which, among other crimes, they were charged.  Considering the fate of other fallen dictators, their end was less gruesome than might have been expected.  Comrade Josip Broz Tito (1892–1980; prime-minister or president of Yugoslavia 1944-1980) had a similar car (among other 600s) but he died undisturbed in his bed.  The blue SWB (short wheelbase) car to the rear is one of the few SWB models fitted with a divider between the front & rear compartments including hand-crafted timber writing tables and a refrigerated bar in the centre console.  It was delivered in 1977 to the Iranian diplomatic service and maintained for Mohammed Reza Pahlavi (1919–1980; the last Shah of Iran 1941-1979).

Crooked Richard Nixon (1913-1994; US president 1969-1974) chatting with crooked Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969).  His credibility destroyed by the Watergate scandal, Nixon is the only US president to resign from office.

The term Watergate has come to encompass an array of clandestine and often illegal activities undertaken by members of the Nixon administration but the name is derived from a break-in into Democratic National Committee’s (DNC) offices at the Watergate complex in Washington, DC on 17 June 1972.  A series of revelations made it clear the White House was involved in attempts cover up Nixon’s knowledge of this and other illegal activities.  He continued to insist he had no prior knowledge of the burglary, did not break any laws, and did not learn of the cover-up until early 1973.  Also revealed was the existence of previously secret audio tapes, recorded in the White House by Nixon himself.  The legal battle over the tapes continued through early 1974, and in April Nixon announced the release of 1,200 pages of transcripts of White House conversations between him and his aides. The House Judiciary Committee opened impeachment hearings and these culminated in votes for impeachment.  By July, the US Supreme Court had ruled unanimously that the full tapes, not just selected transcripts, must be released.  One of the tapes, recorded soon after the break-in, demonstrated that Nixon had been told of the White House connection to the Watergate burglaries soon after they took place, and had approved plans to thwart the investigation.   It became known as the "Smoking Gun Tape".  With the loss of political support and the near-certainty that he would be impeached and removed, was “tapped on the shoulder” by a group of Republicans from both houses of Congress, lead by crazy old Barry Goldwater (1909–1998).  Nixon resigned the presidency on 8 August 1974.

Mr Nixon assured the country he was "not a crook" although in that he was speaking of matters unrelated to the Watergate scandal.

One thing even his most committed enemies (and there were many) conceded of Nixon was his extraordinary tenacity and Nixon fought hard to remain president and the most dramatically Shakespearian act came in what came to be called the Saturday Night Massacre, the term coined to describe the events of 20 October 1973 when Nixon ordered the sacking of independent special prosecutor Archibald Cox (1912-2004), then investigating the Watergate scandal.  In addition to Cox, that evening saw also the departure of Attorney General Elliot Richardson (1920-1999) and Deputy Attorney General William Ruckelshaus (1932-2019).  Richardson had appointed Cox in May, fulfilling an undertaking to the House Judiciary Committee that a special prosecutor would investigate the events surrounding the break-in of the DNC’s offices at the Watergate Hotel.  The appointment was made under the ex-officio authority of the attorney general who could remove the special prosecutor only for extraordinary and reprehensible conduct.  Cox soon issued a demand that Nixon hand over copies of taped conversations recorded in the Oval Office; the president refused to comply and by Friday, a stalemate existed between White House and Department of Justice and all Washington assumed there would be a break in the legal maneuvering while the town closed-down for the weekend.

Before the massacre.  Attorney-General Elliot Richardson, President Richard Nixon and FBI Director-Designate Clarence Kelly (1911-1997), The White House, 1973.

However, on Saturday, Nixon ordered Richardson to fire Cox.  Richardson refused and resigned in protest. Nixon then ordered Deputy Attorney General William Ruckelshaus to fire Cox.  Ruckelshaus also refused and resigned.  Nixon then ordered Solicitor General Robert Bork (1927-2012), as acting head of the Justice Department, to fire Cox; while both Richardson and Ruckelshaus had given personal assurances to congressional committees they would not interfere, Bork had not.  Brought to the White House in a black Cadillac limousine and sworn in as acting attorney-general, Bork wrote the letter firing Cox; thus ended the Saturday Night Massacre.  Perhaps the most memorable coda to the affair was Richardson’s memorable post-resignation address to staff at the Department of Justice, delivered the Monday morning following the “massacre”.  Richardson had often been spoken of as a potential Republican nominee for the presidency and some nineteen years later, he would tell the Washington Post: “If I had any demagogic impulse... there was a crowd... but I deliberately throttled back.” His former employees responded with “an enthusiastic and sustained ovation.”  Within a week of the Saturday Night Massacre, resolutions of impeachment against the president were introduced in Congress although the House Judiciary Committee did not approve its first article of impeachment until 27 July the following year when it charged Nixon with obstruction of justice.  Mr Nixon resigned less than two weeks later, on 8 August 1974, leaving the White House the next day.

Lyndon Johnson (left) & Sam Rayburn (1882-1961, right), Washington DC, 1954.

Nixon’s predecessor also liked being president and few have assumed the office in circumstances more politically propitious, even if it was something made possible by the assassination of John Kennedy (JFK, 1917–1963; US president 1961-1963).  Johnson had for over two decades worked to achieve control of the Senate and at the peak of the success of the Johnson-Rayburn congressional era the Democrats held majorities of 64-36 in the Senate and 263-174 in the House of Representatives.  In the 1964 presidential election (facing Barry Goldwater), Johnson won a crushing victory, securing over 60% of the popular vote and taking every state except Goldwater’s home state of Arizona and a handful south of the Mason-Dixon Line.  Relatively uninterested in foreign policy, Johnson had a domestic agenda more ambitious than anything seen since the US Civil War (1861-1865) a century before and what he achieved was far-reaching and widely appreciated for its implications only decades after his death but it was the US involvement in the war in Vietnam which consumed his presidency, compelling him dramatically to announce in April 1968 “…I shall not seek, and I will not accept, the nomination of my party for another term as your president.”  As a message, it was strikingly similar to that in July 2024 delivered by Joe Biden (b 1942; US president 2021-2025), something nobody seemed to think a mere coincidence.  Also compelling are similarities between the two, both spending a political lifetime plotting and scheming to become president, having no success until curious circumstances delivered them the prize with which genuinely they achieved much but were forced to watch their dream of re-election slip from their grasp.

Nicolás Maduro (b 1962; President of Venezuela since 2013, left) and Hugo Chávez (1954-2013; President of the Bolivarian Republic of Venezuela 1999-2013 (except during a few local difficulties in 2002, right)).

Donald Trump (b 1946; US president 2017-2021) of course liked being president and the events of 6 January (the so-called "capitol riot") are regarded by many (though clearly not a majority of US Supreme Court judges) as an attempted (if amateurish) insurrection, something Mr Trump denies encouraging.  To the south, in Venezuela, Mr Maduro also really likes being president and is from the comrade Stalin (1878-1953; Soviet leader 1924-1953) school of democracy.  Although the statement often attributed to comrade Stalin: “It's not who votes that counts, it's who counts the votes” probably was apocryphal, it encapsulated his psephological model and was an inspiration for figures such as Saddam Hussein (1937–2006; president of Iraq 1979-2003) and Kim Jong-Un.  Accordingly, in July 2024 there was some scepticism when the National Electoral Council (the NEC, controlled by Mr Maduro’s political party) announced the president had won the 2024 presidential election with 51.2% of the vote, despite the country being in a sustained economic crisis during which it had suffered a rate of hyper-inflation at its peak so high the economists stopped calculation once it hit a million percent and seen more emigration than any country in South or Central America not actually in a state of declared war.  For a country which possesses the world’s largest known reserves of crude oil, the economic collapse has been a remarkable achievement.  Mr Maduro came to office after the death of Hugo Chávez, a genuinely charismatic figure who took advantage of a sustained high oil price to fund social programmes which benefited the poor (of which his country had a scandalous number) who, unsurprisingly voted for him; Mr Chávez won his elections fair and square.  The decrease in oil revenue triggered a chain of events which meant Mr Maduro hasn’t enjoyed the same advantages and some claim his victories in the 2013 & 2018 elections were anything but fair & square although the numbers were so murky it was hard to be definitive.  Details of the 2024 results however are not so much murky as missing and although the NEC provided aggregate numbers (in summary form), only some 30% of the “tally sheets” (with the booth voting details) were published.  Interestingly, the (admittedly historically unreliable) public opinion polls suggested Mr Maduro might secure 30-35% of the vote and the conspiracy theorists (on this occasion probably on sound ground) are suggesting the tally sheets made public might have been selected with “some care”.

In the way these things are done, the regime is sustained by being able to count on the reliability of the security forces and the conventional wisdom in political science is this can be maintained as long as (1) the members continued to be paid and (2) the percentage of the population prepared to take to the streets in violent revolt doesn’t reach and remain at a sustained critical mass (between 3-9% depending on the mechanics of the country).  So the streets are being watched with great interest but already Mr Maduro has received congratulations from the leaders of Iran, the Democratic People’s Republic of Korea (the DPRK; North Korea), Bolivia, Cuba, Honduras, and Nicaragua and Russia so there’s that.  Mr Maduro runs the country on a basis not dissimilar to being the coordinator of a number of "crime families" and on 2 August the US State Department announced they were recognizing the leader of the opposition as the "legitimate winner" of the election and thus president of the Bolivarian Republic; gestures like this have previously been extended but the regime's grip on power was strong enough to resist.  The opposition numbers are now greater and generous will be the resources devoted to ensuring a critical mass of protesters isn't achieved and Caracas doesn't see its own "capital riot".  For as long as the security forces remain willing and able to retain control of the streets and ensure the population isn't deprived of food for three days (another trigger point for revolution established by political scientists), Mr Maduro should be able to keep the job he so obviously enjoys. 

1955 Studebaker President Speedster.  As well as the styling motifs, there was a sense of exuberance in the two (and sometimes three) tone color schemes the US industry offered in the 1950s.  

Studebaker used the President name (they also offered a "Dictator" until events in Europe made that a harder sell) for their most expensive models, the first three generations a range of sedans, coupes and roadsters produced between 1926-1942.  The name was revived in 1955 and used until 1958, the range this time encompassing two and four-door sedans & station wagons and two-door coupes and hardtops.  The last of the Packards (the much derided, so-called "Packardbakers" which had a brief, unsuccessful run between 1957-1958) was based on the Studebaker President Speedster, the most admired of the range.

Harlequin

Harlequin (pronounced hahr-luh-kwin or hahr-luh-kin)

(1) A stock comic character, depicted usually wearing a black mask and dressed in multicolored, diamond-patterned tights, often with a wooden sword or magic wand (often with initial capital)

(2) In theater, the most famous of the zanni (the comic servant characters) from the Italian commedia dell'arte (from the Italian Arlecchino or one of its many variants (Arlechin, Arlechì etc) which was associated with the city of Bergamo.  In English the character is best known as the foppish lover of Columbine in the English harlequinade.  The original spelling in Italian was Harlicken.

(3) A jester; a buffoon or oaf-like character; the pantomime fool.

(4) Any of various small snakes having bright diamond-pattern scales.

(5) Anything fancifully varied in color, decoration etc and in commerce sometimes of a specific product (such as harlequin ice-cream) and the eighteenth century English adjective particoloured is a reference to the absurdity of a Harlequin’s costume.

(6) Of a greenish-chartreuse color (a specialized use in certain industries and used sometimes both as harlequin-green & harlequin-yellow).

(7) A clipping of “harlequin's mask”.

(8) In writing, something comic, ludicrous or absurd.

(9) In geology, a classification of opal,

(10) In fashion, the use of multi-color combinations in other than an obviously discernible pattern.

(11) In medicine, as harlequin-type ichthyosis, (also clipped as harlequin ichthyosis), a severe genetic disorder that results in thickened skin over nearly the entire body at birth (“harlequin baby” & “harlequin foetus” the historic medical slang although use of both is now often discouraged.

(12) In zoology (as a modifier in the names of certain animals) having a white or light-hued coat with irregular patches of black or other dark colors including various snakes, ducks (used informally), a bat, a moth, a species of darter fish, the mantis shrimp, some insects & beetles and any of various riodinid butterflies of the genera Taxila and Praetaxila.

(13) To remove or conjure away, as if by a harlequin's trick; to perform antics or play ludicrous tricks.

1580–1590: From the French harlequin, from the Middle French arlequin & harlequin, semantically (and in part phonetically), from the Italian arlecchino, from the Middle French, phonetically continuing unattested the Old French mesniee Herlequin (more often appearing as la maisnie Hellequin (the household of Hellequin) although the spellings Harlequin, Halequin, Herlequin, Hierlekin & Hellekin also appear) (a malevolent spirit; leader of band of demon horsemen who rode at night (literally “Hellequin's escort”)), perhaps from the Middle English Herle (the (unattested) King Herle, a figure of legend identified with Woden), from the Old English Herla Cyning (or Herela Cyning; Helle cyn) (King Herle), rendered in the Anglo-Latin as Herla rex and related to the Middle English Hurlewain (a mischievous sprite or goblin).  Although it’s uncertain, etymologists think it likely the Old English forms were related to the Old Frisian helle kin and the Old Norse heljar kyn (the kindred of Hell).  One quirk noted in the theatrical history is the earliest known depictions of Harlequin are of a crass and bumbling servant rather than the amusing and magical hero familiar in the nineteenth century which would imply the accepted story of the origin being with the world of demonic horsemen and dark spirits might be suspect.  The other curiosity is the earliest known reference in a French text but it lists him among Italian characters, so the Italian origin remains probable.  .  Because of its origin in the name of an Italian theatrical character, Harlequin is often used as a proper noun (although the appearance of the initial capital is often incorrect).  Harlequin is a noun & adjective, harlequinade, harlequinery & harlequinism are nouns, harlequining & harlequined are verbs and harlequinesque & harlequin-like are adjectives; the noun plural is harlequins.

The logo and home-kit colors of Harlequin Football Club (1866).  A rugby union club and usually referred to as “Harlequins”, they're based at the Twickenham Stoop in south-west London.

The Germanic links includes the Old High German Herilo (a personal name, derivative of heri (armed forces) and the ultimate source of the Modern German Herres (Army), thus the World War II (1939-1945) institution OKH (Oberkommando des Heeres; the army high command), the companion structures being OKL (Oberkommando der Luftwaffe: the air force high command) & OKM (Oberkommando der Marine: the navy high command), all three structurally subordinate to OKW (Oberkommando der Wehrmacht: the armed forces high command).  To the Allies that was a familiar military structure and it was only after the war it came to be understood how little coordination was imposed by OKW.

Clockwise from main image: Arlecchino, Arlequine, Arlequin & Colombine.  Commedia dell'arte costumes from Maurice Sand's Masques et Bouffons (Masks & Jesters), Paris 1860.

The English comic theatrical genre harlequinade evolved between the seventeen & nineteenth centuries and was a form in which clowns (not all of them in traditional harlequin garb) were the principal protagonists & antagonists.  Originally a physical form of comedy very much in the tradition of the Italian commedia dell'arte in which there were five main characters, the most celebrated of which were Harlequin and his lover Columbine, it evolved from a mime performance with music and a form of dance which, although choreographed, was designed to appear to the audience as unstructured and sometimes chaotic.  Dialogue was introduced as the appeal began to wane but the focus was always on the colorful visual spectacle, usually as relatively brief, intense performances being staged as a prelude to longer musicals, operas or even ballet.  In English theatre, the popularity of harlequinade endured until World War I (1914-1918), historians of theatre noting its successful adaptation to changing conditions in what was becoming a more crowded environment by incorporating increasingly elaborate stage effects.  The advent of cinema in the 1920s was the death knell for harlequinade which, labor-intensive and demanding a large inventory of props and equipment, had become an expensive production although the legacy lingers in the some aspects of the Christmas pantomimes which in the UK remain popular annual events.  The words pantomime entered English in the sixteenth or seventeenth century and was from the Latin pantomīmus, from the Ancient Greek παντόμιμος (pantómimos), the construct being πᾶς (pâs), (each, all) + μιμέομαι (miméomai) (I mimic), thus analyzed as “all on stage miming”, the name persisting as a generic description even after dialogue had been introduced to the performances.

Volkswagen and the Harlekin

1960s Volkswagen advertising in the US: inverted snobbery.

In a brief era of unprecedented and not since repeated general affluence, Volkswagen in 1960s America wasn’t able to compete with the domestic manufacturers with advertising emphasizing the qualities they liked to project: power, speed, style and in some cases, sheer size.  Instead they used a technique the industry called “inverted snobbery” which wasn’t new but the Volkswagen advertising of the time is thought still a classic example of the type.  Knowing the Beetle had a reputation for being slow, small and anything by stylish, the campaign took those perceptions and presented them as virtues, with wry humor emphasizing practicality and economy of operation.

1960s Volkswagen advertising in the US, the first VW “Harlequin” (the term not then used).

Also, at a time when Detroit made annual changes, often with no purpose other than to ensure the new cars in the showrooms looked different for last year’s model so status-conscious buyers would be stimulated to update, Volkswagen made a point of the Beetle looking much the same from season-to-season, one from 1954 barely distinguishable from the 1964 model.  For a number of reasons, the company choose usually to run the copy in black & white but there was one which really had to be in color: it featured a Beetle assembled with various panels from models made over five years, each in a different color, the harlequinesque effect said to have been achieved with physical paint on metal rather than air-brushing a photograph (doubts have be cast).  As well as the subliminal messaging about timelessness, there was the practical aspect of parts interchangeability which, so it was asserted, made spare parts more readily available, something which should presumably was intended to work in unison with the advertisement suggesting the most likely need for those parts would be if one let one’s wife drive.  That one might not be published today.

Der Polo Harlekin: Home market propaganda, 1995.

Whether carefully bolted together or just an air-brushed photograph, the harlequinesque Beetle might have remained a footnote in the annals of advertising had not something apparently unrelated appeared in the 1990s.  It’s all a bit murky but it’s clear that somewhere within Volkswagen (the tales vary), as an allusion to the soon to be announced “block construction” concept (green=paintwork; blue=engines & chassis; yellow=interior; red=special equipment), ten of the new VW Polos were built using panels of four different colors (Chagallblau (Chagall Blue, LD5D), Flashrot (Flash Red, LP3G), Ginstergelb (Ginster Yellow, L132) & Pistazie-grün (Pistachio Green, LD6D) for use as promotional vehicles.  A popular attraction after first appearing at the Frankfurt Motor Show, the much photographed cars generated so much publicity a further ten were built the following year to meet the demand from dealers who wanted one to display in their showrooms.  Selfies weren’t then a thing but many turned up to be snapped by a camera wielding companion and, most unexpectedly, dealers were reporting customers actually wanting to buy one.

Polo Harlekin color chart.

Despite this, Volkswagen’s corporate management wasn’t convinced there would be sufficient demand to make a production run viable but the inquiries from the public continued so a market study was conducted which confirmed the cult was real and it was announced that if 1000 were ordered, 1000 would be produced.  As a novelty, there were also 1000 key-chains with numbered certificates and this was to rationalize the production process because the buyers couldn’t choose the base color (ie the core structure to which was added doors and such).  The color of the "chassis" was identified by the roof, C-pillars, rocker panels & what lay beneath the plastic moldings, carpets and engine bay which was of some legal significance because the base color was associated with the title of ownership title and VIN (Vehicle Identification Number).  The 1000 were thus produced but in a what sounds a remarkably inefficient way, each Polo Harlekin painted as used on the standard production-line in the base color and then, by hand, disassembled and reassembled in accordance with the schedule of the Polo Harlekin color chart, the trick being that no two removable panels of the same color were touching.  In the 1960s, the colors had been an allusion to production-line standardization; by the 1990s, it was all about art (and commerce), though in a Prussian way (although the Harlekins were built in the south west), there being nothing random about which color went where.

Polo Harlekin brochure.  The look does seem something which wouldn't appeal to the stereotypical German; it may be they sold well to Bavarians, it being hard to imagine a Prussian driving one.  Otto von Bismarck (1815-1989; chancellor of the German Empire (the so-called “Second Reich”) 1871-1890) described a Bavarian as “halfway between an Austrian and a human being” and had the "blood & iron chancellor" lived to see der Polo Harlekin he'd have said something like “Es ist sicherzustellen, dass sämtliche Paneele die gleiche Farbgebung aufweisen” (It must be ensured that all panels have the same colour scheme).    

Harlekin thematics: The colorful decal & shifter knob.

Despite the labor intensive nature of production, presumably the accountants would have calculated things and worked out it was less expensive than disrupting the production lines, the same conclusion reached by the Ford Motor Company (FoMoCo) when arranging two small runs of Mustangs (857 in 1969 & 499 in 1970) with the Boss 429 engine.  In the manner typical of such “specials”, added touches included a bright blue leather for the steering wheel, “Joker” plaid upholstery for the sport seats (so admired it would later appear in the “Joker” edition Polo), a Harlekin sticker on the hatch, blue piped floor mats, and Harlekin gear-shift knob.  The other options were the usual array for the Polo, the only surprise for one being which of the four color combinations one would receive when arriving to collect one’s Polo Harlekin.  The 1000 however didn’t satisfy demand so a further 2806 ended up being built, some even with right-hand-drive (RHD), all of which appear to have been sold in the UK, buyers in Australia, Japan and New Zealand denied the pleasure of their own Polo Harlekin.

1996 Volkswagen Golf Harlequin (US market).  The Americans didn't take to the cult as the Europeans had.

Inspired by the European’s embrace of the Harlekin concept, Volkswagen’s North American operation decided the new world too shouldn’t be denied the particoloured treat and in 1996, 264 Mark 3 Golfs (the VW formerly and briefly later known as the Rabbit) were produced for sale in the US, all of course configured with left-hand-drive (LHD), the main visual difference being the use of Tornadorot (Tornado Red, LY3D) while in accordance with local habits, most had automatic gearboxes.  Demand never went close to matching that in Europe and some sat in dealer stock for some time and one dealer in Georgia with eight on his hands had them re-made into single-color cars to attract buyers, the only remaining hint of difference the unique pattern in the grey upholstery.  It echoes what some Plymouth dealers resorted to in 1970 & 1971 to shift the remaining, outlandish Superbirds (now expensive collectables), buyers of the standard Road Runner then easier to find.  The Golf Harlequins haven’t attained quite that status but the oddballs have a following among VW enthusiasts and seem now to command a small price premium.

Made in Mexico: 1996 Volkswagen Beetle Harlequin.  All were originally left-hand drive, this one converted the RHD in the UK.  

There was one more Volkswagen Harlequin and it was the rarest of all.  Although production in Germany ended in 1978 (the last cabriolets sold in the US the following year), Beetle production in Brazil lasted until 1996 and in Mexico until 2003.  Officially, all of the Beetle Harlequins (all of which were fitted with Digifant fuel injection) were produced in VW's Puebla plant and sold in the the home market, hand painted on Ginster Yellow bases.  Some have been photographed in Brazil but the factory denied involvement and, given Brazil’s long tradition of improvisation in such matters, it’s likely they were efforts by enterprising owners although it’s not impossible at least some were Mexican originals.

Margot Robbie (b 1990) in costume as Harley Quinn (a comic book character created by DC Comics), Suicide Squad (2016. left) and General Ratko Mladić (b 1942) admires the quiff of Dr Radovan Karadžić (b 1945; President of Republika Srpska 1992-1996) (right).  In the Balkans, this hairstyle is now called “The Karadžić”.

Harley Quinn (the name a play on words based on the harlequins from the Italian theater commedia dell'arte) was a psychiatrist in an asylum for the criminally insane who was led astray by one of her patients, later joining him in a life of crime.  In fiction, there have been depictions of frightening psychiatrists, notably Dr Hannibal Lecter, created by US novelist Thomas Harris (b 1940) and made infamous in the film The Silence of the Lambs (1991) but IRL (in real life), there have also been some less than admirable practitioners.  Dr Radovan Karadžić was a practicing psychiatrist before taking up politics and, after being convicted of genocide, crimes against humanity and war crimes by the International Criminal Tribunal for the former Yugoslavia (ICTY), is now serving a life sentence.  His military commander, General Ratko Mladić was convicted on the same charges and received the same sentence.  As a region the Balkans is unusual in that while most parts of the world have been places where war occasionally breaks out, in the Balkans there are really just intervals between wars.  Students of such things can decide whether Harley Quinn was a worse character than Dr Karadžić but as far as is known she never wrote dull poetry so there’s that to be said for her.

Sonia Delaunay: The colors and shapes of orphism 

Nu en Jaune (Nude in Yellow (1908)), oil on canvas by Sonia Delaunay, Musée d'Arts de Nantes (The Museum of fine arts, Nantes, France).

In the sense the colourful Volkswagens are understood, “harlequin” cars predate not only the ventures of the 1990s which came at the dawn of the internet as a mass-market commodity but even the advertisement of 1960.  French artist Sonia Delaunay (1885–1979) was born in Odessa but was adopted by a rich uncle, became multi-lingual, toured the great capitals of Europe and at 18 entered the Staatliche Akademie der Bildenden Künste Karlsruhe (Karlsruhe State Academy of Art) in Baden-Württemberg, Germany.  After two years, she enrolled at the Académie de La Palette (The Palette Academy; 1888-1925) in Paris which had begun as a progressive art school but early in the century it evolved into a kind of finishing school (an “un foutu terrain de reproduction” (a damned breeding ground) according to some critics) for the avant-garde; the alumni of this short-lived institution is a notable list.

The Ball (1913 and originally Le Bal Bullier (the name of a Parisian ballroom)), oil on canvas by Sonia Delaunay, Centre Pompidou, Paris.  Some 3½ m (12 feet) wide, it is a classic piece in the school of Orphism.

Delaunay’s early work reflected both her academic training and the influences swirling around her but what was always striking was her use of color and a reluctance to adhere to the naturalistic.  These tendencies manifested especially in her role as one of the leading practitioners of Orphism, a fork of Cubism which usually is described as an exercise in pure abstraction rendered in vivid colors.  It was in part a reaction to the focus of the mainstream cubist artists on substantive subjects such as people or physical objects and their obvious aversion to using multiple color but as often seems to happen, Orphism did seem to evolve into of l'art pour l'art (art for art's sake).  Orphism seems to have been the at least the conduit through which Delaunay left the world of fine art an applied her talents to fashion, publications, fabrics, wallpaper industrial structures and machines, some of the most memorable of which were cars.

Escarpins (Court Shoes) (1925) by Sonia Delaunay, Musée de la mode et du textile, Paris (Museum of Fashion and Textiles, 1905-1986) (left) and Propeller (Air Pavilion) (1937), oil on canvas by Sonia Delaunay, a wall-sized work painted for the 1937 Paris Exposition Internationale des Arts et Techniques (International Exhibition of Arts and Techniques Applied to Modern Life) (right). 

From Orphism she brought what she called “simultaneity”, the exercise of the interplay of colors, shapes and textures within the one visual space", a dynamic she would play with when posing with some of her creations, wearing clothing also rendered in the “simultaneity” style.  Even early in the century there had been “stunts” and debates about “what is art” and there is much in what Delaunay produced which can be seen as a precursor to later movements like surrealism and pop art although for those who want to deconstruct as reductively as the record allows, in a sense the path from some elements in prehistoric cave drawings to Dame Vivienne Westwood (1941–2022)  is lineal (with the odd diversion).

Vogue, January 1925, cover art by Georges Lepape.

Cars were among the many machines Delaunay decorated.  Triangles (and the diamond shapes they could combine to create) were one of the notable motifs of the art deco era.  From the start, Vogue was of course about frocks, shoes and such but its influence extended over the years to fields as diverse as interior decorating and industrial design.  The work of Georges Lepape (1887-1971) has long been strangely neglected in the history of art deco but he was a fine practitioner whose reputation probably suffered because his compositions have always been regarded as derivative or imitative which seems unfair given there are many who are more highly regarded despite being hardly original.  His cover art for Vogue’s edition of 1 January 1925 juxtaposed one of Delaunay’s (1885–1979) "simultaneous" pattern dresses and a Voisin roadster she'd decorated with an art deco motif.

1927 Voisin C14 Lumineuse,

One collector in 2015 was so taken with Pepape’s image that when refurbishing his Voisin C14 Lumineuse (literally “light”, an allusion to the Voisin’s greenhouse-inspired design which allowed natural light to fill the interior), he commissioned Dutch artist Bernadette Ramaekers to hand-paint a geometric triangular pattern in sympathy with that on the Vogue cover in 1925.  Ms Ramaekers took six months to complete the project and in 2022 the car sold at auction for £202,500 (US$230,000).  Produced during the whole inter-war period (1919-1939), the Voisin cars were among the most strikingly memorable of the era although for a variety of reasons, commercial viability was often marginal.  The demise was unfortunate because a manufacturer which once contemplated production of a straight-twelve engine deserved to survive.

Making the strange stranger.

There have been a few French cars which looked weirder than the Matra 530 (1967-1973 and not to be confused with the rather faster Matra R.530 air-to-air missile after which it was named) but the small, mid-engined sports car was visually strange enough although, almost sixty years on, it has aged rather well and the appearance would by most plausibly be accepted as something decades younger.  In 1968, Matra's CEO Jean-Luc Lagardère (1928–2003) commissioned Delaunay to use a 530 as a canvas and she delivered a harlequinesque creation.  The Matra is sometimes displayed though it wasn’t an exhibit at the Sonia Delaunay Tate Modern retrospective (April-August 2015), remarkably the first time her work had been showcased by an English gallery.  Had she been a man, it’s likely she’d be more celebrated.

Lindsay Lohan in harlequin mode.  How fashion critics will react to anything beyond the defined parameters of what's thought within their range of "right" is hard to predict: most seemed to like this.

Lindsay Lohan in November 2022 appeared on ABC’s Good Morning America to promote the Netflix movie, Falling for Christmas.  What caught the eye was her outfit, the harlequinesque suit in a gallimaufry of colors from Law Roach’s (b 1978) Akris’ fall 2022 ready-to-wear collection, the assembly including a wide-lapelled jacket, turtleneck and boot cut pants fabricated in a green, yellow, red & orange drei teile (three parts) print in an irregular geometric pattern.  The distinctive look was paired with a similarly eclectic combination of accessories, chunky gold hoop earrings, a cross-body Anouk envelope handbag, and Giuseppe Zanotti platform heels.  The enveloping flare of the trousers concealed the shoes which was a shame, the Giuseppe Zanotti (b 1957) Bebe-style pumps in gloss metallic burgundy leather distinguished by 2-inch (50 mm) soles, 6-inch (150 mm) heels, open vamp, rakish counters and surprisingly delicate ankle straps.  The designer's desire for the cut of the trousers to reach to the ground is noted but the shoes deserved to be seen.