Bob

Bob (pronounced bobb)

(1) A short, jerky motion.

(2) Quickly to move up and down.

(3) In Sterling and related currencies, a slang term for one shilling (10c); survived decimalisation in phrases like "two bob watch", still used by older generations).

(4) A type of short to medium length hairstyle.

(5) A docked horse’s tail.

(6) A dangling or terminal object, as the weight on a pendulum or a plumb line.

(7) A short, simple line in a verse or song, especially a short refrain or coda.

(8) In angling, a float for a fishing line.

(9) Slang term for a bobsled.

(10) A bunch, or wad, especially a small bouquet of flowers (Scottish).

(11) A polishing wheel of leather, felt, or the like.

(12) An affectionate diminutive of the name Robert.

(13) To curtsy.

(14) Any of various hesperiid butterflies.

(15) In computer graphics (using "Bob" as a contraction of Blitter object), a graphical element (GEL) used by the Amiga computer (the first consumer-level computer which handled multi-tasking convincingly).  Technically, Bobs were hardware-generated objects which could be moved on the screen by the blitter coprocessor.  Bobs were an object of some veneration among the demosceners (the computer art subculture that produces and watches demos (audio-visual computer programs)), Bobs rated according to their the volume and dynamics of movement.

(16) In Scotland, a bunch, cluster, or wad, especially a small bouquet of flowers.

(17) A walking beam (obsolete).

1350–1400: From the Middle English bobben (to strike in cruel jest, beat; fool, make a fool of, cheat, deceive), the meaning "move up and down with a short, jerking motion," perhaps imitative of the sound, the sense of mocking or deceiving perhaps connected to the Old French bober (mock, deride), which, again, may have an echoic origin. The sense "snatch with the mouth something hanging or floating," as in bobbing for apples (or cherries), is recorded by 1799 and the phrase “bob and weave” in boxing commentary is attested from 1928.  Bob seems first to have been used to describe the short hair-style in the 1680s, a borrowing probably of the use since the 1570s to refer to "a horse's tail cut short", that derived from the earlier bobbe (cluster (as of leaves)) dating from the mid fourteenth century and perhaps of Celtic origin and perhaps connected in some way with the baban (tassel, cluster) and the Gaelic babag.  Bob endures still in Scots English as a dialectical term for a small bunch of flowers.  Bob is a noun & verb, bobber & boggy are nouns, bobbing is a noun & verb, bobbed is a verb & adjective, bobbish is an adjective and bobbingly & bobbishly are adverbs; the noun plural is bobs.  When used as a proper noun, there's an initial capital.

The group of bob words in English is beyond obscure and mostly mysterious.  Most are surely colloquial in origin and probably at least vaguely imitative, but have long become entangled and merged in form and sense (bobby pin, bobby sox, bobsled, bobcat etc).  As a noun, it has been used over the centuries in various senses connected by the notion of "round, hanging mass," and of weights at the end of a fishing line (1610s), pendulum (1752) or plumb-line (1832).  As a description of the hair style, although dating from the 1680s, it entered popular use only in the 1920s when use spiked.  As a slang word for “shilling” (the modern 10c coin), it’s recorded from 1789 but no connection has ever been found.  In certain countries, among older generations, the term in this sense endures in phrases like “two bob watch” to suggest something of low quality and dubious reliability.

UK Prime Minister Lord Salisbury (Robert Arthur Talbot Gascoyne-Cecil, 1830–1903; UK Prime Minister for thirteen years variously 1885-1902.  He was, in the words of of Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955): "prime-minister since God knows when".

The phrase "Bob's your uncle" is said often to have its origin in the nepotism allegedly extended by Lord Salisbury to his favorite nephew Arthur Balfour (1848–1930; UK Prime Minister 1902-1905), unexpectedly promoted to a number of big jobs during the 1880s.  The story has never convinced etymologists but it certainly impressed the Greeks who made up a big part of Australia's post-war immigration programme, "Spiro is your uncle" in those years often heard in Sydney and Melbourne to denote nepotism among their communities there.

The other potential source is the Scottish music hall, the first known instance in in a Dundee newspaper in 1924 reviewing a musical revue called Bob's Your Uncle.  The phrase however wasn't noted as part of the vernacular until 1937, six years after the release of the song written by JP Long, "Follow your uncle Bob" which alluded to the nepotistic in the lyrics:

Bob's your uncle
Follow your Uncle Bob
He knows what to do
He'll look after you

Partridge's Dictionary of Slang and Unconventional English (1937) notes the phrase but dates it to the 1890s though without attribution and it attained no currency in print until the post-war years.  Although it's impossible to be definitive, the musical connection does seem more convincing, the connection with Lord Salisbury probably retrospective.  It could however have even earlier origins, an old use noted in the Canting Dictionary (1725) in an entry reporting "Bob ... signifies Safety, ... as, It's all Bob, ie All is safe, the Bet is secured."

Of hair

A bob cut or bob is a short to shoulder-length haircut for women.  Historically, in the west, it’s regarded as a twentieth-century style although evidence of it exists in the art of antiquity and even some prehistoric cave-paintings hint it may go way back, hardly surprising given the functionality.  In 1922, The Times (of London), never much in favor of anything new, ran a piece by its fashion editor predicting the demise of the fad, suggesting it was already passé (fashion editors adore the word passé) although the photographic record for the rest of the decade does suggest it took the bright young things of the age a while to take the paper's hint.  Certainly, bobs were less popular by the difficult 1930s but in the 1960s, a variety of social and economic forces saw a resurgence which has never faded and the twenty-first century association with the Karen hasn't lessened demand (although the A-line variant, now known in the industry as the "speak to the manager" seems now avoided by all except those for whom there are few viable alternatives).  The connection with the Karen is the second time the bob has assumed some socio-political meaning; when flaunted by the proto-feminists of the 1920s, it was regarded as a sign of radicalism.  The popularity in the 1920s affected the millinery trades too as it was the small cloche which fitted tightly on the bobbed head which became the hat of choice.  Manufacturer of milliner's materials, hair-nets and hair-pins all suffered depressed demand, the fate too of the corset makers, victims of an earlier social change, a phenomenon which would in the post-war years devastate the industries supporting the production of hats for men.  In the 1970s, some optimists (some of whom may have been men), noting one well-publicized (though not widely practiced) aspect of second-wave feminism, predicted the demise of the bra but that garment endured and flourishes to this day.

Actor Lily Collins (b 1989) in a semi-sheer white Calvin Klein ensemble, the cropped spaghetti-strap top and knee-length pencil skirt both embellished with scale sequins, New York Fashion Week,  New York City, September 2025.  Note the pleasing definition of the sinews (arrowed, centre).  The hair-style is a chin-length bob.

Variations on a theme of bob, Marama Corlett (b 1984. left) and Lindsay Lohan (b 1986, right), Sick Note, June 2017.

Hairdressers have number of terms for the variations.  The motifs can in some cases be mixed and even within styles, lengths can vary, a classic short bob stopping somewhere between the tips of the ears and well above the shoulders, a long bob extending from there to just above the shoulders; although the term is often used, the concept of the medium bob really makes no sense and there are just fractional variations of short and long, everything happening at the margins.  So, a bob starts with the fringe and ends being cut in a straight line; length can vary but the industry considers shoulder-length a separate style and the point at which bobs stop and something else begins. Descriptions like curly and ringlet bobs refer more to the hair than the style but do hint at one caveat, not all styles suit all hair types, a caution which extends also to face shapes.

Greta Thunberg: BB (before-bob) and AB (after-bob).

The style received an unexpected imprimatur when Greta Thunberg (b 2003) opted for a bob (one straddling chin & shoulder-length).  Having gained fame as a weather forecaster, the switch to shorter hair appears to have coincided with her branching out from environmental activism to political direct action in the Middle East.  While there's no doubt she means well, it’s something that will end badly because although the matter of greenhouse gasses in the atmospheric can (over centuries) be fixed, the problems in the Middle East are insoluble and a graveyard of good intentions.  Ms Thunberg seems not to have discussed why she got a bob (and how she made her daily choice of "one braid or two" also remained mysterious) but her braids were very long and she may have thought them excessive and contributing to climate change.  While the effect individually would be slight, over the entire population there would be environmental benefits if all those with long hair got a bob because: (1) use of shampoo & conditioner would be lowered (reduced production of chemicals & plastics), (2) a reduction in water use (washing the hair and rinsing out all that product uses much), (3) reduced electricity use (hair dryers, styling wands & straighteners would be employed for a shorter duration) and (4) carbon emissions would drop because fewer containers of shampoo & conditioner would be shipped or otherwise transported.

Asymmetrical Bob: Another general term which describes a bob cut with different lengths left and right; they can look good but should not be applied to all styles.  The effect is often most dramatic when combined with some variant of the Shaggy (JBF).

A-line bob: A classic bob which uses slightly longer strands in front, framing the face and, usually, curling under the chin; stylists caution this doesn’t suit all face shapes.

Buzz-cut bob: Known also as the undercut (pixie) bob, and often seen as an asymmetric, this is kind of an extreme inverted mullet; the the usual length(s) in the front and close-cropped at the back.  It can be a dramatic look but really doesn’t suit those above a certain BMI or age (although the former seem often unable to resist the look).

Chin-length bob: Cut straight to the chin, with or without bangs but, if the latter is chosen, it’s higher maintenance, needing more frequent trims to retain the sharpness on which it depends.  Depending on the face shape, it works best with or without fringe.

Inverted bob: A variation on the A-line which uses graduated layers at the back, the perimeter curved rather than cut straight. Known also as the graduated bob, to look best, the number of layers chosen should be dictated by the thickness of growth.

Shaggy bob: A deliberately messy bob of any style, neatness depreciated with strategic cutting either with scissors or razor, a styling trick best done by experts otherwise it can look merely un-kept.  The un-kept thing can be a thing if that’s what one wants but, like dying with gray or silver, it's really suitable only for the very young.  Some call this the choppy and it’s known in the vernacular of hairdressing as the JBF (just been fucked).

Spiky bob: This differs from a JBF in that it’s more obviously stylised.  It can differ in extent but with some types of hair is very high maintenance, demanding daily application of product to retain the directions in which the strands have to travel.  Not all hair is suited to the look and while product can compensate for much, beyond a certain point, there is a law of diminishing returns. 

Shingle bob: A cut tapered very short in the back, exposing the hairline at the neck with the sides shaped into a single curl, the tip of which sits at a chosen point on each cheek.  This needs to be perfectly symmetrical or it looks like a mistake.

Shoulder-length bob: A blunt bob that reaches the shoulders and has very few layers; with some hair it can even be done with all strands the same length.  Inherently, this is symmetrical and a remarkably different effect is created depending on whether it's done with or without a fringe although hairdressers caution this is not a style best suited to "round" faces and with those it can be necessary to experiment, a fringe sometimes improving things, sometimes not.

Speak to the manager bob: Not wishing to lose those customers actually named Karen, the industry shorthand for the edgy (and stereotypically in some strain of blonde) bob didn’t become “Karen”.  The classic SttM is an asymmetric blonde variation of the A-line with a long, side-swept fringe contrasted with a short, spiky cut at the back and emblematic of the style are the “tiger stripes”, created by the chunky unblended highlights.  It's now unfashionable though still seen because it remains the "go to cut" for women of a certain age who have been persuaded the style they've stuck to since they were 19 is no longer flattering.

Rune

Rune (pronounced roon)

(1) Any of the characters of certain ancient Germanic alphabets (derived from the Roman alphabet), as of a script used for writing the Germanic languages, especially of Scandinavia and Britain, circa 200-1200 AD, or a script used for inscriptions in a Turkic language between the sixth and eighth centuries from the area near the Orkhon River in Mongolia.  Each character was ascribed some magical significance.

(2) Something written or inscribed in such characters.

(3) An aphorism, poem, or saying with mystical meaning or for use in casting a spell; any obscure piece of writing using mysterious symbols; a spell or incantation.

(4) In literary use, a poem, song, or verse.

(5) A Finnish or Scandinavian epic poem, or a division of one, especially a division of the Kalevala.

(6) A roun (secret or mystery) (obsolete).

(7) In computing, in the Go programming language, a Unicode code point.

1675–1685: From the Old Norse rūn & rún (a secret, writing, runic character), cognate with the Old English rūn, the Middle English rune, the obsolete English roun and the Finnish runo (poem, canto).  All were related to the Old Saxon, Old High German and Gothic runa which, like the Old Norse rūn & rún is from the Proto-Germanic rūnō (letter, literature, secret), which is borrowed from either the Proto-Celtic rūnā or from its source.  Rune, runecraft, runology, runographer, runographic, runography, runologist, runester, runesong, runestaff, runmaster, runemistress, runecarver, runecast, runecaster, runecasting, runestone, runesmith & runework are nouns, runic, runed, runeless, runelike & runish are adjectives and runically is an adverb; the noun plural is runes.

Of the Runic

Runologists squabble over details of the historical origins of runic writing but there’s a general consensus runes were derived from one of the many Old Italic alphabets in use among the Mediterranean peoples of the first century AD, those who lived to the south of the Germanic tribes.  Earlier Germanic sacred symbols, such as those preserved in northern European rock carvings, also may have influenced the development of the script.  The transmission of writing from southern to northern Europe appears to have been spread by Germanic military formations which would have encountered Italic writing during campaigns amongst their southerly neighbours.  This hypothesis is supported by the association runes have always had with the god Odin, who, in the Proto-Germanic period (under his original name Woðanaz), was the divine model of the warrior leader. The Roman historian Tacitus noted Odin (Mercury in the interpretatio romana) was already established as the dominant god in the pantheons of many Germanic tribes by the first century AD although whether the runes and the cult of Odin arose together or one predated the other remains in dispute.  In Norse mythology however, the runes came from nothing as mundane as an old alphabet.  The runes were never invented or a product of evolution but are eternal, pre-existent forces Odin himself discovered by undergoing a tremendous ordeal.

The Hávamál

The Hávamál (Sayings of Hár, Sayings of the high one) is one of the poems of the Poetic Edda.  A kind of survival guide to for those seeking to live a good life, the form of verse varies, the most notable being where the text shifts to discuss how Odin (Odhins) gained the secret of the magical runes and came to learn the spells.  A work thus both pragmatic and philosophical, the poem’s only known source the Codex Regius, thought to date from circa 800.

The Rúnatal (Rúnatáls-tháttr-Odhins or Odins Rune Song) contains the stanzas in which Odin reveals the secret of the Runes.

I know that I hung on a windy tree

nine long nights,

Wounded with a spear, dedicated to Odin,

myself to myself,

on that tree of which no man knows

from where its roots run.

No bread did they give me nor a drink from a horn,

downwards I peered;

I took up the runes, screaming I took them,

then I fell back from there.

The Hávamál concludes with the mystical Ljóðatal, which dwells on knowledge and the knowing of the Odinic mysteries.  A kind of dictionary which lists and provides a legend creating keys to a sequenced number of runic charms, there are linkages with the Sigrdrífumál (known often as Brynhildarljóð, a section of the Poetic Edda text in Codex Regius) in which the valkyrie Sigrdrífa details a number of the runes at her command.  In stanza 151, there’s an allusion to the sending of a tree root carved with runes, a noted motif in Norse mythology and the cause of death of Grettir the Strong.

I know a sixth one if a man wounds me

with the roots of the sap-filled wood:

and that man who conjured to harm me,

the evil consumes him, not me.

The runic-themed imagery used for the cover art of Lindsay Lohan's A Little More Personal (Raw) (2005).

Historians and archivists have devoted much attention to the Codex Regius, reconstructing its timeline from the many fragmentary sources.  The earliest writings appear to have been collections of proverbs, sayings and advice attributed to Othin, probably in the manner so much in the Bible is said to have been the words of Solomon; other dubious claims of connection exist in the texts of the Buddha, Confucius, the Prophet Muhammad and others where the documentary record can never be conclusive.  The collection was thus, probably from its earliest times, elastic in content though always known as "The High One's Words", others taking advantage of the authority Othin’s imprimatur conferred to add such poems or other sayings of wisdom they thought appropriate.  In the nature of such things, the style of writing displays a consistency, important when seeking to imply that the speaker was Othin, a process which is something of a gray area in the history of literary forgery, the later authors perhaps assured what they were adding was what Othin might have said or with which he would anyway have concurred.  So, a catalogue of runes, or charms, was later bolted-on, along with new sets of proverbs, differing in content but not in style from those in the original document.  There are some stylistic variations in form in that some verses verge upon the narrative but the structure of the whole is loose, accommodating the odd innovation without jarring effect.  It’s agreed that structurally the text exists in five parts:

(1) The Hovamol proper (stanzas 1-80): The sayings and proverbs to guide the living of life, a kind of early self-help manual.

(2) The Loddfafnismol (stanzas 111-138): Another collection similar to the first, but these more a discourse on ethics and morality and addressed specifically to a young man known as Loddfafnir.

(3) The Ljothatal (stanzas 147-165): A listing of charms.

(4) The love-story of Othin and Billing's daughter (stanzas 96-102): The love story is something of a cautionary tale, beginning as it does with a dissertation on the faithlessness and general unreliability of women (stanzas 81-95).  Scholars suggest the warning words were the first written with the rest of the poem created as an apt illustration.

(5) This is the story of how Othin got the mead of poetry, the draft document which delivered to him the gift of tongues, an indulgence from the maiden Gunnloth (stanzas 103-110).  Added to this (and obviously later) is the brief passage (stanzas 139 146) recounting Othin’s winning of the runes.  Structurally, the poem needs this section as an introduction to the Ljothatal and any good editor would have insisted on its inclusion.

Of the authorship or even the dates of the accretions, nothing can for sure be known.  All than can be said is that some is very old and some more recent which isn’t a great deal of help but anything else is merely speculative.  The text instead needs to be read as it is: a gnomic collection of the wisdom a violent race living in a brutish world written to help people survive in an unforgiving time when, days when wherever one went, one would be ill-advised to assume one was among friends.  Tellingly, women are not mentioned in the non-narrative sections of the poem, not even a nod to the advantage of having someone to cook and clean for this is very much a work about the world of men on earth, the threats and their consequences.  There’s no discussion of heaven and hell or any after-life, no judgement beyond that of one's fellow men.

Ranga

Ranga (pronounced rang-ah)

In Australian slang, a person with red (ginger, auburn etc) hair.

1990s: Based on the name orangutan (pronounced aw-rang-oo-tan, oh-rang-oo-tan or uh-rang-oo-tan), any of three endangered species of long-armed, arboreal anthropoid great ape, the only extant members of the subfamily Ponginae, inhabiting Borneo (Pongo pygmaeus) and Sumatra (P. abelii).  The three species are Bornean orangutan (Pongo pygmaeus), Sumatran orangutan (Pongo abelii) and Tapanuli orangutan (Pongo tapanuliensis).  Ranga is a noun; the noun plural is rangas.  Australians tend to be linguistic reductionists and one is deemed either a ranga or not but presumably there can be "gray areas" (there may, in this context, be a better way of putting that) so adjectives such as rangaish or rangaesque could be coined as required.

A ketchup of gingers?  Roodharigendag in the Netherlands.

Since 2005 (except in 2020 when the COVID-19 pandemic put a stop to the fun), the Netherlands has hosted what is described as the "world's largest gathering of redheads".  Were the three-day festival (which attracts participants from over eighty nations) staged in certain other countries it might have gained a playful, fanciful name but the practical Dutch unadventurously used Roodharigendag (Redhead Day) which does have the virtue of being unambiguous.  There are a variety of events including lectures and pub-crawls; presumably, coffee shops are visited and perhaps the proprietors offer special blends of red-themed weed for the event.  If not, presumably "Fanta Orange" (€13 per gram in mid 2024) sales spike.

An Orangutan in the Sumatran jungle.  International Orangutan Day is 19 August.

Despite the first element of orangutan (orang) appearing to be a clipping of “orange” (a reasonable assumption given the creature’s vaguely orange-hued coat although zoologists describe it usually as “reddish-brown”), the term has nothing to do with coloration and is not derived from English sources.  Orangutan describes any of the three species of arboreal anthropoid ape, which comprise the genus Pongo, native to Borneo and Sumatra and as late as 1996 were listed as a single species in the taxonomic, based on the first scientific classification (as Homo Sylvestris) in 1758 by Swedish zoologist & physician Carl Linnaeus (1707–1778 and styled as Carl von Linné after 1761).  After being divided in 1996, the third species definitively was identified in 2017.  Even in English there are a dozen-odd alternative spellings and unmodified and variant forms appear in many languages.  The construct of orang-utan was from the Malay: orang (person, man) + hutan (forest) thus literally “forest man”.

Thomas Love Peacock (1785–1866) was an English novelist and poet but despite a background in literature and little else, through family connections he was in 1819 appointed an administrator in the East India Company (which “sort of” ran British India in the years before the Raj).  It was an example of the tradition of “amateurism” much admired by the British establishment, something which didn’t survive the harsher economic realities of the late twentieth century although some still affect the style.  Despite being untrained in such matters, his career with the company was long and successful so he must have had a flair for the business although his duties were not so onerous as to preclude him from continuing to write both original compositions and works of literary analysis.  Peacock's second novel was the Regency-era three volume novel Melincourt (1817).  It was an ambitious work which explored issues as diverse as slavery, aspects of democracy and potential for currency destabilization inherent in the issue of paper money.  Another theme was the matter of differentiating between human beings and other animals, a central character being Sir Oran Haut-ton, an exquisitely mannered, musically gifted orangutan standing for election to the House of Commons.  The idea was thus of “an animal mimicking humanity” and the troubled English mathematician Dr Alan Turing (1912–1954) read Melincourt in 1948, some twelve months before he published a paper which included his “imitation game” (which came to be called the “Turing test”).  Turing was interested in “a machine mimicking humanity” and what the test involved was a subject reading the transcript of a natural-language conversation between a human and a machine, the object being to guess which interlocutor was the machine.  The test was for decades an element in AI (artificial intelligence) research and work on “natural language” computer interfaces but the field became a bit of a minefield because it was so littered with words like “feelings”, learning”, “thinking” and “consciousness”, the implications of which saw many a tangent followed.  Of course, by the 2020s the allegation bots like ChatGPT and character.ai have been suggesting their interlocutors commit suicide means it may be assumed that, at least for some subjects, the machine may have assumed a convincing human-like demeanour.  The next great step will be in the matter of thinking, feelings and consciousness when bio-computers are ready to be tested.  Bio-computers are speculative hybrids which combine what digital hardware is good at (storage, retrieval, computation etc) with a biological unit emulating a brain (good at thinking, imagining and, maybe, attaining self-awareness and thus consciousness).

Because, of the origin, to call someone a ranga is to compare them to a sub-human primate, so it might have been thought offensive but it remains widely used and is one of the additions to English which has spread from Australia.  Possibly the fact the world's redheads are almost exclusively white meant the comparisons with the orangutan weren't historically or culturally "loaded" so it never became more than a minor micro-aggression.  It certainly can be offensive and is often (though apparently mostly by children) used that way but it can also be a neutral descriptor or a form of self-identification by the red-headed.  It may be that many of those who deploy ranga (for whatever purpose) are unaware of the connection with sub-human primate and treat it as just another word; in that sense it’s actually less explicit than some of the many alternatives with a longer linguistic lineage including "ginger minge", "fire crotch", "carrot top", Fanta (not always capitalized) pants", "rusty crotch" and "blood nuts".  Whether ranga is more or less offensive than any of those (none of which reference apes) is something on which not all redheads may agree but in 2017 (some months on from ranga being added to the Australian Macquarie Dictionary), presumably so there was a forum to discuss such matters, RANGA (the Red And Nearly Ginger Association) was formed, finding its natural home on social media where it operates to provide social support rather than being a pressure group.  

There was also the Australian moniker “blue” (and, being Australia, the inevitable “bluey”) to describe redheads and most dictionaries of slang suggest the origin was in the tradition of “lofty” or “stretch” sometimes being applied to the notably short (ie the stark contrast between “red” and “blue”).  There is the suggestion it may have been an allusion to the propensity of “hot-headed” redheads to “start a blue” (ie start a fight, that use another of the nation’s many re-purposings of the word) but there’s no documentary evidence.  However, there is an established connection between “orange” & “blue”, a number of orange-flavored liqueurs dyed blue, Blue Curaçao the best-known.  According to historians of the industry, the blue dye came to be used just for the visual novelty, blue uncommon in natural foods or drinks and the striking colour was a point of differentiation with the many other orange-colored beverages.  Curaçao liqueur originated on the Caribbean island of Curaçao and was made using the dried peel of the laraha (a bitter orange).  Originally distilled as a clear or amber fluid, various vivid artificial colors (blue, green, orange, red) were added just to create different brands and Blue Curaçao became the most popular becoming almost synonymous with the striking blue cocktails (Blue Lagoon, Blue Hawaiian etc) in which it is an ingredient.  Because the blue dye (typically Brilliant Blue FCF, aka E133) has no taste, the orange flavour remains unaffected.

Ginger, copper, auburn & chestnut are variations on the theme of red-headedness: Lindsay Lohan demonstrates the possibilities.  Red hair is the result of a mutation in the melanocortin 1 receptor (MC1R) gene responsible for producing the MC1R protein which plays a crucial role also in determining skin-tone. When the MC1R gene is functioning normally, it helps produce eumelanin, a type of melanin that gives hair a dark color.  However, a certain mutation in the MC1R gene leads to the production of pheomelanin which results in red hair.  Individuals with two copies of the mutated MC1R gene (one from each parent) typically have red hair, fair skin, and a higher sensitivity to ultraviolet (UV) light, a genetic variation found most often in those of northern & western European descent.

Just as blonde women have long been objectified and derided as of limited intelligence (ie the "dumb" blonde), redheads have been stereotyped as sexually promiscuous (women) or having fiery tempers (men & women) but there is no evidence supporting any relationship between hair color, personality type or temperament.  The sample sizes are inherently small (redheads less than 2% of the global population) but there are populations in which the predominance is higher, so further research would be interesting but such questions are of course now unfashionable.  Most style guides list "red-haired”, “redhead” & “redheaded” as acceptable descriptors but the modern practice is wherever possible to avoid references which apply to physical characteristics, much as the suggestion now is not to invoke any term related to race or ethnic origin.  That way nothing can go wrong.  If it’s a purely technical matter, such as hair products, then descriptors are unavoidable (part-numbers not as helpful at the retail level) and there’s quite an array, ranging from light ginger at the lighter end to chestnuts and and auburns at the darker and there was a time when auburn was used as something of a class-identifier.

Jessica Gagen, Miss England, 2022.

Winner of Miss England 2022 (the first redhead to claim the crown (which really was a crown rather than the tiara some contests award)), Miss World Europe 2023 & Miss United Kingdom 2024, Jessica Gagen (b 1996) holds a bachelor's degree in aerospace engineering from the University of Liverpool, and is an advocate for women and girls in STEM (science, technology, engineering & math).  Having been subject to "rangaphobia" bullying as a child, Ms Gagen used her platform to spread a positive message to those who have also suffered cruel taunts about being red-headed.  After leaving school, Ms Gagen discovered one advantage her locks afforded was they attracted modeling agencies and, as a multi-tasker, she pursued a lucrative international career in conjunction with her studies.  Her interest in encouraging women to enter STEM fields came while at university when the paucity of female participation in her engineering course was obvious in male-dominated lecture theatres and tutorial rooms.

Peak Jessica: Jessica Gagen pictured cooling off during one of England's increasingly frequent heat-waves when temperatures reached a record 42^o C (108^o F), something long thought impossible because of the interplay of the movement of water and sea currents around the British Isles.  It's an urban myth redheads (being "hot-headed" in the popular imagination) need more than most to "cool down" when the temperature is high. 

Interestingly, Ms Gagen says participation in beauty contests changed her perception of them as sexist displays, regarding that view as archaic, noting the women involved all seemed to have their own motives, usually involving raising awareness about something of personal interest.  Being part of the subset of humanity likely to do well in beauty contests (a matter of concern among some critical theorists) is of course just a form of comparative advantage in the way some benefit from  a genetic mix which makes them ideal basketball players.  The beauty contest is thus an economic opportunity and choosing to participate in one can be a rational choice in that one's allocation of time and resources can yield greater returns than the alternatives.  Another notable thing about Jessica Gagen is that being born in 1996, she is part of that sub-set of the population called “peak Jessica”, the cohort which reflected the extraordinary popularity of the name between 1981-1997, overlapping slightly with “peak Jennifer” which occurred between 1970-1984.

Glaucus

Glaucus (pronounce gloh-kus)

(1) Bluish-green, grayish-blue, sea-colored (ie of certain seas) or a gleaming pale blue.

(2) Any member of the genus Glaucus of nudibranchiate mollusks, found in the warmer latitudes, swimming in the open sea, strikingly colored with blue and silvery white.  They’re known also as sea swallow, blue angel, blue glaucus, blue dragon, blue sea slug, blue ocean slug).  If offered the choice, the organisms presumably would prefer to be called swallows, angels or dragons rather than slugs.

(3) A desert lime (Citrus glauca), a thorny shrub species endemic to semi-arid regions of Australia.

From the Ancient Greek γλαυκός (glaukós) (the γλαῦκος (glaûkos) was an edible grey fish although the species is uncertain (perhaps the derbio)) and was taken up by the Medieval Latin as glaucus (bright, sparkling, gleaming” and “bluish-green).  There may be an Indo-European root but no link has ever been found and despite the similarity, other words used to denote gleaming or shimmering light and colors (glow, gleam etc), there’s no known etymological link and it may have been a substratum word from Pre-Greek.  The eighth century BC poet Homer used the Greek glaukos to describe the sea as “gleaming, silvery”, apparently without any suggestion of a specific color but later writers adopted it with a sense of “greenish” (of olive leaves) and “blue; gray” (of eyes).  In English, the adjective glaucous dates from the 1670s and was used to refer to shades of bluish-green or gray; it’s a popular form in botany and ornithology, describing surfaces with a powdery or waxy coating that gives a pale blue-gray appearance.  In fashion, the vagueness of glaucus (especially the adjective glaucous) makes it handy because it can be used to describe eyes or fabrics neither quite blue nor green yet really not suited to being called turquoise, teal, aqua etc.  Glaucus is a noun & adjective; the noun plural is glaucuses.

Translators seem to believe Homer's glauk-opis Athene (Athena Glaukopis) meant “bright-eyed” rather than “gray-eyed” goddess; it was an epithet emphasizing her intelligence and wisdom, the construct being glau(kos) (gleaming, silvery; bluish-green; grey) + opsis (eye; face).  The word γλαύξ (glaux) (little owl) may have been related and linked to the bird’s distinctive, penetrating stare but it may also be from a pre-Greek source.  Owls do however sometimes appear with the goddess in Greek art and, like her, became a symbol of wisdom and intelligence.  The other epithets applied to Athena included Ophthalmitis and Oxyderkous, both references to her sharp, penetrating gaze.  As a descriptor of color, glaucus was applied widely including to eyes, the sea, the sky or fabrics and was used of shining surfaces.  The descendants include the Catalan glauc, the English glaucous, the French glauque, the Romanian glauc, the Italian glauco, the Portuguese glauco, the Romanian glauc and the Spanish glauco.  The Middle English glauk (bluish-green, gray) was in use as late as the early fifteenth century.

Renaissance-era engraving of Athena, the Ancient Greek goddess of wisdom, warfare, and craft, depicted in Corinthian helmet with spear and clothed in a long πέπλος (péplos); her aegis (shield or breastplate), bearing the Gorgon's head, rests nearby.  Athena’s sacred bird, the Athene noctua (little owl) is perched atop a pile of books, symbolizing knowledge & wisdom while the creature at her feet is the chthonic serpent Erichthonius which she raised, used often to stand for the triumph of reason over chaos, thus appearing also as the sacred serpent which protected the Acropolis.  The Greek Inscription on the banner reads: ΜΟΧΘΕΙΝ ΑΝΑΓΚΗ ΤΟΥΣ ΘΕΛΟΝΤΑΣ ΕΥ ΠΡΑΤΤΕΙΝ (Those who wish to do well must undergo toil) a classical aphorism often suggested as being a paraphrasing lines from Pindar or Isocrates, extolling effort and virtue.

In the myths of Antiquity there were many tales of Glaucus and in that the character was not unusual, the figures in the stories sometimes differing in details like parentage, where they lived, the lives they led and even whether they were gods or mortals; sometimes the lives depicted bore little similarity to those in other tales.  The myths in ancient Greece were not a fixed canon in the modern Western literary tradition; they were for centuries passed down orally for centuries before being written and in different regions a poet or dramatist was likely to tell it differently.   That was not just artistic licence because the stories could be a product people would pay to hear and content providers needed new product.  Additionally, as is a well-documented phenomenon when information is passed on orally, over generations, the “Chinese whispers problem” occurs and things, organically, can change.

Lindsay Lohan’s in glaucous (in the Medieval Latin sense of gleaming as well as the color) John Galliano satin gown, worn with Santoni stilettos, Irish Wish (Netflix, 2024) premiere, Paris Theater, New York City, March, 2024.

Nor was there the modern conception of IP (intellectual property) or copyright in the characters, the myths “belonging” literally to all as a shared public cultural heritage.  Were a poet (Ovid, Homer, Hesiod etc) to “re-imagine” an old myth or use well known characters to populate a new plot, that wasn’t plagiarization but simply a creative act in interpretation or reshaping.  There were social and political determinisms in all this: We now refer casually to “Ancient Greece” but it was not a unitary state (a la modern Greece) but an aggregation of city-states with their own distinct cults, local legends and literary traditions.  So, in one region Glaucus might have been depicted as a sea-god while somewhere to the south he was a warrior; a tragedian might make Glaucus tragic, a philosopher might use him as an allegorical device and a poet might map him onto a formulaic tale of jealousy, transformation and redemption.  The best comparison is probably the fictional characters which have entered public domain (as Mickey Mouse recently achieved) and thus become available for anyone to make of what they will.  To be generous, one might suggest what the AI (artificial intelligence) companies now wish to be made lawful (vacuuming up digitized copyright material to train their LLMs (large language models) for commercial gain while not having to pay the original creators or rights holders) is a return to the literary practices of antiquity.

Lindsay Lohan’s eyes naturally (left) are in the glaucus range but with modern contact lens (right), much is possible.

So it wasn’t so much that writers felt free to adapt myths to suit their purposes but rather it would never have occurred to them there was anything strange in doing exactly that.  Significantly, any author was at any time free to create a wholly new cast for their story but just as movie producers know a film with “bankable” stars has a greater chance of success than one with talented unknowns, the temptation must have been to avoid risking market resistance and “stick to the classics”.  Additionally, what’s never been entirely certain is the extent to which the poets who wrote down what they heard were inclined to “improve” things.  The myths were in a sense entertainment but they were often also morality tales, psychological studies or statements of political ideology, a medium for exploring fate, identity, love, betrayal, divine justice and other vicissitudes of life.  The very modern notion of “authorship” would have been unfamiliar in Antiquity, a ποιητής (author; poet) being someone who “shaped” rather than “owned” them and Homer (who may not have been a single individual) was revered not because he “made up” the Trojan War, but because masterfully he recounted it, just as now historians who write vivid histories are valued. 

Some of the many lives of Glaucus (Γλαύκος)

(1) He was the son of Antenor who helped Paris abduct Helen and to punish him, his father drove him out.  He fought against the Greeks, and was said sometimes to have been slain by Agamemnon but the more common version is he was saved by Odysseus and Menelaus; as the son of Antenor, who was bound to them by ties of friendship.

(2) He was the son of Hippolochus and grandson of Bellerophon and with his cousin Sarpedon, he commanded the Lycian contingent at Troy.  In the fighting around the city, he found himself face to face with Diomedes but both recalled their families were bound by ties of friendship so the two exchanged weapons, Diomedes of bronze and Glaucus of gold.  Later, when Sarpedon was wounded, he went to assist him, but was stopped by Teucer, wounded and forced to retire from the fray.  Apollo cured Glaucus in time to recover Sarpedon's body, though he was unable to stop the Greeks stripping the corpse of its arms.  Glaucus was killed during the fight for the body of Patroclus by Ajax and on Apollo's order his body was carried back to Lycia by the winds.

(3) He was the son of Sisyphus and succeeded his father to the throne of Ephyra, which later became Corinth.  Glaucus took part in the funeral games of Pelias but was beaten in the four-horse chariot race by Iolaus; after this his mares ate him alive after being maddened either by the water of a magic well, or as a result of Aphrodite's anger, for in order to make his mares run faster Glaucus refused to let them breed, and so offended the goddess.  In another legend, this Glaucus drank from a fountain which conferred immortality. No one would believe that he had become immortal, however, so he threw himself into the sea, where he became a sea-god and every sailor who cast a gaze upon him was assured an early death.

(4) He was a sea-deity.  Glaucus was a fisherman standing on the shore when he noticed if he laid his catch upon a certain herb-covered meadow, the fish miraculously were restored to life and jumped back into the sea. Curious, he tasted the herb himself and was seized by an irresistible urge to dive into the waters where the sea goddesses cleansed him of his remaining traces of mortality.  With that, he assumed a new form, his shoulders grew broader and his legs became a fish’s tail, his cheeks developed a thick beard (tinted green like the patina of bronze) and he became a part of the oceanic pantheon.  He also received the gift of prophecy to become a protector of sailors, often giving oracles and wisdom drawn from the sea.

Glaucus et Scylla (1726), oil on canvas by Jacques Dumont le Romain (1704-1781), (Musée des Beaux-Arts de Troyes). 

(5) Virgil made him the father of the Cumaean Sibyl and he appeared to Menelaus when the latter was returning from Troy; in some traditions he is said to have built the Argo and to have accompanied the ship on its voyage.  Glaucus courted Scylla unsuccessfully, and also tried to win the favours of Ariadne when Theseus abandoned her on Naxos. In that quest he failed but Dionysus included him in his train when the god took her away and made her his wife.

(6) He was the son of Minos and Pasiphae and while still a child he was chasing a mouse when he fell into a jar of honey and drowned.  When Minos finally found his son's corpse, the Curetés told him the child could be restored to life by the man who could best describe the colour of a certain cow among his herds which changed its colour three times a day.  It first became white, then red and finally became black.  Minos asked all the cleverest men in Crete to describe the colour of the cow and it was Polyidus who answered that the cow was mulberry-coloured, for the fruit is first white, turns red, and finally goes black when ripe. Minos felt that Polyidus had solved the problem and told him to bring Glaucus back to life, shutting him up with Glaucus' body.  Polyidus was at his wits' end, until he saw a snake make its way into the room and go over towards the body. He killed the serpent but soon a second came in and, seeing the first lying dead, went out before returning carrying in its mouth a herb with which it touched its companion.  Immediately, the snake was restored to life so Polyidus rubbed this herb on Glaucus, who revived at once.  Minos, however, was still not satisfied.  Before allowing Polyidus to return to his fatherland he demanded that the soothsayer should teach Glaucus his art.  This Polyidus did, but when he was finally allowed to go, he spat into his pupil's mouth, and Glaucus immediately lost all the knowledge he had just acquired.  In other versions of the legend, it was Asclepius, not Polyidus, who brought Glaucus back to life.