Dope

Dope (pronounced dohp)

(1) Any thick liquid or pasty preparation, as a lubricant, used in preparing a surface.

(2) A combustible absorbent material (historically sawdust or wood-pulp), used to absorb and hold the nitroglycerine in the manufacture of dynamite (used also of the processes in the manufacture of other products).

(3) An absorbent material, such as sawdust or wood pulp, used to hold the nitroglycerine in dynamite

(4) In aeronautics (and other fields), any of various varnish-like preparations (made by dissolving cellulose derivatives in a volatile solvent) used for coating a fabric (wings, fuselage etc), in order to render it stronger and more taut, aerodynamic and waterproof.

(5) Any of a number of preparations, applied to fabric in order to improve strength, tautness, etc

(6) A chemically similar product used to coat the fabric of a balloon to reduce gas leakage.

(7) An additive used to improve the properties of something (such as the “anti-knock” compounds added to gasoline (petrol).

(8) A thick liquid (typically a lubricant), applied to a surface.

(9) In slang, any narcotic or narcotic-like drug taken to induce euphoria or some other desired effect (and eventually to satisfy addiction); now used most of cannabis although other terms are now more common.

(10) Any illicit drug.

(11) In sport, a “performance enhancing drug” (PED; steroids, peptides etc), taken by athletes.

(12) In horse racing, a narcotic or other drug given surreptitiously to a horse to improve or retard its performance in a race.

(13) In firearms, ballistic data on previously fired rounds, used to calculate the required hold over a target.

(14) In slang, information, data, knowledge or news (sometimes used especially of confidential information).

(15) In slang, someone thought unintelligent, stupid or unresponsive etc.

(16) In US slang (mostly south of the Mason-Dixon Line, especially Appalachia), a carbonated, flavored and sweetened drink (used especially of cola-flavored sodas (soft drinks)).

(17) In US slang (East North Central Division of the Mid-West, especially Ohio), a sweet syrup used as a topping for ice cream.

(18) To affect with dope or drugs.

(19) To add a narcotic or other drug to something.

(20) To give a drug to (an athlete or horse), so as to affect performance in a race (for better or worse) or other competition.

(21) To take illicit drugs (in any context)

(22) In engineering to apply or treat a surface with dope.

(23) In electronics, to add or treat a pure semiconductor with a dopant.

(24) In slang, photographic developing solution

(25) In slang, great; excellent (always regionally variable and now les common).

1807: Apparently a creation of US English meaning “sauce, gravy; any thick liquid”, from the Dutch (dialectical) doop (thick dipping sauce), a derivative of dopen or doopen (to dip, baptize; deep), from the Middle Dutch dopen, from the Old Dutch dōpen, from the Frankish daupijan, from the Proto-Germanic daupijaną.  By extension, by the late nineteenth century it came generally to be used of any mixture or preparation of unknown ingredients producing a thick liquid.  The use of doop in the sense “narcotic drug” was derived ultimately from the viscous opium juice (the drug of choice of the well-connected in Ancient Greece) but in English was in use by at least 1899 and came from the smoking of semi-liquid opium preparations.  The verb use in the sense of “administer a drug to” appeared in print in 1889.  The idea of “insider information” was in use by at least 1901 and is thought to come from the knowledge of knowing which horse in a race had been doped (thus predicting it would run faster or slower than its form would suggest), this sense dating from 1900.  From this idea (inside information) developed the US slang “to dope out” (figure out, clarify).    The sense of “an unintelligent person” may have been used as early as the 1840s and came from the stupefying effects of opium, those intoxicated displaying obvious impaired cognitive facilities.  The word was related to the English dip and the German taufen (to baptize) but not to dopamine which came from chemistry, the construct being (DOPA (dihydroxyphenylalanine) +‎ -amine.

Unlike some constructions in English (eg domelessness (absence of a dome) or the informal gaynessness (“excessive” gayness)), there seems no recorded use of dopnessness.  For the commoly used “dopey”, the comparative is dopier and the superlative dopiest.  The use of “doper” to describe both: (1) someone who administers dope and (2) someone to whom dope is administered differs from the convention used in many words in English (eg payer vs payee) so the non-standard noun dopee can also be a synonym of doper.  Presumably, a useful distinction would be a dopee being one whose dope has been administered by another while a doper is one who self-administers.  Dope is a noun, verb & adjective, dopiness & dopeness are nouns, doper is a noun & adjective, doping is a noun & verb, doped is a verb & adjective and dopey (sometimes spelled dopy (the derived forms following this)) dopier & dopiest are adjectives, the noun plural is dopes.  Acronymfinder list eleven DOPEs, only two of which are narcotic related.

DOPE: Drug Overdose Prevention and Education (various organizations).
DOPE: Department of Public Enterprise.
DOPE: Data on Personal Equipment (sniper rifle data logging).
DOPE: Death or Prison Eventually (movie).
DOPE: Data on Previous Engagement (military sniper term).
DOPE: Drugs Oppress People Everyday.
DOPE: Dartmouth Oversimplified Programming Experiment.
DOPE: Director of Product Enhancements (Dilbert).
DOPE: Displacement of breathing tube, Obstruction, Pneumothorax, Equipment failure.
DOPE: Data Observed from Previous Engagements (ballistics).
DOPE: Director of Performance Enhancement (New York Yankees).

The use by the New York Yankees MLB (Major League Baseball) franchise seems daring given the existence of the Independent Program Administrator (IPA) of the Joint Drug Prevention and Treatment Program (JBTPT) which monitors the use of PEDs in the sport.  The JBTPT jointly is run by the MLB and the MLBPA (Major League Baseball Players Association) and the IPA oversees all drug testing, collection and enforcement.  Pleasingly, the JBTPB often is referred to as the “Major League Joint Drug Program”.

Dilbert cartoon by Scott Adams, published in 1995 on Bastille Day (14 July). 

First published in 1989, the once widely-syndicated "corporate life" Dilbert cartoon strip dealt with engineers, programmers and such working in a corporation run by those without a technical background, the exemplar of the latter being the “pointy haired boss”.  The cartoon was the work of Scott Adams (b 1957) who in 2023 was “cancelled” after posting a video in which he called “Black Americans”, critical of the slogan “It's okay to be white” because of its association with white supremacist ideology, a “hate group”, suggesting “White Americans” should “get the hell away from” them.  Mr Adams later disavowed racism and moved his output on-line.

On the Dilbert website, Mr Adams stated: “No news about public figures is ever true and in context” and explained his cancellation thus: “If you believe the news, it was because I am a big ol' racist.”  Fleshing that out, he added: “If you look into the context, the point that got me cancelled is that CRT [Critical Race Theory], DEI [Diversity, Equity & Inclusion] and ESG [Environmental, Social and Governance] all have in common the framing that White Americans are historically the oppressors and Black Americans have been oppressed, and it continues to this day.  I recommended staying away from any group of Americans that identifies your group as the bad guys, because that puts a target on your back.  I was speaking hyperbolically, of course, because we Americans don't have an option of staying away from each other. But it did get a lot of attention, as I hoped.  (More than I planned, actually).”  Dlibert devotees prepared to separate art from artist were advised: “Disgraced and canceled cartoonist Scott Adams has moved his work and upgraded it to a spicier version entitled Dilbert Reborn.”

A "Dope Mobile Bookstore" is scheduled to go on-line in December 2025 and there really was briefly a "Dope Mobile" (left) which was an on-line store for mobile phone accessories and should not be confused with a "dopemobile" which is a "dope dealer's" car.  Especially in black, a Chrysler 300 (2005-2023) is almost a cliché as a dopemobile and this 2009 model (on flatbed truck, right) was seized by New Zealand police from the estate of a deceased "dope dealer" (a profession with an unusually high death rate).  The informal term "dopemoble" can mean either (1) a vehicle in which a "dope dealer" transacts "dope deals" or (2) a vehicle believed or proved to have been purchased using the proceeds of "dope dealing".  

Purple Haze, Blue Cheese and more.  The proprietors of Amsterdam’s coffee shops have always come up evocative and fanciful names for dope.  One has to have the coffee one drinks and one has to have the weed one smokes.

In derived terms and idiomatic use, “dope” appears often but because of the dual meaning (narcotics and a varnish-like substance), the same term can mean very different things so context must be noted when assessing a meaning.  A “dope stick” (also as dopestick) can describe (1) a stick or applicator for spreading dope (a viscous liquid or paste used in preparing a surface) on a surface or, in slang (2) a cigar or cigarette, (3) a pipe, (4) a marijuana joint or something similar laced with cocaine or other drug or (5) a penis suffering from priapism (a condition in which the erect penis does not return to its flaccid state despite the absence of both physical and psychological stimulation) as a result of the use of cocaine or heroin.  The condition may sound desirable but is both potentially painful and risks long-term tissue damage.

Color chart, circa 1940. Some of the pigments available for Berry Brothers "Berryloid Pigmented Dopes".

“Dope dick” (impotence induced by heavy drinking or other substance abuse) is a synonym of other slang forms including “coke dick”, “crystal dick”, “whisky dick” & “brewer's droop”.  A “dope whore” is someone addicted to narcotics who finances the habit through prostitution, the synonyms being “coke whore”, “smack slut”, “crack whore” etc.  To “smoke one's own dope” means “to believe one’s own publicity, propaganda, lies or posturing; the synonym is “to drink one's own Kool-Aid”.  For those who like to make such connections, Kool-Aid is the official soft-drink of the US state of Nebraska, otherwise famous only for being the home of billionaire investor Warren Buffett (b 1930).  To “dope out” means “to figure out, to find out, find, decipher”, something Mr Buffet certainly did of investing for profit although wryly, he notes that often when folk ask him the “secret of his success” and he tells them how his strategy worked over decades, there’s an obvious sense of disappointment because what people really want to know is “how can I get rich overnight?”  He assures all he doesn’t “have the dope” on that.

Punters dope sheet (form guide), 2024 Melbourne Cup.

A “dope sheet” is a summary (ordinarily in the form of a codified, printed or digital document), containing salient facts and background information concerning a person, activity, or other subject matter.  The origin is thought to be the publications associated with horse racing (the name derived from the suspicion the most accurate indicator of a horse’s performance was whether or not it had been doped with some substance to make it run faster or slower) in which was summarized information about the horses running in certain races.  Such publications are now known variously as scratch sheets, tip sheets, firm guides, best bets etc.  Beyond gambling, “dope sheets” (a term which became misleading because some publications could be quite thick volumes) came to be used in fields as varied as automotive repair and especially in photography, film & animation; in the latter were listed the designer’s detailed instructions for artists & editors (known also as an “exposure sheet”).

Lindsay Lohan gives CNN the dope on dope use during her "troubled starlet" phase.

In the world of narcotics users (there really are many quite separate populations in “doperdom”) dope is sold by a “dope dealer”, “dope-runner”, “dope-pedlar”, “dope-pusher”, “dope-seller” or “dope-man”, sometimes from a “dope-house” whereas a “dopester” is a “street-level” trader who may be operating independently but is typically an agent on commission (paid sometimes “in kind”) and often operating from a "dopemobile").  Both retailers sell to “dope fiends”, “dope chicks”, “dope heads” etc (those who variously use or abuse) while a “dope dog” is a canine used by law enforcement officers to “sniff-out” dope.  The “dope house” must however not be confused with the “dope-shop” which was the part of the factory (typically one manufacturing aircraft) where dope was applied to the fabric laid over the spars of an airframe.  In the “dope house” was employed the “doper” who applied the dope to the fabric (dated) and again the meaning is shared with those involved with narcotics or PEDs.  If the “dope deal” couldn't for whatever reason be executed, the customer was left “dopeless” and those who over-consume could become “dope sick” (in withdrawal from “dope use”) which is different from the potentially fatal “dope overdose”.  “Dope time” & “doper time” both reference the way one’s perception of the passing of time changes when one is under the influence of narcotics.  It’s along the lines of “country mile” (typically somewhat longer than 1760 yards) or “Microsoft minutes” (referencing the dialog boxes which appeared in MS-Windows during certain operations saying something like “17 minutes remaining” which could mean anything from a few seconds to many hours).

The Dope: The Real History of the Mexican Drug Trade by Professor Benjamin T. Smith.

The title's play on words is this being “the dope” on “the dope trade” out of Mexico.  In the well-populated sub-culture of narcotics use (illicit and not), there exists a bewildering array of names, vernacular and slang, some now registered trade-marks as many jurisdictions have relaxed the prohibition on “soft drugs’ but “dope” remains the most useful generic “cover-all” term.  Nor is the use of “dope” as a generic new, Lord Moran (Charles Wilson, 1882-1977; president of the Royal College of Physicians 1941-1949, personal physician (1940-1965) to Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) in his diary (Churchill taken from the Diaries of Lord Moran: The Struggle for Survival, 1940–1965 (1966)) noting on 2 December 1952, during a trans-Atlantic flight:

“This may be my last journey with Winston.  We began life humbly enough, in an unheated Lancaster bomber, and end it, twelve years later, in high state in the strato-cruiser Canopus. Messages no longer pass to the captain asking at what height we are flying; 18,000 feet or 11,000 feet (both were recorded last night), it is all one to us, pressurized at 5,000 feet.  Most of the seniors and quite a number of the juniors came to me last night for sleeping pills - this weak kneed generation that needs dope for a few hours in the air.”

Boeing 377 Stratocruiser in United Airlines livery in 63-passenger configuration including sleeping berths, a state room and lounge bar.

Lord Moran was of course well-acquainted with dope, having for years suppled Churchill with “downers” (barbiturates) to help him sleep and “uppers” (amphetamines, then commonly called “pep pills”) to perk him up, Churchill ignoring the apothecary’s descriptions and dubbing the various tablets with terms from his own ad-hoc pharmacological vocabulary including “Lord Morans”, “majors”, “minors”, “reds”, “greens”, “babies” and “midgets”, all based either on the pill’s appearance or its potency, the latter established empirically.   In fairness to the Lord Moran's doped airline passengers, with a cruising speed (depending on conditions) between 300–340 mph (480–550 km/h), trans-Atlantic flight time for the Boeing 377 Stratocruiser was typically 10 hours (eastbound) to 11-12 hours (westbound), a duration compelling until the new generation of jetliners cut the trip to 6–7 hours.  A civilian version of the C-97 Stratofreighter military heavy-transporter (developed from the B-29 Superfortress heavy bomber), the Stratocruiser was, when its first test-flight was undertaken in 1947, the world biggest airliner and could carry up to 100 passengers in a multi-deck configuration although most were configured for fewer and outfitted with the luxuries which appealed to the demographic then able to afford to travel by air.  Very modern when first it flew, there were no "doped fabric" surfaces on the Stratocruiser, the fuselage, wings and tail made almost wholly from an aluminum alloy (mostly duralumin); it was thus, in the parlance of the day, an "all metal" craft.  However, despite extensive development, the problems with the 28-cylinder Pratt & Whitney radial engines were never wholly resolved and while they came to be practical for military use, they remained maintenance-intensive so operating costs were high and between 1949-1963 only 55 Stratocruisers were ever in service.

Berry Brothers advertising (1929) of their Berryloid Pigmented Dope, illustrated by applying avian coloring to aircraft.  This was Number 10 of the series and depicts the Mono Aircraft Corporation's Monocoupe, doped in the color scheme of the sexually dimorphic red winged blackbird (Agelaius phoeniceus).  Only the males feature the distinctive red shoulder and yellow wing bar over black, the female's feathers a nondescript dark brown.

“Pipe dope”, despite the name, is not used of the drug-smoking devices and refers to any of the many lubricants and sealants used to make a pipe thread joint leak-proof and pressure-tight.  In US military slang, a “scope dope” was the officer responsible for radar or a radar operator.  The technical terms “photodope”, “photodoping” & “photodoped” come from materials science and described the process of removing a dopant (a substance added in small amounts to a pure material, such as semiconductor, to alter its original electrical or optical properties).  In electronics, impurities are added to semiconductors as a way of (1) producing a desired result or (2) modifying its properties.  In the tuning of stringed musical instruments, “peg dope” is a substance used to lubricate the pegs of an instrument and to provide the desired friction between pegs and strings.  Use seems not to have extended to other fields but conceivably it could be a helpful (and even lucrative) product for those who enjoy the sexual practice of “pegging” (women using “strap-ons”) an activity Urban Dictionary’s contributors gleefully detail, there being many nuances in use.

Automotive Digest's Dope-Master (1948, left and 1951, right).

Annually updated, Automotive Digest for years published their "Dope Masters", containing the specifications and information (ie "all the dope") required to service or "tune up" most of the automobiles sold in the US.  They were valued by mechanics but also used by many owners, cars then being mostly mechanical devices with some wiring so servicing at home with basis tools was possible in a way unthinkable with modern machines with their high electronic and software content.  In boxing, the phrase “rope-a-dope” described a technique in which the boxer assumes a defensive stance against the ropes, absorbing an opponent's blows, hoping to exploit eventual tiredness or a mistake.  Figuratively, use can be extended to any strategy in which a seemingly losing position is maintained to “lull an opponent into a false sense of security” in the hope of securing eventual victory; in the vernacular, it’s to exhaust them by “stringing them along”.  “Dope slap” is a jocular term which describes “a light slap to the back of the head”, used as a disciplinary measure for some minor infraction (ie imposed for someone being "a bit dopey") while a more severe corporal punishment would be imposed for a more a serious offence.  “Dope glass” (a synonym of “carnival glass”) was a type of glassware dating from the early twentieth century, notable for possessing lustrous colors.  Known variously as “aurora glass”, “iridescent ware”, “Iridill” “poor man's Tiffany”, “rainbow glass” & “taffeta glass”, it was initially declared by the style police to be attractive but, cheap and mass-produced, it soon came to be used to make objects judged “not in the best taste” and, being much associated with the Great Depression years of the 1930s (it was dubbed also “depression glass”), it became unfashionable.

Blurb

Blurb (pronounced blurb)

(1) A brief promotional piece, almost always laudatory, used historically for books, latterly for about any product.

(2) To advertise or praise in the manner of a blurb.

1907: Coined by US graphic artist and humorist Gelett Burgess (1866–1951).  Blurbs are a specific type of advertisement, similar exercises in other contexts known also as “puff pieces”, “commendations” or “recommendations”.  The use of "puff" is thought based on the character "Mr Puff" in the burlesque satire The Critic: or, a Tragedy Rehearsed (1779) by the Anglo-Irish Whig playwright Richard Brinsley Sheridan (1751-1816).  Generally, blurbs contain elements designed to tempt a buyer which may include a précis (something less than a detailed summary), a mention of the style and a recommendation.  The term was originally invoked to mock the excessive praise printed on book jackets and was often parodied in a derisively imitative manner and is still sometimes critically used thus but it’s also now a neutral descriptor and an accepted part of the publishing industry.  Blurb is a noun & verb, blurbing & blurbed are verbs, blurbist is a noun and blurbish is an adjective; the noun plural is blurbs.

The blurb has apparently existed for some two-thousand–odd years but the word became well-known only after a publishing trade association dinner in 1907, Gelett Burgess displaying a dust jacket printed with the words “YES, this is a “BLURB”!”, featuring the (fictitious) Miss Belinda Blurb who was said to have been photographed “...in the act of blurbing”, Burgess adding that to blurb was “… to make a sound like a publisher…” and was “…a check drawn on fame, and it is seldom honoured”.  There are sources claiming the word was coined by US academic and literary critic Brander Matthews (1852–1929) in his essay American Character (1906) but Professor Matthews acknowledged the source genuinely was Burgess, writing in the New York Times (24 September 1922): “Now and again, in these columns I have had the occasion to employ the word “blurb”, a colourful and illuminating neologism which we owe to the verbal inventiveness of Mr Gelett Burgess”.

Burgess had released Are You a Bromide? in 1906 and while sales were encouraging, he suggested to his publishers (BW Huebsch) that each of the attendees and the upcoming industry dinner should receive a copy with a “special edition” dust cover.  For this, Burgess used the picture of a young lady who had appeared in an advertisement for dental services, snapped in the act of shouting.  It was at the time common for publishers to use pictures of attractive young ladies for book covers, even if the image was entirely unrelated to the tome’s content, the object being to attract a male readership.  Burgess dubbed his purloined model “Miss Belinda Blurb” and claimed she had been photographed “in the act of blurbing”; mid-blurb as it were.

Are you a Bromide? (Publisher's special edition, 1907).

The dust cover was headed with the words “YES, this is a “BLURB”! All the Other Publishers commit them. Why Shouldn’t We?” and knowing a blurb should not in moderation do what can be done in excess, went on to gush about the literary excellence of his book in rather the manner a used car salesman might extol the virtues of some clapped-out car in the corner of the yard.  His blurb concluded “This book is the Proud Purple Penultimate!”  The industry must have been inspired because the blurb has become entrenched, common in fiction and non-fiction alike and the use of the concept can be seen in film, television, social media and just about anywhere there’s a desire to temp a viewer.  Indeed, the whole idea of “clickbait” (something which tells enough to tantalize but not enough to satisfy without delving deeper) is a functional application of a blurb.  Depending on the source, the inspiration for the word came from either (1) the sound made by a book as it falls to the floor, (2) the sound of a bird chirping or (3) an amalgam of “burp” & “blather”.  The author left no clue.

In his book, Burgess innovated further, re-purposing the word "bromide".  In inorganic chemistry, a bromide is a binary compound of bromine and some other element or radical, the construct being brom- (an alternative form of bromo- (used preceding a vowel) which described a substance containing bromine (from the French brome, from the Ancient Greek βρῶμος (brômos) (stink)) + ide (the suffix used in chemistry to describe substances comprising two or more related compounds.  However, early in the twentieth century, Bromide was a trade name for a widely available medicine, taken as a sedative and in some cases prescribed to diminish “an excessive sexual appetite”.  It was the sedating aspect which Burgess picked up to describe someone tiresome and given to trite remarks, explaining “a bromide” was one “…who does his thinking by syndicate and goes with the crowd” and was thus boring and banal.  A bromine’s antonym was, he helpfully advised, a “sulphite”.  Unfortunately, while blurb flourished, bromide & sulphites as binary descriptors of the human condition have vanished from the vernacular.

Lindsay Lohan with body double during shooting for Irish Wish (Netflix, due for release in 2023).  The car is a Triumph TR4.

Nteflix's blurb for Irish Wish: Always a bridesmaid, never a bride — unless, of course, your best friend gets engaged to the love of your life, you make a spontaneous wish for true love, and then magically wake up as the bride-to-be.  That’s the supernatural, romantic pickle Lindsay Lohan (Mean Girls, The Parent Trap) finds herself in upcoming romantic comedy, Irish Wish.  Set in the rolling green moors of Ireland, the movie sees Lohan's Maddie learn her dreams for true love might not be what she imagined and that her soulmate may well be a different person than she originally expected. Apparently magic wishes are quite insightful.

Blurb Your Enthusiasm (2023, distributed by Simon & Schuster).

Louise Willder (b 1972) has for a quarter century been a copywriter for Penguin, in that time composing some 5000 blurbs, each a two-hundred-odd word piece which aims both to inform and tempt a purchase.  Her non-fiction debut Blurb Your Enthusiasm is not only a review of the classic blurbs (the good, the bad and the seriously demented) but also an analysis of the trends in the structure of blurbs and the subtle shifts in their emphasis although, over the centuries, the purpose seems not to have changed.  Ms Willder also documents the nuances of the blurb, the English tendency to understatement, the hyperbolic nature of Americans and the distaste the French evidently have of having to say anything which might disclose the blurb’s vulgar commercial purpose, tracing over time how changing attitudes and societal mores mean what’s now written of a nineteenth century classic is very different to when first it was published.  Inevitably too, there are the sexual politics of authorship and publishing and blurbs can reveal as much by the odd hint or what’s left unsaid than what actually appears on a dust cover.  Academics and reviewers have perhaps neglected the blurb because traditionally they've often been dismissed as mere advertising but, unless the author’s name or the subject matter is enough of a draw, even more than a cover illustration or title, it’s the blurb which can close the sale and collectively, they’re doubtlessly more widely read than reviews.  Blurb Your Enthusiasm is highly recommended.

Founded in New York City in 1924 by Richard L Simon (1899–1960) & Max Lincoln Schuster (1897–1970), Simon & Schuster was in 2023 acquired by private equity company KKR (Kohlberg Kravis Roberts & Co).

In 2025, there emerged an indication there was, at least in one corner of the publishing industry a push-back against what might be called the “I’ll scratch your back if you scratch mine” blurb with the  publisher of Simon & Schuster’s flagship imprint in the US announcing it will “no longer require authors to obtain blurbs for their books”.  Revealed in an essay in Publishers Weekly, it was explained that while Simon & Schuster never had “a formal mandatory policy” about the matter, a culture had evolved to make blurbs “tacitly expected” and the responsibility of harvesting them from famous writers, celebrities and such devolved upon authors, their agents & editors.  The publishing house rejected the notion the blurb “production line” is “what makes the book business so special: the collegiality of authors and their willingness to support one another”, arguing the very ubiquity of the things had become “…incredibly damaging to what should be the industry’s ultimate goal: producing books of the highest possible quality.”  Memorably, Simon & Schuster’s critique of “authors feeling obliged to write blurbs for their friends” was summed up in the phrase: “an incestuous and unmeritocratic literary ecosystem that often rewards connections over talent.”  Students of the blurb will of course be disappointed if this becomes a trend and among authors it must have been fun to cast an eye over new releases just to try to work out if one individual was no longer on speaking terms with another but more practically, others did observe that while blurbs may be of marginal interest to those browsing the shelves, it was understood booksellers could be influenced to increase their orders if a book seems “well-blurbed”.  However, even if Simon & Schuster are no longer giving authors a tacit “nudge”, it may be many remain prolific blurb writers because it's a very cheap way to keep one’s brand-recognition on the shelves and up to date.

Cosmopolitan

Cosmopolitan (pronounced koz-muh-pol-i-tn)

(1) One free from local, provincial, or national ideas, prejudices, or attachments; an internationalist.

(2) One with the characteristics of a cosmopolite.

(3) A cocktail made with vodka, cranberry juice, an orange-flavored liqueur, and lime juice.

(4) Sophisticated, urbane, worldly.

(5) Of plants and animals, wildly distributed species.

(6) The vanessa cardui butterfly.

(7) A moth of species Leucania loreyi.

1828:  An adoption in Modern English, borrowed from the French cosmopolite (citizen of the world), ultimately derived from the Ancient Greek kosmopolitēs (κοσμοπολίτης), the construct being kósmos (κόσμος) (world) + politēs (πολίτης) (citizen); word being modeled on metropolitan.  The US magazine Cosmopolitan was first published in 1886.  Derived forms (hyphenated and not) have been constructed as needed including noncosmopolitan, subcosmopolitan, ultracosmopolitan, fauxcosmopolitan, anticosmopolitan & protocosmopolitan.  Because cosmopolitanness is a spectrum condition, the comparative is “more cosmopolitan” and the superlative “most cosmopolitan”.  Cosmopolitan is a noun & adjective, cosmopolitanism & cosmopolitanness are nouns, cosmopolitanize is a verb, cosmopolitanist is an adjective (and plausibly a noun) and cosmopolitanly is an adverb; the noun plural is cosmopolitans.

An aspect of Soviet Cold War policy under comrade Stalin

The phrase rootless cosmopolitans was coined in the nineteenth century by Vissarion Belinsky (1811-1848), a Russian literary critic much concerned about Western influences on both Russian literature and society.  He applied it to writers he felt “…lacked Russian national character” but as a pejorative euphemism, it’s now an anti-Semitic slur and one most associated with domestic policy in the Soviet Union (USSR) between 1946 and Stalin's death in 1953.  Comrade Stalin (1878-1953; Soviet leader 1924-1953) liked the phrase and applied it to the Jews, a race of which he was always suspicious because he thought their lack of a homeland made them “mystical, intangible and other-worldly”.  Not a biological racist like Hitler and other rabid anti-Semites, Stalin’s enemies were those he perceived a threat; Leon Trotsky (1879-1940), Grigory Zinoviev (1883–1936) and Lev Kamenev (1883–1936) were disposed of not because they were Jewish but because Stalin thought they might threaten his hold on power although the point has been made that while it wasn’t because he was Jewish that Trotsky was murdered, many Jews would come to suffer because Stalin associated them with Trotsky.

Comrade Stalin signing death warrants.

It was the same with institutions.  He found disturbing the activities of Moscow’s Jewish Anti-Fascist Committee (JAC) and did not approve them being accepted by Western governments as representing the USSR.  Further, he feared the JAC’s connections with foreign powers might create a conduit for infiltration by Western influences; well Stalin knew the consequences of people being given ideas; the campaign of 1946-1953 was thus more analogous with the Chinese Communist Party’s (CCP) opposition to the Falun Gong rather than the pogroms of Tsarist times.  Authoritarian administrations don’t like independent organisations; politics needs to be monolithic and control absolute.  In a speech in Moscow in 1946, he described certain Jewish writers and intellectuals, as “rootless cosmopolitans” accusing them of a lack of patriotism, questioning their allegiance to the USSR.  This theme festered but it was the creation of the state of Israel in 1948, fostering as it did an increased self consciousness among Soviet Jews, combined with the Cold War which turned Stalin into a murderous anti-Semite.

Ten years after: rootless cosmopolitan comrade Trotsky (left) talking to comrade Stalin (right), 1930 and Mexican police showing the ice axe used by an assassin (sent by Stalin) to murder Trotsky.

Before the formation of the state of Israel, Stalin's anti-Semitism was more a Russian mannerism than any sort of obsession.  For years after assuming absolute power in the USSR, he expressed no disquiet at the preponderance of Jews in the foreign ministry and it was only in 1939, needing a temporary diplomatic accommodation with Nazi Germany, that he acted.  Having replaced the Jewish Foreign Commissar, Maxim Litvinov (1876–1951; People's Commissar for Foreign Affairs of the Soviet Union 1930–1939) with Vyacheslav Molotov (1890-1986; USSR Minister of Foreign Affairs 1939-1949 & 1953-1956), he ordered him to purge the diplomatic corps of Jews, his memorable phrase being "clean out the synagogue".  Concerned the presence of Jews might be an obstacle to rapprochement with Hitler, Stalin had the purge effected with his usual efficiency: many were transferred to less conspicuous roles and others were arrested or shot.

Meeting of minds: Joachim von Ribbentrop (left), comrade Stalin (centre) and comrade Molotov (right), the Kremlin, 23 August 1939.

Negotiations began in the summer of 1939, concluding with German Foreign Minister Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945) leading a delegation to Moscow to meet with Molotov and Stalin.  It proved a remarkably friendly conference of political gangsters and agreement was soon reached, the German-Soviet Nonaggression Pact (usually called the Nazi-Soviet Pact or Molotov-Ribbentrop Pact) being signed on 23 August.  The pact contained also a notorious secret protocol by which the two dictators agreed to a carve-up of Poland consequent upon the impending Nazi invasion and the line dividing Poland between the two was almost identical to the Curzon Line, a demarcation between the new Polish Republic created in the aftermath of World War I (1914-1918) and the emergent Soviet Union which had been proposed by Lord Curzon (1859–1925; UK foreign secretary 1919-1924).  At the Yalta Conference in February 1945, during the difficult negotiations over Polish borders, Molotov habitually referred to "the Curzon Line" and the UK Foreign Secretary, Anthony Eden (1897–1977; thrice UK foreign secretary & prime minister 1955-1957), in a not untypically bitchy barb, observed it was more common practice to call it the “Molotov-Ribbentrop line”.  "Call it whatever you like" replied Stalin, "we still think it's fair and just".  Comrade Stalin rarely much cared to conceal the nature of the regime he crafted in his own image.  Whatever the motives of Stalin, rootless cosmopolitans has joined the code of dog-whistle politics, a part of the core demonology to label the Jews a malign race, a phrase in the tradition of "Christ killers", "Rothschild-Capitalists and Untermenschen (the sub-humans).  Despite that, there are always optimists, Jewish writer Vincent Brook (b 1946), suggesting the term could convey the positive, a suggestion the Jews possess an “adaptability and empathy for others”.  It’s not a view widely shared and rootless cosmopolitan remains an anti-Semitic trope although it's not unknown for Jews to use it ironically.

In August 1942, Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) got to enjoy the rare pleasure of a well lubricated supper in comrade Stalin's private apartment in the Kremlin and also there was comrade Molotov.  By the time the third bottle had been uncorked, the occasion had progressed to the exchange of anecdotes and in the spirit of the occasion, Churchill asked Molotov if it was true he’d delayed his return from a visit to the US so he could spend a night on the town in Manhattan.  Molotov’s expression became even more dour than usual but Stalin explained things by saying: “It was not to New York he went. He went to Chicago, where the other gangsters live.”  More than one astute observer of the human condition has concluded more can be learned about a man from his humor than his more profound pronouncements but there was much also to be learned when comrade Stalin was being candid.  At the Yalta Conference, Franklin Roosevelt (FDR, 1882–1945, US president 1933-1945) asked Stalin: “Who is the chap with the pince-nez?”.  “That’s Beria” [Lavrentiy Beria (1899–1953; head of the Soviet secret police 1938-1946)], Stalin replied, “He’s our Himmler [the Nazi Heinrich Himmler (1900–1945; Reichsführer SS 1929-1945)], and he’s not bad either.”

The Cosmopolitan cocktail

A brace of Cosmos.

The Cosmopolitan was based on the "Cosmopolitan 1934" cocktail, a mix from inter-war New York which included gin, Cointreau & and lemon juice, raspberry syrup lending the trademark pink hue.  The modern Cosmopolitan was also concocted in New York and seems to have appeared first in the Mid-1980s although it was appearances in the HBO (Home Box Office) television series Sex and the City (1998-2004) which made it as emblematic of a certain turn-of-the-millennium New York lifestyle as Manolo Blahnik’s stilettos but, the implications of that connotation aside, the enticing pink drink survived to remain a staple of cocktail lists.  Cosmopolitans can be made individually or as a batch to be poured from a pitcher; just multiply the ingredient count by however many are to be served.

Ingredients

2 oz (¼ cup) vodka (or citrus vodka according to taste)

½ ounce (1 tablespoon) triple sec, Cointreau (or Grand Marnier)

¾ oz (1½ tablespoons) cranberry juice

¼-½ ounce (1 ½-3 teaspoons) fresh lime juice

One 2-inch (50 mm) orange peel/twist

Instructions

(1) Add vodka, Cointreau, cranberry juice, and lime juice to a cocktail shaker filled with ice.

(2) Shake until well chilled.

(3) Strain into a chilled cocktail glass (classically a coupé or Martini glass).

(4) An orange or lemon twist is the traditional garnish.

Notes

(1) As a general principle, the higher the quality of the vodka, the better the Cosmopolitan, the lower priced sprits tending to taste rather more abrasive which for certain purposes can be good but doesn’t suit a “Cosmo”.

(2) The choice of unsweetened or sweetened cranberry juice (the latter sold sometimes as “cranberry juice cocktail”) is a matter of taste and if using the unsweetened most will prefer if a small splash of sugar syrup (or agave) is added because tartness isn’t associated with a Cosmopolitan.

(3) There is however a variant which is sometimes mixed deliberately to be tart.  That’s the “White Cosmo”, made by using white cranberry juice.

(4) Of the orange liqueur: Most mixologists recommend Cointreau but preference is wholly subjective and Cointreau & Grand Marnier variously are used, the consensus being Cointreau (a type of Triple Sec) is smoother, stronger and more complex.  Grand Marnier is also a type of Triple Sec, one combined with Cognac so the taste is richer, nutty and caramelized which some prefer.

(5) Of the lime juice: It really is worth the effort to cut and squeeze a fresh lime.  Packaged lime juice will work but something of the bite of the citrus always is lost in the processing, packaging, storage and transporting the stuff endures.

(6) Art of the orange peel: The use of the term “garnish” of suggests something which is merely decorative: visual bling and ultimately superfluous but because cocktails are designed to be sipped, as one lingers over ones’s Cosmopolitan, from the peel will come a faint orange aroma, adding to the experience as the fumes of a cognac enhance things; spirits and cocktails are “breathed in” as well as swallowed.

(7) Science of the orange peel: When peeling orange, do it over glass so the oil spurting (viewed close-up under high-magnification, it really is more spurt than spray) from the pores in the skin ends up in the drink.  For the ultimate effect, rub the rim of the glass with the peel, down a half-inch on the outside so lips can enjoy the sensation.

The presidential “parade convertible” 1950 Lincoln Cosmopolitan, parked outside 1600 Pennsylvania Avenue, Washington DC.

In the US, the Ford Motor Company (FoMoCo) produced the Lincoln Cosmopolitan between 1949-1954 but only in its first season was it the “top-of-the-range” model, “designation demotion” something which would over the decades become popular in Detroit.  Political legend has it Harry Truman (1884–1972; US president 1945-1953) personally selected Lincoln to supply the presidential car fleet as an act of revenge against General Motors (GM), the corporation having declined to provide him with cars to use during the 1948 election campaign.  It’s assumed GM’s management was reading the polls and assumed they’d need only to wait to wait for a call from president elect Thomas Dewey (1902–1971) but as things turned out, Mr Dewey never progressed beyond president-presumptive so GM didn’t get the commission, the keys to Cadillacs not returning to the Oval Office until the administration of Ronald Reagan (1911-2004; US president 1981-1989).  While it wouldn’t much have consoled the GM board, there was some of their technology in the Lincolns because, FoMoCo was compelled to buy heavy-duty Hydra-Matic transmissions from Cadillac, their own automatic gearbox not then ready for production.

The presidential “parade convertible” 1950 Lincoln Cosmopolitan with “Bubbletop” fitted.

The White House leased ten Lincoln Cosmopolitans which were modified by coach-builders who added features such as longer wheelbases and raised roof-lines.  Nine were full-enclosed limousines while one was an armoured “parade convertible” (a “Cabriolet D” in the Mercedes-Benz naming system) which was an impressive 20-odd feet (6 metres) in length.  The car used a large-displacement version (shared with Ford Trucks!) of the old Ford flathead V8 (first introduced in 1932) and, weighing a hefty 6,500 lb (2,900 kg), performance wasn’t sparkling but given its role was slowly to percolate along crowd-lined boulevards, it was “adequate”.  In 1954, during the administration of Dwight Eisenhower (1890-1969; US president 1953-1961), the parade convertible was fitted with a Plexiglas roof (a material the president would have been familiar with because it was used on some World War II (1939-1945) aircraft and in this form the Lincoln came to share the aircrafts’ nickname: “Bubbletop”.  The “Bubbletop” Cosmopolitan remained in service in the White House fleet until 1967.

The Glossies

Lindsay Lohan, Cosmopolitan, various international editions: April, May & June, 2006.

Cosmopolitan Magazine was launched in 1886 as a family journal of fashion, household décor, cooking, and other domestic interests.  It survived in a crowded market but its publisher did not and within two years Cosmopolitan was taken over by another which added book reviews and serialized fiction to the content.  This attracted the specialist house founded by John Brisben Walker (1847-1931), which assumed control in 1889, expanding its circulation twenty-fold to become one of America’s most popular literary magazines.  The Hurst Corporation acquired the title in 1905, briefly adding yellow-journalism before settling on a format focused on short fiction, celebrities and public affairs.  The formula proved an enduring success, circulation reaching two million by 1940 and this was maintained until a decline began in the mid 1950s, general-interest magazines being squeezed out by specialist titles and the time-consuming steamroller of television.

It was the appointment in 1965 of Helen Gurley Brown (1922–2012) as editor which signalled Cosmopolitan’s shift to a magazine focused exclusively on an emerging and growing demographic with high disposable income: the young white women of the baby boom.  In what proved a perfect conjunction, a target market with (1) economic independence, (2) social freedom, (3) an embryonic feminist awareness and (4) the birth control pill, the magazine thrived, surviving even the rush of imitators its success spawned.  Gurley Brown had in 1962 published the best seller advice manual, Sex and the Single Girl and Cosmopolitan essentially, for decades, reproduced variations on the theme in a monthly, glossy package.  It was clearly a gap in the market.  The approach was a success but there was criticism.  Conservatives disliked the choices in photography and the ideas young women were receiving.  Feminists were divided, some approved but others thought the themes regressive, a retreat from the overtly political agenda of the early movement into something too focused on fun and fashion, reducing women yet again to objects seeking male approbation.

Taylor Swift (b 1989), in purple on the cover of Cosmopolitan, December, 2014.

Still published in many international editions, Cosmopolitan Australia was one casualty of market forces, closed after a final printing in December 2018.  However, surprising many, Katarina Kroslakova (b 1978) in April 2024 announced her publishing house KK Press, in collaboration with New York-based Hearst Magazines International, would resume production of Cosmopolitan Australia as a bi-monthly and the first edition of the re-launched version was released in August, 2024.  Other than appearing in six issues per year rather than the traditional twelve, the format remained much the same, echoing Elle Australia which re-appeared on newsstands in March, ending a four-year hiatus.  Both revivals would as recently as 2023 have surprised industry analysts because the conventional, post-Covid wisdom was there existed in this segment few niches for time consuming and expensive titles in glossy print.

Amelia Dimoldenberg (b 1994) in polka-dots, on the cover of Cosmopolitan Australia April | May, 2025 (Issue 5, digital edition) which is downloadable file (96 MB in Adobe's PDF (portable document format) format.  Where digital titles have a history in print, the convention is to use the traditional cover format.  Even in the digital age, some legacy items have a genuine value to be exploited.

Ms Kroslakova clearly saw a viable business model and was quoted as saying print magazines are “the new social media” which was an interesting way of putting it but she explained the appeal by adding: “We need that 15 minutes to drop everything and actually have something tangible and beautiful in our hands to consume.  If we can present content which is multi-layered and deep and has authenticity and connection with the reader – that’s a really excellent starting point.”  She may have a point because in an age where screen-based content is intrinsically impermanent, the tactile pleasure of the traditional glossy may have genuine appeal, at least for an older readership who can remember the way things used to be done, something perhaps hinted at by her “15 minutes” reference, now regarded by many media analysts as a long-term connection given the apparent shortening of attention spans and after all, bound glossy pages are just another technology.  The revival of the print editions of Elle and Cosmopolitan will be an interesting experiment in a difficult economic environment which may get worse before it gets better.  Whether the novelty will attract enough of the "affluent readers" (what used to be called the A1, A2 & B1 demographic) to convince advertisers that it's a place to run their copy will likely decide the viability of the venture and while it's not impossible that will happen, Cosmopolitan is a couple of rungs down the ladder from the "prestige" titles (Vogue the classic mainstream example) which have maintained an advertising base. Cosmopolitan Australia offers a variety of subscription offers, the lowest unit cost available with a two-year, print + digital bundle (12 issues for Aus$105).

Lindsay Lohan on the cover of Cleo: March 2005 (left) and May 2009 (right).

Published in Australia between 1972-2016, Cleo was a monthly magazine targeted broadly at the demographic buying Cosmopolitan.  It was for decades successful and although there was some overlap in readership (and certainly advertising content), there was a perception there existed as distinct species “Cleo women” and “Cosmo women”.  Flicking through the glossy pages, husbands and boyfriends might have struggled to see much thematic variation although it’s likely they looked only at the pictures.  In the same vein, other than the paint, actual Cleo & Cosmo readers mostly probably wouldn’t have noticed much difference between Ford & Chevrolet V8s so it’s really a matter of where one’s interests lie (just because something is sexist stereotyping doesn’t mean it’s not true).  Had the men bothered to read the editorial content, they wouldn’t have needed training in textual deconstruction to detect both titles made much use of “cosmospeak”, a sub-dialect of English coined to describe the jargon, copy style and buzzwords characteristic of post 1950s Cosmopolitan magazine which contributed much to the language of non-academic “lipstick feminism”.  To summarize the market differentiation in women’s magazines, the industry joke was: “Cosmopolitan teaches you how to have an organism, Cleo teaches you how to fake an organism and the Women’s Weekly teaches you how to knit an organism”.  As a footnote, when in 1983 the Women’s Weekly changed from a weekly to monthly format, quickly rejected was the idea the title might be changed to “Women’s Monthly”.

Martyrdom of the Saints Cosmas and Damian, oil on canvas by Fra Angelico (Guido di Pietro, circa 1395-1455), Musée du Louvre, Paris, France).  Fra was from the Italian frate (monk) and was a title for a Roman Catholic monk or friar (equivalent to Brother).

“Cleo” was a spunky two syllables but “Cosmopolitan” had a time-consuming five so almost universally it was used as “Cosmo”.  In Italy, Cosmo is a male given name and a variant of Cosimo, from the third century saint Cosmas who, with his brother Damian, was martyred in Syria during one of the many crackdowns on Christianity.  The name was from the Ancient Greek κόσμος (kósmos) (order, ordered universe), source of the now familiar “cosmos”.  Cosmas and Damian were Arab physicians who converted to Christianity and while ostensibly they suffered martyrdom for their faith, there may have been a financial motive because the brothers practiced much “free medicine”, not charging the poor for their “cures” so their services were understandably popular and thus a threat to the business model of the politically well-connected medical establishment.  The tension between medicine as some sort of social right and an industry run by corporations for profit has occasionally been suppressed but it’s never gone away, illustrated by the battles fought when the (literally) socialist post-war Labour government (1945-1951) established the UK’s NHS (National Health Service) and the (allegedly) socialist “Obamacare” (Affordable Care Act (ACA, 2010)) became law in the US.  By the twenty-first century, the medical establishment could no longer arrange decapitations of cut-price competitors threatening the profit margins but the conflicts remain, witness the freelancing of Luigi Mangione (1998).

The Mazda Cosmo

1968 Mazda Cosmo 110S (110S the export designation).

Although the Mazda corporation dates from 1920, it was another 40 years before it produced its first cars (one of the tiny 360 cm³ “kei cars” (a shortened form of kei-jidōsha, (軽自動車) (light vehicle)) so the appearance at the Tokyo Motor Show of the Cosmo Sport created quite an impression and that it was powered by a two-rotor Wankel rotary engine produced under licence from the German owners added to international interest.  Over two series, series production lasted from 1967 until 1972 but the intricate design was labour intensive to build and being expensive, demand was limited so in five years fewer than 1,200 were sold.  That makes it more of a rarity than a Mercedes-Benz 300 SL Gullwing (the W198, 1,400 of those built 1954-1957) and while Cosmo prices haven’t reached the level of the German car, it is a collectable and a number are now in museums and collections.  Mazda continued to use the Cosmo name until 1996 and while none of the subsequent models were as intriguing as the original, some versions of the JC Series Eunos Cosmo (1990–1996) enjoy the distinction of being the world’s only production car fitted with a three-rotor Wankel engine (the 1969 Mercedes-Benz C111 was a Wankel test-bed). 

1975 Mazda Roadpacer (HJ model)

The Eunos Cosmo was not the only Mazda with a unique place in the troubled history of the Wankel engine, the Roadpacer (1975-1977) also a footnote.  Most Holden fans, as one-eyed as any, don’t have especially fond memories of the HJ (1974-1976) range; usually, all they’ll say is its face-lifted replacement (the HX (1976-1977)), was worse.  With its chassis not including the RTS (radial tuned suspension) which lent the successor HZ (1975-1980) such fine handling and with engines strangled by the crude plumbing used in the era to reduce emissions, driving the HJ or HX really wasn’t a rewarding experience (although the V8 versions retained some charm) so there might have been hope Mazda’s curious decision to use fit their smooth-running, two-rotor Wankel to the HJ Premier and sell it as their top-of-the range executive car might have transformed the thing.  That it did but the peaky, high-revving rotary was wholly unsuited to the relatively large, heavy car.  Despite producing less power and torque than even the anaemic 202 cubic inch (3.3 litre) Holden straight-six it replaced, so hard did it have to work to shift the weight that fuel consumption was worse even than when Holden fitted their hardly economical 308 cubic inch (5.0 litre) V8 for the home market.  Available only in Japan and sold officially between 1975-1977, fewer than eight-hundred were built, the company able to off-load the last of the HXs only in early 1980.  The only thing to which Mazda attached its name not mentioned in their corporate history, it's the skeleton in the Mazda closet and the company would prefer we forget the thing which it seems to think of as "our Edsel".  The Roadpacer did though provide one other footnote, being the only car built by General Motors (GM) ever sold with a Wankel engine.  

The archbishop and the abdication

Archbishop Cosmo Gordon Lang (1932), oil on canvas by Anglo-Hungarian society portraitist Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László).  Lang was christened Cosmo in honor of the local Laird (in Scotland, historically a feudal lord and latterly the “courtesy title” of an area’s leading land-owner, most prominent citizen etc).  The noun Laird was from the northern or Scottish Middle English lard & laverd (a variant of lord).

Scottish Anglican prelate Cosmo Gordon Lang (First Baron Lang of Lambeth, 1864–1945; Archbishop of York 1908–1928 & Archbishop of Canterbury 1928–1942 was a clergyman with uncompromising views about much.  This type was once common in pulpits and although those of his faction exist still in the the modern Church of England, fearing cancellation, they tend now to exchange views only behind closed doors.  He’d probably be today almost forgotten were it not for an incendiary broadcast he made (as Archbishop of Canterbury and thus spiritual head of the Church of England and the worldwide Anglican community) on BBC (British Broadcasting Corporation) Radio on 13 December, 1936, two days after the abdication of Edward VIII (1894–1972; King of the UK & Emperor of India, January-December 1936, subsequently Duke of Windsor).  The address to the nation remains the most controversial public intervention made by a Church of England figure in the twentieth century, judged by many to be needlessly sanctimonious and distastefully personal, its political dimension the least objectionable aspect.

As a piece of text it did have a pleasingly medieval feel, opening with some memorable passages including: “From God he received a high and sacred trust. Yet by his own will he has abdicated” and “It is tragic that the sacred trust was not held with a firmer grip”.  That set the tone although when he said: “There has been much sympathy with the king in his great personal difficulty, and I do not forget how deeply he has touched the hearts of millions with his warm interest in the homes and lives of his people” his large audience may have thought some Christian charity did lurk in the Archbishop’s soul but quickly he let that moment pass, returning to his theme: “The causes which led to the king's decision are fully known to the nation.  But it has been made plain that the reigning sovereign of this country must be one whose private life and public conduct can be trusted to reflect the Christian ideal."

Unlike many modern Archbishops, there was no ambiguity about Lang so in his defense it can be argued he provided the Church with a moral clarity of greater certainty than anything which has in recent decades emanated from Lambeth Palace.  So there was that but by the 1930s the mood of opinion-makers in the UK had shifted and Lang’s text was seen as morally judgmental and the idea Edward VIII had failed not so much as a constitutional monarch but in his divine duty seemed archaic, few in the country framing things as the king’s personal failure before God.  What was clear was old Lang's point Edward’s relationship with a twice-divorced woman disqualified him morally and spiritually from being king which many critics within the church thought a bleak approach to a clergyman’s pastoral role.  In a sermon from the pulpit to the faithful it might have gone down well but as a national address, the tone was misplaced.  In self-imposed exile, privately Edward privately described the broadcast as “a vile and vindictive attack” and in his ghost-written memoirs (A King's Story (1951)), he accused the archbishop of “cruelty”.

Remembered also from the broadcast’s aftermath was a satirical verse printed in Punch by the novelist Gerald Bullett (1893–1958 (who published also under the pseudonym Sebastian Fox)).  Bullet’s included the words “how full of cant you are!”, using “cant” in the sense of “to speak in a manner speak in a hypocritical or insincere), an allusion to Lang signing his documents : “Cosmo Cantuar” (Cantuar the abbreviation for Cantuarium (Latin for Canterbury)):

“My Lord Archbishop, what a scold you are!
And when your man is down, how bold you are!
Of Christian charity how scant you are!
And, auld Lang swine, how full of cant you are!”