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 propern 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.

Variations on a theme of bob, Marama Corlett (b 1984) and Lindsay Lohan (b 1986), 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) adopted 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.

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.

Rootless cosmopolitan comrade Trotsky, murdered with an ice axe on comrade Stalin's orders.

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 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 cared much to conceal the nature of the regime he crafted in his own image.  When asked by Franklin Roosevelt (FDR, 1882–1945, US president 1933-1945) if Molotov had been to New York during his visit to the US, Stalin replied: "No, he went to Chicago to be with the other gangsters".

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.

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 of the old Ford flathead V8 (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!”