Exuberant

Exuberant (pronounced ig-zoo-ber-uh nt)

(1) Of people (and sometimes applied to animals), very high-spirited; effusively and almost uninhibitedly enthusiastic energetic and enthusiastic; extremely joyful and vigorous.

(2) In literary use, of things that grow, abundant, luxuriant, profuse.

(3) In medicine, profuse in growth or production.

1425-1475:  From the late Middle English, from the Middle French exubérant, from the Latin exūberantem (nominative exūberāns), (overabundance; superfluous; extraordinary),  the present active participle of exūberō (be abundant) snd present participle of exūberāre (be abundant, grow luxuriously).  The construct was ex- (out (though here probably in the special sense of "thoroughly)) + ūberāre (be fruitful) which was related to ūber (udder or fertile), from the primitive Indo-European root eue-dh-r-, the original idea being the image of a cow or she-goat which was producing so much milk it naturally dripped or sprayed from the udder.  From the 1510s it was used to mean "growing luxuriantly, and within decades it picked up the idea of describing "an overflowing", a borrowing from the contemporary French exubérance, from the Late Latin exuberantia (superabundance) the abstract noun from exuberare, this extending to the figurative sense of "affections, joyous emotions etc by the mid-seventeenth century (the noun euberancy noted since the 1610s).  Exuberant is a adjective and, exuberance and (the archaic) exuberancy are nouns, exuberating is a verb and exuberantly an adverb; the noun plural is exuberances

Fedspeak, Alan Greenspan and irrational exuberance

Dr Alan Greenspan (b 1926) between 1987-2006 served five terms as chairman of the US Federal Reserve (the US central bank), remarkably, under four presidents from both parties.  Among the Fed’s chairs, he remains the best remembered exponent of a specific fork of officialise: Fedspeak, the jargon-laced technique of expression described by economist Alan Blinder (b 1945) as "a turgid dialect of English" used by Fed chairs to make wordy and vague statements which, while reassuring, are designed not to encourage financial market traders to over-react; some labelled it “constructive ambiguity”.  The coinage is a nod to Newspeak in George Orwell’s (1903-1950) dystopian novel Nineteen Eighty-Four (1949), the invented language of a totalitarian state constructed around a simplified grammar with a closed vocabulary set suitable for expressing only the ideas and concepts of the regime.

Blowing smoke.  Fed chairman Paul Volcker appearing before a congressional committee in 1986, a time one could smoke a cigar at such events.

Previous Fed chairs were well-aware those in financial markets attributed great value to statements from the governors and that could lead to some self-fulfilling prophecies.  To try to prevent this, in their public statements, governors adopted Fedspeak to deliver ambiguous and cautious statements, purposefully to obscure and detract meaning from the statement, Greenspan describing Fed-speak as learning “…to mumble with great incoherence.”  He may have been thinking of the (possibly apocryphal) remark by one pope: “When one is infallible, one has to be careful what one says”.  Once, when a US senator told Greenspan he understood what he’d just said, the chairman replied “Then I must have misspoken" and was delighted when different organs of the financial press reported his speeches using headlines with diametrically different meanings.  There’s always been the suspicion the style emanating from the Fed was intended also to deflect the attention of politicians, Richard Nixon (1913-1994; US president 1969-1974) sometimes complained about the jargon-laden text issued by Arthur Burns (1904–1987; Fed chairman 1970-1978) and the formidable Paul Volcker (1927–2019; Fed chairman 1979-1987) was known to adopt Fedspeak to bat away unwelcome congressional enquiries although he was noted also for plain-speaking about inflation, the money supply and growing structural imbalances in the US economy, forcefully making his views known even to presidents.  In 1987, Ronald Reagan declined to offer Volker another term; perhaps the chairman should have used more Fedspeak.

It’s something of an irony that Greenspan’s best remembered phrase, "irrational exuberance", is really not Fed-speak although the two words were part of a long, complex speech, much of which certainly belongs to the genre.

Clearly, sustained low inflation implies less uncertainty about the future, and lower risk premiums imply higher prices of stocks and other earning assets.  We can see that in the inverse relationship exhibited by price/earnings ratios and the rate of inflation in the past.  But how do we know when irrational exuberance has unduly escalated asset values, which then become subject to unexpected and prolonged contractions as they have in Japan over the past decade?  (Tokyo, 5 December 1996).

Rationally exuberance: Lindsay Lohan collecting an award, 2005 MTV Movie Awards, Los Angeles June, 2005.

Immediately after the speech, the local market unexpectedly dropped 3%, exchanges around the world following the Nikkei’s lead.  The reaction however was short-lived and a major slump didn’t happen for another three years, the biggest dip on the NASDAQ (National Association of Securities Dealers Automated Quotations) composite, the tech-heavy board listing many of the stocks Greenspan thought priced at levels induced by irrational exuberance.   It was only in retrospect the phrase became well-remembered and part of colloquial speech.  Given the history of Fedspeak, "Greenspeak" briefly gained currency but never caught on, presumably because “green” was so vested with connotations in its usual (modern) context and thus easily and erroneously associated with concepts such as “greenwash” & "green-sheen".  Indeed, although Greta Thunberg (b 2003; Swedish weather forecaster) in her critique of COP26 (The 2021 United Nations Climate Change Conference of the Parties, Glasgow, October-November 2021) provided "blah, blah, blah" as a memorable sound-bite, "greenwash" remains the preferred (dismissive) term with which to refer to any superficial or insincere display of concern for the environment, especially one issued by individuals or institutions whose activities remained environmentally destructive.  Constructions like "Greenspanspeak", "Greenspannian", "Greenspanistic" or "Greenspanesque" all just too much of a mouthful, Fedspeak had to do.

All the chairman’s men: Dr Greenspan and his presidents

Ronald Reagan (1911-2004; US president 1981-1989).

George HW Bush (George XLI, 1924-2018; US president 1989-1993).

Bill Clinton (b 1946; US president 1992-2001).

George W Bush (George XLIII, b 1946; US president 2001-2009).

Since the Greenspan epoch, the meaning has shifted, Fedspeak now very much in the tradition of Humpty Dumpty in Lewis Carroll's (1832-1898) Alice Through the Looking-Glass (the 1871 sequel to Alice's Adventures in Wonderland (1865)) which are two of the most marvelous books ever written

"When I use a word," Humpty Dumpty said, in rather a scornful tone, "it means just what I choose it to mean—neither more nor less."

"The question is," said Alice, "whether you can make words mean so many different things."

"The question is," said Humpty Dumpty, "which is to be master—that's all."

The governors claim post-Greenspan Fedspeak is an exercise in imparting meaning in simple, plain-English with no (intended) attempt to obfuscate.

Cokebottle

Cokebottle (pronounced koke-bott-el)

A descriptor for a design where objects either resemble or are inspired by the shape of the classic Coca-Cola bottle.

1965: From an unsuccessful trademark application file in the US by the Chevrolet division of General Motors (GM), cokebottle thus word that never was.  The Coca-Cola name was a deliberately alliterative creation which referred to two of the original ingredients (leaves of the coca plant and kola nuts (source of the caffeine).  Coca is from the Erythroxylaceae family of cultivated plants native to western South America and renowned as the source of the psychoactive alkaloid.  Used since the drink’s debut in 1886, the cocaine was removed from Coca-Cola in 1903, the remainder of the recipe remaining famously secret.  Coke dates from 1908 in US English and was a clipping of clipping of cocaine although it’s not known when the word was first used to refer to the drink but given the rapidity with which slang forms emerge to describe popular products, it’s at least possible it pre-dated the drug reference although the company did not lodge a trade-mark application for Coke until 1944 although in internal company documents it appears at least as early as 1941.  While the drink produced a number of derived forms (Diet Coke, Coke-Bottle, frozen Coke, Coke-float, Coke Zero and the most unfortunate New Coke), those attached to the narcotic are more evocative and include coke dick, cokehead, coke whore and coke-fucked.  Bottle was from the Middle English botel (bottle, flask, wineskin), from the Old French boteille (from which Modern French gained bouteille), from the Medieval Latin butticula, ultimately of uncertain origin but thought by most etymologists to be a diminutive of the Late Latin buttis (cask, barrel).  Buttis was probably from a Greek form related to the Ancient Greek πυτίνη (putínē) (flask) and βοῦττις (boûttis), from the imitative primitive Indo-European bhehw (to swell, puff).

Between its unpromising origin in 1926 as a lower-cost alternative to the anyway non-premium Oakland brand and its demise (with a whimper) in 2010, Pontiac in the 1960s did enjoy a brief shining moment of innovation and style.  Pontiac had been one of a number of companion brands introduced by GM as part of a marketing plan to cover every price segment with a distinct nameplate, Cadillac gaining LaSalle, Oldsmobile gaining Viking, Oakland gaining Pontiac and Buick gaining Marquette; only the high-volume Chevrolet stood alone.  The effects of the Great Depression meant the experiment didn’t last and GM would soon revert five divisions the newcomers Viking and Marquette axed while Pontiac, which had proved both more successful and profitable than the shuttered Oakland, survived, joined LaSalle which lingered until 1940.  Pontiac also returned to the line-up when car production resume late in 1945 and benefiting from the buoyant post-war economy, enjoyed success although much of the engineering was based on the Chevrolet and the side-valve engines were obsolescent.  Things began to change in 1955 when a new overhead-valve (OHV) V8 was introduced, a power-plant which faithfully would serve the line for a quarter century in displacements between 265 cubic inches (4.3 litres) and 455 (7.5L) and unusually for US manufacturers during the era, Pontiac used the one basic block for all iterations.  By 1955, all Pontiacs sold in the US were V8 powered (some sixes were still made for overseas markets) and the division began to become more adventurous, joining the power race, fielding cars in competition and moving up-market.  However, the first real master-stroke which would be one of several innovations which would contribute to such stellar growth in both sales and reputation in the decade to come was the introduction in 1959 of the wide-track advertising campaign.

1959 Pontiac convertibles:  A Canadian Parisienne (left) built on the Chevrolet X-Frame and a US Catalina (right) on Pontiac’s wide-track frame; note the gaping wheel-wells on the Canadian car.

There were not a few visual exaggerations in the wide-track advertising campaign but the underlying engineering was real, the track (the distance between the centre of the tyre-tracks across each axle-line) increased by 5 inches (125 mm).  This improved the handling, giving the Pontiacs a more sure-footed stance than most of the competition and an attractive low-slung look and if anyone had any doubts about the veracity of the “wide track” claim, the Canadian Pontiacs were there for comparison.  Because of internal corporate agreements, the bodies of the Canadian Pontiacs were mounted on the Chevrolet X-frame with its narrow track and the difference is obvious, the wheels looking lost inside the cavernous space created by the overhanging bodywork.  In the US, sales soared although the comparison with the recession-hit 1958 is probably misleading but the success of the wide-track programme did propel the division from sixth to fourth place in the industry and for much of the 1960s Pontiac Motor Division (PMD) was one of the industry's most dynamic name-plates.

1960s Pontiac Wide-Track advertising graphic art by Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995).

Memorable as the 1960s Pontiacs were, of note too was the graphic art produced by Art Fitzpatrick & Van Kaufman whose renderings were ground-breaking in the industry in that rather than focusing on the machine, they were an evocation of an life-style, albeit one which often bore little relationship to those enjoyed  by typical American consumers.  Still, that was and remains the essence of aspirational advertising and Fitzpatrick & Kaufman influenced their industry with techniques still seen today.  Truth-in-advertising rules in the 1960s were not as demanding as they would become, and although the big Pontiacs after 1959 were genuinely wide-tracked, they weren’t quite as wide as Fitzpatrick & Kaufman made them appear.  Never had longer, lower & wider been so wide.

Envious of what Pontiac had achieved in trade-marking wide-track for the wide track advertising campaigns, GM’s Chevrolet division attempted to claim both cokebottle and coke-bottle for similar purposes, wishing to run a campaign to tie in with their new styling idea for its big cars, using similar curves to those seen on the classic coke bottle. The authorities in Detroit declined the application and legal advice to Chevrolet suggested there was little chance of success against likely opposition from the Coca-Cola Corporation.

Chevrolet Impala two-door hardtops: 1965 (left), 1966 (centre) & 1967 (right).

However, along with much of the industry, Chevrolet did produce cars inspired by the shape which came to be known as coke bottle styling and on the big cars, the cokebottle motif was expressed mostly in the curves applied to the rear-coachwork.  Chevrolet toned-down the look in 1968-1969 but by then it had spread to other manufacturers, including those across the Atlantic and Pacific Oceans and although by the early 1970s it was dated, the realities of production-line economics meant the look in some places lingered, even into the 1980s, the odd revival (usually in the rear-fender shape) still seen from time-to-time though modern interpretations do tend to be more subtle than the exuberant lines of the 1960s.  Essentially bodies with outward curving fenders with a narrow centre, the technique had also been adopted by the aeroplane designers as a necessary means of dealing with the aerodynamic challenges created by supersonic speeds and although the National Advisory Committee for Aeronautics (NACA) labelled the design principle area rule, most engineers referred to it as coke bottle or, among themselves, the Marilyn Monroe.

Lindsay Lohan seems to tend to prefer her Coca-Cola in cans but occasionally is seen drinking from the bottle.

1969 Chevrolet Corvette L88 convertible.  The classic example of cokebottle styling is the third generation (S3) Chevrolet Corvette (1968-1982) where the idea is executed at both the front and rear.  In the design of twenty-first century sports cars, the motif is still used.

Coca-Cola bottles and a replica of the 1914 A.L.F.A. Aerodinamica Prototipo which used the shape of the bottle introduced in 1900 (in reverese). 

In the narrow technical sense, cokebottle styling had been done (admittedly in reverse) as early as 1914 although there’s nothing to suggest Coca Cola's bottle design of 1900-1914 provided any inspiration.  The A.L.F.A. 40/60 HP Aerodinamica Prototipo was built by Italian coachbuilder Carrozzeria Castagna in 1914 on a commission from Milanese Count Marco Ricotti.  Although relatively large & heavy, the aerodynamic properties of the teardrop-shaped body permitted an impressive top speed of 86 mph (138 km/h).

Sombrero

Sombrero (pronounced som-brair-oh or sawm-bre-raw (Spanish))

(1) A sometimes highly embroidered, broad-brimmed hat of straw or plush felt, usually with a high conical or cylindrical crown and a saucer-shaped brim, worn especially in Spain, Mexico, and the south-western United States.

(2) A style of automobile wheel-cover which became popular in the US during the 1950s, the enveloping design vaguely similar to the motifs associated with the hat.

(3) A mixed drink, made with coffee liqueur and cream.

(4) In ten-pin bowling, a series of four consecutive strikes.

1590–1600: From the Spanish from sombrero de sol (broad-brimmed hat offering shade from the sun) and originally "umbrella, parasol" (a sense found in English by the 1590s), from sombra (shadow; shade) from the Late Latin subumbrare (to shadow), the construct being sub (under) + umbrāre (from umbra (shadow)) + ero (the dative & ablative singular of erus, from the Proto-Italic ezos (master), from the primitive Indo-European heshós (master) and cognate with the Hittite išhāš (master)) and thus literally "shade-maker".  Sombrero is a noun and sombreroed is an adjective, (the non-standard sombrerolike & sombreroesque both used informally); the noun plural is sombreros.

Politicians are often compelled to wear sombreros in the search for votes.  Others wear them by choice.

(1) Gerald Ford (1913–2006; US president 1974-1977).

(2) Comrade Marshal (Josip Broz) Tito (1892–1980;  Yugoslav president 1953-1980).

(3) Adlai Stevenson II (1900–1965; Democratic presidential nominee 1952 & 1956).

(4) Hugo Chávez (1954–2013; Venezuelan president 1999-2002 & 2002-2013).

(5) Richard Nixon (1913-1994; US president 1969-1974).

(6) Britney Spears (b 1981; entertainer).

(7) Pope Benedict XVI (b 1927; Roman Catholic Pope 2005-2013, pope emeritus since).

(8) Barry Goldwater (1909–1998; Republican presidential nominee 1964).

1961 Lincoln Continental SS-X-100 with sombrero wheel covers, Dallas, 22 November 1963 (left) and with the (ex Continental Mark II) turbine-style wheel covers and some of X-100’s protective accessories (right).

Traces of a sombrero-like shape can be discerned in the designs used for the early post-war Cadillacs but it was in the 1950s the style became popular with many manufacturers emulating the lines.  Although less popular by the early 1960s, the coachbuilders Hess & Eisenhardt chose to use sombrero-style wheel covers from the 1957 Lincoln Premiere when the White House’s 1961 presidential parade limousine was updated in 1963 with a current model grill.  This was the famous SS X-100 (the Secret Service inventory number) in which the president was assassinated in Dallas in November 1963.  It was extensively re-modeled in the aftermath of the assassination (and again in 1967), Hess & Eisenhardt reverted to the turbine-style wheel covers from the Continental Mark II (1956-1957) with which the car had originally been fitted.  Although other presidential parade cars were built in 1968 and 1972, X-100 continued to be used by Presidents Johnson, Nixon, Ford and Carter until 1977 and it’s now on permanent display in the Henry Ford Museum in Dearborn, Michigan.

1952 Cadillac sombrero wheel covers (16 inch reproductions) (left), 1954 Packard sombrero wheel covers (centre) and 1957 Cadillac sombrero wheel cover, Cadillac by 1957 unable to resist adding embellishments.

The terms “wheel cover” & “hubcap” (or hub-cap) have long been used interchangeably but the two, historically, are different.  The distinction between the two is that a wheel cover covers the entire diameter of the wheel whereas a hubcap covers only the center portion of the wheel, concealing at most only the lug nuts which secure the wheel.  The origin of the hub cap pre-dates powered-transportation and was simply a device which fitted over the hub of a wheel to prevent dirt and debris from entering the assembly and contaminating the grease which provided lubrication and some of the early versions were actually called dirt-caps or grease-caps.

1937 Rolls-Royce Phantom III saloon with wire wheels with centre hub cap (left) and an unusual 1937 Rolls-Royce Phantom III pillarless fixed head coupé (FHC) with wheel covers over wire wheels.

As wheel designs evolved from those used on hand-carts or horse-drawn vehicles, the hubcaps were enlarged to extend protection to the lug nuts, reducing abrasion and limiting the moisture penetration which encouraged rust.  The hubcap was thus a purely utilitarian device and this functionality was extended in the 1920s when all-enveloping wheel covers (some of which had actually been seen in the nineteenth century) began to appear in volume.  These were usually covers for wire wheels (a type preferred because they were much lighter that those made from pressed steel) and served to protect both the spokes and the brakes behind from dirt and the impact of stones and rocks, an important consideration when so many roads were un-sealed.  Owners and drivers appreciated the protection, wire wheels notoriously time-consuming to clean.  One drawback however was that the air-flow to the brake drums was inhibited so the brakes were more prone to overheating, thus reducing their retardative effect but as some soon discovered, speed and economy were actually improved because the smooth wheel covers were aerodynamically more efficient, as aspect of design which continues to be exploited to this day.  In the UK, both hubcaps and wheel covers were originally called nave plates.  Nave (hub of a wheel) was from the Middle English nave, from the Old English nafu, from the Proto-West Germanic nabu, from the Proto-Germanic nabō (which influenced the Dutch naaf, the German Nabe and the Swedish nav), from the primitive Indo-European hneb- (navel) and related to the Latin umbō (shield boss), the Latvian naba and the Sanskrit नभ्य (nabhya).  The idea of it being “something central” was a development from the Latin nāvem, the singular accusative of nāvis, terms from architecture which referred to the middle section of a church (later extended to other structures & shipbuilding).

1959 Imperial Silvercrest Landau (left), 1959 Edsel Citation convertible (centre) and 1957 Cadillac Eldorado Biarritz (right).

Also exploited, for better and worse, were aesthetic sensibilities.  It was in the stylistically exuberant US of the 1950s that wheel covers became truly extravagant and heavy, the latter something that brought its own problems.  The design teams took to wheel covers with enthusiasm because changes were cheap to implement and they soon became part of product differentiation, the higher in the hierarchy a model sat, the more elaborate the wheel covers were likely to be.  The sombreros were just one style, others referencing influences as diverse as the original wire wheels, the turbines in jet engines, water fountains, the full moon (though without pock-marks) and beehives.

Dog dishes: 1966 Ford Fairlane 427 (left), 1970 Dodge Challenger R/T 440 Six Pack and 1969 Yenko Chevrolet Nova 427.

Wheel covers became part of what was typically an annual cycle of styling changes and it wasn’t unusual for those used on last year’s top-of-the-line model to re-appear on a cheaper line and just because wheel covers had arrived, hubcaps didn’t go away, fitted almost always as standard equipment on the cheapest entry-level models and those defined as heavy-duty such as the ones built for police fleets.  Simple steel stampings, they were cheap to produce and, being lightweight, were less prone to becoming detached during brisk driving, the “flying hubcap” (actually usually a wheel cover) a noted feature of many of Hollywood’s car chases.  The simple pressings were sometimes dubbed “poverty hubcaps” but a more common nickname was “dog dish”, a reference to their appearance if upturned.

Mercedes-Benz 600 SWB with early, two-piece hub cap & trim ring combination (left) and the later, less pleasing, one-piece wheel cover.

The wheel cover as part of a re-style was not restricted to the US but manufacturers in the UK & Europe were more conservative (an exception to this tended to be the locally produced models from companies ultimately owned by US corporations; as in Australia, these sometimes used hand-me-downs from Detroit), hubcaps persisting longer while “trim-rings” began to be added to emulate wheel covers but designs were often carried over from one model to the next.  In this, the Mercedes-Benz 600 (M100, 1963-1981) is a footnote in hubcap history in that in its eighteen-odd years in production, the only styling change was to replace the two-piece hubcap/trim ring combination with a one-piece wheel cover.  This was unfortunate because the earlier style better suited the car.

Wheel covers remained of interest to those designing cars for competition and the trade-off between brake cooling and the aerodynamic advantages possible weighed up according to the nature of the event.  Those setting speed records were particularly attracted to the smoothest possible shape although, where possible many choose to enclose the wheel to whatever extent was possible and Jaguar discovered an additional 3-4 mph (km/h) was possible if the XK120’s rear wheels were wholly enclosed by fender skirts (also called spats).  In the modern era, even with aluminum or composite wheels optimized for lightness and brake cooling, there are manufacturers which use additional wheel covers, either to produce downforce for use in competition or to reduce drag, lowering energy consumption to increase a vehicle’s range.

The selfie sombrero, a 2014 co-development between Christian Cowan-Sanluis and Acer Inc of Taiwan.

In one of the IT industry’s less remembered collaborations with the fashion business, in 2014 designer Christian Cowan-Sanluis (b 1994) joined with Taiwanese (Taiwan a renegade province of the People’s Republic of China (PRC)) manufacturer Acer to produce a “limited-edition” (a perhaps unnecessary announcement) sombrero with an integrated tablet, able to spin through 360^o.  Said to be the ultimate solution to selfie takers who struggle to find their best angle, the wide-brimmed apparatus included an Iconia A1-840 tablet.  Listed upon release at a not unreasonable Stg£599, the selfie-sombrero was based on a hat in Cowan-Sanluis' autumn-winter 2014 collection, noted for having been modeled by Lady Gaga (b 1986).

Lady Gaga in original sparkly pink sombrero from Christian Cowan-Sanluis’ autumn-winter 2014 collection.

Technically, the design was helpful for selfie-takers because of the mounting which allowed the tablet to spin through 360^o, helping the user to determine the best angle while snapping and reviewing the results.  With an internet connection, the perfect selfie could then instantly be uploaded to the social platform of choice.  Early adopters were encouraged to place an order, the designer noting the creation of ten pink sparkly glitter cases with accompanying hats in the same style as that worn by Lady Gaga.

Lindsay Lohan in Sombrero.

Bubble

Bubble (pronounced buhb-uhl)

(1) A spherical globule of gas (or vacuum) contained in a liquid or solid.

(2) Anything that lacks firmness, substance, or permanence; an illusion or delusion.

(3) An inflated speculation, especially if fraudulent.

(4) The act or sound of bubbling.

(5) A spherical or nearly spherical canopy or shelter; dome.

(6) To form, produce, or release bubbles; effervesce.

(7) To flow or spout with a gurgling noise; gurgle.

(8) To speak, move, issue forth, or exist in a lively, sparkling manner; exude cheer.

(9) To seethe or stir, as with excitement; to boil.

(10) To cheat; deceive; swindle (archaic).

(11) To cry (archaic Scots).

(12) A type of skirt.

(13) In infection control management, a system of physical isolation in which un-infected sub-sets population are protected by restricting their exposure to others.

1350-1400: From the Middle English bobel (noun), possibly from the Middle Dutch bobbel and/or Middle Low German bubbele (verb), all probably of echoic origin.  Related forms appear as the Swedish bubbla, the Danish boble and the Dutch bobble.  The use to describe markets, inflated in value by speculation widely beyond any relationship to their intrinsic value, dates from the South Sea Bubble which began circa 1711 and collapsed in 1720.  In response to the collapse, parliament passed The Bubble Act (1720), which required anyone seeking to float a joint-stock company to first secure a royal charter.  Interestingly, the act was supported by the South Sea Company before its failure.  Ever since cryptocurrencies emerged, many have been describing them as a bubble which will burst and while that has happened with particular coins (the exchange collapses are something different), the industry thus far has continued with only the occasional period of deflation.  Bubble & bubbling are nouns & verbs, bubbler is a noun, bubbled is a verb, bubbly is a noun & adjective, bubbleless & bubblelike are adjectives and bubblingly is an adverb; the noun plural is bubbles.

An artificial tulip in elisa mauve.

However although the South Sea affair was the first use of “bubble” to describe such a market condition, it wasn’t the first instance of a bubble which is usually regarded as the Dutch tulpenmanie (tulip mania) which bounced during the 1630s, contract prices for some bulbs of the recently introduced and wildly fashionable tulip reaching extraordinarily high levels, the values accelerating from 1634 until a sudden collapse in 1637.  Apparently just a thing explained by a classic supply and demand curve, the tulip bubble burst with the first big harvest which demonstrated the bulbs and flowers were really quite common.  In history, there would have been many pervious bubbles but it wasn’t until the economies and financial systems of early-modern Europe were operating that the technical conditions existed for them to manifest in the form and to the extent we now understand.  Interestingly, for something often regarded as the proto-speculative asset bubble and a landmark in economic history, twentieth-century revisionist historians have suggested it was more a behavioral phenomenon than anything with any great influence on the operation of financial markets or the real economy, the “economic golden age” of the Dutch Republic apparently continuing unaffected for almost a century after the bottom fell out of the tulip market.  The figurative uses have been created or emerged as required, the first reference to anything wanting firmness, substance, or permanence is from 1590s.  The soap-bubble dates from 1800, bubble-shell is from 1847, bubble-gum was introduced in 1935 and bubble-bath appears first to have be sold in 1937.  The slang noun variation “bubbly” was first noted in 1920, an invention of US English.  

The word "bubble" spiked shortly after the start of the Covid-19 pandemic.  Over time, use has expanded to encompass large-scale operations like touring sporting teams and even the geographical spaces used for the 2022 Beijing Winter Olympics but the original meaning was more modest: small groups based on close friends, an extended family or co-workers.  These small bubbles weren't supposed to be too elastic and operated in conjunction with other limits imposed in various jurisdictions; a bubble might consist of a dozen people but a local authority might limit gatherings to ten in the one physical space so two could miss out, depending on the details in the local rules.  Bubble thus began as an an unofficial term used to describe the cluster of people outside the household with whom one felt comfortable in an age of pandemic.

Tulips

Bubbles were however a means of risk-reduction, not a form of quarantine.  The risks in a bubble still exist, most obviously because some may belong to more than one bubble, contact thus having a multiplier effect, the greater the number of interactions, the greater the odds of infection.  Staying home and limiting physical contact with others remained preferable, the next best thing to an actual quarantine.  The more rigorously administered bubbles used for events like the Olympics are essentially exercises in perimeter control, a defined "clean" area, entry into which is restricted to those tested and found uninfected.  At the scale of something like an Olympic games, it's a massive undertaking to secure the edges but, given sufficient resource allocation can be done although it's probably misleading to speak of such an operation as as a "bubble".  Done with the static-spaces of Olympic venues, they're really quarantine-zones.  Bubble more correctly describes touring sporting teams which move as isolated bubbles often through unregulated space.

The Bubble Skirt

A type of short skirt with a balloon style silhouette, the bubble dress (more accurately described as a bubble skirt because that’s the bit to which the description applies) is characterized by a voluminous skirt with the hem folded back on itself to create a “bubble” effect at the hemline.  Within the industry, it was initially called a tulip skirt, apparently because of a vague resemblance to the flower but the public preferred bubble.  It shouldn’t be confused with the modern tulip skirt and the tulip-bubble thing is just a linguistic coincidence, there’s no link with the Dutch tulipmania of the 1630s.  Stylistically, the bubble design is a borrowing from the nineteenth century bouffant gown which featured a silhouette made of a wide, full skirt resembling a hoop skirt, sometimes with a hoop or petticoat support underneath the skirt.   While bouffant gowns could be tea (mid-calf) or floor length, bubble skirts truncate the look hemlines tend to be well above the knee.  Perhaps with a little more geometric accurately, the design is known also as the “puffball” and, in an allusion to oriental imagery, the “harem” skirt.  Fashion designer Christian La Croix became fond of the look and a variation included in his debut collection was dubbed “le pouf” but, in English, the idea of the “poof skirt” never caught on.

Lindsay Lohan in Catherine Malandrino silk pintuck dress with bubble skirt, LG Scarlet HDTV Launch Party, Pacific Design Center, Los Angeles, April 2008.

It must have been a memorable silhouette in the still austere post-war world, a sheath dress made voluminous with layers of organza or tulle, the result a cocoon-like dress with which Pierre Cardin and Hubert de Givenchy experimented in 1954 and 1958, respectively. A year later, Yves Saint Laurent for Dior added the combination of a dropped waist dress and bubble skirt; post-modernism had arrived.  For dressmakers, bubble fashion presented a structural challenge and mass-production became economically feasible only because of advances in material engineering, newly available plastics able to be molded in a way that made possible the unique inner construction and iconic drape of the fabric.  For that effect to work, bubble skirts must be made with a soft, pliable fabric and the catwalk originals were constructed from silk, as are many of the high end articles available today but mass-market copies are usually rendered from cotton, polyester knits, satin or taffeta.

The bubble in the 1950s by Pierre Cardin (left), Givenchy (centre) & Dior (right).

The bubble skirt was never a staple of the industry in the sense that it would be missing from annual or seasonal ranges, sometimes for a decade or more and sales were never high, hardly surprising given it was not often a flattering look for women above a certain age, probably about seven or eight.  Deconstructing the style hints at why: a hemline which loops around and comes back up, created sometimes by including a tighter bottom half with the bulk of additional material above, it formed a shape not dissimilar to a pillow midway through losing its stuffing.  For that reason, models caution the look is best when combined with a sleek, fitted top to emphasize the slimness of the waistline, cinched if necessary with a belt some sort of delineating tie.  The bubble needs to be the feature piece too, avoiding details or accessories which might otherwise distract; if one is wearing a partially un-stuffed pillow, the point needs to be made it’s being done on purpose.

The bubble is adaptable although just because something can be done doesn’t mean it should be done.  The bubble skirt has however received the Paris Hilton imprimatur so there’s that.

On the catwalks however, again seemingly every decade or so, the bubble returns, the industry relying on the short attention span of consumers of pop culture inducing a collective amnesia which allows many resuscitations in tailoring to seem vaguely original.  Still, if ever a good case could be made for a take on a whimsical 1950s creation to re-appear, it was the staging of the first shows of the 2020-2021 post-pandemic world and the houses responded, Louis Vuitton, Erdem, Simone Rocha and JW Anderson all with billowy offerings, even seen was an improbably exuberant flourish of volume from Burberry.  What appeared on the post-Covid catwalk seemed less disciplined than the post-war originals, the precise constraints of intricately stitched tulle forsaken to permit a little more swish and flow, a romantic rather than decadent look.  The reception was generally polite but for those who hoped for a different interpretation, history suggests the bubble will be back in a dozen-odd years.

Ostentation

Ostentation (pronounced os-ten-tey-shuhn or os-ten-tey-tuhn)

(1) Pretentious or conspicuous show, as of wealth or importance; display intended to impress others or invite admiration or applause.

(2) The act of showing or exhibiting; a display for some purpose (archaic).

(3) A collective noun for a number of peacocks.

1425–1475:  From the late Middle English ostentacioun (ambitious display, pretentious show, display intended to evoke admiration or attract attention), from the mid-fourteenth century Middle French ostentation, from the Old French ostentacion, from the Classical Latin ostentātiōnem (nominative ostentātiō) (showing, exhibition, vain display), past participle of ostentāre (to present, display or exhibit), the construct being ostentat(ionem) + ion.  The –ion suffix was from the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  The adjective ostentatious in the sense of “characterized by display or show from vanity or pride” was in use by the turn of the eighteenth century while the more familiar meaning “showy, gaudy, intended for vain display” emerged probably within a decade.  In sixteenth & seventeenth century English there were the now extinct forms ostentative, ostentive & ostentous while the adverb ostentatiously and the noun ostentatiousness both appear in texts from the 1650s.  Ostentation & ostentatiousness are nouns, ostentatious is an adjective and ostentatiously is an adverb; the noun plural is ostentations.  The adjective unostentatious is almost always used as a compliment.

The origins of the meaning of the adjectives ostensive & ostensible (neither directly associated with ostentation’s sense of “showy, flamboyant etc”) lie in the now archaic meaning of ostentation as “an act of showing or exhibiting; a display for some purpose”.  Ostensive (apparently true, but not necessarily; clearly demonstrative) was from the French ostensif, from the Medieval Latin ostensivus.  Ostensible (apparent, evident; meant for open display; appearing as such; being such in appearance; professed, supposed (rather than demonstrably true or real)) was from the French ostensible, the construct being the Latin ostens(us), the past participle of ostendō (show) + -ible.  The suffix –ible was from the Middle English, from the Old French, from the Latin –ibilis (the alternative forms were –bilis & -abilis.  An adjectival suffix, now usually in a passive sense, it was used to form adjectives meaning "able to be", "relevant or suitable to, in accordance with", or expressing capacity or worthiness in a passive sense.  The suffix -able is used in the same sense and is pronounced the same and –ible is generally not productive in English, most words ending in -ible being those borrowed from Latin, or Old & Middle French; -able much more productive although examples like collectible do exist.  The other form in the Medieval Latin was ostensibilis.

An ostentation of peacocks.

The collective noun for peacocks (male), peahens (female) & peachicks (the offspring) is “pride”, “ostentation” or “muster”.  All these can also be used of just the peacocks but the popular convention seem to be to use “ostentation”, the reason being it so suits the extravagant, colorful plumage.  The females have feathers which blend in with the surroundings, making them less conspicuous, a differentiation which may strike a chord with feminists.

Recently, the reasons for the difference were explained in a helpful piece which was obviously authoritative because it was written by Ms Emily Peacock.  According to Darwinian theory, the large, heavy assembly of tail feathers must confer some evolutionary advantage and in the case of the peacock the colourful array’s purpose must be compelling because zoologists have in the wild noted cases where the train has grown to the extent the weight impedes movement, thereby making the unfortunate bird “vulnerable to predators.”  Ms Peacock explained evolution happened this way because of a particular instance of Darwin’s theory of natural selection: “survival of the sexiest”, the peahen selecting “beautiful males for mating”.  While it’s true the spreading of the tail does create a large surface area with the illusion of large penetrating eyes which can deter potential predators (such as snakes or large wild cats), it’s the appeal to peahens which matters most, the “…more extravagant the fan, the more likely a male will find a mate” and thus continue his gene line.  At the biological level, the point is that rather than being shallow creatures attracted merely to the attractiveness of the display, the peahen uses the peacock's tail feathers as a marker of health and virality, choosing the male with the most obviously strong genes because it means her offspring will be more likely to survive.  

A peacock being ostentatious; a peahen playing hard to get.

The feathers with their array of exotic colors also attract people and as well as their use in fashion (real and stylized), for millennia they have been symbols of wealth and power.  The Peacock Throne (a jewelled creation on which early seventeenth century craftsmen toiled for some six years) was the seat of the emperors of the Mughal Empire in India although the term gained its modern notoriety because of the later association with the Shahs of Persia (Iran after 1935), the object looted by invading Persians in 1739.  Although always popularly known as the “Peacock Throne” because of the prominent use of depictions of the birds in the renderings, there were various official names for the throne, all quite prosaic by comparison.  The appeal continued in modern times, the NBC (National Broadcasting Company) broadcasting network in the US adopting the peacock’s fan for the corporate logo when in 1956 television transmission began in color.  Still used today, the colors allude to the spectrum used in TV broadcasts rather than the bird’s more elegant mix.

Faux ostentation: Lindsay Lohan in fur.  Given that on none of these fur-trimmed outings did Tash Peterson, PETA (People for the Ethical Treatment of Animals) activists or other angry vegans appear from the darkness flinging blood and screaming accusations of murder, it may be assumed she was wearing faux fur.

Like many twentieth century politicians who in their youth served in the military during technologically simpler times and then immersed themselves in the history of pre-modern battle, emerging with a Napoleonic attitude to the business, Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) disapproved of the trend in military personnel establishments to “bottom-heaviness”, noting the ever-growing volume of (usually) non-combatant mechanics, drivers, dentists and such.  He was especially critical at the numbers on the “Q side” (based on the office of Quartermaster, the officer in charge of barracks, stores, supplies and logistics), the legion of clerks, cooks, storemen and others who functions as the cogs in the modern, mechanised military machine.  Although no technophobe (indeed his enthusiasm for new inventions often caused alarm in the high command), Churchill’s view of an army was still colored by memories of knee-to-knee cavalry charges and rows of battalions advancing with fixed bayonets; he was sceptical of the need for the administrative appendage to comprise sometimes nearly half a unit’s establishment.  In his view, the army needed “more fighting men and fewer typists”, complaining to Field Marshal Lord Alanbrooke (1883–1963; Chief of the Imperial General Staff (CIGS) 1941-1946) that the British army was “like a peacock, all tail and very little bird”.  Alanbrooke, one of the country’s most prominent bird-watchers (the respectable term now “birder” and the hobby “birding”) wasn’t about to let the ornithological slight pass unanswered and responded: “The peacock would be a very poorly balanced bird without its tail.”  Churchill remained unconvinced but, unlike his opponent in Berlin, didn’t interfere in such operational details.

GM’s advertising for the 1958 Buicks.  So taken was Buick with the grille that unusually, it was given a name: The “Fashion-Aire Dynastar Grille” which contained 160 diecast faceted chrome squares.  The aerospace industry was quite an influence on Detroit during this era and B-58 was an allusion to the naming schemes used for US warplanes, the notion of a B-52 for the road at the time an attractive idea for many buyers.

Before sanity (in shape if not always in size) began to prevail in the 1960s, the trend in post-war car design in the US had been one of increasing ostentation and while it was the 1957 Chrysler line which probably deserves the most blame for starting it, it was the huge resources of the General Motors Technical Center (a billion dollar (in 2024 US$ values) venture in the 1950s) which allowed stylists (they weren’t yet called “designers”) to cast themselves adrift from the moorings of reality imposed by restraint and good taste.  To understand what happened in the late 1950s, one has to imagine some of the more bizarre creations stalking the catwalks of London, Paris, Milan & New York not only appearing in high street shops with affordable price tags but people buying them to wear to the grocery store.  The famous tail-lamps recalling bright red bullets fired from the vertiginous fins of the 1959 Cadillac are the best remembered from the era but in fairness they are nicely detailed and a single point of focus on a design which was, by comparison with some, actually not over-embellished.

1958 Buicks: Special convertible (left) and Roadmaster Limited convertible (right).  The side trim on the 1958 Buicks varied according to their place in the model hierarchy (Special, Super, Century & Roadmaster & Roadmaster Limited (Riviera was a body style designation and a badge as such wasn’t used in 1958)).  It seems a sterile debate to discuss which is the more ostentatious.

The award for the most ostentatious range of those years goes to the 1958 Buicks, the most expensive of which were adorned with just about every motif which could be rendered in chrome or stainless steel, curves, angles and lines horizontal & vertical all competing for the eye.  Infamously, GM’s bulbous 1958 bodies were so obviously dated they were replaced after only one season and while the 1959 models were ostentatious in their own way (exuberant rather than baroque), to this day they have many admirers while the 1958 cars are thought by most something between a period piece and a freak show.  In an issue which afflicted the whole industry, the single platform used by the big three (GM, Ford & Chrysler) for most of their models had become very big (the unique ones used for some exclusive lines bigger still) and all had projects in the pipeline to respond to the increasing sales of smaller imports, programmes which ultimately would yield the highly successful “compact” and “intermediate” ranges.  The influence the existence these smaller cars would have on the appearance of the full-sized lines is often underestimated; their reduced size meant the styling tricks which worked at scale couldn’t be replicated so something simpler had to be used.  This produced bodies which were balanced and attractive, influencing the upcoming full-sized lines even before their release and the big cars from 1958-1961 were (almost) the last of their type; baroque didn’t quite die with the coming of 1962 because Chrysler still had old ideas to re-cycle but that was the last gasp.

Buick’s promotional postcard for the 1958 Buick “Wells Fargo”.

There was then, in 1958, no company with a better base on which to build a distinctive promotional vehicle for a TV network and Buick custom-made one for Dale Robertson (1923–2013), the star of NBC's western adventure series Tales of Wells Fargo (1957-1962).  The unique interior features included bucket seats of Danish calfskin with hand-tooled western motif leather inserts (the door panels matching), a then still quite novel centre console, natural calfskin carpeting and flip up door handles while the exterior was in one way (sort of) toned-down, solid walnut panels replacing the three banks of imitation louvers on both sides.  However, to add to the effect, the words “Wells Fargo” appeared on the panels in large chromed letters and to remind everyone of the “western” theme, a longhorn steer's head was superimposed over the standard hood emblem, flipper wheel-covers completing the package.  The highlight though was the armory, (1) a gun rack holding two chrome-plated Winchester lever-action rifles with carved stocks and (2) hand-tooled leather pistol holsters attached to each door, containing a brace of pearl-handled .38 caliber Colt revolvers.  In the America of Dwight Eisenhower (1890-1969; US president 1953-1961), these handy accessories seem to have attracted no critical comment but then, the dawn of the age of mass shootings was almost a decade away.  Proud of their work, Buick’s PR team toured the country, displaying the car at shows before presenting it to Mr Robertson who drove it for the next three decades-odd.  The car still exists and occasionally appears at collector auctions.