Cool (aesthetic)

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Coolness is an aesthetic of attitude, behavior, comportment, appearance and style which is

generally admired. Because of the varied and changing connotations of cool, as well as its
subjective nature, the word has no single meaning. It has associations of composure and selfcontrol (cf. the OED definition) and often is used as an expression of admiration or approval.
Although commonly regarded as slang, it is widely used among disparate social groups, and has
endured in usage for generations.
Contents
[hide]

1Overview
o

1.1As a behavioral characteristic

1.2As a state of being

1.3As aesthetic appeal

1.4As fashion

1.5As an epithet

2Regions
o

2.1Africa and the African diaspora

2.1.1African Americans

2.1.1.1Cool pose

2.2East Asia

2.3Europe

2.3.1Aristocratic and artistic cool

2.3.2European inter-war cool

2.3.3Postwar cool

2.3.4The Polish cool

2.3.5Czech cool

3Theories
o

3.1As a positive trait

3.2As social distinction

3.3As an elusive essence

3.4As a marketing device

4Definitions

5See also

6References

7Further reading

Overview

A timeline of cool, adapted from Dick Pountain and David Robins,Cool Rules: Anatomy of an Attitude

There is no single concept of cool. One of the essential characteristics of cool is its mutability
what is considered cool changes over time and varies among cultures and generations. [1]
One consistent aspect however, is that cool is wildly seen as positive and desirable.

[2] [3]

Although there is no single concept of cool, its definitions fall into a few broad categories.

As a behavioral characteristic
The sum and substance of cool is a self-conscious aplomb in overall behavior, which entails a set
of specific behavioral characteristics that is firmly anchored in symbology, a set of
discernible bodily movements, postures, facial expressions and voice modulations that are
acquired and take on strategic social value within the peer context.[4]
Cool was once an attitude fostered by rebels and underdogs, such as slaves, prisoners, bikers
and political dissidents, etc., for whom open rebellion invited punishment, so it hid defiance

behind a wall of ironic detachment, distancing itself from the source of authority rather than
directly confronting it.[5]
In general, coolness is a positive trait based on the inference that a cultural object (e.g., a person
or brand) is autonomous in an appropriate way. That is the person or brand is not constrained by
the norms, expectation of beliefs of others.[6]

As a state of being
Cool has been used to describe a general state of well-being, a transcendent, internal peace and
serenity.[7] It can also refer to an absence of conflict, a state of harmony and balance as in, "The
land is cool," or as in a "cool [spiritual] heart." Such meanings, according to Thompson, are
African in origin. Cool is related in this sense to both social control and transcendental balance. [7]
Cool can similarly be used to describe composure and absence of excitement in a person
especially in times of stressas expressed in the idiom to keep your cool.
In a related way, the word can be used to express agreement or assent, as in the phrase "I'm
cool with that".

As aesthetic appeal
Cool is also an attitude widely adopted by artists and intellectuals, who thereby aided its
infiltration into popular culture. Sought by product marketing firms, idealized by teenagers, a
shield against racial oppression or political persecution and source of constant cultural
innovation, cool has become a global phenomenon that has spread to every corner of the earth.
[8]
Concepts of cool have existed for centuries in several cultures.[1]

As fashion
In terms of fashion, the concept of cool has transformed from the 1960s to the 1990s by
becoming integrated in the dominant fabric of culture. Americas mass-production of ready-towear fashion in the 1940s and 50s, established specific conventional outfits as markers of ones
fixed social role in society. Subcultures such as the Hippies, felt repressed by the dominating
conservative ideology of the 1940s and 50s towards conformity and rebelled. According to Dick
Pountains definition of cool, Hippies fashionable dress can be seen as cool because of its
prominent deviation away from the standard uniformity of dress and mass-production of dress,
created by the totalitarian system of fashion was seen as cool. [9] They had various different
styles that features bold colors such as the Trippy Hippie, the Fantasy Hippie, the Retro
Hippie, the Ethnic Hippie, and the Craft Hippie. [10] Additionally, according to the strain theory,
Hippies hand production of their clothing makes them cool. By naturally hand-making their
clothing they rebelled against consumerism in a passive manner because it allowed them to
simply not participate in that lifestyle, which makes them cool. As a result of their
disengagement, the scope of self-critique was limited because their mask filtered negative
thoughts of worthlessness, fostering the opportunity for self-worth. [11]
Starting in the 1990s and continuing into the 21st century, the concept of dressing cool went out
of the minority and into the mainstream culture, making dressing cool a dominant ideology. Cool
entered the mainstream because those Hippie rebels of the late 1960s were now senior
executives of business sectors and of the fashion industry. Since they grew up with cool and
maintained the same values, they knew its rules and thus knew how to accurately market and
produce such clothing. [12] However, once cool became the dominant ideology in the 21st
century its definition changed to not one of rebellion but of one attempting to hide their
insecurities in a confident manner.
The fashion-grunge style of the 1990s and 21st century allowed people who felt financially
insecure about their lifestyle to pretend to fit in by wearing a unique piece of clothing, but one
that was polished beautiful. For example, unlike the Hippie style that clearly diverges from the
norm, through Marc Jacobs combined fashion-grunge style of a little preppie, a little grunge
and a little couture, he produces not a bold statement one that is mysterious and awkward
creating an ambiguous perception of what the wearers internal feelings are. [13]

As an epithet
While slang terms are usually short-lived coinages and figures of speech, cool is an especially
ubiquitous slang word, most notably among young people. As well as being understood
throughout the English-speaking world, the word has even entered the vocabulary of several
languages other than English.
In this sense, cool is used as a general positive epithet or interjection, which can have a range of
related adjectival meanings.

Regions
Africa and the African diaspora

Yoruba bronze head sculpture from the city of Ife, Nigeria c. 12th century A.D

Author Robert Farris Thompson, professor of art history at Yale University, suggests that Itutu,
which he translates as 'mystic coolness,'[14] is one of three pillars of a religious philosophy created
in the 15th century[15] by Yoruba and Igbo civilizations of West Africa. Cool, or Itutu, contained
meanings of conciliation and gentleness of character, of generosity and grace, and the ability to
defuse fights and disputes. It also was associated with physical beauty. In Yoruba culture, Itutu is
connected to water, because to the Yoruba the concept of coolness retained its physical
connotation of temperature.[16] He cites a definition of cool from the Gola people of Liberia, who
define it as the ability to be mentally calm or detached, in an other-worldly fashion, from one's
circumstances, to be nonchalant in situations where emotionalism or eagerness would be natural
and expected.[7] Joseph M. Murphy writes that "cool" is also closely associated with the
deity sun of the Yoruba religion.[17]
Although Thompson acknowledges similarities between African and European cool in shared
notions of self-control and imperturbability,[16] he finds the cultural value of cool in Africa which
influenced the African diaspora to be different from that held by Europeans, who use the term
primarily as the ability to remain calm under stress. According to Thompson, there is significant
weight, meaning and spirituality attached to cool in traditional African cultures, something which,
Thompson argues, is absent from the idea in a Western context.
"Control, stability, and composure under the African rubric of the cool seem to constitute
elements of an all-embracing aesthetic attitude." African cool, writes Thompson, is "more
complicated and more variously expressed than Western notions of sang-froid (literally, "cold
blood"), cooling off, or even icy determination." (Thompson, African Arts)
The telling point is that the "mask" of coolness is worn not only in time of stress, but also of
pleasure, in fields of expressive performance and the dance. Struck by the re-occurrence of this
vital notion elsewhere in tropical Africa and in the Black Americas, I have come to term the

attitude "an aesthetic of the cool" in the sense of a deeply and completely motivated, consciously
artistic, interweaving of elements serious and pleasurable, of responsibility and play.[18]
African Americans
Ronald Perry writes that many words and expressions have passed from African-American
Vernacular English into Standard English slang including the contemporary meaning of the word
"cool."[19] The definition, as something fashionable, is said to have been popularized in jazz circles
by tenor saxophonist Lester Young.[20] This predominantly black jazz scene in the U.S. and among
expatriate musicians inParis helped popularize notions of cool in the U.S. in the 1940s, giving
birth to "Bohemian", or beatnik, culture.[8] Shortly thereafter, a style of jazz called cool
jazz appeared on the music scene, emphasizing a restrained, laid-back solo style. [21] Notions of
cool as an expression of centeredness in a Taoist sense, equilibrium and self-possession, of an
absence of conflict are commonly understood in both African and African-American contexts well.
Expressions such as, "Don't let it blow your cool," later, chill out, and the use of chill as a
characterization of inner contentment or restful repose all have their origins in African-American
Vernacular English.[22]
When the air in the smoke-filled nightclubs of that era became unbreathable, windows and doors
were opened to allow some "cool air" in from the outside to help clear away the suffocating air.
By analogy, the slow and smooth jazz style that was typical for that late-night scene came to be
called "cool".[23]
The purpose of the cool jazz as Giogia stated, "The goal was always the same: to lower the
temperature of the music and bring out different qualities in jazz." [24]
Marlene Kim Connor connects cool and the post-war African-American experience in her
book What is Cool?: Understanding Black Manhood in America. Connor writes that cool is the
silent and knowing rejection of racist oppression, a self-dignified expression of masculinity
developed by black men denied mainstream expressions of manhood. She writes that
mainstream perception of cool is narrow and distorted, with cool often perceived merely as style
or arrogance, rather than a way to achieve respect. [25]
Designer Christian Lacroix has said that "...the history of cool in America is the history of AfricanAmerican culture".[26]
Among black men in America, coolness, which may have its roots in slavery as an ironic
submission and concealed subversion,[27] at times is enacted in order to create a powerful
appearance, a type of performance frequently maintained for the sake of a social audience. [28]
Cool pose

Malcolm X "embodied essential elements of cool".[29]

'Cool', though an amorphous qualitymore mystique than materialis a pervasive element in

urban black male culture.[29] Majors and Billson address what they term "cool pose" in their study
and argue that it helps black men counter stress caused by social oppression, rejection
and racism. They also contend that it furnishes the black male with a sense of control, strength,
confidence and stability and helps him deal with the closed doors and negative messages of the
"generalized other." They also believe that attaining black manhood is filled with pitfalls of
discrimination, negative self-image, guilt, shame and fear.[30]
"Cool pose" may be a factor in discrimination in education contributing to the achievement gaps
in test scores. In a 2004 study, researchers found that teachers perceived students with AfricanAmerican culture-related movement styles, referred to as the "cool pose," as lower in
achievement, higher in aggression, and more likely to need special education services than
students with standard movement styles, irrespective of race or other academic indicators. [31] The
issue of stereotyping and discrimination with respect to "cool pose" raises complex questions
of assimilation and accommodation of different cultural values. Jason W. Osborne identifies "cool
pose" as one of the factors in black underachievement. [32] Robin D. G. Kelley criticizes calls for
assimilation and sublimation of black culture, including "cool pose." He argues that media and
academics have unfairly demonized these aspects of black culture while, at the same time,
through their sustained fascination with blacks as exotic others, appropriated aspects of "cool
pose" into the broader popular culture.[33]
George Elliott Clarke writes that Malcolm X, like Miles Davis, embodies essential elements of
cool. As an icon, Malcolm X inspires a complex mixture of both fear and fascination in broader
American culture, much like "cool pose" itself.[29]

East Asia
Main article: Cool Japan
In Japan, synonyms of "cool" could be iki and sui. These are traditional commoners' aesthetic
ideals that developed in Edo. Some tend to immediately connect the aesthetics of Japan to
samurai, but this is historically inaccurate. In fact, samurais from the countryside have often been
the target of ridicule by the commoner in the civilized Edo in many art forms including rakugo, a
form of comical storytelling.
Some argue that the ethic of the Samurai caste in Japan, warrior castes in India and East Asia all
resemble cool.[1] The samurai-themed works of film director Akira Kurosawa are among the most
praised of the genre, influencing many filmmakers across the world with his techniques and
storytelling. Notable works of his include The Seven Samurai, Yojimbo, and The Hidden Fortress.
The latter was one of the primary inspirations for George Lucas's Star Wars, which also borrows
a number of aspects from the samurai, for example the Jedi Knights of the series. Samurai have
been presented as cool in many modern Japanese movies such as Samurai
Fiction, Kagemusha,[34] and Yojimbo,[35] which was appropriated in American movies such
as Ghost Dog[36] and The Last Samurai[37]
In The Art of War, a Chinese military treatise written during the 6th century BC, general Sun Tzu,
a member of the landless Chinese aristocracy, wrote in Chapter XII:
Profiting by their panic, we shall exterminate them completely; this will cool the King's courage
and cover us with glory, besides ensuring the success of our mission.

Prof. Paul Waley considers Tokyo one of the world's "capitals of cool."

Asian countries have developed a tradition on their own to explore types of modern 'cool' or
'ambiguous' aesthetics.
In a Time Asia article "The Birth of Cool" author Hannah Beech describes Asian cool as "a
revolution in taste led by style gurus who are redefining Chinese craftsmanship in everything
from architecture and film to clothing and cuisine" and as a modern aesthetic inspired both by a
Ming-era minimalism and a strenuous attention to detail. [38]
Paul Waley, professor of Human Geography at the University of Leeds, considers Tokyo along
with New York, London and Paris to be one of the world's "capitals of cool" [39] and the Washington
Post called Tokyo "Japan's Empire of Cool" and Japan "the coolest nation on Earth".
Analysts are marveling at the breadth of a recent explosion in cultural exports, and many argue
that the international embrace of Japan's pop culture, film, food, style and arts is second only to
that of the United States. Business leaders and government officials are now referring to Japan's
"gross national cool" as a new engine for economic growth and societal buoyancy.[40]
The term "gross national cool" was coined by Journalist Douglas McGray. In a June/July 2002
article in Foreign Policy magazine,[41] he argued that as Japan's economic juggernaut took a
wrong turn into a 10-year slump, and with military power made impossible by a pacifist
constitution, the nation had quietly emerged as a cultural powerhouse: "From pop music to
consumer electronics, architecture to fashion, and food to art, Japan has far greater cultural
influence now than it did in the 1980s, when it was an economic superpower." [42] The notion of
Asian 'cool' applied to Asian consumer electronics is borrowed from the cultural media
theorist Eric McLuhan who described 'cool' or 'cold' media as stimulating participants to complete
auditive or visual media content, in sharp contrast to 'hot' media that degrades the viewer to a
merely passive or non-interactive receiver.

Europe
Aristocratic and artistic cool

Mona Lisa, or La Gioconda (La Joconde), by Leonardo da Vinciexpresses sprezzatura, an "aristocratic

cool".[43]

"Aristocratic cool", known as sprezzatura, has existed in Europe for centuries, particularly when
relating to frank amorality and love or illicit pleasures behind closed doors; [1] Raphael's "Portrait
of Baldassare Castiglione" and Leonardo da Vinci's "Mona Lisa" are classic examples

of sprezzatura.[43] The sprezzatura of the Mona Lisa is seen in both her smile and the positioning
of her hands. Both the smile and hands are intended to convey her grandeur, self-confidence
and societal position.[44]Sprezzatura means, literally, disdain and detachment. It is the art of
refraining from the appearance of trying to present oneself in a particular way. In reality, of
course, tremendous exertion went into pretending not to bother or care.
English poet and playwright William Shakespeare used cool in several of his works to describe
composure and absence of emotion.[1] In A Midsummer Night's Dream, written sometime in the
late-16th century, he contrasts the shaping fantasies of lovers and madmen with "cool
reason,"[45] in Hamlet he wrote "O gentle son, upon the heat and flame of thy distemper, sprinkle
cool patience,"[46] and the antagonist Iago in Othello is musing about "reason to cool our raging
motions, our carnal stings, our unbitted lusts."[1][47]
The cool "Anatolian smile" of Turkey is used to mask emotions. A similar "mask" of coolness is
worn in both times of stress and pleasure in American and African communities. [1]
European inter-war cool
The key themes of modern European cool were forged by avant-garde artists who achieved
prominence in the aftermath of the First World War, most notably Dadaists, such as key Dada
figures Arthur Cravan and Marcel Duchamp, and the left-wing milieu of the Weimar Republic.
The program of such groups was often self-consciously revolutionary, a determination to
scandalize the bourgeoisie by mocking their culture, sexuality and political moderation. [1]
Berthold Brecht, both a committed Communist and a philandering cynic, stands as the archetype
of this inter-war cool. Brecht projected his cool attitude to life onto his most famous character
Macheath or "Mackie Messer" (Mack the knife), in The Threepenny Opera. Mackie, the
nonchalant, smooth-talking gangster, expert with the switchblade, personifies the bitter-sweet
strain of cool; Puritanism and sentimentality are both anathema to the cool character.[1]
During the turbulent inter-war years, cool was a privilege reserved for bohemian milieus like
Brecht's. Cool irony and hedonism remained the province of cabaret artistes, ostentatious
gangsters and rich socialites, those decadents depicted in Evelyn Waugh's Brideshead
Revisited and Christopher Isherwood's Goodbye to Berlin, tracing the outlines of a new
cool. Peter Stearns, professor of history at George Mason University, suggests that in effect the
seeds of a cool outlook had been sown among this inter-war generation. [48]
Postwar cool
The Second World War brought the populations of Britain, Germany and France into intimate
contact with Americans and American culture. The war brought hundreds of thousands of GIs
whose relaxed, easy-going manner was seen by young people of the time as the very
embodiment of liberation; and with them came Lucky Strikes, nylons, swing and jazzthe
American Cool.
To be cool or hip meant hanging out, pursuing sexual liaisons, displaying the appropriate attitude
of narcissistic self-absorption, and expressing a desire to escape the mental straitjacket of all
ideological causes. From the late 1940s onward, this popular culture influenced young people all
over the world, to the great dismay of the paternalistic elites who still ruled the official culture.
The French intelligentsia were outraged, while the British educated classes displayed a haughty
indifference that smacked of an older aristocratic cool. [49]
The Polish cool
The new attitude found a special resonance behind the Iron Curtain, where it offered relief from
the earnestness of socialist propaganda and socialist realism in art. In the Polish industrial
city d, jazz, "the forbidden music", served Polish youth of the 1950s much as it had served its
African-American creators, both as personal diversion and subterranean resistance to what they
saw as a stultifying official culture. Some clubs featured live jazz performances, and their smoky,
sexually charged atmosphere carried a message for which the puritanical values and
monumental art of Marxist officialdom were an ideal foil.[50]

Arriving in Poland via France, America and England, Polish cool stimulated the film talents of a
generation of artists, including Andrzej Wajda, Roman Polanski, and other graduates of
the National Film School in d, as well as the novelist Jerzy Kosinski, in whose clinical prose
cool tends towards the sadistic.[1]
Czech cool
In Prague, the capital of Bohemia, cool flourished in the faded Art Deco splendor of the Cafe
Slavia. Significantly, following the crushing of the Prague Spring by Soviet tanks in 1968, part of
the dissident underground called itself the "Jazz Section". [1]

Theories
As a positive trait
According to this theory, coolness is a subjective, dynamic, socially-constructed trait, such that
coolness is in the eye of the beholder. People perceive things (e.g., other people, products or
brands) to be cool based on an inference of autonomy. That is, something is perceived to be
cool when it follows its own motivations. However, this theory proposes that the level of
autonomy that leads to coolness is constrained - inappropriate levels of autonomy, such that the
autonomy is too high or opposes a legitimate norm, do not lead to perceptions of coolness. The
level of autonomy considered appropriate is influenced by individual difference variables. For
example, people who think of societal institutions and authority as unjust or repressive perceive
coolness at higher levels of autonomy than those who are less critical of social norms and
authority.[51]

As social distinction
According to this theory, cool is a zero sum game, in which cool exists only in comparison with
things considered less cool; for example, in the book The Rebel Sell, cool is created out of a
need for status and distinction. This creates a situation analogous to an arms race, in
which cool is perpetuated by a collective action problem in society.[52]

As an elusive essence
According to this theory, cool is a real, but unknowable property. Cool, like "Good", is a property
that exists, but can only be sought after. In the New Yorker article, "The Coolhunt",[53] cool is given
three characteristics:

"The act of discovering what's cool is what causes cool to move

on"

"Cool cannot be manufactured, only observed"

"[Cool] can only be observed by those who are themselves

cool".

As a marketing device

[Cool is] a heavily manipulative corporate ethos.

Kalle Lasn

See also: Planned obsolescence, Cultural appropriation, and CoolBrands (branding initiative)

Over the past decade, young black men in American inner

cities have been the market most aggressively mined by
brandmasters as a source of borrowed 'meaning' and
identity...The truth is that the 'got to be cool' rhetoric of the
global brands is, more often than not, an indirect way of
saying 'got to be black.'

Designer Christian Lacroix[26]

According to this theory, cool can be exploited as a manufactured and empty idea imposed on
the culture at large through a top-downprocess by the "Merchants of Cool".[54] An artificial cycle of
"cooling" and "uncooling" creates false needs in consumers, and stimulates the economy. "Cool
has become the central ideology of consumer capitalism".[52] Supporters of this theory avoid the
pursuit of cool.
The concept of cool was used in this way to market menthol cigarettes to African Americans in
the 1960s. In 2004 over 70% of African American smokers preferred menthol cigarettes,
compared with 30% of white smokers. This unique social phenomenon was principally
occasioned by the tobacco industry's manipulation of the burgeoning black, urban, segregated,
consumer market in cities at that time.[55]According to Fast Company some large companies have
started 'outsourcing cool.' They are paying other "smaller, more-limber, closer-to-the-ground
outsider" companies to help them keep up with customers' rapidly changing tastes and demands.
[56]

Definitions

"If status is about standing, cool is about standing free"[57] - Grant

McCracken

"Cool is a knowledge, a way of life."[58] Lewis MacAdams

"Cool is an age-specific phenomenon, defined as the central

behavioural trait of teenagerhood."[59]

"Coolness is the proper way you represent yourself to a human

being."[60] Robert Farris Thompson

In the novel Spook Country by William Gibson one character

equates cool with a sense of exclusivity: "Secrets," said
the Bigend beside her, "are the very root of cool."[61]

In the novel Lords and Ladies by Terry Pratchett the Monks of

Cool are mentioned. In their passing-out test a novice must
select the coolest garment from a room full of clothes. The
correct answer is "Hey, whatever I select", suggesting that cool
is primarily an attitude of self-assurance.[62]

"Coolness is a subjective and dynamic, socially constructed

positive trait attributed to cultural objects (people, brands,
products, trends, etc.) inferred to appropriately autonomous."

[63]

American Slang A well common word among young adults is the

use of cool as a slang. User cool guy from Urban
dictionary provide an explanatory about what the slang word
cool really means:
"The best way to say something is neat-o, awesome, or swell.
The phrase "cool" is very relaxed, never goes out of style, and
people will never laugh at you for using it, very conveniant for
people like me who don't care about what's in."
[64]

See also

African aesthetic

Avant-garde

Cool Britannia

Cool jazz

Itutu

Jihad Cool

Sprezzatura

Square (slang)

Fad

References
1.

^ Jump up to:a b c d e f g h i j k Pountain, Dick; Robins, David

(2000). Cool Rules: Anatomy of an Attitude. Reaktion Book Ltd.

2.

Jump up^ Warren & Campbell, 'What Makes Things Cool? How
Autonomy Influences Perceived Coolness. Article by Caleb
Warren and Margaret C. Campbell; Journal of Consumer
Research, Vol. 41, August 2014

3.

Jump up^ Kerner, Noah and Gene Pressman (2007), 'Chasing

Cool: Standing out in Today's Cluttered Marketplace,' New York:
Atria

4.

Jump up^ Marcel Danesi, Cool - The Signs and Meanings of

Adolescence, University of Toronto Press, 1994.

5.

Jump up^ Pountain, Dick; Robbins, David (2000). Cool Rules.

Reaktion Books. ISBN 1-86189-071-0.

6.

Jump up^ Warren & Campbell, 'What Makes Things Cool? How
Autonomy Influences Perceived Coolness. Article by Caleb
Warren and Margaret C. Campbell; Journal of Consumer
Research, Vol. 41, August 2014

7.

^ Jump up to:a b c An Aesthetic of the Cool Robert Farris Thompson

African Arts, Vol. 7, No. 1 (Autumn, 1973), pp. 40-43+64-67+8991 Cite error: Invalid <ref> tag; name "Aesthetic"

defined multiple times with different content (see

the help page).
8.

^ Jump up to:a b Coolhunting With Aristotle Welcome to the

hunt. by Nick Southgate, Cogent

9.

Jump up^ Pountain, Dick (2000). Cool Rules: Anatomy of an

Attitude. London: Reaktion.

10. Jump up^ Whitley, Lauren D. (2013). Hippie Chic. Boston: MFA
Publications.
11. Jump up^ Pountain, Dick (2000). Cool Rules: Anatomy of an
Attitude. London: Reaktion.
12. Jump up^ Pountain, Dick (2000). Cool Rules: Anatomy of an
Attitude. London: Reaktion.
13. Jump up^ .
Voguepedia http://www.vogue.com/voguepedia/Marc_Jacobs. Mis
sing or empty |title= (help)
14. Jump up^ Flash of the Spirit, Random House 1984, ISBN 0-39472369-4
15. Jump up^ The Benin Empire
16. ^ Jump up to:a b Robert Farris Thompson, African Art in Motion,
New York, 1979 Cite error: Invalid <ref> tag; name

"art" defined multiple times with different

content (see the help page).
17. Jump up^ Murphy, Joseph, M. and Sanford, Mei-Mei. sun
Across the Waters: A Yoruba Goddess in Africa and the Americas,
p. 2.
18. Jump up^ Thompson, Robert Farris. African Arts.
19. Jump up^ African-American English
20. Jump up^ Cool - Online Etymology Dictionary
21. Jump up^ Music of the African Diaspora in the Americas
22. Jump up^ Margaret Lee, "Out of the Hood and into the News:
Borrowed Black Verbal Expressions in a Mainstream Newspaper"
(conference paper, University of Georgia, October 1998); cited in
Rickford and Rickford,Spoken Soul, 98.

23. Jump up^ Marcel Danesi, Cool - The Signs and Meanings of
Adolescence, University of Toronto Press, 1994, p. 37.
24. Jump up^ Gioia, Ted. "A History of Cool Jazz in 100 Tracks". jazz.
jazz. Retrieved 23 October 2015.
25. Jump up^ Conner, Marlene Kim (1995). What Is Cool?
Understanding Black Manhood in America. New York: Crown
Publishers. Book profile, Education Resources Information
Center U.S. Department of Education, Retrieved on 03-01-2007.
26. ^ Jump up to:a b Klein (2000), pp. 73-4. The Christian Lacroix quote
is from "Off the Street...", Vogue, April 1994, 337.
27. Jump up^ Botz-Bornstein, Thorsten (2010). "What Does it Mean
to Be Cool?". Retrieved 26 February 2015.
28. Jump up^ Majors, Richard (1992). Cool Pose: The Dilemma of
Black Manhood in America. p. 4.
29. ^ Jump up to:a b c Cool Politics: Styles of Honour in Malcolm X and
Miles Davis Cite error: Invalid <ref> tag; name

"Cool_Politics" defined multiple times with

different content (see the help page).
30. Jump up^ Boddie, Jacquelyn Lynette. "Exploring the turn-around
Phenomenon Experienced by African American Urban Male
Adolescents in High School." Retrieved on 02-26-2007.
31. Jump up^ The Effects of African American Movement Styles on
Teachers' Perceptions and Reactions Journal article by Scott T.
Bridgest, Audrey Davis Mccray, La Vonne I. Neal, Gwendolyn
Webb-Johnson; Journal of Special Education, Vol. 37, 2003
32. Jump up^ Jason W. Osborne, "Unraveling Underachievement
among African American Boys from an Identification with
Academics Perspective", The Journal of Negro Education, Vol. 68,
No. 4 (Autumn 1999), pp. 555-565.doi:10.2307/2668154
33. Jump up^ Robin D. G. Kelley, Yo' Mama's Disfunktional!: Fighting
the Culture Wars in Urban America.
34. Jump up^ "Kagemusha". Olive Films. Retrieved 2008-11-27.
35. Jump up^ "Apollo Movie Guide's Review of Yojimbo".
Apolloguide.com. Retrieved 2008-11-27.
36. Jump up^ Way cool way of the samurai, Bruce
Kirkland, Canoe.ca
37. Jump up^ The Last Samurai Review
38. Jump up^ Beech, Hannah (2002-11-11). "TIME Asia: China's
Next Cultural Revolution | The Birth of Cool". Time.com. Archived
from the original on 2011-10-18. Retrieved 2008-11-27.
39. Jump up^ "GLOCOM Platform - Books & Journals - Journal
Abstracts". Glocom.org. Retrieved 2008-11-27.

40. Jump up^ Faiola, Anthony (2003-12-27). "Japan's Empire of

Cool". The Washington Post. Retrieved 2008-11-27.
41. Jump up^ Japan Society Archived October 3, 2006, at
the Wayback Machine.
42. Jump up^ "Metropolis Tokyo Feature - Pop star". Metropolis.co.jp.
Archived from the original on 2008-06-10. Retrieved 2008-11-27.
43. ^ Jump up to:a b The High Museum Campaign reaches $130 Million
Goal Archived September 30, 2006, at theWayback Machine.
44. Jump up^ Sample text for Becoming Mona Lisa : the making of a
global icon / Donald Sassoon.
45. Jump up^ William Shakespeare, A Midsummer Night's Dream,
Act V, Scene 1.
46. Jump up^ William Shakespeare, The Tragedy of Hamlet Prince of
Denmark, The Harvard Classics, 190914. Act III Scene IV
47. Jump up^ William Shakespeare, Othello, Act 1
48. Jump up^ Peter N. Stearns, American Cool: Constructing a
Twentieth-Century Emotional Style (History of Emotion), New York
University Press, 1994.
49. Jump up^ Herbert Gold, Bohemia: Digging the Roots of Cool,
Touchstone Books; Reprint edition 1994
50. Jump up^ James P. Sloan, Jerzy Kosinski: A Biography, Diane
Pub. Co., 1996
51. Jump up^ Warren & Campbell, 'What Makes Things Cool? How
Autonomy Influences Perceived Coolness. Article by Caleb
Warren and Margaret C. Campbell; Journal of Consumer
Research, Vol. 41, August 2014
52. ^ Jump up to:a b Heath, Joseph and Potter, Andrew. The Rebel
Sell. Harper Perennial, 2004.
53. Jump up^ The Coolhunt
54. Jump up^ "Merchants of Cool"
55. Jump up^ The African Americanization of menthol cigarette use in
the United States Phillip S. Gardiner Dr. P.H
56. Jump up^ A Craving For Cool July/August 2006
57. Jump up^ McCracken, Grant (2009). Chief Culture Officer. P.71:
Basic Books. ISBN 978-0-465-02204-5.
58. Jump up^ "Interview with the Author of Birth of the Cool, Lewis
MacAdams." SimonSays.com, Simon & Schuster. Retrieved on
02-27-2007.

59. Jump up^ Marcel Dansei, Cool: The Signs and Meanings of
Adolescence, p. 1.
60. Jump up^ Thompson, Robert Farris. Flash of the Spirit. New York:
Vintage Books, 1983, p. 13.
61. Jump up^ Gibson, William. Spook Country, Viking, 2007, p. 106.
62. Jump up^ Terry Pratchett, Lords and Ladies, Corgi, 2005, p. 244.
63. Jump up^ Warren & Campbell, 'What Makes Things Cool? How
Autonomy Influences Perceived Coolness. Article by Caleb
Warren and Margaret C. Campbell; Journal of Consumer
Research, Vol. 41, August 2014
64. Jump up^ Cool guy (7 May 2003). "Cool". urbandictionary.
urbandictionary. Retrieved 23 October 2015.

Further reading

Alan Liu (2004). The Laws of Cool: Knowledge Work and the
Culture of Information. University of Chicago Press

Lewis MacAdams (2001). Birth of the Cool: Beat, Bebop, and

the American Avant-Garde. New York: The Free Press.

Ted Gioia (2009). The Birth (and Death) of the Cool. Speck
Press/Fulcrum Publishing.

Dick Pountain and David Robins (2000). Cool Rules: Anatomy

of an Attitude. Reaktion Books.

Peter Stearns (1994). American Cool: Constructing a TwentiethCentury Emotional Style. New York University Books.

John Leland (2004). Hip: The History. Ecco Press

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