Nick Southgate writes that, although some notions of cool can be traced back to Aristotle, whose notion of cool is to be found in his ethical writings, most particularly the Nicomachean Ethics, it is not confined to one particular ethnic group or gender.
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.
Cool was once an attitude fostered by rebels and underdogs, such as slaves, prisoners, bikers and political dissents, etc., for whom open rebellion invited punishment, so it hid its defiance behind a wall of ironic detachment, distancing itself from the source of authority rather than directly confronting it.
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. According to Dick Pountain and David Robins, concepts of cool have existed for centuries in several cultures.
Cool has been used to describe a general state of well-being, a transcendent, internal peace and serenity. 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.
While slang terms are usually comprised of 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.
Cool can be used to describe composure and absence of excitement in a person, especially in times of stress, and can refer to something that is aesthetically appealing. It is also used to express agreement or assent. Cool is often used as a general positive epithet or interjection which has a range of related adjectival meanings. Among other things, it can mean calm, stoic, impressive, intriguing, or superlative.
Author Robert Farris Thompson, professor of art history at Yale University, suggests that Itutu, which he translates as 'mystic coolness,' is one of three pillars of a religious philosophy created in the 15th century. by Yoruba and Ibo civilizations of West Africa. Cool or Itutu contained meanings of conciliation and gentleness of character, the ability to defuse fights and disputes, of generosity and grace. It was also associated with physical beauty. Typical for Itutu is the reference to water because to the Yoruba coolness retained its physical connotation of temperature. 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. Joseph M. Murphy writes that "cool" is also closely associated with the deity Òsun of the Yoruba religion.
Although, Thompson acknowledges similarities between African and European cool "Africa and Europe share notions of self-control and imperturbability, expressed under a metaphysical rubric of coolness, viz, notions of sang-froid and coolheadedness" Thompson 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.
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. The black jazz scene in the U.S. and among expatriate musicians in Paris, helped popularize notions of cool in the U.S. in the 1940s, giving birth to "Bohemian", or beatnik culture. Shortly thereafter, a style of jazz called cool jazz appeared on the music scene, emphasizing a restrained, laid-back solo style. 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.
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".
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.
'Cool', though an amorphous quality--more mystique than material—is a pervasive element in urban black male culture. 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.
"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 African American 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. 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. 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.
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.
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.
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.
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 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.
The term "gross national cool" was coined by Journalist Douglas McGray. In a June/July 2002 article in Foreign Policy magazine, he argued that as Japan's economic juggernaut took a wrong turn into a ten-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. 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.
English poet and playwright William Shakespeare used cool in several of his works to describe composure and absence of emotion. In A Midsummer Night's Dream, written sometime in the late-1500s, he contrasts the shaping fantasies of lovers and madmen with "cool reason", in Hamlet he wrote "O gentle son, upon the heat and flame of thy distemper, sprinkle cool patience", and Othello's antagonist Iago is musing about "reason to cool our raging motions, our carnal stings, our unbitted lusts".
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.
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.
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 straightjacket 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.
This new cool rejected all kinds of overt sentimentality, which included publicly agonizing over the lot of the poor, or being sympathetic toward social activism. Indeed, the antagonism between street-cool and social activism became a cliché of certain movies and novels of the time - from On the Waterfront and the Blackboard Jungle all the way to West Side Story, which is based on Shakespeare's "Romeo and Juliet", where the stereotypical big-hearted teacher/priest/social worker tries to inculcate social responsibility into street-wise cool kids, whose response may be paraphased as "only suckers care".
Stay loose, boy! Breeze it, buzz it, easy does it. Turn off the juice, boy! Go man, go, But not like a yo-yo schoolboy. Just play it cool, boy. Real cool! (West Side Story, "Cool")
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 Łódź, as well as the novelist Jerzy Kosinski, in whose clinical prose cool tends towards the sadistic.
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".
The recent appropriation of arabic cuture into western popculture has been often documented:
The keffiyeh scarf has bounced in and out of American and European fashion trends since roughly the 80s, seen as chic in hip circles across America and Europe, associated by Americans with Palestinians and especially Yasser Arafat, reached a height of popularity, prompting a 2006 L.A. Times article to label this (worldwide) trend 'Terrorist Chic'. The US chain Urban Outfitters pulled its keffiyeh product in response to protest in 2007.
“They say Arab-Americans are the new African-Americans... when I heard that expression, I was excited. I was like, ‘Oh my God, we’re cool!’" -Comedian Dean Obeidallah.
(The song referred to is "Hip to Be Square" by Huey Lewis and the News.)Homer: So, I realized that being with my family is more importantthan being cool.Bart: Dad, what you just said was powerfully uncool.Homer: You know what the song says: "It's hip to be square".Lisa: That song is so lame.Homer: So lame that it's... cool?Bart+Lisa: No.Marge: Am I cool, kids?Bart+Lisa: No.Marge: Good. I'm glad. And that's what makes me cool, not caring,right?Bart+Lisa: No.Marge: Well, how the hell do you be cool? I feel like we've triedeverything here.Homer: Wait, Marge. Maybe if you're truly cool, you don't need tobe told you're cool.Bart: Well, sure you do.Lisa: How else would you know?
According to this theory, cool can be exploited as a manufactured and empty idea imposed on the culture at large through a top-down process by the "Merchants of Cool". 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". 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. 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.