THE modern history of Sweden has been one characterised by a state of continuous peaceful existence. No participation in any war since 1814, neutral in both world wars, no political assassinations in the country for nigh on two centuries following the murder of King Gustav III in an aristocratic coup attempt in 1792. This remarkable irenic run, free of political violence, was shattered on the night of 28th February 1986 with the seemingly unfathomable murder of Sweden’s incumbent Democratic Socialist prime minister, Olof Palme＊.
Sveavägen murder scene 🔻 (Photo: Anders Holmström/Svenskt Pressfoto)
“Clouseauesque” policing The Swedish PM’s shooting in Sveavägen, one of Stockholm’s busiest streets, by a single assassin, was followed by an amateurish investigation that was a complete shambles from the start. An initial mix-up over phone calls meant the police were slow to respond to the crime, losing precious minutes while the murderer made good his escape. On arrival, they failed to cordon off the murder scene properly, allowing onlookers to contaminate potential forensic evidence; key witnesses were allowed to leave the scene without being questioned. Established crime protocol—a street-by-street search of the area (ie, a dragnet)—was not implemented [“Olof Palme: Sweden believes it knows who killed PM in 1986’, BBC News, 100-Jun-2020, www.bbc.com/]. Another injudicious move on the police’s part was the ignoring of witnesses who had key information.
🔺Head of investigation, H Holmér (Image: www.news.sky.com)
The police investigation was headed by Chief Commissioner Hans Holmér who assumed more or less from day one that the crime was politically motivated, eventually becoming fixated on the Kurdish militant group the PKK as the likely perpetrators, to the neglect of other, more tangible leads. After a haul of locally-based Kurdish immigrants were arrested and then released for lack of solid evidence, the prosecutors and media turned against Holmér’s handling of the case, forcing him to resign [‘“Murder Most Foul” – the Death of Olof Palme’, (Jan Lundius), Inter Press Service,30-Jun-2020,www.ipsnews.net; BBC News]⦿.
🇸🇪 🇸🇪 🇸🇪
The cast of suspects and the conspiracy theories◘ In the 39 years since the Palme shooting the police have conducted 10,000+ interviews and more than 134 people have confessed to the murder. Aside from the PKK, another international suspect was the white South African regime. Palme was a charismatic figure in world politics but also a controversial and polarising one, as a foreign policy-minded social democrat he elicited criticism from both left and right, including from both superpowers. In addition, his high-profile anti-apartheid stance was a thorn in the side of the Pretoria government. One theory suggests a conspiracy between South Africa’s security and intelligence forces and right-wing extremist mercenaries within Sweden to execute Palme. The view gained some traction but Swedish investigators have never satisfactorily connected the dots between these elements. Not unexpectedly, CIA involvement in Palme’s murder was also suspected by some.
🔺 Stockholm: Intersection of Sveavägen and Tunnelgatan
Palme’s economic reforms, especially those geared towards promoting worker control, did not endear him to the capitalist class in Sweden. More specifically there was Palme’s strong stance against the Swedish arms manufacturer Bofors who was illegally selling weapons to several proscribed nations. When Iran was blocked from receiving a shipment one scenario advanced is that an Iranian hitman liquidated the Swedish PM [‘Sweden’s Bofors Arms Scandal’, Directorate of Intelligence, 04-Mar-1988, www.cia.gov/].
Political pressure for “a result” Refocusing domestically on individuals, the spotlight turned to Christer Pettersson who had a criminal record including manslaughter. Pettersson was dubiously convicted of Palme’s murder in 1989, in part because Palme’s widow, prompted by police officers, picked him out in a police lineup. The seriously compromised verdict was easily overturned on appeal (lack of a murder weapon or motive) [‘Who killed Sweden’s prime minister? 1986 assassination of Olof Palme is finally solved – maybe’, (Andrew Nestingen),The Conversation, 11-Jun-2020, www.theconversation.com]. The investigation team’s eagerness to ‘fit’ Pettersson for the crime despite the absence of hard evidence, reflects the pressure exerted by the ruling Social Democratic Party on the police to secure a quick resolution of the crime “acceptable to the public” [‘Who killed the prime minister? The unsolved murder that still haunts Sweden’, (Imogen West-Knights), The Guardian, 16-May-2019, www.theguardian.com].
Another, more ‘political’ suspect to attract the police’s interest early on was Victor Gunnarsson. Gunnarsson was an activist with connexions to various right-wing groups, especially the European Workers Party which held grudges against Palme. Gunnarsson was briefly detained by Holmér but the case against him however dissolved when witnesses failed to locate him at the murder scene at the time of the crime. Gunnarsson later emigrated to the US where he himself ironically became a homicide victim [‘Victor Gunnarsson’, People Pill, www.peoplepill.com].
“Skandiamannen”✪ Another name on the person of interest list of police was Stig Engström. Engström willingly offered himself up to police as a ‘witness’ at the time of the assassination and though questioned, the police eventually discounted him as a serious suspect. But some 20 years after the murder, a new theory, originating in a book by Lars Larsson and developed by journalist Thomas Pettersson, gained traction. The case put by Pettersson that Engström was the killer rested on a conjunction of factors—the “right timing, the right clothing, (he had) unique information, he had close access to guns of the right type, he was right wing and Palme unfriendly” [‘After 34 Years, Sweden Says It Knows the Killer of Olof Palme’, (Thomas Erdbrink & Christina Anderson), New York Times, 10-Jun-2020, www.nytimes.com]. Petersson handed over his findings to the police in 2016, leading to a reopening of the investigation.
Palme, then Swedish communications minister, appeared in the controversial 1960s “erotic-drama” ‘I am Curious – Yellow’ (below with the film’s star, Lena Nyman)🔻
”Resolved” but left up in the air? In 2019 the state prosecutor announced that he had come to the conclusion that Engström was probably Palme’s killer, but, given that Engström himself died in 2000, he promptly closed the case. Not everyone in Sweden is satisfied by the conclusion to the Palme case, many questions remain unanswered about the inconclusiveness of the evidence…eg, no DNA match, where is the missing murder weapon and what was the motive? (BBC). To paraphrase one antagonistic perspective on the case resolution: “it settles none of the unanswered questions”, instead it “underlines the determination of powerful political forces to continue the cover-up surrounding Palme’s murder” [‘Decades-long cover-up continues of assassination of Swedish Prime Minister Olof Palme’, (Jordan Shilton), World Socialist Web Site, 13-Jun-2000, www.wsws.org/].
Endnote: Palmology and parallels with the JFK conspiracy saga The collective trauma felt by Swedes with Olof Palme’s 1986 assassination—many expressing a sense of lost national innocence, no longer immune from political violence◘—recalls the devastating effect the assassination of President Kennedy in 1963 had on the American psyche (Lundius). Both leaders’ violent deaths triggered a runaway train of conspiracy theories, some plausible and some highly implausible◕. In the years since 1986 Sweden’s national obsession with the unsolved murder, labelled Palmessjukdom (“Palme sickness”) has inspired a raft of plays, films, television and musical works on the topic. It has even been cited as a contributing “factor in the worldwide explosion of Scandinavian (noirish) crime fiction”. ‘Palmology’ has spawned a veritable Swedish industry of privatspanarna – a legion of private investigators (such as Thomas Pettersson) conducting independent inquiries into the baffling crime…some have been serious researchers, others espousing “crackpot theories” (West-Knights).
🔻 PM Palme (source: www.cnbc.com)
——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪 ＊ not however the country’s last political murder, in 2003 Swedish foreign minister, Anna Lindh, was assassinated by another “lone wolf” assassin ⦿ marginalising SÄPO (Säkerhetspolisen – the state secret police) from the investigation didn’t make the task any easier ✪ Engström was dubbed “Skandia Man” by Lars Larsson because he worked in the Skandia Insurance Co tower building which fronts on to Sveavägen-Tunnelgatan ◘ and perhaps in some measure jolting Swedes out of a lingering outlier complacency ◕ among the considerable number of suspects ‘fingered’ for the hit on the Swedish PM was the Swedish police, the Yugoslav secret service, even Palme’s own wife, Lisbet!
Obscure origins: Like so many things pertaining to the dark realms of antiquity it can’t be said definitively when the crossbow came into existence…at some point between the 7th to 5th centuries BC, the consensus of opinion says. What is pretty much settled is that it first appeared as a combat weapon in China. The Chinese employed it to good effect during the Warring States period (c.475 – 221 BC). Crossbowmen of this period comprised between 30 to 50 per cent of standing Chinese armies. The weapon was still popular during the Han Dynasty (late 3rd century BC to AD 220) but it’s popularity diminished after the Hans lost power, possibly due to the introduction of more resilient heavy cavalry under the succeeding Six Dynasties.
Crossbow from China’s Qin Dynasty, early 3rd century BC. Ancient Chinese crossbows were made from wood, sinew, bronze and bamboo.
The crossbow in Europe, decline and reemergence: From ancient China the crossbow spread to Europe’s early civilisations. Its use was recorded in a battle at Syracuse (Sicily) as early as 397BC. The ancient Greeks were responsible for several early iterations of the crossbow namely the gastraphetes, a hand-held crossbow invented before 400BC, and the ballista, a small assault weapon capable of firing both stones and bolts, which the Romans copied and modified as a composite catapult-crossbow called a scorpio. The scorpio was lethally effective, offering marksman-like precision of its projectiles. The cheiroballistra or maniballista was another Roman variant on the crossbow with specific application as a siege engine. After the fall of Rome the crossbow fell out of use in the West until the 10th to 11th centuries AD when it was revived. The French used crossbows in siege warfare and they were in use during the epochal Battle of Hastings in England in 1066. France’s iconic heroine Joan of Arc was wounded by an English crossbowman in an attempted siege and the famous Plantagenet warrior-king of England, Richard the Lionheart, was killed by a bolt from a crossbow. The crossbow attached considerable prestige especially in England, so much so that only knights were permitted to own and use the weapon in war.
Crossbowman in an AD 1225–1250 English manuscript. BL Royal 12 F XIII The Rochester Bestiary (source: British Library and Manuscript Miniatures)
Crossbow or siege engine? As iron-based crossbows were improved and made more powerful and elaborate, the concept of the crossbow starts to merge with that of the torsion-powered siege engine (the former requiring only one man to work it while the latter needed several men). Certainly medieval sources seem to have conflated the two…different authors writing on the Crusader wars for instance have described the ballista alternately as a crossbow or a siege engine [Stuart Ellis-Gorman, The Medieval Crossbow: A Weapon Fit to Kill a King (2022)].
The Ballista: crossbow–cum–catapult
Evolution of medieval crossbows: In the Middle Ages the arbalest was popular in Europe. This was a decided technical advance in crossbows, improved by having a special mechanism for drawing back and releasing the string. Arbalests were larger and heavier weapons with metal-tipped bolts replacing the earlier wood-bolted crossbows, thus achieving devastating impact against the armour of the enemy. By the 13th century further technological improvements in the use of crossbows came with the advent of winches and various spanning mechanisms such as winch pulleys, cord pulleys, gaffles, cranequins, and screws [‘Medieval Crossbow’, Medieval Britain, http://medievalbritain.com]. The crossbow increasingly evolved into a defensive weapon, a composite crossbow–catapult of sorts, used to defend castles during sieges and favoured for its longer range capacity.
Leonardo Da Vinci, design for a crossbow, ca1500 (made of wood and iron)
Crossbow versus longbow? Which weapon was more effective in medieval warfare situations? There is not a straightforward answer to this question because the two lethal projectiles had different strengths and advantages over each other. The (English) longbow had a flexibility and portability edge over the more clunky crossbow which need time (and sometimes assistance) to load. The crossbow however was more accurate including at distances in honing in on the intended target (with a range of up to 300m). The longbow having simpler parts was cheaper to manufacture and where it had clear advantage over the crossbow was in its frequency of shots. In the time it took the crossbowman to launch two or at most three bolts at the enemy, the longbowman could propel 10 to 12 arrows. The crossbow though perceptibly slower to load and much heavier to carry, required appreciably less strength to operate…it’s locking mechanism allowed the crossbowman to handle stronger draw weight so able to hold the bolt for longer with significantly less physical strain, which translated into better precision (‘Medieval Crossbow’). Another plus for the crossbow was ease of use, it required minimal training cf. the traditional bow which took years of training to master. The downside for the longbow in battle was that it couldn’t penetrate medieval armour as the heavier bolts could do. This didn’t seem to be a problem in the two most famous battles of the 100 Years War—Crecy and Agincourt—where the English bowmen triumphed completely over the numerically superior French and mercenary crossbowmen (and cavalry) [‘A quick history of the English longbow’, Notes from the U.K., 17-Jan-2025, www.notesfromtheuk.com].
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Genoese crossbowmen
The crossbow reaches its obsolescence point: By the 16th century the crossbow had seen its best days and was being supplanted by gunpowder weaponry – muskets, cannons, guns. Firearms had greater range, faster reload times and an overall firepower that crossbows could not begin to match. The final fling for the crossbow as a weapon of choice in war occurred in 1644 at the Battle of Tippermuir in Scotland (English Civil War).
ITV television adventure series of William Tell (late 1950s)
Endnote: Crossbow sellers’ greatest marketeer: Hovering at the intersection of history, myth and popular culture is the heroic legendary figure most popularly associated with deadeye expertise in the crossbow caper and a talent for shooting apples off his own son’s head, William Tell. Elevated by Swiss folklore as a symbol of the struggle for liberation from the tyrannical Austrians, baby boomers—opera buffs aside—will associate the mythical hero William Tell with the 1958–59 British television series The Adventures of William Tell in which Tell (played by Conrad Phillips) is portrayed as a sort of Robin Hood clone but with a different kind of bow and the Swiss Alps rather than Sherwood Forest for backdrop𖤓.
William Tell splitting the apple
𖤓 a nexus not coincidental, ‘William Tell’ was created to exploit the success of another highly popular ITV show of the Fifties The Adventures of Robin Hood. ‘Tell’ followed the earlier series’ familiar formula: a brave citizen turned outsider valiantly leading the resistance on behalf of the oppressed masses against a unredeemable evil tyrant
Some time towards the tail-end of last century China and India changed the standard exonym by which its respective principal city is known to outsiders. Thus, Peking became Beijing and Bombay became Mumbai. Other cities within each country followed suit. At the time this caused some pointed comments and a degree of puzzlement among onlookers and even governments around the world. After being called “Peking” and “Bombay” for what seemed like forever (it wasn’t!), why did the Chinese and Indian governments all of a sudden make such a fundamental switch in nomenclature?
Bombay Mumbai (credit: hayesandjarvis.co.uk)
The reasons why governments up and change the names of their cities and even occasionally the name by which the sovereign state itself is known※※, varies. Quite frequently, it’s about politics or ethnic/cultural identity. Often, it’s a matter of transliteration of writing systems to keep up with the state of contemporary realities – which dovetails neatly into the need for recognition of ethnic identities within the country. In some instances the change of name may be about both the political and the phonetic. Let’s look at a few specific cases from different countries.
Politics of decolonisation: Let’s start with India and Mumbai. “Bombay” was the first to be (officially) cancelled. In 1995 the Shiv Sena—a right-wing Hindu nationalist party—took power in the Maharashtra region (includes Bombay/Mumbai). Shiv Sena changed the city name because it wanted to rid it of a name with the connotation of the British colonial legacy (“Bombay” apparently being a tainted “Raj” name to Hindu nationalists)1⃞. In its place, the regional authority seeking a name which reflected Maratha heritage and identity chose “Mumbai” to honour the Koli goddess Mumbadevi2⃞.
Standardisation of spelling: From 1996 other Indian cities similarly underwent a name change, the most significant of which are Kolkata, replacing the former name “Calcutta”, Chennai, replacing “Madras”, Kozhikode, replacing “Calicut”, and Bengaluru, formally called “Bangalore”. While post-British decolonisation was at the heart of the desire to change names, many of the new names were the result of spelling changes to align with the prevailing local languages/ethnic communities (eg, Kolkata is a Bengali word for a city nearly two-thirds populated by Bengalis)3⃞.
Linguistic map of India
Transliteration:China has quite a track record of changing the name of its cities, during the imperial era it was a regular occurrence. The question most are curious about is how “Peking” got traded in for “Beijing” (which translates as “northern capital”). Well for a start, Beijing is not a new name for the city. Back in 1403, during the Ming Dynasty, it was thus named…hence the wheel has gone full circle. In-between Beijing 1.0 and Beijing 2.0 the city was known variously as Beiping, Peiping and Peking (prior to Beijing 1.0 it was called Dadu when ruled by the Mongols). Which brings us back to the question of why Peking became Beijing. Basically, it was the (delayed) outcome of a change in the Chinese writing system/script, requiring the conversion of text to tally with the new Pinyin romanisation system introduced by the communist authorities. As part of the process the phonetic changes necessitated new spellings of many city names. And as the new system involved replacing Cantonese with Mandarin, this led to “Canton”, the old English name for the great southern Chinese city, being transliterated as “Guangzhou”4⃞. For the same reason “Pusan” in South Korea became “Busan” in 2000.
More politically motivated name swaps: The communist era of the USSR occasioned name changes of some cities to honour Bolshevik supreme leaders – “Tsaritsyn”, the Tsarist era name became “Stalingrad” (after Joseph Stalin), only to change again to “Volgograd”); “St Petersburg” became “Petrograd” before the Bolsheviks renamed it “Leningrad” (after VI Lenin), only for it to revert to St Petersburg after the dissolution of Soviet communism. Turkey’s preeminent city and capital, Istanbul, too has a history of different names, the changes occasioned by the succeeding waves of rulers who in turn conquered the city. Founded as “Byzantium” by the ancient Greeks, later it was renamed “Constantinople” when absorbed into the (eastern) Roman Empire (unofficially also known as “New Rome”), and finally, under the Ottoman conquerors it became and remains “Istanbul”5⃞.
(What) Once was Constantinople is now Istanbul (photo: global-geography.org/)
Endnote: The capital of the Central Asian republic of Kazakhstan is arguably the world record-holder for most changes of its name. While it was part of Russia it was originally called Akmoly, this changed to Akmelinsk and then Tselingrad. Since independence the capital has regularly changed autonyms (and at least one change of location and therefore its name as well) – going from Akmola (= “white tomb”, perhaps not the most uplifting name for a city!), to Astana (which simply means “capital”) to Nursultan (named after Kazakhstan’s autocratic first president) back to Astana.
Transformed and modernised Astana (photo: Jose Fuste Raga/Corbis)
※※ Re country name changes see this site’s August 2024 blog Bharat, Türkiye, etc. What’s in a Name?: The Politics of Country Rebranding
𖣴𖣴𖣴 𖣴 𖣴𖣴𖣴
1⃞ “Bombay” (meaning “good bay”) was the name the English adopted during the British Raj which derived from Bombaim, the name the Portuguese chose for the city during their occupation
2⃞ the new name, Mumbai, didn’t trigger a change in the name of the city’s famous film-making complex which remains “Bollywood”
3⃞ Goa, a Portuguese colony for 450 years interestingly has not changed its name…possibly something to do with “Goa” deriving from a South Asian Sanskrit word Gomantak (= “cow’s horn”)
4⃞ Shànghâi already conformed to the Pinyin system and so didn’t require a change of name
5⃞ if we turn our eyes to Europe other politically-motivated changes in the city name include “Danzig” (when a German city), changed to “Gdańsk” (when it came under Polish jurisdiction), and “Königsberg” (historic Prussian name) ➜ “Kaliningrad” (after the USSR took control of it from Germany). The spoils of war also accounts for the change in name of the Vietnamese city “Saigon” to “Ho Chi Minh City” after the North Vietnamese were victorious in the civil war
Quillet: a subtlety in argument;a subtle distinction [Uncertain, poss from L. quidlibet (“anything”)]
Quinquagesima: pertaining to 50 days [from L. quinquaginta (“fifty”)]
Quisquous: hard to deal with; dubious; of people: having a character difficult to assess [from Scot. Eng. from L. quisquis (“whosoever”)]
Quodlibet: a philosophical or theological point proposed for disputation; a whimsical combination of familiar melodies or texts [from L. qui (“what”) + -libet (“it pleases)”]
Quondam: that once was; (a) former [as that grand dame of words Merriam Webster says: “Looking for an unusual and creative way to say “former”?” Quondam (which came to English in the 16th century from Latin quondam, meaning “at one time” or “formerly”) ~ look no further!]
<Word origin and root formation>
Rampallian: a bold, forward, rampant or wanton woman [Elizabethan term, Henry IV Pt II, Act II)
Rasorial: habitually scratching the ground in search of food [from LateLat. rasor (“one that scrapes”) + -ial]
Rasorial
Recusant: refusing staunchly to comply with some generally accepted rule or custom (Orig. Relig.) [from L. re- + causari (“to give a reason”), from causa (“cause”; “reason”)]
Redivivus: restored to life, or to full liveliness; reborn [L. “reused”]
Remiped: (Zool.) having feet that are adaptable as oars [from L. remiped-, remipes (“oar-footed”)] 👣
Remontado: someone who has fled to the mountains or hills and renounced civilisation; a Northern Philippine’s tribesman; go-back (to the wild) [Galician (Sp.). remontado/remontada]
Neoteny: an indefinite prolongation of the period of immaturity, with the retention of infantile or juvenile qualities, into adulthood [from Gk. néos “young” + -o--O- + -teínein (“to stretch”; “extend”) + -y]
Nepheligenous: producing clouds of smoke [from Gk. nephélē, (“cloud”) + -genous (“producing). Coined by OW Holmes]
Neopotation: prodigality; extravagance; squandering one’s money on riotous living (OU)
Nidifugous: leaving the nest while still young [L.nīdus (“nest”) + –fugiō (“I flee”; “escape”) + -ous]
Nikhedonia: the pleasure and satisfaction derived from the anticipation of success [nik(?) poss. from Nike, Greek god of victory + Gk. –hedonikos (“pleasure”)]
Nikhedonia: Nike on a high
Nimiety: excess; extravagance; surfeit [from L. nimius (“excessive”)]
Nocent: harmful [from L. nocens (“to harm”)]
Noctivagant: wandering by night [from L. nocti- (“night”) + –vagari (“to wander”)] 🌃
Noisome: noxious; smelly; nasty [from MidEng. noy (“annoyance”) + -some, (“characterised by a specified thing,”)]
Nonfeasance: failure to perform some action which ought to have been performed [L. non- + Eng. -feasance (“doing”; “execution”)]
Nostrificate: to accept as one’s own; to grant recognition to a degree (or other formal qualification) from a foreign university (or other registered educational institution) [from L. noster (“our”) + -cate]
Noyade: mass execution by drowning (esp in revolutionary France in Nantes, 1793-94) [from L. necare (“kill without using a weapon”) (nonce word)]
The Noyades of Nantes (image source: Selbymay (CC BY— SA) WHE)
Nugacity: triviality; futility; drollery (cf. nugatory: of no value; trifling; pointless) [from L. nugacitas (“trifling”)]
Nullibiety: the state of being nowhere [from L. nūllus (“none”; “no”; “not any”) + –ibī (“there”) + -ety] (cf. Nullibist: one who denies that the soul exists in physical space)
Numen: pertaining to numina; awe-inspiring; supernatural) [L. nuō + –men (“a nodding with the head”; “command”; “will”)]
Nummamorous: money-loving (cf. Nummary: pertaining to coin) (OU) 💴 🪙
Nutation: the act of nodding the head, esp habitually or constantly; a periodic variation in the inclination of the axis of a rotating object [from L. nūtātiō (“nodding”), from nūtō (“I nod”)]
Nycterent: someone who hunts by night [from Gk. nyct (“night”) + -ent] (cf. Nyctitropic: turning in a certain direction at night) (cf. Nyctalopia: night-blindness)
Nycterent (image: Steam)
Nympholepsy: a passionate longing for something unattainable [from Gk mythology: nymphóleptos (“possessed by nymphs”)]
Key: OU = origin unknown
<word meaning and root formation>
Obsidional or Obsidionary: pertaining to a siege [from L. obsidiō (“siege”; “blockade”)]
Obsidional (source: Medieval art by Marilyn Stokstad)
Obsolagnium: waning sexual desire due to age [from L. ob- (“against”) + lagnium (“desire”)]
Obtund: to blunt, dull or deaden [from L. obtundere (“to dull”, “deaden”, “deafen”)]
Oculogyric: eye-rolling; rotation of the eyes [from L. oculo- (“eye”) + –gyric, from Gk. -gurus (“circle”)]
Oligophagos: eating only a few particular kinds of food [from Gk. olig (“few”) + –phagos (“eating”)]
Ollapod: pharmacist; (Orig. a country apothecary [name of a character in George Colman the Younger‘s comedy The Poor Gentleman (1801)]
Ollapod (source: Wellcome Collection (CC))
Ombrophilous: capable of withstanding heavy and continuous rain [from Gk. ómbros (“rain”) + –philous (“love”)]
Omniety: the state or condition of being all [from L. omnis (“all”) + -iety]
Oneirataxia: inability to distinguish between fantasy and reality [Gk. oneiros (“dream” + –taxis (“arrangement”)]
Onomasticon: an ordered list of names (Orig. a gazetteer of historical and contemporary 4th-century place names in Palestine andTransjordan compiled by Eusebius) [Gk. onomastikós, (“belonging to names”), from onomázō, (“I name”)]
Ophelimity: the ability to please another; economic satisfaction [from Gk. ōphélimos, (“helpful”)]
Opisthenar: back of the hand [from Gk. opistho- (“behind”; “back”) + –thenar (“palm of the hand”)] 🤚
Opsablepria: inability to look someone in the eye (OU) 👁️
Orarian: dweller by the seaside; relating to the seaside [from L. ōrārius (“coasting”; “along the coast”) + -an]
Orthostatic: relating to standing upright; straight posture [Gk. orth (“right angle”; “perpendicular”) + –statikós (“to make stand”)] (cf. Orthobiosis: a hygienic and moral lifestyle)
Osophagist: a fastidious eater [Gk. (?) + –phagos]
Otiose: serving no useful purpose; leisurely (cf. Otiant: idle or resting [from L. otium (“leisure”)]
Ozostomia: evil-smelling breath [from Gk ozóstom(os) (“having bad breath”)]
Haptodysphoria: a shiveringly unpleasant feeling experienced from touching certain surfaces, such as peaches or wool [Gk. háptō (“touch”; “hasten”) + -dus (“bad”) + –phérō (“I bear”; “carry”)]
Harpocratic: relating to silence (OU)?
Harpocratic (source: Clipart Library)
Hartal: a general strike of labour, including a total shutdown of workplaces, businesses, courts, etc, as a political protest [Hindi haṛtāl, from hāṭ (“shop”) + -tālā (“lock”)]
Hebesphalmology: study of juvenile delinquency [OU; from Hebe (“goddess of youth and spring”(?)) + ? + -logy]
Henotic: promoting harmony or peace; unifying [Gk. henōtikós, (“serving to unite”)] ☮️
Hesternopotia: a pathological yearning for the good old days (OU)
Heteronym: a word with the same spelling but a different pronunciation and meaning [Gk. héteros (“other”; “another”) + -nym]
Heterotopia: strange or ambivalent places (places that defy the normal logic of ordering) [word popularised by philosopher Michel Foucault, Fr. hétérotopie, Gk. héteros + -topia from “utopia”, (“place”)]
Horrisonant: having an ugly, harsh sound; unpleasant to the ear [L. horrēre, sonānt-em (“to dread”; “shudder”) + -ant]
Humicubation: the act or practice of lying on the ground, esp in penitence or self-abasement [L. humus (“the ground”) + –cubare (“to lie down”)]
Hygeiolatry: fanaticism about health; the worship of health and/or hygiene [ Gk. hygie (“healthy”) + –latry (“worship”)]
Hygeiolatry (image: everydayhealth.com)
Hygrophanous: seeming transparent when wet, and opaque when dry [Gk. hygr- (“wet”) + –phan, -phen (“to show”; “visible”)(?) + -ous]
Hyperhedonia: (Medic.) a condition where abnormally heightened pleasure is derived from participation in any act or happening (no matter how mundane) [Gk. hyper- + G. hēdonē, (“pleasure”)]
Hypobulia: (the procrastinator’s curse!) (Psych.) a lack of willpower or decisiveness [Gk. hypo (“beneath“ or “below,”) + -aboulía (“irresolution”)]
Hypogeal: pertaining to the earth’s interior; subterranean; growing or existing underground [Gk. hupógeios (“underground”)] (cf. Hypogeum: underground temple, tomb or cavern)
Hypogeal (source: wob.com)
Hypothimia: profound melancholy or mental prostration; depressive state of mind; diminished emotional response [Gk. hypo- + Greek -thymos (“spirit”)]
Key: OU = origin unknown
<word meaning & root formation>
Idioglossia: secret speech or language, especially invented by children [Gk. idio- (“own”; “peculiarity”) + -glōssa, (“tongue”; “speech”)]
Idolum: insubstantial image; a spectre or phantom; a fallacy [Gk. eídōlon, (“image; “idol”), from eîdos, (“form”)]
Illuminati: those who claim to have exceptional intellectual or spiritual awareness (orig. a Bavarian secret society founded in 1776) [L. illuminatus (“enlightened”)]
Inexpugnable: that which cannot be taken by assault or storm; unconquerable; impregnable [L. in + -expugnābilis]
Innascible: not subject to birth; without a beginning; self-existent [L. innāscibilitās (“state of being unable to be born”)]
Invultuation: the use of or the act of making images of people, animals, etc, for witchcraft; sticking pins in a wax doll representing someone you wish to inflict pain on [MedLat. invultuāre (“to make a likeness”) from in- + vultus (“likeness”)]
Invultuation (source: etsy.com)
Irrefragable: not able to be refuted or disproved; irrefutable; indisputable; unbreakable [LateLat. irrefragabilis, from L. refragari (“to oppose or resist”)]
Isographer: someone who imitates another person’s hand-writing [Gk. iso- (“same”) + –graphe (“write”)]
Cacestogenous: caused by unfavourable home environment (OU)
Calepin: a notebook; a dictionary, esp a polyglot dictionary [It. calepino, named after Ambrogio Calepino ((15th-16th cent. author of a Latin dictionary]
Callisteia: beauty prizes; originally a festival held by the women of the island of Lesbos, with a prize for the fairest beauty [name of the festival , named in honour of the Greek goddess of Callisto]
Callithumpian: a noisy band parade or demonstration [alteration of gallithumpian)
Cambist: one skilled in the science of financial exchange; a banker [from L. cambire (“to exchange”)]
Cambist (source: Gumpanat/Shutterstock.com)
Campestral: pertaining to or thriving in open countryside [L. fromcampester from campus (“field”; “plain”) + -al]
Canard: a fabricated anecdote; an unfounded sensational report; a phoney yarn; a hoax — or to put it in immediately-recognisable contemporary currency…fake news [Fr. canard (“duck”), in the sense of being a hoax] 🦆
Cancrine: reads the same backwards as forwards; palindromic [From Latincancer (“crab”) + -īnus]
Canatory: pertaining to a singer or singing [from It. cantata from L. cantare (“to sing”) + -ory] (cf. Cantatrice: female singer) 🎤
Caprine: pertaining to a goat; goat-like [L. caprīnus, from caper (“goat”)] 🐐
Carriwitchet: absurd, riddling question; a condundrum; a kind of hoax; pun [uncertain, possibly a humorous alteration of catechism]
Castrophenia: the belief that one’s thoughts are being stolen by one’s enemies (OU, castro- kastron-(?))
Catholicon: a universal remedy or fix; panacea [Gk. katholikós, (“universal”), from katá, “(according to”) + –hólos, “(whole”)]
Charientism: a figure of speech wherein an insult is disguised as or softened by a jest [from Gk. kharientismós]
Chimera: (also spelt Chimaera) imaginary monster; fanciful; impossible idea; a body; an unjustified fear [from Greek mythology: a fire-breathing she-monster having a lion’s head, a goat’s body, and a serpent’s tail]
Chimera (image: oldworldgods.com)
Circumforaneous: wandering from house to house, from place to place, from market to market [L. circumforāneus (“itinerant”), from circum- (“around”) + –forum (“marketplace”) + -aneus (“-aneous”)]
Claudicant: (Medic.) limping (L. claudicans from claudio (“to limp”) from claudus (“crippled”)]
Claudicant: I, Claudius?
Claviger: club-bearer; key-keeper or caretaker [L. from clavi- (“clavi”) – + -ger (“bearing, bearer”)] 🔑
Comiconomenclaturist: a connoisseur of humorous names; a specialist in the creation of funny names [from L. comicus (“of comedy”) from Gk. komikos (“of or pertaining to comedy”) + L. nōmenclātūra nomenclature (“naming”) + -ist]
Z is the twenty-sixth and not-so-lucky last letter of the Latin alphabet, used in the modern English alphabet and other western European languages. It is most commonly pronounced zed, as used in international English. But in the US, and sometimes in Canadian and Caribbean English, the preference is for zee. A third, archaic variant pronounces the letter “Z” as izzard, whose usage today is confined to Hong Kong English and Cantonese. “Z” derives from the Greek letter zeta, reaching English via the customary pathway of Latin. The ancient Greek “Z” was a close copy of the Phoenician Zayin (I) (meaning “weapon” or “sword”). Around 300 BC, Roman censor Appius Claudius Caecus relegated the letter Z to the ancient history archives, striking it from the alphabet allegedly due to his distaste for the letter, owing to it “looking like the tongue of a corpse”🅐.
Zabernism: misuse or abuse of military authority; bullying [From the German name for Saverne, a town in Alsace involving a 1913 incident of an overzealous soldier who wounded a cobbler for laughing at him, ultimately triggering an intervention from the army who took over the power from local authorities]
Zaftig: having a full, rounded figure; pleasingly plump (esp of a woman) [Yiddish. zaftik, (“juicy” or “succulent”) from zaft, (“juice” or “sap”)]
🅐 a more likely explanation is that the “z” sound had disappeared from Latin at that time making the letter useless for spelling Latin words…a few centuries later it made a comeback to the A(to Z) team resuming its place as № 26
“Words, Words, Words”, mused Shakespeare’s brooding and enigmatic eponymous protagonist in Hamlet [Act II, Scene II]. Indeed, for those wordsmiths, verbivores and aficionados in the grips of logolepsy (fascination or obsession with words), words, lexemes, morphemes, lógos, verba, call it whatever you like, are the very stuff of the world. If you are like me and take a delight in being exposed to new words, always looking to add to the building blocks of your vocabulary, then your interest might be piqued enough to browse the following list of words, a select lexicon with entries which include the obscure, the archaic, the unusual, the peculiar and (sometimes) the downright creepily weird. To begin at the beginning, the letter “A”, primus intra pares among the strictly-ordered glyphs. “A” in the Latin alphabet is similar in shape to theAncient Greek letterAlpha, from which it derives.
Word
Meaning
Derivation
Abactor
cattle thief or rustler
L Late Latin abigō ('drive away')
Achloropsia
[cf. Acyanopsia colour-blind blue]
colour-blind green
Gk a + clor ('green') + -podia (rel. to 'sight')
Acephalous
lacking a (clearly defined) head
Gk akephalous ('headless')
Acersecomic
one who has never had his or her hair cut
Gk akersekómēs ('young with unshorn hair')
Acrologic
pertaining to initials; using a sign to represent a word denoting its initial letter or sound, assoc with hieroglyphics & acronyms
Fr acrologique
Adelphogamy
a form of polyandry; marriage of 2 or more brothers & 1 or more wives (context: Royal marriages in Ancient Egypt, usually between siblings)
occurring as a result of an external factor or by chance, rather than by design or inherent nature; coming from outside, not native
L adventicious (coming to us from abroad")
Agelast
someone who never laughs; a humourless person
Mid Fr agélastos ('not laughing')
Agersia
not growing old in appearance
Gk a ('not') + geras ('age')
Agnomen
an epithet; an appellation appended to a name (eg, Rufus the Indolent)
Anc Rome a 4th name occasionally bestowed on a citizen in honour of some achievement
Agnosy
ignorance esp universal ignorance; unenlightened; bereft of spiritual understanding or insight
Gk agnōsia ('ignorance')
Aleatory
something dependent on the throw of dice or on chance; random; (esp in indurance)
L alea a kind of dice game
Amanuensis
Iiterary or artistic assistant, in particular one who takes dictation or copies manuscripts
L amanu + -ensis ('slave at handwriting') + 'belonging to')
Ambivert
someone who a balance of extrovert & introvert features in their personality
L ambi ('on both sides') + vertere ('to turn')
Aneabil
unmarried; single
origin unknown
Anecdotage
someone with a tendency to be garrulous; anecdotes collectively
Gk anekdota ('unpublished') + -age
Anemocracy
government by the wind or by whim
Gk anemo ('wind') + -cracy ('rule')
Anhedonia
inability to feel pleasure in normally pleasurable activities
Fr anhédonia+ ('without pleasure')
Animadvert
criticise or censure; speak out against
L animadvert-ere ('to notice or remark on a subject')
Antanaclasis
a literary trope whereby a single word is repeated, but in 2 different senses (for effect, a common form of punning)
Gk antanáklasis ('reflection'; 'bending back')
Antelucan
pre-dawn
L ante ('before') + luc ('light')
Antemundane
existing before the creation of the world
L ante ('before') + Fr mondain ('of this world')
Antipudic
covering one's private parts
anti + L pudendum ('genitals'; shame')
Apodysophilia
feverish desire to undress (a form of exhibitionism)
origin unknown
Appurtenance
accessory associated with particular lifestyle, eg, luxury
OFr from L appertinere ("belong to")
Aptronym§
the name of a person which neatly matches or is amusingly appropriate to their occupation or character (eg, possessor of the highest-ever recorded IQ, Marilyn vos Savant; a Russian hurdler by the name of Marina Stepanova)
neologism, purportedly coined by US columnist Franklin P Adams
Archimage
great magician, wizard or enchanter 慄♂️
New Latin from Late Gk archimagus
Aristarch
a severe critic
after Aristarchus of Samothrace, a Greek grammarian, (2nd BC)
§ the concept of aptronym gives legs to the theory of nominative determinism which hypotheses that people tend to gravitate towards jobs that fit their surname, eg, a BBC weather presenter with the name Sara Blizzard ️
🇬🇧🔫🇬🇧 THE phenomena of James Bond in both book and movie form was meant to be purely escapist entertainment, bereft of the slightest pretension that they were anything remotely cerebral. Interesting then that Bond has gleaned so much serious academic enquiry and analysis over the years. A sample of articles on JSTOR reveals a feast of scholarly entries on the subject of James Bond — “Shaken, Not Stirred Britishness: James Bond, Race, and the Transnational Imaginary”, “The Marketable Misogyny of James Bond“, “Paradoxical Masculinity: James Bond, Icon of Failure”, “Why James Bond Villains Prefer Post-Soviet Architecture”, “The Spy Who Loved Globalization”, ”How safe do you feel?: James Bond, Skyfall, and the Politics of the Secret Agent in an Age of Ubiquitous Threat”, and so on it goes.
The James Bond film franchise is certainly sui generis among English-language movie series. October 5 this year marked the 60th anniversary of the introduction of James Bond to cinema screen audiences (Dr No, 1962), and the cinematic sequence remains as yet unbroken, notwithstanding ”the elephant in the room” of last year’s No Time To Die in which the indestructible James Bond actually dies! Virtually all other elongated movie series have ultimately reached a natural (or unnatural) termination point – even the long-running, prolific and increasingly unimaginative Carry On comedy series ran out of steam by the Eighties 🄰.
Ian Fleming ‘Casino Royale’, 1st 007 novel (Image: bondfanevents.com)
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Box office El Dorado Over a six-decade period the 25 movies🄱 constituting the James Bond industry made by Eon Productions (Broccoli and Saltzman’s production company) have earned a total somewhere north of US seven billion dollars. Boosted undoubtedly by the mass popularity of screen Bond🄲 the James Bond spy novels written by former WWII naval intelligence officer Ian Fleming, on which the cinema franchise is based, have themselves racked up sales of more than 60 million copies.
If you came anew to the Bond movies looking for a healthy dose of gritty social realism based on the world of espionage a la John LeCarre, you’d be sadly disappointed. The franchise’s entries are all about fantasy and high-adventure escapism. Unlike the shadowy cloak-and-dagger characters that the real world of spies and secret agents (apparently?) inhabit, James Bond 007 in his public persona is an open book, he doesn’t use a fake name, he doesn’t try to disguise his appearance or furtively hide in dark corners. He’s direct, brash, brutal and recklessly undisciplined in his actions and antics, with a propensity to be easily distracted from the assignment at hand by the happy prospect of a spot of horizontal folk-dancing.
Though wildly successful at the box office over an extraordinarily long shelf life, James Bond is not everyone’s cup of tea. An early critic Judith Crist described the series’ first vehicle Dr No as “an updated comic strip of the Fu Manchu school, fast moving, faster shooting, utterly fantastic”. JB has been pilloried by feminists for his unrepentant chauvinism—especially in Sean Connery and Roger Moore’s interpretations of the character—and four decades of “Bond Girl“ objectification of women. The backlash against JB’s misogyny compelled producers to tone down the blatant sexism in the most recent incarnation of the most famous of all British secret agents played by Daniel Craig. Bond has also been excoriated as a “thug trained to wear a tuxedo”…007’s “license to kill” green-light unleashes the agent’s deep predilection for perpetrating extreme, lethal violence in cold blood.
Predictable Bondery Then there’s the plots! The storylines are more than fanciful…James Bond’s arch-villains hatch mind-bogglingly ludicrous schemes which suggest that they have been maxing out on the Kool-Aid – such as nuking Fort Knox’s gold reserves; constructing a massive capsule-gobbling rocket to capture the space crafts of both superpowers; detonating explosives along the Californian fault lines to destroy Silicon Valley; ad nauseum. The franchise has also been lambasted for being BORING! Agent 007 has been called out for living “the same story over and over” (Elizabeth Winterhalter). Repetition is a constant motif…we see Bond right on cue rendezvous with a typically crotchety “M” to be briefed on his latest world-rescue mission, flirting with Miss Moneypenny in their regular tête-à-tête ritual, and getting a rundown on the very latest weapon gadgetry from an equally irascible “Q”. In every second scene, just about, JB is pursued by a posse of miscellaneous henchmen only to miraculously escape certain death by the barest of margins every time. The movies almost invariably end in the same formulaic fashion: Bond infiltrates the arch-villain’s impregnable lair, triumphs over the likes of Blofeld and Goldfinger and numerous assorted henchmen, and finishes by bedding his leading lady on an inflatable dingy, in space, a balcony, etc and signing off to “M” with a corny double entendre🄳.
Bond with “Jaws”, larger than life henchman-turned-ally
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Cultural relevance to the West Some Bondphiles have an altogether different take on this Groundhog Dog trait in James Bond of repeating the same basic plot structure infinitum…they see it as a key ingredient of the franchise’s success: ”the simplicity of the plot arch allows the films to seamlessly transcend and become culturally relevant to the audience” (‘What is the Secret of James Bond’s Eternal Success?’, www.undandy.com). Another explanation of James Bond’s allure contends that the fictional MI6 spy instantly resonated with Western audiences in the climate of the Cold War, being seen as a kind of antidote to the prevailing morass of the social order (especially in the US). 007’s talent as a fixer of “global crises” casts him in the guise of a saviour salvaging the world from an inevitable downward spiral into chaos and discord (‘James Bond and America in the Sixties’, Drew Moniot, JUFA, Vol.28, No.3, 1976). Moniot also attributes JB’s popularity in America to the existence of a vacuum of real-life heroes in 1960s society, the emergence of 007, a mythological hero who was invincible, fulfilled that psychological need at that time.
British Bond and foreign Blofeld
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Vicarious🄴 charm of the bon vivant lifestyle Part of the appeal lies in the character of James Bond. Fleming visualised 007 as fit, sensual, with superior grey matter and a technical wiz, a model of “red-blooded heterosexuality”. He also emphasises Bond’s “Britishness” in the novels, JB’s 100% success rate on missions and in the romance stakes presents Bond as representing the “Best of British”… Fleming’s idea of an antidote to the sad realities of a declining Britain denuded of empire. Leaving aside the ever-present mortal danger to his very existence, Bond leads “a ridiculously good lifestyle (by) any man’s standards”🄵(Undandy), his appearance is akin to a “GQ cover model”; an endless supply of the best alcohol (which the MI6 agent knocks back with worryingly frequency); the best cars (trademark Aston Martin DB5); his apparently irresistible sex appeal to women (‘Bond by rules’, Tim Brayton, 2012, www.alternateending.com). As crime doyen Raymond Chandler neatly put it, “Every man wants to be James Bond and every woman wants to be with him”.
Tropeville central Aside from JB’s personal magnetism, the series’ catalogue of recurring tropes helps to cement the franchise’s appeal. Familiar ingredients include the default opening sequence depicting 007 in action through the prism of a gun barrel; over-the-top hi-tech gadgets; a smorgasbord of diverse exotic locations; a brisk cocktail of action stunts (car chases, boat chases, ski pursuits, etc); the centre-stage presence of the Bond Girls and of a megalomaniacal arch-villain mastermind; all eagerly anticipated by James Bond‘s legion of rusted-on fans. Also adding value and lustre to the films are the high quality title-songs – like the utterly unforgettably iconic Goldfinger theme, and not far behind that Shirley Bassey classic, Live and Let Die, Diamonds Are Forever, and You Only Live Twice, etc, etc.
Bond, tapping into the zeitgeist of the day One (insider) view on the longevity of James Bond comes from those at the helm of the multi-billion dollar franchise today, Cubby Broccoli’s daughter Barbara and his step-son Michael Wilson. Broccoli’s heirs attribute the success to the family having managed to keep hold of the franchise’s reins throughout its entire history, and to JB’s and the franchise’s adaptability, 007 being able to change with the times🄶 (‘Why James Bond Has Endured For So Long, According to the Franchise Producer’, Joshua Meyer, Film, 8-Dec-2021, www.slashfilm.com).
Footnote: James Bond, books v films
The early James Bond movies kept pretty faithful to the plots of Ian Fleming’s crime thrillers, however as the series went on, the screen adaptations bore increasingly less resemblance to the novels (eventually everything except the Fleming titles were jettisoned). Other differences relate to the protagonist himself, 007’s proclivity for terminating with extreme prejudice (and without a skerrick of compunction) the various henchmen aligned against him increases tenfold from the books to the movies, as does his appetite for sexual conquests whilst on the job. Another point of departure from the novels for the films is the lack of story continuity from one picture to the next (eg, Bond in a grieving state at his wife’s murder at the end of On Her Majesty’s Secret Service doesn’t get a mention in the follow-up Bond feature).
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🄰 probably the closest to it is the Star Wars franchise (1977 to the present)
🄱 there was in addition one non-Eon Bond film, Never Say Never Again, a Taliafilm production
🄲 even Bond’s snobbish swipe at the Beatles in Goldfinger at the height of Beatlemania in 1964 didn’t dent his appeal with the public
🄳 with one or two notable exceptions…On Her Majesty’s Secret Service ends with the death of Mrs James Bond and No Time To Die ends with the death of 007 himself
🄴 in creating the overachieving superspy Fleming was in fact acting out his own vicarious impulses…endowing 007 with the sort of ideal, action-man hero lifestyle that the writer dreamt of
🄵 one writer characterised it as “elegant lifestyle porn” (Brayton)
🄶 one example: in the rebooted Skyfall (2012), the film and JB concern themselves with the very real and very contemporary threat of the ubiquity of the internet and cyber-terrorism
“The year is 50BC. Gaul is entirely occupied by the Romans. Well, not entirely . . . One small village of indomitable Gauls still holds out against the invaders.”
𓆸✱✝✱✝✱✝✱✝𓆸
The “indomitable Gauls” in question are the tribe of Astérix, pint-sized Gallic hero of the long-running eponymous French comic strip with its legion of dedicated fans. Like all classic literary modes, be they of a pop cultural kind or more highbrow, the Astérix comic can be read on more than one level. On the surface the impossible but highly comical escapades of its principal cartoon characters (Astérix and his sidekick Obélix) are much loved and savoured by aficionados across the globe. On another level some observers have detected various allegorical meanings delving within the cartoon series.
Astérix’s debut, 1959
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The Astérix comic strip (in France known as a bande dessinée – literally “drawn strip”) made its debut in 1959 in the Franco-Belgian comic magazine Pilote under the the strip title Les aventures d’astérix. The Astérix phenomenon that followed that unassuming beginning was the result of a long and harmonious collaboration between writer René Goscinny and illustrator Albert Uderzo.
Getafix, Druid & grandmaven
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What a Gaul! The basic plot of the comic is that Astérix and his XXL-sized friend Obelix reside in the sole remaining village in Gaul which has not been conquered by the might of the Roman war machine. The reason enabling its continued freedom is that Astérix has access to a magic potion supplied by the village’s Druid Panoramix (in English translations: Getafix) which gives him temporary, superhuman strength (Obelix is already endowed with extraordinary strength courtesy of having fallen into the cauldron of magic potion as a baby). The two companions, usually accompanied by Obelix’s little dog, Idéfix (English: Dogmatix), spend their time roaming around the countryside of Armorica (modern-day Brittany) bashing countless numbers of heads, mostly of the hapless and unsuspecting Roman legionnaires. In many of the books the magic potion-fuelled duo venture out on escapades to lands both far and near from Gaul.
Dubbleosix in ‘The Black Gold’
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Undisguised punnery Much of the humour in Astérix revolves around Goscinny’s and translator Bell’s (see below) use of puns and in-jokes which abound in the character names, Astérix, the comic’s central protagonist is of course “the star” (for which “asterisk” is another word); the monolithic-like Obelix is a carter and shaper of menhirs which are also known as “obelisks”; Bell translated Obelix’s dog’s name as…Dogmatix – what else! A spy Druid in Astérix and the Black Gold with more than a passing resemblance to Sean Connery is given the name Dubbelosix.
Nomenclature of the dramatis personae When sketching out the framework of their fictional First century BC Gaul Goscinny and Uderzo decided on a formula for the names of each of the groups of characters. The Gauls’ men’s names would end in -ix (the inspiration for this was the real-life Gallic chieftain Vercingetorix who revolted against Julius Caesar’s Rome in 52BC), so we have Vitalstatistix (chief of Astérix’s tribe) and his brother Doublehelix; Assurancetourixൠ (English: Cacofonix) (bard and scapegoat of the village); Geriatrix (oldest member of the village); Unhygienix (village fishmonger); Cétautomatix (village smith) (Eng: Fulliautomatix); Saingésix (wine merchant) (Eng: Alcoholix), etc. etc. The Romans mostly are identified by names with the suffix “-us” (although “Julius Caesar” (Fr: Jules César) appears as a fictional character under his own name)…as the “bad guys” the Romans all tend to have derogatory or demeaning names, eg, Pamplemus (Arteriosclerosus); Cadaverus; Caius Fatuous; Caius Flebitus …you get the idea!
‘Astérix and the Normans’
Goscinny employed suffix-identifiers for other national groups in the books. For instance, the names of the fearsome Norman tribesmen were all given -af endings, so we get lots of joke names like Psychopaf, Riffraf, Autograf, Nescaf and Toocleverbyhaf, ad tedium…basically anything preposterous enough Goscinny and Bell could think of that would raise a laugh. The device extends to Britons (-ax)(usually puns on taxation, eg, “Valueaddedtax”), Germans (-ic), Greeks (-os) and Egyptians (-is).
‘Astérix and Cleopatra‘
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Stereotyping and racial tropes
One of the preoccupations of the Astérix comics and the source of much of its humour is ethnic stereotyping. Uderzo and Goscinny delight in lampooning the perceived national traits of different groups of Europeans. The English are depicted as phlegmatic, love to drink lukewarm beer and tend to speak in a chipper, upper-class way. The Iberians (Spanish) are displayed as being full of pride and tend to have choleric tempers. The Normans (Vikings) drink endlessly and fear nothing. Goths (the Germanic tribes) are disciplined and militaristic, but are not unified and fight among themselves. This all reads as a bit problematic especially in this age of political correctness. In the case of the Spanish the generalisations are compounded by Uderzo’s unflattering drawings of them. But the most disturbing element of the books’ stereotyping of races exposing the creators to considerable criticism relates to the bigoted portrayal of Black Africans. Slaves in the series are always Black and sometimes they have have bones through their hair and other cliches (eg, Astérix and Cleopatra). Uderzo also introduced the character of a caricatured Black pirate (Baba)—notoriously depicted with exaggerated racial features, enormous, full red lips—who appears in several books including Astérix in Corsica and Astérix and Obélix All At Sea. For this reason American cartoonist Ronald Wimberly has described the Astérix comics as “blatantly white supremacist” in nature and thus unsuitable for children (’Race and Representation: Relaunching Astérix in America’, Brigid Alverson & Calvin Reid, PW, 19-Aug-2020, www.publishersweekly.com). In recent versions of the comic edited for the US market the overt racialist profiling has been toned down a bit (‘Asterix Comes to America‘, Jo Livingstone, Critical Mass, 17-Jun-2020, www.newrepublic.com).
Black pirate lookout in ‘Astérix in Corsica’
Bravura and the village women in revolt
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Uderzo contra feminism Similarly, Astérix has attracted criticism for its negative portrayal of women in the strips. Asterix and the Secret Weapon for instance introduces a female bard Bravura from Lutetia (Paris) who incites the women of the village to revolt against their husbands and the patriarchy. ’Secret Weapon’ unsubtly parodies feminism and gender equality. By 1991 when the album was published it might have been hoped that Uderzo would have expressed a more enlightened and nuanced perspective on sexual politics, but he and Goscinny were very much products of their time so it probably shouldn’t surprise that the artist/storyteller was still implacably fastened on to his old ideals of male chauvinism and hegemony.
The ludicrous amount of violence dished out in Astérix—the heroic Gallic duo are constantly bashing Roman skulls senselessდ—has also opened the comic strips up to criticism from some quarters. In 2007 the Swiss-based organisation Defence for Children International echoed Wimberly’s sentiments, saying that Astérix, Obélix & Co set a bad example for the young by constantly fighting with everyone, never at peace with their neighbours…adding that the comic series was “too monocultural” in its obsession with “invaders” (The Guardian).
‘Astérix and the Great Crossing’: Astérix & Obélix tango with native Americans – more sterotyping of ”the other”࿏࿏࿏
With Goscinny’s untimely early death in 1977 Uderzo took on responsibility for the Astérix scripts as well as the artwork. Uderzo solo added another nine comic books to the Asterix oeuvre, although he retained the late M Goscinny’s name on the covers as co-creator. The Astérix‘s scripts written by Uderzo were not in the same class of storytelling as Goscinny’s—lacking René’s incisive wit and punchiness—but even so, the Uderzo-penned comic albums still proved bestsellers, such was the lustre of the Astérix brand.
Enter the new generation of Astérix comic artists By 2011, Uderzo in his eighties, was ready to pass the Astérix baton on to two cartoonists who he had been mentoring. The new team, Jean-Yves Ferri (writer) and Didier Conrad (illustrator), having got the master’s nod of approval, produced Astérix and the Picts in 2013, followed by four more Astérix albums thus far. Ferri and Conrad have even introduced new characters with contemporary and topical resonance, eg, Confoundtheirpolitix, a muckraking journalist, spoofing Julian Assange (Astérix and the Missing Scroll). Unfortunately, since becoming custodians of the world’s most famous cartoon Gaul, Messieurs Conrad and Ferri have missed the opportunity to redress the earlier derogatory depiction of Africans drawn by Uderzo. Instead Conrad tactlessly reprised Uderzo’s Black pirate lookout character in 2015 in ‘Missing Scroll’) with the same racist depiction of Baba with bulbous red lips.
‘Astérix en Bretagne‘
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Astérix for AnglosTranslations into English of the iconic comic books began in 1969. Anthea Bell, in collaboration with Derek Hockridge, was the gifted translator who worked with the full sequence of Astérix creators. Bell’s distinctly English expressions and puns as translated won much praise “for keeping the original French spirit intact” (‘Anthea Bell’, Wikipedia, http://en.m.wikipedia.org). Bell also shared with Goscinny a delight in the humour of historical anachronisms which filter through the various books.
The Astérix industryAs at 2021, with the publication of the 38th Astérix comic book Astérix and the Griffin, the books have sold a staggering combined total of 385 million copies worldwide. They have been translated into 111 languages and dialects including Afrikaans, Welsh, Hebrew, Occitan, Arabic, Urdu and even Latin. Astérix adaptation to the screen comprise 10 animated films and four live action films (of which only Mission Cleopatra merits any accolades at all). There’s the usual accompaniment of merchandising of course and even a theme park, Le Parc Astérix, north of Paris. The comic books’ following spans the globe, in their heartland, France and Belgium, in Germany, Britain, just about everywhere they have been in vogue with the notable exception of the US.
What’s the secret of the Asterix comics’ success?To M Uderzo the endearing nature of Astérix’s popularity remained a puzzle that he couldn’t fathom, best left to others of which there has been no shortage of opinions aired over the years. Clearly, the character of Astérix is deeply rooted in French popular culture. Two-thirds of the French population had read at least one Astérix books according to a 1969 national survey (‘Going for Gaul: Mary Beard on 40 years of Astérix’, The Guardian, 15-Feb-2002, www.amp.theguardian.com . Some observers put the appeal down to the escapism the comics represented – providing “a world of joyful innocence born in the aftermath of (world) war” ‘My hero: Asterix by Tom Holland‘, The Guardian, 26-Oct-2013, www.amp.theguardian.com . This sentiment is echoed by those who have called the series ”the most brilliant antidote to (the catastrophe of) Vichy in French literature”. Many French people identify with the petit Gaul as a symbol of rebellion, standing up for the “little guy“ against Goliath. To them Astérix’s steely determination to defy the juggernaut of Roman power mirrors the impulse in the hearts of many modern-day French citizens to hold out and not succumb to the all-conquering globalisation driven by the United States⚘. While the French feel an inextinguishable pride in Astérix (“simply French”), to many outsiders the comics personify what they take to be the French character, such as the trait of “infuriating, occasionally endearing contradictions” (John Thornhill, Lunch with the FT: Asterix the national treasure’, Financial Times, 24-Dec-2005, www.financialtimes.com). Another take on Astérix’s popularity beyond the borders of France is that the idea of an heroic “native freedom-fighter” defying Rome struck a resonant tone in countries which had once been subjected to the tyranny of the Roman Empire (Beard).
Footnote: In Astérix in Belgium, the 24th volume in the series໒꒰, village chief Vitalstatistix, Astérix and Obélix head off to Belgae to tangle with an equally fierce tribe of Belgian Gauls. As usual, the comic is saturated with cultural references, Goscinny weaves in a series of gently digs at the Belgians, spoofing famous national celebrities like Walloon actress/singer Annie Cordy and cyclist Eddie Merckx. The comic’s battle scene is a riff on the historical Battle of Waterloo and Uderzo draws in a cameo appearance by fictional detectives Thomson and Thompson from Belgium’s most honoured cartoon strip Tintin (‘Asterix v24: “ Asterix in Belgium”’, Augie De Blieck Jr, Pipeline Comics , 25-Jul-2018, www.pipelinecomics.com).
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ൠ some sort of pun on “insurance”
დ although it should be noted that no one is actually killed in the comics
⚘ shared by Uderzo himself who said in 2005, “the more we are under the sway of globalisation, the more people feel the need to rediscover their roots”, which is what he hoped connecting with France’s ancient Gallic past via his cartoon creation might help achieve
໒꒰ Goscinny died during the comic’s production and this was also the last Astérix that Albert Uderzo’s artist brother, Marcel, worked on
IF “Lord Haw-Haw” (pseudonym of William Joyce), “Axis Sally” (Mildred Gillars) and the most significant of the “Tokyo Roses” (Iva Toguri) were the major leaguers of Axis radio propaganda promulgators in WW2, then there was certainly a minor league of active players as well. Most of these other wartime on-air advocates of Fascism and Nazism didn’t come close to achieving the profile of the “Big Three”…names like Paul Ferdonnet, Philippe Henriot(𝓪), John Amery, Frederick Wilhelm Kaltenbach, Edward Delaney, Douglas Chandler, Robert H Best, Donald S Day and Jane Anderson and are not exactly household names of the “Fourth Front” in wartime (although Ezra Pound certainly was) [‘Voices of the Axis: The Radio Personalities of the Fascist Propaganda’, Chuck Lyons, Warfare History Network, www.warfarehistorynetwork.com].
⍓ Goebbels & Hitler with the “People’s Receiver” (Source: badischezeitung.de).
Home-grown Gallic Nazi mouthpiecesVichy France had plenty of collaborators with the Nazi occupying forces of course, two who had roles in the propaganda airwaves war on France’s own citizenry and troops were Paul Ferdonnet and Philippe Henriot. Ferdonnet, a right wing anti-Semite, moved to Germany before the war to work for Radio Stuttgart as their French language broadcaster. Labelled le traître de Stuttgart by the French press, Ferdonnet focussed on undermining French faith in the alliance with Britain – a recurring refrain directed towards his French audience was “Britain would fight to the last Frenchman” or its variant, “Britain provides the machines and France provides the bodies” [Julian Jackson, France: The Dark Years, 1940-1944, (2003)]. Apprehended after the fall of the Nazis, he was executed for treason in 1945.
⍓ Henriot in full flight (Photo: Keystone/France/Gamma vis Getty Images) .
The “French Goebbels”Philippe Henriot eagerly aligned himself with the collaborationist Vichy regime, rising to become the Vichy minister of information and propaganda in early 1944, waging a verbal and psychological war against the Free French. His 270 broadcasts on Radio Vichy played on the fears, anxieties and prejudices of the French people, like Ferdonnet urging them to break off their association with Britain. Henriot’s airwaves appeal was his “mesmerising rhetoric and delivery” which made him compulsory listening for many French men and women [‘Philippe Henriot and the Last Act of Vichy: Radio Broadcasts, January – June 1944’, (K Chadwick), University of Liverpool, www.gtr.ukri.org]. Assassinated by the French Resistance in 1944.
A son of the British establishmentJohn Amery, son of a British Conservative cabinet minister, is best known for proposing to Hitler the formation of an anti-Bolshevik league, British Free Corps, to fight against communism. Avery made propaganda appeals via radio from Berlin to try to recruit British and Dominion members to the force (he also targeted British POWs). Avery moved later to Italy to resume his stint at the Axis microphone spruiking Mussolini’s “last chance saloon” Republic of Sàlo. Captured in 1944 and transported to London, he was tried for high treason, convicted and hanged in 1945.
Tasked with keping America in isolation It’s interesting that quite a significant proportion of the foreign recruits voicing pro-Nazi propaganda at the mic on German radio were American(𝓫). As early as 1939 Hitler’s regime was actively recruiting expat Yank performers for short wave transmissions to America with the objective of persuading Americans to stay out of the world war, in synch with the mission of the “America First” movement on the home front. For a few of the expatriate American mouthpieces for Nazism like Donald S Day it was a highly lucrative vocation. Day was making $3,000 a month(𝓬) railing against Jews, Bolsheviks and the allegedly “Jew- loving” FDR(𝓭).
⍓ Douglas Chandler
It was a standard feature for the expat broadcasters to use (or to be assigned) nicknames. Robert H Best always signed on as “Mr Guess Who”; Jane Anderson was the “Georgia Peach”; Douglas Chandler styled himself as a pro-Nazi “Paul Revere” with galloping horse-hoof sound effects (‘The Nazi Who Infiltrated National Geographic’, Nina Strochlin, National Geographic, 28-Apr-2017, www.nationalgeographic.com). Fred Kaltenbach’s homespun style of commentary and similarity to William Joyce’s creation earned him the derisive nickname of “Lord Hee-Haw” (‘6 World War II Propaganda Broadcasters’, Evan Andrews, History, Upd. 29-Aug-2018, www.history.com).
⍓ Jane Anderson (Source: guerracivildia.blogspot.com)
After the war eleven of the expat Americans were prosecuted for treason, the great majority of them were not as lucky as Jane Anderson. Anderson who had ‘upgraded’ herself from being a Falangist mouthpiece for Franco during the Spanish Civil War to broadcasting for the Nazis’ RRG (Reich Broadcasting Corporation) was indicted in absentia for treason, however charges against the Nazi sympathiser were dropped for lack of evidence (the prevailing view seems to be that she was “not a very effective political commentator”) …the case against her further complicated by her being a Spanish citizen by marriage [‘The Propaganda Front’, William L. Shirer, The Washington Post, 14-Feb-1943, www.justice.com].
⍓ Ezra pounding out his Axis radio scripts (Photo: Carl Mydans/The LIFE Picture Collection/Getty Images)
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Pound’s propaganda piecesBy far the most famous of the pro-Axis broadcasters was yet another expat American, the influential poet Ezra Pound. Pound’s disavowal of democracy and egalitarianism took him to Fascist Italy where his hero-worshipping of il Duce and the inducement of Italian Lire resulted in Pound becoming a broadcaster of anti-Allied, pro-Axis propaganda—first from Rome Radio for the Mussolini regime and later from Milan for the Nazi puppet state Republic of Sàlo—churned out in short wave transmissions to Britain and the US. (‘Empty Air: Ezra Pound’s World War Two Radio Broadcasts’, Gibran Van Ert, Past Imperfect, Vol. 3, 1994, pp.47-72, www.journals.libraryualberta.ca). Arraigned for treason after the war, Pound’s comeuppance for his sins was of a whole different kind to the other apprehended foreign broadcasters. Courtesy of his lawyers’ successful insanity plea, the Cantos poet/cum/propagandist avoided prison or worse and was instead committed to a Washington DC psychiatric hospital where he was incarcerated for 12 years, unrepentant and still sprouting extremist and anti-Semitic opinions (‘Ezra Pound: Modernist Politics and Fascist Propaganda’, Matthew Feldman, Fair Observer, 02-Nov-2013, www.fairobserver.com).
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(𝓪) in Henriot’s case however, if only within occupied France, his profile was “movie star” huge
(𝓫) even the notorious Lord Haw-Haw (William Joyce), more associated with Britain and Ireland, was American born
(𝓬) placing him the top half-dozen salary earners on RRG’s payroll (‘Donald Day Got $3000 a Month as Nazis Stooge’,Montréal Gazette, 9-July-1945).
(𝓭) the Pro-Nazi radio broadcasters rarely ever deviated from the popular pet topics of their vitriol which were usually interlinked – Jews (associated with international finance), communism (sometimes combined with Jews, ie, “Judeo-Bolshevism”), the “Jew-loving” American President Roosevelt, PM Churchill and ”his bondage to the plutocrats”, etc.
❝History stopped in 1936 – after that, there was only propaganda❞
~ George Orwell
❝We want to spread disruptive and disturbing news among the Germans which will induce them to distrust their government and disobey it❞
~ Sefton Delmer
⨳⨳⨳⨳⨳⨳
Previous blogs on this site talked about how the Nazis used expat Britons and Americans to launch a blast of psychological warfare against the Allies with the objective of undermining their forces’ morale in WWII, the means utilised, the ‘weapon’ of powerful radio transmission (voiced by role-playing figureheads, in particular the so-called “Lord Haw-Haw” and “Axis Sally”). It wasn’t long into the World War before Britain decided it too would infiltrate the enemy airwaves in a counter-attempt to try to mess with German military minds.
𝔓𝔯𝔬𝔭𝔞𝔤𝔞𝔫𝔡𝔞𝔴𝔞𝔯–𝔣𝔦𝔢𝔩𝔡, 𝔚𝔚ℑℑ (ℭ𝔯𝔢𝔡𝔦𝔱: 𝔉𝔩𝔦𝔠𝔨𝔯)
∘
Es spricht der Chef To undertake the task the Political Warfare Executive (PWE) was formed with the brief of disseminating ”black propaganda”⦑a⦒ against the enemy.The idea involved setting up a number of fake German radio stations—the first called Gustav Siegfried Eins (shortened to GS1) using shortwave frequency, harder for the Nazis to jam—as the propaganda vehicle for deceiving the Fatherland. From May 1941⦑b⦒ every day at 1648 hours a broadcaster purporting to be an old school Prussian officer known as der Chef would come on the air on German radio and, predictably, denounce the enemy, the ‘Brits’, the ‘Ruskies’ and the Jews, but then launch into a full-blown rant castigating Nazi officialdom too…in “profanity-laced tirades” the Chief would lambast Nazi officials’ “buffoonery, sexual perversity and malfeasance…condemning their incompetence and their indifference to the deprivations” suffered by the German volk⦑c⦒. Because he sounded ‘legit’ the impression many listeners got from the disillusioned Chief’s on-air ‘sprays’ was that there must be a rift within the German high command (‘The Fake British Radio Show That Helped Defeat the Nazis’, Marc Wortman, Smithsonian Magazine,28-Feb-2017, www.smithsonianmag.com).
𝔓𝔥𝔬𝔱𝔬: 𝔞𝔪𝔞𝔷𝔬𝔫.𝔠𝔬𝔪
∘
Other little parcels of poison delivered by “the Chief” via the radio waves included insinuations that the supposedly ‘Ayran’ army of the Third Reich was being contaminated by the influx of foreign troops in its ranks. He also alleged that injured German soldiers were receiving infusions of “syphilis-tainted blood” of captured Slavs. Another unsubtle avenue pursued by the Chief was to play on German officers’ fears of spouse infidelity at home.
In truth, the voice they heard belonged not to a disaffected Prussian army veteran but to Peter Seckelmann, a refugee from Nazi Germany acting out the role of der Chef. The panicked Nazi commanders combed the Reich to try to locate what they thought must be a maverick German general on the loose, all the time Seckelmann was secretly housed in England, in a small radio studio tucked away in quiet Bedfordshire.
Sefton Delmer at the helm The mastermind behind Britain’s black propaganda campaign was Denis Sefton Delmer, born in Berlin of Australian parents. Recruited by PWE in 1940 because of his fluency in German and familiarity with the Nazi leaders⦑d⦒, Delmer had a thing for colourful descriptions of what his black propaganda unit did…”psychological judo” and “propaganda by pornography”⦑e⦒. The former German-based Daily Express journalist moulded PWE “special operations” into a “veritable fake news mill”, assembling an efficient team of artists, writers and printers who worked tirelessly to create thousands of phoney German newspapers and leaflets (not to neglect the role of American bombers who dropped two million units of the bogus literature every day over enemy territory)⦑f⦒. Gathering information from various sources (British intelligence, German POW interrogations, resistance operatives, bomber debriefings), PWE deceived and bewildered the Axis enemy through a carefully measured mix of lies and fact (Wortman). The tactics of ‘black’ radio were “short-term, rumour-filled⦑g⦒ and deceptive” (Nicholas Rankin, Churchill’s Wizards: The British Genius for Deception 1914-1945 (2008)).
The fake news networkSoddatensender Calais (G9) was another, British-run, faux Nazi radio station. ‘Aspidistra’, a medium wave radio transmitter located in Crowborough, East Sussex, conveyed the Sefton Delmer blend of music, innocuous information (appealing to German servicemen) together with the manipulated, ‘black’ kind of information (‘Fake News is Nothing New: 5 ‘Black Propaganda’ Operations From the 1930s and 1940s’, Jeanette Lamb, History Collection, 24-Mar-2017, www.historycollection.com).
𝔅𝔯𝔦𝔱𝔞𝔦𝔫’𝔰𝔭𝔰𝔢𝔲𝔡𝔬–𝔊𝔢𝔯𝔪𝔞𝔫𝔫𝔢𝔴𝔰𝔭𝔞𝔭𝔢𝔯∘
Getting back to “the Chief”, Seckelmann under the direction of Sefton Delmer made in all 700 broadcasts to the German population. The Nazis tried to jam the broadcasts coming through the GS1 station but to no avail. Delmer, having decided to close down GS1, orchestrated a dramatic denouement for der Chef charade, having him ‘assassinated’ on-air in the final episode in 1943 (transforming “the Chief” into a kind of martyred loyalist to the Führer⦑h⦒).
Backlash to Delmer’s black propaganda approach Not everyone in Britain including those within government were on board with Delmer’s black radio activities. There were critics inside Churchill’s war cabinet, like Richard Stafford Cripps, who condemned PWE for taking the moral low ground … serving up a cocktail of outrageous lies and dirty tricks – from inventing military sex orgies to discredit the SS⦑i⦒ to fake news of American ‘miracle’ weapons like the new, non-existent ”phosphorus shells” to abrade the morale of German listeners [‘Black Propaganda in WW2’, The History Room, YouTube video, 2014). Delmer himself was a forthright, controversial and sometimes polarising figure, he had no compunction about exploiting sex in its most extreme manifestations including ”beastly pornography” and even pederasty, fabricating atrocities including the rape of German soldiers’ wives and sisters. Delmer was eyed with suspicion by both sides, some Germans thought he was a British spy and some Britons thought he was a Nazi spy (Rankin).
How effective were PWE’s black propaganda broadcasts?PWE’s sheer weight of rumours, lies, half-truths and disinformation from PWE certainly no doubt took some toll on a already sagging German morale in the latter stages of the conflict, but did Delmer’s ”psychological judo” “disrupt the enemy’s will and power to fight on”? (‘Propaganda – A Weapon of War’, NLS, www.digital.nls.uk). It is not possible to definitely answer this question in the affirmative or negative. At the end of the war PWE was disbanded and all its records and documents were shredded. The deficit of data precludes any firm idea of how big and widespread the Germany wartime audience for the phoney radio transmissions was. Praise for PWE’s work however came from on high in the enemy camp, Minister of Propaganda Goebbels no less who conceded that Britain’s black Soldatensender had accomplished a “very clever job of propaganda” (Goebbels’ 1943 diary entry).
Footnote: ‘Black’ v ‘white’ propaganda Black propaganda is distinguished from the more common type ‘white’ propaganda. The ’White’ kind is propaganda that does not hide its origins or nature, that emanates from bodies from government international information services (eg, BBC, The Voice of America). A third variant, ‘grey’ propaganda, straddles the other two – the origin of the information and messages is concealed so it can’t be discerned, eg, during the Cold War the CIA beamed grey propaganda into the Eastern Bloc through the intermediary of radio stations like Radio Free Europe/Radio Liberty (’Grey Propaganda’, www.powerbase.info).
ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–ლ–
⦑a⦒ a form of propaganda (used by both sides in the war) which “is presented by the propagandizer as coming from a source inside the propagandised” (Becker, H. (1949). ‘The Nature and Consequences of Black Propaganda.’ American Sociological Review, 14(2), 221–235. https://doi.org/10.2307/2086855) , ie, by those it is supposed to discredit (Wikipedia)
⦑b⦒ the onset of Der Chef’s broadcasts coincided with the defection of the Nazi deputy leader Rudolf Hess to Britain
⦑c⦒ the Chief’s main target for ”character assassination” were ”lower-level Nazi functionaries” and their presumed corruption, ‘His Majesty’s Director of Pornography’, Stephen Budiansky, HistoryNet, www.historynet.com)
⦑d⦒ Delmer met Hitler himself while inspecting the Reichstag fire in Berlin
⦑e⦒ he even referred to himself irreverently as “HMG’s Director of Pornography”
⦑f⦒ producing “agitprop masquerading as inside dirt” (‘Fighting the Nazis With Fake News’, Matthew Shaer, Smithsonian Magazine, April 2017, www.smithsonianmag.com)
⦑g⦒ one baseless rumour spread by the bogus German stations that led the Gestapo on a wild goose chase concerned a resistance group of anti-Nazis supposedly inside the Reich called “Red Circle” ‘Undermining Hitler (Part One of Three)’, Providentia, 07-Feb-2016, http://drvitelli.typepad.com)
⦑h⦒Seckelmann‘s dissident officer in his radio diatribes had been careful to exclude Hitler himself from any blame, suggesting that it was the subordinates who had betrayed the Führer
⦑i⦒ the PWE artists’ role in the Brits’ deception was to skilfully forge documents which falsely incriminated Nazi personnel in the SS and other arms of the forces
”Greetings everybody, this is your number one enemy” (typical sign-on for“Tokyo Rose”)
⌖⌖⌖
Image: National WWII Museum
In just about every movie and television series Hollywood has made involving Japan and WWII the name of “Tokyo Rose” invariably seems to pop up. Its a standard trope in American war dramas and TV comedies like McHale’s Navy. The San Francisco Chronicle called Tokyo Rose “the Mata Hari of radio”. However, unlike Mata Hari(ǟ), there was no actual “Tokyo Rose”. The name was generic, applied to some dozen or so English speaking Japanese women radio broadcasters who penetrated the airways of American, Australian and New Zealand servicemen in the Pacific theatre of war. Tokyo Rose wasn’t even confined to Tokyo, the female propagandists operated from several cities in the Japanese Empire including Manila, Shànghâi and Tokyo(ɮ).
Many Tokyo Roses but one message
The Tokyo Rose broadcasts would follow a familiar pattern…in between spinning American pop records (to remind the GIs of home), the women in conversational manner would make jokes and taunt the servicemen in an attempt to sap their morale and blunt their appetite for war(ƈ). Paradoxically, for some of her American GI audience the Tokyo Rose radio broadcasts had an opposite effect, they were popular as entertainment and “a welcome distraction from the monotony of their duties” (‘How ‘Tokyo Rose’ Became WWII’s Most Notorious Propagandist’, Evan Andrews, Upd. History, 26-Nov-2019, www.history.com).
Listening to Tokyo Rose on Zero Hour (Source: psywarrior.com)
As stories of Tokyo Rose were spread between GIs, she took on a mythic element in American minds, it was said her snippets of information were “unnervingly accurate (about the Allies), naming units and even individual servicemen” (‘Tokyo Rose (1944)’, www.publicdomainreview.org). The ramifications of this belief were to prove momentous later on for one of the women identified as Tokyo Rose — see Note (ɖ).
Iva at the mike
Iva Toguri/“Orphan Ann”, the ‘real’ Rose?
American opinion hit on a surprising candidate for the real identity of Tokyo Rose, Iva Ikuko Toguri (D’Aquino). Toguri was one of its own, a US citizen of Japanese descent born in Los Angeles who found herself stuck in Japan as hostilities broke out between the two countries. Coerced into broadcasting on Japan’s ‘Radio Zero’ shortwave station as a disc jockey, Toguri played records and performed comedy sketches. She did appeal in her friendly American voice to lonely GIs to return to their loved ones in the US but her propaganda value to the Japanese was considered limited. Returning to the US after the war Toguri, labelled by the press as “the one and only Tokyo Rose”, was eventually tried in 1949. Toguri’s conviction for treason was dubiously arrived at and it was widely felt she was made a scapegoat (‘Tokyo Rose’, Upd. 6-Oct-2020, www.biography.com). The supposed “Tokyo Rose” was sentenced to 10 years in prison and fined $10,000, serving six years and two months. On release she spent overs 20 years living in Chicago ‘stateless’ before a fresh investigation of the case discovered two of the prosecution witnesses had been coerced by the Justice authorities into perjuring themselves…consequently President Ford pardoned her in 1977 (‘Iva Toguri Patriot’, American Veterans Center, (YouTube video, 2021)
Endnote: Anti-RoseA parallel but very different story to Tokyo Rose is that of Mitsu Yashima. In the 1930s Mitsu (born Tomoe Sasako), a Japanese artist, was pro-peace, anti-military and anti-imperialist in an increasingly militaristic right wing Japan. After imprisonment and torture for her left-leaning views she and her husband escaped to the US in 1939. Once America committed to the World War Mitsu joined the war effort – working for the Office of Strategic Services, she used her language skills to broadcast anti-Japanese propaganda through the airwaves. On radio she made a particular pitch to the women of Japan, urging them to commit acts of sabotage aimed at helping to bring the Japanese military machine to a halt (‘Mitsu Yashima’, Wikipedia, http://en.m.wikipedia.org ; ‘The Epic Lives of Taro and Mitsu Yashima’, Greg Robinson, Valerie Matsumoto, Discover Nikkei, 11-Sep-2018, www.discovernikkei.org).
Credit: IMDb
Postscript: Hollywoodised Tokyo Rose
As the war in the Pacific was reaching its climax the US made its own propaganda capital out of Tokyo Rose with a 1946 potboiler of a movie of the same name. Tokyo Rose exploited and sensationalised the story, The feature was “not merely a fiction, but a dangerous distortion of the truth”…according to Greg Robinson, it depicts the title character‘s radio propaganda as being “directly responsible for the death of demoralised American soldiers” and thus contributed to the jaundiced atmosphere that pervaded the subsequent trial of Iva Toguri (‘Tokyo Rose: The Making of a Hollywood Myth’, Greg Robinson, Discover Nikkei, 01-Nov-2021, www.discovernikkei.org).
▓ See earlier posts on Lord Haw-Haw and Axis Sally in this series of war radio propaganda broadcasters, WWII’s Psychological Warriors of the Airwaves, Part 1 and Part 2
︻︻︻︻︻︻︻︻︻︻︻︻︻
(ǟ) ”Mata Hari”, the nom de plume of a Dutch exotic dancer executed by the French for allegedly spying for Germany during WWI
(ɮ) none of the female radio hosts ever referred to themselves as “Tokyo Rose” on air (it was purely an American invention”)
(ƈ) and as with her Axis counterpart in Europe, Axis Sally, the Tokyo Roses would try to sow little seeds of doubt in GI minds about the fidelity of their wives and girlfriends in America
After the early prominence of “Lord Haw-Haw” in World War II (see previous blog ‘WWII’s Psychological Warriors of the Airwaves I: Lord Haw-Haw’s Career in Radio Propaganda’), the Nazis obviously thought the idea of employing native English speakers to undermine the British enemy through radio propagandising was one worth replicating against the Americans when they too entered the global conflict. For this special communications role the Germans choose a woman, moreover an expatriate American woman living in the Third Reich.
Fräulein Gillars (Source: Alamy Stock Photo)
Mildred Gillars Maine-born Mildred Gillars had demonstrated her loyalty to the Fatherland by staying in Germany after war broke out (not wanting to part from her German fiancé). Recruited by program director Max Otto Koischewitz for the German State Radio (Reichsrundfunkgesellschaft), Gillars, dubbed “Axis Sally” by US GIsa̳, had a DJ segment on Radio Berlin which was beamed over the American airwaves. Her messages to America followed predictable themes, eg, “Damn all Jews who made this war popular. I love America, but I do not love Roosevelt and all his kike boyfriends”b̳. Gillars had visited American POWs in German camps while posing as a Red Cross worker, collected their messages for home and then after giving them a pro-Germany tweak, broadcast them on the airwaves (‘Axis Sally. World War II Propagandist/The Bride of Lord Haw-Haw!’, Rob Weisburg, Lives of the Great DJs, www.wfmu.org).
Max Koischewitz (Image: www.popularbio.com)
Berlin calling Gillars’s on air style was diametrically the opposite of Joyce’s hectoring tone, she used a pleasant, conversational approach which sought to sow the seeds of doubt, posing the question whether the wives and girlfriends of the serving soldiers, sailors and airmen would remain faithful during their absence. However, as with Lord Haw-Haw, many of the GIs only listened because they found Axis Sally’s shows humorous (‘6 World War II Propaganda Broadcasters’, Evan Andrews, History, Upd. 29-Aug-2018, www.history.com).
Gillars’ greatest notoriety lies with the radio play (Vision ofInvasion) she broadcast to American soldiers in England a month prior to D-Day, forecasting doom and devastation awaiting the Allies if they were to invade occupied France. After the war Gillars was apprehended and eventually returned to the US in 1948 to stand trial on 10 counts of treason. The ”voice of Axis Sally” was acquitted on nine of the counts but was convicted on the 10th count, the broadcast of Vision ofInvasion. Gillars was sentenced to 10 to 30 years in a West Virginian prison and ultimately served 12 years (released in 1961).
༄࿓ ༄࿓ ༄࿓
The strabismic but sexy sounding Rita
Axis Sally, Italian style In 1943 the Fascist Regime in Italy sought to capitalise on Nazi Germany’s success with the Axis Sally broadcasts by coming up with an Axis Sally of their own. Actually this Axis Sally, Rita Zucca, was born in New York of Italian parents. Rita Zucca with her sweet and seductive voice was teamed up with a German broadcaster in a radio program entitled “Jerry’s Front Calling”, spewing out defeatist propaganda from Rome to Allied troops in North Africa, Sicily and Italy. When the original ’Sally’, Midge Gillars, heard that someone else had appropriated her moniker, she was ropeable (‘Rita Zucca’, Wikipedia, http://en.m.wikipedia.org).
One of Signorina Zucca’s ploys was using intelligence provided by the Nazis to try to deceive and confuse the Allied forces. In 1944 when the enemy advanced on Rome, Zucca fled north with the retreating Germans to Milan where she resumed her radio communication with American soldiers. After the war the victorious Allies caught up with Zucca in Turin, any plans the Americans to try the Italian-American broadcaster as a traitor were quickly squashed however after it became known that Rita had renounced her American citizenship in 1941 (before taking up her propaganda broadcasting role)c̳. Instead, Zucca was tried by an Italian military tribunal on charges of collaboration and sentenced to four years and five months. She only served nine months of her term but was barred from ever returning to the US (‘“Axis Sally” Mildred Gillars and Rita Luisa Zucca’, www.psywarrior.com) .
“Argentine Annie:” “Hello Tommy, I am Liberty” (Source: Infobae.com)
Postscript: Continuing Axis Sally’s legacy The two Axis Sallys (and their pro-Japanese counterpart Tokyo Rose) were not to be the last we would see of female propaganda broadcasters in wartime. The Korean War produced its version in ”Seoul City Sue”, an American born missionary in Korea (Anna Wallis Suh) who defected to the North Korean side, joining “Radio Seoul” (when the city was occupied by the North) for a on air spot of undermining American troop morale in the war. The tradition continued in the Vietnam War with “Hanoi Hannah”, a North Vietnamese female broadcaster whose propaganda was directed at “war-weary” American GIs, trying to persuade them that their involvement in the Indochina war was unjust and immoral (“‘Smooth as Silk’ Vietnamese Propagandist ‘Hanoi Hannah’ Dies at 87”, Jeff Stein, Newsweek, 03-Oct-2016, www.newsweek.com). More recently, the Argentine military dictatorship (elProceso) during the Falklands/Malvinas War in 1982 employed the same tactic of a feminine radio announcer—known as “Argentine Annie” or to the Argentinian side, “Liberty”—as the sultry-voiced Anglophone bearer of bad (and fake) news for serving British combatants in the ward̳.
‘Argentine Annie’ (YouTube video)
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a̳ Gillars in her radio show referred to herself as “Midge at the mike”
b̳ a common refrain from Nazis and other anti-Semitic fascist wannabes such as William Joyce and the BUF was that the world war was a war caused by Jews for the benefit of international Jewry which they tended to equate with capitalism
c̳ renounced to save her family’s property from being expropriated by the Mussolini regime
d̳ ’Liberty’ no doubt kept the British forces in the South Atlantic amused with her references to the Royal Marines counting sheep and bizarre diversions into the historic origins of the modern lavatory
WWII calling via the family wireless (Source: news.bbc.co.uk)
A novel feature of Axis and particularly German propaganda during World War II was the broadcasting of radio messages to the enemy, heaping scorn and invective on the Allies’ war efforts via the airwaves. The most famous/notorious of these broadcasters acquired the nickname of Lord Haw-Haw¤. There were in fact several “Lord Haw-Haws” broadcasting from Nazi Germany during the war, including Munich Anglophone journalist Wolf Mittler and a British spy for Germany, Norman Baillie-Stewart. But the person who came to personify Lord Haw-Haw for the British and American publics was William Joyce.
Mosley & his Blackshirts
A pathological anti-Semite and fascism fan boy from his teens, Joyce was drawn to Sir Oswald Mosley’s British Union of Fascists in the early 1930s, becoming the party’s director of propaganda and even rising eventually to deputy to leader Mosley. By 1937 Joyce’s violent rhetoric and frequent recourse to brawling with political foes led to a fallout with Mosley and Joyce’s ejection from BUF§.
‘Jairmany’ callingJoyce tipped off that the British authorities were going to intern him defected to Hitler’s Germany a week before war broke out in 1939, finding work as a broadcaster for Reichsrundfunk (German Radio Corporation). Joyce would began his Radio Hamburg diatribes to the UK and the US with the words “Germany calling”, which in his strange, affected upper-class, nasal drawl sounded like “Jairmany calling”. “Haw-Haw” would bang on about how hopeless Britain’s cause was in the face of the unstoppable German Reich juggernaut, criticising the UK over the calibre of its politicians and soldiers, it’s rationing policy, inciting the Scots to rise up against their English overlords etc, saying anything he thought that might demoralise the Allied troops and their countries’ citizenry.
A dapper looking Wm Joyce in Berlin
Radio ratings kingRemarkably, considering his unrelenting message of doom and gloom and the awareness of Britons (soldiers and civilian) of the blatant propaganda of his unbridled rants, Joyce as Haw-Haw early in the war was pulling in an estimated six and nine million listeners a week (some weeks he scored over 50% of the UK radio audience).
British wartime satire depicted Lord Haw-Haw as a jackass
Why were his broadcasts so popular? One reason was their pure entertainment value, in the difficult days of world war many Brits found his fantastic claims a diversion and a fillip, not to mention wildly funny. Listening to the ‘weirdo’ expat British Nazi mouthpiece was the done thing in UK homes. Being widely ridiculed didn’t stop Joyce from acquiring a kind of cult status among Allied audiences. The high level of war censorship imposed in home countries (eg, the BBC’s freedom was strictly curtailed) was another drawcard for many Brits and Yanks, regularly tuning in from home. Their reasoning was that, notwithstanding the propaganda, they might pick up some clues on the circumstance or whereabouts of family members engaged in the combat (‘The Rise and Fall of Lord Haw Haw During the Second World War’, Imperial War Museums,www.iwm.org.uk).
Long before the war began to turn pear-shaped for the Nazis Joyce’s popularity with enemy audiences ebbed. Nonetheless he continued peddling his defeatism theme in his broadcasts—imploring Britons to surrender—right up to the bitter end of the Third Reich. Joyce escaped after Hitler’s death and was captured in hiding in Flensburgϖ, near the Danish border.
Joyce, captured (Photo: IWM)
Stitched up, a quasi-show trial?: Treason for a reasonTransported back to London, Joyce was quickly put on trial for high treason, charged with having “given comfort and aid to the King’s enemies in wartime”. The problem about treason in this case was one of nationality. Joyce, born in the US and brought up in Ireland, had obtained a British passport by deception. As he was never a subject of Britain, therefore it was thought that he could not be expected to give allegiance to the king. However, the prosecution aided by a partisan judge successfully argued that as Joyce held a British passport in 1939-40 (prior to his becoming a naturalised German citizen) he did in fact(briefly) owe allegiance to the British crown. As historian AJP Taylor remarked of the episode: “technically, Joyce was hanged for making a false statement when applying for a passport, the usual penalty for which is a £2 fine” (‘When Speech Became Treason’, Mary Kenny, Index on Censorship, 1 2006, www.journals.sagepub.com).
Queue outside Old Bailey trial of Joyce (Source: thejc.com)
There was quite a lot of unease both within the British legal fraternity and in the public—notwithstanding the perceived abhorrence of his vile words and opinions—about the death penalty for Joyce, a sense that any conviction should have been for unlawful actions he may have committed, not for what he said. That Joyce’s sentence was commensurate with major war criminals who committed massacres in concentration camps, some Britons asserted, was a travesty (‘William Joyce’s Lord Haw-Haw Crime Files’, Crime + Investigation, www.crimeandinvestigation.co.uk; ‘When Speech Became Treason’).
Settling scores with the English voice of Nazi GermanyWas there an element of payback in Joyce’s draconian fate? A lot of Britons in their homes might not have taken Haw-Haw seriously but the authorities did, he caused the government a lot of grief…he mocked Britain and it’s leadership, he taunted it with his announcements of where Germany bombs would hit Britain next and (bogus but hurtful) reports of Allied loses. And as Mary Kenny notes, London “came within an ace of jamming the broadcasts and banning them” (‘When Speech Became Treason’). Quite simply, Joyce had been the wartime voice of Nazi Germany and the establishment was prepared to do whatever was necessary including resuscitating an archaic law, the 1351 Treason Act, to secure his execution.
Postscript: Lady Haw-HawJoyce’s wife Margaret who accompanied him to Germany played her own supporting role in the wartime baiting of the Allies (she had her own propaganda radio air time spot). Ultimately though “Lady Haw-Haw” managed to avoid William’s fate at the gallows. No charges against Margaret Joyce were ever proceeded with. Nigel Farndale suggests that rather than an act of leniency, Margaret’s avoidance of punishment may have been due to a deal her husband did with the authorities not to reveal his MI5 links.
Ξ See elsewhere on this site for follow-up blogs on WWII female counterparts of Lord Haw-Haw – Tokyo Rose and Axis Sally.
¤ Britons tended to imagine “Lord Haw-Haw” as some kind of toffee-nosed aristocratic type
§ Joyce was linked to a host of other extreme right organisations in Britain like the Nordic League and White Knights of Britain and ultimately started his own local Nazi-wannabe party, National Socialist League
ϖ Flensburg was the last capital of the Nazi empire
Last year the US cable channel Comedy Central cancelled its totally left-field “educational comedy” program Drunk History after six seasons. On the surface it might seem improbable that a program with such a flimsy premise would have had such a good run in the cut-throat world of American TV. When the show started in 2013 I wouldn’t have put the ancestral home, or even the rustic “lean-to”, on its chances of surviving into a second season. My initial impressions—apparently mistaken (see below)—were that the actors were pretending, not very convincingly and in fact somewhat ham-fistedly, to be drunk.
ˢᵏᵉʷᵉᵈ ﹠ ⁱⁿᵉᵇʳⁱᵃᵗᵉᵈ ᵒᶻ ʰⁱˢᵗᵒʳʸ
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It’s relative longevity aside, another thing that surprises me about Drunk History was that the show didn’t really attract much knee-jerk flak from the Temperance Society, AA, fundamentalists of the Religious Right, the Puritan elders or other moral crusaders for its portrayal of people in states of intoxication bordering on the point of being ‘legless’. In the Australian version of ‘Drunk History’ there were some mild rebukes in the media, mostly a bit of tut-tutting from viewers about the dangers of “glamorising excessive binge drinking” in a country with an extensive history of problems with the Demon drink§(David Knox, TV Tonight, 2019).
ᵈᵉʳᵉᵏ ʷᵃᵗᵉʳˢ ⁽ˢᵒᵘʳᶜᵉ﹕ ᶜˢᵗ ᵒⁿˡⁱⁿᵉ⁾
The germ of the idea for Drunk History came from, of all things, a late night drinking session its co-creator Derek Waters had with a fellow actor (who’d have guessed!) It premiered under the name Funny or Die as a web series in 2008, the debut webisode featured a liberty-taking retelling of the famous Hamilton-Burr duel in 1804. From an unorthodox educational point of view Drunk History is a kind of adult version soulmate of the British children’s comedy series Horrible Histories, a similar serving of factually-based, humorously told anecdotes for junior viewers, which itself is a quantum leap forward pedagogically from 1950s children television fare of this ilk, eg, Peabody’s Improbable History, which consisted of an anthropomorphic cartoon dog who time travels with a naive and extremely annoying boy companion to earlier epochs to do a bit of history mangling.
The format’s opening gambit presents Waters in relaxed drinking mode with guest storyteller…with very little coaxing from Waters the narrator in no time descends into a boozy state and starts to unfurl a rambling, episodic, partially incoherent account of some historical event (the majority but not all from the pages of American history)…then it segues into a scene where actors in appropriate period costume act out the story while lip-synching the narrator‘s words with hilarious results. The narrators are usually stand-up comedians…possessors of the right skillsets for rambunctious story telling of course! Who better to do it than the dudes for whom off-the-lease manic ranting in booze-soaked establishments is second nature?
¹⁸⁰⁰ ᵖʳᵉᶻ ᵉˡᵉᶜᵗⁱᵒⁿ ⁽ˢᵒᵘʳᶜᵉ﹕ ᵖⁱⁿᵗᵉʳᵉˢᵗ⁾
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Given the cavalier narration and fabricated and anachronistic dialogue littered with liberal snatches of “hipster-speak” and “dude-speak”, you might suspect Drunk History to be sloppy as to historical accuracy. The producers however went to some pains to be accurate with dates and names and what actually happened in the stories. This can be put down to the efforts of hired UCLA PhD students who did the research heavy lifting to keep the history on the tracks. Special care was also taken with the narrators, tasked with getting sufficiently inebriated to capture the desired mood. As host Waters plies them with drink medics are on hand during the shooting—which took place within the familiar and safe milieu of the narrators’ own homes—just in case the alcohol was getting the upper hand over the comics (apparently this was the case on more than one occasion!) (Justin Monroe, ‘The Sober Reality of Drunk History’, Complex, 01-Sep-2015, www.complex.com).
ⁱⁿᵛᵉⁿᵗⁱⁿᵍ ᶜᵒᶜᵃ⁻ᶜᵒˡᵃ ⁽ˢᵒᵘʳᶜᵉ﹕ ⁱᵐᵈᵇ⁾
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But from being initially sceptical about Drunk History, my opinion mellowed (perhaps helped by imbibing a snifter or two myself during viewing) and I slowly warmed to the series. Ultimately I came to appreciate the novel things it brought… introducing me to hitherto low-profile, perhaps minor historical figures and little known events from the past, eg, invention of Coca-Cola, the birth of Hip Hop, Nikola Tesla’s breakthroughs, Tunnel 57 (1964 Berlin Wall incident), “Dr Feelgood”, Lawnchair Larry flight, Typhoid Mary, “Night Witches” (German WWII military aviatrixes)✪. The storytellers raise a glass or three to forgotten women chauvinistically airbrushed from history, one such ‘minor’ figure unearthed in an episode was 16-year-old Sybil Ludington who made an heroic night-time dash by horse to alert New York citizens of the impending threat from the British forces during the American War of Independence (sound familiar?), and alerting us to the fact of how very differently history remembers Sybil and other females (or doesn’t remember!), compared to the immortal glory and reverence heaped on Paul Revere for his famous ride. Another female heroine getting her due recognition in history from Drunk History is Rose Valland, a Parisian art curator in WWII who thwarted the occupying Nazis’ heist of a huge haul of priceless first rank artworks.
ˢʸᵇⁱˡ’ˢ ʳⁱᵈᵉ ⁽ˢᵒᵘʳᶜᵉ﹕ ⁱᵐᵈᵇ⁾
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Giving an extra layer of lustre to the series are the various celebrities appearing in episodes of Drunk History – including “Weird Al” Yankovic as Adolf Hitler, Laura Dern as Nellie Bly, Jack Black as Elvis Presley, Will Ferrell as Abe Lincoln and Ben Folds as Nathan Cherry.
“ʷᵉⁱʳᵈ ᵃˡ ʰⁱᵗˡᵉʳ” ⁽ᵖʰᵒᵗᵒ﹕ ᶜᵒᵐᵉᵈʸ ᶜᵉⁿᵗʳᵃˡ⁾࿏࿏࿏
Postscript:Drunk History InternationalThe runaway success of the US prototype has spawned a number of international versions, at last count the franchise has extended to the UK, México, Hungary, Brazil, Poland, Argentina and Australia.
When I first heard about the Limp Falling Club✪ and it’s fanatical penchant for bizarre, nonsensical public (and pub) antics, it sounded like the physical humour of a very silly Monty Python skit. It turns out I wasn’t the only person to make the association between the Limp Fallers’ shtick and the Surreal sketches of the legendary Monty Pythons. No less a practitioner of his own unique brand of cutting satire than John Clarke joined the dots between the Limp Falling Club and Monty Python … channeling John Cleese’s “Minister of Silly Walks” Clarke went on to advocate the formulation of a new ministerial office, an appropriately absurd (given the lunacy that is Canberra politics) “federal Minister of Limp Falling”.
The “spontaneous public theatre” of the LFC was the brainchild of Australian political cartoonist Paul Rigby, circa. late 1950s⍟. The ‘ritual’ proceeded like this, a group of neatly-dressed white collar workers (mainly journalist types) would convene, typically in a pub or a bar or perhaps a restaurant. After consuming copious quantities of beer, on a signal they would suddenly and ‘spontaneously’ drop to the floor singularly or holus-bolus in a collapsed heap, no doubt startling nearby onlookers. I found a slim handful of grainy You Tube videos on the internet demonstrating the technique (sic), including one which shows a score of Limp Fallers including Rigby tumbling haphazardly down a staircase with scant regard to their safety.
At the time Paul Rigby was living in Perth, WA, where the “art form” took off. The cartoonist’s favourite “watering hole”, the Palace Hotel in the Perth CBD became the epicentre of the performance art of limp falling, the epicentre of the activity in Australia at least. A 2013 article by Aleisha Orr suggested the spectacle of limp falling “swept across many parts of the world in the 1950s and 60s”. In the same article one of the few surviving, octogenarian members of the club had his own take on the mysterious origins of the art of limp falling, the result of a house party accident when one of the journos—well-lubricated at the time no doubt—fell through an asbestos wall❂
Palace Hotel, Perth
I don’t think that limp falling has ever quite reached the international heights of “fad-dom” of say the Rubik’s Cube or “Flash Mobbing”, but I can testify to the quirky practice having some degree of international currency. Going back some 30 years I remember seeing a story on the nightly news about the “All Fall Down Association”. A different moniker but dedicated to the same peculiar pastime – a group of respectable looking middle class ‘suits’ (all males again) from various parts of the compass coming together at London’s Heathrow Airport. On the intoning of a special code word, in synch all collapsed to the ground with dramatic effect.
‘President’ Rigby (Source: AMHF)
After Rigby’s death in 2006 the LFC’s presidency eventually passed to his son, although the Club (Perth chapter) appears to have been inactive for some years now.
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✪ AKA the Limp Falling Association
⍟ according to the Australia Media Hall of Fame, the concept of “limp falling” was the result of a collective meeting of minds of Rigby and Ron Saw and Steve Dunleavy, two of his journalist colleagues from Sydney’s Daily Mirror
❂ the other partygoers found the incident hilarious and a new fad was thus born
For as long as most consumers in the West can remember, it’s been Coca-Cola versus Pepsi-Cola, vying for the public’s preferred carbonated soft drink. Just how long is that? Well, the Pepsi-Cola Company was established in 1902, ten years after Coca-Cola did, so the rivalry got going pretty much early on in the 20th century. It was a long gestation period however for Pepsi before it got close to being competitive with Coca-Cola✱. PepsiCo struggled so much in the early years that in 1923 the company was even declared bankrupt – basically due to WWI sugar rationing in the US. Eight years later it filed for bankruptcy again! Pepsi never actually went away though, slowly and methodically rebuilding itself as a significant player in the industry, albeit for a long time it remained as one observer put it, a “persistent gadfly” in a lake dominated by Coca-Cola (Kahn).
In its early days Coke was marketed both as a medicinal drink and as a “refreshing tonic”
While Coca-Cola powered on with innovatively marketing (using high profile sportsmen) its product to kids with Santa Claus’ help, and expanding Coke overseas, Pepsi didn’t really get its act together until the middle of the 20th Century. PepsiCo shifted its branding and marketing (moving from bottles to cans and adopting patriotic red, white and blue colours for the product). Another direction Pepsi goes in at this time is product diversification … the company’s 1965 merger with Frito-Lay Inc marks Pepsi’s foray into the snack food field. It also acquired other soft drink brands like Mountain Dew in 1964. Coca-Cola on the other hand confined itself to the beverage field with the introduction of TaB (a sugar-free diet version of Coke), then Sprite and Fresca.
Pepsi’s watershed year was 1975 when it mounted the “Pepsi Challenge”, a series of filmed blind-taste tests in which the majority of participants chose Pepsi over Coke as their preferred soda. This boosted Pepsi sales and escalated the rivalry between the two “Big Sodas”, kicking off what became known in America from the Sixties on as the “Cola Wars” or the “Soda Wars”. Until the Pepsi Challenge happened Coca-Cola had been coasting somewhat, complacently presenting itself as “the real thing” in contrast to the upstart pretender. Coca-Cola’s response to PepsiCo’s move was to promote the then most popular personality on US TV Bill Cosby as “the face of Coke”.
Pepsi embarked on a marketing campaign which depicted itself as a younger, hipper brand than its outmoded rival. Drinking Pepsi was a cool thing to do (so proclaimed the marketers), when stacked up against the tired, same old, same old Coke alternative. Integral to PepsiCo’s campaign was the recruitment of celebrities to endorse the beverage, the centrepiece of which was Michael Jackson. Other pop music icons followed the success of Jackson’s involvement with the product – David Bowie, Madonna, Lionel Ritchie, etc. Ad men heralded Pepsi as “the choice of a new generation”.
In the early Eighties, under pressure from Pepsi’s inroads into the market, Coca-Cola introduced diet Coke, a caffeine-free soda, followed by a complete redesign of Coke—given the secret codename “Project Kansas”—the outcome in 1985 was a sweeter Coke, New Coke. To counter Pepsi’s sweeter, more syrupy taste, Coca-Cola replaced sugar with corn syrup (which also reduced the production cost). New Coke however proved a disaster for the company, provoking a huge backlash from loyal consumers, some described the new taste as like “two day old Pepsi”. Southern fans of Coke, where Coca-Cola (and Pepsi) had its origins, were especially offended.
Faced with an avalanche of criticism, Coca-Cola brought back the old formula under the name “Coca-Cola Classic”. New Coke for its part got rebranded but never really took off and was eventually discontinued. Disappointment that it was, New Coke did provide one unanticipated positive – it managed to reawaken in many Coca-Cola drinkers suffering from a bout of ennui a new craving for the original taste (Little).
The feud between Pepsi and Coke has continued to the present, in contemporary times reaching social media and outer space. In 2011 the hardball rivalry saw PepsiCo target Coke’s famous, family-friendly mascots, the polar bears and even every child’s favourite stranger Santa.
Vintage 1950s ad: “Pepsi-Chic” before it went “Pepsi-Hip” (Robt Levering)
The battle between the brown carbonated sugar beverages has seen Pepsi and Coca-Cola go tit-for-tat. Coke had the contour bottle so Pepsi introduced the swirl bottle, Pepsi had Gatorade so Coke had Powerade, Coke had Fanta so Pepsi had Tropicana, and so on. Only the decision by Pepsi to branch into non-beverage fields has not seen Coca-Cola follow suit. Some industry observers attribute Pepsi’s declining market position commensurate to Coke (2008–2018: Pepsi’s market share fell from 10.3 to 8.4 per cent, while Coca-Cola’s rose from 17.3 to 17.8 per cent) to it’s preoccupation with diversification leading to the company losing its focus on its flagship product (Weiner-Bronner; Beverage Digest).
World domination through the prism of “Coca-colonisation”
Both Coke and Pepsi are deeply embedded in American culture and psyche as national icons. Coca-Cola’s brand recognition goes beyond this, embodying a universality that is global in reach. Mid-century Coca-Cola officials gleefully crowed that the drink is the “most American thing in America”. Robert W Woodruff, Coca-Cola president for over three decades, declared it to be “the essence of capitalism”. World War II enabled Coca-Cola to spread the word via US servicemen by cleverly promising (and delivering) them the sugary product in overseas theatres of war. The seemingly unstoppable postwar expansion of Coke as the company sought to extend its market to all corners of the world met with some international pushback. Certain European states like France (spurred on by agitation by the French Communist Party) staunchly resisted the drink’s introduction to their domestic markets, an attempt as they saw it to “Coca-colonise” other sovereign nations. In such countries the arrival of Coca-Cola bottles on their city shop shelves was seen as a pervasive evil, a symbol of American cultural imperialism, an all-consuming Americanisation which undermines the way of life and values of their society⍟.
Footnote: the Big Sodas rivalry had ad companies of second-half 20th century working overtime to come up with the jingle or tagline that would give their client the edge … from Coca-Cola’s early go-to “The pause that refreshes” to the TV age’s standards “Things Go Better with Coke” and “It’s the Real Thing” (the words “real” and “real thing” recur over the decades in Coca-Cola’s ad campaigns). Pepsi for its part, went from “more bounce to the ounce” in 1950 to its 1960s accent on youth, “Come Alive! You’re in the Pepsi Generation” and numerous variations over the years on this theme (“young” and “generation” are the key Pepsi words that recur through the jingles and slogans).
Photo: George Marks/Retrofile/Getty
Postscript: The taste difference!
Most people know that Coca-Cola originally used small amounts of cocaine in the famous beverage (scandalous as that may seem to modern sensibilities), but what is it that makes the two brown-coloured soft drinks taste a bit different? They both have carbonated water, sugar, colour Caramel E150d, phosphoric acid and natural flavourings. Well, according to Malcolm Gladwell (Blink, 2005), its the hints of citrus acid that is added to Pepsi that sets the drinks apart – cf. Coke’s citrus-free, sweet vanilla and raisin flavours.
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✱ Pepsi was always coming from behind in the formative period, by the time PepsiCo was founded the Big Coke was already selling about one million gallons a year
⍟ the familiar bottle of Coke is boundless as well as ubiquitous, having been carried under the North Pole and into outer space
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Articles and sites consulted:
‘Why Coke is winning the cola wars’, (Danielle Wiener-Bronner), CNN Business, 21-Feb-2018, www. money.cnn.com
‘COKE VS. PEPSI: The Amazing Story Between the Cola Wars’, (Kim Bhasin), Business Insider, 02-Nov-2011, www.businessinsider.com
‘Ever Wondered What’s The Difference Between Coca-Cola and Pepsi? It’s Literally ONE Ingredient’, (Bobbie Edsor), Delish, 03-Dec-3020, www.delish.com
‘The Universal Drink’, (E.J.Kahn Jr), The New Yorker, 06-Feb-1959, www.newyorker.com
‘The Cola Wars’, (Melissa Santore), Ranker.com, 20-Feb-2020, www.ranker.com
The ardent British football fan while waiting for match day or counting down the off-season days to next August can often be found lapping up all the available literature he or she can get their hands on about the beloved round ball game. The appetite for football fiction extends to the graphic novel and it’s predecessor the comic book. The perennially popular exemplar of this quintessential “Boy’s Own” exploits genre is Roy of the Rovers.
[R] 17-y-o Roy Race on his ‘debut’
The comic Roy of the Rovers had its debut in Tiger magazine in 1954…the strip follows the fortunes of fictional football team Melchester Rovers, with the spotlight very much on its star centre forward Roy Race. Captain Roy and his team invariably find themselves the underdogs, battling adversity, foul play, injuries and bad luck, somehow in the end they manage to beat the odds and spectacularly win the game in the last minute usually with a corker of a goal by Roy (for supposed ‘underdogs’ Melchester Rovers are decided overachievers – over the years racking up eight fictional FA cups, three European cups and one UEFA cup!).
Roy on the field epitomises fair play (often in contrast to his opponents), his personality embodies all the virtues of “sportsmanship, etiquette and why a fractured ankle, a broken rib and an early case of polio should never stand between a determined team captain and victory in FA cups” (McGinty). Roy’s Rovers competed against the other teams in the League—like their arch-rivals Tynefield United—who never come close to ever matching up to the ethical pedigree of Melchester Rovers.
Roy of the Rovers momentsRoy of the Rovers permeates English football culture to the extent that it is a standard trope for fans of the game to invoke the comic strip to describe memorable sporting incidents, unexpected comebacks, miraculous wins from behind, etc.
Roy is beyond the slightest doubt the absolute gun player in Melchester’s colours, however it’s not quite a one man band. He gets stirling assistance from teammates, most notably from Johnny Dexter the team’s “hard man” and goalie Gordon (“the safest hands in soccer”) Stewart (cf. Gordon Banks).
The créme de la créme, the “Roy of the Rovers Annuals” were a staple for boys each year…over the years of the publication Roy and his team go through all the highs and lows – relegation to Second Division; kidnapping of players; a terrorist attack; the club experiences financial calamities and so on. In the process Roy briefly defects at one time to a rival club before returning to the fold before losing a leg in a skiing accident. After enforced retirement he becomes Melchester manager and his son Rocky assumes the mantle of the side’s star striker.
[B] Roy with his Prince Valiant hairstyle
By the early 1990s, with the inevitable ebbing of ROTR’s popularity, the publication folded. However, at several intervals, the comic, phoenix-like, has been resurrected for the diehearts, most recently in 2018.
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Socialism in one football club
In 1988 the BBC produced a two series radio program drawing inspiration from the legendary Roy of the Rovers comic but taking it in a very different direction. Lenin of the Rovers, “the story of Britain’s only communist football club”, written by Marcus Berkman, is both spoof and affectionate satire, sending up the football comic classic while retaining a sliver of nostalgia both for Roy of the Rovers and the British game of yesteryear. Lenin of the Rovers conversely takes a massive swipe at the contemporary (that is, as at 1988) world of Brit soccer, ridiculing big game commentators and pundits alike, skewering top-flight players for being overpaid, pampered show-ponies with their “in-car leopard skin yoghurt dispensers” (nothing’s changed!). Also in the program’s cross-hairs is the run amuck degree of football sponsorship (eg, the “Heinz Sandwich Spread FA Cup”) and stockbroker hooligans (Hughes). The LCD gutter press also gets a pummeling for its bald-faced lies and facile and trivalising reporting (eg, “Curvy Corinne’s” tabloid article in The Daily Tits: “My night of lust with Ralph Coates”✧).
The story line is pure farce, supposedly detailing the experiences of communist East European football player Ricky Lenin (Alexei Sayle in a heavily accented voice which appears to be channelling his Balowski family character from The Young Ones) at Midlands club Felchester Rovers. Lenin is portrayed as a “tactical mastermind/balding midfield maestro” but more accurately might be described as thick as two planks. Through constant rhetorical flourishes Lenin lectures the team on dialectical materialism, the inevitable destiny of Felchester Rovers football club*, but he is exposed as a faux Marxist for covertly trying to enrich himself through football connexions. Lenin launches a proletarian coup which removes the club’s manager Ray Royce (a transparent pun on Roy Race), and then himself has to ward off a challenge from Felchester’s “burly defender” Stevie Stalin and “hard nut” henchman Terry Trotsky.
A riotous hoot
Many misadventures follow as Lenin and the club bungle their way through sex scandals, corruption and dodgy business deals, and a disastrous mid-season holiday in a war-torn Central American banana republic (El Telvador)+. The latter episode spoofs cult movie Apocalypse Now (“I love the smell of shin-pads in the morning”), with a side reference to the WWII football plot of Escape to Victory!
In the episode where Felchester travel to Germany to play Borussia Mönchenpastry (cringe!), they encounter diabolical German tabloid publisher Max Gut, a thinly disguised Robert Maxwell. Piss-taking comes fast and furious in LOTR, another episode involving Ricky putting out feelers for a move across the Irish Sea to represent the Republic of Ireland national whose team sheet reads like the United Nations with not a solitary Gaelic name in it! One of the team apparently qualified for Ireland due to having once read a James Joyce novel!
A recurring device sprinkled liberally through Lenin of the Rovers has Ricky Lenin speaking random lines from well-known pop songs – “We are family! I have all my sisters with me”; “A rebel to the core”, “Don’t go breaking my heart“, etc. ad nauseum.
From go to whoa it’s a pun bonanza, reminding me a lot of those exquisite Sixties radio comedies like I’m Sorry I’ll Read That Again. Felchester’s Euro opponent is Swiss club FC Toblerone (groan!). Their arch-rivals in the English comp is the thuggish Crunchthorpe United, however the Felchester team itself triumphs in the Cup employing the same tactics of illegal crunching tackles and skilless brawn. Needless to say that in the computer football universe, Felchester Rovers would be Melchester’s Crunchthorpe United.
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✧ LOTR takes no prisoners with the reputations of past FA stars with a constant flow of running gags at their expense (particularly cruel on Ralph Coates)
* with ideological fidelity he also devises a “five year goal plan” for the club, prompting his teammates to slag Arsenal for its “five goals a year plan”
+ there’s a reference to Terry Venables here, the former English manager’s nickname was “El Tel”
Reference material:
‘A teen magazine for boys — but will they buy it?’, The Scotsman, Stephen McGinty, 15-Jan-2004, www.thescotsman.co.uk
‘Lenin of the Rovers’, Wikipedia, http://en.m.wikipedia.org
‘Radio revolution’, Rob Hughes, When Saturday Comes, November 2010, www.wsc.co.uk
‘Lenin on the goalpost’, Paul Shaffer, Lion and Unicorn, 2017, www.thelionandunicorn.wordpress.com
The background story of Thomas Pychon’s novel The Crying of Lot 49 involves a centuries-old conflict between two mail distribution companies, Thurn and Taxis and Trystero. In the novel Thurn and Taxis triumphs over its rival in the 18th century, forcing Trystero to go underground and operate incognito as a waste disposal business. Trystero (sometimes in the book given as ‘Tristero’) does not exist, it is a fictional creation of Pynchon, and in true Pynchon style it may not even exist in the novel…Pynchon leaves the question floating, open to speculation and interpretation throughout the novel. Thurn and Taxis on the other hand is a very real historical entity.
⍋ Pynchon’s muted horn
The Thurn-und-Taxis story usually starts with one Franz (or Francesco) von Taxis—an Italian nobleman from Bergamo near Milan—who acquires the office of postmaster-general from the Habsburg Holy Roman emperor Frederick III in 1489 (in 1504 Philip I of Spaingives the Taxis family the same right to his territory). By these royal approvals Franz von Taxis is awarded the right (along with his brother Janetto) to carry both government and private mail from its base in the Austrian Tyrol the length and breadth of the Holy Roman Empire and Spain, in what was the world’s first public access mail service [‘Thurn and Taxis postal system’, Britannica, www.britannica.com/].
⍒Franz von Taxis
Tassis antecedents
Franz von Taxis’ elevation to imperial postmaster in 1489 is not the family’s first foray into the mail distribution business, far from it in fact! Some of Franz’s Italian ancestors were in the game as far back as the late 13th century. The association appears to start with the Bergamascan Omedeo (or Amedeo) Tasso➀. This chapter of the story begins in the small city of Bergamo in the alpine region of Lombard (northern Italy). After Milan conquers Bergamo Omedeo Tasso organises his relatives into a company of couriers (Compagnia dei Corrieri) around the year 1290. His post riders (known as iBergamaschi) operates routes to three Italian city-states, to Rome and Venice from the company’s Milan base [‘Omedeo Tasso’ Wikiwand, www.wikiwand.com]. In the mid-15th century another relative, Ruggiero de Tassis, extends the mail network north to Innsbruck, Styria and Vienna, and later to Brussels. Thus, by the time the Holy Roman emperor awards the mail distribution rights for the Kayserliche Reichspost (“Imperial Post”), to the Tassos’, the family has notched up an impressive CV of service to popes (Posta papale) and the ‘merchantocracy’ of Venice.
⍒Thurn-und-Taxis crest
Tassos to Taxis
The change of the original Italian family name ‘Tasso’, sometimes rendered ‘Tassos’ or “de Tassis’, to“Thurn and Taxis”, comes about in 1650…one of the nobles in the German branch of the Tassis family, Lamoral II Claudius Franz, gets imperial permission to change the family name from the French, “de La Tour et Tassis” to the German, “Thurn und Taxis”. As the Thurn-und-Taxis business become more lucrative the family’s social standing follows a similar upward trajectory…in the 17th century they accumulate a sequence of hereditary titles– from “imperial free baron” to grafen (“imperial count”) to a ‘princely’ status in the Fürstenhaus (“first house”) [‘Thurn und Taxis’, www.thurnundtaxis.de/].
(Image: www.labrujulaverde.com)
The Taxis’ Imperial Post thrives with improvements in service and greater efficiency. Emperor Maximilian I is able to despatch correspondence via the Post from Innsbruck to his son Philipp (Fillippo) in Brussels in five days (six in winter). The creation of a series of postal stations along the route—located 35 km apart➁—improves the speed of delivery [Schobesberger, Nikolaus, et al. “European Postal Networks”, News Networks in Early Modern Europe, edited by Noah Moxham and Joad Raymond, Brill, LEIDEN; BOSTON, 2016, pp.19-63, JSTOR,www.jstor.org/stable/10.1163/j.ctt1w8h1ng.9. Accessed 10 Dec. 2020]➂. The Tassis family postal fortunes continues with succeeding holy Roman emperors…Charles (Carlos) V appointed Janetto’s son, Giovanni Batista de Tassis (Signoria di Taxis) as master of posts in 1520, recognising the necessity of an efficient, reliable method in communication in the empire continually expanding to include new acquisitions (such as the Burgundian and Spanish territories).
⍒Imperial Post, Quincentenary commemorative card (Image: Collection of Museum for Communication, Nuremberg)
Thurn-und-Taxis and Imperial Post, democratisating postal services
Before Taxis takes charge of the Imperial Post, the Habsburgs depend on courier services that are exclusive to the elites of society. Dedicated messengers service sovereigns, aristocrats, merchants and other corporate bodies like universities and monasteries, but are not available to the general public. Thurn-und-Taxis changes that pattern, being the first to carry both private and public items on its trans-empire routes (Schobesberger).
⍋ Thurn & Taxis post-roads, western Germany, 1786 (Image: www.euratlas.com)
Serving the emperor: Privilege, surveillance and censorship Generally, the Reichspost under the management of the Taxis neatly serves both it‘s own interests and that of the Habsburgs. The Taxis provide the efficient postal system required of the vast Habsburg empire. They keep the imperial confidential posts and security secrets safe and when the opportunity arise, they engage in espionage (including intercepting correspondence hostile to their masters)[Cole, Laurence. Central European History, vol.42, no.4, 2009,pp.763-766. JSTOR,www.jstor.org/stable/40600986. Accessed 10 Dec.2020]. In return, the emperor grants them various concessions in business building to a monopoly by Taxis/Imperial Post over the postal industry by forbidding competition from rival courier providers (the right of monopoly confirmed by Emperor Rudolph II in 1595)➃. Thurn-und-Taxis are also co-opted into a political role on behalf of the Habsburgs, appointed principal commissar (making them the emperor’s personal representative at Regensburg). At its peak (ca. 1700) the company employs a staff of around 20,000 (messengers, administrative workers and state representatives).
⍒T & T postal timetable, Augsburg (Germ.) (Source: www.postalmuseum.si.edu)
Defection and reconciliation
In a rare miscalculation Thurn-und-Taxis in 1742 finds themselves briefly on the wrong side—backing the Wittelsbach successor (Charles VII) to the imperial crown against the Habsburgs’ candidate—although the Taxis’ manage to patch things up with the Habsburgs after Charles’ death. Reconciliation is facilitated by Empress Maria Theresia’s recognition of what the Taxis provide,“organisational know-how and (a) communications network which left no effective competitors” (Cole).
⍒Empress Maria Theresia
Vicissitudes of war
The outbreak of wars affecting the empire is a recurring threat to Thurn-und-Taxis’ prosperity (and even its survival). The Dutch War of Independenceprompts a virtual collapse of the Taxis system (Schobesberger). The Revolutionary and Napoleonic warsresult in economic crises that Thurn-and-Taxis have to weather. Swift changes in the balance of power in Europe in the early 1800s means that the Taxis have to pull off some astute business manoeuvring between Napoleon and the Habsburgs. Thurn-und-Taxis’ Princess Therese is especially instrumental in negotiating vital port agreements with Napoleon which keeps the company business going during wartime (Cole).
End of the Keyserliche Reichspost but Thurn-and-Taxis survives sans royal imprimatur
The Napoleon-dictated Confederation of the Rhine (Rheinbund) dissolves the Holy Roman Empire in 1806 and therefore the Imperial Post➄. Thurn-und-Taxis are still able to continue operating as a private postal concern in western-central Europe. In 1810 Thurn and Taxis relocates its capital from Regensburg to Frankfurt am Main➅.
Issue No 1
In 1852 Thurn-und-Taxis (borrowing the recent English invention) introduces its own adhesive postage stamps. A minor hitch arising from this is that the company has to issue two sets of stamps in Germany, owing to the different currencies in use – the Northern Germanic states deal in silbergroshens while the Southern Germanic states deal in kreuzers [‘German States Stamps Thurn and Taxis A Brief History’, Stamp-Collecting-World, www.stamp-collecting-world.com].
Endgame and after for Thurn-und-Taxis
The shadow of an expanding Prussian military state forebode ill for the company’s future. The Thurn und Taxis’ business is past its best days and its entry into the German-Austrian Postal Association in 1850 earns it the displeasure of future chancellor Bismarck. With Prussia’s triumph in the Austro-Prussian War (1866) it’s army occupies Thurn-und-Taxis’ Frankfurt headquarters and the company is wound up in 1867 after being forced to sell all its postal contracts to the Prussian government for three million thalers.
⍋ St Emmeram Palast, Regensburg (T& T) (Photo: Pinterest)
The House of Thurn-und-Taxis is something of an anomaly among European nobility, acquiring its aristocratic standing and wealth not from land as is customary, but from a monopoly over an imperial postal service (Cole). Since its postal connexion ended, Thurn-and-Taxis finds its future financial security in brewing➆, with sidelights in the accumulation of property and land and the construction of palaces. Today Thurn-und-Taxis—and its current family head Albert, 12th Prinz of Thurn-und-Taxis, Regensburg—with its diverse business interests➇ still has a place among the richest noble houses of Europe.
Endnote: Thurn-und-Taxis, transnational mail mover
Branches of the Taxis family operate both locally and transnationally across Europe – Austria, Spain, Luxembourg, Italy, Hungary, Germany, Belgium and the Netherlands. While Thurn-und-Taxis are funnelling the imperial mail through its distribution networks to all points of the empire, other countries in Europe launch their own nationwide postal systems. Nikolaus Schobesberger contends that Thurn-und-Taxis ultimately was out of kilter with the prevailing trend – early modern Europe was witnessing the ascent of nation-states with strong central governments, calling for efficient national systems of relaying mail (itself an ingredient of nation-building) that could be controlled by the state…so France (from 1477) and England (from 1516) both introduced royal post services which functioned as a state monopoly (Schobesberger).
⍋ ‘Thurn & Taxis’ game
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➀‘Tasso’ means ‘badger” in Italian (features on the family crest)
➁by the first half of the 17th century these narrow to just 15 km
➂ the Taxis’ couriers carry a coiled horn to alert towns and change-stations of their approach, and they transport the mail which include newspapers in a felleisen, a satchel encased in iron [‘Franz von Taxis and the invention of the Post’, (Museum for Communication, Nuremberg), www.artsandculture.google.com].
➃ it never amounts to a watertight monopoly, two northern Protestant princes (Brandenburg and Prussia) are able to create their own state postal systems in the second half of the 17th century, independent of the Imperial Post (‘Taxis invention of the Post’)
➄ the last postmaster-general of the Imperial Post is Prinz Karl Alexander von Thurn-und-Taxis
➅ having originated in Italy
➆Taxis is no longer in the brewing business having sold its interests to the Munich-based Paulaner Group, but the Thurn und Taxi brand of bier is still stocked on retail liquor shelves
➇ there’s even a “Thurn and Taxis board game” for which the House no doubt receives royalties
The “Groundhog Day” existence of coronavirus, with people ‘sentenced’ to indeterminable periods of isolation and lockdown inside four square walls, has been a boon to the pursuit of leisure activities※. Social media platforms have gone “gang-busters” – Twitter, Instagram, Facebook, Zoom, and Snapchat and TikTok (for the Gen-Zs) among others. Streaming services like Netflix, Amazon Prime and Stan, ditto. In this year like no other, Audible tell us that audio books are more popular than ever – a trend promoted undoubtedly by Audible’s own deft marketing (eg, during Covid-19 they are streaming a selection of children’s stories free to the public). The uptake of Borrow Box loan activity in 2020 underscores this assertion.
Cohen & Roney 1952: taking the 1st steps for audio booksellers (Photo: Lib of Congress Blogs)
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Audio books (ABs) in one form or another have been around a long time, arguably the pioneer in the area of spoken-word records was Caedmon Records, the first to hit the mark with a mainstream audience. The Caedmon company evolved out of the initiatives in 1952 of two 22-year-old female college graduates (Barbara Cohen and Marianne Roney) in the US to record a poetry reading by Welsh poet Dylan Thomas. The popularity of the poetry album which included A Child’s Christmas in Wales laid the groundwork for today’s AB industry. The development of technology assisted the progression of “spoken books”… from the first LPs (Long-playing records), emerging in the 1930s, which gave way to tape cassettes in the 1960s and 70s, which in turn lead later still to compact discs [‘Caedmon Records and Audiobooks, (HarperCollins), www.200.hc.com].
My own personal history as a consumer of spoken-word records begins with the aforementioned Caedmon, circa 1977. In the mid-Seventies I had watched several films in a series of commercial releases under the title “American Film Theatre”, film adaptations of a number of well-known plays…the series which utilised Lord Olivier as its promotional face included Galileo (Brecht), Rhinoceros (Ionesco), Luther (Osborne), The Homecoming (Pinter) and The Iceman Cometh (O’Neill).
At the time I came across vinyl 78s of two of the plays-to-films in the series—Butley (Simon Gray) and A Delicate Balance (Edward Albee)—in a tiny spoken-word section of a second-hand record shop. Snapping them up, this marked my first foray into the (at that time) still embryonic world of collecting ABs.
Audio books then were pretty much unknown in retail record departments and shops… major book retailers were yet to cotton on to the potentiality of thus broadening the market for their products, and online goliaths like Amazon were yet to come into existence. I remember that I got my first spoken-word cassette by (pre-online) mail order from the Royal Blind Society in 1978. The RBS had more incentive than anyone else to embrace “talking books”⋓, an innovation which opened up a whole new world of leisure for the visually-impaired. The first (double cassette) AB that I purchased was a BBC recording of Rosencrantz and Guildenstern Are Dead by Tom Stoppard.
Since that time the audio book industry has exploded with heavyweights like Hachette Audio, HarperCollins, Macmillan, Penguin Random House and Simon and Schuster, all with significant “skin in the game”. Lording over all these competitors is Audible (Amazon), unchallenged as the dominant market leader. Even before the pandemic the global AB market was valued at US$2.67 Bn in 2019 (wwwgrandviewresearchcom/]. The coronavirus is sending that worldwide sales trajectory even higher (US audio unit sales are up 16% dwarfing the book market growth of the industry as a whole (wwwthenewpublishingstandardcom/)).
The success of audio books has been welcomed by the book industry as a positive addition (cf. the advent of Kindle and e-books which raised fears of ‘cannibalisation’ of the main product)⊞. The takeaway from the AB phenomena is that the aural experience is a different one, and that ABs (according to a Deloitte report) tend to attract a younger demographic that is less inclined to read print books [‘A word in your ear…why the rise of audiobooks is a story worth celebrating’, (Alex Preston), The Guardian, 02-Aug-2020, www.theguardian.com].
The versatility of audio books is behind its blossoming into an integral part of the literature landscape for ‘readers’. ABs can be integrated easily into one’s life in all manner of ways that are not confined to a sedentary or stationary state – while exercising, walking, jogging, cycling, in the gym, while cooking, doing housework, driving a car, commuting, etc [‘Audiobooks: The rise and rise of the books you don’t read’, (Clare Thorp), BBC, 06-Jan-2020, www.bbc.com].
For many buyers of audio books a factor in choosing a title is the reader itself. Having “A-list talent” and the “dulcet tones of a familiar voice” as reader certainly can add value to the product✦, but big names only work if they have a genuine connexion with the material (Thorp). Some ABs work better when the author doubles as reader, this particularly applies to memoirs and non-fiction titles. Having this can convey to the listener a more authentic experience of the subject’s journey. For myself, the AB experience that I most enjoyed was John Lithgow’s brilliant reading of Tom Wolfe’s Bonfire of the Vanities. Character actor Lithgow brought such an energy to the reading, greatly enhancing the flavour and tone of Wolfe’s biting satire on greed and status in NYC (in marked contrast to the disappointing Tom Hanks movie version), probably my all-time favourite AB.
Another memorable audio book collection I would place high on my AB order of merit are the recordings of Samuel Pepys’ Diaries (readings by Kenneth Branagh and a BBC dramatisation). From both sets of recordings I got a real “living history” insight into Pepys’ thought processes and compromised behaviour—flaws and virtues, so redolent of that of the modern bureaucrat—and of the everyday life of an event-filled London in late Stuart Britain.
One of the reasons I took to audio books is that it offered me a way into critically acclaimed works of fiction that in print form I had found Sphinx-like and impenetrable. Back in the 1970s I made several attempts at reading the 754 abstruse and puzzling pages of Joyce’s Ulysses before raising the white flag in defeat. Ulysses’ emergence in the AB format in the, must be late Eighties/early Nineties (albeit in an abridged four-CD form) was the key I needed to unlock the stylistic labyrinth of Joyce’s prose. ABs also let me get a handle on that other Irish author of literary complexity Flann O’Brien, and his convoluted metafiction maze The Third Policeman.
Ftnote: CædmonCaedmon, the name chosen by Cohen and Roney for their revolutionary business enterprise, was the name of the first known English poet (flourished late Seventh century AD), a Northumbrian cowherd turned exponent of Old English (Anglo-Saxon) verse poetry.
※ another pastime, gaining impetus in the lockdown and perhaps capturing the zeitgeist of 2020 is doomscrolling – the social media practice of continuing to read long streams of news feeds which are disheartening in content
⋓ the term as I recall more in currency at the time than audio books
⊞ print books managed to repulse the challenge from e-books in part due to pricing strategies which disincentivised e-book purchasing [Amazon’s Audiobook Boom’, (Alex Shepard), The New Republic, O3-Jul-2018, www.newrepublic.com]
✦ the rise of ABs has provided a source of peripheral work for some actors, a very welcome and in some cases lucrative sideline
In a way the Wonder Woman story starts in Medford, Massachusetts, at Tufts University, in the 1920s. William M Marston, a young progressive and unorthodox psychology professor, teaches his own DISC theory＊ to his students. One particular female student takes a shine to Marston’s DISC ideas and to the professor himself. Next thing we know Marston immerses himself in a ménage a trios with the student (Olive Bryant) and his (initially quite reluctant) wife Elizabeth. The polyamorous relationship◵ allows Bill to explore a latent interest in BSDM and arrive at the conclusion that women are the “love leaders” of society, predicting that women would “take over the rule of the country, politically and economically, within the next hundered years” [Tim Hanley, Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, (2014)].
(Source: www.money.org/)
⍋ 1st sighting of the pioneering super-heroine: Marston uses the pseudonym “Charles Moulton” for the Wonder Woman comic books
Marston over the years tries his hand at many things in addition to psychology —inventing a systolic blood pressure test (which contributes to the development of the polygraph); writing screenplays for early silent films; authoring self-help books—without ever really attaining a measure of lasting success in any. Marston’s venture into creating comic books in 1940 turns that trend around. Always looking for a new business opportunity, especially after finding himself on the outer in academe, Marston finds a new way to champion his faith in female superiority by creating Wonder Woman, the first super-heroine in comics.
⍒ Wonder Woman on the lie detector
Marston’s ‘superwoman’
Having successfully pitched the idea to DC Comics boss Max Gaines, Marston’s Wonder Woman debuts in 1941 in All Star Comics #8, with cartoonist HG Peter supplying the pencilling which have a touch of art nouveau about it. Marston embodies WW with all the attributes and values that added up to his idea of perfect femininity (based seemingly on an amalgam of the brace of women in his life, Elizabeth and Olive). The make-up of WW’s character reflects Marston’s fascination with Greek mythology. She is depicted as an Amazonian princess◘ , as “strong as Hercules”, “wise as Athena” and “beautiful as Aphrodite”. Garbed in a sexy but patriotic suit of star-spangled red, white and blue, her accoutrements are distinctively martially potent – including the “Lasso of Truth”, a device to compel people to tell the truth (an idea germinating from Marston’s lie detector prototype). WW wears indestructible bracelets which deflect bullets, a golden tiara which doubles as a projectile and an ‘invisible’ jet to whisk herself away from danger [Wonder Woman Psychology: Lassoing the Truth, edited by Travis Langley & Mara Wood (2018)].
Wonder Woman, a comic book gender transgressorIn the comics of the 1930s prevailing cultural norms are reinforced,superheroes are male by gender and violent in method – the stereotypical depiction of women was commonly restricted to evil seductresses, the girlfriends of heroes (eg, Lois Lane) or their ‘helpmates’. Wonder Woman represents a radical departure from the norm, her shtick is fighting fascism in America wherever she finds it – using her brains rather than the heavy-handed brawn exhibited by Batman, Superman and co. [‘A Psychologist and A Superhero’, (Margarita Tartakovsky), Psychology Central, updated 15-Mar-2019, www.psychcentral.com].
Wonder Woman, “deer-hunting” ⍋
Comic bondage and a moral backlash
Marston is able to indulge one of his most cherished psychosexual beliefs through Wonder Woman, that “women enjoyed being bound”. In the comics it appears as a standard contrivance, we find WW being tied up by villains as some point or other in the story line. Sometimes WW herself ties up women, and to accentuate the kinkinessof her character, dresses them in deer costumes for a mock cervid hunt through the forest⁌ [‘Wonder Woman (comic book)’, Wikipedia, http://en.m.wikipedia.org]. The BSDM preoccupation reflects a personal fetish of Marston’s but also can be linked back to the powerful influence the suffrage, feminist and birth control movements has on him (pioneering birth control activist Margaret Sanger was Olive Byrne’s aunt) ⌖. Wonder Wonder is an instant hit for the comic book-reading public (eventually reaching a weekly readership of five million), drawing the opprobrium of America’s moral guardians who object to the torture motif running through the stories, also considering WW’s outfit to be far too skimpy [‘The Surprising Origin Story of Wonder Woman’, (Jill Lepore), Smithsonian Magazine, October 2014, www.smithsonianmag.com].
⍒ Justice Society of America
At DC Comics Wonder Woman is invited to join the Justice Society of America (DC’s superhero team in the “Golden Age of Comic Books” as the period was known). WW’s elevation is hardly a step forward for gender advancement however as her designated role in the JSA is that of secretary for the male superheroes, while the ‘boys’ get on with the heroics of protecting the world from the designs of global criminal masterminds [‘The Truth About Wonder Woman’, Robert Kirkman’s Secret History Of Comics, (US documentary)].
Marston doesn’t get to appreciate the success of Wonder Woman for long, he contracts a form of cancer and dies in 1947, still in his early fifties (for the last two to three years he has an assistant, Joye Hummel, who helps ghost-write the WW stories when he is too ill). With the reins of the Wonder Woman comics passing from its originator to new hands, the iconic super-heroine’s persona and fortunes would undergo a number of transformations over the decades to follow.
Initial sketch of WW by HG Peter (1941) ⍒(Source: Smithsonian Libraries)
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＊Marston believes that the behavioural expression of emotions could be divided into four primary types – Dominance, Inducement, Submission and Compliance [‘William Marston’, www.discprofile.com/]
◵ Elizabeth and Olive each have two children to Bill and everyone live under the same roof
◘ like Superman, Batman, etc, WW has a civilian alias – Diana Prince
⁌ such scenes may also have inspired by Byrne givingMarston a window into the activities of her sorority at Tufts University – “baby parties” where dominatrix women bind and discipline submissive sorority members [‘Curious Traditions of Times Past: Baby Parties’, (Yim Walsh), Tufts, 18-Sep-2014, www.dca.tufts.edu]
⌖ from this exposure Marston learns that the breaking of chains is “a powerful feminist symbol of emancipation” [‘A look back at Wonder Woman’s feminist (and not-so-feminist) History, (Michael Cavna), Independent, 30-May-2017, www.independent.co.uk].
THE modern history of Sweden has been one of continuous, peaceful state existence. Non-participation in any war since 1814, no political assassinations in the country for nearly two centuries (following the murder of King Gustav III in an aristocratic coup attempt in 1792). This remarkable run, free of political violence, was shattered on the night of 28th February 1986 with the seemingly unfathomable murder of Sweden’s incumbent democratic socialist prime minister, Olof Palme＊.
Sveavägen murder scene🔻 (Photo: Anders Holmström/Svenskt Pressfoto)
‘Clouseauesque’ policing The Swedish PM’s shooting in Sveavägen, one of Stockholm’s busiest streets, by a single assassin, was followed by an amateurish investigation that was a complete shambles from the start. An initial mix-up over phone calls meant the police were slow to respond to the crime, losing precious minutes while the murderer made good his escape. On arrival, they failed to cordon off the murder scene properly, allowing onlookers to contaminate potential forensic evidence; key witnesses were allowed to leave the scene without being questioned. Established crime protocol—a street-by-street search of the area (a dragnet)—was not implemented [“Olof Palme: Sweden believes it knows who killed PM in 1986’, BBC News, 100-Jun-2020, www.bbc.com/].
🔺Head of investigation, H Holmér (Image: www.news.sky.com)
The police investigation was headed by Hans Holmér who assumed more or less from day one that the crime was politically motivated, eventually becoming fixated on the Kurdish militant group the PKK as the likely perpetrators, to the neglect of other leads (injudiciously, witnesses with key information were ignored). After a haul of locally-based Kurdish immigrants were arrested and then released for lack of solid evidence, the prosecutors and media turned against Holmér’s handling of the case, forcing him to resign [‘“Murder Most Foul” – the Death of Olof Palme’, (Jan Lundius), Inter Press Service, 30-Jun-2020, www.ipsnews.net; BBC News]⦿.
The suspects and the conspiracy theories◘ In the 34 years since the Palme shooting the police have conducted 10,000+ interviews and 134 people have confessed to the murder. Aside from the PKK, another international suspect was the white South African regime. Palme was a charismatic figure in world politics but also a controversial and polarising one, as a foreign policy-minded social democrat he elicited criticism from both left and right, including from both the superpowers. In addition, his high-profile anti-apartheid stance was a thorn in the side of the Pretoria government. One theory suggests a conspiracy between South Africa’s security and intelligence forces and right-wing extremist mercenaries within Sweden to execute Palme. The view gained some traction but Swedish investigators have never satisfactorily connected the dots between these elements.
🔺 Stockholm: Intersection of Sveavägen and Tunnelgatan
Palme’s economic reforms, especially those geared towards promoting worker control, did not endear him to the capitalist class in Sweden. More specifically there was Palme’s strong stance against the Swedish arms manufacturer Bofors who was illegally selling weapons to several proscribed nations. When Iran was blocked from receiving a shipment one scenario advanced is that an Iranian hitman liquidated the Swedish PM [‘Sweden’s Bofors Arms Scandal’, Directorate of Intelligence, 04-Mar-1988, www.cia.gov/].
Political pressure for “a result” Refocusing domestically on individuals, the spotlight turned to Christer Pettersson who had a criminal record including manslaughter. Pettersson was dubiously convicted of Palme’s murder in 1989, in part because Palme’s widow, prompted by police officers, picked him out in a police lineup. The seriously compromised verdict was easily overturned on appeal (lack of a murder weapon or motive) [‘Who killed Sweden’s prime minister? 1986 assassination of Olof Palme is finally solved – maybe’, (Andrew Nestingen), The Conversation, 11-Jun-2020, www.theconversation.com]. The investigation team’s eagerness to ‘fit’ Pettersson for the crime despite being bereft of hard evidence, reflects the pressure exerted by the ruling Social Democratic Party on the police to secure a quick resolution of the crime “acceptable to the public” [‘Who killed the prime minister? The unsolved murder that still haunts Sweden’, (Imogen West-Knights), The Guardian, 16-May-2019, www.theguardian.com].
Another, more ‘political’ suspect to attract the police’s interest early on was Victor Gunnarsson. Gunnarsson was an activist with connexions to various right-wing groups, especially the European Workers Party which held grudges against Palme. Gunnarsson was briefly detained by Holmér but the case against him however dissolved when witnesses failed to locate him at the murder scene at the time of the crime. Gunnarsson later emigrated to the US where he himself ironically became a homicide victim [‘Victor Gunnarsson’, People Pill, www.peoplepill.com].
‘Skandiamannen’✪ Another name on the person of interest list of police was Stig Engström. Engström willingly offered himself up to police as a ‘witness’ at the time of the assassination and though questioned, the police eventually discounted him as a serious suspect. But some 20 years after the murder, a new theory, originating in a book by Lars Larsson and developed by journalist Thomas Pettersson, gained traction. The case put by Pettersson that Engström was the killer rested on a conjunction of factors—the “right timing, the right clothing, (he had) unique information, he had close access to guns of the right type, he was right wing and Palme unfriendly” [‘After 34 Years, Sweden Says It Knows the Killer of Olof Palme’, (Thomas Erdbrink & Christina Anderson), New York Times, 10-Jun-2020, www.nytimes.com]. Petersson handed over his findings to the police in 2016, leading to a reopening of the investigation.
Palme, then Swedish communications minister, (with actress Lena Nyman), appeared in the controversial 1960s “erotic-drama” ‘I am Curious – Yellow’ 🔻
‘Resolved’ but left up in the air? Earlier this year the state prosecutor announced that he had come to the conclusion that Engström was probably Palme’s killer, but, given that Engström himself died in 2000, he promptly closed the case. Not everyone in Sweden is satisfied by the conclusion to the Palme case, many questions remain unanswered about the inconclusiveness of the evidence…eg, no DNA match, where is the missing murder weapon and what was the motive? (BBC). To paraphrase one antagonistic perspective on the case resolution: “it settles none of the unanswered questions”, instead it “underlines the determination of powerful political forces to continue the cover-up surrounding Palme’s murder” [‘Decades-long cover-up continues of assassination of Swedish Prime Minister Olof Palme’, (Jordan Shilton), World Socialist Web Site, 13-Jun-2000, www.wsws.org/].
(Source: www.latimes.com)
Endnote: Palmology and parallels with the JFK conspiracy saga The collective trauma felt by Swedes with Olof Palme’s 1986 assassination—many expressing a sense of lost national innocence, no longer immune from political violence◘—recalls the devastating effect the assassination of President Kennedy in 1963 had on the American psyche (Lundius). Both leaders’ violent deaths triggered a runaway train of conspiracy theories, some plausible and some highly implausible◕. In the years since 1986 Sweden’s national obsession with the unsolved murder, labelled Palmessjukdom (“Palme sickness”) has inspired a raft of plays, films, television and musical works on the topic. It has even been cited as a contributing “factor in the worldwide explosion of Scandinavian (noirish) crime fiction”. ‘Palmology’ has spawned a veritable Swedish industry of privatspanarna – a legion of private investigators (such as Thomas Pettersson) conducting independent inquiries into the baffling crime…some have been serious researchers, others espousing “crackpot theories” (West-Knights).
(Source: www.cnbc.com/)
𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪——𝄪 ＊ not however the country’s last political murder, in 2003 Swedish foreign minister, Anna Lindh, was assassinated by another “lone wolf” assassin ⦿ marginalising SÄPO (Säkerhetspolisen – the state secret police) from the investigation didn’t make the task any easier ✪ Engström was dubbed “Skandia Man” by Lars Larsson because he worked in the Skandia Insurance Co tower building which fronts on to Sveavägen-Tunnelgatan ◘ and perhaps in some measure jolting Swedes out of a lingering outlier complacency ◕ among the multitude ‘fingered’ for the hit on the Swedish PM, was the Swedish police, the Yugoslav secret service, even Palme’s own wife, Lisbet
As all of us are only too aware, COVID-19 has cut a swathe through public gatherings, large aggregations of people are a “no-no” in 2020. Across the globe all manner of events have been on the receiving end of a different sort of cancel culture treatment. The superhero-studded world of comic book conventions has not been immune to this contagion. Comic-cons everywhere, including the San Diego Comic-Con International, America’s oldest comic book convention, have been red pencilled in this year of the plague. But if we turn the clock back some 70 years we might observe a time when the existential threat was directed at the product itself, the actual comic books.
There were no organised comic-cons in the more cautious and conformist 1940s and 50s, but this in no way equated with a lack of popularity of comic books. In fact the Forties had been a Golden Age, especially for American comic books, Comic strip creators were riding high with a slew of superhero characters—including Superman, Wonder Woman, Batman and Captain America, the Avengers and Captain Marvel—proving lucrative for companies like Detective Comics (DC Comics), Entertaining Comics (EC Comics) and Timely Comics (Marvel Comics). By mid-decade comic books were the most popular form of entertainment in the US (with 80 to 100 million copies being sold per weekBy the late 1940s comic books were well and truly being marketed towards adults as well…”fed by the same streams as pulp fiction and film noir, titles (began to tell) lurid stories of crime, vice, lust and horror” [David Hajdu, The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, (2008)].
♦️ Wonder Woman (Sensation Comics, 1942)
‘Seduction of the Innocent’ Dark clouds appeared over the comics industry’s blue skies in 1954 with the publication of Seduction of the Innocent by a Bavarian-born neurobiologist Fredric Wertham. The book was “a full-throttled attack on the lurid contents of various crime, horror, and even super-hero titles, (with an emphasis on) graphic illustrations of wife-beatings, sado-masochism, and gruesome murders”⁕ Sean Howe, Marvel Comics: The Untold Story, (2012)]. Wertham’s inditement of the American comics of the day was that they corrupted impressionable youth, inveigling them into fanaticising about evil, leading them on a ruinous path to criminal behaviour, etc.[‘History of Comics Censorship, Part 1’, CBLDF, www.cbldf.org/].
♦️ Crime SuspenStories, 1950
1940s, North and bonfires Wertham was not the first critic to take aim at the US comic book industry. In the view of CBLDF✥, since the 1930s “the comics medium has been stigmatized as low-value speech”. In 1940 conservative commentator Sterling North urged parents and educators to guard against the influx of “mayhem, murder, torture and abduction—often with a child as the victim” in contemporary comic strips. North also decried the incidence of “voluptuous females in scanty attire, machine gun (-wielding hoodlums) and “cheap political propaganda” in the comics. The effect on children, he went on to say, of these “badly drawn, badly written and badly printed” strips was “a strain on young eyes and young nervous systems” as well as constituting “a violent stimulant” to them [North, Sterling. “A National Disgrace”. Childhood Education. 17.1, 1940: 56. Print.]. During WWII religious and patriotic organisations conducted public burnings of ‘disapproved’ comic books in American neighbourhoods – in ironic juxtaposition of the war being fought overseas concurrently against Nazi Germany (’Comic Censorship, Part 1’).
♦️ Dr Wertham, researching
“>
“Pop culture McCarthyite” But it was Seduction of the Innocent that struck the strongest chord in a 1950s America “looking over its shoulder” for real or imagined enemies of society in the grip of a hysteria heightened by McCarthyism. It triggered a public outcry, prompting an investigation into the industry by a Senate sub-committee. Publicity from the hearing was damning and the fallout was devastating. Comic books were denounced by Wertham and other moral crusaders as contributing to juvenile delinquency⚉. At the height of the moral panic, comic book publishers were sometimes treated as though they were mobsters, and the cartoonists, as if they were pornographers [‘The Caped Crusader’ (Jeet Heer), Slate, 04-Apr-2008, www.slate.com; ’Comic Censorship, Part 1’].
The emasculated comic book Threatened with both public and government censure, the comics industry choose to self-regulate, introducing the Comic Code Authority, “a censorship code that thoroughly sanitized the content of comics for years to come”. The new code (something analogous to the film world’s draconian Hays Code) was taken to ridiculous lengths, it forbade comics from showing zombies, vampires, ghouls and werewolves; words like ‘horror’ and ‘terror’ couldn’t be mentioned in the story lines; nor could criminals be portrayed sympathetically and the institution of marriage could not be seen to be disrespected (Howe).
♦️ The imprimatur of the self-censor
Comic book publishers were forced to produce ‘purified’ comics suitable for a younger market—more infantile and tamer stories, squeaky-clean but ‘dopey’ heroes replacing the previous super-overachievers—in short, “safe fantasies” for the youngest readers (’Comic Censorship, Part 1’).
The economic and human toll The new reality of the world of comic books decimated the industry’s hitherto prosperity…between 1954 and 1956 the number of titles produced was cut by more than half – from 650 in 250 over that two-year period!✧. By summer 1954 15 comics publishers in the US went belly-up. EC Comics, up to then one of the market leaders, discontinued all its comics lines…its much-vilified publisher William Gaines switching production solely to the satirical Mad magazine. Over 800 jobs in the industry vanished more or less immediately (Howe; Hajdu). Many talented inkers and pencillers left the industry for good, many for economic reasons but others due at least in part to the stifling of their creative artistic output.
Endnote: Demise of adult comics Both Wertham and North in their hatchet jobs on the comics genre made the error of completely disregarding the significant adult readership of comic books. The recovery of the industry, the winning back of that readership, took many years…it didn’t really happen until the emergence of ‘Underground’ comics in the 1960s with publications like Zap Comics and comic artists like R Crumb§ [‘History of Comics Censorship, Part 2, CBLDF, www.cbldf.org/].
♦️ Detective Comics, 1945
PostScript: The Wertham thesis unpacked After it became accessible in 2010 Wertham’s research on comics books was investigated and his conclusions found largely baseless…Wertham was said to have manipulated data, overstated, compromised, and fabricated evidence. A further weakness of his work was that he used non-representative samples as the basis for his conclusions. Scorn was also poured on Wertham’s contentions that the comic character Superman harboured Nazi SS tendencies, that the Batman/Robin relationship had homoerotic overtones, and that Wonder Woman was a lesbian role model (Wertham saw this as wholly undesirable)[‘Fredric Wertham’,Wikipedia, http://en.m.wikipedia.org; Heer].
________________________________________________
⁕ that serious comics of the period were laden with violence, misogyny and racism, could not be disputed (Heer)
✥
⚉
dislike of popular comics. Wertham considered their consumption blocked children from an appreciation of literature and fine arts(Hajdu; Heer)
✧
§ the fashionability of adult readership was further advanced by the advent of graphic novels
Captain Marvel and protege
⁕ that serious comics of the period were laden with violence, misogyny and racism, could not be disputed (Heer)
✥ Comic Book Legal Defense Fund
⚉ a sense of elitism also coloured Wertham et al’s dislike of popular comics. Wertham considered their consumption blocked children from an appreciation of literature and fine arts
✧ in excess of 100 pieces of anti-comic book legislation came into effect in the Fifties (Hajdu)
§ the fashionability of adult readership was further advanced by the advent of graphic novels
While Brazil has the unenviable title of the worst coronavirus hotspot in Latin America sown up, Mexico has steered a similar course to disaster in the face of the pandemic. As Brazil’s coronavirus count climbs to well over 1.1 million confirmed cases and closing in on 53 thousand fatalities, the galloping toll in Mexico—60% the size of Brazil population-wise—now registers 191,410 cases and 23,377 deaths(as at 24-June-2020).
(Source: www.lonelyplanet.com)
False security?
Among some Mexicans there seem to be a sense that the country’s demographics which are skewed toward the young—around 85% of the population is under 55—may act as a barrier against coronavirus. This confidence may be misplaced due to several factors: pre-existing health conditions in Mexico which affect younger cohorts as well—make the population more vulnerable to the ravages of coronavirus, as the table below indicates [‘Many young Mexican at risk from Covid-19’, (James Blears), Vatican News, 31-March-2020, www.vaticannews.va]. the death-rate from COVID-19 among maquiladora workers in the border region of Baja California was found to be 25 times higher for the age bracket 40-49 than in the corresponding San Diego County, [‘COVID-19 killing young maquiladora workers, study shows’, (Salvador Rivera), Border Report, 11-Jun-2020, www.borderreport.com].
A league of populist leader ‘bedfellows’?
The way Mexico under its president, Andrés Manuel López Obrador, has approached the pandemic has disturbing parallels with that of Brazil’s leader Bolsonaro, and with the US under Trump. Despite a difference of ideological orientation—Obrador (who’s commonly known within Mexico as AMLO) is a Left-populist whereas Bolsonaro and Trump are Right-populists—the Mexican leader has pursued much the same course with similar outcomes. AMLO’s government was slow to engage in the fight against COVID-19 in the critical early period. The virus apparently entered Mexico via overseas returnees, primarily wealthier Mexicans returning from business trips to Italy and skiing holidays in Colorado, and then spread to low-income groups [‘Mexico’s Central de Abasto: How coronavirus tore through Latin America’s largest market’, (Mary Beth Sheridan), Washington Post, 21-Jun-2020, www.washingtonpost.com].
🔺 AMLO, pressing the flesh (Photo: Mexico’s Presidency Handouts/Reuters)
How not to contain a pandemic
Like his US and Brazilian counterparts, AMLO justified his inaction by being dismissive of the disease, continually downplaying its risk to people, and he was negligent by example. After the outbreak Obrador toured the country, holding rallies sans face masks, nonchalantly meeting and greeting supporters, freely shaking hands, embracing people and even kissing them✱. The president’s advice to the Venezuelan people was simply to continue to “live life as usual”…until late March he was encouraging people to go out, attend fiestas, dine in restaurants and go shopping, airports remained open◘– a clear indicator that Obrador’s priority was the health of the economy rather than the health of the public [‘Poverty and Populism put Latin America at the centre of the pandemic’, (Michael Stott & Andres Schipano), Financial Times, 14-Jun-2020, www.amp.ft.com; ‘AMLO’s feeble response to COVID-19 in Mexico’, (Vanda Felbab-Brown), Brookings, 30-Mar-2020, www.brookings.edu].
Abject lack of medical preparedness.
Obrador’s dangerous indifference to the crisis extended to a half-hearted medical intervention. Testing for COVID-19 has remained woefully low, no program of widespread testing or of contact tracing – these vital measures dismissed as being impractical for a population of 128 million (Sheridan; Stott & Schipano). The reluctance to test extensively is no doubt also related to Mexico’s health care incapacity. Despite having gone through the experience of the 2009 H1N1 influenza outbreak, subsequent Mexican administrations have permitted the country’s health sector to run down, funding to hospitals and medical centres have been cut by millions. Mexico has only 1.4 hospital beds for every 1,000 persons and just over 2,000 ventilators all up. The shortfall extends to physicians, medical equipment including PPE and coronavirus test kits [‘Mexico’s coronavirus-sceptical president is setting up his own country for a health crisis’, (Alex Ward), Vox, 28-Mar-2020, www.vox.com].
Shooting the messenger
Inevitably AMLO has copped a lot of internal criticism for his irresponsible response to the crisis. Rather than taking positive measures to try to undo the disaster of his own creation, Obrador has gone on the attack against the Mexican independent media. Again invoking the Trump playbook, he has railed against the “fake news” and “Twitter bots” who have opposed his government’s handling of the situation. Independent investigations in fact have brought to light the clandestine activities of Notimex (the state-owned news agency) which has created a network of bots and fake accounts to discredit prominent journalists and label them as ‘criminal’ [‘Mexican President López Obrador frets about the spreading virus of fake news, but not COVID-19’, (José Miguel Vivanco), Dallas News,16-Jun-2020, www.dallasnews.com].
AMLO has taken to giving regular video ‘sermons’ to the masses (he calls them“Decalogues to emerge from coronavirus and face the new reality”)…these are not as you might surmise updates on how the government is attempting to counter the pandemic, but an uninspiring mish-mash of banalities about staying positive, eating corn and getting sun and fresh air. With the unchecked escalating death toll from the disease, many believe Obrador has given up any pretence to even trying to combat the virus [‘Mexico’s president has given up in the fight against the coronavirus’, (León Krauze), Washington Post, 19-Jun-2020, www.washingtonpost.com]. In this most unpropitious context AMLO is now taking an imprudent gamble by lifting restrictions – despite the curve of Mexican infections continuing to shoot upwards.
🔻 Mega-mercado, Mexico City
Footnote: Mexico City epicentre
Mexico City accounts for about one quarter of all COVID-19 deaths in Mexico. The officalcounts however are only starting points to explain the catastrophe. A Mexico City study by Nexos magazine found that there was an “excess mortality” of more than 20% unaccounted for by the official figures [‘8,000 ‘excess deaths’ in Mexico City as coronavirus rages: study’, Ajazeera, 26-May-2020, www.aljazeera.com]. One of the capital’s biggest clusters is the wholesale mega-market, the Central de Abasto. The enormous mercado providing 80% of the city’s food is a petri-dish for the virus which has cut a scythe through its 90,000-strong workforce, infecting its tomateros, chilli vendors and other workers whose need to keep working is often greater than their fear of the pandemicφ. The vendors and carters have another reason for continuing working even when they become ill – working class Mexicans are accustomed to poor quality health care and often harbour a distrust of hospitals (Sheridan).
⏦⏦⏦ ☤☤☤ ⏦⏦⏦
(Image source: www.studentnewsdaily.com)
Venezuela: Showcase numbers but a lack of transparency
Although the available statistics relating to Venezuela don’t reflect the dramatic numbers in Mexico, the situation in the South American country is peer bit as parlous. Venezuela has fessed up to 4,186 cases and 35 deaths (24-Jun-2020), but these figures have little credibility with independent observers. Venezuela has done very limited testing for the disease with the testing data guarded very carefully by the government [‘Hunger, Infection, and Repression: Venezuela’s Coronavirus Calamity’, (Stephanie Taladrid), The New Yorker, 29-May-2020, www.newyorker.com]. Doubters outside the country have noted that Venezuela’s health system was already in a state of collapse before COVID-19 arrived, citing as evidence:the country‘s functioning intensive care beds are estimated to number between 80 and 163; nil or intermittent supply to water to two-thirds of hospitals; power cuts off at regular intervals; shortages of gloves and face masks in 60% of hospitals; 76% of hospitals shortage of soap and 90% were short of sanitising gel [‘Venezuela’s Covid-19 death toll claims ‘not credible’, human rights group says’, (Tom Phillips), The Guardian, 27-May-2020, www.theguardian.com].
🔺 Maduro: “People, we are identity”
President Maduro—already embroiled in a political and socio-economic crisis acerbatedby long-term US trade sanctions on Venezuela—imposed a national lockdown in March. A side benefit to the lockdown (now extended to July) is that it allows the regime more scope to crack down on its critics…the obvious targets being opposition politicians and increasingly journalists, doctors and nurses who report adversely on Maduro’s handling of the pandemic (especially if they query the reported official numbers). [‘Venezuela’s Zulia State emerges as coronavirus hot spot’, Reuters, 24-Jun-2020, www.news.yahoo.com].
Footnote: Rich and poor, a widening of the divide
At the point of corona impact, the contrast between Venezuela’s masses and the elite have sharpened even more. The brunt of the economic crisis has fallen squarely on the poor and middle-class citizens – skyrocketing prices, scarcity of necessities, a greatly devalued Venezuelan bolivar, the oil price plunge (oil accounts for 98% of Venezuela’s export revenues), and over-reliance on the informal economy by the lower socio-economic classes [‘Why coronavirus could be catastrophic for Venezuela’, (Katy Watson & Vanessa Silva), BBC News, 12-Apr-2020, www.bbc.com]. With corruption, cronyism and nepotism ingrained in Venezuela, the Maduro regime and its acolytes—the heirs of Chavismoism—continue to benefit lavishly from black-market and other illicit financial activities◊ [‘Freedom in the World 2020: Venezuela’, Freedom House, www.freedomhouse.org].
⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛⇚⇛
✱ AMLO preferring to travel and mingle accompanied only by his personal amulets for ‘protection’
◘only in the last week of March did the government retreat a bit and start to urge the public to stay-at-home
φ the CDMX-run market only acted, bringing in health workers, ramping up testing and contact tracing, after workers starting dropping in significant numbers (Sheridan)…as with the rest of Mexico, too little, too late
◊ beneficiaries of this state largesse and privilege include the bolichicos, the wealthy children of the regime’s top leaders
As countries try to deal with an epidemic that is novel to the world of public health, with no tried-and-true templates to follow, there have been various quite differing approaches to the COVID-19 crisis. Some of these approaches have inevitably roamed into the realm of the controversial and polemical, polarising people at home and abroad. In previous blogs 7dayadventurer.com has sketched the go-it-alone path adopted by Sweden✱,〘Two Antithetical Approaches to the COVID-19 Crisis: A Controversial Outlier Versus a a Low-key Over-achiever (10-May-2020)〙and the denialist response of President Bolsonaro to the epidemic in Brazil〘Covid/Ovid 2020: Crisis (Mis)Management – How the World’s Leaders are Responding? (02-Apr-2020) 〙.
Belgium’s unenviable record – with an asteriskThis blog turns the spotlight elsewhere, on to an unlikely duo, two vastly dissimilar countries whose strategies towards the pandemic have proved controversial, each in it’s own way. Belgium, a small European state, has surprised and shocked many observers by its prominence on the table of world’s worst affected countries. The country has recorded 815 deaths per million of population (as at the 1st of June), easily the worst per capita toll in “First World” Europe (next closest Spain, 580/one million). Although Belgium has some distinguishable factors which contribute it its fatality rate—the country and especially the capital Brussels is the sixth-most dense in Europe, and Brussels has a very international and mobile population, a high number of Belgians reside in nursing homes (accounting for more than half of the disease’s victims)✬—there’s another (statistical) factor that goes a good way to explaining why there has been 9,580 recorded victims of the disease⊡. Belgium counts both the deaths confirmed as resulting from coronavirus and the deaths which are suspected to have been caused by the disease (most countries do not include this second category in their official COVID-19 counts)✪. (“Is Belgium the world’s deadliest COVID-19 country or just the most honest?’, (Bevan Shields), Sydney Morning Herald, 01-Jun-2020, www.smh.com.au).
🔺 Belgians returning home to a coronavirus-hit country
In defence of over-counting
Belgian virologist Prof Steven Van Gucht has deflected criticism of both Belgium’s numbers and its method of calculating corona casualties, commending Belgium for its honesty in selecting the more inclusive determination of the death toll. Van Gucht has argued that “public health shouldn’t be a political game or a contest on who is doing better than someone else”, adding that other governments not being honest with the public about the true scale of their outbreaks will be caught out on it later. Not everyone in Belgium applauds such transparency and honesty with the corona data, some within the kingdom’s business leadership have expressed alarm than the methodology used to ‘inflate’ mortality and morbidity numbers may have a deterrent effect on tourists returning to Belgium once the economy reopens (Shields).
(Source: www.graphicmaps.com/)
El Salvador’s tough stand on lockdown transgressors part of a worrying authoritarian trend?
Pre-existing conditions in the Central American country of El Salvador have dictated the government approach taken to coronavirus. El Salvador’s high incidence of both gang activity and homicide prompted president Nayib Bukele (at 38 youthful and very social media savvy, eg, >1.9 M Twitter followers) to act hard and fast. Bukele’s government took a preemptive approach to the outbreak, schools and colleges were suspended and a state of emergence declared before the country had recorded its first confirmed case of the virus. Borders were closed, public gatherings in excess of 500 people banned, anyone caught driving cars without a sanctioned reason were detained at confinement centres for a 30-day period. Quarantine-breakers have been dealt with, summarily and harshly. Towns in El Salvador deemed to not be complying with the president’s strict lockdown orders have been cordoned off by the police, barring public egress [‘Savior or Strongman? El Salvador’s millennial president defies courts and Congress on coronavirus response’, (Patrick Oppman), CNN, 21-May-2020, www.edition.cnn.com].
(Source: El Salvador Presidency via Reuters)
The new Salvadoran president has gone particularly hard on the country’s street gangs, the maras, who he fears would take advantage of the state of emergency to increase their criminal business activities when the security forces were busy policing the lockdown measures. Most controversial has been Bukele’s treatment of gang prisoners during the crisis – shockingly dehumanising images have emerged of large numbers of half-naked convicts shackled and huddled together in tight-knit formation (with zilch regard for social distancing), resembling a great amorphous mass of “human cargo” [’El Salvador’s president accused of using coronavirus to bolster autocratic agenda’, (Patrick J Mc Donnell & Alexander Renderos), Los Angeles Times, 01-May-2020, www.news.yahoo.com].
Recently Bukele has copped a lot of flak for the way he’s handled the crisis, including from labour organisations decrying the draconian quarantine measures as abuses of human rights. The legality of his actions has been questioned as has the increasing militarisation of the regime [‘One Year After Taking Charge, Nayib Bukele Faces Severe Criticism for Handling of COVID-19′, (Zoe PC/ Tanya Wadhwa), News Click, 03-Jun-2020, www.newsclick.in/].
El Salvador’s ‘hip’ president: taking a selfie before his speech at the UN 🔻
Shades of the White HouseAs an outsider—both as the son of an immigrant family from the Middle East and from a minor centre-right party which sits outside the political establishment traditionally dominated by the two main parties in El Salvador)—the president has deliberately attempted to work outside the mainstream including the National Assembly (NA) to achieve his aims. And he’s not adverse to employing military muscle to intimidate opponents⌽ while also reaching out to El Salvador’s impoverished with cash and food handouts (to buttress his personal popularity with the social base). Political opponents in the NA have accused Bukele of using the pandemic to consolidate an authoritarian regime, and of seeking to violate the national constitution (Oppman). The similarities seemingly extend to shared personal traits. President Bukele has disclosed his prophylactic use of hydroxychloroquine, while referencing Trump’s use and endorsement of the drug. The El Salvador authorities have managed to hold the death toll thus far to 53 (06-Jun-2020) at the cost of drastic restrictions on individual liberties.
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✱ Sweden‘s top epidemiologist has now conceded the government’s laissez-faire approach was seriously flawed – with a status quo of 43 fatalities per 100,000 people and Sweden finding its borders with its Scandinavian neighbours remaining firmly closed [‘Top epidemiologist admits he got Sweden’s COVID-19 strategy wrong’, (Bloomberg), National Post, 03-Jun-2020, www.nationalpost.com]
⊡ as at 06-Jun-2020
✬ some countries simply don’t count deaths occurring in nursing homes in their COVID-19 tallies, the UK only belatedly included them later in the crisis
✪ if Belgium applied the same criteria as most countries the recorded number of deaths by COVID-19 would be around half of what it is
⌽ such as deploying the army inside the Legislative Assembly as ‘bouncers’ [‘Nayib Bukele’s military stunt raises alarming memories in El Salvador’, (David Agren), The Guardian, 16-Feb-2020, www.theguardian.com]
In the fiercely combative arena of Washington DC politics, one term that gets bandied about a lot—before and continuing through the time of pandemic—is the notion of the existence of a “Deep State”. Whenever the expression gets publicly uttered, it’s purpose is to serve as the answer to some or other momentous development or outcome. Left there hanging in the air, vague, nebulous, mysterious and unelaborated but always unambiguously pejorative – the innuendo of conspiracy.
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Alternately called “a state within a state”, the “shadow government” or “the permanent state”, the Deep State connotes images of shadowy individuals talking in soto voco, practicing the political dark arts.
So, what actually is a deep state? In get to the essence of this concept let’s survey a cross-selection of responses to the question:
⌱ a type of governance made up of networks of power operating independently of the state’s political leadership in pursuit of their own agenda and goals [Wikipedia]
⌱ a conspiracy theory which suggests that collusion and cronyism exists within the US political system and constitute a hidden government within the legitimately elected government [Wikipedia]
⌱a body of people, typically influential members of government agencies or the military, believed to be involved in the secret manipulation or control of government policy[Oxford English Dictionary].
⌱ the idea that a cabal of unelected security officials across a number of government bodies maintain influence over elected politicians [Will Worley, The Independent (UK)]
⌱ (“the seed for many tantalising conspiracy theories”…the existence of a premeditated effort by certain federal governmentemployeesor other persons to secretly manipulate or control the government without regard for the policies of Congress or the President [Robert Longley]
⌱an underworld of unaccountable authority [Peter Dale Scott]
⌱ belief in an informal or parallel government that exists to countermand legitimate, usually more democratic, institutions (whose usage includes) a catch-all term applied to any number of extraordinary, usually violent, episodes, eg, JFK assassination, 9/11, etc. [Ryan Gingeras]
⌱a massive informal government comprising untold thousands of bureaucrats, technocrats and plutocrats committed to driving president-elect Trump from power [Breitbart]
⌱ (how it functions) whenelected governments threaten the deep state’s domestic or international interests, actors aligned to this coalition (the military, the clandestine service, the mafia and far-right activists) employ any means to reverse the state’s political course…these coalitions within the government work to ‘veto’ or ‘fine tune’ policies related to national security [Ola Tunander]
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The topicality of the Deep State as a conspiracy theory and as a form of politics in practice, as I indicated at the start, resides within, indeed permeates, the present US political realm, but the political phenomena itself did not start in the US. Let’s first look at the modern origins of the deep state – in early 20th century Turkey.
Turkey: volatile zero-sum-game
The notion of an unofficial para-authority, a deep state within the nation’s polity, has probably existed since the time of antiquity, but as a normative concept it can be traced back to the rise of the Young Turks movement in Turkey (revolution of 1908). In the struggle for power in the vacuum created by the disintegration of the Ottoman Empire, the Young Turks, and Kemal Ataturk who would become the ‘architect’ of the modern Turkish Republic, used criminal elements to eliminate political opponents. Ataturk’s group, through a violent, intra-government resistance to the ruling clique in Turkey, destabilised and undermined it (from within), eventually establishing control over state and society for itself. Turks called this secret network, derin devlet (literally the “deep state”). Since then, the phenomena has been replicated elsewhere, eg, Soviet Union/Russia, Egypt, Pakistan❈, with the tradition maintained in Turkey up to the (present) Erdogân era, eg, the failed military coup in 2016 seeking to overthrow the Erdogân autocracy [‘Turkey’s “Deep-State” and the Ergenekon Conundrum’, (H Akin Ünver), Middle East Institute, 01-Apr-2009, www.mei.edu].
↴ Erdogân state (Source: www.time.com)
Deep state sans conspiracy
Drawing together the different threads of responses, a deep state exists when a network of different groups covertly coalesce, forming a power base independent of and parallel to the legitimate government, with the purpose of pursuing its own objectives. In practice it tends to exercise soft power (rather than the more violent type seen in Turkey) by undermining and discrediting the legitimate government, with the aim of subverting its operation and bringing it down. The collusive elements of the network or cabal is typically drawn from the state’s security services, the bureaucracy, the military, the media, the private sector, even from organised crime.
The deep state in America
It was general–turned–GOP president Dwight D Eisenhower who first alerted America to the dangers of a deep state emerging…at his farewell address in 1961 he said: “We must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex”. A couple of years later the assassination of Eisenhower’s successor John F Kennedy provided conspiracy theory obsessives with endless material for imaginative speculation. Inevitably some of that speculation has joined the dots between the never-satisfactorily explained Kennedy murder and the Deep State. A perusal of the web turns up numerous posts with titles like ‘JFK was Murdered by the Deep State’ and ‘JFK Was Assassinated by LBJ, Establishment, Deep State’…fairly self-explanatory but these generally fact-thin ‘revelations’ detail a deep state hit squad of assassins and conspirators which includes Lyndon B Johnson and a coterie of southern Democrat politicians, the American mafia, Texas oil tycoons, Fidel Castro, the CIA, the KGB and a host of other nominated suspects⊠. And of course popular movies like Oliver Stone’s 1991 JFK was a further shot-in-the-arm for political conspiracy buffs and the perpetuation of the Deep State/JFK thesis (portraying “a cabal of shadowy officials as the puppet masters behind Kennedy’s assassination”)◘. As Professor Paul Musgrove remarked, “the deep state is catnip for conspiracy theorists” [‘How a Conspiracy Theory Went From Political Fringe to Mainstream’, (Tom Porter), Newsweek, 08-Feb-2017, www.newsweek.com].
Deep State rhetoric: How to vilify your opponents and turn back criticism, it’s all a conspiracy by the enemy!
The term finally acquires staying power and everyday currency in the US political lexicon with Donald Trump’s transition to the presidency in 2016/2017. Trump, a self-acknowledged outlier of Washington politics, came to office promising to “drain the swamp in DC”, his avowed aim, to ditch the old, distrusted model of federal government. With Trump doing things very much his own (peculiarly idiosyncratic) way in the White House, this caused waves, there was a “natural pushback” from a bureaucracy accustomed to a very different approach under Obama. This is a normal part of the process of regime change in parliamentary democracies universally – a residual if usually temporary feature of the culture of resistance to government change. [‘President Trump’s Allies Keep Talking About the “Deep State”. What’s That?’, (Alana Abramson), Time, 08-March-2017, www.time.com].
The practice of leaking information
From within the president’s fold, warnings of “covert resistance” from within to the president, emerged. Talk of a “Deep State” was heard from the far-right✪, Trump strategist Steve Bannon among the voices. The complaint was that elements within the bureaucracy, the State Department, Pentagon, wherever, were leaking damaging information to a media hostile to Trump (eg, New York Times, Washington Post), to which Trump’s “knee-jerk” reaction was to label it as “fake news”⍤. Two points need to be made about the leaking of information from democratic governments: as Abramson has noted, this is “not a new dynamic” or unique to the US, career civil servants—who are extra-political—have always leaked information to the press. The (legitimate) government from time to time itself will leak favourably information to the media (Abramson).
Watching the president
The second point is that the various federal government agencies, being non-partisan, see a component of their role to act as a check on wayward and irresponsible behaviour by an incumbent chief executive that would be harmful to the nation. Previous directors of the CIA have stated that the military would refuse to follow orders given by Trump which are unlawful [‘US Military to Disobey Trump’s ‘Illegal’ Nuclear Strike Order’, Sputnik News, 15-Nov-2017, www.sputniknews.com]. In such a scenario, the “permanent national security apparatus” has a right to act, as “a check on the civilian government” (Musgrave).
Another Deep State linkage with the coronavirus for conspiracy fans? The “Covert-19” pandemic? ↴
Using the Deep Statecatch-phrase to your own advantage
Opposition to Trump, to his style of presidency and approach to government, in the form of hostility from almost the entirety of the mainstream US media, the leaking of information from within the ‘citadel’ such as the charge that Russian interference in the 2016 elections assisted a Trump victory, have provided the ammunition for the Trump’s enablers and supporters to construct a narrative of a deep state, a ‘conspiracy’ of anyone seeking to subvert the presidency, including foreign powers (like China) and many bureaucrats they see as loyal to the former president (Obama).
Trump has turned internal criticism of himself into an excuse to fire officials, creating scapegoats for the shortcomings of the administration he heads. Inspector General of the Intelligence Community Michael Atkinson, sacked after alerting Congress of Trump’s attempts to pressure Ukraine’s leader into investigating the president’s domestic political opponents, remarked pointedly that he was dismissed, not for failing to do his job but for doing it properly [‘Trump’s safari into the wilderness of the deep state’, (Jacob Heilbrunn), Spectator (America), 08-Apr-2020, http://spectator.us]. Numerous other subalterns from the White House staff, Pentagon, Homeland Security, FBI, Treasury, Attorney General, etc have suffered the same fate after earning Trump’s ire. As Professor Timur Kuran, an economist who has studied the deep state concept in both Turkey and the US, said: in many authoritarian regimes, dictators often blame their failures on a “deep state enemy” within the legitimate state [‘Deep State: Inside Donald Trump’s Paranoid Conspiracy Theory’, (Michael Hanford), Rolling Stone, 09-Mar-2017, www.rollingstone.com].
Connecting coronavirus to the Deep State conspiracy
In the turmoil of the COVID-19 crisis in America, it didn’t take long for a number of Trump’s cronies and followers to play the pandemic conspiracy card. TV commentator Rush Limbaugh has labelled the coronavirus a deep state hoax⍝ (calling health experts fighting the virus outbreak functionaries of the deep state). The right-wing “shock jock” has said the crisis was being used by as a political weapon to destabilise and undo the Trump presidency [‘Rush Limbaugh: coronavirus a “common cold” being “weaponised’ against Trump’, (Martin Pengelly), The Guardian, 26-Feb-2020, www.theguardian.com]⦿. Other “true-believers” of the DS conspiracy myth see the coronavirus crisis as a plot to destabilise global markets and cripple the US economy, or alternately a Deep State plan to suppress dissent and impose “mandated medicine” on to the unsuspecting masses [‘Right-wing conspiracy theorists see coronavirus as a plot against Trump’, (Mikael Thalen), The Daily Dot, 26-Feb-2020, www.dailydot.com; ‘Scientist with 4 Degrees from MIT Warns ‘Deep State’ Using Coronavirus Fear-Mongering To Suppress Dissent’, (Carmine Sabina), The Western Journal, 17-Mar-2020, www.westernjournal.com].
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❈ there have been numerous other Deep State scenarios internationally, a classic one in recent history was the 1973 Chilean coup where foreign elements, the American CIA and IT&T, combined with a right wing military clique in Chile to overthrow the democratically-elected Allende government
⊠ many of the conspiracy hypothesisers who accept that Lee Harvey Oswald killed Kennedy, depict the gunman as having been an agent of the Deep State
◘ with hindsight we can see earlier instances of the (unnamed) deep state in American politics, beavering away to undermine a US president – in the Thirties and early Forties the Dulles brothers, Foster and Allen, exploited their key diplomatic roles in arms of the Roosevelt administration to covertly pursue their own agendas which were at variance with FDR’s policies, David Talbot, The Devil’s Chessboard: Allen Dulles, the CIA, and the Rise of America’s Secret Government (2015)
✪ one of the wildest is the QAnon Deep State conspiracy which alleges that a “cabal of Satan-worshiping pedophiles” have joined up with Hollywood liberals and Democrat politicians to try to overthrow the Trump regime
⍤ sometimes hitting back with his own brand of fake news, such as his unsubstantiated tweet claim that President Obama wiretapped Trump Tower before the election
⍝ a view with popular backing among sections of the Alt-Right, patriot-militia groups in the US
⦿ Limbaugh last month, looking to cloak the ‘conspiracy’ in an even more sinister light, suggested to his viewers that there were eighteen earlier strains of the disease which he has likened to the common cold, therefore COVID-19 was nothing to be concerned about, he reasoned. Limbaugh’s woeful ignorance—the 19 in the disease’s name refers to the year it was first identified, 2019—earned him much scorn and derision from liberal America (although amazingly it didn’t deter a Trump lackey from repeating the gross misinformation in a “Fox & Friends” rant against WHO) , ‘Coronavirus skeptic Rush Limbaugh thinks COVID-19 means there were 18 other COVIDS’, (Brian Niemietz), Daily News, 12-Mar-2020, www.nydailynews.com
Every day we are reminded of the global reach of the novel coronavirus crisis. We know it’s a pandemic because WHO and other health agencies publish data showing that 211 countries and territories have been affected by the disease. The international media coverage tends to focus largely on the unenviable “big five” chart-toppers who have been most affected – the US, Italy, Spain, France and the UK. A number of sites publish constantly updated lists of the growing toll of Covid-19 casualties, a sort of sombre “score card” listing all the countries who have recorded instances of the disease.
Confirmed Coronavirus Cases: Globally tracked, country-by-country – as @ 23-Apr-2020
Country
Total cases
Total deaths
Region
USA
850,000
47,700
Americas
Italy
188,000
25,500
Western Europe
Spain
208,500
21,750
Western Europe
France
160,000
21,500
Western Europe
UK
134,000
18,300
Western Europe
Sources: WHO http://covid19.who.int/;
http://worldometers.info/
When we scroll through the world tables of where the pandemic has landed, it’s instructive to look at the comparative totals by continent – Europe has a bit over 1.28 million confirmed cases recorded, and the Americas, 995,510 (predominantly from the US), compare these to South-East Asia, a bit more than 38,572 and Africa, a mere 18,234 cases✺✺.
(Source: www.vietnamcredit.com.vn)
From a statistical standpoint we might wonder if the published data gives a true impression of the extent of of the pandemic? It needs to be kept in mind that the numbers we have are those that have been reported to the World Health Organisation. Population differences aside, it is clear that the low numbers in South-East Asia and Africa (examples: Cambodia 122 cases, zero fatalities✺✺, Myanmar 139 cases, five fatalities✺✺, Ghana 1,279 cases, 10 fatalities✺✺, Ethiopia 117 cases, three fatalities✺✺) mask the full impact of the catastrophe. They are a product of limited testing by countries in these regions … widespread poverty, surplus populations, lack of resources and infrastructure mitigate against the capacity to take corrective, safety monitoring measures.
(Photo: www.theborneopost.com)
Limited testing capacity and weak surveillanceThe small numbers of recorded cases and handful of reported deaths in Africa and S.E. Asia (the Caribbean is another such case in point) can engender a false security and justify a lack of action by such already economically and health-challenged countries, thus the risk of infections spreading is magnified. In the early phases of the outbreak some S.E. Asian states were slow to acknowledge the risks…even as late as mid-March, Myanmar’s government was still attributing it’s low number of cases to the superior “lifestyle and diet” of the locals. The fight against Covid-19 by Third World countries is further retarded by a failure to test widely and in the numbers necessitated by the crisis. It shouldn’t be overlooked that some of these countries have quite repressive regimes that don’t rank the goal of a universal healthcare system as their highest priority [‘Experts Doubt Low Coronavirus Counts of Some Southeast Asian Countries’, (Zsombor Peter), VOA, 29-Mar-2020, www.voanews.com].
(Photo: www.upnews.info.com)
For the bulk of African countries the story is similar. A by-product of their lack of development is that their health systems are fragile before the onset of coronavirus hits them. Awareness of the inability to cope with a full-blown health crisis, had led some leaders to advocate so-called “miracle cures” for the virus (eg, Madagascar’s president’s championing of untested traditional plant remedies). Nigeria (Africa’s largest nation by population) shows only 981 confirmed cases and 31 deaths✺✺ to date but is looking as vulnerable as anyone in Africa. Oil exports are the hub of Nigeria’s economy and the fall of the world’s crude oil price to a record low will hamstrung the country’s efforts to contain any future eruptions of the disease [‘Coronavirus: How drop in oil price affects Nigeria’s economy’, (Michael Eboh), Vanguard, 17-Mar-2020, www.vanguardngr.com]. The outbreak of pandemic hotspots in Nigeria could be devastating, especially in the north, given the country’s population of nearly 200 million people and it’s inadequate healthcare capacity⋉.
(Photo: www.newswirenow.com)
Too good to be …Some countries have reported being lightly or relatively lightly touched by the onslaught of the coronavirus, these results have surprised outside observers. One such country that raises eyebrows in this respect is Russia. The republic has 146 million people and shares long borders with China⤱, yet it fesses up to having had only 68,622 cases✺✺ (well under half of that of the UK) and suffered only a comparatively low 615 deaths✺✺ from the epidemic (most of those since the start of April). If you cast aside the anomalies, on paper it’s an excellent result! But whether Soviet or post-Soviet, there’s always an air of suspicious doubt about Russian information. The Russian Bear has had form in the past with cover-ups…a prime example—the Soviet Union throwing a tarpaulin over the Chernobyl nuclear disaster in the 1980s —indicative of a less than honest response to major disasters [‘The Very Low Number of Russia’s Reported COVID-19 Cases Raises Questions of a Cover-Up’, (Rick Moran), PJ Media, 22-Mar-2020, www.pjmedia.com].
Image: www.asianews.it
Russia, if it so erred, is not “Robinson Crusoe” in deliberately underreporting the pandemic’s effect. China for nearly three months from the initial outbreak didn’t include asymptomatic patients in the official stats, and only rectified this oversight on April Fools Day [‘China acknowledges underreporting coronavirus cases in official count’, (Mark Moore), New York Post, 01-Apr-2001, www.nypost.com]. For six weeks after WHO declared a global health emergency Indonesia did not report a single Covid-19 case (unlike most of it’s S.E. Asian neighbours). Considering the republic’s population size (more than 270 million) and it’s close links with China, this aroused widespread suspicion of underreporting and criticism in a Harvard University study which seemed to belatedly jolt Indonesia into disclosure. The first notification by Djakarta of coronavirus cases occurred on 2nd March, and from then on Indonesia’s curve has been on an upward trajectory – currently 8,211 cases, 689 deaths✺✺ [‘Why are there no reported cases of coronavirus in Indonesia?’, (Randy Mulyanto & Febriana Firdaus), Aljazeera, 18-Feb-2020, www.aljazeera.com].
Doubting a hermetically-sealed “Hermit Kingdom”North-East Asia’s renegade, secretive state, North Korea, can be added to the list of countries purporting to be Covid-19–free. Pyongyang‘s official line has been met with disbelief from several external sources such as South Korea and Radio Free Europe which asserts that disclosures from within North Korean military circles confirm the occurrence of coronavirus cases in the border areas [‘What Is the Coronavirus Doing to North Korea’, (Nicholas Eberstadt), New York Times, 22-Apr-2020, www.nytimes.com]
Addendum: (Coronavirus as @ 0130 hrs EAT time, 25-April-2020)
USA 890,200 cases | 50,403 deaths
Italy 189,973 cases | 25,549 deaths
Spain 219,764 cases | 22,524 deaths
France 158,183 cases | 21,856 deaths
UK 143,464 cases | 19,506 deaths
໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱໒꒱
✺✺ figures as @ 0130 hrs EAT time, 25-Apr-2020
⋉ just over the last week the African continent experienced a sudden surge in infections, ‘Africa’s 43% jump in virus cases in 1 week worries experts’, (Gerard Zim Rae), ABC News, 23-Apr-2020, www.abcnews.go.com
⤱ although Russia did close its eastern border with China after the virus breakout
Lockdown immediately, quarantine everyone, isolate the virus? Close the borders! Go hard, go fast! Make haste slowly! Laissez-faire? Test as many as you can! Watch and wait, hold off, preserve the economy, keep people working! Half/half?Herd immunity? As the experts—both recognised and putative—come out of the woodwork, a plethora of different approaches to the 21st century’s greatest crisis are thrown up, causing ever deeper descent into confusion for those of us watching from the sidelines.
Sweden: Personal responsibility to do the right thing, fingers and toes crossed
At one extreme there’s the “hands-off” non-interventionist line adopted by Sweden…”a relatively relaxed strategy, seemingly assuming that overreaction is more harmful than under-reaction” – in other words, keep calm and carry on. The Swedish government’s goal being to build up a “herd immunity” of the population to (they hope) forestall further waves of infection. The blueprint involves letting the virus spread slowly while sheltering the old and weakest elements of society until the bulk of the population become naturally immune. So schools, restaurants, bars and gyms remain open, all places that many other countries have ’hot-spotted’ as potential petri dishes (to use of the media’s current favourite buzzword in the virus crisis). Critics of the Swedish voluntary approach have stressed the risks it is exposing itself to – a danger of overwhelming the health system’s capability and precipitating large numbers of premature deaths [‘Inside Sweden’s Radically Different Approach to the Coronavirus’, (Bojan Pancevski), Wall Street Journal, 30-Mar-2020, www.wsj.com; ‘Sweden under fire for ‘relaxed’ coronavirus approach – here’s the science behind it’, The Conversation, (PW Frank& PM Nilsson), 30-Mar-2020, www.mamamia.com.au]. While Sweden persists in it’s “long game”, Sweden’s death toll from coronavirus has reached 239❈, a far-from-inconsequential figure for a small population nation like Sweden (and more than double the next highest total of fatalities in the Nordic region, that of Denmark). Not happy, Scandinavian neighbours of Sweden!
🔺 Boris in isolation – self-sacrificing crash-test dummyfor the nation, gauging the coronavirus level of virulence: “taking one for the nation!” (Picture: No 10 Downing Street/AFP)
Boris, not dancing
The UK government in the early stages of the crisis, along with the Netherlands, flirted with adopting Sweden’s herd immunity approach, but subsequently (and belatedly) opted for lockdown. The UK number of cases and mortality rates continue to rise alarmingly (2,352 dead❈) and it’s citizens can draw little reassurance from the antics of its erratic Conservative Party leader Boris Johnson. At the onset the insouciant Johnson downplayed the epidemic and declared that he was all for shaking hands with as many people as he could (his Churchillian bluff AKA confidence-building strategy?) This didn’t prove a good move, personally for the prime minister, as he was soon struck down with the virus (recalling wistfully whilst in self-quarantine that shaking hands with some people at a hospital, who with hindsight probably had coronavirus, probably wasn’t a good idea).
(Photo: AP)
China’s southern neighbours
Taiwan and Singapore both got early warning of the outbreak in China, which helped them get an early start on their countries’ protective measures. Taiwan, at the get-go, posted health workers at airports – incoming passengers from Wuhan (the virus’ origin-point) were checked for symptoms before they exited the planes. Singapore on January 3, inside four days of China’s notification to WHO of an unknown virus, which later was confirmed to be the COVID pathogen, was temperature screening passengers arriving from Wuhan. Taiwan and Singapore were also in a better state of preparedness (than say northern Asian countries bordering China like South Korea and Japan which initially struggled with their respective outbreaks) The two southeast Asian micro-states had learned invaluable lessons from the 2003 SARS and the 2009 swine epidemics. That the Singaporean and Taiwanese governments were upfront and transparent with the public, also got everyone in society quickly on board with the “national project”. The death toll for both Taiwan and Singapore stands well short of double figures❈ [‘How Taiwan and Singapore Have Contained the Coronavirus’, (Chloe Hadavas), Slate, 11-Mar-2020, www.slate.com].
(Photo: AP)
Continental contrast
The European comparison of how different countries have handled the virus focuses largely on a Germany v Italy correlation – unfortunately to the great disadvantage of the latter. Angela Merkel and Germany have been able to restrict their coronavirus fatalities thus far to 931❈, compared to Italy’s out-of-control, frighteningly catastrophic 13,155 deaths❈. The reasons for the size of discrepancy are manifold. First as with Taiwan Germany was ready at the outset, comparatively Italy wasn’t. Germany went to social distancing and lockdown early while Italy prevaricated, and Italy was also slow to seal it’s borders. Anticipation paid off for Germany, it had developed a favourable type of test for the virus before it hit. They then tested fast and widely. Italy was slower off the mark, and it’s testing regime was (and is) half or less that of Germany’s capacity. Integral to Germany’s edge is its medical infrastructure, the ratios are stark: Germany has 33.9 hospital beds for every 100,000 of population, cf. Italy, only 8.6 per 100,000. So, by the time Italy got its testing into full swing, the country was swamped with way too many corona-patients requiring critical and urgent treatment. Italy’s age demographic, skewed towards the geriatric end of the scale (second oldest population in the world after Japan) was also a decisive factor in the extremely high mortality rates it has experienced [‘How one country got months ahead of its neighbours in coronavirus fight’, (AP), Yahoo!News, 02-Apr-2020].
Life on Planet Trump
In the US a reasonable expectation the citizens of the world’s leading democratic-capitalist state might normally entertain in such a disastrous crisis, would be to have mature, insightful national leadership. Instead, they have Trump! Countless reems of pages of news-copy have been wasted on the US president, but to briefly summarise his Covid-19 performance: at the start in January we got the glib and blasé Trump – “the virus was one person coming from China and we’ve got it under control”; by February it was, we had “pretty much shut it down” (somehow he thought it was over before it had hardly started taking root!?!); next he opined “warm weather will kill it in April”; “the numbers are going down” (said after public health officials had advised the White House that the virus was spreading); by late February it was “we have lost nobody to coronavirus” (there had already been US fatalities). In March Trump, rebuked for repeatedly spreading misinformation, resorted to “it’s the Democrats’ new hoax”; then, “it will disappear one day – like a miracle!” which perhaps demonstrates one of Trump’s rare threads of consistency, drawing a link to the president’s later assertion (completely tone-deaf to the message of social distancing and ignorant of realistic timeframes) that he wanted to see the churches in America full at Easter!✪ [‘Coming Soon: Donald Trump As the Hero of COVID-19”, (Richard North Patterson), The Bulwark, 23-Mar-2020, www.thebulwurk.com].
🔺 Trump impersonating a giant bully rabbit (Photo: CBS News)
Perhaps the most striking and alarming example of Trump’s off-the-cuff and off-the-rails raves is his wilful and flagrant ignoring of the professional advice of his top medical advisers, eg, “anyone who wants a test can have one” (wrong); “we’ll have vaccines relatively soon…they’re coming” (even the non-scientific layperson knows it will take at least one to one-and-a-half years to be publicly available); “we have tremendous control of the virus”, completely contradicting Dr Fauci’s starkly realistic warning that the worst is ahead of us. The consequences of Trump’s disregarding scientific truths provided by medical experts in favour of convenient misinformation has been downright dangerous. His advocacy of an unproven coronavirus treatment (chloroquine phosphate) still being scientifically reviewed was a causal factor leading to the death of a man who tried to self-medicate using the ‘treatment’.
Trump, master of the ad hominem at the lectern, recently on TV seems bored with the subject, maybe looking round for a new focus (Iran?). Trump as president takes no responsibility. When he should be uniting all the key cogs in a coherent national response to the corona-crisis which is killing hundreds of Americans every day, he has been his divisive worst, brawling with the media, attacking medical workers for supposedly hoarding supplies, shifting blame to state governors. Fortunately, governors like New York’s Andrew Cuomo, California’s Gavin Newsom and Washington’s Jay Inslee, recognising the gaping gap in leadership and the lack of support coming from the White House, have risen to the mammoth and increasingly desperate challenge facing the country and taken the lead in the crisis [‘History’s verdict on Trump will be devastating’, (Michael D’Antonio), CNN, 30-Mar-2020, www.cnn.com].
(Photo: Jeff Gritchen, Orange County Register/SCNG)
The “Trump of the Tropics”
Trump’s abject performance, his “epochal incompetence” (to quote Michael D’Antonio), in the crisis, is bad enough for the risks he has exposed Americans to, but his influence as a “role model” for far-right leaders in other countries, is helping to undermine those countries’ fight against the virus. One such leader is Brazil’s authoritarian president Jair Bolsonaro who expresses profound admiration for Trump (hence his nickname above), whose skepticism for the virus’ threat Bolsonaro mirrors. Bolsonaro has publicly dismissed the coronavirus as “a little cold”, refuses to isolate and continues to attend public events, irresponsibly mingling with crowds of his supporters, shaking hands with all❖. Bolsonaro, like Trump, has tended to “flip-flop” on the epidemic, lunging erratically from urging Brazilians to show caution in avoiding transmission of the disease (do as I say, not do as I do!) to calling for an end to the quarantine restrictions and removal of the shackles on the economy.
When confronted with the danger of the virus to Brazilian society, Bolsonaro rivals Trump in loopy explanations, eg, Brazilians possess a “natural immunity” which means that they cannot be infected by diseases❅ (part of the Bolsonaro fantasy playbook!) So far, despite these unique ‘antibodies’ claimed by Bolsonaro, some 244 Brazilians have died from coronavirus❈. The Brazilian president has also exhibited the Trump trait of disbelieving the medical experts and the official statistics. When São Paulo recorded a sharp spike in deaths from the virus, Bolsonaro was quick to cast doubts on the numbers. The governors of São Paulo and Rio are two of the most vocal critics of his lax approach to the crisis, in return Bolsonaro blames the state governors for their concerted measures to halt the disease, labelling their efforts ‘criminal’ [‘Brazil’s Bolsonaro makes life-or-death coronavirus gamble’, (David Biller), Sydney Morning Herald, 29-Mar-2020, www.smh.com.au].
🔺 Bolsonaro, unsafe at any distance?
Some analysts have noted the element of political calculation in Bolsanaro’s hard line on the epidemic. The Brazilian leader’s may feel that if he can take the economy (still feeling the severe effects of the 2015/16 recession) to the next elections in good health, the voters may be less concerned about the country’s death toll from coronavirus (David Biller). Mexico’s president, López Obrador, is singing from a similar hymn-sheet as Bolsonaro. Obrador contends that the severity of the virus has been overstated, and has been quoted as saying that personally he would rely on his (lucky) amulets to keep him safe [‘In Brazil and Mexico, Leaders Downplay Dangers of Virus Outbreak’, Latino USA, 26-Mar-2020, www.latinousa.org].
🔺 President Lukashenko, national leader, sportsman, tractor enthusiast
Belarus, 2020 global sporting capital
Belarus president Alexander Lukashenko is another head of state professing an admiration for the US president and similarities in style can be observed. Lukashenko has launched the small East European country on a novel path to (supposedly) combat the deadly virus – a cocktail of sport, cold, vodka and saunas. The Belarus government has vetoed lockdowns and social isolation to counter coronavirus, and it is just about the only place in the world that hasn’t discontinued sporting events. The Tokyo Olympics have been canned for 2020 but crowds still flock to football matches in Belarus. The remarkable leader himself, leading by example, recently participated in an ice hockey game. Likewise, the annual victory parade scheduled for May is still all systems go! In addition to spruking sport (and would you believe, “tractor-riding” in the countryside⊞) as antidotes to the virus, the Belarusian president recommends drinking vodka and taking saunas, whilst reassuring Belarusian citizens that God will protect the country from the global pandemic, adding the rider that Belarus’ icy cold climate will also do the job [‘“Reckless” World Leader says vodka and saunas will protect people from coronvirus’, (James Hawkins), The Mirror, 30-Mar-2020, www.mirror.co.uk].
Postscript: Crisis climate – encroaching on democratic rights?
While the pandemic continues to rage, the politics don’t abate. All countries trying to restrict the movements of their citizens have enacted emergency measures to try to confine the pathogen. Most countries have closed their borders and some have legislated the power to detain people. The fear for advocates of civil liberties is that the more authoritarian states may use the new arrangements to move towards martial law. Regimes cross the globe have enacted new powers, ostensibly to protecting the public, but at the same time with the effect of protecting themselves from public and press scrutiny and accountability [‘”Coronavirus” profound threat to democracy’, (Noah Millman), The Week, 01-Apr-2020, www.theweek.com]. In Hungary the right-wing Orbán government has suspended existing laws, by-passing the parliament to allow president Viktor Orbán to rule by decree (with no end date). Thailand has taken the opportunity to censor the nation’s news media (suing and intimidating journalists who criticise the government’s handling of the crisis). Turkmenistan has taken the unusual approach to the pandemic of banning all use of the word ‘coronavirus’ by it’s citizens and state-controlled media✧. According to Radio Free Europe‘s Turkmenistan watch group, people talking about the virus or wearing masks in public could be arrested by the authoritarian regime which claims to have had no confirmed cases of the virus…as Turkmenistan shares a border with coronavirus-ravaged Iran this claim is viewed from outside with extreme skepticism. President Berdymukhamedov✜, not to be outdone for whacky coronavirus remedies, has recommended inhaling smoke from a burning desert-region plant (Vanguard) [’For Autocrats and Others, Coronavirus Is a Chance to Grab Even More Power’, (Selma Gebrekidian), New York Times, 30-Mar- 2020, www.nytimes.com; ‘Coronavirus: The unusual ways countries are managing lockdowns’, BBC News, 01-Apr-2020, www.bbc.co.uk].
🔻 President Berdymukhamedov, safe distancing not on the agenda here! (Photo: AFP/Igor SAFIN)
<╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍^╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍╍>
❈ as at 1000 hours, Greenwich M-T, 02-Apr-2020
◘ faced with an overwhelming dose of reality, “Flip-Flop Man” Trump has been forced to pivot 180° away from this…now the White House is acknowledging the health authorities’ dire, nightmarish predictions, (‘US predicts up to 240,000 deaths even with social distancing’, ABC News, 01-Apr-2020, www.abc.net.com.au)
✪ the secular and materialistic lifestyle Trump follows, nay revels in, contrasts conspicuously with the image he tries to sow in the minds of the American public and especially the Religious Right, of him as piously religious
❖ Bolsonaro himself has apparently tested twice for coronavirus but won’t publish the results – transparent governance at its finest!
❅ including the notorious assertion by Bolsonaro that they “can swim in raw sewerage and not catch a thing” – in effect this is what he is doing to Brazilians with his cavalier policy
⊞ the Belarusian president was quoted as saying: “There, the tractor will heal everyone. The fields heal everyone.” (tractors are apparently something of a fetish item in Belarus!)(‘Belarusian president proposes ‘tractor’ therapy for coronavirus’, Vanguard, 16-Mar-2020, www.vanguardngr.com)
✧ Turkmenistan is ranked by Paris-based RSF (Reporters Without Borders) as the country with the least press freedom in the world
✜ Berdymukhamedov has an exalted status in Turkmenistan, being seen as the Arkadag (protector of the people)
The war against the coronavirus outbreak is indeed global, infecting to date 199 countries and territories and every continent with the possible exception of (largely and seasonally unpopulated) Antartica. Every day the apps on social media and the news broadcasts inform us of the rising tally of coronavirus cases and of the fatalities, but what we do know is that these totals do not convey a true picture of the populations affected by the virus. They are often an indicator only, a way of charting the trajectory of the elusive curve that every health service and provincial and national government strives to flatten.
Distribution of Covid-19 cases worldwide, 31-Mar-2020 (www.ecdc.europa.eu)
The complexity of the disease partly explains the inexactness. That being infected with coronavirus can be asymptomatic and remains recordable for those never tested, highlights this problem. On a country by country basis the uncertainty over numbers magnifies. Some countries (a lot in Africa for instance) have no or minimal records of testing, which is not the same as saying they have no coronavirus cases! The reason for this might lie in the fact these predominantly impoverished countries have not the wherewithal nor the infrastructure to test even significant numbers of the population, they simply can’t cope. Thus their true numbers are never ascertained. There are other countries in the world who are motivated by reasons other than capacity to report the incidence of infection and mortality, eg, a desire to mask the extent of the calamity for domestic or external purposes.
Geographical distribution of Covid-19 cases worldwide, 31-Mar-2020 (www.ecdc.europa.eu)
The media’s daily servings, the table of virus mortality and morbidity gives us the bare bones of the depth of the human catastrophe — Italy a disaster, Spain a disaster, China a disaster but seemingly over the hump, Iran shockingly bad, France shockingly bad, USA very bad but likely to become even more catastrophic, UK and Netherlands, both worsening, etc. But of equal curiosity is those countries positioned much lower on the ladder of gloom that stand out as demographic anomalies, their numbers almost too good to believe…indeed! Two such are Russia and India. Russia, a vast country with around 145 million people has fessed up to just 17 deaths⋇. On face value a result that would hearten the most pessimistic, but you have to wonder about the level of reportage? India, with 1.3 billion-plus people has so far recorded a mere 32 deaths⋇ (compared to Italy with 60 million people which has lost just shy of 11,600 lives⋇). With India, the lowness of the figure is overshadowed by the inevitability of magnification…the sheer mass of humanity confined within such an acute density of space means that for the substrata of Indians, the poorest classes, no matter how earnestly their prime minister entreats them, they simply cannot physically isolate themselves. The directive from on high to keep a “social distance” from others to ward off the virulent effect of the epidemic remains for the vast masses a pipe dream. That many, many of these unfortunate souls will not escape infection and worse—either recorded or unrecorded—remains inevitable.
A few years ago one of the incumbents of the revolving door that is the Australian prime ministership intoned: “these are the most exciting times to be alive”… well, for “exciting” substitute “worrying and challenging” and you have the status quo, 2020. We are getting bombarded daily, even hourly it seems, with mixed messages from news sources – it was okay to go to the football last Sunday and mingle with crowds of much more than the 500 limit but somehow it’s not okay to do this on Monday, the day after (what changed?!?); the medical experts warn us to keep a distance of one-and-a-half metres from anyone else, yet it’s fully expected that people will still travel on trains and buses which will generally make that an impossibility; the government tells us not to fly overseas but it’s still okay to fly within Australia (a lifeline to the national carrier?).
(Image: www.nature.com)
Every day media outlets offer up a doomsday book of horror stories…”London faces stricter lockdown after coronavirus advice ‘ignored’” |”Italy coronavirus deaths rise by record 475 in a day” |”All of us have to assume we have the virus’: COVID-19 infections rise past 300 in NSW” |”Yes, young people are falling seriously ill from Covid-19” |”Trump spent weeks downplaying the coronavirus. He’s now pretending that never happened” | “Stay home’. Grey nomads unwelcome as Top End coronavirus tensions grows’ | “Coronavirus UK: Boris to impose FOUR-MONTH quarantine for elderly under ‘wartime’ measures” | “China blaming US for coronavirus? It refuses to come clean about origin”| “Privacy fears as India hand stamps suspected coronavirus cases” | “Coronavirus: One dead every 10 minutes in Iran as government faces backlash over late response” | “Spring Breakers Pack Some Florida Beaches, Ignoring Social Distancing Warning Amid Coronavirus“ | “Italy overtakes China in coronavirus toll”. Panicked consumerism born of exaggerated fears of limited resources➀, foolhardy apathy as the young party on regardless in fatalistic Titanicstyle (‘Millennialmania’), doom and gloom, finger-pointing recriminations, the media has been full of it for two months…sorry, we don’t do calm, rational, measured responses here.
A corona red world, March 2020 (Credit: www.abcnews.go.com)
It’s a climate ready-made for rumour-mongering and this is not confined to the West…China is rife with rumours ‘explaining’ the epidemic’s origin starting with the fiction of it’s supposed transmission from bats in January. The rumours soon became more fanciful and more conspiratorial, ranging from coronavirus being deliberately released to cull excess numbers of pensioners in society to it being a bio-weapon brought to Wuhan by the US Army to it being the consequence of the zodiac signs being out of harmony in the Year of the Rat!
The pandemic has caused divisiveness. Not just between rival countries trying to shift the blame and score political points, but at a grass roots level. We’ve seen the spectacle of shoppers in supermarkets fighting over the providence of a single pack of toilet roll➁.We’ve got incorrigible prepper-minded hoarders boasting online of their Fort Knox-sized storage bunkers of stockpiled household essentials, counter-balanced by the shopper-shaming of overzealous buyers queueing up with 150 rolls of toilet paper in their trolly (human behaviouralists tell us that buying ridiculous quantities of toilet rolls gives us reassurance, a warm and fuzzy feeling in a time of fear). The supermarkets, one of the very few sectors doing spectacularly well out of the crisis, have responded (too late) with partial war rationing to head off the panic buyers. War rationing seems apt as democratic governments across the world channel their inner Churchill and rush to set up “war cabinets” to deal with the extraordinary and unprecedented situation.
Deserted airport departure lounges🔺
Whole industries grind to a halt, workers laid off with mortgages and bills that won’t disappear, while those of us investing in the stock market have taken an instant massive hit and the Aussie dollar plunges ever lower. Border closures, tourism industry bottoming out, small businesses going to the wall, nightlife, restaurants, bars, cafes, shows, movies, public events, etc…all nix! The hackneyed T-shirt slogan “Keep calm and carry on” is now “Keep calm, stay home and don’t go anywhere”. Lockdowns, compulsory home quarantine for targetted groups of the population, Pacific cruising virus-traps, a safe and effective vaccine for the virus still up to 18 months away. Talk in the UK of prioritising “herd immunity” uncomfortably evokes the spectre of eugenics. Some have called for the euthanasia of family pets, which is drawing a long bow even if you accept the possibility (far from definitively proven at this stage) that the virus was transmitted to humans by pangolins (scaly ant-eaters) in a Wuhan wet market. What next, euthanasia vans going round the suburbs to collect the weak and elderly? Reality at the moment looks increasingly like an unbelievable dystopian novel or movie! Welcome to the scary new world of indefinite uncertainty.
Thanks to COVID-19 we’re learning a slew of new buzzwords, for a start social distancing and elbow bump (sounds and looks dorky but it’ll catch on, trust me), and us non-statisticians in the community are already tired of hearing TV expert commentators rabbiting on about the merits of “flattening the curve”. I am waiting to hear (and am surprised not to have heard it yet) the adjective “Orwellian” uttered in the current crisis.
Bay Countybeach, Fla. (Ya Photo: WJHG/WECP)
I don’t know anyone who envies the governments or the frontline health care sector at the moment, but the government responses do have their critics? To take the scenario I am most familiar with, Australia…on the credit side the mortality rate is low (so far) though the morbidity rate is climbing fast and winter and the flu season are on the near horizon. However, under the government’s partisan “war cabinet” a coordinated approach to the crisis seems to be missing. We are looking for more systematic and less chaotic here! One example, the distribution of scarce essential goods depleted by panic buying is held up by a failure to get councils involved so they can free up the delivery schedule. Some medical and communications experts have asked where the government’s public awareness campaign is? Unlike some other countries, we are bereft of the myriad of community billboards and the television and social media advertisements which can raise awareness in the public of the disease. Overcoming ignorance is a first step to diminishing fear and apathy.
As with something this truly extraordinary, of such novel complexity and uncertainty, despite (or perhaps because of) the deluge of information, more questions than answers remain…should we lockdown cities or not? What are we not doing here to stem the crisis that appears to be working overseas? Face masks, yes/no?➂ Test for virus or not test? Can I be infected, recover and be infected a second time? What’s the shelf life of an infected surface? What do I do if I’m at high-risk and social distancing is not a viable option? Should we let the grandparents babysit our pre-schoolers any more? And then of course there’s the greatest imponderable of all, when is this whole nightmarish scenario going to end?
🔺 No issues with social distancing here (Photo: AP)
All the punter at ground zero can do is listen to the official medical advice➃, make sure we inform ourselves about Coronavirus 101 and get the basics down pat. This means identifying the likely symptoms—persistent cough, sore throat, runny nose, headache, (and more seriously) fever, shortness of breath, difficulty in breathing—all the usual suspects. Understand that coronavirus can be either symptomatic or asymptomatic, that it can be mild as well as severe, and that lethality generally (but not universally) hinges on considerations of age and serious pre-existing health conditions. Learn how to avoid contagion, what to do with the lethal weapons which are our hands – washing and drying them the correct way, eschewing the convention of shaking hands with people and start guesstimating our own personal space in public➄, sneezing into your elbow, not your hands, cleaning and disinfecting surfaces and door handles, using hand sanitisers, etc. Thus armed against ignorance, and hopefully the pandemic too, we will bunker down for the long haul, tough it out and try (very hard) not to add to the growing count of national virus statistics.
⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕⍕
➀and thus creating a self-fulfilling prophecy
➁ almost as unedifying was the sight of Aldi staff hurling blocks of toilet paper into the air so that demonic shoppers could jostle and wrestle each other for the prized commodity (classy look!)
➂ surgical masks have become a bit of an “us and them” issue, adding to the emerging divisive atmosphere…the war cabinet’s medical experts (in line with WHO’s recommendations) have pooh-poohed the wearing of masks for the general populace as not beneficial and unnecessary, saying they only need to be worn by people diagnosed with the disease. Given that the Chinese community in Australia tend to wear the masks sometimes for cultural reasons as much as protection, this leaves them open to wild and inaccurate assumptions about their health status as a group
➃ this will probably require a judgement call as some of the medical advice has been contradictory➄ the latest edict in the social distancing caper from the war cabinet limits indoor gatherings of 25 in a space of 100sq m (one person to every 4sq m). I can’t wait to see police officers turning up in clubs and pubs armed with measuring tapes
⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎⍎
PS. All the big business houses and major financial institutions have started sending out “touchy-feely, look we really are human” messages, along the lines of we’re here to help “our people” get through COVID-19 … excuse me while I go and bolt down my raging cynicism to the floor.
Canadian political philosopher John Ralston Saul is the secular high-priest of doubters and cynics, a non-believer in “the gospel” of the modern corporate state, constantly debunking the conventional wisdoms offered up as “absolute truths” in Western society✲. Therefore, it comes as no surprise that Saul would produce a guidebook for other secular agnostics. Wedged between his treatises on his personal philosophy ‘superstar’ Voltaire, his studies of modern Canadian society and his excursions into the realm of fiction, is JR Saul’s The Doubter’s Companion, or to give it his full title:
The Doubter’s Companion: A Dictionary of Aggressive Common Sense (Viking, 1994)¹
Although Saul calls his volume “a dictionary”, the term applies more to the book’s format (utilising the standard A-Z form of the dictionary) than to its content or purpose. The Companion goes on to define Dictionary as “Opinion presented as truth in alphabetical order”. And Answers are merely “a mechanism for avoiding questions”. Saul decries the trajectory of modern dictionaries and language (which have been captured by the forces of a rational orthodoxy), yearning instead for a return to the Humanist dictionaries of the 18th century (Voltaire, Diderot, Johnson, etc)².
When I first delved into The Doubter’s Companion (around 1995), my mind took me to that other great cynic’s dictionary of the early 1900s, Ambrose Bierce’s The Devil’s Dictionary. Both works, albeit very different books, are idiosyncratically unconventional takes on language and meaning in their respective societies, and both proffer a contrarian view of the established wisdom of the day. Both Saul and Bierce are provocateurs, each with their own personal axe to grind⁌.
The Doubter’s Companion, by its polemical nature is unequivocally meant to shake up orthodox thinking (TDC was described by one reader as “an abecedarium of subversion”). The dictionary form of the book is a device Saul employs to launch into short philosophical essays on topics about modern post-industrial society that concern him—corporatism, individualism, leadership and managerialism, freedom of expression, communication, public relations, advertising and the way language is distorted to control communications (see his definition of ‘ideology’). In so doing, Saul skewers the accepted veracity of many of the words, phrases and terms you will find in today’s dictionaries.
And as it is an instruction manual to help doubters navigate their way through a linguistic maze of (in Saul’s opinion) mis-defined terms, the central tenet is thus affirmed:
Doubt: The only human activity capable of controlling the use of power in a positive way. Doubt is central to understanding.
Wisdom: The purpose of doubt … wisdom is life with uncertainty, the opposite of power or ideology.
Ideology: Tendentious arguments which advance a world view as absolute truth in order to win and hold political power.
The Corporate executive “is not a capitalist but a technocrat in drag”.
Economics is “the romance of truth through measurement”.
Level playing field: An ideological abstraction adopted as a universal value by the management of large corporations.
Saul the provocateur infuses the dictionary with a regular diet of “outrageous statements and provocations”:
Marxist: The only serious functioning Marxists left in the West are the senior managers of large, usually transnational corporations.
Neo-Conservatives are the Bolsheviks of the Right (“the exact opposite of a conservative”).
Modern (that should be “post-modern”) fads of intellectual thinking such as Deconstructionism get short shrift from Saul:
Deconstructionism: Can also be seen as a school of light comedy.
Calm: A state of emotion which is overrated except in religious retreats. Calmness for Saul has a decidedly political connotation today, “it is used to control people who are dissatisfied with the way those in authority are doing their job”✬.
Public relations: A negative form of imagination. In Mussolini’s phrase, “invention is more useful than truth”.
Saul savages that that most universal institution of American fast food, MacDonalds:
A Big Mac: The communion wafer of consumption. (Itis) not really food but the promise of food.
He goes on sardonically to bracket it with “Perrier, one of the last sacred objects of the leading philosophical school of the late-twentieth century—public relations”…one of Saul’s greatest bête noires.
Elsewhere, in a similar vein, he brands Ronald McDonald as a “Post-modern philosopher”…the “face and voice of consumer culture”.
Contemporary education doesn’t escape a broadside from Saul, especially the American form:
SAT: A system of standardized American college entry exams designed to nurture and reward functional illiteracy.
Universities find themselves in Saul’s cross-hairs as well. Within the “exclusive territories” of the university that knowledge is divided into, the principal occupation of academics is “to invent dialects sufficiently hermetic to prevent knowledge from passing between territories”.
Happy Hour is “a depressing comment on the rest of the day”.
At different points Saul diverts momentarily from his philosophical musings to give historical clarification on certain pertinent terms of interest to him. Having defined Depression as “a form of economic disaster common throughout history”, he goes on to contend that “in 1973 the word was deleted from all Western languages and replaced by the term recession”, a softer word which in Saul’s mind allows economists to maintain the myth of appearing to “manage real situations”. The author expands his point: “to admit to the existence of anything as uncontrollable as a depression would be to admit failure”.
The book’s dictionary entries allow space for brief commentaries on individuals from the pages of history who attract Saul’s interest. These are usually philosopher-figures but not always. He has an interesting take on the great turn-of-the-century novelist Joseph Conrad, “The essential modern writer…demonstrated that the novel could have a third century of relevance if the story was transformed into metaphysics disguised as reality”.
Sigmund Freud, who in America would be described as the “father of shrinks”, gets a guernsey in the dictionary, albeit a cynical and disparaging reference – “a man so dissatisfied with his own mother and father that he devoted his life to convincing everyone who would just listen—or better still, talk—that they’re parents were just as bad”.
Air Conditioning: An efficient means for spreading disease in enclosed public spaces.
Muzak: A public noise neither requested nor listened to by individuals. It is the descendant of a school of public relations invented by the Nazis.
For one so articulately cynical of human nature, politics, economics, most things in the modern world (except of course doubt), Saul’s definition of that attitudinal standpoint seems contradictory:
Cynicism: An effective social mechanism for preventing communication.
Pessimism on the other hand is “a valuable protection against quackery”. More beneficial than ‘scepticism’ “which slips easily into cynicism and so becomes a self-defeating negative force”.
Whereas Optimism to Saul is double-edged. When applied to oneself it is “a pleasant and sometime useful distraction” to reality, but “when encouraged as a social attitude … it is the public tool of scoundrels and ideologues” (as is patriotism).
World Class: A phrase used by provincial cities and second-rate entertainment and sports events … to assert they are not provincial or second-rate, thereby confirming that they are.
Saul includes in the alphabetical list a number of surprising and disparate entries for a reference book on philosophical common sense. These include Ants (Saul makes the unexpected and unverified statement that the members of the Formicidae family of eusocial insects “do nothing 71.5 per cent of the time”)⊡; Apple (the fruit not the corporation); Armpits (which is curiously cross-referenced to Reality); Nannyism (not sure why this topic warranted nine paragraphs and over 400 words but Saul interweaves a discourse on Margaret Thatcher, bullying and sex appeal into the entry); Urban weather patterns (wtf?); White bread (“the sophisticated product of a civilization taken to its logical conclusion … continually refined until all utility has been removed”).
Among the many asides Saul offers an interesting reflection on the city-state of Venice – he declares it “the original model of modern dictatorship, in which commercial power finds its cultural expression in painting, architecture and music … (but not) language”. And on Benito Mussolini: “the nascent modern Heroic leader (who) combined corporatism, public relations and sport together, while replacing public debate and citizen participation with false popularism and the illusion of direct democracy”.
JRS humorous and glib
The philosopher’s serious message aside, Saul produces a regular line of humorous explanations of terms, some of these are dazzlingly economic epigrams or bon mots:
Museums: Safe storage for stolen objects.
Cosmetic surgery: Cosmetic perjury.
Biography: A respectable form of pornography.
Other descriptors and definitions however are quite glib:
René Descartes is thus presented “gave credibility to the idea that the mind exists separately from the body, which suggests he didn’t look down while writing” [ba-dum-tss!].
Anorexia: A condition aspired to by most middle-class women (a subject taken much more medically serious today!).
JRS’s extensive catalogue of pet bugbears include ideology (and ideologues), applied corporatism, applied civilisation, conventional wisdom, , economic determinism, technocrats, absolute truth and certainty, dry, sectarian ‘definitions’, rigid scholasticism and structure, superstition, public relations and advertising.
Footnote: it’d be interesting to see an update of the Companion. A chance to find out what the perspicacious John Ralston Saul makes of early 21st century concepts such as social media, iPhones, fake news, drones. climate change deniers and the nanny state, to name just a handful.
╰━━⋅𖥔⋅━━✶━━⋅𖥔⋅━━⋅𖥔⋅━━✶━━⋅𖥔⋅━━✶━━⋅𖥔⋅━━✶━━⋅𖥔⋅━━╯
✲ whether that be from the left or right
⁌ though where Bierce is acerbic, Saul is out and out incendiary
✬ adding the rider that “calm incompetence” has risen to become a quality of high professionalism”
⊡ in case this isn’t enough on the subject, JRL follows up with an entry for ant-eaters (Myrmecophaga Jubata)
¹ Amazon‘s “dust-jacket” review summarises the book as full of “renegade opinions”; (it) uses “guerrillalexicography to reclaim public language from stultifying dialects of modern expertise”
² ‘Doubter’s Companion’, www.freelistbooks.com
⏏³⁴⁵⁶⁷⁸⁹⁰⏏
▓▓▓▓▓▓▓▓▓▓▓▓
✲ whether that be from the left or right
⁌ though where Bierce is acerbic, Saul is out and out incendiary
✬ adding the rider that “calm incompetence” has risen to become a quality of high professionalism”
⊡ in case this isn’t enough on the subject, JRL follows up with an entry for ant-eaters (Myrmecophaga Jubata)
𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶𖥶
¹ Amazon‘s “dust-jacket” review summarises the book as full of “renegade opinions”; (it) uses “guerrillalexicography to reclaim public language from stultifying dialects of modern expertise”
Ealing is a name synonymous with British film comedy, Ealing comedies of the late 1940s through the 1950s…high quality, well written and acted feature films such as Kind Hearts and Coronets, The Lavender Hill Mob, The Man in the White Suit and The Ladykillers✲.
Ealing’s film association with Australia is less well known. It’s genesis lay with Ealing’s movie mogul and powerful postwar image-maker, Michael Balcon. With the Second World War still raging, Balcon despatched documentary film director Harry Watt to Australia to explore its filmable story possibilities. Balcon was looking to make films which reflected “the strength, diversity and stoicism of the (British) Commonwealth” [‘Ealing Studios in Australia: An Introduction ‘, (Stephen Morgan) (2012), www.thefarparadise.wordpress.com].
Pagewood before Ealing …
Once Ealing committed to Australia as a film production location, it sought out appropriate studios for projects, which it found in the southern Sydney suburb of Pagewood. These studios in fact were already operating as a film production unit…constructed in 1935 for National Studios❄ in anticipation of an expansion of the local film industry as a result of the Film Quota Act (1936) which imposed a minimum domestic quota on the level of film distribution in New South Wales❂. The studios’ first production was Charles Chauvel’sUncivilised and other significant, early Australian movies were shot there – including Columbia’s “Australian Western” Rangle River (1936)and Ken G Hall’s Dad Rudd, MP (1940) – but a pattern of closures of National Studios (1937-40, 1942-45) hampered its efforts to establish itself as a film production unit [Sydney Morning Herald, 27-May-1936 (Trove)].
In 1946 Harry Watt fulfilled the task set him by Studio head Balcon by writing and directing the first feature for Ealing “down under”. The Overlanders, the story of an epic cattle drive across the continent, made Chips Rafferty an international star and an Australian screen icon.
The success of The Overlanders prompted Ealing to establish a film base in Australia. At the beginning of 1949 it acquired the struggling Pagewood studios❇. Ealing took over a “shambles of a place” (rundown through neglect and misuse by both the Australian and US armies during WWII occupancy), but nonetheless it invested considerable capital into the property to create state-of-the-art film studios with first-rate sound-engineering departments, cutting room and sound stage – a concern worth all up £100,000 [“The studio for indoor filming of ‘Kangaroo’ “, Barrier Miner (Broken Hill), 11-Sep-1950 (Trove)].
Chips Rafferty was chosen to head up the cast of Watt’s next Ealing Australian movie Eureka Stockade (1949) – the dramatic and symbolic story of miner resistance to overbearing British rule on the 1850s goldfields. ‘Eureka’ (released in the US as Massacre Hill failed at the box office (general consensus of critics was that Chips was miscast in the lead role of the 1850s Irish-Australian rebel Peter Lalor).
Bitter Springsdirected by Ralph Smart followed…this time with Chips more comfortable returning to the role of courageous pioneering bushman in the Australian outback. The most interesting aspect of Bitter Springs is that it was prepared to tackle the polemical topic of indigenous land rights – in the movie white settlers clash with local Aboriginal people (Pitjantjatjara and Kokatha Mula tribes) over the possession of land. This screen subject was 25 to 30 years ahead of its time, however an assimilationist mindset prevails in its handling…in one scene Wally (Chip’s character) betrays the gross ignorance of Europeans about Aboriginal Australian – when the fair-minded territorial ranger (Michael Pate) questions the planned land grab, Wally summarily dismisses the Aborigines’ claim to the disputed land, stating that the Aboriginal culture was only about 1,000 years old! [Morgan, loc.cit.]✥. One jarring note is that the serious theme of Bitter Springs is undermined by Ealing’s decision to cast comic Tommy Trinder in the movie, Trinder’s character’s constant cracking of jokes tends to deflate the build-up of tension arising from the film’s central conflict between the blacks and the whites [Byrnes, ‘ASO’].
Chips Rafferty ▼
After 1950 however Ealing made few of its own films at the Pagewood Studios, instead it leased out the premises to other movie production companies, eg, to 20th Century Fox who made Kangaroo (1952) at Pagewood with Maureen O’Hara, the first technicolor film made in Australia.
Closing chapters of Ealing Pagewood
In 1952 the Pagewood Studios shut down production◙ (in what was meant to be a temporary move only), but the following year Ealing sold the studios to Associated Television which renamed the studios “Television City” and leased it to independent film producers. A 1954 independent production of the “Treasure Island” tale, Long John Silver, (with Robert Newton) was filmed at Pagewood (interiors) and exteriors shot at the Royal National Park [‘AAARRRHH There Matey! – The Strange and Wondrous Tale of Bill Constable & the Cinemascope Pirates of Pagewood…’ (Bob Hill, Oct 2018) www.apdg.org.au].
Ealing had been trying to make Robbery Under Arms in Australia since 1949 but it was finally completed by Ealing’s parent company Rank Organisation in 1957 – with some footage shot at Pagewood but mostly in London (exteriors: Flinders Ranges and near Bourke) [‘Film World Weather in Australia Disappoints Studio’, The West Australian, 03-Nov-1949, (Trove)].
Pagewood on it’s last legs
The final film to be made (or partly made) at what had become Television City (Pagewood) was a film version of the hit Australian play Summer of the Seventeenth Doll (1958/59). ‘Doll’ was made by Burt Lancaster’s HHL company using US and British leads…the production however took radical liberties with Lawler’s play and the film was ultra-Americanised with unsatisfactory results. In 1959 the Pagewood site was sold to General Motors Holden Australia which allowed the car manufacturer to expand its existing plant in the suburb. In the Eighties the studios’ land (and the adjacent bus depot) were redeveloped again, becoming the location of Westfield’s huge Eastgardens shopping mall and a housing estate built by the Meriton Group [‘Pagewood Studios’, Wikipedia, http://en.m.wikipedia.org].
GMH Pagewood, formerly the site of Ealing’s Australia ▼
Ealing’s last Antipodean hooray
The Siege of Pinchgut (1959) was Ealing’s last film shot in and with an Australian setting (and as it transpired, it proved to be the company’s final ever adult feature). Harry Watt came back to direct what was a grim convicts-on-the-run drama filmed around Fort Denison (Pinchgut) in Sydney Harbour. ‘Pinchgut’, released in the US as Four Desperate Men, did not succeed at the box office⊛.
Australia closed for film-makers!
Ealing’s venture in Australia was never really a secure one…the follow up films to The Overlanders yielded only disappointing returns. The writing was on the wall for Ealing’s Australian enterprise from the time Menzies’ Liberal-Country Party won power in Australia in 1949 and took an antithetical attitude towards domestic film production. The LCP government refused to renew Ealing’s lease on the Pagewood Studios (a bitter pill for Ealing who’d already spent considerable funds on the Pagewood project). In a move which set the industry in Australia back decades, the government deemed that “film making was not an essential industry” and pointed out that the lease-holders (Ealing) were not an Australian residents in any case [The A-Z of Australian and New Zealand Cinema, (Albert Moran & Errol Vieth), (2009)].
If that wasn’t the tipping point for Ealing, it came with the studios’ own assessment… Balcon authorised the company’s accountant to undertake an financial evaluation of the Australian studios’ viability – which was negative [ibid.]. In the words of Eric Williams (manager at the Ealing Pagewood Studios), ultimately Ealing found it “impossible to maintain continuous production at a range of 12,000 miles”. That there was no Australian sponsor for productions was put forward as an additional disincentive for staying [‘Decision a blow to film industry’, The Mail (Adelaide), 26-Jan-1952 (Trove)].
PostScript: The failure of Ealing’s Australian venture was merely one chapter in the larger story of Ealing Studios’ global rise and fall. The rising costsand risks of big budget films of the parent company in Britain, large staff numbers and increasing expenditures, all contributed to the toll of financial problems plaguing Ealing and the UK industry as a whole…leading to Ealing’s eventual demise (this accumulation of pressures forced production head Balcon to unload Ealing in 1955).Note: the original 1930s studios in West London (above) were bought by the BBC in the 1990s and resurrected as a facility for hire [‘Remembering Ealing Studios and the golden age of British film’, BBC News, (Vincent Dowd), 30-Aug-2015, www.bbc.com].
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✲ and by association, synonymous also with actor Alec Guinness, the star of most of this “purple patch” of Ealing classics
❂ unfortunately the state government failed to back its own law, not allocating adequate funding to its implementation… when resisted by Hollywooddistributors the legislationwas killed off by the end of 1937
❇ Pagewood’s rival film production houses in Sydney, Cinesound at Bondi Junction and Figtree Studios at Lane Cove had folded, and turned into, respectively, a cordial factory and a transport depot [Barrier Miner, 11-Sep-1950]
✥ Wally’s band of settlers reinforce the stereotype with “disparaging views about stone-age men who do nothing with the land” [‘Bitter Springs (1950)’ Synopsis, (Paul Byrnes), ASO mobile, www.aso.gov.au]
◙ described by Ken G Hall as “a fatal blow” to the national film industry which would relegate Australia to “the bottom of the list of the world’s 60 film producing countries”
⊛ although an historical point of interest of the movie are shots of what was left of the old Fort Macquarie Tram Depot then being demolished for the construction of Sydney Opera House [‘Siege of Pinchgut’, Wikipedia, http://en.m.wikipedia.org]
Hillbilly (noun) informal, chiefly derogatory: an unsophisticated country person [Oxford Dictionary of English]. Etymology: unknown, however the explanation favoured by Anthony Harkins is persuasive if not definitive – coming from the melding of “hill-fort” with “billie” (friend or companion) by Scottish highlanders [‘Hillbillies’, Encyclopedia of Arkansas History and Culture,www.encyclopediaofarkansashistoryandculture.net✱]
☋☊☋☊☋☊☋☊☋☊☋☊
The title of this blog references a popular 1950s movie series which neatly encapsulates the essence of the negative stereotypes of the ‘hillbilly’ conveyed through cinema and television that the jaundiced eye of Hollywood has delighted in perpetuating over the decades – in the name of humour. “Ma and Pa Kettle” are two impoverished and uneducated but headstrong back-country bumpkins on a dilapidated wreck of a farm with 16 mostly out-of-control children (“Hen-pecked” ‘Pa’ is slow-thinking and pathologically indolent, singularly dedicated to the pursuit of the avoidance of any work; ‘Ma’ is a large and loudly haranguing woman and only one cog brighter than her not-intellectually-overburdened husband!). The characters made their visual debut in a 1949 movie The Egg and I (based on a novel by Betty McDonald) in supporting parts but proved so popular that Universal Studios elevated them to leads which segued into nine more films with titles like Ma and Pa Kettle Go to Town, Ma and Pa Kettle at the Fair and Ma and Pa Kettle at Waikiki⌑.
In popular currency the notion of the hillbilly has an overwhelmingly pejorative connotation anywhere within the reach of American culture (ie, everywhere!), especially as a topic of discussion or comment outside the American South. The stereotype is deeply embedded in and has been perpetuated through the agency of American popular culture – in literature, there have been long-running hillbilly comic strips ridiculing country folk as basically “dumber than dumb”, especially seen in ‘Li’l Abner’ and ‘Snuffy Smith’ (at left). But the idea of hillbillies as backward, ornery and all the other negative connotations associated with them, has been nowhere more pervasive than on the celluloid screen, both big and small.
The Southern Appalachians⬇️ ️️The perception given by popular cinema and television comedy is that hillbillies can be found in a loosely defined geographical region somewhere in the American South. If need arises in a storyline to pinpoint their location more precisely, screenwriters will tend to locate them in mountainous areas, and if named it will usually be in one of two southern physiographic regions, either the Ozarks (extending over parts of Arkansas, Mississippi, Oklahoma and Kansas) or the massive Appalachians (several systems of mountains but usually “Appalachian hillbillies” are depicted as coming from Kentucky, Tennessee, Virginia and West Virginia, and (parts of) Ohio)✥.The Ozarks (“Hillibilly haven”)⬆️
The hillbilly tropeHollywood, from the pioneering days of the film industry, has been happy to resort to negative stereotypes of the hillbilly. The early film emphasis was on showing the hillbilly as an agent of violence and social menace, as degenerates and outcasts, only after WWII do we start to see hillbillies as a screen vehicle for innocuous farce and comic effect with the advent of Ma and Pa Kettle and the TV comedies that followed in the Sixties [A Harkins, Hillbilly: A Cultural History of an American Icon, (2005)]. The motion pictures’ use of a hillbilly trope can be seen in films as far back as the 1904 silent The Moonshiner…in fact the story of the hillbilly clandestinely making ‘moonshine’ in the backwaters while evading the law has been a much-used trope in movies, recurring for example recently in the Prohibition-era ‘bootlegging’ flick Lawless (2012) [‘Portraying Appalachia: How the Movies Can Get it Wrong’, (Tom Porter), Bowdoin News Archive, 09-Jun-2017, www.community.bowdoin.edu
The South is “a different country”: More audience fodder for HollywoodIn the television age Hollywood’s “go-to” take on hillbillies typically utilises the persona for pure comic intent, mercilessly exposing and ridiculing the (usually) working class hillbilly for his or her wilful ignorance, lack of education and sophistication, depicting him or her as “pre-modern and ignorant hillbillies” (in Anthony Harkins’ words) to create, “one of the more lasting and pervasive images in American popular iconography” [Harkins, op.cit.]. Given that areas like Appalachia with its coal-dependent economy are cyclically prone to recurrent “booms and busts”, poverty is a familiar reality for very many of those residing in such places, accordingly Hollywood has traditionally seen hillbillies as soft targets, comfortable in showing up their unworldliness and illiteracy for a laugh…the Beverly Hillbillies of that popular American TV comedy of the same name are “dirt-poor” until Jed makes a fortuitous discovery on their ‘worthless’ land which transforms the ‘Hicksville’ family into “oil-rich tycoons”.
‘Monstrous mountaineers’ and other ‘psychopaths’The comedic hillbilly has proved a rich source of material for movies and television, but as a variant from time to time Hollywood has also presented a very different, menacing on-screen hillbilly persona – the classic cinematic example of this is perhaps the 1972 Deliverance movie. Deliverance portrays hillbillies as sadistic, lawless types bereft of any semblance of moral compass, ‘inbred’✪ nefarious individuals who commit acts which are both morally and sexually depraved⍍. In hillbilly movies of this type, in place of the benign and fun-loving “Good Ol’ Boys”, are more brooding and sinister Southerners, sometimes isolated loners, psychotic serial-killers and even corrupt sheriffs. Meredith McCarroll, in a study focusing on the Appalachians [Unwhite: Appalachia, Race and Film, (2018)], has identified several distinct tropes of hillbilly movies. McCarroll’s typology includes Monstrous Mountaineer [Deliverance, Wrong Turn (2003), Timber Halls (2007)]; Heroic Highlander [Next of Kin (1982)], Killing Season (2013); Lazy Hillbilly [Our Hospitality (1923), Kentucky Moonshine (1938)]✜.
Where are the “black hillbillies?” “Honorary non-whites?”McCarroll in her just published book focussed on the fact that the hillbillies portrayed in Hollywood movies and television are phenotypically white…the towns of Hillbilly films and TV comedies typically, are uniformly devoid of black people, eg, The Andy Griffith Show/Mayberry, R.F.D. (despite the reality, a concentration of large numbers of African-Americans in the South!?!). Leaving aside the anomalous element of that scenario for a moment, in Unwhite McCarroll argues that the depiction of white hillbillies on the screen – characteristically disparaging – signifies that the TV and film-makers are applying the same kind of negative trope traditionally employed by Hollywood to vilify non-white minority groups (native Americans, Black and Hispanic peoples), as part of the ‘other’ in society [McCarroll, cited in ‘McCarroll’s book debunks myths about Appalachia’, (Lucas Weitzenberg), Bowdoin Orient, 28-Sep-2018, www.bowdoinorient.com].
The 2018 independent documentary Hillbilly (Sarah Rubin and Ashley York) offers a similar critique on the vilification of specifically Appalachian, but of Southern culture generally. Decrying the screen prevalence of negative hillbilly stereotypes (represented as promiscuous, “buffoonish alcoholics” and “trailer trash”), at the same time York and Rubin make a link between those stereotypes and the corporate exploitation of the Appalachian Mountains’ natural resources [‘”Hillbilly” Reclaims Appalachia’s Identity Against Lasting Insidious Stereotypes’, Pop Matters, (Argun Ulgen), 21-Nov-2018, www.popmatters.com; ‘”Hillbilly” explores stereotypes of Appalachia’, Times-Tribune, (Brad Hall), 19-Sep-2018, www.thetimestribune.com].
Escaping to an imagined and idealised SouthHollywood’s hillbilly stereotypes extend to a romanticisation of the hillbilly, often their lives are romanticised as simple and uncomplicated (much as native and Black Americans and Mexicans are!). The hillbilly is shown as backward and quaintly pre-industrial, embodied in the famous river bank scene in Deliverance of hillbillies lazing about with nothing better to do than mindlessly pluck banjos [McCarroll, op.cit.]. Allied to this perception, Hollywood’s hillbilly tropes are a component of “using the South as a foil for modern life”…for Americans living in the Sixties and Seventies it was a confrontational time, full of harsh realities and worrying big issues such as the conflict over the Vietnam War, race riots, poverty and the Cold War. Feeding the viewing public a diet of idyllic and irenic images of Southern harmony, a distorted sense of life not being too serious, provided a palatable form of escapism for Americans in the big cities. So we got shows like The Andy Griffith Show, Petticoat Junction, Green Acres and The Dukes of Hazzard, presenting fictional Southern ‘Hicksville’ towns with names like ‘Mayberry’ and ‘Hooterville’, peopled by harmless hayseed sheriffs and shopkeepers [‘The Weird History of Hillbilly TV’, (Gabe Bullard), www.bittersoutherner.com].
‘Hicksploitation’ reality obsessionIn the age of reality TV saturating our screens, the subject matter of hillbillies has far from abated. The trope has perpetuated itself within this sub-genre of television with a string of titles pitched fairly and squarely at the LCD in society…Swamp People, Moonshiners, Bayou Billionaires, Hillbilly Handfishin’, American Hoggers, and even Lady Hoggers, as well primus inter pares, the much-hyped docu-drama Duck Dynasty. Reality hillbilly shows keep faith with the standard formula, peopled with folk who are not exactly what you’d call cerebral, rather they are raucous, profane, intolerant, “anything goes” ‘rednecks’…so lots of guns around, wild animals of various kinds, ‘Down-South” stills producing copious amounts of “sly grog”, “hunting-and-a-fishing”, excessive facial hair, Confederate flags, lack of respect for authority, etc. Despite the often appalling and sometimes degrading behaviour exhibited in “redneck reality TV”, viewers continue to subscribe in meaningful numbers to this brand of “televisional fare”. Testimony perhaps to the fact that “people will (always) tune in to see themselves on screen or the extremes of another culture” [“‘Redneck’ reality TV is one big ‘Party'”, (Patrick Ryan), USA Today, 09-Dec-2014, www.usatoday.com].
PostScript: “Warring Hillbillies” folkloreOne of the well-trawled narrative sources for hillbilly films and TV programs has been the historical feud between the Hatfield and the McCoy clans (1860s-1890s). The protracted conflict between the two neighbouring mountaineering families, stretching from West Virginia to Kentucky, a part of Appalachian folklore, caught the imagination of Hollywood, providing it with ample material for screen productions over the years. This has included both comedies and dramas, ranging from Abbott and Costello’s farcical Comin’ Round the Mountain to the more recent (2012) Hatfields and McCoy miniseries.[see also the following article – ‘The Much Mooted ‘Hillbilly Wars’ of Appalachia : The McCoy v. Hatfield Feud’]
∇ Ma minus Pa – the Kettles’ swan-song
✱ the Encyclopedia of Arkansas History and Culture points out that the word ‘hillbilly’ is often used interchangeably with several other derogatory epithets – eg, ‘redneck’, ‘white trash’ and ‘cracker’
⌑ despite being depicted as quintessential ‘hillbillies’ (as defined by popular culture), Ma and Pa Kettle, both in the original book and in the films live in a rural locale somewhere in Washington state…not Appalachia or the Ozarks or anywhere in the South (although one of the series entries is The Kettles in the Ozarks). Not confining itself to the negative profiling of hillbillies, the Kettle movies delve even deeper into stereotypes with a thorough “hatchet job” on the series’ two dim American ‘Indian’ characters – ‘Crowbar’ and ‘Geoduck’
✥ although people labelled as ‘hillbillies’ don’t necessarily have to live in the mountains per se to be thus categorised
✪ remember, Elvis made a ‘hillbilly’ movie called Kissin’ Cousins
⍍ we see through Hollywood’s lens suggestions of promiscuity, of inbreeding, bestiality, all manner of sexual deviance, attributed to the on-screen hillbilly [Hall, loc.cit]. To balance the negative slant slightly, as Tom Porter notes, on rarer occasions screen depictions do exist which present mountaineers more positively – as rugged and even heroic folk living outside societal norms living independently on their wits (somewhat akin to filmic representations of the “Wild West” prior to the 1970s), Porter, loc.cit.]
✜ McCarroll also nominates an infinitely smaller list of “hillbilly movies” which manage, to greater or lesser degree, to avoid the standard stereotypes [eg, Winter’s Bone (2010), Norma Rae (1979), Matewan (1987)]
Felix the cat,
The wonderful, wonderful cat!(Popular theme song lyrics)
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❛ I made the cat and the cat made me! ❜~ Pat Sullivan
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The model for a certain cartoon mouse …
The best part of a decade before Mickey Mouse made his first appearance on a celluloid screen and then went on to establish himself as the international popular culture phenomenon par excellence, there was Felix the Cat. The parentage of Mickey Mouse is not a topic that has generated the same level of controversy as that of Felix, which over the last forty years has been a matter for much impassioned cross-Pacific conjecture.
BF – before Felix…Felix, the anthropomorphic black cat with the massive white eyes and the broadest of broad grins, was not the first animated cat to grace the screens of movie theatres. That honour went to a mouser called Krazy Kat, the conception of cartoonist George Herriman…first appearing as a comic strip character in the New York Evening Journal, Krazy Kat debuted on movie screens in 1916 in a silent short featuring the eponymous cat and his brick-throwing ‘frenemy’ Ignatz Mouse.
Master Tom, prototypeNot long after, Felix had his beginnings in the prototype form of Thomas Cat. In 1917 Australian cartoonist Pat Sullivan produced a short, animated silent film about a black cat, The Tail of Thomas Cat, through his own New York studio. By 1919 ‘Thomas Cat’ had morphed into ‘Master Tom’ in the short Feline Follies. After a follow-up entry (The Musical Mews) again starring Master Tom, Sullivan’s third short of 1919 (Adventures ofFelix the Cat) changed the name of the ‘Tom’ character to the name he would henceforth be universally known as – Felix. Despite the seemingly clear lineage between Thomas Cat and Felix, some American animation historians discredit the connexion, citing Thomas Cat’s non-anthropomorphised nature, the uncertainty of his fur colour, the fact that he loses his tail fighting a rooster without ever being able to recover it (cf. the difference with Felix who can magically transform his tail into other forms) [‘Felix the Cat – McGill CS’, www.cs.mcgill.ca].
The chief animator of Sullivan’s film studio was Otto Messmer, but because of Sullivan’s proprietorial role in the process of animation production it was Sullivan’s name alone that appeared on the credits of films (this was a common business practice in animation at the time), despite Messmer as principal artist conceivably doing a weighty share of the studio’s artwork. After Sullivan’s premature death in 1933 his relatives in Australia took ownership of Felix. It wasn’t until 44 years later, that Messmer in an interview with animation historian John Canemaker belatedly made his claim to have been the originator of the famous feline.
Conflicting stories of Felix’s originSullivan maintained all along that he was the creator – on a visit back to Australia in 1925 he told the Melbourne Argus newspaper that the idea for Felix had come to him when his wife brought a stray cat into Sullivan’s studio one day (as was her wont). On other occasions he said that the inspiration came from a Rudyard Kipling story, ‘The Cat that Walked by Himself’. For the name of his cartoon creation Sullivan explained that he had drawn on his native Antipodes… Australia Felix was a term in use from the 19th century to describe the western districts of the state of Victoria (also later the name of an Australian novel by Henry Handel Richardson). Another source for the cat’s name came from a contemporary fellow cartoonist – appearing in print in 1936 the cartoonist affirmed that Sullivan told him that he derived the name from a black West Indian-born boxer living and fighting in Australia called Peter Felix whom Sullivan was acquainted with (the animator being a big enthusiast of boxing) [Pat Sullivan – I made the cat and the cat made me’,www.vixenmagazine.com].
Messmer by contrast had a wholly different story of Felix’s ‘birth’ and evolution. He recounted to Canemaker for the latter’s 1977 documentary film that because Sullivan’s studio was busy at the time, he (Messmer) went away and by himself at home drew the figure that was to become Felix. He perceived of the mischievous black cat as a kind of animated Charlie Chaplin. Messmer explained that the name “Felix” was thought up by a Paramount Magazine journalist from the Latin words felis (cat) and felix (happy). Canemaker and other contemporary American animation historians have been undisguisedly dismissive of Sullivan’s creative contribution, backing Messmer’s claim, subscribing to the view that Messmer ‘ghosted’ Felix for Sullivan who was preoccupied with his entrepreneurial role (inexhaustibly promoting and marketing Felix to the world)✱.
Contesting FelixNot surprisingly the strongest argument for endorsing Sullivan as Felix’s true creator comes from Australia, the animator-cum-entrepreneur’s homeland. Australian cartoonists, including some who knew Sullivan, have drawn attention to a comment during an interview when he visited Sydney in 1925 (quoted in the local papers): Sullivan stated that his practice was to ‘do the “key drawings” and leave the rest to a staff’ [Vixen Magazine, op.cit.]. Moreover, the Australian Cartoonist Association have argued that the distinctive lettering style of Sullivan can be detected on the Felix artwork, eg, in Feline Follies (Felix’s first incarnation), the lettering used matches examples of Sullivan’s handwriting. Additionally, certain speech bubbles in the short uses expressions and terms which have distinctive Australian usage, especially ” ‘Lo Mum! “. Australian animators, argue that had Otto Messmer conceived and created the prototype Felix film, as he claimed in 1977, he would have used the traditional American form of shorthand for mother, ‘mom’ (not ‘mum’) and he would not have dropped the ‘h’ in ‘hello’ which is more characteristically Australian or British◰. [‘Reclaiming Felix the Cat in the Picture Gallery’, (Judy Nelson, Exhibition, 1-May to 7-Aug 2005, State Library of NSW, Sydney),www.pandora.nla.gov.au]
Animator Ub Iwerks drawing animated rodent extraordinaire, M Mouse ▶
Sublime collaborationsWhether it was Messmer or Sullivan who was the true creator of Felix we may never know for sure, given that the episode occurred around 100 years ago and both claimants have been long dead. For a very long time the reflected glory for the creation of the animal superstar even more famous than Felix, Mickey Mouse, was almost exclusively falling on Walt Disney. Only in a relatively recent period, historically speaking, has the role of animator Ub Iwerks been properly acknowledged. Today even the Disney Corporation (metonymically known as the Mouse House), more or less unequivocally recognises Iwerks as the real creator of the mouse. But this doesn’t diminish Walt’s integral role from the origin point in developing Mickey’s personality and traits (not to mention the story lines). Similarly with Sullivan and Messmer, the fairest course may be to attribute causation, Felix’s genesis and transformation to the screen, to what was quintessentially a collaborative effort between two creative individuals.
PostScript A: Felix, a template worth copyingOne green-eyed embryonic animator in the US in the mid-Twenties very much aware of Felix’s ascending star was Walt Disney. Disney’s earliest innovation in the field was his Alice Comedies where he inserted a human figure “Alice of Wonderland” into an animated landscape. As foil to Alice, the main animated figure in these shorts was Julius, a cat with a particularly strong resemblance to Felix…basically a clone of Felix [‘Felix the Cat’, (Ian Gordon), St James Encyclopaedia of Popular Culture (2002)]. Disney’s later followed up Julius with Oswald the Lucky Rabbit (a product he ultimately lost creative control of) and then lucked in again, hitting the jackpot with Mickey Mouse…Oswald and Mickey were both different animals to Felix but again the physical similarities to the (original) Felix are there – albeit with reshaped faces and ears.
PostScript B: Felix, the image de jour to launch a new mediumFelix with his funny, all-too-fallible anthropomorphic ways (fond of a drink or two in ‘speakeasies’, given to making whoopee and his general hijinks and manic spurts in surrealistic situations)✪ suited the “Jazz Age” to a tee! [Michael Cart, ‘The Cat with the Killer Personality’, New York Times, 31-Mar-1991, www.nytimes.com]. Capitalising on Felix’s success on the big screen (upward of 150 animated shorts made in the 1920s), Sullivan introduced a comic strip version of Felix in 1923 (syndicated by King Features 1923-1967). Everyone wanted a piece of the famous celluloid feline, the US Navy’s Bombing Squadron adopted Felix as its insignia, his countenance was used as the logo for car dealerships, he was the mascot for the New York Yankees at one time and for many high schools [‘Felix the Cat’, Wikipedia, http://en.m.wikipedia.org]. The universal appeal of Felix made him the prime candidate to introduce television to Americans…in 1928 broadcaster RCA choose a papier-mâché doll of Felix as THE image for testing the new technology [‘The First Star of Television’, MZTV Museum, www.mztv.com].
PostScript C: A marketing bonanza
Felix as a commodity had an electrifying impact on the world of celebrity merchandising in the 1920s – the iconic image of the black cat popped up on toys, dolls, ceramics, postcards, cigarette cards, jigsaw puzzles, clothing, pencils, sheet music and so on (earning Sullivan an estimated $100,000 a year) [Dictionary of Sydney staff writer, Felix the cat, Dictionary of Sydney, 2008, http://dictionaryofsydney.org/entry/felix-the-cat, viewed 6th Oct 2018]
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✱ the generally accepted view of Sullivan’s character and behaviour, which was very far from exemplary, seems to have jaundiced the opinion held by some commentators (particularly Canemaker) as to the merits of the Australian animator’s achievements
◰ as Nelson et al have argued, these discrepancies in the case for Messmer have not been accounted for satisfactorily by American animation historians including Canemaker
✪ this said, Felix could also be contemplative at times, deep in thought, working things out, solving problems…a cat for all seasons!
The further I delved into my “war-ravaged” copy of Wilson’s 1922 Authentic Director of Sydney and Suburbs, the more snippets of hitherto unearthed information, little gems of Sydney’s yesterday, I stumbled upon.
Among the minutiae of miscellaneous info contained in the directory’s index, one item that got my attention was a list of the consuls and overseas government agents in Sydney in 1922. Interesting to see that at that time there were consulate offices established in Sydney for tiny international entities like Latvia, Nicaragua, Columbia, Ecuador, Honduras, Serbia and the Czechoslovak Republic, but being not yet four years after the cessation of the hostilities of WWI, no consulates for the countries deemed by the victors to be the “guilty parties”, Germany, Austria, Hungary and Turkey. So much for moving on!!!…and we all know where that path catastrophically led!
Another curio I discovered was that among the State and Commonwealth government departments listed in the index, there were several with city addresses in Richmond Tce, The Domain. The questionably named Aborigines (spelt ‘Aborogines’) Protection Board, the Pharmacy Board of NSW, the Dental Board of NSW, the Medical Board of NSW, the Metropolitan Meat Industry Board and the Inspector-General of the Insane(sic) were all located in this east side of the city street…interesting in that this street, Richmond Terrace no longer exists!
Ad for the Orient Line
A total of forty-six shipping line companies were recorded as having offices in Sydney’s CBD. These included British-India SN Co, China-Australia Mail SS Line, Nippon Yusen Kaisha, the Adelaide Steamship Company, New Guinea, New Britain and the Solomon Islands (Line), the White Star Line✲ and the more contemporarily familiar P & O Line. Only one of the 46 placed a (full-paged and quite detailed) ad in the directory, the Australia to Britain Orient Line.
Royal Autos in ‘Wilson’s’
City clubs and buildings of interest
In a section of the index Wilson’s lists the various clubs, chambers, banks and arcades that formed part of the cityscape in 1922. The more ‘highbrow’ of the clubs, predominately “Gentlemen’s” establishments, tended to congregate ‘uptown’ (the end closer to Circular Quay) considered to be the smarter and more affluent part of the city. The clubs included the Australian Club (corner of Bent and Macquarie Sts)[¹], the Automobile Club of Australia (132 Phillip St)[²], the Country Club (17 Castlereagh St), the Catholic Club (107 Castlereagh St ), Masonic Club (216 Pitt St)[³], the N.S.W. Club (Bligh St)[⁴], the Soldiers’ Club (426 George St), the Union Club (2 Bligh St)[⁵], the Warrigal Club (145 Macquarie St). Also in the city were clubs associated with the sport (and business) of horse racing – these three used to be situated in the CBD, the Australian Jockey Club (now the Australian Turf Club) (8 Bligh St), the Canterbury Park Race Club (15 Castlereagh St) and the Rosehill Racing Club (32 Elizabeth St). Another city club intricately linked to horse racing is Tattersall’s Club (202-204 Pitt St). Traditionally the haunt of old style bookmakers, “City Tatts” as it is better known, still stands and operates on its original land, 123 years after its foundation.
The 1922 city’s chambers are a predictable lot with numerous entities bearing largely homogenous Anglo-(Saxon)Celtic names scattered around Phillip Street, the traditional law hub of the city. That equally upstanding and status quo affirming pillar of society in that day, the banks, are spread over a wide radius of the CBD. The only point of note about them is discovering that in the 1920s Australia financial climate, with regulation of the sector very tight, two foreign banks had Sydney branches and were allowed to trade here at that time… the French National d’Escompté de Paris, a forerunner of Banque National de Paris? (24 Hunter St) and even more surprisingly, the Japanese Bank (Falmouth Chambers, 117 Pitt St).
The original (1907) Challis House
One of the city buildings identified in Wilson’s Director with a busy and interesting history is Challis House, N⍛ 4-10 Martin Place. Eponymously named after merchant and University of Sydney benefactor John Henry Challis, the House has a long association with the University as well as many financial tenants over the decades. During WWI it was used as the recruiting campaign headquarters for New South Wales. The office building at the time of Wilson’s publication was in its original Victorian architectural state…in the Thirties it received a new (Art Deco) facade and later in 1993 it underwent major renovations [‘Challis House’, Sydney Architecture, www.sydneyarchitecture.com]
Blue Mountains – a “Tourist’s Guide”
Although it’s a street directory whose ambit is Sydney and suburbs, the Wilson’s directory ends with an extensive section (73pp) on the Blue Mountains. The entry even encompasses the town of Lithgow (also called ‘Eskbank’ in 1922) which is 15 miles west of the Blue Mountains. The book has lots of detailed information on the BM suburbs, each suburb has an entry on accommodation and the scenic natural highlights of the Mountains with select maps indicating points of interest.
The “Half-way House” of Blue Mts
The directory gives a picture of Springwood, the largest of the Lower Mountains towns✥, that suggests a warm place in an otherwise cold region – “sheltered by its westerly walls from the cooler air of the higher altitudes…pleasant sunshine all year round…in winter the climate is so equable that many families make Springwood a permanent residence”. An opinion echoed by Springwood house and land agent R.F. Harvey’s ad extolling “The Best Winter Climate in the World”. For day visitors to Springwood, the Hotel ‘Oriental’ awaits their patronage (ad, right).
Katoomba, the “largest of the mountain tourist resorts” with its “wide choice of charming and picturesque views”. Despite being 68 miles from Sydney, “horses and vehicles are always obtainable” – as this advertisement (left) on page 706 offering trips to the famous Jenolan Caves in luxury Buicks testifies.
Nearby Leura is “celebrated for the beauty of its great showpiece – the Leura Falls…in themselves alone worth the trip to the mountains”. With unfettered enthusiasm the writer goes on to laud the town in extravagant terms: “the place has been so well laid out as a tourist resort that it offers a perfect kaleidoscope of the views”. The object of Wilson’s Director is clearly to sell the Mountains to visitors from Sydney which synergises nicely with the numerous accommodation ads (funny that!) that appear such as this one (right) for Leura’s Hotel Alexandria (still in business in 2018).
The spa town of Medlow Bath, is “a pretty little village, rising rapidly in tourist favour”. The tiny Upper Mountains town is famous for its Hydro-Majestic hotel resort where in the day the better-off citizens of Sydney would periodically retreat to benefit from its therapeutic mineral waters and clean mountain air. Built by retailer Mark Foy (Jr) as a hydropathic sanatorium, the “Hydro-Maje” in the Twenties was where the cream of Sydney’s elite flocked on the weekends to socialise.
Jenolan tourer (Blackheath)
One station further west, the mountains tourist resort of Blackheath, had the writer reaching for new superlatives! The bush trails and valleys (the “Valley of the Grose” as he calls it) lead to “world-famous Govett’s Leap (waterfall), a stream which plunges headlong over a perpendicular wall of dark-tinted rock on to a mass of boulders, some 520 feet below”. Mermaid’s Cave is “like a glimpse of a fairyland…a more picturesque scene cannot be imagined”, etc. The other attraction of Blackheath in 1922 was that “there is every probability of its having a permanent water supply in the near future”. The accommodation ad below is for Blackheath’s ‘Ivanhoe Hotel’, replaced in 1938 by the now quite old-looking ‘New Ivanhoe Hotel’.
Mt Victoria, 79 miles by paved road❂ from Sydney, the highest point of the Blue Mountains (the guide gives it at 3,424 feet above sea-level)⍍, is praised for the scenic countryside surrounding the town dotted with charmingly named spots like Fern Cave, Fairy Bower, Fern Tree Gully and Witch’s Glen, for the walker to explore.
Upper Blue Mts map (‘Wilson’s’)
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[¹] the Australian Club (still at the same address, 165 Macquarie St), is the oldest men-only club in the country, dating from 1838
[²] the Automobile Club changed both its name to the Royal Automobile Club of Australia (RACA), and its location to Castlereagh St North, in the year of the directory’s publication (1922)
[³] the Masonic Club still exists but the premises relocated to a new building at 169-171 Castlereagh St in 1927
[⁴] the N.S.W. Club House is still in existence at 25-31 Bligh St, but the Club itself amalgamated with the Australian Club in 1969 and the building has had a series of commercial tenants since (currently occupied by the Lowy Institute for International Affairs)
[⁵] still in operation (since 1857), these days at 25 Bent St and now called the Union, University and Schools Club
✲ of Titanic fame, White Star Line merged with Cunard in 1934 as White-Cunard, before eventually becoming defunct
✥ Blaxland and Glenbrook, two other Lower BM towns, get very short shrift from Wilson’s, relegated to brief, passing mentions only
❂ the Great Western Highway, which bisects the Blue Mountains, was still called Bathurst Road in 1922
⍍ although according to markers on the spot, One Tree Hill on the south side of Mt Victoria, is the highest point in the Blue Mountains at 3,654 feet
I remember getting my first street directory as if it was 55 years ago – which it was! It was a Gregory’s of course, it was 1963 and UBD hadn’t quite yet entered the road map reproduction game (they brought out their first street directory the following year!) I had just starting playing soccer (the St George and Southern Sydney’s A-League – Ankle-biters League!) and my parents bought it to get me to season games in tricky-to-find and awkward-to-get-to places across Sydney.
Soccer aside, the Gregory’s spent more time in my bedroom than it did in the glovebox of my father’s VW. I loved perusing its contents, examining the colourful maps, sometimes in piecemeal fashion, other times randomly, learning about all the different parts of Sydney that in most cases I never knew existed let alone had been to! I discovered all sorts of faraway places (to a 10-y-o!) with exotic, magical-sounding names like Avalon, Burraneer, Oyster Bay, Picnic Point and Chipping Norton.
The 1960s Sydney motorist’s Vade mecum
I used to spend long hours during my childhood pouring over the maps of Sydney, preparing me for the future career as a taxi driver that I never had (phew!)…instead I learned lots of useless stuff like the fact that there were two separate bushland places called Warrimo. The name is well-known to many as the small town in the Blue Mountains, but my 1963 Gregory’s showed me that it was then also a suburb adjoining St Ives. Later it was renamed St Ives Chase but Warrimo Oval and Warrimo Avenue in the suburb are reminders of its association.
I got a lot of mileage out of that vintage 1963 Sydney street directory, and continued to do so even after I brought a new Gregory’s when I got my driver’s licence and my first car in the early seventies.
Footnote: Not sure what my father did for road directions before the 1963 Gregory’s came into our family’s life. He certainly had cars before then, at one time I recall he had a crank-start relic of an Austin! Maybe he had one of those fold-out maps that in my hands often end up in a tangled mess.
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WAD: the ante-(now)dated street directory
I got my second street directory around the same time as we got the ’63 Gregory’s, and it was a very different animal to the current edition of the Gregory’s, it was in fact the nearest thing I have had to an antiquarian book. I have recounted in a previous post (Part 1) how I got handed down a 1922 edition of Wilson’s Authentic Director: Sydney and Suburbs and shared some insights into how the WAD depicted different parts of Sydney then and some of the idiosyncratic aspects of the maps contained in the book. I want to focus here on the advertisements contained in the directory which are legion in number and tell an interesting story about life in 1922 Sydney in themselves.
Ad-bonanza
In a book 735pp long, even if I count the pages comprising the indexes and maps there were considerably more pages with ads than without! Some ads were full-page, some pages contained two or more separate ads, some firms like Rickard’s’ (below) had multiple entries of ads in the book. The directory is so ad-rich that the advertisement sales alone were a nice little earner to Wilson & Co. And with each copy retailing to the public at 4/6p, there was obviously more than enough takers to warrant the cost to the advertisers to be in it.
▲ Webber’s “One stop shop”!
Who advertised in ‘Wilson’s Authentic Director’?
Well just about anybody who traded, who had a business in Sydney at the time! Professional men, financiers, engineers, builders, bakers, butchers, chemists, builders, undertakers, stationers, carriers, ironmongers, haberdashers, drapers, milliners, mercers and tailors, retailers of Manchester, furniture suppliers, lime and cement merchants, glass manufacturers, all manner of service or product providers. Where the business being advertised related more directly to the world of motorists or to moving people from place to place, was where you got the lion’s share of ads.
▲ Strathfield: free from “Influences of the Sea Air”
Purveyors of property
The footprints of the auctioneer, the valuator and the real estate agent are visible throughout the directory, often in prominently displayed ads. Some who could afford to, placed more lavish ads which mega-hyped the virtues of certain suburbs and their homes – such as the Orton Bros ad (left) pitching homes in the “favourite suburb” of Strathfield, pushing the (alleged) “health benefits” of the area, “away from the “Influences of the Sea Air”. Presumably if Orton Bros had been selling houses in Clovelly or Coogee Beach, they would have taken a different attitude to the “harmful effects of sea air”!
▲ The “Digger” Agents at Roseville
Another property heavyweight Arthur Rickard & Co, appearing and reappearing across the directory, specialised in sub-division and the creation of new estates, eg, selling as “the New Model Suburb” of Toongabbie✲. Rickard’s had a full-page ad offering a choice of two estates, Toongabbie Park (“a most promising estate, fertile soil and good rainfall”) – the buyer could opt for a large home or a Rickard Farmlet, 1 acre to 4½ acres from £50 10s. per acre; or the Portico Estate (“city water, proximity to consumers’ markets, building conveniences”) – “designed on the latest and most up-to-date town-planning – a wonderful scheme of beauty”. Some property agents like Hough and Barnard emphasised their WWI service credentials to help flog their homes, displaying ads (at right) which proudly announced their AIF associations⊡.
Newtown 1922: Hire-a-luxury wedding vehicle
Transport options a-plenty!
Up there with the estate agents and developers were advertisers for anything to do with the automobile. Hire car companies posted ads for vehicles available for any special purpose. Ads from proprietors of motor garages are liberally sprinkled through the directory, these business often rented out touring vehicles for people both wanting to explore the far reaches of Sydney using Wilson’s of course as their guide. The plentiful motor garage ads naturally catered for all the motorists’ touring and driving needs – ‘Bowserised’ (often Shell) fuel, Benzine oil, ‘vulcanised’ tyres, mechanical repairs, etc.
▲ Bulli Motors: cars, motorcycles, bicycles, for Bulli Pass
The reach of Wilson’s publication was not narrowly limited to the city and suburban district boundaries that encompassed Sydney in 1922… business advertisers buying space in the directory came from as far away as the Blue Mountains and from the Illawarra/South Coast, as evidenced by the ad at right from a Bulli motor garage who also specialised in automotive services for the motor(bike) cyclist.
▲ A horse-intensive removals firm!
The Removalists
Domestic carriers were also well represented in the ads in the street directory. Ads for businesses, describing themselves variously as removalists, carriers or furniture carters, filter through the book. The removal business ads signal an interesting crossover between the old and the new technologies…in 1922 motorised vehicles as a form of transport would still be numerically inferior to horse-drawn carts, the ads in Wilson’s show original horse-power still much in demand on Sydney streets, side-by-side with the new, motor-driven furniture vans and vehicles.
‘Tradie’ ads
Tradesmen were regular advertisers in Wilson’s Street Directory, keen to take advantage of Sydney’s growing numbers of home occupiers and new areas of urbanisation – carpenters, plumbers/gasfitters, electricians, tilers, slaters, painters and decorators, sign writers, metal workers, galvanised iron workers, etc. Some of the most refreshing and humorous ads were from 1920s tradies like the two in the directory reproduced here. ▼ ▶
A miscellany of ads
Most every other avenue of (legal) private endeavour that you’d expect to be plying its business in early 1920s seems to get a shout-out in the street directory. Several ads that popped up in the vicinity of the Lidcombe entry and maps were for stone and marble masons. Considering that Lidcombe was (and still is) home to Rookwood Cemetery, reputed to be the biggest cemetery in the Southern Hemisphere, it is of no surprise to find a troop of monumental masons showcasing their artisan wares here.▼
Rookwood handiwork
A trifecta of disparate WAD advertisers from north of the harbour:▼
▲ 1922: Home entertainment unit
The piano – pride of place in the living room of Sydney homes in 1922
Many of the domestic carrier ads that I have alluded to above emphasised “careful piano removal” as one of the fortes of their trade. This is a reminder that in the early twenties, before the advent of radio and television in Australian households, both of how valuable pianos were and the key role they played as principal providers of home entertainment.
Accommodation and pleasure at Sandringham by the seaside
The first ad below at left is for the ‘Prince of Wales’, a popular beachfront hotel on Botany Bay, a local institution in the St George district since the 1860s drawing crowds to its lavish luncheons, parties, picnics and recreational pursuits on its pleasure grounds. Proprietor in 1922 William Langton was just one of very many publicans who had a go at running (with wildly varying success) the ‘Prince’ since 1866 (the hotel was demolished in 1961). ▼
Footnote: the LJ Hooker of his day:
Of the myriad real estate admen in the directory, the company name recurring most throughout is Stanton & Son, Ltd. Stanton’s features in six separate ads (pp.92, 155, 430, 503, 622, 644) to advertise its offices at Pitt St City, Summer Hill, Haberfield, Edgecliff, Randwick, North Sydney and Rosebery. Proprietor Richard Stanton was one of the founders of the Real Estate Institute of NSW and an advocate of the Garden City Movement (see later blogs on Early 1900s Sydney Garden Suburbs).
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✲ developer Rickard was in fact busy selling property all over Sydney and beyond…such as the Central Coast and the Blue Mountains where he talked the rail authorities into building new stations at Warrimo and Bullaburra to service his new estates there, Peter Spearritt, ‘Rickard, Sir Arthur (1868–1948)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/rickard-sir-arthur-8206/text14357, published first in hardcopy 1988, accessed online 12 July 2018.
⊡ realty men were no means the only business advertisers who played the AIF card, tradesmen et al were similarly not slow in slipping into the pitch their record of loyal service to King and Empire during the Great War
Pneumatic tubes transit (PTT): a system that propels cylindrical containers through networks of tubes towards a chosen destination using compressed air or by partial vacuum [‘Pneumatic tubes’, Wikipedia, http://www.wikipedia.org]
PTT, “Whoosh✱ and Go!” technology, the 19th century’s version of “Tap and Go!”Jason Farman has described the application of pneumatic tubes to postal services in the 19th century as “the instant messaging systems of their day”. According to Farman, being able to use pneumatic post to communicate, gave people in the nineteenth and twentieth centuries an “instant connexion”…pneumatic post meant that they were able to “keep in touch all day long”⊡. Moreover people saw the pneumatic tubes’ facility to deliver articles rapidly as “a symbol of modernity” [‘Pneumatic tubes: the instant messaging technology that transformed the world’, James Farman, interview with ABC Australia, 13-Jun-2018].
Sketch of AE Beach’s pneumatic transit tunnel
America’s first pneumatic-powered subway
American entrepreneurs were following developments in pneumatic tube transport in Europe in the second half of the 19th century and were keen to move into the field. It fell to inventor and publisher of the magazine Scientific American Alfred Ely Beach to lead the way. Beach was less interested in the postal service than in moving people. In 1867 he trialled the first subway passenger service, later named the Beach Pneumatic Transit, in New York City. Initially the service was popular with the public, but Beach experienced opposition from Tammany Hall♉ and its notorious head ‘Boss’ Tweed, and from other vested business interests. Beach got round opposition by flagging that he would also construct a pneumatic tube to cart mail underground around NYC. Unfortunately Beach ran into both technical difficulties and funding issues (exacerbated by the financial crisis of 1873) and the project to extend the subway was stillborn.
PPT system despatch point (Washington DC, early 1940s)
Manhattan mail transfer – the eastern seaboard subway
It wasn’t until 1893 that an urban mail service in the US introduced the PTT system, and this was in Philadelphia (beating New York by four years). The New York City system linked the General Post Office with 22 other post offices covering an area of 27 miles. At its optimal level of output, five capsules each containing around 500 letters could be despatched in a minute (one every 12 seconds travelling at 30-35 mph). A government estimate in the day put the total transmitted by tube at 20,000 letters per day![‘The Pneumatic Mail Tubes: New York’s Hidden Highway And Its Development’ (Robert A Cohen, Aug 1999), www.about.usps.com]. Several other American cities followed Philadelphia and New York in establishing underground mail networks – Boston, Brooklyn (a separate entity to New York before the construction of the Brooklyn Bridge), Chicago and St. Louis.
Manhattan pneumatic mail route
Despite the clear advantage PPT had in speed of delivery over conventional mail despatch, it did not make the hand-delivered mail system redundant. At its zenith in New York PPT never accounted for more than about one-third of the Post Office’s total mail delivery. Other cities in the US were similar although Boston reached about 50 per cent at its maximum output!) [Cohen].
PPT systems, limitations and drawbacks
By the early 20th century the cost for US service providers using the pneumatic tube system had become prohibitive. By 1918 the Post Office was forking out $US17,000 per mile per year [‘Underground Mail Road: Modern Plan for All-but-forgotten Delivery System’, (Robin Pogrebin), New York Times, 07-May-2001]. In addition to cost there were other flaws in tubal delivery that made it impractical. Many mail items were too large and bulky to fit into the tube carriers, and when they did fit, the system was far from seamless. It took critical time to unload heavy items at the receiving end and sometimes the system would clog up during periods of high traffic (requiring delays in the delivery process while workers located the obstructing parcel and dug up the street to get to it) [‘Pneumatic Tubes’, Dead Media Archive, (NYU – Dept of Media, Culture and Communication), www.cultureandcommunication.org].
A maze of tubing
In addition to cost, other early 20th century factors that prompted the decline of the pneumatic post in America include the growing volume of mail, limited system capacities, and the belief that the advent of the automobile made the tubes “practically obsolete” [Annual Report of the Postmaster General, (Washington DC: Government Printing Office, 1918. pp. 19–22. Retrieved 8 June 2015, cited in ‘Pneumatic tube mail in New York City’, Wikipedia, http://www.en.m.wikipedia.org].
Pneumatic tube systems tend to work better on a smaller, more localised, scale – as evident in the type of enterprises and institutions that productively employ the pneumatic tube technology today (as outlined in the PostScript following)…they are also more effective (and more economical) over shorter distances, such as encompassing a single city only.
PostScript: Pneumatic tubes in the contemporary world
In the age of fiberoptics and the internet, it might be thought that there is no place for old technologies like PTT. But pneumatic tube systems today still play a vital function in the everyday workings of organisations and institutions including banks, hospitals, supermarkets, department stores, libraries and other public utilities♮.
Technology watchers have hinted at the possibility of a Renaissance of pneumatic technology. Jacob Aron has made the perceptive point that even in an age where online communication is paramount, there is still the physical necessity of transporting goods by road. This is where pneumatic tube networks have a competitive edge…Aron poses the question: “can tubes be (a) more efficient and greener” way of delivery❂ [‘Newmatics: antique tubular messaging returns’, (J Aron) New Scientist, 13-Aug-2013, www.newscientist.com]
Roosevelt Is: narrow stretch of land 3.2km long in NY’s East River
Many areas of society unrelated to postal systems currently use PTT…on Roosevelt Island (NYC) the locals have used pneumatic tubes to dispose of its garbage since 1975 (something similar has been proposed for Manhattan to tackle its mountains of trash) [‘Proposal maps out pneumatic tubes system to take out New York’s trash’, (Dante D’Orazio), The Verge, 24-Sep-2013, www.theverge.com].
Many hospitals rely on networks of tubes for their internal communications – the prestigious Stanford Hospital in California uses the technology to move blood, lab samples and medicine around the facility. Pneumatic tubes systems today are of course computer-driven and much more complex, Stanford Hospital’s network contains 124 stations. Future applications for PTT continue to be visualised…entrepreneur/inventor Elon Musk has proposed that his pneumatic-powered ‘Hyperloop’ will be capable of transporting passengers in a pod between cities at 800 mph [‘Underground Mail’, (2017), www.computerimages.com/musings].
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✱ the sound the pneumatically propelled mail capsules made when they went down the shute
⊡ a characterisation very familiar to today’s social media dominated world
♉ the Democratic Party political machine which had a stranglehold on NYC politics at the time
♮ such as the Library of Congress (US) and the Russian State Library in Moscow. The ongoing utility of pneumatic networks contrasts with the bad wrap pneumatic tube systems have received from writers of fiction over the years, eg, works such as 1984 and the movie Brazil have tended to equate them with “creaking, bureaucratic dystopias” [Jacob Aron]
❂ although the other x-factor player here is 3D-printing – if it realises its full commercial potential it would tick those same boxes with perhaps greater utility
In this modern world of 24/7 online global communications and instant messaging systems, it is interesting to take a look at an earlier age’s emerging technology which had the objective of fast-tracking communications between people in different parts of rapidly modernising cities. This novel way of moving mail around drew on the subterranean reaches of urban centres to create channels for transporting them.
Wm Murdoch
It started with the London Stock Exchange in the 1850s…traders trying to buy and sell at the most propitious times of the trading day relied on telegraphs to communicate quickly with their people. The problem at the time was that telegraphs were regularly subjected to delays and hold-ups. A swifter way to communicate was needed for business success, and the technology to do so already existed in Scottish engineer William Murdoch‘s invention of the pneumatic tube in the 1830s.
Enter J Latimer Clark, an electrical engineer, with a patent “for conveying letters or parcels between places by the pressure of air and vacuum”. Clark’s delivery system powered by compressed and depressed air was implemented to connect the London Stock Exchange with the HQs of the Electrical Telegraph Company through a 660-foot long pneumatic tube. By the 1860s the stock exchanges in Berlin and Paris had followed London’s lead. Postal services for both commercial and personal transmittances were a natural fit for the pneumatic tube. Liverpool, Manchester, Birmingham and Dublin got their own networks, whilst on the Continent, Berlin’s Rohrpost was introduced in 1865 and Paris went public with Poste Pneumatique in 1879. Other cities got in on pneumatic post and the practice spread to places as far away as Melbourne and Buenos Aires, and most anywhere in between.
The London pneumatic tube mail train at its formative stage!
London Pneumatic Despatch Company
In 1859 Latimer Clark with Thomas Webster Rammell put forward a proposal for an underground tube network in Central London. The city’s General Post Office was chosen as the nucleus of the network because it was “the routing hub of the whole country’s” transport system [Julian Stray]. The two engineers with cashed-up and influential backers formed the London Pneumatic Despatch Company to build a large-scale, underground pneumatic railway✱ with the purpose of transporting mail bags and small parcels on railcars through tunnels. At first LPDC’s prospects of success looked promising, but several developments and reversals (a financial crisis in 1866, logistics problems, technical drawbacks, and the Post Office getting cold feet over the project) saw the Company fold and its operations close in the 1870s [‘London’s Lost Pneumatic Railway: The World’s 2nd Oldest Underground’, (Long Branch Mike, 12-Apr-2015), Reconnections London Transport and Beyond, www.londonreconnections.com].
(Photo: Science Photo Library)
Despite its failures LPDC’s underground railway did capture the public’s imagination and inspired other imitators. There were experiments elsewhere in the 1860s to try to establish a viable pneumatic train network – at Croydon, Devon and Dublin. Ultimately though, for a variety of reasons, these came to nothing [‘London’s Victorian Hyperloop: the forgotten pneumatic railway beneath the capital’s streets’, New Statesman, 18-Dec-2013,www.newstatesman.com].
Capsule [National Postal Museum (Smithsonian)
The principles of “blow and suck”
The pneumatic post services of the day used pressure and air vacuums to transmit mail through a network of tubes. The process went like this: people wanting to expedite the delivery of an important document would take it to the post office where it would be rolled up and placed inside a metal or aluminium capsule. A postal clerk (in New York these employees were known as ‘rocketeers’) would drop the capsule into a hatch which corresponded to the marked lane for its intended destination…by pressing a button the capsule was transported by compressed air through a network of tubes beneath the pavement. Air from the transmitting end blew the capsule in a forward direction along the tubes. At the receiving end of the line a machine would suck the propelled capsule towards it (in the same way the suction of a vacuum cleaner functions!).
A cutting edge over conventional 19th century delivery modes
Using pneumatic power to transport letters (subterranean mail) and other items had readily apparent advantages in its unfettered immediacy…the reliance on horse-drawn vehicles and messengers on bicycles meant that delivery was impeded by the ever-increasingly congested streets of burgeoning cities, pneumatic post transported underground had no such obstacles and delivery was infinitely faster!
Parisian Poste Pneumatique network (Musée de La Poste)
Paris: Poste Pneumatique
Paris, as much as any modern metropolis, wholeheartedly embraced pneumatic tube transportation from the get-go! By the 1930s, when the service was at its peak, Paris had some 466 kilometres of pneumatic tubes. Cost was and remained an issue though…in 1975 the cost of sending one pneu☯ in Paris was eight-times that of having a posted letter delivered. As the 20th century rolled on patronage of the pneumatic post system dwindled, in 1984 Poste Pneumatique closed down for good! It’s inevitable demise was a combination of the service’s high cost and the superiority of newer communications technology (fax, telex) which made it obsolete [‘Pneumatic tubes and how mail was moved in Paris for more than a century’, Larry Rosenblum, (World Stamps), 02-Oct-2016, www.linns.com]
Prague PTT engine room
Bohemian Express Post: Prague’s pneumatic post system
Prague’s pneumatic post is the only surviving post system of this kind still intact in the world. It entered service in the Czech capital in 1889, the fifth in the world to be connected, after London, Vienna, Berlin and Paris. The Prague system operated from a central point, the main post office in Wenceslas Námêstí, and conveyed letters, documents and information to other post offices in the city, to government offices, to banks and to other important institutions. It started with the despatch of mainly telegrams, later telexes were sent through this medium. The city network of tubes covered a radius of 60km. Around 1970 a test was done of its speed of service vis-vís an on-road messenger delivery service. The pneumatic tubes won, delivering a capsule of 50 telegrams to Prague Castle in eight minutes✾ [‘Pneumatic Post System in Prague’ (Jakob Serÿch, June 2004), http://www.capsu.org/features/pneumatic_tube_system_in_prague.html]. In the 1990s Prague pneumatic post was despatching up to 10,000 documents a day! Unfortunately the European floods of 2002 put paid to the Czech pneumatic postal service, Telefonica decided the repairs needed to the tubes was too costly and in 2012 sold the system to Czech software entrepreneur Zsenêk Dražil, an enthusiast of old technologies. Dražil’s ultimate plans for the service are still unclear, but he has hinted at the tourism possibility of it being opened up to the public as a “national technical monument” [‘Radio Praha ❘ in English’, (Daniela Lazarová, Czech Radio, 11-Oct-2003 and Jan Richer, ‘New Owner Promises Bright Future for World’s Largest Pneumatic Post System’ Czech Radio, 08-Aug-2012)].
PostScript: A sample of anecdotal stories associated with pneumatic tube systems
Stories abound about the unauthorised and unorthodox uses of the pneumatic tube networks in different countries by postal workers. Its a trait of human nature that employees in the familiarity of their work environs are known to “push the envelope” and try to get away with things wherever they possibly can, and this sphere of work was no different. Staff of the Prague pneumatic tube system for instance (according to some of the stories told) were known to use it to send sausages and bread rolls to each other! Similarly in New York it was an open secret that post office workers on Manhattan used the system to receive their daily lunch orders from a well-known Bronx sandwich shop…the shop would dispatch the lunches via the tubes from the Bronx PO to the Manhattan PO! The pneumatic tubes were also sometimes utilised to play jokes on staff at another PO, eg, live mice sent through the tubes to get a predictable reaction from the startled female employees receiving the canisters at the other end; a live tortoise-shell cat returned in the same mail bag in which it had been sent, and so on.
Receiving point with collection trays
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✱ the world’s second underground railway after the limited line from Paddington to Farringdon opened in 1863
☯ an item sent by pneumatic post in France was known as a pneu
✾ a similar test was conducted earlier on the New York PTT system where the underground tube delivery easily eclipsed a motor vehicle delivery which had to contend with heavy Manhattan traffic
Grawlix: a spiral-shaped graphic used to indicate swearing in comic strips (comprising typographical symbols, non-letter graphic characters which are encased in a word-free balloon)
~ Wiktionary, http://wiktionary.org
Etymology of the GrawlixThe term Grawlix itself comes from veteran American cartoonist Addison Morton Walker. The sprightly nonagenarian better known to the world as Mort Walker has gleaned lifelong fame in the US (and elsewhere where his comics are treasured) from two of his creations, Beetle Bailey and a spin-off of sorts, Hi and Lois. Beetle Bailey is especially beloved of seriously rusted-on US comic aficionados. Beetle, a private (zero-class!) in an unnamed US Army military post, has been described as “a feckless, shirking, perpetual goof-off and straggler known for his chronic laziness and generally insubordinate attitude”. Debuting in September 1950 Beetle Bailey is among the oldest comic strips still being produced by the original creator [‘Beetle Bailey’, Wikipedia,http://en.m.wikipedia.org].
Copycat grawlixing!
Walker apparently coined the term ‘grawlix’ around 1964…it appears in a tongue-in-cheek article he penned called “Let’s Get Down to Grawlixes”. A nonsense word, grawlix is the descriptor that Walker came up with to depict a cartoonist’s standard device: to show that one of his or her’s characters was uttering a “four-letter” word or words in the strip without infringing any moral codes, the cartoonist would draw a combination of typographical symbols and insert them in the dialogue balloon in place of the actual profane words. Commonly but not uniformly, the symbols used are @#$%&! or slight variations on this (whichever typographics are used, the grawlix always ends with an exclamation mark [Nordquist]). And as a way of expressing powerful, earthy emotions without having to call in the censors, it caught on within the realm of popular graphic art!”❉
Mort Walker’s catalogue of neologisms
In his Lexicon of Comicana (1980) Walker in his jocular fashion elaborates on his personal vocabulary of neologisms from the world of the cartoonist (with mock grandness he called these his Symbolia)…so in addition to grawlix the Lexicon contains many of Walker’s trademark neologisms, words coined for his own amusement, some with strange-sounding onomatopoeic names – a few of which are listed below.
In addition to grawlix, Walker devised and named three other sets of symbols and squiggles representing graphic euphemisms for the unspeakable and very taboo swear words – Quimps, Jarns and Nittles (basically hard to distinguish from grawlixes but something very similar by another name!) [World Wide Words].
Moving away the topic of obscenities Mort came up with other words to describe some of the graphics representing the range of feelings and emotions experienced by his comic personae – such as squean – squeans are starbursts and little circles above the character’s head to indicate a state of intoxication, dizziness or unwellness¤.
Other logo-inventions in the idiosyncratic Walker Lexicon are variations on the same theme – such as:
Emanate – lines drawn around the head to show shock or surprise
Plewds – flying sweat droplets that appear around a character’s head to indicate working hard, stressed, etc.
An indotherm – as opposed to a wafteron!
Another neologism in Walker’s ‘cartoonucopia’ is Indotherm – wavy, rising lines used to represent steam or heat; when the same shape is used to denote smell, it is called a wafteron.
Before the grawlix was the unnamed ‘grawlix’
Mort Walker gave the world a recognisable name to identify what is today a standard cartoonist’s device for representing profanity in a non-verbal way, but the use of @#$%&! wrapped in a speech bubble far predates modern comic strip practitioners like Walker. Ben Zimmer has researched early US comic strip history to find that the device features in comics goes as far back as 1902 – the work of Rudolph Dirks employed the grawlix in his strip (he just didn’t it that, or anything!). In Dirk”s “Katzenjammer Kids” for the New York Journal… the pioneering cartoonist “initiat(ed) the use of both speech balloons and…symbolic swearing”. This was emulated by a contemporary cartoonist of Dirks, Gene Carr, at about the same time (1903). Zimmer himself eschews the random ‘Grawlix’, preferring the term Obscenicon💢[Zimmer].
Grawlixes and other such graphic devices are the indispensable tools of cartoonists and comic artists looking for a way to economise with words and convey an emotion succinctly. They are non-verbal and thus all about visual cues…they can convey obscenities without recourse to the offending words themselves, or they can summarise an action or reaction instantly with an image that obviates the need for words and a lengthy explanatory sentence.
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Interjections
Interjection: is a part of speech using words solely designed to convey (often strong) emotions (reinforcing meaning or feeling). It conveys the emotion, sentiment or feelings of its speaker [‘What is An Interjection?’, (Your Dictionary), www.grammar.yourdictionary.com].
Another way of characterising the interjection is through its syntactic position. It is “an exclamation inserted into an utterance without grammatical connection to it” [ibid.]. Interjections are the tools of casual or creative communication, they have an informality to them, and in many cases an outright ‘slanginess’ to them (eg, ‘Jeez’, ‘Holy cow!’ (or ‘mackerel’), ‘Fiddlesticks!’, ‘Baloney!’, ‘Bingo!’, ‘Mama-Mia!’).
All contemporary engagers in social media are (over)familiar with exclamations like ‘LOL’ and ‘OMG’ (case optional) or ‘Ha-ha’ which infest the online world of communications like locusts at harvest season⊛. Interjections are exhaustive in number and heterogeneous in nature. They can be used to communicate a broad spectrum of different feelings – from anger and frustration (Argh) to sadness or sentimentality (Aw) to confusion (Huh!) to disgust (Yuck!) to mockery (Whoop-de-doo⊡) to indifference (Meh) to surprise (Wow!) to excitement (Woo-hoo!) to triumph (Yay!) not to be confused with the affirmative ‘Yea!’ [Fleming].
Interjections are usually positioned at the start of the sentence, occasionally at the end (the purpose being to maximise the message’s impact or effect). And like the sound themselves, most interjections can be strengthened by elongating them [Vidarholen] – adding one or more extra w’s to Aw gives weight to the degree of empathy you want to convey to your interlocutor; similarly using more than one Ha-ha is interjector code for turning up the laughter gauge! Putting an exclamation mark after the interjection is not mandatory but is often employed in the spirit of the lack of restraint that characterises this part of speech. After all, interjections are at their core exclamations – the appended ! goes with the territory!(Image credit: www.7esl.com)
PostScript 1: “Onomatopoeic interjections”
Onomatopoeic words or phrases are ones that imitate the sound of a thing or action, splash! is therefore onomatopoeic, it is also an interjection. Interjections represent emotion and can usually be distinguished from onomatopoeia which represents sounds, although there is clearly some overlap between the two. Another point of difference is that an interjection is syntactically isolated, it has no grammatical connection with the rest of the sentence⌽.
PostScript 2: Batman – Holy interjections with graphics!
The cult 1960s television series Batman is a veritable feast of interjections…in just about every episode Boy Wonder Robin, with excruciating monotony, specialises in uttering interjections of the “Holy ……” kind. Robin would pick the opportune moment to breathlessly interject with “Holy Switch-a-Roo”, “Holy Superlatives”, “Holy Cliche” or whatever other topical word pertaining to the “Dynamic Duo’s” particular predicament de jour [Oxford Dictionaries Blog].
The sublimely ridiculous Bat Fight scenes in the TV show are replete with interjections…as Batman and the arch-villains land thunderous blows on each other, corny graphics flash up with words representing the pugilistic action (SOCK! AIMEE! BIFF! WHAMM! KAPOW! THUNK! BANG!). Interestingly Batman’s art department incorporated some comic strip style graphics into the flashing word cards (eg, stars within the word SOCK! signifying the effects of being ‘socked’, ie, dazed, dizzy – akin to a kind of squean? KAPOW! with a bulls-eye target inside the O)
←←←←←←←←←←←←←←←←←←→→
❉ placed in dialogue boxes above the characters’ heads (Walker calls these “Maledicta balloons”)
¤ a character with both a squean and a spurl (a vertical upward-spiralling coil) above his or her head is more than a little drunk, they’ve had a ‘skinful’ in fact! [Brownlee]
⊛ its unquantifiable definitively, but an empirical survey of the various avenues of social media would confirm an upsurge in interjection usage in everyday communications
💢 Urban Dictionary describes ‘oscenicons’ as “like a emoticon, but for profane words”
⊡ especially mocking someone who is trying to impress
⌽ the Onomatopoeia Dictionary lists a number of words that can represent both forms of expression, eg, wham, phew, shoo, shush, ha-ha, geez
╰☆╮ ╰☆╮ ╰☆╮
References:
J Brownlee, ‘Quimps, Plewds, And Grawlixes: The Secret Language Of Comic Strips’, (Co. Design), 15-Jul-2013, www.fastcodesign.com
Grace Fleming, ‘Interjections’, Thought Co, 23-Apr-2015, www.thoughtco.com
Richard Nordquist, ‘What the @#$%&! Is a Grawlix?’ (Thought Co), 02-May-2017, www.thoughtco.com
B Zimmer, ‘How did @#$%&! come to represent profanity?’, Slate, 09-Oct-2013, www.slate.com
‘Grawlixes’, (World Wide Words), www.worldwidewords.org
The lexicon of comicana’, Wikipedia, http://en.m.wikipedia.org
‘Dictionary of Interjections’, www.vidarholen.net
‘From “Gadzooks” to “Cowabunga”: some episodes in the life of the interjection’, Oxford Dictionaries, www.blog.oxforddictionaries.comOnomatopoeia Dictionary A-Z, (Written Sound), www.writtensound.com
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The Conqueror (1956) was a doomed film, both cinematically and in terms of its devastating human cost. Its reception critically was abysmal and its performance at the box office was less than mediocre. Reviews for the movie disaster have been consistent in assigning it an unenviable position as one of cinema’s worst ever pictures, one of Hollywood’s greatest “turkeys”¹.
Yahoo!Movies described The Conqueror as “the most toxic movie ever made”…tarnishing the careers of those who appeared in this egregious stinker, especially its star John Wayne, effectively bankrupting RKO Pictures (costing a blown-out $6 million) and contributing to the deaths of an inordinate number of its cast and crew².
John Wayne, faced with the need to fulfil the third and final picture of his contract with RKO, apparently fished the discarded script out of the rubbish bin and convinced the assigned director Dick Powell (who in turn convinced RKO’s owner Howard Hughes) to make the film with Wayne playing the role as Mongol warlord Genghis Khan (a role intended apparently for Marlon Brando). By all accounts Wayne was grossly miscast⋇, interpreting the great Mongol leader as a cowboy (probably an entirely natural notion for the Duke!). The script (by Oscar Millard) was terrible and vacuous as the following inane, awkward samples of the dialogue illustrate:
Temujin: I feel this Tartar wo-man is for me, and my blood says, take her. There are moments for wisdom and moments when I listen to my blood; my blood says, take this Tartar wo-man.
૱…………૱…………૱
Temujin: She is wo-man, Jamuga…MUCH wo-man!
૱…………૱…………૱
Snow Canyon, radioactive movie set
The Conqueror was a patently absurd vehicle by any standard – as an attempt at film art or as a plausible historical reconstruction…but as disastrous as the movie was, it was to have far more serious and far-reaching tragic consequences. Most of the filming took place at Snow Canyon¤ near Saint George in Utah, 130 odd miles from a nuclear test site where the US Government detonated 11 above-ground nuclear explosions in 1953. By the time location filming took place, June-August 1954, winds had shifted the still highly radioactive soil downwind to Snow Canyon. The shooting of the action sequences (in an adventure movie this was most of the film!) necessitated that the performers wallowed in the carcinogenic dust day after day.
The film’s producers (Hughes and Powell) were aware of the proximity of the atomic testing before shooting started but had been assured by the government that the atomic tests posed no risks to public health, a gross deception (self-deception?). Compounding the dilemma, at the end of the location work Hughes ordered that 60 tons of the radioactive reddy-brown dirt from the Snow Canyon site in Utah be carted back to the RKO film set at Culver City for re-takes!
Human Fallout
Consequently, by about 1980 it could be shown that 91 of the 220 individuals who made up the film’s location staff had contracted cancer including its stars Wayne, Susan Haywood, Agnes Moorehead and Pedro Armendáriz (one of Wayne’s sons who had a small part in the movie later also died of cancer). There is no definitive way of proving that the contaminated soil was 100% to blame for the cancer deaths…Wayne had a heavy smoking habit (up to seven packs a day!), as did others in the cast, which could have been a contributing factor to the malignancies⍔. The harmful effects of the area’s radiation however is undeniably part of the explanation for such an aberrant outbreak of disease. Robert Pendleton, professor of biology at the University of Utah, concluded that the toxic fallout of Saint George was of epidemic proportions, that the toll was about three times what might be expected³. In addition it is well documented that health checks on ordinary residents of Saint George similarly revealed higher incidences of cancer than other comparable areas⁴.
PostScript: Howard Hughes’ own private purgatory
As is well-known, The Conqueror’s Producer Hughes lived as a recluse, (literally) hermetically sealed off from the rest of humanity, for his last years. It is believed that he deeply regretted his decision to go ahead with The Conqueror project. Hughes delayed the film’s theatrical release and attempted to purchase every single print to try to keep it out of the public eye. Part of his penance in his hermit mode of existence, it has been claimed, was to watch and re-watch the disastrous movie every day (along with Ice Station Zebra⁵).
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⋇ Wayne as a 13th century Asiatic warrior was a ludicrous choice, as the casting was overall – only two of the entire performers were of Asian descent. Many of the doomed extras were undisguised Navajo Indians
¤ Howard Hughes thought the rolling red hills would be similar in appearance to the steppes of Mongolia
⍔ although ‘Duke’ Wayne did not die from his lung cancer (which went into remission) but from the subsequent stomach cancer he contracted [Gaggiano, below]
¹ included in H & M Medved & R Dreyfuss’ 1978 The Fifty Worst Films of All Time
² ‘The Conqueror: The story of the most toxic movie in Hollywood history’, (Yahoo!Movies, 09-Nov-2016), www.uk.movies.yahoo.com
³ Pendleton: “…in a group this size you’d expect only 30-some cancers to develop. With 91, I think the tie-in to their exposure on the set of The Conqueror would hold up even in a court of law” – Karen G Jackovich & Mark Sennet, ‘The Children of John Wayne, Susan Hayward and Dick Powell Fear That Fallout Killed Their Parents’, People, originally posted 10-Nov-1980, www.people.com
⁴ Rory Carroll, ‘Hollywood and the downwinders still grapple with nuclear fallout’, The Guardian,, 06-Jun-2015, www.guardian.com
⁵ Greg Caggiano, ‘The Conqueror (1956): The Film That Killed John Wayne … Literally’, Reel to Real, 26-Jul-2010, https://gcaggiano.wordpress.com/2010/07/26/the-conqueror-1956-the-film-that-killed-john-wayne-literally/
The 1939 cinema classic The Wizard of Oz, the movie that launched teenage singer/actress Judy Garland into stardom, has long had a reputation as one of Hollywood’s most ‘cursed’ films.
Book of the iconic 1939 film
Many, many things did go wrong on the set, including costs…the MGM musical/fantasy came in over budget at a cost of $2.8 million. This in part reflects The Wizard of Oz’s disjointed trajectory – going through five directors including King Vidor, George Cukor and Richard Thorpe and 14 screenwriters in the course of the production. The movie’s ultimate director Victor Fleming (who also directed the other great Hollywood film of 1939 Gone With The Wind) was widely suspected of Nazi sympathies.
Judy as Kansas Dot in Oz
The staggeringly appalling treatment of 17-year-old Judy Garland (Dorothy) would today be seen as out-and-out child abuse, irrespective of whether it was within or without the celebrity world. The film-makers half-starved Judy, limiting her to only one square meal per day, fed her on barbiturates and got her fixed on an 80-a-day cigarette habit. Garland eventually spiralled into a tragic pattern of drug dependency and suicide attempts. [E Power, ‘The Wizard of Oz – Dark side of the rainbow’, Irish Examiner, 15-Sept-2014, www.irishexaminer.com].
Equally alarmingly was the casual disregard of the health and well-being of other cast members as well. Buddy Ebsen (later famous as Jed Clampett in TV’s Beverly Hillbillies), to achieve the silver make-up of his character “The Tinman” was coated in aluminium powder which gave him an allergy and got into his lungs, after two weeks he became seriously unwell and was hospitalised and out of the film✳. His replacement Jack Haley was less exposed to deadly toxins but still contracted a troublesome eye-infection.
Fitting out supporting actress Margaret Hamilton for the role as the “The Wicked Witch of the West” meant painting her skin with green copper, exposing her to a clear carcinogenic risk. Even more perilous, in one hazardous scene Hamilton was nearly burned to death when a pyrotechnics feature went horribly wrong…requiring the actress to be hospitalised for a couple of weeks.
The film’s jinx extended to minor players like the munchkins (small colourfully-garmented characters portrayed predominantly by people with the condition dwarfism). The vertically challenged actors were grossly underpaid (‘Toto’, Dorothy’s dog in the movie was paid more than them!) and consequently they got drunk every night and reportedly ran riot on the set. Even Toto didn’t escape a mishap – one of the supporting actors accidentally stepped on him in a scene breaking the mutt’s paw and necessitating a canine replacement.
In the celebrated poppy field scene Dorothy and other characters get saturated in snow flakes, the only problem was the substitute snow comprised sheets of lethal asbestos![Power] Hollywood regularly used 100 percent industrial-grade chrysotile (white asbestos) in films, in White Christmas (1954) Bing Crosby got it poured all over him! Ray Bolger’s “Scarecrow” straw-filled costume was also lined in asbestos in order to be flame-proof [S Kazan, ‘The Wizard of Oz or The Wizard of Lethal Asbestos Exposure?’, (Kazan, McLaine, Satterley &’Greenwood], www.kazanlaw.com].
The curse for a time seemed to continue post-release. Although The Wizard of Oz is universally celebrated today as a classic of the cinema, it did not meet with immediate acclaim from either the public or critics. These reservations did not start to turn around until the CBS television network reintroduced the movie to the wider public in 1956. In 1989 the US Library of Congress nominated The Wizard of Oz as “the most-viewed motion picture on television syndication” [‘The Wizard of Oz (1939 film)’, Wikipedia, http://en.m.wikipedia.org]. Countless scores of viewers of the joyous spectacle of ‘Oz’ over the years would have been blissfully unaware of the unhappy, off-screen events that relentlessly dogged the production.
PostScript: Judy a victim of MGM’s mogul monster
MGM’s systematic abuse and exploitation of Judy Garland emanated from the very top of the studio – MGM head Louis B Mayer. To get the absolute most out of the studio’s new star Garland, Mayer maintained tyrannical control over all aspects of the Wizard of Oz star’s life⌖.
Mayer hooked Garland on a cocktail of drugs, having her fed alternating courses of amphetamines, adrenaline shots and downers like Seconal. And Mayer, to ensure that Judy, away from the studio, kept to the strict diet of coffee, chicken soup and cigs, had a battery of spies reporting back to him on the beleaguered actress’s behaviour [Neil Norman, ‘Dark side of Oz: The exploitation of Judy Garland’, Express, 05-Apr-2010, www.express.co.uk]]
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✳ Ebsen as a result of exposure to the deleterious materials was required to use a respirator for the remainder of his life (he lived to 95)
⌖ a mistreatment aided and abetted by Judy’s own mother Ethel who mercilessly drove the early show business career of Garland and her sisters, thinking nothing of feeding the three sisters pep pills to cope with the brutal workload she had burdened them with! [Norman]
As a counterweight to the surfeit of 1960s American television that comprised a large slice of my diet of home entertainment, my juvenile literary tastes back then were decidedly more Anglophile. Plunging into the graphic art world of the 1960s comic book I digested everything I came across catering for adrenalin-pumping, red-blooded British boys.
Desperate Dan, ‘The Dandy’
Among these beacons of popular culture were The Beano (which starred Dennis the Menace and Gnasher), The Dandy❈ (featuring Korky the Cat and Desperate Dan), Knockout (Billy Bunter), The Hotspur, The Rover (these two papers were prime examples of the “Boys’ Own Adventure” style of stories) and Eagle with its centrepiece inter-galactic hero ‘Dan Dare, Pilot of the Future’, not to forget Tiger which catered for British schoolboy football mania with the stellar-booted striker ‘Roy of the Rovers’. The individual comics were grouse fun but what I most enjoyed was the comic book annuals of The Beano, etc., where I could indulge myself in reading a whole end-of-year book comprising a cross-section of the comic’s different strips⚀.
At primary school in the sixties the punitive powers-that-be weren’t all that rapt in comic books as reading material…my confiscated copy of ‘Dennis the Menace Bumper Comic’ (before I had a chance to read hardly any of it!) bore witness to that. From what was on offer in the school library, the one children’s book I did take a shine to was Just William, I should say series of books because there 38 (some sources say 39) ‘William’ books in all! All of the books were collections of short stories, with the exception of one in novel form.
Author Richmal Crompton
Just William was the creation of female English author Richmal Crompton (Lamburn). As a child feverishly devouring all the William books I shared with the overwhelming bulk of readers the uncritical assumption that Richmal was a man. How wrong were we all!!! Miss Lamburn was a school mistress (ironically – in an all-girls school!) who contracted polio and spent the rest of her life writing the William series of books as well as 41 adult novels❦.
The character of William (surname: Brown) was apparently based on Richmal’s young nephew Tommy…in the books William is scruffy and untidy in appearance, and given to directness, rebellion and straight talking – which sometimes lands him in strife. He is the leader of his own small gang of school friends who go by the name of “The Outlaws” (comprising his best friend Ginger as well as two other boys, Henry and Douglas). William is 11, an age he stays at, despite the series of books stretching over a period of nearly 50 years! [‘Just William’, Wikipedia entry]
‘William the Dictator’ (1938)
Most of the books follow the ordinary run of events of William and the Outlaws entangling themselves in minor mischiefs, usually involving nothing worse than the ill-conceived idea of painting a terrier blue! But occasionally William strayed into more edgy and outright polemical territory. In the short story ‘William and the Nasties’¤ William’s band emulate Hitler and his fellow National Socialists in order to terrorise a local Jewish sweet-shop owner (featuring in the 1935 collection William the Detective [‘Five Fascinating Facts about Just William’, www.interestingliterature.com].
Just William’s topicality
A good number of the Just William books regularly reflected current events of their day. William the Conqueror (published in 1926) was resonant of European colonial power imperialism leading up to WWI. William The Dictator (1938) reflected the world’s concern with fascism and National Socialism. Similarly, William and the Evacuees (appearing in 1940) was set against the backdrop of WWII. In the post-war period, the superpowers’ preoccupation with the space race inspired new books like William and the Moon Rocket (1954) and William and the Space Animal (1956) [‘Just William’, Wikipedia entry].
Just William book spin-offs
With such popularity that the Just William books attained (12 million sales in the UK alone), they inevitably flowed through to adaptation to other forms – cinema (three films in the 1940s), two television series (one in the mid-1950s and the other in the early 1960s), radio and even theatre. As well, the schoolboy hero spawned a host of Just William merchandise…from jigsaws and board games to cigarette cards, magic painting books and figurines of William [‘Richmal Crompton’s Just William Society’, www.justwilliam.co.uk]
Celebrity fandom: Lennon as William
Some time after the Beatles visited Australasia in 1964 at the height of “Mop-top mania”, I remember hearing that John Lennon had been a fan of the fictional William in his boyhood. Lennon’s devotion to the books prompted him to form his own, real-life version of the Outlaws, moulding his friends Ivy, Nigel and Pete into a Liverpudlian boy foursome. With John of course as leader, the boys engaged in “small acts of defiance and daring” on their local turf [J Edmondson, John Lennon: A Biography (2010)]. The revelation that I had been propelled into the stratospheric company of such a youth icon as Beatle John, only served to magnify my primary school days zeal for all things William Brown!
PostScript: Continental comic book legends
My childhood taste in comics were not exclusively confined to the gold standard of British comics. Like millions of other children I was also captivated by those ancient Gallic tormentors of Roman legionnaires, Asterix and Obelix (Astérix le Gaulois by Goscinny and Uderzo). In equal measure I was in the thrall of Tintin, Hergé’s creation of a globe-roaming Belgian boy-reporter. Each comic album of The Adventures of Tintin was a lesson in political geography embroiling Tintin in high-stakes adventures in a new and exotic land. But as rewarding as the respective adventures of Asterix and Tintin were, in my book nothing quite scaled the same exalted heights of anticipation as did the prospect of dipping into the treasure trove of Just William’s world.
╼╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╼╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼ ╾╼╾
❈ The originals The Beano and The Dandy were of course far superior to the highly derivative and latter imitations like The Topper and Beezer and Cor!!
⚀ not to be overshadowed, schoolgirls had their own comics and annuals such as Bunty and School Friend Annual
❦ the most accomplished of which was Leadon Hill. The tone of the adult novels was more pessimistic than the Just William series, dealing with themes of divorce and infidelity [Danuta Keen, ‘Not Just William: Richmal Crompton’s adult fiction republished’, The Guardian, 21-Apr-2017]
¤ the name ‘Nasties’ is the result of William’s mishearing of the word ‘Nazis’
Last week I received, among the usual array of unsolicited online communications, something from a researcher from the London-based social communications company, Breakthrough Media. The pro forma email said that BM (my abbreviation, not theirs) was casting a new online TV series and were on the lookout for people aged over 50 (that’s me!) to be in the show…apparently they were particularly interested in folk in that demographic “who love to chat, have a laugh and would like to know how to Email, Skype, Facebook, Online Shop, Online Bank, or use the Internet” (capitalisation all hers!).
The message went on to say that they were “also looking for tech savvy friends, family members, or colleagues, who could team up with the Over 50 candidates to be their teaching buddy, during filming” (in August). What they specifically wanted from me was leads on “great potential candidates” for the program. Now, taken on face value, this all sounded innocent, admirable even, very community minded.
Elizabeth House: BM’s ‘anonymous’ London location
I had never heard of “Breakthrough Media”…just another of the new media start-ups in the ever mushrooming world of social networking I supposed, and usually I ignore such online pitches. But somewhat intrigued I decided to try to find out a bit about them. Their website would be a good place to start, I thought❈. It was however unsurprisingly jargon-laden and disappointingly short on substance…the website’s description of what BM was about, went “we design and build award-winning campaigns that tackle some of the world’s toughest social issues, helping our clients counter misinformation, prevent violent extremism, promote democracy and protect the environment”. Full of jargony generalities such as “our strategic thinking and our creativity are joined-up and informed by real-time audience engagement…(and) inspiring positive social change” (www.breakthroughmedia.org). In its job advertisements the company describes itself thus: “Breakthrough is a communications agency and production company. We specialise in conflict resolution, society building and countering violent extremism”. Again, the message resonates with progressive, international goals and desirable outcomes.
I turned to other, independent, commentators and observers of Breakthrough Media…frankly there wasn’t much on the web about the media company, but one fairly thorough dissection of BM’s role and its background was contained in a 2016 report by The Guardian on Britain’s RICU (the Research Information and Communications Unit) [‘Inside Ricu, the shadowy propaganda unit inspired by the cold war’, The Guardian, 03-May-2016, (Ian Cobain, Alice Ross, Rob Evans & Mona Mahmood)]. RICU was created in 2007 as an arm of the Office for Security and Counter-Terrorism (OCST) and funded by the Home Office. The Institute for Strategic Dialogue defines RICU’s function as “coordinating government-wide communication activities to counter the appeal of violent extremism while promoting stronger grass-roots inter-community relations [www.counter-extremism.com]. RICU’s work is a key part of Westminster’s anti-radicalisation program, ‘Prevent’.
The relationship between RICU and Breakthrough Media
Where does BM fit into the picture of RICU and its fight against extreme fundamentalism, terrorism and ISIS? The two have a contractual arrangement: RICU pays BM to produce digital materials, films, Twitter feeds, Facebook profiles, YouTube clips, and the like, which promote the UK government’s anti-terrorism policies. The propaganda, emanating from BM on behalf of the Home Office (BM unsurprisingly prefers the term “strategic communications”) is aimed at Muslim communities, the desired outcome being “a reconciled British Muslim identity”. As The Guardian report revealed, BM’s stratagem is to “influence online conversations by being embedded within target communities via a network of moderate organisations that are supportive of its [sic] goals”.
An uncomfortable and problematic relationship?
BM is well remunerated by OCST for its counter-terrorism work (earning a reported £11.8M during 2012-2016), but its role as a conduit for RICU has some disquieting aspects. BM’s contacts with Islamic communities, either directly or through its PR team Horizon Public Relations, is not transparent. BM represents its work to the public without disclosure of its connection to the British government. At least one former government minister has conceded (to The Guardian) that deception in the dissemination of the messages could damage trust between the government and Muslim citizens. Other outspoken critics of this practice include human rights lawyer Imran Khan and the vice-chair of the Institute of Race Relations Frances Webber who saw it as giving an appearance that Muslim groups had been co-opted to a government agenda [‘Revealed: UK’s covert propaganda bid to stop Muslims joining Isis’, The Guardian, 03-May-2016, (Ian Cobain et al)].
Advocacy groups and critics of the Home Office policy have complained that RICU/OCST uses the Muslim Civil Society Organisations (MCSO) as mouthpieces for their government counter-narratives, irrespective of whether the MSCO are aware of it or not [‘The Home Office is Creating Mistrust within Muslim Civil Society’, (CAGE, 16-May-2016), www.cage.ngo.
The Guardian also showed how RICU (as the paymasters) have an editing role in the finished work of Breakthrough…RICU’s head Richard Chalk is an occasional visitor to BM’s Lambeth office – Chalk can be found at times sitting in the edit suites and monitoring the BM productions. One source of the newspaper indicated whilst Breakthrough projects are not strictly scripted by RICU, they’ll “make it clear that they want a particular form of words to be used at a particular point in a film”⚀.
RICU and BM are also linked in a veil of secrecy in regard to the media, as The Guardian discovered. Neither parties allow their staff to talk to the newspapers about their roles in counter-terrorism. BM cited reasons of ‘confidentiality’ and ‘NFP’ to the The Guardian for its reticence. The paper’s investigative team did unearth the fact that even some of the freelancers employed by Breakthrough to do RICU’s clandestine bidding were unaware of BM’s (covert) connection with the British government.
Given the scale of the threat posed, the majority of Britons would have few qualms about the Home Office using its agencies to engage in “industrial scale propaganda” in a bid to counter ISIS’s propaganda machine and its success in poisoning the minds of some young Muslim Britons [B Hayes & A Qureshi, ‘Going global: the UK’s government’s “CVE” agenda, counter-radicalisation and covert propaganda’, (Open Democracy UK, 04-May-2016), www.opendemocracy.net]. BM have undeniably produced some good work in getting the message across, but where it becomes ethically questionable is when contractors like Breakthrough Media and co-opted NGOs present their counter propaganda whilst in the guise of being “independent, community-based campaigns”, when the reality is that the information they are disseminating to schools, university ‘freshers’ and the like is backed (and guided in most cases) by the government.
❈ a number of the links on the website menu were broken at the time I accessed it…that internet know-how training they were talking about might have come in handy in the BM IT department!
⌖ OCST itself was the successor to IRD (Information Research Department), a top-secret body set up by Britain’s Foreign Office in 1948, during the early dawn of the Cold War, and wound up the same year Elvis died (1977).The Independent has drawn attention to IRD’s questionable record during its existence of disseminating anti-Communist propaganda routinely exaggerating stories of Soviet atrocities and anti-British plots, S Lucas, ‘REAR WINDOW : COLD WAR :The British Ministry of Propaganda’, The Independent, 26-Feb-1995, www.theindependent.co.uk
⚀ The Guardian also disclosed that BM’s founding directors have pre-existing links to the governing Conservative Party
The 1920s was a decade for innovations in communications, as we saw in the earlier related blog “Modern Mass Culture in the 1920s I” which dealt with public radio, the emergence and popularisation of the medium in the US and world-wide. The 1920s also ushered in another form of mass media which would become the most momentous innovation in communications and public entertainment of the century – ‘talking’ motion pictures.
For the last 80 years sound has been integral to world cinema, giving the hitherto silent film an added dimension, building depth into the structure of the storyline. As for its filmic predecessor the silent movie, where are we most likely to see it these days?❈ Commercial screenings of silent era films are rare birds indeed … if we seek them out, we might find them if we’re lucky in an old, suburban Art Deco picture theatre, the initiative of a handful of specialised film societies dedicated to preserving the memory of the lost art form. Or we might catch grainy, monotone snatches of an old silent pix as archaic footage on TV docos. When we do manage to view a silent movie we are often struck by how unrealistic, how stylised they appear today, how over-the-top and melodramatic the acting seems. In the decade-and-a-half up to the late 20s the truth however is that silent films and the star actors of the day had an appeal to their doting audiences that was real and totally captivating.
The Jazz Singer
The advent of talking motion pictures did not come about because of a growing dissatisfaction with silent pictures on the part of film-goers. On the contrary patrons of cinemas were completely happy with the ‘product’, the experience, as it was already. Actually, ‘silent’ movies were not really silent, they had accompanying mood or background music provided by an orchestra or a piano to set the tone of particular scenes. As well, title cards (sometimes called “inter-titles”) were interspersed between shots to advance the story, or to clarify what was happening for the audience. Screen-transfixed audiences would engross themselves in the story action, the emphasis on body language and facial expression by actors to convey strong emotion (emoting ‘feelings’) and meaning. Prior to The Jazz Singer (1927), audiences hadn’t wanted to hear actors talk (or at least they hadn’t expressed such a wish)[1].
The coming of sound
Specific technological challenges needed to be overcome to realise the successful application of sound to film. Amplification had been addressed with developments in the phonograph and the viability of radio transmission facilitating public radio. The hub of the problem was synchronising the action, the visual image, with the sound recordings of spoken dialogue, music and sound effects.
Duelling sound systems
Enter Vitaphone … Vitaphone was an analogue sound-on-disc system developed by Western Electric (a subsidiary of IT & T) in competition with an alternate system devised by RCA/General Electric, which used a sound-on-film method. A number of companies experimented with sound-on-film methods (Fox Movietone, the German company Tri-Ergon, DeForest Phonofilm, RCA Photophone), this ultimately led to the development of a superior and more versatile analogue system to that of the more haphazard dual-processing Vitaphone[2].
↗ Warner Bros Vitaphone production of ‘Don Juan’
Warner Brothers however were committed to the Vitaphone system and utilised it first on the 1926 film Don Juan which had synchronised music and sound effects, but wasn’t a ‘talkie’ (as it contained no spoken dialogue). The followed year they took it a step further with The Jazz Singer , the first (partly) talking movie, which audiences took an instant liking to, especially the presentation of Al Jonson’s songs¤.
Sound movies in, silent films out: an “overnight sensation” which took several years to happenThe Jazz Singer was a calculated gamble by Warner Bros which was in a financially precarious position at the time, but it turned out to be a ‘game-changer’ for the then minnow studio Warners and for cinema’s future as a whole … its positive reception signalled that audiences wanted sound. But this transformation from one type of feature film to another was no sudden event, the process away from profitable silents was a gradual process. First to emulate Warners was 20th Century Fox with its Movietone system, soon the other major studios followed the trail-blazers into sound. The big Hollywood companies tended to play it both ways at first, none of them stopped making silent films straight away. After all, how profitable talkies would become was still to be seen. In the two years following The Jazz Singer ‘s release, the major companies made a mixture of productions – some all-silent, some all-sound and some part-sound movies[3].
The major film companies’ decision to convert to sound, according to Donald Crafton, had mainly to do with power politics in the industry. Paramount and MGM held an oligarchic hold over the industry in the mid 20s, controlling not only the production of its films but the distribution and exhibition of them as well (vertical integration which was what Warners aspired to as well). Warners’ and Fox’s unilateral venture into the talkies was seen as a threat to the big boys’ hegemony and necessitated the majors’ eventual venture into talkies. The other minor studios including RCA and UA which didn’t immediately opt for sound pictures still survived as silent film-makers[4].
∝∝∝∝∝∝
Endnote: The “Big Five” and the “Little Three”
By the 1930s the Hollywood hierarchy, after a series of expansions, mergers and takeovers, had settled into an (unofficial) two-tier industry power structure:
⁍ The Big Five: MGM, Paramount, Fox, Warner Bros, RKO
⁍ The Little Three: Columbia, Universal, UA (United Artists)
∝∝∝∝∝∝
Sound at a price
Various factors acted as a speed bump in the transition to sound movies. There were new financial costs for the industry to take account of. Cinema theatres had to be wired for sound, the cost of which was almost prohibitive – in 1927 only 400 theatres in the US of the multiple thousands were thus connected … by the end of the decade over 40% of the country’s movie theatres had sound systems installed in them[5]. A background factor occurring concurrently with the studios’ efforts to sort out the wrinkles involved in sound pictures was that public radio in the US was still in the process of trying to establish a foothold of its own.
The international language of silent films
The silent cinema had a linguistic universality to it, exporting an American film to a non English-speaking country merely required translating of the credits and title cards. But with sound films this restricted markets for American and English films, and dubbing into the local language was an added expense[6].
↘ Clara Bow
The ‘sound’ of silent stars
From the perspective of the actors, especially those who had established their niche in the silent era, there were formidable challenges to transitioning to the new, sound medium. Acting in sound movies and the whole dynamic was different, they discovered, sometimes to their cost. Actors now had to memorise their lines beforehand, and on set they had to not stray far from the microphones, basically stand still and recite their lines clearly. The voice became THE issue for many established silent stars … a number of Hollywood actors could not make the transition❉. Some with heavy foreign accents like Emil Jannings, Vilma Banky and Pola Negri had voices that sounded harsh, unmelodious and muffled on-screen. Other top silent stars were similarly hamstrung by their voices – John Gilbert sounded weak and squeaky on screen✾, and Clara Bow and Norma Talmadge had flat Brooklyn accents – which didn’t suit their romantic lead personas[7].
Other silent film heavyweights had an instant aversion to the idea of sound films and avoided them, eg, leading silent actress Mary Pickford simply retired from acting rather than change over to sound; Charlie Chaplin, whose craft relied heavily on mime, never really embraced talkies and proceeded to make films only irregularly into the sound era (his Modern Times in 1936 was a film without spoken dialogue). Myrna Loy, an actress who successfully made the transition to sound, has recollected how much silent movies were loved. Fans felt as though that they possessed an ‘intimacy’ with their favourite Hollywood stars. Like many contemporaries Loy believed that the art of pantomime was perfected in the silent film[8].
The new medium hamstrung by technological limitations
The new sound technology transformed how movies were made, the ambience on the set completely shifted in a manner directors found inhibiting. Directors, accustomed to shouting directions to actors whilst scenes were being filmed, were hushed up by sound technicians who now in effect called the shots, demanding silence on the set so that incidental noises didn’t interfere with the recording of dialogue❦. Not only did directors feel that sound imposed a break on their free rein over the set, but the movie studio heads felt a similar loss of the financial control of their pictures … sound film production required a huge capital outlay of studios which meant that producers and moguls couldn’t keep the same tight budgetary holds on film expenditure as they previously had[9].
Directors weren’t the only movie personnel affected by sound. Projectionists at the back of the theatre had their work doubled, now having also to operate phonographs as well as projectors during screenings … the projectionist needed to be ever alert as the equipment had a tendency to jump around and result in a loss of synchronicity between image and sound. Again technological breakthroughs eventually came to the rescue after a new type of film was invented allowing for the sound to be recorded directly onto the film itself[10].
Paramount Studios
The take-up of sound films spelled bad news for a myriad of theatre musicians … the silent era had been a fruitful source of employment for them, but once movie houses had installed sound systems their services were no longer needed. On the other side of the coin, talking pictures required fully fleshed-out screenplays and the coming of sound was a boon for scriptwriters![11]
The early sound equipment was an impediment to the filming of action scenes. To avoid the camera noise being picked up by the sound recorder, the cameraman had to be ‘quarantined’ off in a stationary box to the side. Bereft of the freedom of movement enjoyed in silent movie-making, talkies became just that, static scenes in which characters stood round talking to each other (derisively referred to by some as “tea cup dramas”). The lost spectacle of the silents’ scenes of fast-action adventure caused disquiet among the audiences of early talkies. Within a few years this problem was overcome with the creation of new, quiet cameras[12].
For a section of the viewing audience who had enjoyed silent movies, the coming of sound to the cinemas created a new, consequential problem. Talking films per se excluded movie-goers who were deaf or had hearing issues. Some theatres tried to compensate for this by providing special headphones, but these were not fully effective and were of no help to those people who were completely deaf[13].
In time all of the problems and obstacles that came with the emergence of talkies were more or less ironed out … by 1930 the film-going public had voted resoundingly in favour of sound movies at the box-office – audiences at US picture theatres by 1929 had hit 90 million per week, up from an average of 50 million per week in 1920[14].
PostScript 1: Silent film stars – the ‘superstar’ sui generis thesis
The prestige and kudos of Hollywood movie stars circa 1920 was at an unparalleled high in American society. The personas of silent movie stars often came to take on a “godlike” status. As Jeanine Bassinger describes it, the film star of the early 1920s had a “level of adulation that simply had not existed before movies were invented”[15]. The leading silent stars like Douglas Fairbanks, Buster Keaton, Chaplin and Pickford, were uniquely celebrated and adored by the public to a level not achieved by later film stars even in the “Golden Age of Hollywood”. The silent stars of the screen were modern society’s first superstars, they did not have to compete for the public’s affections as the later sound film actors did. They were no pop or rock stars in the 1920s to share the limelight with … similarly, stars of spectator sports in America were very much still a phenomenon in the making[16].
And yes there were celebrities and high achievers in the performing arts prior to the advent of motion pictures – standout performers from theatre, vaudeville, opera and burlesque – but these stars were never remotely on anything like the (global) scale of silent film stars, who engendered mass adulation in their fans felt that they had an intimacy with their favourite screen stars.
PostScript 2: The slow drift toward an international cinema of talkies
This blog has concentrated on the story of the evolution of sound pictures in America – elsewhere things took longer to evolve. Cinemas in Europe were not fully wired for talking pictures till the 1930s, and the USSR and Japan were still making silent films into the mid thirties. Once sound (belatedly) consolidated itself in these overseas film industries, it sparked a surge in the international production of talking pictures in native languages[17].
╼─━┄┅┈┉─━┄┅┈┉─━┄┅┈┉─━┄┅┈┉─━┄┅┈┉─━┄┅┈┉╾
❈ in the sound era only a very select few film-makers have maintained fidelity with the spirit of the silent movie, Jacques Tati is one such throwback whose cinema harks back nostalgically to the silent days of Chaplin and Keaton with its reliance on visual gags interspersed with a modicum of incidental and incoherent dialogue
¤ Warner Brothers’ 1927 sound picture triumph has been attributed to a greatly improved quality of sound in the Vitaphone system, (‘Bob Allen asks… Why the Jazz Singer? … and puts forward a personal theory’, www.web.archive.org)
❉ there were of course a number of established silent movie actors who did successfully make the switch to talkies, including Greta Garbo, Joan Crawford and Laurel and Hardy
✾ in Gilbert’s case new technology did him no favours – his high-pitched voice on film was perhaps made worse by sound adjusters giving his voice too much treble. A suspicion at the time was that the studio deliberately sabotaged the actor because his salary (highest in Hollywood) was costing them too much, (‘Talkie Terror’)
❦ the 1952 film Singing in the Rain accurately captures the shambolic disruption to the profession of film-making brought about by the advent of the talkies … the recent French film The Artist also concerns itself with this subject
[1] E Thompson, ‘A Very Short History of the Transition from Silent to Sound Movies’, (Wonderstruck), (2011), www.wonderstruckthebook.com; ‘Silent Film’, Wikipedia, http://en.m.Wikipedia.org. Two years after the first sound film there was still much negativity about talking pictures, even the premier industry magazine, Variety, opined in 1929 that “movie stars should be screened, not heard”, M Donnelly, ‘The Birth of the “talkies” sounded the death knell for many silent stars’, Daily Telegraph (Syd.), 02-Jul-2016, www.dailytelegraph.com.au
[2] D Hanson, ‘The History of Sound in the Cinema’, (1997), www.cinematechnologymagazine.com
[3] C Gallagher ‘Introduction’ in C Gallagher et al, ‘The Silence After Sound: Hollywood’s Last Silent Movies’, 08-Feb-2009, www.notcoming.com. It became standard practice at this time for production companies to make the same movie in both talking and silent versions
[4] a number of theatres in America did close after the changeover to talkies but Crafton attributes this more to other economic factors, such as increased radio listening and automobile driving, D Crafton, The Talkies: American Cinema’s Transition to Sound, 1926-1931
[5] ‘The History of Film’ (The 1920s – Part 4) (Tim Dirks), (AMC Filmsite), www.filmsite.org
[6] ibid.
[7] the studios employed diction and voice coaches to aid those contract performers struggling with their voices and elocution, although some contemporaries opined that they could have done more to help the actors adjust, J Doyle, ‘Talkie Terror, 1928-1930’, (The Popular History), 19-Oct-2010, www.pophistorydig.com; Thompson, op.cit.
[8] cited in G Flatley interview, 1977, ibid.
[9] ‘Talkie Terror’, loc.cit.
[10] Thompson, op.cit.
[11] ibid.; ‘The Advent of Sound: 1927-1930’, www.cinecollage.net
[12] Thompson, ibid.
[13] ibid.
[14] ‘The Formation of Modern American Mass Culture’, (Digital History), www.digitalhistory.uh.edu
[15] Excerpt from ‘Silent Stars’ (by J Basinger), New York Times (1999), www.nytimes.com
[16] although the 1920s did witness the beginnings of newspaper-‘created’ sports stars, eg, Jack Dempsey and Babe Ruth, ‘Digital History’, loc.cit.
[17] ‘The Advent of Sound: 1927-1930’, loc.cit.
In 1920 the American public was enraptured with the still relatively new medium of film and with the growing phenomenon of movie stars – silent films were all the rage with people from all strata of society. But technological breakthroughs were already opening up new choices for consumers of mainstream entertainment in the US and the wider world.
Early radio days
That same year, 1920, following on the pioneering breakthroughs in Marconi and Tesla and a host of other contributors to the development of radio[1], the first federal licence was granted in the US to radio station KDKA (owned by the Westinghouse Company) in Pittsburgh, Pa. KDKA started with sport, broadcasting prize fights and Major League Baseball.
Early radio activities in the US were intended as a public service, not-for-profit, RCA (Radio Corporation of America) was formed as a government-sanctioned radio monopoly. RCA with David Sarnoff the instrumental figure in the company But with big business (including newspapers) making an investment in the novel form of communication with the singular purpose of making a financial ‘killing’ from it, this was destined eventually to ride roughshod over the altruistic public service function.
Ad for Atwater Kent Receiver
The Corporatisation of radio
Big business interests in the US was taking account of the brand new medium. Corporate America wanted in on the action and was looking for ways to make radio pay¤ … advertising was the key. Radio broadcasting had moved from the pre-1920s phase of inventor/entrepreneurs like de Forest (see below) and Aubrey Fessenden⌻ and amateur operators to profit-conscious organisations in the vanguard. The first radio ad appeared in 1923 on station WEAF in New York. In a familiar pattern of oligarchic business expansion, many of the existing stations coalesced into networks, big players like RCA (later morphing into giant NBC – National Broadcasting) and its rival network, CBS (Columbia Broadcasting System), who were able to secure the top advertising revenue returns on their commercial stations. By 1930 nine out of ten US radio stations were selling advertising time[2].
Table 1 (below) illustrates how the number of US radio stations rose exponentially from a very low base in 1921:
Year
№ of Stations
1921
5
1923
556
1927
681
1940
765
Source: CH Sterling & JM Kittross, Stay Tuned: A History of American Broadcasting (1978)
⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮
Table 2 (below) illustrates a similar growth in the revenue dollar from US radio:
Year
Advertising Revenue of radio stations
1927
$4.8million
1930
$40.5million
1940
$215.6million
Source: CH Sterling & JM Kittross, Stay Tuned: A History of American Broadcasting (1978)
⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮⚮
Federal Communications Commission (emblem)
Chaotic airwaves rule OK!
In the early days reception wasn’t great with the majority of listeners relying on very basic, home-made crystal sets (the eventual advent of amplifying receivers addressed some of the shortcomings). Listeners were blighted by recurring problems with the on air broadcasts … the stations’ frequencies were continually being interrupted by other radio transmitters who would suddenly cut in on them in the middle of a program[3]. Stations regularly ran experimental programs which were a mishmash of hits and misses. The airwaves were a haphazard free-for-all until measures were taken to regulate the industry in 1927 with the Radio Act. The Act empowered the Federal Radio Commission to reallocate radio frequencies into a geographical zonal system with licenses, time of operation, station power and wavelength to be equally allocated. This system however worked less than perfectly[4].
A revolution in home entertainment
Within a few short years the stations got their acts together and with improved technology and more receivers available, the American population embraced the mass media of radio. People would hold invite friends over for “radio parties” in their homes. Teenage and adolescent listeners would tune in and dance to jazz programs (the music de jour of the 20s). Radio quickly became a central part of American lives. From fairly limited offerings at first, eg, music, reading the latest news items✥, sporting broadcasts, stations started to offer quality and variety … radio shows had become the go-to form of entertainment – detective serials, westerns, comedies, romances, children’s shows, were all very popularly received. The soap opera✾ (drama serials containing multiple characters with intertwined, often emotionally fraught lives), the one significant invention of radio, became the staple cultural diet of many listeners[5].
By 1929 radio was reaching 10,000,000 American households. One of the most popular programs was Amos ‘n Andy, a form of audio entertainment which unfortunately also served to disseminate racial and cultural stereotypes (in this case reinforcing a derogatory view of African-Americans). When the phonogram invented earlier by Thomas Edison, was commercialised, the proliferation of record players in homes alongside radio sets gave Americans a “new world” of home entertainment[6].
Other countries in the western world rapidly followed America’s lead in the spread of the AM radio phenomena[7], one that would grip and enthrall listeners world-wide until the commercial introduction of public television in the 50s would eventually assume that mantle of shaping or reshaping mass communications.
“Welles-storm”
PostScript: Radio ‘pyrotechnics’ – the ‘invasion’ of America
There has been no better illustration of the sheer, mind-bending power of radio than enfant terrible and soon-to-be Hollywood directorial luminary Orson Welles’s 1938 broadcast on national radio. Welles’s performance of The War of the Worlds (by Sc-Fi pioneer writer HG Wells) spooked the nation (or at least the one-fifth of the over one million listeners to the program who were thrown into a panic by the calamitous ‘news’!) … the radio audience were fooled into believing that they were hearing a live report of an actual invasion of Earth by spaceship-transported Martians[8].
╼╾╼╾╾╼╾╼╾╼╾╼╾╼╾╼╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╼╾╼╾╼╾╼╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╼╾╼╾╼╾╼╾
❈ the involvement of leading newspapers in the new medium was interesting considering that radio early on was promoted as “the newspapers that come through your walls”
¤ the development pattern was different in Europe – in Britain the government agency, BBC (established in 1922) was the guiding light for public radio’s progress
⌻ undertook pioneering work in laying the foundations of AM (amplitude modulation) radio
✥ the delivery of ‘instant’ news through the air waves was a transformation for “Joe and Joan Public” who no longer had to wait to the next day to read about the latest events in their daily newspapers
✾ so named because it was the norm for soap companies to sponsor this type of day and popular evening radio programs (Scott, ‘History of the Radio Industry’)
[1] it would be remiss here not to single out the pioneering contribution of Lee de Forest whose invention of the Audion vacuum tube most possible live radio broadcasting, an amplifier and transmitter which was the “key component of all radio, telephone, radar, film, television and computer systems before the invention of the transistor in 1947” (‘Lee de Forest American Inventor’, Encylopedia Brittannica (RE Fielding),www.brittannica.com
[2] CE Scott, ‘The History of the Radio Industry in the United States to 1940’, www.eh.com
‘History: 1920s’, Advertising Age, 15-Sep-2003, www.adage.com
[3] ‘The growth of radio in the 1920s’, (Mortal Journey), (08-Apr-2011), www.mortaljourney.com; ‘Emergence of Radio in the 1920s and its Cultural Significance’, www.xroads.virginia.org
[4] ‘Federal Radio Commission’, Wikipedia, http://en.m.wikipedia.org
[5] Mortal Journey, loc.cit.; ‘The Formation of Modern American Mass Culture’, Digital History, www.digitalhistory.edu; ‘Soap opera’, Wikipedia, http://en.m.wikipedia.org
[6] Mortal Journey, op.cit.. Edison’s phonograph paved the way for the eventual development of sound technology for films
[7] later, in the 1930s, advances spearheaded by Edward H Armstrong led to the invention of FM (frequency modulation) radio – which prompted a backlash by Sarnoff and RCA and the breakout of an “AM Vs FM war”, ‘FM broadcasting in the United States’,
Wikipedia, http://en.m.wikipedia.org
[8] B Lenthall, Radio’s America: the Great Depression and the Rise of Modern Mass Culture. The Story of the Century, (2007), www.press.uchicago.edu
John Clarke: Trail-blazing Parodist, Lodestar, Daggstar
John Morrison Clarke died, most unexpectedly, in the Victorian wilderness a day-and-a-half ago. An ordinary looking man with an ordinary (unremarkable and yet distinctive) voice, but an ‘Everyman’ with a towering gift for communicating parody and travesty with coruscating clarity!
John Clarke, born and raised in Palmerston North, New Zealand, but domicile in Melbourne, Australia, for the last 40 years, was a uniquely talented satirist, TV comedian, comic writer and actor. The word ‘genius’ gets carelessly bandied around way too much these days, but in appraising the oeuvre of Mr John Clarke it finds a true home.
Daggstar completely out of the box
Whilst in New Zealand Clarke developed and refined the character of Fred Dagg, a stereotypical, blunt-speaking farmer from the North Island, with long straggly hair and perpetually clad in a black singlet and gumboots. Fred Dagg got Clark’s idiosyncratic brand of humour into the spotlight of New Zealand television. By 1977 Clark had outgrown both NZ and (so it seemed) Fred Dagg and moved to the bigger canvas of Australia❈. Clarke wasn’t however quite done with Fred Dagg – in Australia Fred resurfaced as a real estate ‘expert’ with his guide for would-be home buyers providing the “good oil” on avoiding the pitfalls inherent in the spiel of property agents – as the following “bullshit-busting” sampler of his trenchant wit testifies:
• a “cottage” is a caravan with the wheels taken off
• “genuine reason for selling” means the house is for sale
• “rarely can we offer” means the house is for sale
• “superbly presented delightful charmer” doesn’t mean anything really, but it’s probably still for sale!
• “privacy, taste, charm, space, freedom, quiet, away from it all location in much sought-after cul-de-sac situation” means that it’s not only built down a hole, it’s built at the very far end of the hole
• “a panoramic, breathtaking, or magnificent view” is an indication that the house has windows, and if the view is “unique”, there’s probably only one window
Fred Dagg AKA John Clarke was no admirer of the realty and property game and the proclivity of estate agents to be “fast and loose with the truth”, and he gave us the following memorable job description of what they really do:
“The function of the agent basically is to add to the price of the article without actually producing anything” (gold!)
(and how to recognise an actual estate agent when you see one)
“If you’ve got gold teeth and laugh-lines around your pockets, you’re through to the semis without dropping a set”.
There was so much to the creative output of Clarke comma J, and so much variety too … screenplays, film acting, radio, stage work, television, songs, books. Clarke’s art didn’t fit into any one particular mould, he was, to use Martin Luther’s expression, an “irregular planet which cannot be fixed among the stars”, always inventing, moving on and reinventing, exploring something new that had piqued his interest.
My personal favourite John Clarke masterwork is the Complete Book of Australian Verse⌖. This nugget of gold is a series of early Nineties recordings in which Clarke audaciously and imaginatively reinvents the “Canon of Great British Poets”, relocating it to regional and outback Australia. Clarke ‘discovered’ the existence of an Aussie poet “laureate-hood” comprising “dinky-di” Australian poetry ‘greats’ with Antipodean-sounding names like ‘Shagger’ Tennyson, ‘Stumpy’ Byron V.C, ‘Gavin’ Milton and “Fifteen Bobsworth” Longfellow⊛.
Clarke’s sublime riff on these fictional masters of Australian poetry is incisively, deeply humorous, and both wise and pretentious-sounding at the same time! Absurdly funny stuff, especially when uttered in John’s wonderful flat, disinterested, monotone voice (“he was sentenced to three years jail for insulting a lobster in a Sydney restaurant”) … Clarke’s clinical dissection of (then) Leader of the Opposition John Howard is a devastatingly savage takedown the future PM…to paraphrase playwright Simon Gray, it “made me laugh so much that I was prepared to overlook its essential cruelty”. Clarke’s poem entreats Howard—who had failed twice to win the top job in Canberra—to change his vocation:
‘To a Howard’ by Rabbi Burns
Wee, sleekit, cowerin, tim’rous beastie,
I know tha’s probably doing thy bestie,
…………………….
Thou’ll try wi’ th’ gunnery up at the range,
Thou’ll no have much truible, thou’ve dun it afore,
Thou’s an expert for a’ that; look, ‘Wanted: Small Bore’.
With ‘A Child’s Christmas in Warrnambool’ Clarke produces a poetic tour de force by turning Dylan Thomas’ classic winter-scene ‘A Child’s Christmas in Wales’ on it’s head, transforming it into a children’s nostalgic celebration of Australian summers past:
“The smell of insect repellant and eucalyptus and the distant constant bang of the flywire door”/”the fridge of imperishable memory”/”the wide brown bee-humming trout-fit sheep-rich two-horse country”/”some middle-order nephew skipping down the vowel-flattening pitch and putting the ball into the tent-flaps on the first bounce of puberty”.
The Complete Verse‘s eclectic compilation includes a coruscating if excruciatingly painful piece by “Sylvia Blath” which is both riotously funny and disturbingly harrowing at the same time. Clarke weaves into the poem Sylvia’s harangue of her dead father who “danced upon my cradle, as I Annexed the Sedatenland” and ends with an unexpected and wicked twist (a crossed-phone line channelling of Germaine Greer!!!): “Daddy Daddy I’m through, Hello? Germaine … I can hardly hear you, this is a very bad line.”
Since the 1990s Clarke had been an on-screen constant feature with his famous series of mock political interviews (“two-handers” with Bryan Dawe as the straight-man ‘innocently’ asking questions which were fodder for Clarke’s witty retorts) … the one-liners just rolling off Clarke’s golden and acerbic tongue, skewing high-profile politicians left, right and centre:
(pricking at the bluster of an overbearing state premier)
“I’m not interested in doing the most intelligent thing … I’m JEFF KENNETT!
Prime Minister Hawke’s robust “Alpha male”, over-enthusiastic response to the question of how fit he was after a recent op:
(I’m so fit that)
“I’m a danger to shipping!”
Clarke was a wordsmith that other satirists and comic writers in Australasia must have looked at with a mixture of admiration and envy … he simply had such a razor-sharp, punchy, economical and hilarious way with words.
And there was much more to John Clarke’s stellar CV – such as his ‘invention’ of the cliché-ridden ‘sport’ of farnarkeling for The Gillies Report, and not to forget the manifold brilliant riffs on finance, business, the economy, the public service and the environment (“the front fell off (and) we towed the ship outside the environment”). Clarke was a trail-blazer in television comedy … his “on the money” take on the crazy, shambolic world of Olympics bureaucracy The Games was a template for other later projects which explored the thorny terrain of corporations and officialdom (such as Utopia) and it informed the BBC’s contribution to the 2012 London Olympics campaign.
John Clarke’s sudden, most untimely death leaves a Sydney Opera House-sized hole in Australian and New Zealand satire – and I shall never forget that voice – as with Billy Bragg’s, so distinctive, and as with Joe (Dragnet) Friday’s, so deadpan matter-of-fact … or his trademark mischievous grin and the sparkle in the eyes.
⚜⚜⚜
Vale John Clarke … thank you for entertaining and delighting us for so long and enriching the lives of so many people all the way from Palmerston North to Perth and far beyond. John’s song lyrics were wrong in one respect … there are countless people in the two Trans-Tasman countries that he lived and worked in who do know “how lucky” they were to have him, albeit for too short a time✥.
Footnote: I didn’t realise until now that Clarkey was responsible for introducing that quintessentially Australian term “budgie smuggler” into the vernacular lexicon of the nation, to the regret of one former PM (not Howard) and the joy of everyone else!
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❈ his unusual accent didn’t really fit the clipped English speech pattern of “Nu Zillunders” anyway
⌖ the success of which was followed up by the Even More Complete Book of Australian Verse
⊛ other ‘Oz’ poet-luminaries include b.b.hummings, TS (Tabby Serious) Eliot, Ewen Coleridge, Ted Lear and many more
✥ one of the incomparable Fred Dagg’s best-known songs was entitled “We don’t know how lucky we are”
A large part of the focus in the Big Bash League, currently showing on a TV screen near you, is on the hitting of sixes. Perhaps I should say, more accurately, a large part of the commentators’ focus anyway. The fast food-spieling game-callers strive to outdo each other in exaggerated amazement at the distance each six travels (electronically measured) and lap up every crowd catch or would-be catch.
Those Goliaths of commercial cricket, Channels 10 and 9, structure their marketing of T20 and List A games around the action of big six hitting, highlight packages thrive on a roll call of sixes and the frenzied crowd reaction.
Everything is geared towards facilitating the hitting of sixes; the boundary rope positioned some distance in from the fence as a safety measure to prevent serious injury to fielders sliding into the boundary palings (in the manner befalling Simon Jones at the Gabba in 2002), allied with modern bat technology and fielding restrictions. The outcome; sixes have become as commonplace as cooking programs on the box, it’s all too easy for the top batters in T20.
Consequently hitting a six has been devalued as an achievement, it is no longer considered anything that special or exceptional, just something really to be expected or anticipated … this ball, next ball, next over.
Basil Fawlty in the ‘Rat’ episode of Fawlty Towers (many of you will no doubt recall it) takes back an over-generous portion of veal cutlet he has just served up to the public health inspector for the third time, saying to the exasperated inspector, “Too much of a good thing always leaves one wanting less, I always find.” So it is with the spate of faux sixes that pass over the rope without clearing the fence. Incidentally, I just don’t get it! How can the ball lobbing on the full on the rope be considered a six, given that when the full field was previously used in matches the ball had to clear the white picket fence to register a six (whereas hitting the traditional white pickets on the full was only four). It seems to be simply all about making it easier to hit a six … sixes and wickets, the constant flow of both is the raison d’être of the limited overs game.
My proposition is that we reintroduce the score of five to correctly acknowledge the devaluation of this lesser six. Before the Great War a stroke that cleared the boundary line or fence on the full was worth ‘five’ (a little later it was adjusted up to ‘six’ to give the shot a fairer proportional differentiation to a ‘four’). A five could be awarded for a shot that lands over the rope but does not clear the fence.
The difference between a ‘5’ and a ‘6’ might not amount to much in the scheme of an individual’s innings (below see Footnote) but it does justly reward the superior hit, a real six which truly is “hit OUT of the field of play”.
Footnote: Although it could make a substantial difference to a batter’s score as the following example illustrates – in a Sydney grade cricket match in 1903 the great pre-WWI batsman Victor Trumper—in a sizzling innings of 335 in 165 minutes—hit the ball 22 times out of the playing perimeter on the fly and was awarded a five for each of the clearances of the fence. If achieved under the amended rules Trumper would have scored 357.
A Rector is a type of office-holder pertaining to both the ecclesiastical and the academic realm. It is in this second context of the term, that of academe, that is the focus of this blog. The word ‘rector’ itself derives from the Latin regere (Ruler), and in the 17th century it signified one who governed a city, state or region. In the contemporary world of universities it is widely employed in Europe, Latin America, Russia, Pakistan, Philippines, Indonesia and the Middle East. Its meaning varies from place to place, in some of these the term ‘rector’ is used in the sense of chancellor, ie, the executive head of a university, but much more likely it denotes the ceremonial head (in a British University the real power would usually reside with the vice-chancellor rather than the chancellor).
The Ancient Universities of Scotland (Aberdeen)
In the English speaking world the rector is not a common office in the university hierarchy, the exception to this being Scotland where the post dates back to the 16th century. Each of the four ‘ancient’ universities of Scotland (St Andrews, Glasgow, Aberdeen and Edinburgh) plus Dundee – all have the office of rector, in some cases it is called, more grandly, lord rector. Scottish rectors are elected by the student body for a three year term, although at the University of Edinburgh rectors are still elected by both students and staff.
In the sphere of higher education the duties of rectors vary from institution to institution but broadly they are there to represent the interests of students in the wider university context on various governing bodies, eg, in Scotland they might also chair the University Court, the highest governing council of the university. One way they directly represent students is in an ombudsmen’s role, being a forum for students to air their grievances and complaints and a conduit to have their issues addressed within the university. Other duties of a rector might include participating in convocation ceremonies [‘What does the Rector even do?’, http://queensu.ca/rector/blog/].
In past centuries the Scottish tradition was for noblemen as rectors, titled gentlemen with a assortment of names sounding like variations on the “8th Earl of Cumbleyheathwaite”. By the 20th century the post tended to be filled by high achievers from business, politics, the civil service, the military, and the occasional notable clergyman. In the interwar period St Andrews set a precedent, by electing inventor Guglielmo Marconi, North Pole explorer Fridtjof Nansen and writer Rudyard Kipling to the post. After WWII Edinburgh University followed suit by electing the popular British actors Alastair Sim and James Robertson Justice, having earlier given the post to Churchill and a host of other MPs.
“Nero” as Rector…Peter Ustinov actually. If it was the historical Nero, most likely he’d have been “wrecker” rather than “rector”
By the late sixties and the seventies celebrity rectors were starting to become a feature of the academic landscape. Students at Dundee University elected actor and “Renaissance Man” of letters Peter Ustinov for a second term which seems a measure of his popularity … perhaps this was not universally the case however. In his memoirs Dear Me, the rector emeritus expressed stinging criticisms of the arts students at Dundee for having the temerity to protest vociferously against the Vietnam War and militarism and authoritarianism in general, whilst under his watch. The peeved thespian compared them unfavourably to the University’s political and socially apathetic but scholastically conscientious engineering students.
Other colourful rectors followed at Dundee. Actor and omnipresent TV personality Stephen Fry was a popular rector in the 1990s, a popularity apparently not tarnished by Fry’s recent admissions that he used cocaine and Ecstasy during his rectorship at the University [Reported in The Courier (UK, 14 Oct. 2014) www.thecourier.co.uk ]. NB: the good burghers of the Dundee University community, if perturbed by this revelation, should take comfort in Fry’s disclosure in his memoirs that he also snorted coke on a visit to Buckingham Palace, so Dundee is in lofty company. The incumbent rector of Dundee University in 2015 is another celebrated Hollywood actor, Brian Cox, a Dundee local whose two terms are incident free to this point.
Dundee students may have expressed a preference for actors as their rectors but this has not exclusively been the case. In the 1970s they selected chef, broadcaster and politician Clement Freud (grandson of the father of Psychobabbling, Sigmund Freud). Clem Freud later had a second turn as rector, this time at St Andrews University where he edged out polarising feminist icon Germaine Greer in the ballot for the job.
Cleese anyone? The rector for “Silly Walks”
St Andrews’ most high-profile rector in recent history was comic actor John Cleese (1970-73), the “Minister for Silly Walks” himself. Cleese proved a popular rector at St Andrews and his staunchly anti-Vietnam War speeches struck a receptive cord among politicised students of the day. Cleese was an active participant in University activities and allayed any fears there may have been about his whacky persona bringing discredit on the office with any “Monty Python” antics [Cinema St Andrews , ‘John Cleese elected Rector of University of St Andrews’, www.cinemastandrews.org.uk]. Actors and television personalities have been the preferred flavour of the St Andrews’ student body, numbering Tim Brooke-Taylor, Frank Muir and Nicholas Parsons amongst their “media-sourced” rectors.
Edward Snowden (Image: NY Review of Books)
Whereas Dundee University’s preference has been for actors as rectors, Glasgow University students in recent times have made more bolder political choices. The Glasgow rectors have ranged from ANC (African National Congress) anti-Apartheid activists, Albert Lutuli and Winnie Madikizela-Mandela, to establishment vilified ‘whistleblowers’ Mordechai Vanunu and Edward Snowden (the current rector). The selection of these individuals were only symbolic choices as rectors (meant as a student statement of support and solidarity with international figures and causes) as none of the people were free to travel to Scotland to take up their posts. Accordingly the office of rector has been effectively unoccupied during these tenures.
A recent working(sic) rector voted in by matriculated Glasgow students was the actor and journalist Ross Kemp. Kemp’s term was truncated as a result of an abysmal performance in the post (repeated failure to attend important university events like the “freshers’ welcome”). The Students Representative Council at Glasgow carried a vote of no confidence in him and forced his resignation[‘Kemp quits university post’, BBC News, http://news.bbc.co.uk].
Aberdeen University students have been a little more restrained than their southern Scottish university counterparts in seeking out the very famous for rector, opting in the main for locally known identities. The University hasn’t steered clear entirely of rectors with celebrity status. In the early 2000s it had Clarissa Dickson Wright, TV cook and writer, one half of the popular “Two Fat Ladies” series, as its rector (though perceptive gender equality enumerators would have already noted that women have been numerically disadvantaged in the bestowing of the post of rector across all the institutions❈).
The ambitious & frugal young Mr Brown – his first leg on the political ladder
Overall, opinion north of the River Tweed has been mixed about the merits of celebrity rectors. Those who support the trend and try to explain its appeal, point to the growing dissatisfaction of students with party politics, and the perception that politicians are bland and dour and lacking in dynamic, like recent British PM Gordon Brown who was rector of Edinburgh University back in the early 1970s – having been elected to the office whilst still being a student (unusual). Entertainers and media personalities on the other hand, the theory goes, can add cache to the university, attracting positive publicity and much-needed funding … and they can bring a fresh, outsider’s perspective to what are traditional organisations.
Of course how successful or otherwise the celebrity rector is comes down to the individual. A factor in how much benefit the celebrity can be as rector is how much time (and energy) the incumbent can give to the position. Rectors with heavy demands on their time due to their full-time “day jobs” will be restricted in what they can give to the office. Also, if a rector attracts adverse publicity during his or her tenure (eg, Fry and Kemp), by association it could reflect badly on the institution [‘After this soap, your next role will be a rector’, Times Higher Education, (22 Jun. 2001) www.timeshighereducation.co.uk/feature].
The process for the election of Scottish rectors is open and quite democratic. Only 20 signatures are required to nominate someone for rector, which can give rise to surprising nominations. For example a Dundee student nominated his pet rat for the post, which might be viewed by some as trivialising and ridiculing the office. A nominee in 1928 for rector of St Andrews, coming clear out of right field, was Italian Prime Minister Benito Mussolini. Had the Fascist head of state been successful in his bid it might have been interesting to see what if anything he would have done with the office[ibid.].
Billy Connolly (Source: The Independent)
So, an academic post with the potential to maximise publicity for financially-struggling universities in Scotland, I am left to ponder the obvious thought that comes to me … why isn’t Billy Connolly on anyone’s short-list when they were putting forward the next round of nominees for Scottish rectors?
🏴‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿‿🏴
❈ this comes as no surprise but women have been hugely under-represented as university rectors even in more socially-inclusive, recent times
In the 1953 film, Les Vacances de Monsieur Hulot (Mr Hulot’s Holiday), Jacques Tati introduced the character of Monsieur Hulot to the world of cinema-goers. Over the next 18 years in a sequence of four widely spread out movies, Tati reprised Hulot who became the emblematic face and profile, if not the (audible) voice, of the idiosyncratic Parisian’s cinema. In the features made by Tati between 1953 and 1971 Hulot was the central figure and yet at the same time he was peripheral to the ‘action’ of the story, “the man nobody quite sees” as Roger Ebert described him [R Ebert, ‘Mr. Hulot’s Holiday’, www.rogerebert.com]. No one notices that is, until something goes “pear-shaped” as a consequence of Hulot’s habitual clumsiness (mime-clown Tati’s characteristic slapstick shtick).
▪ • ▪ ‘Mr Hulot’s Holiday’
▪ • ▪
Physically M Hulot cuts a tall, distinctive figure, a sort of “prancing, myopic giraffe” (a reference to his characteristic springy, long-striding gait) as one collaborator notes [Peter Lennon, ‘My holiday with Monsieur Hulot’, The Guardian (23-Jul-2003, www.theguardian.com/]. Another critic calls him “a gangling, spider-limbed gent”. Stanley Kaufmann describes Hulot as “a creature of silhouettes” [S Kaufmann, ‘The Second Mr.Hulot’, New Republic 139(23),1958]. The elongated Hulot silhouette was put to good use in the various film posters for the Hulot movies. Hulot’s standard beige/grey garb, the fedora hat and long-stem pipe, tired-looking long trenchcoat, long pants (not quite long enough to reach his ankles) and umbrella, were all well suited to the dark outline of Tati’s characteristic form. The personality of Hulot is avuncular, benign, friendly, forever curious, but he is also uber-gauche and prone to misadventures.
• • •
Perpetually observing humankind
The storyline of Les Vacances de Monsieur Hulot is, as always with Tati, a simple one. M Hulot visits a resort in the north-west coast to get a taste for himself of the new, post-war passion for spending summer at the seaside. He wanders round with no particular object in mind, just checking out the cavalcade of human ‘wildlife’ that is drawn to the beach resort. There is no plot to speak of, just a series of amusing, whimsical escapades, eg, a ping-pong game in which we see only the figure of Hulot running flat-chat from one side to the other frantically trying to return the ball. The location for Monsieur Hulot’s Holiday was the French seaside town of Saint-Marc-sur-Mer which today has a bronze statue of the man who put it on the tourist map (depicting Hulot in typical stance, tilting forward, observing the human interactions on the beach).
▪ • ▪ ‘Mon Oncle’: Hulot’s ‘penthouse’ loft
▪ • ▪
▪ • ▪ ‘Min Onkel’ (Danish poster)▪ • ▪
Mon OncleMon Oncle (My Uncle) (1958) was the second in the M Hulot series, this time Tati’s disapproving and eagle-eyed attention was directed towards the modern suburban home and mania for consumerism of the Parisian middle classes, willing participants in a Conga line of sheer mindless acquisitiveness. The story has Hulot, living in the city and unemployed, visiting his sister and her family (the Arpels) in the new suburbs on the outskirts of Paris. Hulot spends his days looking after his young nephew Gèrard. Villa Arpel, their ultra-mod house and garden is a geometric monstrosity, designed with an obsessiveness bordering on the pathological! All aspects of the villa are fully automated, everything is push button remote controlled—gates, doors, “weird fish” water fountain, everything precisely mechanised.
Hulot’s sister wants him to adopt their chic lifestyle so she gets him a job at her husband’s company (called Plastak). The venture proves comically disastrous with Hulot falling foul of a ubiquitous and seemingly endless red hose and entangles himself in a caper to try to dispose of it. The plastics factory, like the Arpels’ antiseptic home, is a soulless and sterile environment.
While he’s there, Hulot’s sister tries to match him up with her neighbour, a matrimonial project which is equally doomed to failure. The female neighbour is far too bourgeois in her tastes for Hulot, who is in any case a confirmed bachelor.
In Mon Oncle we are left in no doubt that Tati’s vision of the world sees modern technology as anathema to humanity! The Arpels live in an bland and ugly modernist style home with a pristine, sterile yard. The home’s arsenal of whiz-bang gadgets are not only coldly impersonal but Hulot discovers that their functional effectiveness is not up to scratch. The gate is practically entry-proof, the garage doors malfunction, the small parking space is totally inadequate for the Arpel’s very big, shiny American car, and so on.
▪ • ▪ A replica of ‘Villa Arpel’ in Paris ⟱ ▪ • ▪
Hulot brings his own brand of disorder to the house but this only serves to accentuate the original folly of the project. The Arpel house “designed to trumpet the ingenuity of engineering” succeeds merely at highlighting its lack of functionality and utter impracticality (witness the ridiculously serpentine front path) [Matt Zoller Seitz, ‘Mon Oncle’, 06-Jan-2004, Criterion,www.criterion.com].
Tati is a dab hand at noting all of the “modern inconveniences”(sic) of contemporary Western society. Mon Oncle is a sharp commentary on the way “modern life traps humanity within its contrivances” [James Quandt, ‘Scatterbrained Angel: The Films of Jacques Tati’, From the Current – Criterion Collection, www.criterion.com] Mon Oncle, Tati’s obra maestra , won the Oscar for best foreign language film in 1959.
• • • Hulot and ‘Barbara’ (American tourist in Paris)
• • •
Playtime
An idiosyncratic feature of Jacques Tati’s cinema is its unwavering critical focus on the unrelenting mania for all things modern. With Playtime, the focus turns again to the ultra-mod world—modernity in architecture, shop interiors, in everything—that has come to dominate modern cities like Paris. As always, the plot-line is coincidental, dialogue is incidental. The insouciant M Hulot wanders round the city visiting the airport and various buildings, in doing so he continually crosses paths with a group of gormless, wide-eyed American tourists. Hulot peers inside busy offices to expose dispiriting scenes of workers in their own depersonalised little boxes shut off from human interaction. Playtime is a flawed gem, like all of Tati’s films it has a slow, leisurely build-up but it suffers from being too long—originally around 155 minutes but cut to 124 minutes for commercial release in 1967—still too long and crying out for tighter editing. The film, by a long way the auteur’s most expensive, disappointed many upon its release, especially when viewed against the preceding Mon Oncle.
Although the persona of Hulot is the human thread that runs through Playtime, Tati deliberately does not allow the popular character to dominate proceedings (as tended to be the case in Mr Hulot’s Holiday and Mon Oncle) [Kent Jones,’Playtime’, From the Current – Criterion Collection, www.criterion.com] putting the focus back on ‘everybody’, ie, the observed cross-section of humanity. Tati eschews the use of close-up shots and the technique of the camera panning in for exactly the same reason. A sub-plot of Playtime follows American tourist ‘Barbara’ whose own meanderings always eventually lead her back to Hulot.
Trademark cute
There are many little gems in Playtime – the signature Tati sight gags like the blissfully unaware Hulot boarding a crowded bus grabbing on to what he thought was a handrail, immersing himself distractedly in his newspaper only to find himself again out on the footpath at the next stop because the mistaken handrail was actually the tall floor lamp of a fellow commuter who had alighted the bus with Hulot still holding on. Or the spiral neon arrow on the nightclub sign which guides the drunk straight back into the “Royal Garden” from which he has just departed … both of these sight gags are pure gold! Playtime represents the zenith, the highest expression, of Hulot’s distaste for the contemporary world of “mod cons” and gadgetry.
‘Playtime’: Hulot and those dehumanising work boxes! ⟱
So much of Tati’s film art is about messing with the impersonality of modernisation which he disapproves of, sabotaging it to bring the dehumanising folly of it into the spotlight, this is his narrative. As Ebert precisely describes it, Tati “discovers serendipity in a world of disappointment”, ‘Mon Oncle’, www.rogerebert.com]. In Play Time, “an obstreperous cityscape whose supposed modern conveniences conspire to trip, bewilder, and ensnare the hapless populace gets violently reshaped as a vast play area” [David Cairns, ‘Jacques Tati: Things Fall Together’, www.criterion.com]. The film, Tati’s first go at a big (wide-screen) movie, turned into something of an epic saga, being eight years in the making!§Play Time was the most expensive French film to that point ever made, in no small measure due to Tati’s insistence on constructing a horrendously expensive mini-city, a set of glass and steel, nicknamed Tativille. To finance the film Tati had to sell his own home and eventually the rights to all his films – a clear indication of Tati’s single-minded commitment to an artistic vision!
Tati’s fifth feature, Traffic (or Trafic in French) was the last to include M Hulot. Traffic’s plot and narrative is as threadbare as Playtime: Hulot is a car designer who invents a new automobile, a gadget-packed camper car, the film tracks Hulot’s attempts to transport it to Amsterdam for a motor show. The trip, as any trip would be involving M Hulot, is incident-laden. Hulot and his companions experience various vicissitudes including breakdowns, customs inspection hold-ups and a multiple car pile-up, in the end arriving at the destination too late for the auto show.
• • •
Finding the funny in life’s absurd
In the laughs department Traffic is a bit light on compared to the earlier Hulot pictures. But that said, Tati films do not create “belly” laughs, no real LOL moments, the humour generated by him is more of a gentler, subtler style of comedy, giving rise to a wry reflection on an amusing situation. There is one scene in Trafic though where the director draws comical comparisons with the Apollo 11 moon mission (happening concurrently with the making of Trafic) with two of the characters mimicking the low-gravity motion of astronauts.
‘Trafic’ (1971)
• • •
The Tatiesque film: a throwback to a lost cinema
The films of M Tati are not everybody’s cup of tea. They tend towards a polarising effect. Many decry the lack of pace and that it appears that ‘nothing’ is really happening. In Trafic, as in all of Tati’s features, he was criticised for the weakness of the dialogue. Tati would have been indifferent to this objection because it was inconsequential to what his (idiosyncratic) cinema was about – to him the visual had primacy, whether it be man versus road, man versus building, etc. [James Monaco, ‘Review of Trafic by Jacques Tati’, Cinéaste, Vol. 34, No. 3 (Summer 2009). As a child Jacques grew up on a diet of silent cinema, Keaton was his idol, but he devoured the work of Chaplin, Laurel and Hardy, Harold Lloyd, all the great silent comics. His strain of comedy harked back to that era. As Kaufmann noted, Tati in the postwar period was “the only performer attempting to recapture the immensely more imaginative and abstract comedy of silent days” [Kaufmann, op.cit].
▪ • ▪ Situational humour ▪ • ▪
Entering the cinema from a background as a mime in music-hall also grounded Tati in the art of the visual and the physical. Tati’s films are not strictly silent pictures in that there is (minimal) low-level dialogue. Sounds do play a role but as background, complimentary but subordinate to the visual, the situation humour that was the essence of silent comedies. Stylistically, dialogue in a Tati movie is a device for sound effect [Jonathan Romney, ‘Jacques Tati’s Playtime: Life-affirming comedy’, The Guardian (25-Oct-2014), www.theguardian.com/film]. It never distracts from the central preoccupation of his cinema, observation of the interaction of human nature with the environment.
Life in boxes: Absurdity of modernity (‘Playtime’j
At the time of Tati’s death (1982) he was working on a project for a new Monsieur Hulot film entitled ‘Confusion’ – with its theme to be the obsession of western society with television and visual images. As James Monaco observes, it would be fascinating to have seen what Tati would have made of today’s virtual world, the internet, social networking media and digital devices [Monaco, op.cit.].
▪ • ▪ François (centre) in L’École des Facteurs (‘School for Postmen’), a 1947 short which prefigured Tati’s feature film debut ▪ • ▪
‘Jour de féte’ (1949)
Footnote: Proto-Hulot
Before there was Hulot, there was François. François was the eccentric comic creation in Tati’s first feature, Jour de Fête (The Big Day) (1949). The storyline has François, an over-zealous and maladroit postman (a kind of public servant precursor to M Hulot), who watches a US postal training film and tries to replicate its efficiency in his provincial post office operation. The results however go disastrously haywire. Introducing the theme Tati would return to again and again, the director satirises contemporary society’s slavish devotion to technological progress, especially it’s over-eagerness to adopt every new innovation from America [‘Jacques Tati Facts’, www.biography.yourdictionary.com].
↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝
§ a consequence in part of Tati’s directorial style on set which might best be described as monumentally indecisive
Like the ‘Hot’ War (WWII) preceding it, the Cold War has always been fertile ground for the stuff of Hollywood drama (and melodrama). Right through the era the alleged plots of communists, whether identified explicitly or implicitly, provided inspiration for writers and directors of both film and television. The persona of the vilified communist agitator neatly slotted into the ‘bad guy’ role once occupied by the native American Indian in Westerns, particularly conveniently so at a time when the Western was starting to lose its mass entertainment appeal on cinema and TV screens.
‘The Avengers’: Gentlemen’s bowler hats & sexy black leatherwear
In the political aftermath of the Second World War the USA and the USSR found themselves locked into an international power struggle for global supremacy with the capitalist system pitted against the communist one, culturally as well as militarily and economically. In the prevailing atmosphere of tension and mutual distrust, espionage and counterintelligence flourished. Inevitably the new international “spy game” found its way on to the pages of novels, comic books and into films and television. In the 1960s the interest in the espionage/sabotage dimension of the Cold War escalated into a “spy craze” on both the big and the small screens. On television two successful British spy series, Danger Man and The Avengers❈, both preceded the first film of the cinematic espionage game-breaker, the James Bond series.
The espionage/spy film sub-genre of course did not begin in the 1960s but can be traced back to the pre-war era with its first-wave popularity established to a large extent by suspense king, Alfred Hitchcock, with films such as The Man Who Knew Too Much, The 39 Steps, Secret Agent and Sabotage [AMC Film Site, (Suspense/Thriller Films), www.filmsite.org ]. The driving force for the popularity of the 1960s Spy movie was the extraordinary (and enduring) success of the James Bond Agent 007 series franchise. The Bond movie phenomena spawned a flurry of imitators, including parodies (some good, some mediocre or worse), from the mid-sixties, eg, Our Man Flint, The Silencers (Matt Helm series), The Ipcress File, Agent 8¾, The Spy Who Came in from the Cold, The Spy with a Cold Nose, Torn Curtain, A Dandy in Aspic, The Man from U.N.C.L.E., I Spy, Get Smart, etc.
Despite the Communism (Soviet Russia) V Capitalism (America) conflict being at the core of the Cold War drama,it’s cessation by the early 1990s did not result in the demise of the TV and film spy genre, far from it! James Bond, post-Soviet Union, pits himself against “an (unnamed) international terrorist network far more amorphous than the KGB”. The ongoing success of the Jason Bourne series of movies in a post-9/11 world sees special agent Bourne foiling the evil schemes of one terrorist ring after another, some with a seemingly Slavic hue to them, others projecting something more generally Middle-Eastern in flavour. It seems, as Tony Shaw put it, “that the Cold War had never really gone away, at least not from our cinema and television screens” (T Shaw, ‘Hollywood’s Cold War’, Australasian Journal of American Studies, Vol. 21, No 1, Jul. 2008).
The original on-screen preoccupation with the theme of the Cold War has its origins in the McCarthyist intrigues in Hollywood. From 1947 the House Committee of Un-American Activity (HUAC), spearheaded by Junior Republican Senator Joseph McCarthy, turned its attention on Hollywood with a view to systematically weeding out communists and “fellow travellers” from the film industry. As the fear and paranoia generated by the ‘Red Scare’ impacted on Hollywood, the studio moguls responded to HUAC’s pressure by voluntarily climbing on board the anti-communist witch-hunt for ‘subversives’, commissioning films with an undisguised anti-communist message. The upshot of the Committee turning the torch on Tinseltown was sadly the ‘blacklisting’ of many promising actors and behind-the-camera practitioners. Rising actors like Larry Parks and John Garfield had their careers truncated or ended by the activities of HUAC, as did the group of writers, directors and producers known as the Hollywood Ten.
Emerging post-war social realism films stymied
The big studio heads’ decision to focus on films exposing the supposed communist infiltration of the United States also had an adverse effect on social realism films which in that same year (1947) were starting to have an impact. Hollywood’s enlistment in the war against internal communism largely put paid to the trend towards “problem pictures” dealing with social issues such as anti-Semitism (Gentlemen’s Agreement), alcoholism (Smash-Up) and schizophrenia (Possessed)[Daniel J Leab, ‘How Red was my Valley: Hollywood, the Cold War Film, and I Married a Communist‘, Journal of Contemporary History, 19(1), Jan. 1984].
Following 1947 there was an ongoing sequence of crudely propagandist “Reds under the bed” films with titles like Walk a Crooked Mile, The Red Menace, Conspirator, I Married a Communist, Invasion, U.S.A., The Jet Pilot. The movies and especially ones like John Wayne’s Big Jim McLain and My Son John (both 1952 releases) overtly attacked the communist lifestyle and sought to show that subversives were actively at work undermining the American fabric of life. Most of the stock standard B-movies seeking to exploit the Red Scare were abysmal, often completing losing the plot and portraying Communism more as “a variety of gangsterism” than as an alternative ideology systematically trying to achieve world domination [ibid.].
Hollywood domestic shock/horror & scandal 40s & 50s style
Other US anti-Red films took a more indirect if thinly-veiled approach. Them (1954) employed the allegorical device of megasized mutant ants threatening society to convey the communist menace. The Invasion of the Body Snatchers (1956) was thematically similar, depicting emotionless alien clones (read ‘Communists’ infiltrating Planet Earth). California Conquest (1952) put the issue into a historical context: Spanish Californians circa 1840 thwart a Russian attempt to take over the Pacific Coast colony [ibid.]. I Married a Communist (1950) took the laboured, crude message to a new height (perhaps that should be depth!). This RKO film was a pet project of Howard Hughes, the only Hollywood studio boss who fully shared HUAC’s conviction of the ‘Red Peril’ to heart, fervently launching his own anti-communist crusade within RKO. Hughes went so far as to remove the individual credits from industry persons he suspected of being communists [ibid.].
The television arm of Hollywood similarly wasted no time in jumping on the anti-communist bandwagon. From the early fifties right through the decade the studios turned out a slew of short-lived, jejune Cold War TV dramas with homogeneous-sounding names such as Shadow of the Cloak, The Door with No Name, Foreign Intrigue, I Spy (two distinct series used this title 10 years apart), Secret File, U.S.A., Top Secret, Passport to Danger, Behind Closed Doors. Counterspy was another one, interesting only because it had started life as a WWII radio drama with Nazis as the villains, only to be upgraded in the Cold War, swapping Nazis for communists as the new villains [‘Commie Fighters of the ’50s’, www.for-your-eys-only.com ]. The sole stand-out fifties spy series with any kind of longevity was I Led Three Lives, which dramatised the real-life experiences of American double agent Herbert Philbrick [‘The anti-communist spy as TV entertainer’, www.jfredmacdonald.com].
By around the end of the fifties the Cold War films and TV series of this ilk with their crude, oversimplistic and formulaic style, as West versus East propaganda had become out-of-date. McCarthyism was on the downward slide, détente had started to thaw out international relations with the Eastern Bloc. The ideological enemy to Americans was no longer a singular one, Communist China had cemented itself as the new bogeyman for the self-appointed guardian of democracy. The perception was now, mixing racism with politics, that a yellow threat to the Free World was a factor along with the earlier red one [Leab, op.cit.].
‘The Iron Petticoat’ 1956
The flip side of the McCarthyist-inspired pictures of the 1950s which were driven by the hysteria and paranoia of the communist witch-hunt was a whole host of movies which sought to exploit the Cold War for laughs. Among these pseudo spy/espionage comedies was My Favourite Spy, The Iron Petticoat and The Mouse that Roared (1950s), Carry On Spying and The Russians are Coming,The Russians are Coming (1960s), through to Spies Like Us and Stripes (1980s). These sort of movies tended to portray Russian agents and military types as often bungling, humourless semi-robots (or if female, stereotyped as cold, charmless and unsexed).
‘Casino Royale’ 1967
Note: the ‘spoofiest’ of all Bondesque films was the one based on the book written by the Bond author himself, Ian Fleming, Casino Royale (1953) (Ex-agent Fleming’s first James Bond novel), with David Niven (Sir James Bond) and Woody Allen (little Jimmie Bond) as the most absurdist of James Bond incarnations! Also see PostScript.
The Cold War has been the subject or inspiration for countless films and TV episodes over the past 60-plus years. The form of the sub-genre has shifted over time. In the black-and-white 1950s we had the crude, sombre “Reds under the bed” films and television programs. In the 1960s the hysteria diminished and celluloid representations of espionage were generally less bleak than in the preceding decade. The Ur-secret agent James Bond Agent 007 was the measure and model of the sub-genre, the unbroken series of films kicking off with Dr No in 1962.
‘Get Smart’: The Cone of Silence, symbol of spy technology malfunction, (source: johndalybooks.com)
PostScript: Spy Spoofery
The increasingly invoked secret agent trope was in itself inverted with the advent of spy spoofs on cinema and TV screens (most famously Get Smart, but also Austin Powers, Johnny English, Spy Hard). The TV and movie spy satires weren’t really interested in peddling an anti-communist message, their creators just wanted to exploit the Cold War genre and its ludicrous scenarios for all its comedic worth!
With the demise of the Cold War in the early 1990s, the slick, transparently escapist Bond film (not to mention it’s myriad of imitators using or misusing the skills of actors like James Coburn, Dean Martin and Dirk Bogarde) reinvented itself by discovering new (non-Soviet) antagonists and dangers, and the franchise continues to be mega-profitable, churning out a new Bond film for a receptive and insatiable global audience every couple of years.
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❈ Christopher Bray makes an intriguing comparison of the motives (or lack thereof) of The Avengers and James Bond. Whereas Bond’s rationale was clear cut, to stop Spectre from achieving its goal of world domination, Steed and Mrs Peel enter a Kafkaesque world each week to avenge the murders of public servants by villains acting for some ‘unseen’ and ‘unknown’ powers whose seem utterly motiveless, Christopher Bray, 1965: The Year Modern Britain Was Born (2014)
In the 1950s and ’60s just about every self-respecting teenager and pre-teen (the term “teeny-bopper” was still awaiting the onset of the ’70s) in New South Wales joined the Argonauts Club. Or so it seemed…I say “just about everyone” because although the Argonauts had mass appeal to children, when I was a kid, strangely its existence barely registered on my consciousness, let alone leading to my actually joining up! There was probably a couple of reasons for this: in that distant, Neanderthal era of communications, my parents habitually never rested the wireless dial on the ABC (they were not part of the ABC ‘listenerati’ as far as I recall). The only time the dial ever got within cooee of the 2BL frequency was when I switched over ritualistically to the ABC during a cricket test match.
Another factor in the Argonauts Show passing pretty much right under the radar for me was that it was a late afternoon children’s radio program (we spelt it ‘programme’ in those more formal, longhand days) and post-school afternoon and nights during my youth were incontestably reserved for television, then still a relatively novel phenomena. When it came to the wireless I was an avid morning listener to commercial networks like 2UE and 2UW. Gary O’Callaghan and “Sammy Sparrow” was more my style in the sixties. I can’t be sure if there had been a Sammy Sparrow radio club but as I’ve still got a Sammy Sparrow badge kicking round the house somewhere which probably confirms it.
ref=”http://www.7dayadventurer.com/wp-content/uploads/2015/04/image-7.jpg”> The CC club pin[/ca
So, no Argonauts Club for me, in its place was the Charlie Chuckles Club. I was a very juvenile member in the 1960s, eagerly looking forward every week to the Sunday Telegraph where “Charlie” brought us contests and drawings to colour in. If you were privileged enough to own one, you coloured them in with that Rolls Royce of coloured pencils, a set of Derwents. In addition I was fully signed up for Nestlés, being in both their Car Club and their Sky Club. Membership of the Sky Club entitled you to a ‘flying wings’ badge and an Air Picture Logbook. The wings and logbook were free but you had to contribute to Nestlés sales figures by buying their small chocolate bars, each one of which contained a picture of different aircrafts you could then paste in the book.
Your (early) ABC ⇓
The Argonauts Club in Australia had a long history, it’s first manifestation in the early 1930s run from Victoria was short-lived. The club was revived in 1941 as a Sydney-based entity and continued until it was disbanded in 1972. Today it lives on in the vast repertoire of fond and nostalgic memories of middle-aged and older Australians.
The Argonauts’ format on radio was a six day-a-week segment, part of a radio program called The Children’s Session, later rebranded as the ‘Children’s Hour’ (the Session’s catchy song which introduced the program each week was very familiar to me). The program’s presenters were assigned Argonaut-themed pseudonyms, foremost among these was former English actor Atholl Fleming who was ‘Jason’. Others were given on-air personas such as ‘Phidas’ (artist Jeffery Smart who had a kids’ art appreciation spot), ‘Argus’ and ‘Icarus’. Founding compere Ida Elizabeth Lea was ‘Argo 1’. Co-compere, Actor John Ewart, was ‘Argo 29’. Guest presenters on the show included Australian poets AD Hope, Mary Gilmore and actor Peter Finch.
⇓1950 ABC blurb for the Argonauts: handily ‘Jason’ had a Sydney address – 55 Market St – so children could write to him!
Young Australians between seven and 17 (club membership was restricted to this age range) were invited to join the Argonauts Club, and join they did! The fifties were the pinnacle of Argonautdom, national membership reached 43,000 in 1953 [Sydney Morning Herald, 19 November 1953]. Upon joining the club youngsters would be allocated an imaginary place on one of the boats commanded by Jason and his Argonauts in their mythical quest for the Golden Fleece. The new member would become one of the “Merry Band of Rowers”, receive an enamel badge, take a pledge and be assigned to a ship with a Greek mythic name and an oar number on the vessel. On the radio segment members were referred to only by their Argonaut name and integer. Interestingly this anticipated the practice of anonymous usernames and avatars, a dominant symbol in this age of the internet [‘The Argonauts Club’, Cat Politics, www.catpolitics.blogspot.com].
Some of the youthful members went on to be prominent names and celebrities (especially in the arts) in their adult lives in and beyond Australia – including:
Tony Morphett (screenwriter) Antiphon 39
John Barron (Premier of South Australia) Charops 37 with Golden Fleece
Margaret Throsby (ABC broadcaster & icon) Androcles 26
Nick Enright (dramatist & playwright) Alastor 35
Michael Dransfield (poet) Eumolphus 24
Mike Walsh (TV presenter & theatre owner) Pontos 7
Anne Summers (writer & columnist) Pytheus 41 with Dragon’s Tooth
Christopher Koch (writer) Gaza 16
Margot Oliver (filmmaker) Herodotus 31
Allan Humphries (ABC weatherman) Ampelus 38
Peter Sculthorpe (composer) Jason 50
Joanna Mendelssohn (academic, art & design) Roxana 38
Rolf Harris (disgraced celebrity painter & entertainer) Echo 32, Perth Club
Barry Humphries (entertainer, writer, cross-dresser) Ithome 32
[Rob Johnson, ‘The Golden Age Of The Argonauts’, The Age, Friday September 13, 1996, reproduced in www.urania.com.au]
17th cent. map of the Argonauts’ route
The Argonauts wireless segment always began with the stirring club song extolling the youthful audience to “Row! Row! Merry oarsmen, Row!” … followed by the greeting from “ship captain Jason”: “Hello Argonauts, good rowing!” – which became a sort of pass or codeword for the Argonaut brethren to greet each other by, much in the way that secret brotherhoods do.
In the Argosy part of the show Argonauts were encouraged to submit drawings, stories and poems to the program, the best of which, presenters would read out aloud on air. ‘Rowers’ could earn marks or points which if accumulated sufficiently, would afford the member certain honours and status such as a Dragon’s Tooth Certificate, a Golden Fleece and the even more meritorious Golden Fleece & Bar. Holders of certificates often were rewarded with prizes, usually books. Children’s stories like Ruth Park’s The Muddle-headed Wombat were read on the radio, many former argonauts have recalled that their life-long listening habits were formed whilst their ears were ‘glued’ to the Children’s Hour [Urania, ibid.]. Stories were serialised on the Argonauts Show, serials such as ‘The Country of the Skull’ were compulsory listening for teenage devotees of the Children’s Hour. Similarly the ‘Melody Man’s’ segment helped foster the musical interests of school-age listeners.
One thing that strikes me is just how many of the ‘Rowers’ remember their Argonaut alias, given how long, and in some cases very long, ago it was! Obviously it was a huge thing in the lives of so many school-age children around the middle third of the 20th century. The number of former members (Panthea 32, Sisyphus 16, Erechtheum 33, Polybus 21, Hecuba 12, Sestus 50, Theseus 44, Equestor 3, etc. etc.) who lovingly comment on ABC Message Boards and similar online platforms is a testimony to this [ABC Message Board HYS – Messages, www.abc2b.net.au].
Trireme
Footnote: A bit pendantic to mention but there was a curious anachronism about the mathematics to do with the ships – triremes in the Heroic era of Greece (when the Argonauts legend is set) had a rowing galley of 170 oarsmen, however none of the ships fabricated by the ABC radio program ever had more than 50 places allocated to them.
The Argonauts radio show was a blessing and even maybe a salvation for many children especially for those living in remote parts of Australia. Many in fact were listening from outside Australia in places as far afield as Port Moresby and Aotearoa! It helped all of them in their isolation, compensating for the loneliness they were experiencing in the country. As one emeritus Argonaut put it, it gave isolated listeners “a sense of belonging to a community”. This was even more the case during World War II for children in rural northern Australia who gained a tremendous solace from the program at a time of anxieties about the possibility of Japanese invasion [Urania, ibid.]. A lot of children who migrated to Australia in the immediate years after the War (in that era more or less exclusively from the UK and Ireland) joined up with the Argonauts and it is clear from their recollections that the program softened the impact somewhat in trying to settle in to a new and unfamiliar land.
Inevitably, the popularity of the Argonauts program waned. In the late sixties the segment was cut to just one hour a week at 5pm on Sunday. In 1972 ABC Radio pulled the plug entirely on the show, apparently because a survey found that most of those still listening were over the age of 40! The inexorable encroachment of television into the lives of children also would have been a massively-significant factor in its ultimate demise [Urania, ibid.].
A few years ago FNFSA (Friends of the National Film and Sound Archive Inc) set up an online form to allow former Argonauts to record their membership details and recollections of the program [www.archfriends.org.au]. The response was impressive. The Argonauts Registration Form lists a vast range of ship names, an armada far greater than Jason’s meagre sum of triremes. The overwhelming response further illustrates what a phenomenal impact the Argonauts had on the formative lives of young Australians from the forties to the early seventies.
The deprivations imposed on Australian families by the Depression followed closely upon by WWII were great on children (as on the community at large). The Argonauts radio program gave youngsters an outlet to escape these harsh realities. It afforded them a chance to imagine themselves as members of a magical, mythical world, it entertained them and it inspired them to delve more into the worthy pursuits of reading and writing. For many of them it became a lifelong habit.
Before there was motion pictures, radio or television in Australia, variety theatre and vaudeville flourished as the form of public entertainment. In the first half of the 20th century two performers in the absolute vanguard of Australian vaudeville comedy were George Wallace and Roy Rene. Both these standout comedy stars of the Australasian theatre, at their career high-point, were extremely well paid. Each had his own distinctive style and persona, as well as particular strengths and weaknesses in the differing modes of comic performance attempted.
George Wallace (above) had an early taste of the stage appearing in children’s pantomime at age three, but it wasn’t until after WWI that his career really took off when he teamed up with fellow vaudevillian Jack Paterson to form a knockabout comedy act called “Dinks and Onkus”. The duo performed their “couple of drunks” routine to packed audiences at the Newtown Bridge Theatre for five years before Wallace outgrew the partnership and joined up with bigger enterprises, first that of Fuller’s Circuit and then the Tivoli Theatre Circuit.
George was smallish in stature and quite chubby in build but despite this, on stage he was exceptionally acrobatic and agile on his feet. As part of his very physical act he became acutely adept at landing on his left ear during a deliberate fall. Wallace wrote witty songs and review sketches to perform in theatre, sometimes he told absurd stories about characters such as Stanley the Bull, the Drongo from the Congo and Sophie the Sort [Stuart Sayers, ‘Wallace, George Stevenson (1895–1960)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/wallace-george-stevenson-8961/text15765, published first in hardcopy 1990, accessed online 4 April 2015]. The Wallace persona on stage and screen was that of a childlike man, portraying goggle-eyed, innocent characters well down on the social ladder, often farm boys, hicks and yokels ill at ease with women [Paul Byrnes, ‘George Wallace’, www.aso.gov.au]. The country bumpkin-cum-innocent in the big city association was further emphasised by George’s garb, comprising ill-fitting clothes and rumpled hat.
Wallace’s “working class zero” popularity attracted the attention of local film-makers and in the thirties he appeared in a number of films such as Gone to the Dogs, A Ticket for Tatts, mostly for Ken G Hall, Australia’s foremost (Cinesound) director in the interwar period. In his movies (some of which he co-wrote) Wallace reprised his theatre role as a bumbling, disaster-prone innocent. In his performances on the big screen Wallace demonstrated that he was able to make the transition from stage to cinema. After WWII however, finances dried up and the Australian film industry went into steep decline. Wallace returned to theatre including a return to pantomime and to the new medium of radio performance. In 1949 he began a weekly radio show with the Macquarie Network in Sydney. The one setback to Wallace’s career was his unsuccessful attempt in the early fifties to make it in the English theatre as a comedian, but this could be attributed partially to the English audiences’ unfamiliarity with his Australian accent [ibid.].
Roy Rene (born of part-Dutch ancestry, Harry Van Der Sluice) was a rival of sorts for Wallace in the interwar musical comedy theatre. Rene’s stage persona of ‘Mo’ and his successful partnership with Nat Phillips as “Stiffy and Mo” was the inspiration for Wallace to form “Dinks and Onkus”. Like Wallace, Rene started in ‘panto’ at 14 as “Boy Roy” in a Sydney production of Sinbad the Sailor. Rene’s popularity grew in musical comedy reviews all around Australia and NZ in the 1920s and 1930s. His theatrical career however was marked by tempestuous relationships with colleagues and proprietors. He broke up and then reunited with Phillips, and moved (sometimes sacked) from one theatre company to another (Princess Theatre, the National Amphitheatre, Fuller’s, Tivoli, Theatre Royal, etc) from one side of the continent to the other and on to New Zealand throughout his career.
Rene had a very distinctive on-stage appearance, striking black-and-white face paint which gave a nod to the influence of minstrelsy, baggy pants and a battered black top hat. In performance he exuded an extroverted and even exhibitionist style – he was the quintessential lair (the self-promoting “show-off”). Often he would robustly insult the audience with a spray of obscenities, both verbal and gestural. In today’s milieu of political correctness Rene’s act would in all likelihood be characterised as sexist and even racist (in its presentation of a Jewish caricature) and it did alienate some viewers in the day. This did not stop Fuller’s from billing him (pre-war) as “Australia’s foremost delineator of Hebrew eccentricities” [Frank Van Straten, ‘Roy Rene 1892-1954’, Live Performance Australia – Hall of Fame (2007), www.liveperformance.com.au ].
At the height of his career the wider public loved Mo’s humour and feted him as a great clown. The typically unrestrained expressions used by Rene in skits became the vogue, so much so that they entered the Australian lexicon. The numerous ‘Mo-isms’ that still colour the linguistic landscape of Australia include such perennial gems as “strike me lucky!”, ” you beaut!”, “strewth”, “cop that, young Harry”, “you little trimmer!”, “don’t come the raw prawn with me” and “fair suck of the sav” [‘Roy Rene’, www.skwirk.com].
Rene as a live performer was a forerunner of what a later generation would euphemistically call “working blue”. His work, especially in the Stiffy and Mo skits was punctuated with risqué humour and vulgar double entendre. One of their most celebrated routines had Mo, chalk in hand, saying to the “straight guy” Stiffy: “why is that whenever I write F you see K” (the audience apparently never got it at the time). How far Roy could be characterised as a “blue comic” is a moot point. A show biz contemporary of his, Bill Moloney in his autobiography, Memoirs of an Abominable Showman, cautions that this was more in the public’s perception than anything actually evident in Mo’s sketches. Moreover, in the light of the unfettered ‘blueness’ of later comics like Lenny Bruce and Rodney Rude, Mo’s ribald smuttiness comes across as very pale by comparison.
Roy as Mo struck a chord with the public partially perhaps because he was seen as being so far from being a hero, more of an everyman, and also because they saw him in the context of the Depression as a battler, an underdog barking back at his so-called ‘betters’ [ibid.]. At the peak of his fame a measure of his popularity were the stacks of unaddressed mail he received from his fans. Letters would somehow find their way to Roy Rene’s home or office with only the iconic, black and white image of Mo’s face scribbled where the address should appear on the envelope!
Inevitably the popularity of Mo led to attempts to establish Roy Rene as a film star. Strike Me Lucky! (1934) directed by Ken G Hall was not successful either critically or at the box office. The medium did not suit Rene who needed the spontaneity of performing before a live audience to feed off and sparkle at his best. The repetition of takes during scenes in movies was also to his distaste [Lesley Speed, ‘Strike Me Lucky: Social Difference and Consumer Culture in Roy Rene’s Only Film’ (Screening Australia), www.tlweb.latrobe.edu.au].
After WWII, with variety theatre in recession, Rene made a successful transition to radio. He was able to do this having learned from the lessons of his failed venture into films, because he made sure that his radio shows were presented before a live audience to ensure that his performances had that necessary edge. At Sydney radio station 2GB he found a niche as the bombastic “Professor Mo McCackie” of “McCackie Manor” finding a whole new audience for his unique sense of humour.
Because they possessed very different comedic styles, it is hard to detect any influences Rene and Wallace may have had on each other. Rene, hitting the boards a good decade before the younger man, led to him becoming the bigger star in the late 1910s to mid 1920s. The differences in style and content were quite pronounced: Rene’s speech drew on the broad Australian vernacular, he had an urban type of comedy influenced by the traditions of American Jewish (Yiddish) comedy. Roy/Mo was both raunchy and in-your-face in a way the simpler, more laid-back George/Onkus never was. Wallace was more influenced by the traditions and stories of the Australian bush (his adolescent years were largely spent working in the Queensland bush as a cane-cutter, horseman, dairy farming and the like). One critic has identified the influence of Charlie Chaplin on Wallace’s comedy in aspects like the use of athletic slapstick and the choice of costumes [Byrnes, op.cit.].
Wallace and Rene were gigantic figures in the first half of 20th century Australian variety entertainment, both were quintessentially Australian, both had exemplary timing in their comic delivery. The two plied the same trade but stylistically and temperamentally they were very different vaudeville comics. The two comedians did ultimately have one curious connexion: both men died in the same small Sydney suburb of Kensington, six years apart.
‘Mo Mac’ with another great master of comedy, Stan Laurel
Postscript: I have not included Jim Gerald within the purview of this survey. ‘Diabolo’ Gerald, the rubbery-faced clown, a contemporary of Rene and Wallace, was a theatrical performer who rightly deserves a place in the trio of 20th century Australian vaudeville comic greats. Gerald however differs from the other two Australia-focused comedians. He was more international in outlook, sourcing a large amount of his material during trips abroad, and working overseas extensively, eg, touring South Africa, Asia, North America; as part of the AIF Entertainment Unit in the Middle East and the Mediterranean during WWII; plus starring in a series of cinematic shorts in Hollywood during the silent era.
Before the academic year begins around 1st of March each year, the modern university secures itself a little respite from the normal grind of being snowed under by an avalanche of undergrad applications for special consideration, extensions for assignments and what-have-you. At this juncture, with enhanced institutional prestige and a lucrative government funding payoff in the offering, universities are all about chasing the elite students and affixing them to the masthead of their little community flagships. Observe this piece if you will from a distinguished regional newspaper profiling one such high-in-demand student’s experience of the academic “horse-trading” that passes for the admissions phase of the tertiary ed year:
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The Girla Sentinel: The Voice of the Dusty Outback
Outback News
National News
Business
Environment
Health
Higher Education
The 99.95 country girl has the big smoke universities tripping over each other to gain her nod of assent
Date: January 2, 2015
Katerina Asbestocladding
Senior HE Writer
Whose $10,000 smells sweetest? Medicine-bound Ingressa is number 1 draft pick for the 2015 academic season!
Photo: Stefan Severedhead
It’s decision-time for wannabe uni students who must lodge their main round course preferences with the Universities Admissions Centre by midnight on Friday.
For some applicants with modest academic credentials they will take any offer they can get … even if it arrives, proverbially-like, in the mail by mistake (they wish!). Other super swots like Ingressa Alyen-Body of Girlambone Swamp, NSW, are in the fortunate position of being able to pick-and-chose between attractive offers from competing top-tier tertiary institutions. All the universities are chasing Ingressa because she attained the maximum possible ATAR score in the state, a percentile of 99.95. With the lure of a Commonwealth Scholarship worth $10,000 a year, both Sydney and UNSW Medicine Schools have put feelers out for the 2014 HSC over-achiever.
Reflecting on this, Ingressa (better known as “Miss Clever Clogs” around Girlambone) cheerfully indicated that it might come down to which university has the best daggy parties for brainiacs. So far the only universities to make Ingressa a firm pre-offer of a place in medicine are the University of Central Australia, Birdsville, and the University of the Warrumbungles in the Backabyond. Ingressa has rejected both of these universities outright, principally on the grounds (or lack of grounds) that she couldn’t find them on Google Maps.
Ingressa confessed to me in an exclusive interview for the Sentinel that she had been socially ostracised as a nerdy dork by her fellow students at Belanglo State Forest High School. “If it hadn’t been for the kindly old recreational activities teacher Mr Milat I would have been very lonely all the way through my school years”. Even the school’s Ur-Geeks Society which everyone else boycotts wouldn’t let me join, even as a quarantined associate. She was looking ahead to moving forward to an opportunity to make new friends at university … “18 years of unrelenting peer rejection must surely end”, she added in a tone befitting her sense of social isolation.
Photo: Stefan Severedhead
Ingressa hasn’t made her big choice yet but concluded by saying that at this point she was slightly favouring either “Kenso Tech” AKA UNSW or Bendigo Uni. The clinching factor in the end may turn on personal connections and the happy prospect of joining a cohort of similarly awkward, dysfunctional nerdy misfits. Aside from the kudos, Ingressa said that UNSW has two pluses in its favour. She won’t be a total stranger there, a close neighbour of hers from the ‘Swamp’, Mr Alain Stalker, is already an undergraduate at the University studying ontological hermeneutics. Ingressa is also excited at having recently discovered that UNSW has a really active Desperate and Dateless Nerdy Geeks Society, “A chance”, she gushed, “to be accepted – finally, to be amongst my own kind of people … socially-outcast eggheads”.
The Epic Film: Myth and History, by Derek Elley (re-published 2014, originally published 1984)
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The onset of the 21st century seemed to herald a revival in the epic genre in film. Large-budget “Sword-and-Sandal” movies of the early 2000s such as Gladiator and Troy, labelled “Neo-epic films” by cinema critics, have reinvigorated the genre. At the same time, a new blockbuster phenomenon in the shape of the Lord of the Rings and Harry Potter series of films, padded with wall-to-wall distinguished British (and Commonwealth) actors, have extended the epic genre, and in the case of the ‘Rings’ cycle, given the flagging “Sword-and-Sorcery” sub-genre a new lease of life.
The author’s approach to his subject is a somewhat scholarly one, although the book also remains accessible purely on an entertainment level. Elley begins by making clear the distinction between the heroic and the epic … “heroes alone do not make an epic,” other ingredients especially the “all-important mythic quality” is needed to elevate the narrative to a higher plane, the ‘supra-human’ dimension. The author then proceeds to trace the transition from the epic in its original, literary form to its cinematic form.
The book concerns itself to a large extent with the type of epic film much in vogue in the fifties and sixties, drawn from the history and mythology of antiquity (Greece, Rome, Egypt, Mesopotamia). Right up front I’d have to say that I think that the author is inclined to take the genre a bit too seriously. The epic movie, in whatever phase or incarnation it takes, has been something difficult to be especially serious about! By definition the standard form of the epic has tended to be characterised by an indulgence in excess – grandiosity, vulgarity, basically everything 8XL in size! Mention the epic film and people often think of monumental Hollywood flicks like Ben-Hur, Spartacus, Cleopatra, and the like. Conspicuous consumption the order of the day, so much so so that it could be suggested that epic films should be primarily seen as a kind of parody of themselves.
The Epic Film spends a good deal of time examining another type of epic movie, the Continental Sword-and-Sandal variant of the species which further takes away from the serious side of the genre’s purpose. The “Sword-and-Sandal” as the book points out is also known in the trade as a Peplummovie …from peplos the type of ancient Greek robe or tunic worn by women (as modelled below). Strictly speaking ancient men wore chitons, a lighter, simpler and usually shorter garment than the feminine peplos, but the name ‘Peplum’ stuck for the epic movie!
This sub-genre had its heyday between the late 1950s and the mid 1960, usually set in Ancient Greece or Rome and often filmed at Cinecittà in Rome (for a time the world’s film studio of choice) and/or in the campagna in Italy or Spain. The elements of the genre are well-known and entirely formulaic: heroic but one-dimensional gladiatorial strongmen, a bevy of immaculately beautiful but defenceless heroines in sexy, ultra-mini peplums, a paper-thin storyline appallingly scripted and only coincidentally unrecognisable as history, incoherently edited, low budgets, sloppily shot with atrociously wooden acting and haphazardly dubbed into English.
Footnote: the popularity of the Italian Peplum provided career change opportunities for body builders as many would-be actors like Steve Reeves, Mark Forest and Kirk Morris, made the transition from the bodybuilding game to become leads in Sword-and-Sandal sagas. Interestingly, many of the Italian musclemen-stars took Anglo-sounding names in an attempt to make them more appealing to the American market, thus the well-known Sergio Ciani became on screen the aptly named “Alan Steel”.
Steve Reeves’ phenomenally successful Labors of Hercules (1957) was the springboard for a spate of strongman-centred Pepla. From the mid sixties a number of the Peplum strongmen made the switch to Spaghetti Westerns which spectacularly filled the void when the popularity of the Sword and Sandal costumers began to wane. Spaghetti Westerns utilised the same device of giving its Italian stars American-sounding names, the most famous of which were the ‘Trinity’ duo, Terence Hill and Bud Spencer.
Whilst acknowledging the limitations of many of these B-grade epics Elley soberly proceeds to unearth all manner of meaningful cinematic aesthetics from the likes of Samson against the Moon Men, Hercules and the Tyrants of Babylon, etc, etc. The author describes his text somewhat grandly as an extended essay on defining “the epic form in its filmic context”. The definition in the book that took my eye is attributed to Charlton Heston, “There’s a temptingly simple definition of the epic film: It’s the easiest kind of picture to make badly” (Chuck should have known – he appeared in his fair share of dud epics in his career).
Strongman ‘Maciste’
Elley points out that spectacle is the most characteristic trademark of the epic genre, and that trait is (or was) synonymous with Hollywood. Although we connect the Pepla of that era with Italy and the Continent, we tend to associate the wider phenomenon of epics with America. The author quotes Peter Ustinov to good effect: “I’ve always thought that only the Americans can do Ancient Rome pictures. Both cultures have the same kind of relaxed, rangy pomp. Both have exactly the same kind of bad taste”.
⇧ Transparent marketing attempt to capitalise on the famous ‘Ben-Hur’ chariot racebut failing to meet those expectations
The book is adorned with some 88 pictures in glorious black-and-white and these may hold for some readers the greatest interest. Amongst these is a still from the 1964 movie The Fall of the Roman Empire, a long range shot of a Late Roman frontier fortress under attack – complete with a modern Italian villa and two parked fiats close by in the background. Another revealing picture contains a close-up of the cleft-chinned Kirk Douglas as the fabled Ulysses, his heroic countenance somewhat spoiled by the clearly visible but unsightly appearance of Kirk’s varicose veins! Or equally entertaining, is the photo (below) of Victor Mature as Samson, teeth gritted, valiantly wrestling a ‘savage’ lion which looks like it’s been recently rejected by a local Los Angeles taxidermist.
Many of the era’s epic films that came out of Hollywood tend to be prone to snatches of excruciatingly bad dialogue. The book provides a wealth of atrocious quotes from the genre. Savour if you will these little vignettes which run the gamut from overblown dramatic(sic) intensity to inane absurdity:
“When you speak of destiny, this is something I must at last believe” (delivered with exaggerated emphasis), Genghis Khan, in Genghis Khan (1965).
“Love and hate are horns on the same goat”, Rune woman, in The Vikings (1958).
“At one time, when you were a little fella, you were always asking questions!”, Joseph, to Jesus, in The Greatest Story Ever Told (1965).
This last line of dialogue, tinged with more than a touch of folksy mid-western Americanism, could easily have rolled from the mouth of failed actor-turned-US president, Ronnie Reagan, whilst whittling wood on the back-step of his Californian ranch.
By focussing on 50s and 60s Hollywood and Italian epics Elley largely neglects the first resurgence of the Sword-and-Sorcery film which took place in the late 70s and early 80s … the Star Wars cycle, Excalibur, Conan the Barbarian, etc (all made before The Epic Film‘s original publication in 1984). Other (admittedly minor) sub-genres of the epic such as the Sinbad saga films (The Seventh Voyage of Sinbad, Sinbad and the Eye of the Tiger, and so on) and the Swashbuckler/Pirate films don’t get a guernsey at all … although the Sinbad movies could just as well be categorised as adventure-fantasy films, rather than strictly Sword-and-Sorcery ones.
Elley’s study of the epic film genre is informative and instructive in so far as it goes. Ancient Greeks and Romans, Biblical figures, barbarians and Norsemen, all get a good run, but Elley’s historical survey cuts off at the end of the Dark Ages. I’m left with a tinge of regret that he didn’t take a more expansive approach in the book to include the grand and occasionally grandiloquent epic movies made about legendary Britons of a later era like Arthur and Robin Hood, as well as the more modern epics like Lawrence of Arabia or Dr Zhivago and even extend it to examples of the genre as diverse as 2001 a Space Odyssey and Planet of the Apes.
OVER the years it has been fascinating to see what kind of fan mail on-air personalities at the Australian Broadcasting Commission get from your average “Joe or Jill Blow” punter in suburbia. Below is one such paean of praise received by the Logie–class, popular ABC Television personality Tim Bowden in the early 1990s. Included also is the program team’s deeply meaningful and well–crafted reply to the writer on behalf of the venerable Tim who at the time was too busy to respond personally as he was fully engaged in the task of trying to master the intricacies of the Rubix Cube.
25th February 1992
87b Worthog Road
CAREY GULLY SA 5144
Mr Tim Bowden Presenter, ‘Backchat’ ABC GPO Box 9994 SYDNEY NSW 2001
Dear Tim,
I am writing to the ABC because I know that the National Broadcaster (trademark copyrighted) is just as committed to critical environmental issues as is the present Commonwealth Government (draw your own inferences). Nonetheless I am making my concerns on this matter known in the hope that the ABC, through the intervention of your own cutting edge, “finger on the pulse of the nation” [insert additional preferred cliche here] influential feedback mechanism, will take the necessary steps to preserve a vital endangered species in this country.
The species in question is the Shakespearean Teledrama! This threatened creature, so important to the intellectual and cultural ecosystem of the country, has not been spotted on Australian screens for bulk aeons of time! It was last sighted on Oz TV in the late 70s and early 80s when the ABC ran several episodes of the brilliant and highly ambitious BBC Shakespearean production which set itself the task of bringing all 37½ of the Bard’s plays to the small screen in one series.
Since then the ABC Drama Department has obsessively overdosed on contemporary crime and police shows and even cooking programs(WTF?!?), meanwhile archetypical dramas in the shape of the great, classic tragedies (Hamlet, King Lear, Macbeth, Othello, etc) have been driven to the point of televisual extinction. I am outraged at the ABC’s flagrant and criminal neglect of the much-beloved ‘Shakes’, demolition by neglect, I say! I am so ropeable that I could happily strangle the Head of Programming with the ABC’s own Lissajous curves! The ABC has a duty to protect this globally-imperilled species and not let it disappear without trace, denying Australian taxpayers the enrichment to be had from such magnificent Shakespearean fauna.
I must warn you that if ABC TV does not rectify this deplorable omission, I am quite prepared to discipline those responsible for this monumental neglect! If Commission Masthead, Lord Talbot Duckmanton, is not willing to subject himself to a humiliating public act of retribution, I am willing to accept a token proxy in his place, someone sufficiently symbolic of the organisation’s ethos but none the less highly expendable. Tim, I believe that’s your cue to take one step forward …
Miss Sloane Snodgrasse, 87b Worthog Road, CAREY GULLY SA 5144
Dear Miss Snodgrasse,
Tim is very busy at the moment, being tied up with various projects including writing his book on WWII, Hitler: South Hobart RSL’s Part in his Downfall, oh yes, and the cube thingy, but he asked that we pass on his best wishes for the season and commends you for your enthusiasm as an obviously avid viewer and supporter of the ABC.
Tim would like you to know that the National Broadcaster always appreciates any correspondence it receives from a fawning public and that every letter is valuable to someone, somewhere, at some time.
Making news at the United Nations General Assembly 10 years ago today!
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News Headlines in Thu 31 January 2005
Despotistan
Depotistani President Abudullah Mutawwa address to the UN: “We have no Homosexuals in Despotistan”
Depotistani President Abudullah Mutawwa in an address to the General Assembly of the United Nations vehemently denied that homosexuality existed in his country.
The announcement was met with a hushed silence from members of the Assembly, punctuated only by Mutawwa’s immediate follow-up: “They are all dead”. “We kill them all!” he somberly proclaimed with a deadpan face. Mutawwa instantly broke into a chuckle and apologised to the Assembly for making what he called his little “infidel joke”!
After an uncomfortable moment, Mutawwa added “Of course I did not mean it”, as if to reassure his audience. The President went on to say that, quite simply, such a thing as homosexuality did not exist in his devout Republic, stressing that it was totally alien to both Islamic and Despotistani culture. “We don’t have this problem in our society” he affirmed, adding, “This sort of thing happens in weak, decadent places like Texas and London … people like George Bush do that with other degenerate leaders from the West, especially Irishmen and Australians.”
“Despotistan is very liberal, peace-loving and tolerant society” he said. “In Despotistan, it is acceptable to have sex with a cat!”, he told the startled General Assembly, “as long as it is a Persian cat … but you cannot perform the “Beast with Two Backs” with members of your own genital group. It is forbidden. Allah would kill the offenders, and those members would have their members cut off! The God of all Gods would have them hanged, brought back to life and then torn apart limb from limb by rabid, frenzied wild camels!”
The Despotistani President rounded off his UN speech by chanting the mantra “God is great, God is merciful” two hundred and fifty times in Ancient Akkadian.
As aspiring students get ready to make the transition to university, it’s timely to take a look back at the story of a typical first-year undergraduate from the class of 2014 in a characteristic regional Australian tertiary education hub.
The pressure of being a fresher
By Kerry-Anne Wilderbeest
May 31, 2014
Manitoba can barely speak without erupting into a flood of tears! Her Reichian Gestalt Therapist has prescribed her sedatives to cope with depression and anxiety, and after this week it will only get worse.
The 23-year-old is one of thousands of first-year uni students who are careening headlong into what counsellors say is the toughest test of their academic careers – getting through their first end of semester exams.
Semester assessments may not seem at all daunting to those annoying little swotting tragics within the student body but to the less conscientious “party-animal” types, it produces visions of train wrecks and beads of sweat around the temples. According to the naturally warm and empathetic University of the Warrumbungles head counsellor, Dr Ethel Molestrangler, it is a flashpoint for many freshmen – when all the external pressures of starting a new chapter in life collides with the reality of coping academically at a tertiary level. Drop-out rates go through the stratosphere at this time of year, low-percentage subjects get ruthlessly dropped and uni counselling units become popular places for new undergrads to congregate.
DET figures show that about 75% of first-years are not sighted again after the end of ‘O’ Week, except episodically in the union bar. Of the 1800 freshmen who enrolled at UOTW in February last year, 1700 had stopped attending classes by Easter (200 of these however were members of the University’s Red Sea Pedestrian Walkers Club protesting against the sale of Vietnamese pork rolls in the University Food Hall during Passover).
“Things are really crook for me … I haven’t slept properly in about three weeks”, Manitoba moaned in a veiled reference to the poor quality of her Sealy Posturepedic, adding unhelpfully that that she needed to remind herself to phone the Bungles’ 40 Winks store to check on the mattress warranty.
At the beginning of the year, having jogged across Jogjakarta, Manitoba island-hopped all the way to the Warrumbungles to join her partner, Winsome Perving, and begin a degree in plant pathology. On top of trying to settle into a new home and earning well below the Henderson Poverty Line from her part-time night job as an exotic crops cultivator, Manitoba has to deal with the unfamiliarity of the Australian tertiary ed system. Having to bribe lecturers with dead fish to secure extensions on assignments has come as a real shock to a girl of her sensitivities.
Manitoba is desperate, this coming week she will sit three exams, two lab tests and submit four assignments as part of the first raft of assessments for her course. “If the University admino-fascists don’t allow my request to withdraw without penalty from half of my semester one program, I may have to chain myself to the Vice-Chancellor’s Rolls Royce … I want the entire administration to know that I’m fully prepared to engage in a futile and meaningless gesture if that’s what is required!”, she plaintively added.BREAKING NEWS!
NUUT – Metawati Semicomatoes, perhaps better known under her stage moniker, Enigmatic Cinnamon, is exasperated. She doesn’t understand why people say she is dead ignorant. She does read books in point of fact, the estranged wife of boss of Mammoth Books and El BizarroEnterprises Edwin Droog, told the Examiner yesterday. “It’s only that as a young mother of three, I usually can’t finish them”.
Semicomatoes is a member of the mega-popular 80s and 90s C&W heavy metal girl rap band, the Cinnamon Girls. The question of her reading tastes came up recently when the Examiner’s sister newspaper, the Nuut Daily Soporific, quoted Metawati as saying, “I haven’t read a book in my life”, and going on to indicate a preference for listening to ambience music and reading 1950s American tractor repair manuals.
“I often start a book, usually a “Thrills and Swoons” romance, but then I always get distracted by Romper Room or Late Night Poker, or its time to groom the boys, so I never seem to get the time to finish a book. I’m sure all mothers with three growing boys know where I’m coming from”, she confided in a revealing, exclusive interview.
“Of course we do read books together at home as a family. My two older boys, Hedwig and Caligula, both love reading stories about capital regrowth accounting, and I often read them fables at bedtime about the dangers of overreliance on long-term investment strategies”.
The Droogs’ third son, Oscruze, who at six months of age is considered by his mother to be too young to get into books. “I might get him straight on to the iPod instead. Someone in the family needs to learn how to use this damn technothingamee gadget, coz I ain’t got a clue!” the eloquent Metawati gushed.
The busy single supermum went on to say that those people who think she spends all of her day provocatively walking round in high heels and fishnet stockings are dead wrong. “Trust me”, she added, “at home with nobody else around, we are just so incredibly normal!” In a rare moment of philosophical contemplation the aromatic former singer said, “All day long I always find myself just flat-chat, doing all the everyday stuff – supervising the maid’s duties, checking the answering machine and adjusting the temperature on the jazucci. Its just boredom, boredom, boredom, which fortunately for everyone is interrupted by the occasional outbreak of tedium!” she added cheerfully.
Bigglesworth Daily Planet: The news, the whole news and nothing but the news from Lands End North ▐▀▄▐▀▄▐▀▄▐▀▄▐▀
Toxotes a reformed character after stretch in clink
Disgraced Tory peer’s penal ideas labelled ‘authoritarian in nature’ and ‘nunsense’ after speech at prison reform conference
Sid Caustic, home affairs editor, Thursday, September 29, 2001
Lord Godfrey Toxotes, who once fed a starving six-year-old East End urchin to a frenzied and baying rabble at a Conservative Party branch meeting, today delivered a thoughtful plea for prison reform. The conference, organised by the John Howard League and held at the Exclusive Rich Toffs Club at Oxminster, provided an opportunity for Hon. Lord Godfrey to showcase his most audacious theories on a subject much on his mind recently, penal reform.
Toxotes noted that after two years incarceration in Club Wormwood Scrubs he felt qualified to offer the “big nobs” in Westminster one or two of his thoughts for their consideration. In his talk the former “guest at Her Majesty’s Pleasure” admitted that many may see his proposed reforms as a bit on the draconian side, but emphasised that he could never be called soft on capital punishment. Indeed, who could ever forget Toxotes’ strident demands when MP for Great Malvern Bottoms that the then Labour Government get tough on kindergarten rage.
Lord Godfrey defied his detractors, boasting he had a record of supporting prison reformers and other “do-gooders” and “loony lefties” ever since 1969 when they had helped him out with a spot of bother involving a couple of Toxotes’ colleagues in a Turkish jail, some mixup to do with crack cocaine. “Mind you”, he added, “I don’t know how these people got into the Conservative cabinet in the first place!”
Prison fancy dress!
One of the proposed reform schemes outlined by Toxotes involved rehabilitating incarcerated sexual offenders by having them whipped by scantily-clad nuns from the Order of the Sisters of Perpetual Indulgence. The life peer exclaimed, “if this doesn’t induce guilt in these vicious working class types for their heinous crimes, then I done know what will!” “At the very least, it will mess with the minds of the tykes amongst them”, he chortled. Lord Toxotes proceeded to explain that although he supported reform of the prison system he did not consider the present sentences punitive or excessive, adding that for capital punishments he favoured electrocution over beheading which is still in practice in some of the minor counties. “Much less messy, no residue”, he reasoned. “You must not ‘mollycoodle’ these transgressive elements of society. You must teach them a lesson they won’t forget in a hurry”.
Toxotes’ eloquently enunciated argument for penal reform was in marked contrast to the unconstrained broadside he launched against the Home Secretary and Director-General of the Prisons Service. The authorities, he fumed, had subjected him to “the shabbiest of treatment”, undeservingly so for “a man of his international stature who could number among his closest friends, Baroness Thatcher, General Pinochet, Rupert Murdoch and several ayatollahs”.
“Lord God” also bitterly complained that the authorities initially housed him in the notorious David Beckham Maximum Security Unit, where he was confined with murderers, terrorists and rapists.
Footnote: Fortunately he was able to make an accommodation of the “cross palms” variety with the governor and move to a low-security, luxury penthouse custody suite in a different part of the gaol. Here, the peer was able to observe at safe distance all manner of hardened proletarian criminality.
Frances Cockup, director of the John Howard League, said that she supported a number of the peer’s ideas but she disagreed with his proposal that prison inmates should be coerced into taking part in “human tissue as art” experiments. She commented: “you can’t force prisoners to grow an extra ear on their elbow just because Lord Toxotes thinks it might be good for prison staff morale”.
More conventional prison clobber…1st class of course!
Markus Golightly, editor of the Prisoners Companion Handbook, labelled Lord Godfrey’s “Sister Lash” notion, “pure nunsense!” “Its a typically wacky Tory kind of policy'” Mr Golightly said, adding that “It wouldn’t be a bad thing if more prominent Conservatives got a taste of life on the inside, mixing with the hoi polloi, it might shake them out of their 1950s ‘born to rule’ timewarp …. or at the very least make them appear slightly more human”. _______________________________________________________ Breaking News!
Tory Amos to stand for seat of Chutney Bottoms
Epoch-defining international news reaches even the most peripheral, overlooked corners of the Globe. Take this piece that appeared on page 1 of the Ketchikan Dispatch in late 2007. The Dispatch is one of the finest news publications in the entire Southern Alaskan Gateway.
An appeals court in Chile has blocked the extradition of Commodore Augustine Pinocchio to Argentina for questioning over a car bombing in 1979.
A judge in Buenos Aires wants to quiz the Chilean timber baron as part of an investigation into a 28-year-old attack that killed a rival paper pulp producer.
But the Santiago Court of Appeals, in refusing to lift the immunity Pinocchio has in his capacity as former president of the South American Anti-Woodpecker Trust, has effectively blocked his extradition. The Santiago ruling would appear to put a lid on any legal avenues to make the nonagenarian faces charges in Argentina, at least for the foreseeable future.
Court President George W Somoza-Duvalier said that the Tribunal ruled that Pinocchio is mentally and physically unfit to stand trial as he is still suffering the debilitating effects of an abusive relationship he had recently with a particularly violent termite.
Pinocchio’s health is generally in a bad state, he also suffers from a mild case of degenerative wood rot, has a pacemaker and has had three strokes since 1998. When interviewed briefly in hospital this week, the edgy nonagenarian revealed that his emotional ill-health started at the age of three when his father took him on a visit to a saw mill, and as a result, to this day he stills breaks out in a rash at the mere sight of a pencil sharpener!
Back in 1997 the isolated bifurcated-hoof inhabitants of far North West Wales depended heavily on the local Valleys rag for their link with the outside world. Let’s take a peek at what was making the front page in the far-flung Cymru Valleys on a typical day back then.
(Anglo-Welsh language lifestyle newsletter for the N/W Cymru community of Llamas & Alpacas)
www.llamalife.com.cy
Gwyl Tyddyn a Gardd Llamalife
Cymraeg
English
Editor: Llama Llewellyn-Jones
Editor, Daily Llama
Editor’s Welcome … Llamas ac Alpacas am Cmyru! Hawddamor … gochel y twyllo dafad, y penfelyn Dolly Parton Sheep ys not ‘ch real MacLlama!!! Defnyddless hamfustyd git Dafyddna Rhys-Vanstone ys y blonegog camel ag gynhyrchu testiculyrs. A braiddyn arseferol fyckwyt Tonnay Abbytt synied Cardiff ys named arftyr llecyn (a place) ym Newydd Ddeau Cymru! Ditto Canadia! Lawn-mewn effenthidiot! A myfiggin serial Selth abusyr, Jones Taffy Howard, dremiau lyke ‘ch typical mutant Guanaco ar ‘ch particularly bayd dydd! Hefyd, poncey, fuddsy, Llardarss crossdressyr, Alexydd Downyr-Alpaca, plays golff off 26 – frym ‘r ladyes tees, ym hygh heels! Cardiff camels cymhuru ymd Welsh National Choir! Dai Llamas-Jones rhifo hwy sawl Taffy Howard yma digyt ym rear end am a vicuna. Must havye mystook i fer George Dubya’s!
Harwedd Feature Stori: ‘r Marxist-Llamas League (MLL) ystofedig attacks ym Alpacaglania Ilywodraeth. I takes ownership fer mercy killyng am smirky Liberalllama Deputy PM Maddog Costello-Lewis. Sloth learnyr Downyr-Alpaca has a thyng amdana Countess Duckula impersonators, esp Condeleeesa Rice-Crackers!Fewn y Tony Blair doll is popular ag depressyd llamas ac alpacas sawl gain a sense am moral superiority frym i. Holy St Bloddwen am ‘ch Crop Circles … ym gyflawn a chewers rhwystrau … golli! Os na Iwyddoch chi I canna cael Dai Davies ym ‘ch Swansea ffôn book!?! Deheuol alpacas frym Pontypool – pam felly diddeall? Na chewchew chi chew! Article:Oriel Guanaco-LuniauticContinue Reading…
NOW that Scotland have expressed an inclination, but not a preference, to secede from the Union with England (the UK), it would be interesting to take a gander at other secession attempts both closer to home and around the world. The impulse for or advocacy of secession by a section or part of an established, multi-ethnic nation state is a recurring feature in contemporary international relations.
The enthusiasm with which so many Scots embraced the notion of “going it alone” and their, so it seemed up to polling day, excellent prospect of pulling it off, is a fillip for long-lingering secessionist movements around the world – Catalonia, the Basque Country, Québec, Flemish Belgium, Kurdistan (although some of the several Kurdish groups seek only autonomy, not outright independence) [“The Kurdish Conflict: Aspirations for Statehood within the Spirals of International Relations in the 21st Century”, www.kurdishaspect.com]
In the Southern Hemisphere, on this very continent indeed, in the state of Western Australia, an air of secessionism has tended to linger, much like the relieving breeze visited upon Perth in the afternoon from the Indian Ocean’s “Fremantle Doctor”. The Western Australians, from the very outset in 1900, were reluctant to join the Commonwealth of Australia…in fact the state’s name was conspicuously omitted from the original Federation document of 1 January 1901! A special provision (Section 95) guaranteeing that a planned inter-colonial tariff would only be gradually phased in, had to be added to the Constitution before the West would sign up. A further inducement that clinched it was the prospect of a transcontinental railway to be built linking WA with the eastern states.
The proposed colony of ‘Auralia’ – an irredentist goldfields colony
𓂃𓂅𓂅𓂅𓂃
In the end, what swayed WA in joining (as argued by Tom Musgrove) was the affinity with the East held by recent settlers lured to WA by the goldfield discoveries. The huge population surge in the 1890s in WA, due to the influx of these Eastern fortune-seekers made them more numerous than the established residents on the coast who were, conversely, distinctly isolationist in their outlook. The miners formed a pressure group advocating that the eastern goldfields area (calling itself the colony of ‘Auralia’) break away from the rest of WA and unilaterally federate with the Commonwealth. The WA Parliament eventually succumbed to the threat of being splintered and losing the goldfields, and committed to the Federation [T Musgrove, ‘Western Australian Secessionist Movement’, The Macquarie Law Journal, www.austlil.edu.au; ‘Separation Movement on the Eastern Goldfields, 1894-1904’, West Australian Historical Society 1949, 4(5) 1953]. So, even prior to Federation, a bent for Western secession was evident.
Black Swan State
𓂃𓂅𓂅𓂅𓂃
The secessionists succeed…or do they?
The threat of ‘Westralian’ succession has been a recurring theme in the state’s history since the early days of colony… lying dormant for years before being triggered into prominence by the emergence of some economic upheaval or issue (more recently over the distribution of mining revenues by the Commonwealth). In 1933 the issue of secession was actually put to the electorate of WA in a referendum held concurrently with the state election. The pre-conditions leading up to such a momentous development were brought about by the Great Depression. Wheat, WA’s top primary product export-earner was decimated (the price per bushel declined by less than half in three years) and unemployment in Perth reached 30 per cent. The WA Dominion League spearheaded by H Keith Watson agitated from 1930 for secession in the West. As a result of the League’s vigorous campaign (contrasting with the lacklustre campaign of the Federal League’s ‘No secession’ campaign), the referendum resulted in a greater than two-thirds vote (68 per cent) in favour of secession. Interestingly, the only region of the state to oppose the secession motion was again the goldfields!
“Westralia Shall Be Free”
𓂃𓂅𓂅𓂅𓂃
The Electorate’s each-way bet!
Paradoxically at the same time, the WA electors dumped the incumbent Nationalist/Country Party Coalition from power (even though the NCPC had backed the ‘Yes’ camp), and elevated the Labor Party opposition, who had opposed secession, into office in the state. The apparent contradictory behaviour of the electors has been explained thus: support was given to the ‘Yes’ case because there was widespread dissatisfaction with WA’s situation vis-à-vis the eastern states (WA had long identified itself as the “Cinderella State” of the Commonwealth, it’s perception being one of it contributing more to federal funds than it receives back). At the same time, the unacceptable state unemployment situation in 1933 resulted in voters seeking to punish the incumbent conservative government by turfing them out (as was done federally to the Scullin Labor Government in 1932) [‘Secession 1929-39: Western Australia & Federation’ www.slwa.wa.gov.au].
The WA delegation bringing the petition to secede to London
𓂃𓂅𓂅𓂅𓂃
Westminster or “Yes Minister”!
The new WA premier, Philip Collier, after some prevarication, appointed a delegation which took a petition for WA secession to the UK. Westminster, in a farcical turn of events which the writers of the popular 1980s TV series Yes, Minister would be proud to put their name to, simply sat on the issue, doing nothing! The British Government after a lengthy delay informed the WA Government that it could not act on the petition without the assent of Canberra. By 1935 the economy had recovered somewhat, the secessionist movement and the Dominion League lost momentum and the issue petered way for ordinary West Australians as they got on with the day-to-day task of making the best of what they could with the status quo [ibid.].
Western successionism, a simmering pot!
The media in WA helps to keep the issue alive with periodical appeals to the spectre of “secessionist redux” (with regular articles appearing with titles like “Why the West should secede” and “Secession still on our mind”). Secessionism has remained a rallying cry for disgruntled Western Australians whenever they feel aggrieved about what they see as the excesses and encroaching powers of Canberra. In the 1970s maverick millionaire/WA mining magnate Lang Hancock tried to revive the state’s secessionist trajectory with his short-lived “Westralian Secessionist Movement”, in effect a political campaign against the allegedly ‘socialist’ policies of the Whitlam Labor Government.Most recently this reared its head again in the concerted opposition to the Rudd and Gillard Labor Governments’ mining taxes.
‘Prince’ Leonard & his consort – in the ‘Principality’
PostScript: Fringe micro-secessionists – seceding from the secessionist state!
In 1970 West Australian wheat farmer Leonard Casley declared his 18,500-acre agricultural property near Northampton (south of Geraldton) to be ‘independent’ of the Commonwealth and the state of Western Australia when Canberra and the WA government tried to limit the size of his wheat crop. In true “comic-opera” style, the eccentric Casley turned his farm into the Hutt River Province Principality, adopting the title of “His Majesty Prince Leonard I of Hutt”, and in so doing spawned a whole new wellspring of tourism for the locality. Enthused with the spirit of commercial opportunity Leonard and his Hutt River ‘micro-nation’ has gone the whole hog…flag, coat-of-arms, royal seal, coins, stamps, medallions, passports, souvenirs, etc. The response from the Australian authorities to such a “bold act” of “unilateral independence” has been a “softly-softly” approach, not seeking to unduly push the matter, a bit surprising as the Hutt River ‘Principality’ purportedly owes the Commonwealth many years of unpaid taxes (although it does make rate payments to the local government authority, the Shire of Northampton)…the state and the federal governments seem to gravitate between being nonplussed and amused by the eccentric entity❈ and generally try to ignore it! [M Siegel, “Micronation Master: Prince Leonard of Hutt River”, 17 May 2012, www.businessweek.com]; ‘Principality of Hutt River’, Wikipedia, http://en.m.wiki.org
﹋﹌﹋﹋﹌﹋﹋﹌﹋﹋﹌﹋﹌﹋﹌﹋﹋﹌﹋﹋﹌﹋﹋﹌﹋﹌﹋﹌﹋﹌﹋﹋﹌﹋
❈ the Prince’s pattern of bizarre and idiosyncratic behaviour includes trying to seize government land surrounding his farm to increase his wheat quota; invoking the 1495 British Treason Act as proof of Hutt River Province’s status as a de facto monarchy; and declaring war on Australia (for four days in 1977!)
I have long thought that one of the more intriguing back stories of 20th century Australian history is the rise and (rapid) fall of the New Guard movement. The New Guard which flourished in the early 1930s was Australia’s own home-grown, ‘wannabe’ fascist organisation, one of a number of disgruntled, peripheral Australian Alt-Right groups in the Depression years.
The New Guard was a fairly obscure fringe organisation in early 1931, formed by ex-World War I army officers who broke away from an existing organisation (the Old Guard) deemed by them to be too cautious in its anti-socialist methods❈. The singular incident associated with the New Guard that resonates most clearly in the public consciousness today is the intervention by Francis De Groot (divisional commander in the New Guard) in the opening ceremony of the Sydney Harbour Bridge in March 1932. The fanatical, sword-wielding De Groot, on horseback, upstaged the State Labor government by dramatically cutting the ribbon at the southern pylon of the bridge before NSW Premier JT Lang could do so officially.
At its height the New Guard had somewhere between 50,000 and 80,000 members in New South Wales❅ (men only, women were not permitted to join the New Guard). Included in these numbers were prominent Australians such as the famous aviators, Charles Kingsford Smith and Charles Ulm, Sir Thomas Henley (Nationalist Party MP), Hubert Primrose (Mayor of North Sydney, later NSW UAP Minister for Health), and leading business figures in industry and agriculture such as the Patricks (Patricks Stevedore and Shipping Lines) and the MacArthur Onslows (sheep barons). Interestingly, it has been alleged (though not substantiated) that Lyall Howard, the garage owner-father of former PM John Howard, was very likely to have been a New Guard member (Andrew Moore, ‘The New Guard & the Labour Movement 1931-35’, Labour History, No 89).
JT Lang in typical demagogic mood
.The background to the New Guard’s emergence was the societal dislocation caused by the Great Depression and the sudden and calamitous level of unemployment of the early 1930s. This gave the New Guardsmen the impetus to thrive as it did to right-wing authoritarian political forces in Europe during the same period. In October 1930 a left-leaning Labor Government was elected in NSW under the demagogic nationalist Jack Lang. Lang’s scheme to tackle the state’s catastrophic economic crisis comprised repudiating Australia’s international loan obligations and refusing to make any further interest payments to British bondholders (and re-channelling those retained monies into job creation for the state). This polemical stand not only enraged Big Capital interests but also made fringe groups on the right, especially the New Guard, flare up in hostile opposition to Labor.
Lt.Col Campbell
The leader of the New Guard (NG) was a Sydney North Shore solicitor, company director and WWI army officer of patrician stock, Eric Campbell. The attraction of men who followed Campbell into NG was that it appeared to offer a fresh, alternative solution to the problems of society to those espoused by the democratic parliamentary parties of the day⊚. NG viewed communism and socialism as having a corrosive and degenerative effect on Australian society. Campbell characterised the incumbent Lang government as avowedly socialist, and thus tried to relegate the Labor Party to the status of being abject co-conspirators with the communists working against the liberties of loyal Australians.
Lt-Colonel Campbell asserted that New Guard was “staunchly patriotic”, but by this he meant patriotic to the British Empire, so intricately linked in his mind was Australia with the ‘mother country’, Britain. In effect the New Guardsmen were undisguisedly über-British loyalists. So, when Lang signalled his intent to default on loans to British banks, this infuriated Campbell and loyalists to the British Crown generally. Campbell and his executive redoubled the movement’s efforts to bring Labor down. NG believed in minimalist government and individualism, in “sane finance” as Campbell put it, in freeing up private enterprise to get on with business…Lang’s plans to expand the public sector to alleviate the unemployment crisis, put ‘Langism’ very squarely in the ideological cross-hairs of NG.
Campbell & his NG acolytes giving a familiar salute at a Sydney rally
By late 1931, disillusioned with parliamentary party politics, the New Guard adopted more aggressive tactics in the fight against the left. New Guardsmen also started to display some of the trappings of fascist parties (military uniforms and armbands, the Nazi salute, ID badges) and began to break up meetings of communists and the unemployed. NG’s unleashing of its paramilitary arm provoked the left into forming communist and Laborite militias which eventually led to pitched street battles with the NG forces.
The most significant, physical confrontation between these groups, occurring in early 1932, became known as the “Battle of Bankstown”. The New Guard in its coercive actions in Bankstown and elsewhere in Sydney did succeed in its aim to disrupt meetings of the labour movement, but these mobilisations ultimately proved counterproductive to the NG leaders’ attempts to consolidate the new movement. The Bankstown mêlée had two adverse effects for NG. First, the leadership’s decision to up the ante in NG’s strong-arm tactics against their ideological opponents alienated a lot of the movement’s rank-and-file and many disaffected members resigned in the aftermath of Bankstown. At an NG meeting soon after some members moved motions of no confidence in the leadership of Führer (the leader) Eric Campbell, ibid.
Secondly, the level of New Guard violence exhibited at Bankstown, and to a lesser extent at other NG mobilisations like Newtown, Drummoyne and Canterbury, following upon De Groot’s bridge antics, convinced NSW Police of the need to take the threat to law and order posed by Campbell’s organisation seriously. The promotion by Premier Lang of an uncompromising, aggressive Glaswegian, Big Bill MacKay, to Acting Metropolitan Superintendent, was the catalyst for a much tougher police line taken against the right-wing paramilitary groups. MacKay intimidated Campbell and De Groot and other NG leaders and exhorted the State police to respond with unrestrained force every time the New Guard initiated a public fracas.
Given free rein by A/Supt MacKay, the white-helmeted state police launched a savage assault on the trouble-making New Guardsmen, especially in an incident that became known as the “Liverpool Street Police Riot”. Campbell’s enthusiastic but volunteer guardsmen proved no match for a well-trained, disciplined and highly motivated police force. The largely middle class NG members who clashed with the police found the experience distinctly not to their liking. Under instructions from MacKay, the police went at the New Guardsmen full-tilt and absolutely brutalised Campbell’s militia. MacKay’s tactics of intimidation and savage counter-violence against NG paramilitaries kept the agitators in check and dissuaded many from continuing their active involvement in the right wing organisation (Moore, ibid).
Berrima Gaol, NSW
NSW Police in early 1932 undertook investigations aimed at unearthing a possible plot by Campbell to use his so-called Secret Army to launch a coup d’être against Lang’s Labor Government. It was widely rumoured in the press that the New Guard planned to overthrow the Government, kidnap and imprison Lang and his senior cabinet ministers in the disused Berrima Gaol in country NSW, (‘The revolution that wasn’t’ (www.matthewleecunningham.com). Whether Campbell was planning such a strike on democracy or not (he publicly denied it however Major Treloar, disaffected NG deputy commander, informed police that this was indeed Campbell’s true intention)(Robert Darlington, Eric Campbell & the New Guard). The question became academic in May 1932 when the Governor, Sir Philip Game, sacked the Lang Government for withholding revenues deemed owing to the Commonwealth as part of the debt to British financiers. The incoming State UAP Government quickly shelved the CID’s investigation into the alleged New Guard plot.
⇑ Gov. Game, co-conspirator in a class conflict?
In what sense could the New Guard movement be said to be fascist in nature?Historians have long debated whether the New Guard organisation was a fascist one or even a quasi-fascist one – as they have done with regard to Franco’s Falange Party in Spain and other authoritarian-right movements. If we stack the New Guard up against the classic Italian and Germany models of inter-war fascism, it is of course a ludicrous comparison. The New Guard movement, in addition to lacking a totalitarian systemic structure, falls well short even of fulfilling the criteria for a semi-fascist organisation like the British Union of Fascists, whose leader, Sir Oswald Mosley, Campbell expressed great admiration for. Campbell visited Fascist Italy and Nazi Germany in 1933 and came away deeply impressed by the Nazi and Fascist systems of rule, and subsequently did integrate some aspects of Mussolini’s Italian Corporatism into the New Guard’s ideology. The most that can be said about Campbell’s organisation however was that it was heavily influenced by the success of the European fascist movements and was openly sympathetic to fascism (Matthew Cunningham, ‘Australian Fascism? A Revisionist Analysis of the New Guard’, Politics, Religion & Ideology , 13(3)).
Real fascists ⇓
Nor can it be said that the New Guard had any claims to be considered as a mass movement in NSW politics. NG remained fundamentally a middle class organisation, the core of its base were urban professionals and small businessmen, like Campbell himself (Cunningham, Ibid.). Unlike many other fascist/authoritarian parties in Europe, it lacked for significant working class participation (Moore, op.cit.). Moreover, geographically, the New Guard was very limited in scope. It was confined almost entirely to one state, NSW, and even more, was essentially a Sydney metropolitan phenomena with only around 3,000 members from rural areas outside of Sydney (Cunningham, ibid.).
The staunchly pro-monarchist and pro-capitalist (and distinctly non-radical) positions of the New Guard demonstrates that the organisation didn’t cross over into a fascist character…contrast the monarchist fervour of Campbell and NG with the positions of Hitler and Mussolini in their countries, Hitler had no interest in restoring the exiled Kaiser during his Reich, and Il Duce merely ignored the powerless Italian King. Rather, the retention of these allegiances shows that the NG movement retained an essentially conservative authoritarianism in appearance (Cunningham, ibid.).
1930s New Guard propaganda against Premier Lang
Why did the New Guard decline and dissolve so swiftly in the mid 1930s?As alluded to above, one reason for the disaffection and eventual alienation of much of the respectable, middle class membership from the New Guard was the resort to more extreme violent means by the leadership from around the end of 1931. Vigilante action by the Fascist Legion, a splinter grooup within NG, did nothing to assuage the doubters in the organisation. In May of that momentous year several of the Fascist Legion members, clad in black Ku Klux Klan style hooded capes, attacked and bashed Jock Garden, a prominent communist and trade union official in his Maroubra home (Garden was a close associate of Premier Lang). This violent act, what we would now call home invasion, brought disastrous publicity to the New Guard (Richard Evans, ‘A menace to this realm’: The New Guard & NSW Police, History Australia, 5(3). This coming on top of the general perception that NG leadership was seriously contemplating taking extra-legal action against the elected Lang Government, made many people distance themselves from the increasingly extremist actions of the New Guard. Interestingly, afterwards the Deputy Leader of the opposition Nationalists came out in parliament denying any involvement by NG in Garden’s bashing, alleging it was a Labor “put-up job” in which Garden himself was complicit! (Darlington, op.cit.).
The ‘Maroubra incident’ 1932 Garden’s bashing by NG thugs
One week after the Maroubra bashing of Jock Garden, the State Governor dismissed Lang and at the subsequent election Labor was soundly beaten by the UAP led by Bertram Stevens. The removal of Lang–Labor had been the New Guard’s overriding objective, so with Lang gone and the conservatives firmly in control, a large part of NG’s raison d’être was at an end. The sacking of Lang released the tension that had been building up between the various opposing forces in the political crisis of 1932.
The signs of a gradual recovery of the economy starting from late 1932 encouraged many who had joined the movement from a fear of socialism to drop their political allegiance to NG (Darlington, op.cit.). The New Guard’s strength dwindled after 1932 and by 1935 the NG support base had largely eroded. In that year Campbell tried to revive the movement’s fortunes by forming a new political group, the Centre Party, and contesting the state elections. Campbell’s last despairing grab at some semblance of power, a electoral bid for the seat of Lane Cove, went nowhere, and soon after, he faded into political obscurity.
PostScript: The New Guard – the Mini-series? A few years ago I suggested to SBS that the story of the New Guard and its ambitious if deeply flawed leader, Eric Campbell, would have the makings of a first-rate mini-series for television, and that they might like to explore the possibilities of this. They never got back to me!
I think this episode in Australian history has the same kind of dramatic ingredients and appeal as the successful Bodyline mini-series made for TV in the 1980s where the English cricket captain’s s breaching of the rules of the “Gentlemen’s game of cricket” forced many Australians (momentarily at least) to question their loyalty to Crown and Empire. Lang’s refusal to back down and the establishment’s uncompromising response was the makings of a high political stakes drama set against the turbulent background of the depression and a very real chance of a bitterly antagonistic explosion of class conflict; the violence of the New Guardsmen and the counter-violence from organised labour, and the unleashed mayhem and retribution of the NSW Police; there are the colourful and complex personalities in the story, larger than life figures such as Jack Lang and Bill MacKay, the paradoxical and enigmatic Campbell. There was also Sir Philip Game – the political executioner of the rebellious Lang, was he acting to safeguard the interests of international capitalism or was he just the dutiful King’s representative, an honest broker bring to heel a dangerously out of line state premier?
Was there a conspiracy or not? – a coup, behind-the-scenes, shadowy figures intent on usurping by whatever means the premier, an arrogant demagogue but nonetheless a democratically elected head of a provincial government (a forewarning of 1975?). How far did NG infiltrate the Sydney establishment and the conservative Nationalist Party? Then there was the question of the bashing of the communist union official Jock Garden, who was really behind it? Many questions to explore.
The New Guard had something of a chameleon–like character, many in society and in the press didn’t take it very seriously with its pompous and overblown leader and his supporters who at times resembled a ‘Dad’s Army’ trying to imitate the real thing in Germany and Italy (the NSW Labor press regularly referred to them as the ‘Boo Guard’). Some however were concerned, especially on the left, including European émigrés with an insight into the threats to liberty a nascent fascism might pose – these sectors viewed the New Guard’s brief moment in the sun very gravely. Others in the community of a more traditional, conservative bent, well-connected politically and socially and often from the North Shore and the Eastern Suburbs, took a different and more sanguine view of the New Guard and endorsed the fringe group’s need and right to inject some new energy into the stalled world of parliamentary politics.
Drama, tension, intrigue, civil unrest, all set against an international context of fascism and communism on the rise. Unfortunately, SBS did not express any interest in this proposition, but I still maintain that the subject conveyed through a mini-series remains a most worthy project – done well! An expert academic history consultant for the period (such as Andrew Moore or Robert Darlington) working with a good screenwriter and some money, could produce a very good product, both as entertainment and as historical reconstruction of a not terribly well known chapter of our history. Perhaps the ABC … budgetary constraints in the reality of a national Liberal coalition government permitting?
𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑𖠔𖤑
❈ the New Guard in rhetoric also distanced itself from the establishment conservative parties as well, the National (or Nationalist) Party and the Country Party (despite there being a good amount of conspicuous cross-membership!), seeing them as failing to take action against the communists and trade unions, and seeing itself as a legitimate, alternative right-wing movement
❅ an active membership of around 36,000 was claimed by the NG leadership
⊚ Campbell himself had impeccable establishment credentials…a professional man, a Freemason, a company director, the Turramurra resident was a member of all the right clubs (Imperial Services, the Union, the NSW, Rotary, Royal Sydney Golf and Killara Golf), [Keith Amos, ‘Campbell, Eric (1893–1970)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/campbell-eric-5487/text9331, published first in hardcopy 1979, accessed online 31 May 2014].
ABACTOR (Image: American Fine Art)
ADELPHOGAMY
ARISTARCH: Aristarchus of SamosTHE phenomena of James Bond in both book and movie form was meant to be purely escapist entertainment, bereft of the slightest pretension that they were anything remotely cerebral. Interesting then that Bond has gleaned so much serious academic enquiry and analysis over the years. A sample of articles on JSTOR reveals a feast of scholarly entries on the subject of James Bond — “Shaken, Not Stirred Britishness: James Bond, Race, and the Transnational Imaginary”, “The Marketable Misogyny of James Bond“, “Paradoxical Masculinity: James Bond, Icon of Failure”, “Why James Bond Villains Prefer Post-Soviet Architecture”, “The Spy Who Loved Globalization”, ”How safe do you feel?: James Bond, Skyfall, and the Politics of the Secret Agent in an Age of Ubiquitous Threat”, and so on it goes.
The James Bond film franchise is certainly sui generis among English-language movie series. October 5 this year marked the 60th anniversary of the introduction of James Bond to cinema screen audiences (Dr No, 1962), and the cinematic sequence remains as yet unbroken, notwithstanding ”the elephant in the room” of last year’s No Time To Die in which the indestructible James Bond actually dies! Virtually all other elongated movie series have ultimately reached a natural (or unnatural) termination point – even the long-running, prolific and increasingly unimaginative Carry On comedy series ran out of steam by the Eighties 🄰.
Ian Fleming ‘Casino Royale’, 1st 007 novel (Image: bondfanevents.com)
If you came anew to the Bond movies looking for a healthy dose of gritty social realism based on the world of espionage a la John LeCarre, you’d be sadly disappointed. The franchise’s entries are all about fantasy and high-adventure escapism. Unlike the shadowy cloak-and-dagger characters that the real world of spies and secret agents (apparently?) inhabit, James Bond 007 in his public persona is an open book, he doesn’t use a fake name, he doesn’t try to disguise his appearance or furtively hide in dark corners. He’s direct, brash, brutal and recklessly undisciplined in his actions and antics, with a propensity to be easily distracted from the assignment at hand by the happy prospect of a spot of horizontal folk-dancing.
Though wildly successful at the box office over an extraordinarily long shelf life, James Bond is not everyone’s cup of tea. An early critic Judith Crist described the series’ first vehicle Dr No as “an updated comic strip of the Fu Manchu school, fast moving, faster shooting, utterly fantastic”. JB has been pilloried by feminists for his unrepentant chauvinism—especially in Sean Connery and Roger Moore’s interpretations of the character—and four decades of “Bond Girl“ objectification of women. The backlash against JB’s misogyny compelled producers to tone down the blatant sexism in the most recent incarnation of the most famous of all British secret agents played by Daniel Craig. Bond has also been excoriated as a “thug trained to wear a tuxedo”…007’s “license to kill” green-light unleashes the agent’s deep predilection for perpetrating extreme, lethal violence in cold blood.
Bond with “Jaws”, larger than life henchman-turned-ally
British Bond and foreign Blofeld
Bond, tapping into the zeitgeist of the day One (insider) view on the longevity of James Bond comes from those at the helm of the multi-billion dollar franchise today, Cubby Broccoli’s daughter Barbara and his step-son Michael Wilson. Broccoli’s heirs attribute the success to the family having managed to keep hold of the franchise’s reins throughout its entire history, and to JB’s and the franchise’s adaptability, 007 being able to change with the times🄶 (‘Why James Bond Has Endured For So Long, According to the Franchise Producer’, Joshua Meyer, Film, 8-Dec-2021, www.slashfilm.com).
The “indomitable Gauls” in question are the tribe of Astérix, pint-sized Gallic hero of the long-running eponymous French comic strip with its legion of dedicated fans. Like all classic literary modes, be they of a pop cultural kind or more highbrow, the Astérix comic can be read on more than one level. On the surface the impossible but highly comical escapades of its principal cartoon characters (Astérix and his sidekick Obélix) are much loved and savoured by aficionados across the globe. On another level some observers have detected various allegorical meanings delving within the cartoon series. 
Astérix’s debut, 1959
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Getafix, Druid & grandmaven
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Dubbleosix in ‘The Black Gold’
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Nomenclature of the dramatis personae
When sketching out the framework of their fictional First century BC Gaul Goscinny and Uderzo decided on a formula for the names of each of the groups of characters. The Gauls’ men’s names would end in -ix (the inspiration for this was the real-life Gallic chieftain Vercingetorix who revolted against Julius Caesar’s Rome in 52BC), so we have Vitalstatistix (chief of Astérix’s tribe) and his brother Doublehelix; Assurancetourixൠ (English: Cacofonix) (bard and scapegoat of the village); Geriatrix (oldest member of the village); Unhygienix (village fishmonger); Cétautomatix (village smith) (Eng: Fulliautomatix); Saingésix (wine merchant) (Eng: Alcoholix), etc. etc. The Romans mostly are identified by names with the suffix “-us” (although “Julius Caesar” (Fr: Jules César) appears as a fictional character under his own name)…as the “bad guys” the Romans all tend to have derogatory or demeaning names, eg, Pamplemus (Arteriosclerosus); Cadaverus; Caius Fatuous; Caius Flebitus …you get the idea! 
‘Astérix and the Normans’
‘Astérix and Cleopatra‘
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Black pirate lookout in ‘Astérix in Corsica’
Bravura and the village women in revolt
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‘Astérix and the Great Crossing’: Astérix & Obélix tango with native Americans – more sterotyping of ”the other”࿏ ࿏ ࿏ 
Enter the new generation of Astérix comic artists
By 2011, Uderzo in his eighties, was ready to pass the Astérix baton on to two cartoonists who he had been mentoring. The new team, Jean-Yves Ferri (writer) and Didier Conrad (illustrator), having got the master’s nod of approval, produced Astérix and the Picts in 2013, followed by four more Astérix albums thus far. Ferri and Conrad have even introduced new characters with contemporary and topical resonance, eg, Confoundtheirpolitix, a muckraking journalist, spoofing Julian Assange (Astérix and the Missing Scroll). Unfortunately, since becoming custodians of the world’s most famous cartoon Gaul, Messieurs Conrad and Ferri have missed the opportunity to redress the earlier derogatory depiction of Africans drawn by Uderzo. Instead Conrad tactlessly reprised Uderzo’s Black pirate lookout character in 2015 in ‘Missing Scroll’) with the same racist depiction of Baba with bulbous red lips.
‘Astérix en Bretagne‘
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The Astérix industry
As at 2021, with the publication of the 38th Astérix comic book Astérix and the Griffin, the books have sold a staggering combined total of 385 million copies worldwide. They have been translated into 111 languages and dialects including Afrikaans, Welsh, Hebrew, Occitan, Arabic, Urdu and even Latin. Astérix adaptation to the screen comprise 10 animated films and four live action films (of which only Mission Cleopatra merits any accolades at all). There’s the usual accompaniment of merchandising of course and even a theme park, Le Parc Astérix, north of Paris. The comic books’ following spans the globe, in their heartland, France and Belgium, in Germany, Britain, just about everywhere they have been in vogue with the notable exception of the US.
What’s the secret of the Asterix comics’ success?
To M Uderzo the endearing nature of Astérix’s popularity remained a puzzle that he couldn’t fathom, best left to others of which there has been no shortage of opinions aired over the years. Clearly, the character of Astérix is deeply rooted in French popular culture. Two-thirds of the French population had read at least one Astérix books according to a 1969 national survey (‘Going for Gaul: Mary Beard on 40 years of Astérix’, The Guardian, 15-Feb-2002, www.amp.theguardian.com . Some observers put the appeal down to the escapism the comics represented – providing “a world of joyful innocence born in the aftermath of (world) war” ‘My hero: Asterix by Tom Holland‘, The Guardian, 26-Oct-2013, www.amp.theguardian.com . This sentiment is echoed by those who have called the series ”the most brilliant antidote to (the catastrophe of) Vichy in French literature”. Many French people identify with the petit Gaul as a symbol of rebellion, standing up for the “little guy“ against Goliath. To them Astérix’s steely determination to defy the juggernaut of Roman power mirrors the impulse in the hearts of many modern-day French citizens to hold out and not succumb to the all-conquering globalisation driven by the United States⚘. While the French feel an inextinguishable pride in Astérix (“simply French”), to many outsiders the comics personify what they take to be the French character, such as the trait of “infuriating, occasionally endearing contradictions” (John Thornhill, Lunch with the FT: Asterix the national treasure’, Financial Times, 24-Dec-2005, www.financialtimes.com). Another take on Astérix’s popularity beyond the borders of France is that the idea of an heroic “native freedom-fighter” defying Rome struck a resonant tone in countries which had once been subjected to the tyranny of the Roman Empire (Beard). 
Footnote: In Astérix in Belgium, the 24th volume in the series໒꒰, village chief Vitalstatistix, Astérix and Obélix head off to Belgae to tangle with an equally fierce tribe of Belgian Gauls. As usual, the comic is saturated with cultural references, Goscinny weaves in a series of gently digs at the Belgians, spoofing famous national celebrities like Walloon actress/singer Annie Cordy and cyclist Eddie Merckx. The comic’s battle scene is a riff on the historical Battle of Waterloo and Uderzo draws in a cameo appearance by fictional detectives Thomson and Thompson from Belgium’s most honoured cartoon strip Tintin (‘Asterix v24: “ Asterix in Belgium”’, Augie De Blieck Jr, Pipeline Comics , 25-Jul-2018, www.pipelinecomics.com).
⍓ Goebbels & Hitler with the “People’s Receiver” (Source: badischezeitung.de)
⍓ Henriot in full flight (Photo: Keystone/France/Gamma vis Getty Images) 
⍓ Jane Anderson (Source: guerracivildia.blogspot.com)
⍓ Ezra pounding out his Axis radio scripts (Photo: Carl Mydans/The LIFE Picture Collection/Getty Images)
𝔓𝔯𝔬𝔭𝔞𝔤𝔞𝔫𝔡𝔞 𝔴𝔞𝔯–𝔣𝔦𝔢𝔩𝔡, 𝔚𝔚ℑℑ (ℭ𝔯𝔢𝔡𝔦𝔱: 𝔉𝔩𝔦𝔠𝔨𝔯)
𝔓𝔥𝔬𝔱𝔬: 𝔞𝔪𝔞𝔷𝔬𝔫.𝔠𝔬𝔪
𝔊𝔖1 ℜ𝔞𝔡𝔦𝔬 𝔖𝔱𝔞𝔱𝔦𝔬𝔫 𝔞𝔱 𝔐𝔦𝔩𝔱𝔬𝔫 𝔅𝔯𝔶𝔞𝔫 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔅𝔢𝔡𝔣𝔬𝔯𝔡 𝔅𝔬𝔯𝔬𝔲𝔤𝔥 ℭ𝔬𝔲𝔫𝔠𝔦𝔩)
ℭ𝔩𝔞𝔫𝔡𝔢𝔰𝔱𝔦𝔫𝔢 𝔄𝔰𝔭𝔦𝔡𝔦𝔰𝔱𝔯𝔞 𝔱𝔯𝔞𝔫𝔰𝔪𝔦𝔱𝔱𝔢𝔯 𝔞𝔱 𝔚𝔞𝔳𝔢𝔫𝔡𝔬𝔫 𝔗𝔬𝔴𝔢𝔯 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔩𝔦𝔳𝔦𝔫𝔤𝔞𝔯𝔠𝔥𝔦𝔳𝔢.𝔬𝔯𝔤.𝔲𝔨)
𝔅𝔯𝔦𝔱𝔞𝔦𝔫’𝔰 𝔭𝔰𝔢𝔲𝔡𝔬–𝔊𝔢𝔯𝔪𝔞𝔫 𝔫𝔢𝔴𝔰𝔭𝔞𝔭𝔢𝔯
Image: National WWII Museum
Listening to Tokyo Rose on Zero Hour (Source: psywarrior.com)
Iva at the mike
Belated presidential pardon (Screenshot ‘Iva Toguri, Patriot’)
Mitsu Yashima (Source: Densho Encyclopedia)
Credit: IMDb 
Gillars’ greatest notoriety lies with the radio play (Vision of Invasion) she broadcast to American soldiers in England a month prior to D-Day, forecasting doom and devastation awaiting the Allies if they were to invade occupied France. After the war Gillars was apprehended and eventually returned to the US in 1948 to stand trial on 10 counts of treason. The ”voice of Axis Sally” was acquitted on nine of the counts but was convicted on the 10th count, the broadcast of Vision of Invasion. Gillars was sentenced to 10 to 30 years in a West Virginian prison and ultimately served 12 years (released in 1961).
Queue outside Old Bailey trial of Joyce (Source: thejc.com)Postscript: Lady Haw-Haw Joyce’s wife Margaret who accompanied him to Germany played her own supporting role in the wartime baiting of the Allies (she had her own propaganda radio air time spot). Ultimately though “Lady Haw-Haw” managed to avoid William’s fate at the gallows. No charges against Margaret Joyce were ever proceeded with. Nigel Farndale suggests that rather than an act of leniency, Margaret’s avoidance of punishment may have been due to a deal her husband did with the authorities not to reveal his MI5 links.
ˢᵏᵉʷᵉᵈ ﹠ ⁱⁿᵉᵇʳⁱᵃᵗᵉᵈ ᵒᶻ ʰⁱˢᵗᵒʳʸ
ᵈᵉʳᵉᵏ ʷᵃᵗᵉʳˢ ⁽ˢᵒᵘʳᶜᵉ﹕ ᶜˢᵗ ᵒⁿˡⁱⁿᵉ⁾
ⁱⁿᵛᵉⁿᵗⁱⁿᵍ ᶜᵒᶜᵃ⁻ᶜᵒˡᵃ ⁽ˢᵒᵘʳᶜᵉ﹕ ⁱᵐᵈᵇ⁾
ˢʸᵇⁱˡ’ˢ ʳⁱᵈᵉ ⁽ˢᵒᵘʳᶜᵉ﹕ ⁱᵐᵈᵇ⁾
“ʷᵉⁱʳᵈ ᵃˡ ʰⁱᵗˡᵉʳ” ⁽ᵖʰᵒᵗᵒ﹕ ᶜᵒᵐᵉᵈʸ ᶜᵉⁿᵗʳᵃˡ⁾
Python running rugby
At the time Paul Rigby was living in Perth, WA, where the “art form” took off. The cartoonist’s favourite “watering hole”, the Palace Hotel in the Perth CBD became the epicentre of the performance art of limp falling, the epicentre of the activity in Australia at least. A 2013 article by Aleisha Orr suggested the spectacle of limp falling “swept across many parts of the world in the 1950s and 60s”. In the same article one of the few surviving, octogenarian members of the club had his own take on the mysterious origins of the art of limp falling, the result of a house party accident when one of the journos—well-lubricated at the time no doubt—fell through an asbestos wall❂
Palace Hotel, Perth
‘President’ Rigby (Source: AMHF)
In its early days Coke was marketed both as a medicinal drink and as a “refreshing tonic”
Pepsi’s watershed year was 1975 when it mounted the “Pepsi Challenge”, a series of filmed blind-taste tests in which the majority of participants chose Pepsi over Coke as their preferred soda. This boosted Pepsi sales and escalated the rivalry between the two “Big Sodas”, kicking off what became known in America from the Sixties on as the “Cola Wars” or the “Soda Wars”. Until the Pepsi Challenge happened Coca-Cola had been coasting somewhat, complacently presenting itself as “the real thing” in contrast to the upstart pretender. Coca-Cola’s response to PepsiCo’s move was to promote the then most popular personality on US TV Bill Cosby as “the face of Coke”.
Pepsi embarked on a marketing campaign which depicted itself as a younger, hipper brand than its outmoded rival. Drinking Pepsi was a cool thing to do (so proclaimed the marketers), when stacked up against the tired, same old, same old Coke alternative. Integral to PepsiCo’s campaign was the recruitment of celebrities to endorse the beverage, the centrepiece of which was Michael Jackson. Other pop music icons followed the success of Jackson’s involvement with the product – David Bowie, Madonna, Lionel Ritchie, etc. Ad men heralded Pepsi as “the choice of a new generation”.
In the early Eighties, under pressure from Pepsi’s inroads into the market, Coca-Cola introduced diet Coke, a caffeine-free soda, followed by a complete redesign of Coke—given the secret codename “Project Kansas”—the outcome in 1985 was a sweeter Coke, New Coke. To counter Pepsi’s sweeter, more syrupy taste, Coca-Cola replaced sugar with corn syrup (which also reduced the production cost). New Coke however proved a disaster for the company, provoking a huge backlash from loyal consumers, some described the new taste as like “two day old Pepsi”. Southern fans of Coke, where Coca-Cola (and Pepsi) had its origins, were especially offended.
Faced with an avalanche of criticism, Coca-Cola brought back the old formula under the name “Coca-Cola Classic”. New Coke for its part got rebranded but never really took off and was eventually discontinued. Disappointment that it was, New Coke did provide one unanticipated positive – it managed to reawaken in many Coca-Cola drinkers suffering from a bout of ennui a new craving for the original taste (Little).
Vintage 1950s ad: “Pepsi-Chic” before it went “Pepsi-Hip” (Robt Levering)
Photo: George Marks/Retrofile/Getty
[R] 17-y-o Roy Race on his ‘debut’
Roy on the field epitomises fair play (often in contrast to his opponents), his personality embodies all the virtues of “sportsmanship, etiquette and why a fractured ankle, a broken rib and an early case of polio should never stand between a determined team captain and victory in FA cups” (McGinty). Roy’s Rovers competed against the other teams in the League—like their arch-rivals Tynefield United—who never come close to ever matching up to the ethical pedigree of Melchester Rovers.
Roy is beyond the slightest doubt the absolute gun player in Melchester’s colours, however it’s not quite a one man band. He gets stirling assistance from teammates, most notably from Johnny Dexter the team’s “hard man” and goalie Gordon (“the safest hands in soccer”) Stewart (cf. Gordon Banks).
By the early 1990s, with the inevitable ebbing of ROTR’s popularity, the publication folded. However, at several intervals, the comic, phoenix-like, has been resurrected for the diehearts, most recently in 2018.
The story line is pure farce, supposedly detailing the experiences of communist East European football player Ricky Lenin (Alexei Sayle in a heavily accented voice which appears to be channelling his Balowski family character from The Young Ones) at Midlands club Felchester Rovers. Lenin is portrayed as a “tactical mastermind/balding midfield maestro” but more accurately might be described as thick as two planks. Through constant rhetorical flourishes Lenin lectures the team on dialectical materialism, the inevitable destiny of Felchester Rovers football club*, but he is exposed as a faux Marxist for covertly trying to enrich himself through football connexions. Lenin launches a proletarian coup which removes the club’s manager Ray Royce (a transparent pun on Roy Race), and then himself has to ward off a challenge from Felchester’s “burly defender” Stevie Stalin and “hard nut” henchman Terry Trotsky.
In the episode where Felchester travel to Germany to play Borussia Mönchenpastry (cringe!), they encounter diabolical German tabloid publisher Max Gut, a thinly disguised Robert Maxwell. Piss-taking comes fast and furious in LOTR, another episode involving Ricky putting out feelers for a move across the Irish Sea to represent the Republic of Ireland national whose team sheet reads like the United Nations with not a solitary Gaelic name in it! One of the team apparently qualified for Ireland due to having once read a James Joyce novel!
From go to whoa it’s a pun bonanza, reminding me a lot of those exquisite Sixties radio comedies like I’m Sorry I’ll Read That Again. Felchester’s Euro opponent is Swiss club FC Toblerone (groan!). Their arch-rivals in the English comp is the thuggish Crunchthorpe United, however the Felchester team itself triumphs in the Cup employing the same tactics of illegal crunching tackles and skilless brawn. Needless to say that in the computer football universe, Felchester Rovers would be Melchester’s Crunchthorpe United.
⍋ Pynchon’s muted horn 
(Image: www.labrujulaverde.com)
Thurn-und-Taxis and Imperial Post, democratisating postal services
Before Taxis takes charge of the Imperial Post, the Habsburgs depend on courier services that are exclusive to the elites of society. Dedicated messengers service sovereigns, aristocrats, merchants and other corporate bodies like universities and monasteries, but are not available to the general public. Thurn-und-Taxis changes that pattern, being the first to carry both private and public items on its trans-empire routes (Schobesberger).
⍋ Thurn & Taxis post-roads, western Germany, 1786 (Image: www.euratlas.com)
⍋ St Emmeram Palast, Regensburg (T& T) (Photo: Pinterest)
Cohen & Roney 1952: taking the 1st steps for audio booksellers (Photo: Lib of Congress Blogs)
The versatility of audio books is behind its blossoming into an integral part of the literature landscape for ‘readers’. ABs can be integrated easily into one’s life in all manner of ways that are not confined to a sedentary or stationary state – while exercising, walking, jogging, cycling, in the gym, while cooking, doing housework, driving a car, commuting, etc [‘Audiobooks: The rise and rise of the books you don’t read’, (Clare Thorp), BBC, 06-Jan-2020, www.bbc.com].
(Source: www.money.org/)
“>
A league of populist leader ‘bedfellows’?
The way Mexico under its president, Andrés Manuel López Obrador, has approached the pandemic has disturbing parallels with that of Brazil’s leader Bolsonaro, and with the US under Trump. Despite a difference of ideological orientation—Obrador (who’s commonly known within Mexico as AMLO) is a Left-populist whereas Bolsonaro and Trump are Right-populists—the Mexican leader has pursued much the same course with similar outcomes. AMLO’s government was slow to engage in the fight against COVID-19 in the critical early period. The virus apparently entered Mexico via overseas returnees, primarily wealthier Mexicans returning from business trips to Italy and skiing holidays in Colorado, and then spread to low-income groups [‘Mexico’s Central de Abasto: How coronavirus tore through Latin America’s largest market’, (Mary Beth Sheridan), Washington Post, 21-Jun-2020, www.washingtonpost.com].
(Source: El Salvador Presidency via Reuters)
(Photo: AP)
(Photo: AFP/Igor SAFIN)
(Source: www.thesummitexpress.com)
(Image: www.nature.com)
A corona red world, March 2020 (Credit: www.abcnews.go.com)
The pandemic has caused divisiveness. Not just between rival countries trying to shift the blame and score political points, but at a grass roots level. We’ve seen the spectacle of shoppers in supermarkets fighting over the providence of a single pack of toilet roll➁.We’ve got incorrigible prepper-minded hoarders boasting online of their Fort Knox-sized storage bunkers of stockpiled household essentials, counter-balanced by the shopper-shaming of overzealous buyers queueing up with 150 rolls of toilet paper in their trolly (human behaviouralists tell us that buying ridiculous quantities of toilet rolls gives us reassurance, a warm and fuzzy feeling in a time of fear). The supermarkets, one of the very few sectors doing spectacularly well out of the crisis, have responded (too late) with partial war rationing to head off the panic buyers. War rationing seems apt as democratic governments across the world channel their inner Churchill and rush to set up “war cabinets” to deal with the extraordinary and unprecedented situation.
Deserted airport departure lounges 🔺
Thanks to COVID-19 we’re learning a slew of new buzzwords, for a start social distancing and elbow bump (sounds and looks dorky but it’ll catch on, trust me), and us non-statisticians in the community are already tired of hearing TV expert commentators rabbiting on about the merits of “flattening the curve”. I am waiting to hear (and am surprised not to have heard it yet) the adjective “Orwellian” uttered in the current crisis. 
Bay County beach, Fla. (Ya Photo: WJHG/WECP)
As with something this truly extraordinary, of such novel complexity and uncertainty, despite (or perhaps because of) the deluge of information, more questions than answers remain…should we lockdown cities or not? What are we not doing here to stem the crisis that appears to be working overseas? Face masks, yes/no?➂ Test for virus or not test? Can I be infected, recover and be infected a second time? What’s the shelf life of an infected surface? What do I do if I’m at high-risk and social distancing is not a viable option? Should we let the grandparents babysit our pre-schoolers any more? And then of course there’s the greatest imponderable of all, when is this whole nightmarish scenario going to end?
🔺 No issues with social distancing here (Photo: AP)
Canadian political philosopher John Ralston Saul is the secular high-priest of doubters and cynics, a non-believer in “the gospel” of the modern corporate state, constantly debunking the conventional wisdoms offered up as “absolute truths” in Western society✲. Therefore, it comes as no surprise that Saul would produce a guidebook for other secular agnostics. Wedged between his treatises on his personal philosophy ‘superstar’ Voltaire, his studies of modern Canadian society and his excursions into the realm of fiction, is JR Saul’s The Doubter’s Companion, or to give it his full title:
Although Saul calls his volume “a dictionary”, the term applies more to the book’s format (utilising the standard A-Z form of the dictionary) than to its content or purpose. The Companion goes on to define Dictionary as “Opinion presented as truth in alphabetical order”. And Answers are merely “a mechanism for avoiding questions”. Saul decries the trajectory of modern dictionaries and language (which have been captured by the forces of a rational orthodoxy), yearning instead for a return to the Humanist dictionaries of the 18th century (Voltaire, Diderot, Johnson, etc)². 
When I first delved into The Doubter’s Companion (around 1995), my mind took me to that other great cynic’s dictionary of the early 1900s, Ambrose Bierce’s The Devil’s Dictionary. Both works, albeit very different books, are idiosyncratically unconventional takes on language and meaning in their respective societies, and both proffer a contrarian view of the established wisdom of the day. Both Saul and Bierce are provocateurs, each with their own personal axe to grind⁌.
The Doubter’s Companion, by its polemical nature is unequivocally meant to shake up orthodox thinking (TDC was described by one reader as “an abecedarium of subversion”). The dictionary form of the book is a device Saul employs to launch into short philosophical essays on topics about modern post-industrial society that concern him—corporatism, individualism, leadership and managerialism, freedom of expression, communication, public relations, advertising and the way language is distorted to control communications (see his definition of ‘ideology’). In so doing, Saul skewers the accepted veracity of many of the words, phrases and terms you will find in today’s dictionaries.
Saul savages that that most universal institution of American fast food, MacDonalds:
Happy Hour is “a depressing comment on the rest of the day”.
Saul includes in the alphabetical list a number of surprising and disparate entries for a reference book on philosophical common sense. These include Ants (Saul makes the unexpected and unverified statement that the members of the Formicidae family of eusocial insects “do nothing 71.5 per cent of the time”)⊡; Apple (the fruit not the corporation); Armpits (which is curiously cross-referenced to Reality); Nannyism (not sure why this topic warranted nine paragraphs and over 400 words but Saul interweaves a discourse on Margaret Thatcher, bullying and sex appeal into the entry); Urban weather patterns (wtf?); White bread (“the sophisticated product of a civilization taken to its logical conclusion … continually refined until all utility has been removed”).
Museums: Safe storage for stolen objects.
Note: the original 1930s studios in West London (above) were bought by the BBC in the 1990s and resurrected as a facility for hire [‘Remembering Ealing Studios and the golden age of British film’, BBC News, (Vincent Dowd), 30-Aug-2015, www.bbc.com].
In popular currency the notion of the hillbilly has an overwhelmingly pejorative connotation anywhere within the reach of American culture (ie, everywhere!), especially as a topic of discussion or comment outside the American South. The stereotype is deeply embedded in and has been perpetuated through the agency of American popular culture – in literature, there have been long-running hillbilly comic strips ridiculing country folk as basically “dumber than dumb”, especially seen in ‘Li’l Abner’ and ‘Snuffy Smith’ (at left). But the idea of hillbillies as backward, ornery and all the other negative connotations associated with them, has been nowhere more pervasive than on the celluloid screen, both big and small.
The perception given by popular cinema and television comedy is that hillbillies can be found in a loosely defined geographical region somewhere in the American South. If need arises in a storyline to pinpoint their location more precisely, screenwriters will tend to locate them in mountainous areas, and if named it will usually be in one of two southern physiographic regions, either the Ozarks (extending over parts of Arkansas, Mississippi, Oklahoma and Kansas) or the massive Appalachians (several systems of mountains but usually “Appalachian hillbillies” are depicted as coming from Kentucky, Tennessee, Virginia and West Virginia, and (parts of) Ohio)✥.
The Ozarks (“Hillibilly haven”) ⬆️
The South is “a different country”: More audience fodder for Hollywood
In the television age Hollywood’s “go-to” take on hillbillies typically utilises the persona for pure comic intent, mercilessly exposing and ridiculing the (usually) working class hillbilly for his or her wilful ignorance, lack of education and sophistication, depicting him or her as “pre-modern and ignorant hillbillies” (in Anthony Harkins’ words) to create, “one of the more lasting and pervasive images in American popular iconography” [Harkins, op.cit.]. Given that areas like Appalachia with its coal-dependent economy are cyclically prone to recurrent “booms and busts”, poverty is a familiar reality for very many of those residing in such places, accordingly Hollywood has traditionally seen hillbillies as soft targets, comfortable in showing up their unworldliness and illiteracy for a laugh…the Beverly Hillbillies of that popular American TV comedy of the same name are “dirt-poor” until Jed makes a fortuitous discovery on their ‘worthless’ land which transforms the ‘Hicksville’ family into “oil-rich tycoons”.
‘Monstrous mountaineers’ and other ‘psychopaths’
The comedic hillbilly has proved a rich source of material for movies and television, but as a variant from time to time Hollywood has also presented a very different, menacing on-screen hillbilly persona – the classic cinematic example of this is perhaps the 1972 Deliverance movie. Deliverance portrays hillbillies as sadistic, lawless types bereft of any semblance of moral compass, ‘inbred’✪ nefarious individuals who commit acts which are both morally and sexually depraved⍍. In hillbilly movies of this type, in place of the benign and fun-loving “Good Ol’ Boys”, are more brooding and sinister Southerners, sometimes isolated loners, psychotic serial-killers and even corrupt sheriffs. Meredith McCarroll, in a study focusing on the Appalachians [Unwhite: Appalachia, Race and Film, (2018)], has identified several distinct tropes of hillbilly movies. McCarroll’s typology includes Monstrous Mountaineer [Deliverance, Wrong Turn (2003), Timber Halls (2007)]; Heroic Highlander [Next of Kin (1982)], Killing Season (2013); Lazy Hillbilly [Our Hospitality (1923), Kentucky Moonshine (1938)]✜.
Escaping to an imagined and idealised South
Hollywood’s hillbilly stereotypes extend to a romanticisation of the hillbilly, often their lives are romanticised as simple and uncomplicated (much as native and Black Americans and Mexicans are!). The hillbilly is shown as backward and quaintly pre-industrial, embodied in the famous river bank scene in Deliverance of hillbillies lazing about with nothing better to do than mindlessly pluck banjos [McCarroll, op.cit.]. Allied to this perception, Hollywood’s hillbilly tropes are a component of “using the South as a foil for modern life”…for Americans living in the Sixties and Seventies it was a confrontational time, full of harsh realities and worrying big issues such as the conflict over the Vietnam War, race riots, poverty and the Cold War. Feeding the viewing public a diet of idyllic and irenic images of Southern harmony, a distorted sense of life not being too serious, provided a palatable form of escapism for Americans in the big cities. So we got shows like The Andy Griffith Show, Petticoat Junction, Green Acres and The Dukes of Hazzard, presenting fictional Southern ‘Hicksville’ towns with names like ‘Mayberry’ and ‘Hooterville’, peopled by harmless hayseed sheriffs and shopkeepers [‘The Weird History of Hillbilly TV’, (Gabe Bullard), www.bittersoutherner.com].
‘Hicksploitation’ reality obsession
In the age of reality TV saturating our screens, the subject matter of hillbillies has far from abated. The trope has perpetuated itself within this sub-genre of television with a string of titles pitched fairly and squarely at the LCD in society…Swamp People, Moonshiners, Bayou Billionaires, Hillbilly Handfishin’, American Hoggers, and even Lady Hoggers, as well primus inter pares, the much-hyped docu-drama Duck Dynasty. Reality hillbilly shows keep faith with the standard formula, peopled with folk who are not exactly what you’d call cerebral, rather they are raucous, profane, intolerant, “anything goes” ‘rednecks’…so lots of guns around, wild animals of various kinds, ‘Down-South” stills producing copious amounts of “sly grog”, “hunting-and-a-fishing”, excessive facial hair, Confederate flags, lack of respect for authority, etc. Despite the often appalling and sometimes degrading behaviour exhibited in “redneck reality TV”, viewers continue to subscribe in meaningful numbers to this brand of “televisional fare”. Testimony perhaps to the fact that “people will (always) tune in to see themselves on screen or the extremes of another culture” [“‘Redneck’ reality TV is one big ‘Party'”, (Patrick Ryan), USA Today, 09-Dec-2014, www.usatoday.com].
BF – before Felix…
Felix, the anthropomorphic black cat with the massive white eyes and the broadest of broad grins, was not the first animated cat to grace the screens of movie theatres. That honour went to a mouser called Krazy Kat, the conception of cartoonist George Herriman…first appearing as a comic strip character in the New York Evening Journal, Krazy Kat debuted on movie screens in 1916 in a silent short featuring the eponymous cat and his brick-throwing ‘frenemy’ Ignatz Mouse.
Master Tom, prototype
Not long after, Felix had his beginnings in the prototype form of Thomas Cat. In 1917 Australian cartoonist Pat Sullivan produced a short, animated silent film about a black cat, The Tail of Thomas Cat, through his own New York studio. By 1919 ‘Thomas Cat’ had morphed into ‘Master Tom’ in the short Feline Follies. After a follow-up entry (The Musical Mews) again starring Master Tom, Sullivan’s third short of 1919 (Adventures of Felix the Cat) changed the name of the ‘Tom’ character to the name he would henceforth be universally known as – Felix. Despite the seemingly clear lineage between Thomas Cat and Felix, some American animation historians discredit the connexion, citing Thomas Cat’s non-anthropomorphised nature, the uncertainty of his fur colour, the fact that he loses his tail fighting a rooster without ever being able to recover it (cf. the difference with Felix who can magically transform his tail into other forms) [‘Felix the Cat – McGill CS’, www.cs.mcgill.ca].
Conflicting stories of Felix’s origin
Sullivan maintained all along that he was the creator – on a visit back to Australia in 1925 he told the Melbourne Argus newspaper that the idea for Felix had come to him when his wife brought a stray cat into Sullivan’s studio one day (as was her wont). On other occasions he said that the inspiration came from a Rudyard Kipling story, ‘The Cat that Walked by Himself’. For the name of his cartoon creation Sullivan explained that he had drawn on his native Antipodes… Australia Felix was a term in use from the 19th century to describe the western districts of the state of Victoria (also later the name of an Australian novel by Henry Handel Richardson). Another source for the cat’s name came from a contemporary fellow cartoonist – appearing in print in 1936 the cartoonist affirmed that Sullivan told him that he derived the name from a black West Indian-born boxer living and fighting in Australia called Peter Felix whom Sullivan was acquainted with (the animator being a big enthusiast of boxing) [Pat Sullivan – I made the cat and the cat made me’, www.vixenmagazine.com].
Contesting Felix
Not surprisingly the strongest argument for endorsing Sullivan as Felix’s true creator comes from Australia, the animator-cum-entrepreneur’s homeland. Australian cartoonists, including some who knew Sullivan, have drawn attention to a comment during an interview when he visited Sydney in 1925 (quoted in the local papers): Sullivan stated that his practice was to ‘do the “key drawings” and leave the rest to a staff’ [Vixen Magazine, op.cit.]. Moreover, the Australian Cartoonist Association have argued that the distinctive lettering style of Sullivan can be detected on the Felix artwork, eg, in Feline Follies (Felix’s first incarnation), the lettering used matches examples of Sullivan’s handwriting. Additionally, certain speech bubbles in the short uses expressions and terms which have distinctive Australian usage, especially ” ‘Lo Mum! “. Australian animators, argue that had Otto Messmer conceived and created the prototype Felix film, as he claimed in 1977, he would have used the traditional American form of shorthand for mother, ‘mom’ (not ‘mum’) and he would not have dropped the ‘h’ in ‘hello’ which is more characteristically Australian or British◰. [‘Reclaiming Felix the Cat in the Picture Gallery’, (Judy Nelson, Exhibition, 1-May to 7-Aug 2005, State Library of NSW, Sydney), www.pandora.nla.gov.au]
Animator Ub Iwerks drawing animated rodent extraordinaire, M Mouse ▶PostScript A: Felix, a template worth copying One green-eyed embryonic animator in the US in the mid-Twenties very much aware of Felix’s ascending star was Walt Disney. Disney’s earliest innovation in the field was his Alice Comedies where he inserted a human figure “Alice of Wonderland” into an animated landscape. As foil to Alice, the main animated figure in these shorts was Julius, a cat with a particularly strong resemblance to Felix…basically a clone of Felix [‘Felix the Cat’, (Ian Gordon), St James Encyclopaedia of Popular Culture (2002)]. Disney’s later followed up Julius with Oswald the Lucky Rabbit (a product he ultimately lost creative control of) and then lucked in again, hitting the jackpot with Mickey Mouse…Oswald and Mickey were both different animals to Felix but again the physical similarities to the (original) Felix are there – albeit with reshaped faces and ears.
Among the minutiae of miscellaneous info contained in the directory’s index, one item that got my attention was a list of the consuls and overseas government agents in Sydney in 1922. Interesting to see that at that time there were consulate offices established in Sydney for tiny international entities like Latvia, Nicaragua, Columbia, Ecuador, Honduras, Serbia and the Czechoslovak Republic, but being not yet four years after the cessation of the hostilities of WWI, no consulates for the countries deemed by the victors to be the “guilty parties”, Germany, Austria, Hungary and Turkey. So much for moving on!!!…and we all know where that path catastrophically led!
Ad for the Orient Line
Royal Autos in ‘Wilson’s’
The original (1907) Challis House
The “Half-way House” of Blue Mts
Katoomba, the “largest of the mountain tourist resorts” with its “wide choice of charming and picturesque views”. Despite being 68 miles from Sydney, “horses and vehicles are always obtainable” – as this advertisement (left) on page 706 offering trips to the famous Jenolan Caves in luxury Buicks testifies.
Nearby Leura is “celebrated for the beauty of its great showpiece – the Leura Falls…in themselves alone worth the trip to the mountains”. With unfettered enthusiasm the writer goes on to laud the town in extravagant terms: “the place has been so well laid out as a tourist resort that it offers a perfect kaleidoscope of the views”. The object of Wilson’s Director is clearly to sell the Mountains to visitors from Sydney which synergises nicely with the numerous accommodation ads (funny that!) that appear such as this one (right) for Leura’s Hotel Alexandria (still in business in 2018).
The spa town of Medlow Bath, is “a pretty little village, rising rapidly in tourist favour”. The tiny Upper Mountains town is famous for its Hydro-Majestic hotel resort where in the day the better-off citizens of Sydney would periodically retreat to benefit from its therapeutic mineral waters and clean mountain air. Built by retailer Mark Foy (Jr) as a hydropathic sanatorium, the “Hydro-Maje” in the Twenties was where the cream of Sydney’s elite flocked on the weekends to socialise.
Jenolan tourer (Blackheath)
Mt Victoria, 79 miles by paved road❂ from Sydney, the highest point of the Blue Mountains (the guide gives it at 3,424 feet above sea-level)⍍, is praised for the scenic countryside surrounding the town dotted with charmingly named spots like Fern Cave, Fairy Bower, Fern Tree Gully and Witch’s Glen, for the walker to explore.
Upper Blue Mts map (‘Wilson’s’)
The 1960s Sydney motorist’s Vade mecum
▲ Webber’s “One stop shop”!
▲ Strathfield: free from “Influences of the Sea Air”
▲ The “Digger” Agents at Roseville
Newtown 1922: Hire-a-luxury wedding vehicle
▲ Bulli Motors: cars, motorcycles, bicycles, for Bulli Pass
▲ A horse-intensive removals firm!
Rookwood handiwork
▲ 1922: Home entertainment unit
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PTT, “Whoosh✱ and Go!” technology, the 19th century’s version of “Tap and Go!”
Jason Farman has described the application of pneumatic tubes to postal services in the 19th century as “the instant messaging systems of their day”. According to Farman, being able to use pneumatic post to communicate, gave people in the nineteenth and twentieth centuries an “instant connexion”…pneumatic post meant that they were able to “keep in touch all day long”⊡. Moreover people saw the pneumatic tubes’ facility to deliver articles rapidly as “a symbol of modernity” [‘Pneumatic tubes: the instant messaging technology that transformed the world’, James Farman, interview with ABC Australia, 13-Jun-2018].
Sketch of AE Beach’s pneumatic transit tunnel
PPT system despatch point (Washington DC, early 1940s)
Manhattan pneumatic mail route
A maze of tubingRoosevelt Is: narrow stretch of land 3.2km long in NY’s East River
Wm Murdoch
The London pneumatic tube mail train at its formative stage!
(Photo: Science Photo Library)
Capsule [National Postal Museum (Smithsonian)
Parisian Poste Pneumatique network (Musée de La Poste)
Prague PTT engine room
Receiving point with collection trays
Copycat grawlixing!
An indotherm – as opposed to a wafteron!
(Image credit: www.7esl.com)
The sublimely ridiculous Bat Fight scenes in the TV show are replete with interjections…as Batman and the arch-villains land thunderous blows on each other, corny graphics flash up with words representing the pugilistic action (SOCK! AIMEE! BIFF! WHAMM! KAPOW! THUNK! BANG!). Interestingly Batman’s art department incorporated some comic strip style graphics into the flashing word cards (eg, stars within the word SOCK! signifying the effects of being ‘socked’, ie, dazed, dizzy – akin to a kind of squean? KAPOW! with a bulls-eye target inside the O)
Yahoo!Movies described The Conqueror as “the most toxic movie ever made”…tarnishing the careers of those who appeared in this egregious stinker, especially its star John Wayne, effectively bankrupting RKO Pictures (costing a blown-out $6 million) and contributing to the deaths of an inordinate number of its cast and crew².
John Wayne, faced with the need to fulfil the third and final picture of his contract with RKO, apparently fished the discarded script out of the rubbish bin and convinced the assigned director Dick Powell (who in turn convinced RKO’s owner Howard Hughes) to make the film with Wayne playing the role as Mongol warlord Genghis Khan (a role intended apparently for Marlon Brando). By all accounts Wayne was grossly miscast⋇, interpreting the great Mongol leader as a cowboy (probably an entirely natural notion for the Duke!). The script (by Oscar Millard) was terrible and vacuous as the following inane, awkward samples of the dialogue illustrate:
Snow Canyon, radioactive movie set
The film’s producers (Hughes and Powell) were aware of the proximity of the atomic testing before shooting started but had been assured by the government that the atomic tests posed no risks to public health, a gross deception (self-deception?). Compounding the dilemma, at the end of the location work Hughes ordered that 60 tons of the radioactive reddy-brown dirt from the Snow Canyon site in Utah be carted back to the RKO film set at Culver City for re-takes!
Many, many things did go wrong on the set, including costs…the MGM musical/fantasy came in over budget at a cost of $2.8 million. This in part reflects The Wizard of Oz’s disjointed trajectory – going through five directors including King Vidor, George Cukor and Richard Thorpe and 14 screenwriters in the course of the production. The movie’s ultimate director Victor Fleming (who also directed the other great Hollywood film of 1939 Gone With The Wind) was widely suspected of Nazi sympathies.
Judy as Kansas Dot in Oz
The curse for a time seemed to continue post-release. Although The Wizard of Oz is universally celebrated today as a classic of the cinema, it did not meet with immediate acclaim from either the public or critics. These reservations did not start to turn around until the CBS television network reintroduced the movie to the wider public in 1956. In 1989 the US Library of Congress nominated The Wizard of Oz as “the most-viewed motion picture on television syndication” [‘The Wizard of Oz (1939 film)’, Wikipedia, http://en.m.wikipedia.org]. Countless scores of viewers of the joyous spectacle of ‘Oz’ over the years would have been blissfully unaware of the unhappy, off-screen events that relentlessly dogged the production.
‘William the Dictator’ (1938)
Elizabeth House: BM’s ‘anonymous’ London location
Advocacy groups and critics of the Home Office policy have complained that RICU/OCST uses the Muslim Civil Society Organisations (MCSO) as mouthpieces for their government counter-narratives, irrespective of whether the MSCO are aware of it or not [‘The Home Office is Creating Mistrust within Muslim Civil Society’, (CAGE, 16-May-2016), www.cage.ngo.
❈ a number of the links on the website menu were broken at the time I accessed it…that internet know-how training they were talking about might have come in handy in the BM IT department!
⌖ OCST itself was the successor to IRD (Information Research Department), a top-secret body set up by Britain’s Foreign Office in 1948, during the early dawn of the Cold War, and wound up the same year Elvis died (1977).The Independent has drawn attention to IRD’s questionable record during its existence of disseminating anti-Communist propaganda routinely exaggerating stories of Soviet atrocities and anti-British plots, S Lucas, ‘REAR WINDOW : COLD WAR :The British Ministry of Propaganda’, The Independent, 26-Feb-1995, www.theindependent.co.uk
⚀ The Guardian also disclosed that BM’s founding directors have pre-existing links to the governing Conservative Party
Sound movies in, silent films out: an “overnight sensation” which took several years to happen
The Jazz Singer was a calculated gamble by Warner Bros which was in a financially precarious position at the time, but it turned out to be a ‘game-changer’ for the then minnow studio Warners and for cinema’s future as a whole … its positive reception signalled that audiences wanted sound. But this transformation from one type of feature film to another was no sudden event, the process away from profitable silents was a gradual process. First to emulate Warners was 20th Century Fox with its Movietone system, soon the other major studios followed the trail-blazers into sound. The big Hollywood companies tended to play it both ways at first, none of them stopped making silent films straight away. After all, how profitable talkies would become was still to be seen. In the two years following The Jazz Singer ‘s release, the major companies made a mixture of productions – some all-silent, some all-sound and some part-sound movies[3].
The ‘sound’ of silent stars
From the perspective of the actors, especially those who had established their niche in the silent era, there were formidable challenges to transitioning to the new, sound medium. Acting in sound movies and the whole dynamic was different, they discovered, sometimes to their cost. Actors now had to memorise their lines beforehand, and on set they had to not stray far from the microphones, basically stand still and recite their lines clearly. The voice became THE issue for many established silent stars … a number of Hollywood actors could not make the transition❉. Some with heavy foreign accents like Emil Jannings, Vilma Banky and Pola Negri had voices that sounded harsh, unmelodious and muffled on-screen. Other top silent stars were similarly hamstrung by their voices – John Gilbert sounded weak and squeaky on screen✾, and Clara Bow and Norma Talmadge had flat Brooklyn accents – which didn’t suit their romantic lead personas[7].
Early radio days
That same year, 1920, following on the pioneering breakthroughs in Marconi and Tesla and a host of other contributors to the development of radio[1], the first federal licence was granted in the US to radio station KDKA (owned by the Westinghouse Company) in Pittsburgh, Pa. KDKA started with sport, broadcasting prize fights and Major League Baseball.
Daggstar completely out of the box
There was so much to the creative output of Clarke comma J, and so much variety too … screenplays, film acting, radio, stage work, television, songs, books. Clarke’s art didn’t fit into any one particular mould, he was, to use Martin Luther’s expression, an “irregular planet which cannot be fixed among the stars”, always inventing, moving on and reinventing, exploring something new that had piqued his interest.
John Clarke’s sudden, most untimely death leaves a Sydney Opera House-sized hole in Australian and New Zealand satire – and I shall never forget that voice – as with Billy Bragg’s, so distinctive, and as with Joe (Dragnet) Friday’s, so deadpan matter-of-fact … or his trademark mischievous grin and the sparkle in the eyes.
Everything is geared towards facilitating the hitting of sixes; the boundary rope positioned some distance in from the fence as a safety measure to prevent serious injury to fielders sliding into the boundary palings (in the manner befalling Simon Jones at the Gabba in 2002), allied with modern bat technology and fielding restrictions. The outcome; sixes have become as commonplace as cooking programs on the box, it’s all too easy for the top batters in T20.
Basil Fawlty in the ‘Rat’ episode of Fawlty Towers (many of you will no doubt recall it) takes back an over-generous portion of veal cutlet he has just served up to the public health inspector for the third time, saying to the exasperated inspector, “Too much of a good thing always leaves one wanting less, I always find.” So it is with the spate of faux sixes that pass over the rope without clearing the fence. Incidentally, I just don’t get it! How can the ball lobbing on the full on the rope be considered a six, given that when the full field was previously used in matches the ball had to clear the white picket fence to register a six (whereas hitting the traditional white pickets on the full was only four). It seems to be simply all about making it easier to hit a six … sixes and wickets, the constant flow of both is the raison d’être of the limited overs game.
Footnote: Although it could make a substantial difference to a batter’s score as the following example illustrates – in a Sydney grade cricket match in 1903 the great pre-WWI batsman Victor Trumper—in a sizzling innings of 335 in 165 minutes—hit the ball 22 times out of the playing perimeter on the fly and was awarded a five for each of the clearances of the fence. If achieved under the amended rules Trumper would have scored 357.
The Ancient Universities of Scotland (Aberdeen)
“Nero” as Rector…Peter Ustinov actually. If it was the historical Nero, most likely he’d have been “wrecker” rather than “rector”
Cleese anyone? The rector for “Silly Walks”
Edward Snowden (Image: NY Review of Books)
The ambitious & frugal young Mr Brown – his first leg on the political ladder
Billy Connolly (Source: The Independent)
▪ • ▪ ‘Mr Hulot’s Holiday’
While he’s there, Hulot’s sister tries to match him up with her neighbour, a matrimonial project which is equally doomed to failure. The female neighbour is far too bourgeois in her tastes for Hulot, who is in any case a confirmed bachelor.
▪ • ▪
Tati is a dab hand at noting all of the “modern inconveniences”(sic) of contemporary Western society. Mon Oncle is a sharp commentary on the way “modern life traps humanity within its contrivances” [James Quandt, ‘Scatterbrained Angel: The Films of Jacques Tati’, From the Current – Criterion Collection, www.criterion.com] Mon Oncle, Tati’s obra maestra , won the Oscar for best foreign language film in 1959.
Although the persona of Hulot is the human thread that runs through Playtime, Tati deliberately does not allow the popular character to dominate proceedings (as tended to be the case in Mr Hulot’s Holiday and Mon Oncle) [Kent Jones,’Playtime’, From the Current – Criterion Collection, www.criterion.com] putting the focus back on ‘everybody’, ie, the observed cross-section of humanity. Tati eschews the use of close-up shots and the technique of the camera panning in for exactly the same reason. A sub-plot of Playtime follows American tourist ‘Barbara’ whose own meanderings always eventually lead her back to Hulot.
Trademark cute
There are many little gems in Playtime – the signature Tati sight gags like the blissfully unaware Hulot boarding a crowded bus grabbing on to what he thought was a handrail, immersing himself distractedly in his newspaper only to find himself again out on the footpath at the next stop because the mistaken handrail was actually the tall floor lamp of a fellow commuter who had alighted the bus with Hulot still holding on. Or the spiral neon arrow on the nightclub sign which guides the drunk straight back into the “Royal Garden” from which he has just departed … both of these sight gags are pure gold! Playtime represents the zenith, the highest expression, of Hulot’s distaste for the contemporary world of “mod cons” and gadgetry.
‘Trafic’ (1971)
Situational humour ▪ • ▪
Life in boxes: Absurdity of modernity (‘Playtime’j
▪ • ▪ François (centre) in L’École des Facteurs (‘School for Postmen’), a 1947 short which prefigured Tati’s feature film debut ▪ • ▪‘Jour de féte’ (1949)
‘The Avengers’: Gentlemen’s bowler hats & sexy black leatherwear
Hollywood domestic shock/horror & scandal 40s & 50s style
‘The Iron Petticoat’ 1956
‘Casino Royale’ 1967
Another factor in the Argonauts Show passing pretty much right under the radar for me was that it was a late afternoon children’s radio program (we spelt it ‘programme’ in those more formal, longhand days) and post-school afternoon and nights during my youth were incontestably reserved for television, then still a relatively novel phenomena. When it came to the wireless I was an avid morning listener to commercial networks like 2UE and 2UW. Gary O’Callaghan and “Sammy Sparrow” was more my style in the sixties. I can’t be sure if there had been a Sammy Sparrow radio club but as I’ve still got a Sammy Sparrow badge kicking round the house somewhere which probably confirms it.
Trireme
Inevitably, the popularity of the Argonauts program waned. In the late sixties the segment was cut to just one hour a week at 5pm on Sunday. In 1972 ABC Radio pulled the plug entirely on the show, apparently because a survey found that most of those still listening were over the age of 40! The inexorable encroachment of television into the lives of children also would have been a massively-significant factor in its ultimate demise [Urania, ibid.].
George Wallace (above) had an early taste of the stage appearing in children’s pantomime at age three, but it wasn’t until after WWI that his career really took off when he teamed up with fellow vaudevillian Jack Paterson to form a knockabout comedy act called “Dinks and Onkus”. The duo performed their “couple of drunks” routine to packed audiences at the Newtown Bridge Theatre for five years before Wallace outgrew the partnership and joined up with bigger enterprises, first that of Fuller’s Circuit and then the Tivoli Theatre Circuit.
George was smallish in stature and quite chubby in build but despite this, on stage he was exceptionally acrobatic and agile on his feet. As part of his very physical act he became acutely adept at landing on his left ear during a deliberate fall. Wallace wrote witty songs and review sketches to perform in theatre, sometimes he told absurd stories about characters such as Stanley the Bull, the Drongo from the Congo and Sophie the Sort [Stuart Sayers, ‘Wallace, George Stevenson (1895–1960)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/wallace-george-stevenson-8961/text15765, published first in hardcopy 1990, accessed online 4 April 2015]. The Wallace persona on stage and screen was that of a childlike man, portraying goggle-eyed, innocent characters well down on the social ladder, often farm boys, hicks and yokels ill at ease with women [Paul Byrnes, ‘George Wallace’, www.aso.gov.au]. The country bumpkin-cum-innocent in the big city association was further emphasised by George’s garb, comprising ill-fitting clothes and rumpled hat.
Wallace’s “working class zero” popularity attracted the attention of local film-makers and in the thirties he appeared in a number of films such as Gone to the Dogs, A Ticket for Tatts, mostly for Ken G Hall, Australia’s foremost (Cinesound) director in the interwar period. In his movies (some of which he co-wrote) Wallace reprised his theatre role as a bumbling, disaster-prone innocent. In his performances on the big screen Wallace demonstrated that he was able to make the transition from stage to cinema. After WWII however, finances dried up and the Australian film industry went into steep decline. Wallace returned to theatre including a return to pantomime and to the new medium of radio performance. In 1949 he began a weekly radio show with the Macquarie Network in Sydney. The one setback to Wallace’s career was his unsuccessful attempt in the early fifties to make it in the English theatre as a comedian, but this could be attributed partially to the English audiences’ unfamiliarity with his Australian accent [ibid.].
Rene had a very distinctive on-stage appearance, striking black-and-white face paint which gave a nod to the influence of minstrelsy, baggy pants and a battered black top hat. In performance he exuded an extroverted and even exhibitionist style – he was the quintessential lair (the self-promoting “show-off”). Often he would robustly insult the audience with a spray of obscenities, both verbal and gestural. In today’s milieu of political correctness Rene’s act would in all likelihood be characterised as sexist and even racist (in its presentation of a Jewish caricature) and it did alienate some viewers in the day. This did not stop Fuller’s from billing him (pre-war) as “Australia’s foremost delineator of Hebrew eccentricities” [Frank Van Straten, ‘Roy Rene 1892-1954’, Live Performance Australia – Hall of Fame (2007), www.liveperformance.com.au ].
After WWII, with variety theatre in recession, Rene made a successful transition to radio. He was able to do this having learned from the lessons of his failed venture into films, because he made sure that his radio shows were presented before a live audience to ensure that his performances had that necessary edge. At Sydney radio station 2GB he found a niche as the bombastic “Professor Mo McCackie” of “McCackie Manor” finding a whole new audience for his unique sense of humour.
The Girla Sentinel: The Voice of the Dusty Outback
Photo: Stefan Severedhead
Photo: Stefan Severedhead
The onset of the 21st century seemed to herald a revival in the epic genre in film. Large-budget “Sword-and-Sandal” movies of the early 2000s such as Gladiator and Troy, labelled “Neo-epic films” by cinema critics, have reinvigorated the genre. At the same time, a new blockbuster phenomenon in the shape of the Lord of the Rings and Harry Potter series of films, padded with wall-to-wall distinguished British (and Commonwealth) actors, have extended the epic genre, and in the case of the ‘Rings’ cycle, given the flagging “Sword-and-Sorcery” sub-genre a new lease of life.
The book concerns itself to a large extent with the type of epic film much in vogue in the fifties and sixties, drawn from the history and mythology of antiquity (Greece, Rome, Egypt, Mesopotamia). Right up front I’d have to say that I think that the author is inclined to take the genre a bit too seriously. The epic movie, in whatever phase or incarnation it takes, has been something difficult to be especially serious about! By definition the standard form of the epic has tended to be characterised by an indulgence in excess – grandiosity, vulgarity, basically everything 8XL in size! Mention the epic film and people often think of monumental Hollywood flicks like Ben-Hur, Spartacus, Cleopatra, and the like. Conspicuous consumption the order of the day, so much so so that it could be suggested that epic films should be primarily seen as a kind of parody of themselves.
Footnote: the popularity of the Italian Peplum provided career change opportunities for body builders as many would-be actors like Steve Reeves, Mark Forest and Kirk Morris, made the transition from the bodybuilding game to become leads in Sword-and-Sandal sagas. Interestingly, many of the Italian musclemen-stars took Anglo-sounding names in an attempt to make them more appealing to the American market, thus the well-known Sergio Ciani became on screen the aptly named “Alan Steel”.
Strongman ‘Maciste’
“When you speak of destiny, this is something I must at last believe” (delivered with exaggerated emphasis), Genghis Khan, in Genghis Khan (1965).
Elley’s study of the epic film genre is informative and instructive in so far as it goes. Ancient Greeks and Romans, Biblical figures, barbarians and Norsemen, all get a good run, but Elley’s historical survey cuts off at the end of the Dark Ages. I’m left with a tinge of regret that he didn’t take a more expansive approach in the book to include the grand and occasionally grandiloquent epic movies made about legendary Britons of a later era like Arthur and Robin Hood, as well as the more modern epics like Lawrence of Arabia or Dr Zhivago and even extend it to examples of the genre as diverse as 2001 a Space Odyssey and Planet of the Apes.
Despotistan
The Despotistani President rounded off his UN speech by chanting the mantra “God is great, God is merciful” two hundred and fifty times in Ancient Akkadian.
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Prison fancy dress!
More conventional prison clobber…1st class of course!
A judge in Buenos Aires wants to quiz the Chilean timber baron as part of an investigation into a 28-year-old attack that killed a rival paper pulp producer.
Friday, 13 June 1997, Vol 1, No 79
Editor, Daily Llama
NOW that Scotland have expressed an inclination, but not a preference, to secede from the Union with England (the UK), it would be interesting to take a gander at other secession attempts both closer to home and around the world. The impulse for or advocacy of secession by a section or part of an established, multi-ethnic nation state is a recurring feature in contemporary international relations.
The proposed colony of ‘Auralia’ – an irredentist goldfields colony
Black Swan State
The WA delegation bringing the petition to secede to London
‘Prince’ Leonard & his consort – in the ‘Principality’
Nor can it be said that the New Guard had any claims to be considered as a mass movement in NSW politics. NG remained fundamentally a middle class organisation, the core of its base were urban professionals and small businessmen, like Campbell himself (Cunningham, Ibid.). Unlike many other fascist/authoritarian parties in Europe, it lacked for significant working class participation (Moore, op.cit.). Moreover, geographically, the New Guard was very limited in scope. It was confined almost entirely to one state, NSW, and even more, was essentially a Sydney metropolitan phenomena with only around 3,000 members from rural areas outside of Sydney (Cunningham, ibid.).
