Bungan’s ‘Baronial’ Castle: 100 Years on the Headland

Built Environment, Geography, Memorabilia, Racial politics, Regional History, Social History, Visual Arts

The northern coastline of suburban Sydney, with its abundance of picturesque beaches, is a magnet in summer for many visitors from far and near. One of the less frequented of the Northern Beaches, owing to its relative inaccessibility and lack of a rock pool, is Bungan Beach.

E44AD00D-D062-4E62-B81E-89476E557AE5What drew me to Bungan this summer was not however the pristine waters of its uncrowded beach, but one particular unusual building standing out high up on Bungan Head…Bungan Castle, which this year celebrates 100 years since it was constructed.

Situated as one later observer noted “on a bold headland of the coast, about eighteen miles from Sydney” [1] (Newport, NSW), Bungan’s castle was built at the very pinnacle of a cliff-top by Gustav Adolph Wilhelm Albers, a German-born Australian artists’ agent. Today it is hemmed in and surrounded by a raft of modern, multi-million dollar mansions which share its unparalleled breathtaking views. But when Albers built “Bungan Castle” on what is now Bungan Head Road, the imposing high dwelling was surrounded only by bush and cleared scrub and completely neighbourless!

6C5B62A4-DD45-4EA9-9D07-C9536B4DE418 [photo (ca.1928): National Library of Australia]

Albers in 1919 was considered something of a doyen of the Australian art community, he represented local artists like Sidney Long and JJ Hilder, and the castle (his abode at weekends and holidays) acted as a kind of 1920s arts  hub, an unofficial Sydney artists’ colony. The leather-bound visitors’ book (still surviving) records the names of numerous artistic personalities of the early 20th century including the formidable and influential Norman Lindsay.

2B697DC8-1B4F-40BE-A765-E7742D8A6C5C [photo: NSW Archives & Records]

Aside from creating a skyline haven for practitioners of the art community, the eccentricity of Albers’ personal taste in decor is worthy of elaboration: he furnished Bungan Castle with an idiosyncratic and vast array of collectibles, a number of which the art connoisseur acquired on his regular jaunts overseas. The castle interior was inundated with a phenomenal “hotch-potch” of antiquated weaponry – including Medieval armour, Saracen helmets, Viking shields, sword and daggers including a Malay kris, battle-axes, muskets, flint-lock guns, Zulu rifles; convicts’ leg-irons and Aboriginal breast-plates.

647EE043-FEF2-48AB-848B-5854D9EF30DC

[photo: Fairfax Archives]

In addition to the assortment of objects of a martial nature, there were numerous other oddities and curios, such as a big bell previously located at Wisemans Ferry and used to signal the carrying out of convict executions in colonial times; a human skull mounted above the hall door (washed up on Bungan Beach below the castle); a sea chest;  a variety of ships’ lanterns; “tom-toms” (drums) and various items of taxidermy [2].

BEE5D80B-7C91-4CE7-B2DE-2B9D1A769051

This home is a castle – a “Half-Monty” of a castle 

From the road below, staring up at the tree-lined Bungan Castle, it does bear the countenance of something from a pre-modern time and not out of place in a rural British landscape. Constructed of rough-hewn stone (quarried from local (Pittwater) sandstone), it contains many of the castellated features associated with such a historic piece of architecture – towers and turrets, a donjon (keep), battlements, vaults, a great hall, a coat-of-arms, etc.

This said, Bungan Castle lacks other standard features – a drawbridge with a portcullis and a barbican ; visible gargoyles; and a moat (although Edinburgh Castle also lacks a moat, being built up high on bedrock it doesn’t require one for defensive purposes); and it is also bereft of a dungeon! And of course, most telling, parts of the southern and eastern facades are clearly more ‘home’ than castle! One could easily dismiss any claim to it being thought of as an authentic facsimile of the “real thing” (some early observers described it, erroneously, as a ‘Norman’ castle), but with a bit of licence we can reasonably ascribe the descriptor (small) ‘castle’ to Bungan, much as New Zealand tourism promotes the lauded Lanarch ‘Castle’ on the Otago Peninsula (also without many of those classic features).

A family concern

GAW Albers’ prominence in the Northern Beaches area and the talking point uniqueness of Bungan Castle led many locals to dub the Sydney art dealer “the Baron of Bungan Castle”. Albers died in 1959 but the ‘baronial’ castle has remained firmly in family hands. The current owners are Albers’ nephew John Webeck and his wife Pauline. John maintains the family’s artistic bent as well, having like Uncle William had a career as an art dealer.

D486C569-5F33-4535-BE90-7665EBE8F0A3Artists’ Mecca? museum? both?

Webeck has signalled that he would like to reprise the castle’s former mantle as an artists’ Mecca, but I can’t help feeling that with such a wealth of out-of-the-ordinary artifacts within its walls, that its future might be most apt as an historical museum. Such suggestions have been made in the past – the Avalon Beach Historical Society referred to Bungan Castle having been an “unofficial repository for many articles, (sufficient to deem it) Pittwater’s first museum”[3].

—-

the close proximity of larger beaches with on-site car parks (absent from Bungan) – Newport, The Basin and Mona Vale – make them a more popular choice for beach-goers

at the time there was only three other homes on the entire headland

 Albers’ principal family home was in Gordon, not far way on the North Shore of Sydney

although the bulk of the castle’s collection were donated to Albers by others who thought it an appropriate home 

[1] WEM Abbott, ‘Castle on a Cliff Edge’, The Scone Advocate, 25-Mar-1949, http://nla.gov.au.news-article162719685

[2] ‘Castle Turrets on Sydney’s Skyline’ (Nobody Wants them…Our Baronial Halls), The Sun (Sydney), 08-May-1927, http://nla.gov.au.news-article223623550. The author of this article goes on to lament the fact that Sydney’s castle homes had fallen out of fashion for the well-heeled “princes of commerce” in search of a suitable ancestoral mansion…in 1927 their preference was apparently for modern Californian villas with all the latest conveniences.

[3] ‘A Visit To Bungan Castle By ABHS’, Pittwater Online News, 14-20 Oct 2018, Issue 379, www.pittwatetonlinenew.com

The FA and the 1921 Ban on Women’s Football: The ‘World Game’ – “Quite Unsuitable for Females”

Gender wars, Leisure activities, Social History, Sport, Sports history

Britain’s sporting lingua franca has by general consensus long been football (better known as ‘soccer’ in Australasia and the United States). For the bulk of the 19th century the “round-ball game” was exclusively the domain of men, but by the 1890s women in Britain were embracing the popular outdoor pastime with passion. Women’s clubs, many based in North London, were formed at this time, beginning with the British Ladies’ Football Club (BLFC), comprising mostly middle-class women (see Footnote).

Working class women discover football
What really kicked the sport along for women however was World War I. The escalating demand on manpower to feed the war effort depleted the country’s vital industrial factories of its male blue-collar workers. The same priority had a similar draining effect on the (English) FA’s (Football Association’s) player stocks. The manpower shortages took women in large numbers out of the home to meet the factory shortfall of men. With few men around to play the game, after season 1914/1915 the premier men’s competitions, the FA Cup and the English championship, were suspended and didn’t get going again until 1919/1920. Into this breach, almost by a process of natural evolution, stepped the newly employed (working class) women of England’s factories ‘FA History’, www.thefa.com].

Dick, Kerr’s Ladies FC
With the new infusion of working women taking up football competitively, the stronghold of women’s football moved to Preston in the north-eastern county of Lancashire. Over the next several seasons up until the early years of the interwar period, one women’s club team stood tallest…Dick, Kerr’s Ladies was created out of the female workforce of Dick, Kerr & Co, Preston locomotive and tramcar manufacturers. The highly successful Dick, Kerr’s Ladies side was spearheaded by one of football’s most remarkable ever female players, the chain-smoking, openly gay Lily Parr who scored over 1,000 goals in a 31-year career.

Dick, Kerr’s Ladies were pioneers of international women’s matches with French women’s sides and the Preston team’s popularity soared through and beyond the war years. In 1920 a game between Dick, Kerr’s and St Helens’ Ladies at Goodison Park (Everton) drew a crowd of 53,000 – with the gates locked leaving thousands more outside! [‘WW1: why was women’s football banned in 1921?’, (Gemma Fay), BBC News, 12-Dec-2014, www,bbc.com].

Notwithstanding the enormous contribution of Lily Parr, Dick, Kerr’s Ladies was no “one woman band”…centre-forward Florrie Redford netted a phenomenal 170 goals for the Preston-based club in 1921 [Dick, Kerr Ladies FC 1917-1965′, www.dickkerrladies.com]. Another female football star of the day – who DIDN’T play for Dick, Kerr’s XI – was Northumberland’s Bella Reay who played in the north-east Munitions’ comp. Bella’s 130-plus goals in the 1917/1918 season propelled her unbeaten club Blyth Spartans Ladies FC to victory in the Munitionettes’ Cup (drawn from women workers in munitions factories and docks in the north-east who played amateur football to raise funds for charity) [Fay, ‘BBC’, loc.cit.].

Bella Reay, Blyth Spartans star striker ⬆️

The (FA) empire strikes back
Immediately following the Great War the women’s game was at a high point and on the ascent. But after demobilisation, able-bodied men who had fought in the global conflict, streamed back into the English workforce…this meant that the great bulk of the women who had filled their boots on the factory floor were now surplus to requirements and so were “quietly shunted back into domestic life” [ibid.]. Englishmen also returned to playing the number one sport with the Football League recommencing in 1919/1920. The FA authorities in England had tolerated rather than supported women’s football during the enforced absence of the men’s league.

Football – a “health hazard” for women!
The FA’s disapproval had an ally in some prominent members of the medical profession which shared its lack of enthusiasm for female football – on medical grounds!◘ These medicos tended to endorse the assumption of Harley Street specialist Dr Mary Scharlieb who opined that football was a “most unsuitable game, too much for a women’s physical frame” [ibid.]. At this point (1921) the FA stepped in, banning women and the country’s female competitions from using FA grounds, echoing the (predominantly male) medicos’ sentiments that the sport was “quite unsuitable for females, and ought not to be encouraged” [‘The FA’, op.cit.]. Aiming for overkill, the FA decreed that its officials (referees and linesmen) could not take part in women’s matches, a step intended to further hamper the development of the female game.

To underscore the justification for its arbitrary and discriminatory treatment of the women’s’ leagues, the FA alleged (without any proof) that the women’s setup had failed to give an adequate percentage of its gate revenue towards charitable objects”. This was a classic double standard posture as the men’s clubs was never asked to donate any gate receipts to charity. In response, the captain of the Plymouth Ladies team accurately described the FA as being “a hundred years behind the times” and said the ban was nothing more than “purely sex prejudice” [‘1921: the year when football banned women’, History Extra, (Jim Weeks), Dec. 2017, www.historyextra.com].

So was the FA simply exhibiting a blatant, sexist chauvinism towards the women players? The short answer is yes…but could there be something else behind their draconian action as well? During the war the women’s leagues had built up a considerable following and were enticing impressive crowd numbers to the matches. The FA’s overwhelming remit has always been the health of the men’s game and it was concerned that the women’s demonstrable pulling power might have a detrimental affect on attendances to the Football League (men’s) games [ibid.]. Applying a handbrake to the burgeoning women’s game, indeed sidelining it altogether, was considered a great ‘leg-up’ boosting the FA’s objective of rebuilding men’s professional football after the WWI hiatus.

Aftermath of the ban
The FA’s ruling did not put an end to women and girls playing football altogether, but the effect of it was to relegate the top-tier players in England to mostly friendly matches. The elite Dick, Kerr’s Ladies team (later renamed Preston Ladies FC) did its best to stay active. In 1922 it organised a tour of North America but even here the meddling hand of the English FA was at work doing what it could to stymie the club’s tour. On direction from the FA the Canadian FA banned the Dick Kerr women from playing in Canada. The team did however manage to organise nine matches in the US which were played against men’s sides [ibid.].

Preston Ladies, 1939

“Fem-soccer”: Women’s football goes “gangbusters!”
The ban stayed in force…beyond the formation of the Women’s FA in England in 1969. It was not until July 1971 that the FA, and then only under pressure from UEFA (Union of European Football Associations), finally lifted the ban. Held back no more by gender stereotypers, the women’s game has gone from strength to strength – in 1972 the first women’s FA Cup, in 1984 the first women’s European Championship, followed by the World Cup in 1991 (the 2011 World Cup Final was played in front of a packed 83,000-strong crowd).

Footnote: “Nettie Honeyball”
The founding of the first women’s team British Ladies’ FC is attributed to ‘Nettie Honeyball’…this was a pseudonym for the middle-class female activist (identity unknown, possibly one Mary Hutson) who organised the first women’s match in North London in 1895 (“The North” thrashed “The South” 7-1 before an estimated 11,000 spectators) [‘British Ladies’ Football Club’], Wikipedia, http://en.m.wikipedia.org].

PostScript: The Scottish FA, closed ranks with its English brethren
The FA in England was not “Robinson Crusoe” among the home countries in enforcing discriminatory practices against women players. Other football associations took a similarly blinkered view. In the 1924/1925 season three Scottish clubs (Aberdeen, Queen of the South and Raith Rovers) all had their requests to use their club grounds for women’s matches uncermoniously vetoed by the men of the Scottish FA [‘The Honeyballers: Women who fought to play football’, BBC News, 26-Sep-2013, www.bbc.com].

– —– ——–– — -– ——–– —– —– —– ——–– — -– ——–– —–—- ——- —
in 2002, many years after her death, Parr was the first (and so far only) woman player inaugurated into the FA’s Hall of Fame
although there had been a much earlier women’s match between a Scottish XI side and an English XI that took place in 1881
in 1920 there was around 150 women’s teams playing the sport in England plus many more in Scotland and Wales
◘ back as far as 1894 medical professionals had advocated that women and girls be barred from taking part in football [‘The Honeyballers’, loc.cit.]. Aside from “medical concerns”, another reason that has been suggested for the opposition to female footballers at the time was that they were seen as threatening the perception of football as a “masculine game” [Mårtensson, S, ‘Branding women’s football in a field of hegemonic masculinity’, Entertainment and Sports Law, 8 (June 2010)].
8.4M British women had recently received the vote, the breakthrough achievements of women’s football was paralleling the Suffrage Movement [Weeks, op.cit.]

Ma and Pa Kettle on the Farm Again: Hillbilly Stereotypes in Film and Television

Cinema, Media & Communications, Social History

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 trope
Hollywood, 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 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)].

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 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].

PostScript: “Warring Hillbillies” folklore
One 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)]

The United Fruit Company: Neocolonial Elites, Banana Monopolists and Oligarchs in the Tropical Americas, Part 2

Economic history, International Relations, Popular Culture, Regional History, Social History

In Part 1 we saw how robust intervention of the United Fruit Company and other commercially aggressive American companies in Central and South America brought about the socio-economic conditions that led to the characterisation of some of the countries therein  as “banana republics”. This second part will focus on the experience of one particular country in the region, British Honduras (modern-day Belize), which, although a different type of polity to the other neighbouring states at the time, nonetheless exhibited the same or similar patterns of disruption and exploitation from the North American banana barons.

Pre-conditions for the banana importers
British Honduras in 1900 was a British crown colony, a status it had since 1862. At the head of the colony, the Crown’s representative, was the governor [‘British Honduras’, Wikipedia, http://en.m.wikipedia.org]. Before bananas, the prized commodity in BH was timber – logwood, cedar, chicle, and above all mahogany. Moberg notes that despite the abolition of slavery in 1838, the conditions peculiar to British Honduras (BH) continued to perpetuate a debt servitude of rural workers to an oligarchy of local and immigrant land-holders. Nineteenth century BH economy was dependent on mahogany exports, a situation which created what has been described as an elite ‘forestocracy’ made up of timber companies and merchants (both domestic and foreign) [CH Grant]. This bound generations of forestry workers in BH to the powerful employer-class…one resident colonial secretary described the plight of the workforce as being “virtually enslaved for life”. Moberg’s case study describes the role of the British authority in this status quo as one of aiding and abetting the goals of the timber and mercantile elites [Moberg 1996].

Br.Honduras mahogany exports

The debt peonage that the unskilled BH farm workers were forced into (known locally as the “advance-truck” system), helped create a climate favourable to industry (ie, cheap and docile labour force) in the later American intervention by banana companies. Banana industry workers on plantations inherited similar harsh working conditions, including being subjected to the draconian ‘Masters and Servants’ Acts. Checks on what the United Fruit Co (UFCo) could do within British Honduras resided at least on paper with the colonial chief official, the governor (after 1884), (formerly the lieutenant governor 1862-1884, who during which time was subordinate to the governor of Jamaica). As Moberg’s study shows, the will to resist United Fruit’s incursions into the colony varied considerably from governor to governor. Early governors like Goldsworthy earned the ire of the resident elites who agitated for more political power. Under pressure from the business elites and oligarchs, the Colonial Office (in London) was forced to curb the power of governors in the 1890s and give the Legislative Council (and especially its five ‘unofficial’ members) a right of veto over the governor. In the 1900s governors like Sweet-Escott and Swayne made token efforts to dilute the members’ clout on council (with minimal success), but most governors ultimately conceded power to the elites [ibid.].

Acceding to the demands of big foreign capital
The governors discovered that the interests of foreign capital in British Honduras  – initially through British mercantile and timber firms but increasingly through a burgeoning of US investors – could not be ignored. By around 1900 bananas represented 71% of the value of exports to the US. It amounted to increasingly significant revenue for the colony’s coffers. The British Honduras government saw it as vital to the colony’s economy. Moberg indicates that “despatches from the governors to the Colonial Office reveal an eager accommodation to the banana multinational”. One of the most compliant, Governor Wilson, proposed to his masters in London that the government build railroads in the colony as an incentive for United Fruit to invest. Governor Swayne, undergoing a 180° turn from his earlier opposition to UFCo, started to act like a “virtual agent for the company in London”, negotiating the approval of incredibly generous land concessions to UFCo…under its terms United Fruit was asked to pay only $1 an acre compared to between $3 and $8 an acre required of small landholders (and UFCo was largely exempted from standard land tax). Sometimes UFCo received land gratis or for virtually nothing in exchange for the company’s promise to build railroads in the tropical lowlands (which of course benefitted UFCo’s business!) [ibid.].

United Fruit Co’s corporate muscle-flexing
On the rarer occasions that the BH government were reluctant to automatically lay down and do the American banana giant’s bidding, UFCo’s immediate reflex was to engage in bullying tactics against the government and threaten retaliatory action. When United Fruit asked the government for the unprecedented control of the British Honduras wireless (a very “banana republic” situation by which the British Central American colony’s entire radio communications would be held in foreign hands!), the Colonial Office declined its request. UFCo responded by withdrawing its steamship passenger line from service until the Colonial Office finally caved in to its demands for control of the radio system in 1911. UFCo took the same measure with its service on another occasion (which deprived the colony of mail delivery for over a month) in order to extract a higher subsidy payment from the government [ibid.].

United Fruit Co’s strategy in BH: Beginnings of the ‘Musaocracy’
When it commenced business as a buyer of bananas in Central America (1899/1900), UFCo embarked on a strategy that envisaged a monopoly situation end-game. One of the first moves was into transport. In 1900 UFCo acquired majority ownership of six Caribbean coast steamship lines, this also gave it the government mail contract as well (the Belize Royal Mail). The strategy to maximise its stake in the colony’s bananas was clinical and precise: UFCo first raised the price it was paying to independent growers, this allowed it to eventually crush all competition from other buyers…a monopoly of the market achieved, the company was now free to “dictate ruinous prices and conditions to private growers”. At the same time United Fruit thwarted the marketing efforts of independent growers, thus denying them alternate sources for the sale of their produce [ibid.].

Restrictive competitive practices 101: United Fruit achieves vertical integration in bananas
After securing a stranglehold over the exporting side of the banana game in Belize and having established its own rail network to transport the produce, UFCo’s next step was to create its own banana plantations in the colony’s south at Stann Creek and Toledo. As a major BH producer United Fruit consolidated its position in several stages, it set about monopolising the land available for cultivation. By 1930, the land area of Belize cultivated by the company comprised 139,000 acres, but UFCo also held over 20 times this area of unused land in BH, seriously limiting the area of cultivable land available to competing planters. United Fruit’s price-fixing had the ultimate effect of decimating the local banana growers [ibid.]
Fusarium wilt (‘Panama disease’) ⬆️

Industry reversals and exit strategy
In the 1910s the banana business in British Honduras was hit by a series of natural and climatic disasters…heavy rains causing flooding with loss of 90% of banana crop; infectious diseases especially the Panama disease (a soil-borne fungus), particularly devastating to UFCo’s Middlesex and Stann Creek estates; poor cultivation techniques exacerbated the losses (reliance on primitive milpa cultivation). The persistence of Panama disease further depressed production and United Fruit gradually reduced its banana operations in BH and in some cases, in locations like South Stann Creek, eventually replaced banana cultivation with citrus fruit [ibid.].

UFCo promotional booklet (Source: JJ Burns Library, Boston College)

Successive Belize colonial governments were repeatedly outwitted by United Fruit negotiations leaving it in a default position vis-á-vis the US company that was inferior and subordinate. One weakness stemming from the contractual arrangements was the governors’ abject failure to make UFCo keep its side of bargains. When things started to go “belly-up” for United Fruit in the banana colony, UFCo in imperious contempt of their contractual obligations simply pulled the plug. To compound the folly, subsequently, the colonial officials meekly bought back the key Middlesex estate from United Fruit, incredibly and bizarrely on terms which allowed the withdrawing company to make a profit! [ibid.].

United Fruit’s activities in British Honduras were typical of its approach throughout the Caribbean littoral. Large-scale integration into the local economy with massive infrastructure, using its economic clout to manipulate the local authorities into making advantageous concessions banana market…control of the market in bananas allowed it to set artificial low prices which Belize suppliers were obliged to accept because they were bereft of alternate viable markets. BH, being a colony of the British, varied from the prevailing pattern in other Central and South American countries in only one respect, a lack of personal graft. Unlike the banana republics, UFCo had no recourse to bribery with the colony’s British career diplomats, but bluff and intimidation usually produced the results it sought. As Moberg noted, “Colonial officials acted on behalf of the multinational not from venality or corruption…rather (it) reflected an ascendant US political and economic influence…one that officials found increasingly difficult to resist” [ibid.].

Tentacles of ‘El pulpo’ (“the octopus”)
United Fruit was particularly adept at playing one country off against another. When British Honduran officials kicked back against the demands of the company, UFCo would make clear that not acquiescing to what it wanted, had serious consequences. A standard ploy was to pit British Honduras against neighbouring states. On the occasions that the BH governor would deviate from his default submissive position to UFCo demands, the company manager in Belize Town would drop none-too-subtle hints about moving the centre of United Fruit’s Central American banana operations to Puerto Cortés in Hondurus. Similarly, United Fruit would also periodically issue threats to both Guatemala and British Honduras that it would switch its investments from one to the other [ibid.]

PostScript: Modern Belize
Tiny British Honduras was one of the last crown colonies in the Americas to shed the shackles of European colonialism. It achieved self-governing status in 1964, renamed Belize in 1973, it finally gained full independence from Britain in 1981. Mestizos, Creoles, Maya and Garifuna make up around 90% of the population. Belize’s much delayed passage to full independence largely stems from its neighbour Guatemala’s long-standing claim on the territory of Belize (or part thereof). Guatemala’s largely military regimes have aggressively pursued its claim (including making a number of threats to invade Belize and border-massing of troops since the 1940s), with Guatemala refusing to recognise the new nation in 1981. Accordingly the UK maintained armed forces in Belize after independence (till 2011) [‘Belizean-Guatemalan territorial dispute’, Wikipedia, http://en.m.wikipedia.org].


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although as far back as 1783 a local British presence had existed following the Treaty of Versailles which gave them the right to cut logwood between the Hondo and Belize Rivers
the following, outlining what transpired in British Honduras in particular between 1900 and 1920, is heavily based on a case study by Mark Moberg [Moberg, Mark. “Crown Colony as Banana Republic: The United Fruit Company in British Honduras, 1900-1920.” Journal of Latin American Studies, vol. 28, no. 2, 1996, pp. 357–381. JSTOR, JSTOR, www.jstor.org/stable/157625]
by the early 1900s US capital had attained a hegemonic position in BH (overtaking British capital) as it was in the rest of the Caribbean littoral
at the same time the Belize mahogany trade was starting to taper off
UFCo’s passenger and cargo ships were known as the Great White Fleet. The ships were painted white apparently to keep the shipment of bananas cooler! [‘United Fruit Company: The Great White Fleet’,https://visitpuertoarmuelles.com]
tactics replicated elsewhere in the region with similar results – the independent Jamaican growers, the Jamaican Banana Producers’ Association, resisted the United Fruit Co dominance of the Caribbean island’s market for a time but in the end couldn’t compete in a price war
United Fruit established very large plantations in different countries (known as ‘divisions’), when Panama disease hit, it would abandon the farm and relocate…each time UFCo would “systemically destroy the infrastructure (railroads, bridges, telephone lines, etc) to prevent competitors from being able to renew production on a smaller scale” [PI Bourgois, Ethnicity at Work, cited in Moberg]
these days United Fruit Co goes under the banner of ‘Chiquita Brands International’ (still extensively in bananas)