Pinball in the Drain: The Peoples’ Arcade Game On Tilt for Three Decades

Leisure activities, Local history, Memorabilia, Popular Culture, Social History, Society & Culture

The United States over the years has had a mania about banning lots of things—there’s been an unspoken exemption granted to bad taste—but one of the more curious  prohibitions in the 20th century was that on the seemingly innocuous pinball machine. 

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In the early 1930s the Gottlieb Company of Chicago introduced the first coin-operated, machines, the “Baffle Ball”. The timing was right, the Great Depression had hit, playing pinball was a cheap and accessible form of entertainment for the financially impoverished masses, and the machines caught on. A few years later machines became electromechanical and automatic score counters were added, making games more appealing [“The History of Pinball Machines and Pintables”, BMI Gaming, www.bmigaming.com/].

The moral legislators
By the time of America’s entry into WWII pinball’s popularity had grown exponentially. Not all sectors of American society however were enthusiastic about the game. Churches and school boards harboured a perception of pinball as corrupting the morals of American youth, asserting that children would steal coins and skip school to play. Lawmakers too viewed pinball negatively because they saw it a game of chance and thus was a form of gambling. They shared the view that it “a time and dime-waster for impressionable youth”. Legislators were also suspicious that it may be a “mafia-run racket” because of Chicago’s centrality in pinball machine manufacturing, a “hotbed of organised crime” [“That Time America Outlawed Pinball”, (Christopher Klein), History, upd. 22-Aug-2018, www.history.com ; “11 Things You Didn’t Know About Pinball History”, (Seth Porges), Popular Mechanics, 01-Sep-2009, www.popularmechanics.com].

⍌ City authorities vandalising the machines
(Source: Chicago Sun-Times)

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New York City’s crusade against the pinball
The mayor of NYC, Fiorello LaGuardia, took these perceptions to heart, launching a very proactive approach to rid the city of these “insidious nickel-stealers” by ordering the police force to make “Prohibition-style pinball raids” on candy stores, bowling alleys, speakeasies, cigar stores, drugstores, amusement centres, etc [“The Mayor Who Took a Sledgehammer to NYC’s Pinball Machines”, (Conor Friedersdorf), The Atlantic, 18-Jan-2013, www.theatlantic.com]. Illegal pinball machines and slot machines were confiscated and some were smashed in staged, publicity-conscious showcases (Klein).

LaGuardia’s anti-pinball machine crusade took on extra zeal after Pearl Harbour, which allowed him to characterise it as a patriotic cause…the line run by the NYC mayor was that the copper, aluminium and nickel components of the outlawed machines could be better utilised in the materiel requirements of America’s war efforts (Klein). This didn’t prevent many machines ending up dumped in NYC harbour.

⍌ 1963 ‘Swing Time’ Gottlieb machine

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Banned, but not eliminated

Other cities were quick to follow NYC’s example, Including Chicago, Milwaukee, Los Angeles and New Orleans, with pinball bans extending across the country. Other cities like Washington DC didn’t go as far but prohibited children from playing it during school hours. The inevitable consequence of banning was to drive pinball activity underground (resurfacing in places like the back rooms of ‘porno’ book shops). Thus marginalised, pinball become “part of rebel culture” (Klein).

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Roger Sharpe, “calling the shot!” 
(Source: IFPA)

The long ban, ended by a ‘Sharpe’ player Remarkably, the outlawing of pinball machines persisted until the 1970s – despite the technical innovation of “flippers” (pivoted arms activated to propel the ball back up the table) introduced in Gottlieb’s 1947 “Humpty-Dumpty” machine which made the game more one of reflexes (skill) than of chance. Finally, in 1974 the Californian Supreme Court, accepting the skill component, overturned the prohibition in that state. In 1976 NYC councillors were still skeptical about pinball and it took a spectacular courtroom demonstration by one of the game’s top exponents, Roger Sharpe, to break the impasse. Sharpe won over the doubters by nominating beforehand which lane he would propel the ball through and then making the shot, demonstrating that patience, hand-eye coordination and reflexes, not luck, were the ingredients for success in the game [“How One Perfect Shot Saved Pinball From Being Illegal In The US”, (Matt Blitz), Gizmodo, 19-Aug-2013, www.gizmodo.com.au].

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An “Indiana Jones” Williams machine with revolver for plunger

With the ‘liberation’ of pinball, player interest revived in the late Seventies, but it was a short-lived triumph. The advent of video games provided compelling competition (the newer technology requiring fewer repairs and less space). By the Nineties the writing was on the wall for arcades and the coin-op industry, as home video-games and the internet were rendering them obsolete [“The First Family of Pinball: Meet the local wizards behind the game’s huge resurgence”, (Ryan Smith), Reader, 03-May-2018, www.chicagoreader.com]. In any case, the repealing of the prohibition wasn’t uniformly implemented…Chicago city authorities resisted, still associating pinball machines with “nests of gangs and drugs” for juveniles [“Chicago once waged a 40-year war on Pinball”, (Ryan Smith), The Bleader, 03-May-2018, www.chicagoreader.com]. Prohibition in Kokomo, Indiana, was not ended till 2016 [“Pinball—once a source of vice and immorality—now, legal in Kokomo, Ind., after 61-year ban”, (Ben Guarino), Washington Post, 15-Dec-2016, www.washingtonpost.com].

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PostScript: Surviving if not exactly thriving
Today, the Stern Pinball Co (Chicago) is the only manufacturer of machines left in the business in America. If not played by casual gamers in anything like its numbers in the “Baby Boomer” era (except in video game mode), it has experienced a resurgence of sorts – as an annual series of professional tournaments (Stern Pro Circuit)  (among its internationally ranked seeds are Roger Sharpe’s two sons).

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Roger Daltry (Tommy “Pinball Wizard”) at the controls 

 Seth Porges identifies something quasi-religious in the anti-pinball position, a “temperance-fuelled” belief that the activity was “a tool from the devil” corrupting young people (Friedersdorf)

 the councillors were also persuaded to overturn the ban by the eloquent testimony mounted by Sharpe, who went on to be a pinball star witness in subsequent, successful hearings in other states. Another factor in the outcome may have been revenue-raising, eg, Mayor Daley in Chicago wanted to lift the ban so as to tax individual machines and licensing operators (Smith, “Chicago once waged”)

 the rebel image remained into the late 1960s and ‘70s with the anti-establishment tone of The Who’s rock opera about a “pinball wizard”, Tommy

 it was a similar story in Nashville, TN, for anyone under 18, and in some places and times it is still illegal – such as on Sundays in Ocean City, N.J. (Porges)

The Moral Guardians’ War on ‘Pernicious’ Comic Books

Creative Writing, Literary & Linguistics, Media & Communications, Performing arts, Popular Culture, Regional History, Social History, Society & Culture, Visual Arts

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.

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(Photo source: www.theverge.com/)

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 week!) By 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)

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‘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

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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

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“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 delinquencyAt 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

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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.
 
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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

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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]. 

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 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  (Hajdu; Heer) 
over 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

“We’re All Individuals!”: “Living Persons” in the Bubble of their Own “Sovereign Nation“ Speak Out

Inter-ethnic relations, National politics, Politics, Popular Culture, Public health,, Society & Culture

Who’d have thought that it’d take a pandemic to bring to light just how many cynics and crazies are out there? Before COVID-19 we only had the climate change deniers and the occasion conspiracy peddler to cope with. Since the virus first descended, coronavirus deniers have been coming out of the woodwork, a contagion not confined to the USA.

Human rights or human life?  
Recently, a new phenomena has popped up on social media and TV screens – from the “Republic of Covididiocy”. Provocateurs have taken to filming themselves confronting police and retail shop personnel during  lockdown – provocatively refusing to wear masks, not giving their personal details and declaring loudly that their human rights were being transgressed. The extreme position adopted by these protesters connects them to conspiratorial views held by fringe extremists in the US.

Conspiracy heaven

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A universal scofflaw mindset
These individuals are part of a loosely-organised movement of people who call themselves “Sovereign Citizens” (or “Sov-Cits” or just ‘Sovereigns’, for short), whose purpose is to assert some set of existing natural rights which, they purport, places them outside of the jurisdiction of the government and the law. In a climate of pandemic-induced restrictions many of these people may just be (over)reacting to the state’s clampdown on their freedom of movement and activity, a knee-jerk libertarian impulse. However the concept of Sovereign Citizenry long pre-dates the current pandemic as a conspiracy-driven stratagem, with its origins, unsurprisingly, found in America.

The world according to Sovereign Citizens
“The Sovereign Citizens Movement promotes the tantalising fantasy that anyone can declare himself or herself above and beyond the jurisdiction of the government by invoking arcane legal terminology”.
~ Southern Poverty Law Center

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(Source: www.radicalisationresearch.org)

In the 1990s the SCM picked up the earlier Posse Comitatus movement’s baton of unrelenting enmity towards the federal government, portraying themselves as the “true defenders of the Constitution”. Sov-Cit beliefs rest on the same premise as that established by Posse Comitatus. They believe that the US government is illegitimate…it is, they say, a corporation that  has duped ‘natural’ citizens (read “Sovereign Citizens”) into an unlawful contract. Sovereign theorists cite the 14th Amendment in 1868 and FD Roosevelt’s 1933 abandonment of the gold standard as a back-up to the paper currency as historical ‘proof’ of federal deception.

Gurus and methods
The SCM is a loosely organised group of litigants, commentators, tax protesters/deniers and financial scheme promoters…leadership comes from “redemption gurus” who advise Sovereigns to use ‘legal’ phrases to remove themselves from the jurisdiction of government (BBC).

Prison recruitment, outreach and education  Gurus and other Sovereign ‘mentors’ incarcerated for fraud or for not paying taxes have found prison an ideal environment to indoctrinate and recruit new adherents. Imprisoned drug dealers and embezzlers were particularly willing recruits to the cause, jumping at the chance to put Sov-Cit theories into place in the hope of getting out of jail, or to retaliate against the public officials and law enforcement officers who put them there! The pseudo-legal strategy employed by Sov-Cits (again following Posse Comitatus) is based on the ludicrous “Theory of Redemption”—a secret (and mythical) fund of money created for everyone at birth by the US government—which Sov-Cits can supposedly redeem or claim to pay debts [‘Sovereign Citizens Movement Resurging’, Southern Poverty Law Center, Spring Issue 2009, 26-Feb-2009, www.splcenter.org].

“American National”, the preferred nomenclature for Sovereigns  

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Before the advent of the internet training of Sov-Cits took place at seminars held at remote extremist compounds. Now recruits learn via online videos and forums (like You Tube and MySpace) which disseminate SCM doctrine and tactics. Some Sovereign groups sell booklets like “The Prison Packet” which purports to guide inmates towards the realisation of their freedoms. Religious outreach, through the agencies of numerous Christian fundamentalist fringe organisations in the US, is another avenue for recruiting Sov-Cits into the fringe fold (Southern Poverty Law Center).

Paper terrorism
Sovereigns employ what are saturation methods, submitting countless bogus court filings containing hundreds of pages which are virtually indecipherable. The purpose? “To punish, to harass and mislead public officials”. The paper terrorism may take the form of elaborate scams, the generation of fake letters of credit or tax forms, frivolous law suits or other faux legal documents [‘Understanding the sovereign citizen movement: a guide for corrections professionals’, The Free Library, www.thefreelibrary.com/].

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Law-enforcement officers in the Sovereigns’ cross-hairs
Some Sov-Cits are out and out “con artists”, transparently pure 100% charlatan, but as Michael Barkun warns, others are politically-motivated anti-government extremists⧆…and dangerous! In 2010 a Sov-Cit duo, father and son, killed local police officers in West Memphis, Arkansas. A New Hampshire shootout in 1997 resulted in the death of five people including the Sovereign provocateur acting as a “lone wolf”❂.  Cop killing by Sovereigns is not confined to America – in 2016 a Reichsbürger, the German version of the Sov-Cit, shot dead a policeman in that country. The FBI has declared some Sovereign Citizens to be domestic terrorists. Often inmates utilise the Sov-Cit strategies from within the prison system to carry out protracted vendettas against judges, IRS officials, prosecutors and local sheriffs (Southern Poverty Law Center).

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(Source: www.bbc.com/)

The lengths a Sov-Cit will go to

Your dedicated Sovereign is not adverse to creating fake car licence plates or printing his or her own currency and then trying to pass it off as real money. One SCM provocateur in Florida, in acrimonious conflict with his local Bank of America branch, sent it a bogus foreclosure notice and even barricaded the branch during opening hours (SPLC).

Francis: “It is symbolic of our struggle against oppression”
Reg: “Its symbolic of his struggle against reality”
~ Monty Python’s Life of Brian

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Sovereigns don’t believe they need to hold a licence in order to drive (or to fish for that matter). When stopped by police patrols they have been known to deny that they are driving and affirm rather that they are in fact merely travelling⚅ (Dr Kaz Ross, interview, ABC Radio). And travelling, Sovereigns insist, is “a God-given right”. Some Sovereigns go even further than just mouthing the mantra that they are outside of federal jurisdiction, proclaiming to be citizens of other entities, eg, the Montana Freemen, the “Republic of Texas” (The Free Library)✫.

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Anti-government protest in Oregon
(Source: http://m.dk.com)

Endnote: Sovereign Citizens are one of a panoply of Alt-Right, conspiracy-obsessed fringe hate groups in the US which might loosely be subsumed under the umbrella term “patriot movement”. There is a lot of blurring of the lines between SCM, QAon, the Three Percenters, the Boogaloo Bois, the Proud Boys, the Anti-Vaxxer groups and various others of a similarly contrarian ilk. In particular, the Sov-Cits’ emphasis on the duality of US citizenship echoes the philosophy of another group – the Freemen-on-the-Land movement. The latter proclaim that “with special knowledge and careful language, we can circumvent these laws and regulations and live freely as an alternative vision of ourselves under our own ‘natural‘ laws” (a virtual identikit image of the SCM’s credo and tactics) [’What is the ‘sov cit movement?’, BBC News, 05-Aug-2020, www.bbc.com; ’The seriously weird belief of Freeman on the Land”, (Shelley Stocken),  News, 09-Jul-2016, www.news.com.au].

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PostScript: Black separatism
On the surface you might think Sov-Cits would be an exclusively Caucasian phenomena, given its links to White Supremacist outfits like Christian Identity. But there is an African-American separatist subset that adheres to the Sovereign Citizens credo. Given their disproportionate representation in US prisons, Black inmates not surprisingly have been attracted to the SCM ideology. A clique of African-American drug-dealers on trial for murder in the 2000s in Baltimore employed its obstructionist ploys to delay proceedings for years [‘Too Weird for The Wire’, (Kevin Carey), Washington Post, May/June/July 2008].

↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼↼

✱ the great danger here “is when fringe beliefs and proponents begin to slip into the mainstream”, eg, President Trump’s spruiking of alleged coronavirus cures which are not scientifically proven and possibly harmful, ‘The threads that don’t connect: Covid gives Australian conspiracy theorists a home’, (Michael McGowan), The Guardian, 02-Aug-2020, www.theguardian.com.au]
⊞ a right to hold possession of property owned by another until they discharge the debt (www.lexico.com/)
⧆ Barkun describes them as “a stubbornly resilient sub-culture, a community of the alienated”
❂ many Sovereign groups are thought to be aligned with militia groups
⚅ ‘driving’, they assert, is what a truck driver or a taxi driver does for a living
✫ it’d be stating the obvious to say that Sovereigns have a cockeyed notion of the rule of law, one based on the false premise that an individual can choose which law they consent to, and which they don’t (SPLC)

Tarzan, the Enduring, Politically-incorrect, Pop Culture Myth of a White Saviour in a Black World

Cinema, Creative Writing, Literary & Linguistics, Memorabilia, Natural Environment, Popular Culture, Racial politics, Society & Culture

Start of the Tarzan pulp fiction phenomenon

2CFFCD21-92B3-448D-B44C-002354849965When testosterone-charged visitors to coastal Belgian towns began strolling around the shops and cafes bare-chested in 2015, locals objecting to this aesthetic blight on the landscape took to labelling the offending blow-ins “Tarzan tourists”. References to that archetypical, mesomorphic white hero of amorphous jungle habitats, Tarzan, have permeated popular culture for over a century. Since the time pencil-sharpener salesman Edgar Rice Burroughs (ERB) turned his hand to writing his first story in 1912, the aura of Tarzan, carefully cultivated by the author into a cultural icon, has extended from pulp fiction, to various media including comic strips, films (over 90!), radio shows, TV series, Broadway musicals, computer games and a raft of commercial merchandise𝓪.

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Celluloid Tarzan – from urbane gent to LCD savage
The phenomenal success of ERB’sTarzan of the Apes and follow-up pulp novels provided prime adventure material for a rapid transition into cinema, starting with a silent movie in 1918. Later sound film interpretations, especially those with former American Olympic swimming champion Johnny Weissmuller as Tarzan, departed radically from Burroughs’ original conception of the heroic jungle adventurer as a cultured, multilingual, erudite aristocrat (John Clayton II, Viscount Greystoke). Weissmuller’s “dumbed-down” depiction of Tarzan was as an innocent and noble savage, the “strong and silent” type given only to monosyllabic utterings (“Me, Tarzan, you, Jane”).

  ERB at home in Tarzana, California

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White skin, white supremacist
As successful as the books and later franchises have been, Tarzan’s character has engendered a persistent stream of controversy. ERB’s creation, from the start, was an obvious target for accusations of racism – a white boy/man𝓫 thrown into a dangerous and alien environment (the “dark continent”), who manages not only to survive but to triumph over hordes of dark-skinned peoples and over numerous wild animals. Tarzan emerges from the pages as a “consummate colonial-era adventurer” – “a white man whose novel civility enabled him to communicate with and control savage peoples and animals…using appropriate technology” to help natives who “cannot solve their own problems” [RJ Gordon in Tarzan was an Eco-Tourist … and Other Tales in the Anthropology of Adventure, (edited by Luis A Vivanco & Robert J Gordon), 2006]. The world that Tarzan creates in the jungle is in effect a “white supremacist Eden parable”, the books and films completely omit the point-of-view of the indigenous people who live in the African jungle (or the Amazonian rainforest𝓬) ‘[‘The Only Good Tarzan is a Bad Tarzan’, (Aaron Bady), Pacific Standard, 08-Jul-2016, www.psmag.com; ‘From Tarzan to Avatar: the problem with “the white man in the jungle”’, (Steve Rose), The Guardian, 06-Jul-2016, www.theguardian.com].

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TV Tarzan (loin-clothed Ron Ely) in Mesoamerican climes  (Source: www.nbc.com)

A white world of comfortable racial assumptions Tarzan’s brand of chivalrous “white masculinity” precludes him from engaging in sexual violence against women, but he is utterly implicated in the negative racial stereotyping of Africans, an explicit feature of the books – black men are described as “lithe, ebon warriors, gesticulating and jabbering”, Arabs are “surly looking”. Without holding back, ERB tells us, Tarzan is “a killer of many black men”, revelling, shockingly for modern sensitivities, in the act of ‘lynching’ blacks [Gail Bederman, quoted in ‘Tarzan’, Wikipedia, http://en.m.wikipedia.org].

The mystique of Tarzan: Green mascot, eco-warrior and proto-expat
Part of Tarzan’s durability as a cultural icon might lie in his versatile utility. It has been noted that Tarzan possesses an “ability to adapt to the zeitgeist of different eras”. In seamlessly managing an environment that is unnatural and unfamiliar to him, he demonstrates a flair for “ecological sustainability”, we are shown the ape-man’s apparently impeccable “green credentials” [‘The Untamed Image of the Perfect Savage’, (Bram Wicherink), Efnofoor, vol. 22, no. 2, 2010, pp.90-97. JSTOR, www.jstor.org/stable/25758188. Accessed 10 July 2020]. For Paul Theroux, who had hands-on experience of being part of the ‘invasion’ of Africa by Peace Corps Volunteers in the 1960sTarzan is “in the jungle, but not of the jungle”…therefore he was the “first expatriate”𝒹 [Theroux, P.  “Tarzan Is an Expatriate.” Transition, no. 32, 1967, pp. 13–19. JSTOR, www.jstor.org/stable/2934617Accessed 10 July 2020].

The first screen Tarzan, Elmo Lincoln, 1918

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Tarzan as metaphor – defender of masculinity
The period in which ERB wrote the first Tarzan books (just before, through and after WWI) saw the emergence of a challenge to the hegemony of white masculinity – from the Suffragette Movement…according to Robert Gordon, Burroughs’ creation of the all-conquering jungle superhero constituted a buffer against that perceived threat. This held sway again in the 1960s and 70s when the advent of women’s, LGBT and civil rights movements loomed as a threat to (white heterosexual) masculinity. Tarzan, as “the archetypal white-manhood fantasy” represented a “refuge of sorts for white audiences”. What they could observe in the story of Tarzan was an ideal of manliness, a he-man proving himself physically in the most testing of circumstances [Gordon; ‘Me, Tarzan. You, Really Still Doing This?’, (Devon Maloney), Mel, 11-Jul-2016,  www.melmagazine.com.

PostScript: An attempt at a politically-corrected Tarzan
The talkies motion picture era has seen a string of mostly forgettable actors taking on the role of Tarzan, as well as a TV series or two and even Disney animation versions of the vine-swinging king of the jungle. In recent decades the Tarzan phenomenon has appeared to be running out of steam, although a recent entry, a 2016 screen production, The Legend of Tarzan, sought to present a Tarzan with ‘woke’ politics and more psychological complexity. Tarzan is this time avowedly anti-colonial, taking to task the odious slave-based Congo empire of Belgian king Leopold II, and displaying his capacity for “racial sensibilities” in the endeavour. Resurrecting a Tarzan who is more nuanced is still in itself problematic for its contemporary tone-deafness –  “propagating…a white saviour narrative during the charged era of Black Lives Matter” is not the most prudent or politically savvy card to play [Glenn Kenny, ‘The Legend of Tarzan’, (01-Jul-2016), www.rogerebert.com]. The hero’s mate Jane departs from her character’s standard “eye-candy” function and exhibits a “feisty proto-feminist” defiance and the film gives a nod to environmental and conservationist concerns. Unfortunately the movie got at best only mixed reviews and basically bombed at the box office [‘The Legend of Tarzan’ Falls Well Short of the Tree Tops’,  (David Edelstein), Vulture, 01-Jul-2016, www.vulture.com].

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Ft’note: Tarzan, very much “all-American”
Oddly, in all the graphic representations of Tarzan—in films, on book covers and illustrations—he is presented as clean-shaven, always sans beard, somewhat of an anomaly considering he is almost always off the grid, cut off from all the usual paraphernalia and comforts of life.  

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  Just your average Middle American family

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𝓪 Tarzan was “the first fictional character to be multi-mass-media marketed…the growth of a veritable Tarzan industry, with “Tarzan Clubs” rivalling the Boy Scouts (Gordon). But not just boys, famed ethnologist and world chimpanzee authority Jane Goodall was captivated by the mystique of Tarzan, his impact on the primatologist’s childhood imagination “set her on a path to Africa to work with wild animals” [‘How Tarzan created Jane Goodall and how Goodall then repaid the favour’, (Shawn Thompson), The Ethical Ape, (2013), www.news.mongabay.com]  

𝓫 in the books Burroughs explains that the name given the eponymous hero, ‘Tarzan’, means (in African “ape language”) “white of skin”  

𝓬 occasionally for plot variety the setting for Tarzan’s adventures diverts from the customary (vaguely) African location to Latin America and India

𝒹 apparently he was the inspiration for future  adventure junkies – for many restless souls in the West who flocked to join the Peace Corps in an Africa emerging from colonialism, as well as for later devotees of the ongoing craze for adventure tourism (Gordon)