Wondrous Origins of Wonder Woman

Biographical, Creative Writing, Gender wars, Leisure activities, Literary & Linguistics, Media & Communications, Popular Culture

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)].

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(Source:
www.money.org/)

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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

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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)].

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Wonder Woman, a comic book gender transgressor
In 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].

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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 kinkiness  of 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

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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 giving Marston 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].

♋️ ♋️ ♋️

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)

 

The Selfridges Story: The Making and Unmaking of Harry (or Several Lessons in Cultivating Customer Satisfaction)

Biographical, Built Environment, Commerce & Business, Local history, Retailing history, Travel

“People will sit up and take notice of you if you will sit up and take notice of what makes them sit up and take notice.”
~ HG Selfridge

⊹⊹⊹ ⊹⊹⊹ ⊹⊹⊹

Before I ever visited the UK I wasn’t at all familiar with Selfridges. I knew about Knightsbridge and Harrods and its preciously preserved pedigree all right…we’ve done that! My first time in London I was on a bus travelling (make that crawling) down Oxford Street heading towards the West End when I was enlightened as to the existence of the second-best known upmarket London department store. As the bus idled stationary I spotted a sign in front of a building that said ‘Selfridges’, my first thought, I remember, was “strange name!”…but when I think about it now I vaguely recall that I had previously heard the name Selfridges, but without inquiring further at the time I sort of formed the literal impression that it was a store as the name sounded that “sold fridges”, ie, a purveyor of domestic white goods! So when I did eventually get my beak inside the store’s doors at 400 Oxford Street I was surprised to see lines and lines of (pricey) fashion wear, shoes, accessories, skin care products, bags and more – but not one refrigerator in sight! (in its time it has apparently sold most everything!)

Even without visiting Selfridges’ flagship Oxford Street store, you may well be aware of it or of its US-born founder Harry Gordon Selfridge thanks to the recent ITV television series Mr Selfridge (first aired in 2013). The series was a period drama about the flamboyant, visionary retailer and the interactions that take place around him in his eponymous London department store.

A Marshall Field blueprint for London
Wisconsin-born Harry Gordon Selfridge initially earned his business ‘spurs’ working for Chicago department store Marshall Field & Company (right), this segued into him purchasing his own department store in Chicago. In hardly any time at all the mercurial Selfridge abruptly re-sold the business, making a quick profit and retired to play golf. In 1906 while holidaying in London, Selfridge sensed a new retail opening for his entrepreneurial talents in the British capital. For £400,000 he purchased land and surrounds for a novel custom-built, mega-department store in the then unfashionable, western end of Oxford Street [‘Harry Gordon Selfridge’, Wikipedia, http://en.m.wikipedia.org].

“The American Invasion of London”
The London press was not initially warm to the notion of the American’s incursion into the world of London commerce. The City’s daily and drapery trade press described it as an “American Invasion of London” [Lawrence]. Selfridge’s loud in tone and bombastic approach to selling the project didn’t help in endearing him to the newspapers (described in some publications as being “aggressively big in scale”). Selfridge’s efforts to make the store a reality were driven by an unwavering vision: creating a “monumental retail emporium” was in his eyes the key to elevating “the business of a merchant to the Dignity of Science” (as he grandiosely put it). Selfridge believed to achieve that, he had to construct a gigantic “technologically advanced department store”, hence the massive amount of money, time and effort he put into the project [LAWRENCE, J. (1990). ‘Steel Frame Architecture versus the London Building Regulations: Selfridges, the Ritz, and American Technology’. Construction History, 6, 23-46. Retrieved from http://www.jstor.org/stable/41613676].

A ground-breaking, landmark modern steel-framed building
Construction of the Selfridge store was something of an architectural coup in itself. It won praise in its day from British building journals for its innovative construction methods…built with steel frames and reinforced concrete allowing for much narrower than usual walls, the frames permitted a far greater window area, so very large plate-glass windows could be installed (12 of which were the largest sheets of plate-glass then in the world!) – making for much more interior natural light and brightness (designed by famed US architect Daniel Burnham and associates). Originally comprising a 250′ x 175′ site, Selfridge’s had nine Otis passenger and two service lifts and six staircases. 100 separate departments were spread out over eight floors. While the physical construction of the Oxford Street store took only 12 months, Selfridge had first to overcome London City Council’s raft of objections (unprecedented size of the commercial structure, fire danger, etc). Selfridge and his engineers’ lobbying of the LCC Committee eventually resulted in the passing of two local building acts – LCC (General Powers) Acts of 1908 and 1909 – necessary for the Oxford Street project to be completed [Lawrence, ibid.].

Rigid building regulations weren’t Selfridge’s only impediment to making his dream store a reality. Half-way through the project funding became a pressing issue when his partner and main backer Sam Waring, frustrated by Harry’s “grandiose and reckless approach” to the venture (Selfridge had grievously underestimated the complications of the project), withdrew his financial backing. The economic downturn in London (and in the US) at the time made alternative sources of funding a very grim prospect, and disaster was only narrowly avoided when a new backer, millionaire tea tycoon John Musker stepped in to rescue Selfridge [Gayle Soucek, Mr Selfridge in Chicago: Marshall Field’s, the Windy City and the Making of a Merchant Prince, (2015)]. After the big opening Selfridge remembered to make sure the store’s product lines included everything to do with tea-making (teapots, cups and saucers, sugar bowls, etc) [‘Selfridges: 7 things you (probably) didn’t know about the department store’, (History Extra), www.historyextra.com].

Selfridge, customer-centred strategies ahead of the curve
Harry’s approach to retailing was characteristically innovative on many fronts. Selfridge placed tremendous faith in advertising, the 1909 campaign leading up to the store’s opening cost a reported $500,000 in 1909 money [‘Selfridge Dies: Ripon Lad Who Jolted Empire’, The Milwaukee Sentinel, 9-May-1947 (online fiche)] (Britain’s biggest ever ad bill to that point) and he used it imaginatively together with ingenious publicity campaigns. Selfridge was the first retailer to make popular the idea of “shopping for pleasure”, rather than it being solely a functional task undertaken for necessity (as people conceived of it prior to Harry’s advent). In-store activities and arrangements often were original and novel (eg, displaying the monoplane used by aviator Louis Blériot in the first cross-English Channel flight at Selfridge’s (1909)). Another interest-generating feature in the store was Logie Baird’s television prototype shown on display in 1925.

Those specially designed wide windows were put to optimal use, Selfridge was the first to utilise window dressing where he could show off the latest fashions and utensils in open display [‘Selfridges 7 things’, loc.cit.]. The staff at Selfridge’s Oxford Street store (initially comprising 1,400 employees) were instructed to assist customers in their purchases, not to pester or use any “hard-sell” tactics on them. Harry’s philosophy was “first get them in, then to keep them there. Thereafter they would buy” (Woodhead). One of Selfridge’s more forward-thinking moves was to locate the goods where they were visible and accessible to customers all around the store’s interior (a practice he devised while at Marshall Field’s in Chicago), rather than hiding them away from sight under counters (as had been the practice in most retail stores hitherto). He also introduced the concept of the “bargain basement” to retailing, a section where shoppers could find regularly discounted commodities [‘Innovation Lessons From The World’s First Customer Experience Pioneer — Infograph’, (Blake Morgan), Forbes Magazine, 26-Jun-2017, www.forbes.com ; Lindy Woodhead, Shopping, Seduction & Mr Selfridge, (2012)].

A visceral, holistic experience
Selfridge’s vision was to make the department store more than just a shop where you went to buy goods, he continued to introduce new features to Selfridges…elegant (moderately priced) restaurants, a library, reading and writing rooms and special reception rooms for French, American and ‘Colonial’ clientele. There were cookery demonstrations in the kitchenware section. All this marked a radical departure from the practices of other department stores which employed floorwalkers to ‘shoo’ people out of the store who were just hanging around and not actively engaged in buying an item! Even the store’s roof was put to productive if curious usage (a shooting range for an all-girl gun club as well as an ice rink) [Lawrence, loc.cit.].

The female shopper as an identified demographic
Selfridge saw the role of the department store in macrocosmic terms – “the store should be a social centre, not merely a place for shopping”. Unlike the conservative establishment of the day and much of the mainstream, Selfridge endorsed the Suffragette Movement…the new store was (in part) “dedicated to woman’s service”. In a 1913 advertisement Selfridge described the store thus: Selfridge and Co: The Modern Woman’s Club-Store” [‘Suffrage Stories/Campaigning for the Vote: Selfridge’s and Suffragettes’, Woman and her Sphere, (Elizabeth Crawford), 16-May-2013, www.womanandhersphere.com; ‘Selfridge Lovers: The Secret behind our house’, www.selfridge.com]. Astute businessman that he was, Harry popularised shopping as a leisure activity specifically for women…to make it a more welcoming and conducive place for them to spend time (and money!), he displayed freshly scented floral arrangements and had open vistas in the store, he employed musicians to perform and added beauty and hair salons (Paris-inspired) and art galleries. And he introduced public restrooms for women to the store (the first time ever done!)
[Forbes, loc.cit.].

The H.G.S. leadership style
As retail magnate go, Selfridge went against the grain for his day by not being an authoritarian business leader. He was temperamentally inclined towards fairness with regard to remuneration, increasing the wages of his staff, elevating them above “wage slavery”, treating them as employees as opposed to ‘servants’ (cf. Harrods) [ibid.]…not to overstate it, Selfridges shop floor staff were still exposed to long, long hours of drudgery but they were paid a livable wage for their arduous labours. A sample of the quotes attributed to Selfridge reflect his anti-dictatorship approach to business and interpersonal relations: “The boss drives his men, the leader coaches them” ; “The boss depends on authority, the leader on good will” ; “The boss says ‘I’, the leader says ‘We'” ; “The boss inspires fear, the leader inspires enthusiasm” ; “The boss fixes the blame for the breakdown, the leader fixes the breakdown” ; etc. [‘Harry Gordon Selfridge’, Wikipedia, op.cit.]

Tower folly
Selfridge’s thrived, prospered and grew after the Great War (the store size doubled). Things didn’t always go the Wisconsin-born retail magnate’s way however…a couple of commercial reversals suffered by Harry during the decade concerned his plans for erecting a massive tower from the building which was rejected by the LCC Committee because of excessive height, and possibly also because it would have vied with the iconic St Paul’s Cathedral for attention (a fortunate outcome perhaps as the model drawings for the tower suggest the result would have been an incongruous coupling of architectural forms and a hideous eyesore!) [Lawrence, op.cit.]. The other setback was Selfridge’s proposal for a tunnel between the store and the nearest tube station, Bond Street, the plan ultimately got kiboshed!

Harry on the downslide
By the late Twenties Selfridge & Co was at the top of its game, the name was synonym with quality merchandise and Selfridge took its place as a stellar institution on the London commercial scene. Some time after the onset of the Great Depression things started to turn badly pear-shaped for Selfridge, as for businessmen as a whole. Harry Selfridge contributed to his own decline however by persisting in his flamboyantly extravagant spending. He squandered money on his womanising ways for which he earned a certain notoriety, for instance, $4M was wasted on his dalliances and affairs such as with the Dolly Sisters (Hungarian jazz dancers) – a part of his story that the TV series was quick to focus on) [Forbes, loc.cit.. By 1940 the company owed £250,000 in taxes and Selfridge was deep in debt to the bank, forcing him to sell out and retire from the business (retaining a modest annual consultancy stipend) [‘Harry Gordon Selfridge’, Wikipedia, op.cit.; Milwaukee Sentinel, op.cit]

Selfridges’ Birmingham Bullring store ▼Selfridges post H.G.S.
Selfridge & Co’s reversal of fortunes signalled a move from its circling competitors…rival department chain John Lewis & Partners acquired some of Selfridges’ provincial stores in the Forties, which was a preliminary move to John Lewis’ eventual takeover of the flagship Oxford Street store (1951). In turn John Lewis was itself acquired by the Sears Group in 1965. Its current owners, the Anglo-Canadian Galen Weston company bought Selfridges in 2003 for a reported £598M. Today the store name ‘Selfridges’ survives on the Oxford Street building, and in the three other regional branches in the counties (Trafford Centre and Exchange Square, both in Manchester, and the Bullring in Birmingham).

FN: Harry Selfridge from when he first arrived was perceived widely as a Trans-Atlantic “blow-in”, splashing his (and his wife’s) money around, vociferously determined to show the established home-grown retailers what a ‘superior’ type of modern department store looked like. Selfridge displayed a talent for polarising opinion…to his dazzled admirers he was “the Earl of Oxford Street”, the flashy Midwest American merchant was “as much a part of the sights as Big Ben” (as one columnist waxed lyrically), but to his detractors (including many of his competitors and much of the London press) he was merely a “vulgar American tradesman” or worse [Milwaukee Sentinel, loc.cit ; Woodhead, op.cit.].

PostScript: ‘Selfridges gets Sixties hip
In 1966, Selfridges, by now under Sears Holdings boss Charles Clore, recognised the youth market with a separate outlet for young women, Miss Selfridge (forming a link back to Harry Selfridge’s traditional focus on female customers). The new store in Duke Street signalled Selfridges’ wholesale embrace of the Sixties’ fashion revolution. Miss Selfridge used mannequins based on the straight line form of 1960s iconic model Twiggy and sold the latest in Mary Quant and Pierre Cardin fashions. In the early 2000s Miss Selfridge was acquired by the Arcadia Group [‘Selfridges 7 things’, op.cit.].

“The Queen of Time” AKA Ship of Commerce Statue ▼
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described as “Downton Abbey with tills” [” ‘Mr Selfridge’: It’s ‘Downton Abbey’ with tills…”, The Telegraph, (Daphne Lockyer), 15-Dec-2012, www.telegraph.co.uk]
the impressive Selfridge facade, personifying power and permanence, was later complimented by the addition of a decorative Art-Deco motif – the ‘Queen of Time riding her Ship of Commerce’ (clock-statue by Gilbert Bayes)
around 12,000 visited the store to view the displayed history making French monoplane…no doubt plenty of these visitors also made spontaneous purchases while they were in Selfridge’s premises [Forbes, op.cit.]
Selfridge possibly was quite consciously also trying to make his front-line staff as unlike Harrods’ staff – who had a reputation for ‘snootiness’ and stiff formality – as he could! [Milwaukee Sentinel, loc.cit]
recently the roof was again used in idiosyncratic fashion, by being turned into a “boat lake” and a “putt-putt” mini-golf course for customers
in return, when protesting suffragettes smashed shops windows in Oxford Street, Selfridge’s was one of the few left unscathed
other (very famous) attributed ‘Selfridgeisms’ are “the customer is always right” and “only xx shopping days till Christmas”