Showing posts with label Racial Integration. Show all posts
Showing posts with label Racial Integration. Show all posts
Social History in Comics: Sgt. Fury 90 - "The Chain That Binds!"
11:09 AM |
Labels:
African American characters,
Al Kurzrok,
Dick Ayers,
Gabriel Jones,
Marvel,
Racial Integration,
Sgt. Fury and his Howling Commandos,
World War II
This August 1971 issue of Sgt. Fury features an anti-racist story written by Al Kurzrok. Al was a writer for Harvey Comics, and then worked for Marvel mostly as a letterer but did write some 1960s and early 70s stories, including 5 issues of Sgt. Fury. Kurzrok didn't get to pen too many Marvel books. He clearly did his homework on this title, though, because stylistically in many ways it reads like a typical Sgt. Fury book. Although it has an anti-racist message, however, it doesn't deliver this with the same kind of punch that Robert Kanigher or Stan Lee would give a similar story. Given the rarity, even by 1971, of comics taking a stance against racism, it is noteworthy, and should be added to that elite list of anti-racist books. Let's take a look at it. Of course the story highlights Gabriel Jones, and it's another tale, like that in issue 56, that has Gabe on a journey to meet up with the rest of the Howlers. This one starts with him being captured by a Nazi officer on the orders of Hitler himself, who wants to use Gabe as bait in a trap for the rest of the Howling Commandos. Right from the start we're reading racist remarks from the Nazi, and he doesn't let up. The Nazi is motivated by his expectation of considerable reward from the Fuhrer should he succeed in his mission.
As with previous Sgt. Fury anti-racist tales, Southerner Rebel Ralston exhibits the greatest concern for Gabe, continuing the disconfirmation of the 'all southern whites are racists' stereotype that we've seen in anti-racist books in the 50s and 60s.
Gabe meanwhile has to put up with the racist rantings of the Nazi, but handles it well. When their plane gets shot down, they parachute into the snow below. The tables are not quite turned, but circumstances have evened things up a little.
But even Gabe can be pushed too far...
Even though an American patrol passes nearby, Gabe is thwarted in his attempt to get their attention and regain his freedom.
Chained together the two men, complete opposites not because of their respective races but because of their differing world views, continue to battle for the upper hand.
The back and forth dialogue between the Nazi and Gabe has, throughout, exposed the ludicrous yet sinister nature of white supremacist beliefs.
The difference emerges when it becomes clear that the troops they've spotted are American. The Nazi has no qualms about killing Gabe with his knife, and Gabe has to shoot him in order to defend himself. The Nazi's dead after all that, and Gabriel is back with the G.I.'s and will presumably find his way back to the Howlers.
I think this story could have been intended to be allegorical, the chain representing perhaps the institutions in American society that have bound African Americans to racist overlords. If so, then the abrupt ending suggests the racial conflict that had erupted in the Civil Rights era with African Americans pushed to the limit by racist whites unwilling to surrender their assumed superiority. I think that the story seeks, and to some extent succeeds, in ridiculing the racist way of thinking. All that Aryan supremacy stuff. By 1971 people had had enough of their hopes for progress being smashed - assassinations of key leaders, and still no real equality of opportunity in a lot of ways.
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Social History in Comics: Two-Fisted Tales 30 - "Bunker!"
1:31 AM |
Labels:
African American characters,
EC,
Harvey Kurtzman,
Jack Davis,
Korean War,
Racial Integration,
Ric Estrada,
Two-Fisted Tales
The first occasion that I am aware of on which comics addressed the issue of inter-racial strife within the US armed forces was in Two-Fisted Tales 30 (Nov-Dec 1952), in the story "Bunker!", written by Harvey Kurtzman and drawn by Ric Estrada, with colors by Marie Severin. The famous cover of this issue is by Jack Davis.
The plot of "Bunker!" is straightforward. There's some Chinese soldiers holed up in a very strategically placed bunker, pinning down two platoons of U.S. troops, one segregated African American and the other segregated white. The two groups of American men are on different sides of the bunker, each trying to take the hill on which it is located.
The death of one of the African American soldiers spurs his comrades at arms to a heightened state of military aggression and they succeed in taking out the bunker with grenades, to avenge the fallen man. Consequently the hill is taken by the Americans, only it is the all-white platoon that reaches the top first and claims credit for the victory. This sparks a racist quarrel that looks like it could get out of hand.
The senior officer steps in and sorts out the argument before any damage is done. In classic EC style, the last panel is used to reveal the wording on the sign that has had the effect of bringing the African and white Americans together.
Published towards the end of the Korean War, this story involves segregated units, which still existed at the time in the U.S. Army, although full integration was not far away. The inter-racial conflict shown here is more of the nature of a rivalry, although there was definitely a hint that it could get nasty.
Social History in Comics: Star Spangled War Stories 179 - "A Town Called Hate!"
6:34 AM |
Labels:
African American characters,
Archie Goodwin,
DC,
Frank Robbins,
Jack Sparling,
Joe Kubert,
Racial Integration,
Star Spangled War Stories,
Unknown Soldier,
World War II
With Archie Goodwin as editor, this issue of Star Spangled War Stories (179, March 1974) features an Unknown Soldier story that exposes the intense racial infighting that had been a serious problem in the U.S. military during the Vietnam conflict, using a WWII setting. In the Armed Forces Journal in 1971, Col. Robert D. Heinl, Jr. wrote:
"The morale, discipline and battleworthiness of the U.S. Armed Forces are, with a few salient exceptions, lower and worse than at any time in this century and possibly in the history of the United States. By every conceivable indicator, our army that now remains in Vietnam is in a state approaching collapse, with individual
units avoiding or having refused combat, murdering their officers and non commissioned officers, drug-ridden, and dispirited where not near mutinous. Elsewhere than Vietnam, the situation is nearly as serious. Intolerably clobbered and buffeted from without and within by social turbulence, pandemic drug addiction, race war,
sedition, civilian scapegoatise, draftee recalcitrance and malevolence, barracks theft and common crime, unsupported in their travail by the general government, in Congress as well as the executive branch, distrusted, disliked, and often reviled by the public, the uniformed services today are places of agony for the loyal, silent professionals who doggedly hang on and try to keep the ship afloat."
Col. Heinl paints an extremely disturbing picture. He points out, "It is a truism that national armies closely reflect societies from which they have been raised. It would be strange indeed if the Armed Forces did not today mirror the agonizing divisions and social traumas of American society, and of course they do." It's easy to forget (for those of us who lived through the period) how troubled society was at the time, as the so-called 'Swinging Sixties' gave way to the disillusionment of the 1970s.
He goes on to say, "Internally speaking, racial conflicts and drugs... are tearing the services apart today."
The Colonel provides examples of racial troubles within the military, both in Vietnam and elsewhere. While it seems clear that the eruptions of actual racial violence usually but not always originated with the African American personnel, there is no discussion of any racist treatment which might have provoked such outbreaks, but of course one has to assume that at some point this existed, if not in the moment then historically. Col. Heinl writes:
"Racial conflicts (most but not all sparked by young black enlisted men) are erupting murderously in all services...As early as July 1969 the Marines (who had previously enjoyed a highly praised record on race) made headlines at Camp Lejeune, N.C., when a mass affray launched by 30-50 black Marines ended fatally with a white corporal's skull smashed in and 145 other white Marines in the sick bay...Even the cloistered quarters of WACs have been hit by racial hair-pulling. In one West Coast WAC detachment this year, black women on duty as charge-of-quarters took advantage of their trust to vandalize unlocked rooms occupied by white WACS. On this rampage, they destroyed clothing, emptied drawers, and overturned furniture of their white sisters."
There is little in the Colonel's report in terms of reassurance, but he does observe, "All services are today striving energetically to cool and control this ugly violence which in the words of one noncommissioned officer, has made his once tough unit divide up "like two street gangs.""
He finishes his entire piece with a general observation on all the factors he has described that were contributory to the dire situation in the military, of which racial in-fighting was admittedly only one aspect, albeit a major one: "...many a thoughtful officer would be quick to echo the words of BGen. Donn A. Starry, who recently wrote, "The Army can defend the nation against anything but the nation itself." Or -- in the wry words of Pogo -- we have met the enemy, and they are us."
Three years after Col. Heinl wrote that frightening assessment of the state of affairs in the military, the problem was clearly still in the public consciousness, and became the subject of this Unknown Soldier story, "A Town Called Hate!", written by Frank Robbins and illustrated beautifully by Jack Sparling.
When a segregated African American unit comes into town and meets a segregated white unit in the local eatery, the racial tension level spikes through the roof. That night, some soldiers in the all African American unit are mercilessly gunned down, by an assailant whose identity is unknown to the reader at this point.
After what went on earlier, the African American soldiers are in no doubt as to who the perpetrators of these murders are, and exact their own fatal revenge:
The Unknown Soldier already has a mission, but once the news of the racial conflict amongst the troops reaches headquarters, it looks like he's going to have another task. The exchange between the African American sergeant, the Unknown Soldier's aide, Chat Noire, and his commanding officer reveals racial tension present at all levels in the ranks.
For the time being, however, and very ironically, the racial conflict works in favor of the U.S. forces. The group of Nazis disguised as G.I.'s, that the Unknown Soldier has infiltrated, reaches the town. Still seeking vengeance, the African American unit mistakes the Germans for the hostile white U.S. soldiers. In taking them prisoner they find out they're Nazis, and also that they've contacted the Unknown Soldier.
Chat Noire rolls into town in the nick of time to quell the racial conflict amongst the U.S. troops. Evidence then emerges that appears to indicate that disguised Nazis shot the African American soldiers, hoping to divide the Americans against each other. Sufficient unity is recreated to turns everyone's attention to the Nazi onslaught, and succeed:
While the point has been made that racial divisions in the military are counterproductive to the mission of our armed forces, there's a kind of disturbing epilogue that only the Unknown Soldier and Chat Noire are party to. In surveying their dead after the battle, the corpse of one white soldier is found, still clutching the German weapon he'd captured, used as his own, and which had become a kind of trademark lending it's name to him as a nickname. Those German cartridge cases found at the scene of the initial crime that sparked the racially polarized battle within the U.S. forces now take on more meaning. The white unit bought the Nazi infiltrator explanation because they knew it really was one of their men who carried out the shooting. The African American unit were convinced by the evidence that they had been hoodwinked by the Nazis. But the real truth was that it had been a racist white soldier who had gunned down his African American comrades in cold blood, and the engineers' initial deductions had been correct. For the sake of the war, the problem was solved temporarily, but the racial divisions still existed.
This story picked up on this racial conflict in the military theme that had originally been brought to light in comics by Harvey Kurtzman and Ric Estrada's "Bunker!" in Two-Fisted Tales 30 (Nov-Dec 1952), from over 20 years earlier. According to Col. Heinl, racial conflict within the U.S. military had a long history, dating back to the beginning of the 20th century. He noted, "Racial trouble is no new thing for the Army. In 1906, after considerable provocation, three companies of the 25th Infantry (a colored regular regiment) attacked white troops and townspeople of Brownsville, Texas, and had to be disbanded. Among the few pre-World War II War Department records still heavily classified and thus unavailable to scholars are Army documents
on racial troubles."America's struggle for racial equality and integration has, on the one hand, been a source of criticism of the American people. But looked at another way, and I would say a more accurate way, it is the struggle of a nation at the forefront of developing a more enlightened, more advanced civilization. This struggle is seen in America because it is here where racism has been challenged by both white and black, and where the fight is on the front line. Where America has already trodden, other countries have yet to follow. While there are undoubtedly many areas of progress still to be made, I would argue that there is no nation on Earth that has advanced as far as the USA in developing a harmonious multi-racial, multi-cultural society, despite whatever shortcomings we still have to address. Comics like this issue of Star Spangled War Stories, that bring important issues out into the open, have played their part in the progress that has been made.
Social History in Comics: Sgt. Fury 56 - "Gabriel, Blow Your Horn!"
2:36 PM |
Labels:
African American characters,
Dick Ayers,
Gabriel Jones,
Gary Friedrich,
John Severin,
Marvel,
Racial Integration,
Sgt. Fury and his Howling Commandos,
World War II
While the entire series of Sgt. Fury showcases racial integration, several issues take an active, outspoken stance against racism. Sgt. Fury 56 is one such issue. Written and drawn by the creative team that made the book an award-winner, "Gabriel, Blow Your Horn" focuses on Gabriel Jones, the Howlers' African American member. The story picks up from the previous issue when Gabe was captured by the Nazis, and starts with his escape and the beginning of his trek to re-connect with the Howlers. A sub-plot that gets going early on is Rebel Ralston's anger at Gabe's capture. He blames Fury and tries to start a fight. What Friedrich is doing here, as others before him had done, is to dispel the stereotype that Southerners are all racists. This will return at the story's conclusion. After five pages Gabe has managed to contact the French Resistance, and in exchange for their assistance, he receives orders to rescue an African American female jazz singer whom the Nazis have enslaved.
The Resistance sell Gabe, in the guise of jazz trumpeter Lips Norton, to the Nazis, thus allowing Gabe access to the female singer. The Howlers, also being aided by the Resistance, split up with a plan to rendezvous for their boat trip over to England. It's now that Rebel happens to pass by the club where Gabe is playing, and he recognizes his comrade's style. Rebel gets spotted by the Nazis, however, and has to make himself scarce. By page 10 we see that Gabe is beginning to wonder about the lady he's supposed to be rescuing - she seems happy with her lot and not at all hankering for freedom.
After the show, Gabe takes care of the guard and is able to chat with Carla, the jazz singer. Gabe expects her to be glad to have a rescuer, only to find that she prefers her lot with the Nazis. True for WWII, and unfortunately a situation not fully resolved in the late 60s, African Americans returned home from war to be treated as second class citizens in their own country. Carla reckons she has it better right where she is, where at least the Nazis appreciate her talent. Carla maintains that the situation for African Americans back home in the States is hopeless. Gabe tries persuading her by saying that famous African Americans like herself need to engage in the struggle if equality is ever to be achieved. She's not convinced, but Gabe has his orders - he's going to try and get her out of there anyway. By page 15 Gabe has sprung Carla, Fury and the rest of the Howlers minus Rebel have been captured by the Nazis, and both Gabe and, separately, Rebel are about to discover where they're being held.
When Gabe sees the Howlers prisoners, naturally he wants to mount a rescue. Carla, however, disagrees with Gabe's plan. She sees that none of the Howlers (except for Gabe) are African American, and believes that none of them would risk their lives to save Gabe if their positions were reversed. Gabe isn't interested in her racist views of whites - he sees both black and white as American, and he's going in to help the guys he knows would do the same for him. This sparks a revolt by the Howlers, and a melee ensues.
The Howlers have just about made good their escape, when the Nazi leader returns holding the scared Carla as a hostage. Much to Carla's astonishment, Fury and his men couldn't care less about her skin color, they'll put down their guns and surrender to save her - she's one of them - an American!
The Howlers have gone from the frying pan into the fire, but just when everything looks hopeless Rebel makes his entrance, and that good old Southern boy saves the day. Carla's had a complete change of heart, and is going back to the USA with a revised outlook - not all whites are racists after all, not even all Southerners!
So ends Friedrich's anti-racist tale, one that denounces racism whatever form it takes. It can't have been easy to write and publish such material, racism being such a sensitive topic, especially since it was a comic that featured an African American person in a position of power that resulted in the great EC closing down due to a Comics Code judge's decision in the mid-50s. This story acknowledges the paradox of the United States and the principles of equality and freedom enshrined in its founding documents juxtaposed to the irony of African Americans who risked and in many cases gave their lives fighting the ultimate racists in WWII to defend that freedom, only to return home to discrimination because of the color of their skin. Yet not everyone with white skin was or is a racist, just as not everyone with colored skin is free from racism. It's not one particular race that is the enemy of freedom, its the divisive racist mentality that tears society apart and sets human against human.
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