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The little jingle that most stuck with me was about Buster Brown shoes. So when we heard something that caught our fancy, we remembered it and repeated it and it stuck with us. We were not bombarded with the kind of collective, commercial, high-volume, all-purpose noise that surrounds us today. After the evening news, we turned off the radio and did our homework or read or went for a walk or went to watch a sandlot baseball game or went to the movies or met some friends and hung around the corner or sat on the porch. Our radios played much of the day and we could listen to adventures in the evening, like Superman and The Green Hornet and Batman and The Shadow and Intersanctum and Johnny Dollar, and news and soap operas during the day and news programs after supper.īut that was it.
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The point is, that our heads were not as full of noisy distractions as they are now. I was still in grammar school at the time. I would go next store many evenings after supper to watch it with Bill. It was very sophisticated and literate for a kid’s show. That’s where I first saw Kukla, Fran, and Ollie, a witty, bright puppet show out of Chicago, with Fran Allison as the only human.
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My neighbor and friend, Bill Doheny, had a TV with a 4-inch screen and a magnifying glass installed in front of it. It was all in black and white and the screens ranged between 6 and 12 inches. And we had morning and afternoon newspapers, many delivered to our front door.
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And we had movies and many movie theaters. We had radio, thank God, which was wonderful. So there was very little broad-based commercial noise. We grew up at a time, in the late-1940s, early ’50’s, when there was no color television, let alone 50-inch, color, high-definition TV, no Internet, no cell phones, no Walkmans, no DVDs, no CDs, no cassette tapes. That was especially true of my generation. Like Brer Rabbit, and Huckleberry Finn, it's gone with the wind, and the likes of it can never return again.There are certain songs, certain jingles, that get into your head when you’re young and stay there forever. The social Commentary of Pore Lil Mose was timely, and, although, the attitude it conveyed was dignified and kindly, it was of the era, and could not exist, today. Outcault was an excellent draftsman, his artwork was superior to all the other comic artists of the day, with, perhaps, the sole exception of the great Winsor McCay. The strip was beautifully drawn, and the characters were spot on. Each weekly panel took the form of letters written by Mose to his Mammy, back home in Cottonville Ga. It featured America’s first black comic hero, Pore Lil Mose, a seven year old black boy, living in New York City with: a cat, a monkey, a dog, and a bear named, Billy. No longer limited to the New York area, as the Yellow Kid had been, Buster’s fame was international.Ī fter the Yellow Kid, Outcault created and drew a panel comic strip called “Pore Lil Mose” for the next two years. Outcault, once again, following the Yellow Kid, and even more successful. W ho knew that Buster Brown was once a hugely popular comic strip, the worlds first comic mega hit! It was the work of R. "Froggy the Gremlin", played by a vinyl squeeze toy, appeared in a blast of talcum powder smoke each week, and wiggled, atop a grandfather’s clock, threatening to “plunk his magic twanger” at "Squeaky" the mouse, who was actually a live hamster, held captive, from the neck down, in a human body suit, and "Midnight", a really creepy dead black cat, who was more representative of taxidermy than puppetry. It featured a fat jovial host, "Smilin’ Ed McConnell" who was replaced, after he died by "Andy (less than) Divine". Named after its sponsor, the show had nothing to do with Buster Brown, other than the fact that it was paid for by his shoes. A part from living in the shoes of a million children, there was an awful TV show, a leftover from radio, called "Buster Brown’s Gang".
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