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Talkin' 'Bout My Generation

Boomers Ate Economical Dinners Like “City Chicken”

Much has been written about how quickly the parents of the Baby Boom Generation embraced frozen TV dinners and other prepared frozen foods like pot pies and fried chicken. However, it was Mister Boomer’s experience that the day-to-day dinners of working class families were simple and economical, especially in the 1950s and early ’60s. Officially, the national data famously stated the average household family had “2.5 children,” but every family Mister B knew had a minimum of three — often four, and up to seven — kids. That was a lot of mouths to feed. Casseroles, stews and soups made good use of leftovers while feeding growing families.

For Mister Boomer’s family, one oft-made economical dish was “City Chicken,” known by some as “Mock Chicken.” Origin stories and recipes for this dish vary widely, but it is generally written that the first mention of a “mock chicken” dish occurred in the early 1900s. Recipes for the dish began circulating in newspapers and cookbooks immediately before and during the Great Depression. It was a working class dish since, at least in its early incarnations, leftover scraps of meat — especially veal and pork — were cut into cubes and skewered on wooden sticks, breaded, fried then baked. The name came from the resemblance of the skewered meat to chicken drumsticks. During the Great Depression and WWII, fresh chicken was harder to obtain than veal or pork, which were cheaper and more readily available.

Many ethnic groups claim variations of the dish as their own, but it is generally agreed that the invention of the recipe came about in the U.S., and did not come over with other treasured family recipes when boomers’ ancestors made their way here. A regional dish, it was especially popular during the boomer years in Appalachia, Pennsylvania, the Rust Belt and Midwest states. Generally speaking, wherever there are people of German, Slavic or Polish origin, you’ll find a “City Chicken” variation.

Midwest boomers will recall seeing packages in supermarkets labelled as “City Chicken” that contained pork cubes and wooden skewers. In some areas, boomer moms battered the meat before frying then baking, giving it a real fried chicken look. Other areas, particularly in Canada and the Upper Midwest, ground meat was used instead of cubes.

In Mister Boomer’s house, his mom had her own version, which was tantamount to meat loaf on a stick. His mom reused the wooden skewers, which were kept in the housewares drawer along with serving utensils and specialty tools. When Mister Boomer’s mom wanted to make her “City Chicken,” she’d ask Mister B or his sister to take out the sticks and soak them in a bowl of water for a few minutes. This would keep the sticks from burning in the cooking process and allow them to be reused another day. Her meat of choice was the same mixture used for her meatballs when she made spaghetti; that is, an inexpensive ground mixture of veal, pork and beef that was a weekly staple in the fridge.

It may have been sacrilege to some “City Chicken” aficionados, but Mister Boomer’s mom favored expediency over tradition. She’d crack an egg and toss in some cracker crumbs, which would help bind the ground meat, but also help extend the pound package to feed the family. Next his mom would shape the meat around a skewer in a teardrop shape to mimic a chicken drumstick, dredge it in flour and brown the meat in a cast iron skillet before transferring the “legs” to the oven for finishing. When the meat was put into the oven, she’d open a small can of mushrooms and toss them over the “legs.” Drippings and fat from the meat would collect in the pan, so when removed from the oven, a little flour was added to the drippings and mushrooms to make a brown sauce. Once she got an electric frying pan (with trading stamps, of course), that was it for the oven. She completed the all the cooking in the one electric pan.

Each member of the family got one “leg” along with mashed potatoes and canned string beans. His father got two. The “gravy” was spooned over the meat and potatoes. Mister B places the word in quotes because sauces were not his mother’s strong point. Generally, lumps of flour and patches of grease shared space with what other people might recognize as “gravy.” Mister Boomer’s father, a true child of the Depression, loved grease of any kind, often sopping it up with slices of Wonder bread. It wasn’t Mister B’s favorite meal, but it was dinner. His sister especially liked it, before she became a super-picky eater in her pre-teens.

Did your family eat “City Chicken,” boomers? If so, which version was popular in your household?

posted by Mister B in Food & Beverage,Pop Culture History and have No Comments

Boomers Got Sugar-Coated Facts

We have all been admonished for years not to believe everything we read on the Internet (excluding Mister Boomer’s posts, of course). The prevalence of inflated studies and the outright fabrication of “facts” has cast a veil of uncertainty over all aspects of medicine, nutrition, parenting, climate change and of course, politics. Recently Mister Boomer read some articles that made it clear these practices are far from new and original; in fact, the disinformation factories were alive and well during our Boomer Years.

How the cigarette industry withheld evidence and obfuscated facts and statics for decades are now known to be of the highest degree of impropriety. Mister Boomer has chronicled the case of how the dairy industry got milk into schools and every boomer household after the War (see Boomers Were Milked for All They Were Worth). In 2016, it was revealed that the sugar industry had its hands in sweetening the pot on the effects of sugar, particularly on heart disease and obesity.

The Sugar Research Foundation (SRF, now known as the Sugar Association) was established by the sugar industry in the 1950s to further the spread of their product by extolling its benefits, based on studies performed by preeminent scientists. Unfortunately, this was a time when the funding sources of research findings did not have to be disclosed, and in fact, many industries (i.e., tobacco, automotive, etc.) funded the studies themselves. In 2016 when a post-doctoral researcher at the University of California San Francisco discovered thousands of pages that documented how John Hickson, president of the SRF, paid three scientists $6,500 each in 1964 to shape their data on sugar in order to “minimize the link between sugar and heart health and cast aspersions on the role of saturated fat.” As a result, based on the findings of the SRF report released in 1967 in the New England Journal of Medicine, national policies for nutrition have for decades placed more blame on fat than on sugar’s role in heart disease. At the same time, the SRF was courting scientists with research that would blur the lines between sugar and tooth decay, something that had been known since the 1950s among dental researchers. Negative reports were successfully suppressed for more than a decade.

Likewise, other findings have shown the candy and soft drink industries have attempted to put out their own studies. Like Obi-Wan Kenobi in Star Wars, waving his hand and suggesting “These aren’t the droids you are looking for,” their findings stated directly that there was no link found between sugar and weight gain.

A look back to our Boomer Days shows the effects of these campaigns. Some historians have written that the public was poised and predisposed to accept such a disinformation campaign. Sugar was such a rare commodity in Colonial times that furniture pieces were created with locked drawers to hold the precious stuff. By the time of the Great Depression, boomer grandparents could not afford sugar, then during World War II, sugar was rationed. It seemed only natural that the Greatest Generation, enjoying post-war freedom and new-found prosperity, would cause the sugar pendulum to swing in the other direction. Their swings were given that extra push. Baby Boomers became the recipients of this sugar bonanza. The spread of television assisted the sugar campaigns with commercials airing during Saturday morning cartoons that relied heavily on sugar-laden cereals and sweet drinks. Boomers will recall how Kool-Aid commercials showed kids making the sweet drink by pouring in cups — not tablespoons — of sugar per pitcher.

While the industry was not afraid to place the word “sugar” front and center in their advertising with products like Sugar Pops, Sugar Crisps (remember Sugar Bear?), Sugar Frosted Flakes and Sugar Smacks, at the same time throughout the 1950s and ’60s, parent-based magazine and TV ads concentrated on the benefits of sugar as an energy source. At various times, the sugar, candy and soft drink industries produced ads that stated:

  • Kids need the kind of energy that sugar provides (Despite knowing sugar-based energy could be obtained through many types of fruits and vegetables)
  • Sugar can help control appetite and weight in diets (They accomplished this with a campaign comparing the amount of calories in common foods like apples to one teaspoon of sugar; of course, we know now calories aren’t the whole story in weight gain and nutrition)
  • We like sugar because it is instinctual for us to like sweet tastes (But they failed to mention that they would exploit that sweet craving throughout the Boomer Generation and increase the use of sugars in processed foods)

Mister Boomer has written that generally speaking, the boomers he knew did not have candy on a regular basis at home, other than at holidays (or visits to grandma). However, the sprinkling of some sugar on cereal, dessert fruit, in coffee (for kids who drank coffee) and in drinks like Kool-Aid were “authorized” uses of sugar in most boomer households. There were a few years where Mister Boomer and his neighbor friends got their summer candy money by redeeming soda pop bottles. If the bottle harvest was good on a hot day, 10 cents would buy a sweet treat in the form of an 8 oz. bottle of Coke from the Sinclair gas station vending machine.

So, what are parents and grandparents supposed to do, knowing what we know about sugar now? Mister B posits that perhaps advice from the ancient Greek philosopher Aristotle is most apropos: “The virtue of Justice consists in moderation, as regulated by wisdom.”

What was your family’s attitude toward sugar, boomers?

posted by Mister B in Food & Beverage,Pop Culture History and have Comments (2)

Boomers Love Dionne Warwick

When the song, Anyone Who Had a Heart, found its way into Mister Boomer’s internal Morning Jukebox — that seemingly random playing in his head of tunes from the boomer era when he wakes on most mornings (see Music Flashbacks: A Sign of an Aging Boomer? and Mister Boomer’s Morning Jukebox Update) — he realized he didn’t know much about Dionne Warwick other than the fact that she was a fixture on the charts throughout the 1960s. Mister B knew he needed to have a closer look at her career.

Not a boomer herself, Dionne Warrick was born in 1940. It was through a misspelling of her name on her first single that she came to embrace the name we know, and she continues to use it in her professional life. She began as a gospel singer, but in the 1960s crossed over into multiple genres, including soul, R&B and easy listening.

Her association with the songwriting team of Burt Bacharach and Hal David is legendary. Her decade-long partnership began when she was singing backup in a recording session for The Drifters. The tune being recorded, Mexican Divorce, was written by Bacharach. He was taken with her voice and asked her if she would record some demos with him. Bacharach signed Warwick to his production company, where she recorded a few demos that became hits for other stars, including Make It Easy on Yourself. Bacharach and David in turn signed on with Scepter Records in 1962. The owner of Scepter Records, Florence Greenberg, heard Warwick sing on Bacharach’s demo of It’s Love That Really Counts. The story goes that she said, “Forget the song, sign the girl.” (The song was given to The Shirelles as a B-side).

Her first single, written and produced by Bacharach and David and released by Scepter in 1962, was Don’t Make Me Over. It started out as the B-side to I Smiled Yesterday, but got more airplay than the A-side. By January 1963, the song peaked at #5 on the R&B charts and the team of Warwick/Bacharach/David was off to a flying start.

Anyone Who Had a Heart, the song recently playing in Mister B’s head one morning, was released as a single in 1963 and became the title track of her second album in 1964. The song was her first Top 10 hit on Billboard’s Hot 100. Warwick’s second Top 10 hit of the same year was Walk On By, which hit #1 on the R&B charts. She had four hits in 1964 alone. The team — Warwick’s voice, Bacharach’s music and David’s lyrics — went on to have more than a dozen hits in the 1960s.

From 1963 to 1971, Warwick sold an estimated 35 million albums and singles, all but one written by Burt Bacharach and Hal David. In 1968, the B-side of I Say A Little Prayer was (Theme From) Valley of the Dolls, intended for the movie of the same name. The song was written by André and Dory Previn for the film. Judy Garland had been hired to sing the song for the soundtrack, but was fired. When the movie became a hit, Warwick’s version of the the song gave her a double-sided hit. Other movie and Broadway songs written by Bacharach and David gave Warwick more hits, notably Alfie in 1966 and the Broadway musical Promises, Promises (1968), garnered Warwick two hits in addition to the title song, I Say A Little Prayer (1967) and I’ll Never Fall in Love Again (1969).

Riding the wave of popularity, Warwick was given her first TV special by CBS on September 17, 1969. Of course, Burt Bacharach was a guest star, but also appearing were Glen Campbell and Creedence Clearwater Revival.

The golden team moved from Scepter to Warner Bros. Records in 1971, awarding Warwick the largest contract for a female singer up to that time — $5 million. But she had a falling out with her songwriters in 1972. First Bacharach and David ended their association with Warwick, then with each other. Warwick, faced with breach of contract lawsuits by Warner Bros., sued the songwriting team for $5.5 million. The suit was ultimately settled out of court in 1979. After the dissolution, Warwick struggled to get on the charts until Then Came You (1974), which she recorded with The Spinners.

She had a few modest hits in the the 1970s, most notably I’ll Never Love This Way Again in 1979, when she moved from Warner Bros. to Arista Records. In 1985 she once again became a household name when she sang That’s What Friends are For with Elton John, Gladys Knight and Stevie Wonder. It was a song recorded to benefit an AIDS charity. The song was written by Burt Bacharach and Carole Bayer Sager. Between 1962 and 1998, Warwick had 56 songs make it to the Billboard Top 100.

Boomers will recall her appearances on TV, hosting Solid Gold in the ’80s and as a spokesperson for the Psychic Friends Network in the ’90s. Despite making millions, she filed for bankruptcy in 2013, owing around $10 million in business taxes to the IRS and State of California.

Mister Boomer was especially partial to the Bacharach/David songs by Dionne Warwick, and the earliest ones at that. Maybe that is why Anyone Who Had a Heart popped into his head. His mother enjoyed them all, and his brother, the prime buyer of 45s in the family, bought several of her singles.

Take a look at some of the hit singles Dionne Warwick had in the 1960s with Burt Bacharach and Hal David:

Don’t Make Me Over — 1962, her first single
Anyone Who Had a Heart — 1963
What the World Needs Now — 1963
Walk on By — 1964
You’ll Never Get to Heaven (If You Break My Heart) — 1964
What the World Needs Now — 1966; Warwick originally turned the song down and it was recorded by Jackie DeShannon in 1965. Warwick recorded it a year later.
Message to Michael — 1966
I Just Don’t Know What to Do With Myself — recorded by Dusty Springfield in 1964, Warwick’s version hit in 1966
I Say a Little Prayer — 1967
Do You Know the Way to San Jose? — 1968
(There’s) Always Something There to Remind Me — was a B-side in 1968
I’ll Never Fall in Love Again — 1969
Make It Easy on Yourself — 1970; it is said this was the song that started it all for Warwick. She sang it as part of the demos she recorded with Bacharach in 1962, but Jerry Butler released it that year when Scepter Records’ president, Florence Greenberg, gave him the Bacharach song instead of her. Feeling slighted, she went to Bacharach and David looking for support. The story goes that she shouted, “Don’t make me over, man!” at the duo, meaning she wanted a chance to sing and not be swept aside. Hal David grabbed the phrase and wrote, Don’t Make Me Over, for her, the first hit she had.

Despite her musical struggles after her split with Bacharach and David, and subsequent personal and financial troubles, she is still out there performing and recording. Mister Boomer suggests you take a look at her discography from the 1960s. It was without a doubt the decade where Warwick struck solid gold with audiences singing the music of Burt Bacharach and Hal David.

What is your favorite Dionne Warwick song, boomers?

posted by Mister B in Music and have No Comments

Boomers Watched LBJ’s TV Speech

Fifty years ago this week — on March 31, 1968 — President Lyndon Johnson addressed the nation on TV, and boomers of all ages were watching. The President began his speech with specific proposals about the war in Vietnam that he hoped would further the chance for peace talks. The President announced a halt to all air and naval bombing missions in North Vietnam (north of the Demilitarized Zone [DMZ]), as long as doing so did not endanger American troops. Secondly, he decided to send an additional 13,500 troops and third, he said he would request additional funding from Congress to bolster American efforts to assist the South Vietnamese army. He went on to talk about the divisive nature of politics and the war in the nation, and that he felt a responsibility to devote his time to the Office of the Presidency. At the end of his speech, he shocked the country by announcing, “I shall not seek, and I will not accept, the nomination of my party for another term as your president.”

The Tet Offensive at the end of January, 1968 brought the bloody struggles happening a world away into the homes of Americans as pictures of fighting in the streets of Saigon countered the Administration’s optimistic pronouncements of a winnable war. Then the New Hampshire Primary, held on March 12, showed the President to be vulnerable in his own party. Senator Eugene McCarthy of Minnesota had mounted a challenge based on his end-the-war stance. Though Johnson won the New Hampshire Primary, McCarthy picked up 42 percent of the vote and the majority of electoral votes for the state.

Despite his de-escalation announcement, Johnson remained dedicated to a military victory in Vietnam. The U.S. dropped more bombs into the DMZ in the three months after his speech than had been dropped in the previous years of the war.

Lady Bird Johnson recalled that she and the President discussed him not running for reelection as early as 1964. She was concerned about his health — particularly his heart condition. She was completely against him running for another term. Johnson himself said in his memoir, The Vantage Point, that he did not want to announce his decision not to run ahead of the speech. The line was not included on the teleprompter and he did not read it while practicing the speech the day before, but on the morning of March 31 he did inform Vice President Hubert Humphrey that he would include it if conditions were right — that is, no major attacks occurred in Vietnam or there was other world news leading up to the broadcast. He wrote that he did not make the decision to include the now-famous line about not seeking reelection until it was time for the televised broadcast.

A newly-minted teenage Mister Boomer sat with his family watching the speech as it aired. He was still forming his understanding of politics, though he was already certain that he wanted no part of any war. His elementary school days humanized war for him and his boomer classmates when bandaged, wounded soldiers returning from Vietnam — brothers and cousins of his classmates — came to thank the kids for sending them care packages from home.

In retrospect, Mister Boomer can point to this speech as a political awakening of sorts. He began paying much closer attention to the news and the campaigns of the 1968 Presidential Election. Though Mister B was still years away from voting age, the voices of the earliest boomers were about to be heard in one of the most tumultuous years in the country’s history.

Do you remember watching President Johnson’s speech on March 31, 1968, boomers?

posted by Mister B in Pop Culture History,TV and have Comment (1)

Hey, Hey, Boomers Loved “The Monkees”

Next week marks the fiftieth anniversary of a boomer-era TV anomaly: the final episode of The Monkees TV series was aired on March 25, 1968. Many boomers have forgotten or perhaps did not know that the group was actually made for the TV show, and not the other way around. The concept for the show was to be about a rock ‘n roll band looking for their big break. An ad was published in trade publications and hundreds of musicians and actors auditioned for the parts.

The four selected to play the band members were Micky Dolenz, Davy Jones, Peter Tork and Michael Nesmith — two actors and two musicians. Micky had previously appeared in the TV show, Circus Boy (1956-58), but he also sang and played guitar with several bands in the early ’60s. Davy gained his acting chops by playing The Artful Dodger in Oliver! (1964) on the London stage, and later, on Broadway. Peter was a musician who was recommended for the role by Stephen Stills. Stills was offered the job, but didn’t have any interest in doing a TV series. Instead, he took Peter Tork to the audition, telling the producers that Tork was often mistaken for him. Michael was a musician who rode to his audition on a motorcycle. He wore a wool hat to keep his hair out of his eyes on the ride, and kept it on for his screen test. The casting directors thought it was a nice quirky addition and nicknamed him “Wool Hat.” The first episode of the show refers to Michael with that nickname, and Michael’s hat became part of his persona.

NBC bought the concept in an effort to appeal to young viewers — boomers. The concept was developed and the pilot episode was written by Paul Mazursky and Larry Tucker. It aired September 12, 1966. After the initial episode, NBC took control of the writing and Mazursky and Tucker were left out. Mazursky and Tucker went on to write the film, Bob & Carol & Ted & Alice (1969) for which they were nominated for the Academy Award for Best Original Screenplay. The duo also was responsible for I Love You, Alice B. Toklas! (1968) and had many other writing, acting and directing credits.

The Monkees was conceived as absurdist, surreal humor — sort of like The Marx Brothers on acid. It emulated avante garde films of the day with quick cuts, ample improvisation and breaking the fourth wall. Critics quickly compared The Monkees to The Beatles characters in A Hard Day’s Night (1964). Many saw Mickey as John, Davy as Paul, Michael as George and Peter as Ringo. The writers agreed they had been influenced by the Richard Lester film.

The boys were coached on comedy improvisation, but since it was increasingly improvised, early episodes placed sections of the four actors’ screen tests or short Q & A formats to fill remaining time. As the show progressed, time was filled with the band singing. It was those song “videos” that Mister Boomer and his sister would wait for.

Davy Jones is quoted as saying, “Ours was the kind of show you could look at or look away from — it had no deep plot. If you missed five minutes while you ate your dinner you didn’t exactly lose the whole thread, you know what I mean? It was all harmless, happy fun. No hidden meanings.”*

Mister Boomer watched the show through its entire run, like other boomers. It reminded him of The Three Stooges, but with less violence. He hadn’t seen many Marx Brothers movies at that juncture. The all-around absurdity reminded him of the Adam West Batman series that aired during the same seasons as The Monkees.

There was a lot to like about the show for boomers; girls thought Davy was cute and hung up posters of him on their bedroom walls, while boomer boys bought models of the Monkeemobile. Then there was the music. Fifty years later, boomers can still sing more of The Monkees theme song than they can of Auld Lang Syne! Mister Boomer’s sister was partial to Daydream Believer and I Want to be Free, while Mister B liked (I’m not Your) Stepping Stone, A Little Bit Me A Little Bit You and Valleri. His mother was a fan of Last Train to Clarksville.

It was only years later that Mister Boomer could fully appreciate the artistry — if one can call it that — of their performances and that of their fellow actors on that show. It wasn’t until the 1990s that Mister B saw an episode in color!

Did you watch The Monkees on TV during its original run, boomers?

*Quote appears in Mutant Monkees Meet the Masters of the Multimedia Manipulation Machine! by Davy Jones and Alan Green; Click! Publishing, 1992
posted by Mister B in Music,Pop Culture History,TV and have Comment (1)

Boomers Got Tattoos — Or Did They?

The history of tattooing spans countries, cultures and generations. The early days of tattoos in the U.S. echoed the new country’s military beginnings, as tattoos were predominantly inked on male soldiers and sailors, who sported patriotic themes or regimental insignia. This same practice was reawakened during the Civil War, when tattoo artists would travel, even from Union to Confederate camps, to practice their art.

The Victorian Era saw acceptance of tattoos grow from the strata of the military and lower income classes to higher echelons of society. A New York newspaper at the time reported that as many as three quarters of the women of high society were tattooed for decoration, mostly with butterflies and flowers.

Like most trends in the U.S., the popularity of tattoos started on the East and West Coasts and moved inward, but times were changing. By the 1920s, tattoos and tattoo artists were equated with the excesses of the Jazz Age, and it fell out of fashion in the general population as part of the sweep of the Prohibition Movement. Tattoos on women were thought to be a sign of promiscuity. This forced some heavily tattooed women into working circus and strip-tease acts. Nonetheless, the practice continued. When Social Security was introduced in the 1930s, a minor trend appeared of getting your newly-issued Social Security number tattooed on your body so that you would remember it!

In the 1940s, many men still sought out tattoo artists. However, as the possibility of the U.S. entering World War II loomed large, the military would not accept individuals with images of naked women or pin-ups, popular tats of the day. Consequently, there was a surge in tattoo business nationwide as men had their tattoos “dressed” with nurses’ uniforms, bikinis or even Native American garb. During the War, it was mainly sailors — like the early days of the U.S. military — who received tattoos. And like the time of the American Revolution and Civil War, their tats were most often patriotic images or regimental insignia.

By the time the War had ended and the first boomers were born, tattoos were once again losing their status in society. Prisoners gave each other tattoos, often to reflect group affiliation, and thus a person observed with a visible tattoo was thought of as either a felon or under-educated. This rebellious reputation made tattoos more attractive for motorcycle clubs and Beatniks, though their chosen imagery differed greatly. Motorcycle club members often had a club logo tattoo in the 1950s, while the Beatniks preferred imagery that suggested Eastern mysticism.

In 1961, a hepatitis outbreak in New York City was traced to a tattoo studio in Coney Island. Consequently, a New York City law banned all tattoo establishments, and most of the country followed suit. (New York City didn’t repeal the law until 1997.) More underground than it had been in decades, tattoo artists worked illicitly. As rock ‘n roll established itself as the voice of the younger generation, some rock stars sported tattoos as a sign of their rebellious nature. Members of the Grateful Dead and Janis Joplin, in particular, sported visible tattoos.

In Mister Boomer’s circle of family and friends, tattoos were a rarity. He only knew two people — both men — with tattoos. The first was his uncle, a veteran of World War II, who had his army division insignia tattooed on his arm. The other was a manager at the first retail job Mister Boomer worked. The man’s tattoo pictured snakes slithering down an anchor — he had recently left the Navy.

In Mister Boomer’s area, it was commonly said during the 1960s and ’70s that any tattoos or markings should be covered up for job interviews. It was not going to be easy to enter Corporate America if you had a visible tattoo. Thus the alienation between financial classes, heightened by level of education, could also increase over physical appearance. Many long-haired boomers will attest to this same form of discrimination. Consequently, tattooed boomers tended to work in factories, record stores or places where they would not be seen by the general public lest someone be offended.

Now it is said that the number of tattoo studios in the U.S. has doubled since the 1990s. Many corporations still frown on their workers showing tattoos, and tattoo concealer sales have grown to serve this market. At the same time, tattoo removal services have also grown exponentially. According to a 2006 study by the Journal of the American Academy of Dermatology, nearly a quarter of Americans between 18 and 50 have at least one tattoo.

These days it’s hard to turn practically anywhere without seeing people of both genders sporting tattoos. Male and female stars on all types of TV shows, movie stars and sports stars proudly display their tats. More establishments are relaxing their ban on tattoos in the workplace as the popularity seems yet to have reached its peak. Who knows where this will lead? Mister Boomer can’t help but wonder if the Boomer Generation didn’t set the stage for the level of freedom this current generation has to express themselves with their bodies.

While Mister Boomer doesn’t have any tattoos and doesn’t know tattooed boomers himself, he did run into one man in his daily work commute last summer who had a series of tattoos on both his arms and legs. The man appeared to be of boomer age and was dressed in shorts, so he may have been retired or worked as a corporate messenger since he was observed carrying large envelopes each time Mister Boomer encountered him on the train platform. The interesting thing about his tattoos to Mister Boomer, though — and what made him think the man was a boomer himself — was that virtually all of his tattoos were cartoon characters from our boomer days. The man had Mighty Mouse, Heckel and Jeckel, Huckleberry Hound, Popeye, Felix the Cat, Yogi Bear and Bullwinkle and Rocky inked on his arms and legs! While Mister Boomer isn’t of the mindset to ever get a tattoo of any type, this was one display he could appreciate. How is that for a rebellious boomer?

Did you know any fellow boomers who got tattoos back in the day, boomers? Have you jumped on the tattoo bandwagon yourself in subsequent years? Do your children have tattoos?

posted by Mister B in Getting Older,Pop Culture History and have Comment (1)