In reply to Old Spice: Fictional characters, and their influence on humans. (With considerable assistance from Wikipedia.)
These are my opinions and not necessarily the politics of this site.
I find many parallels between the so-called Orange One (I see his thatch as more yellow than orange) to The Yellow Kid of Sunday supplement fame. The Yellow Kid was, from what I glean, a harmless sort, but other details are amusingly relevant to Our Golden-Shower-of-Propecia-Encouraged-Hair Leader.
A bit of background:
The Yellow Kid was the name of an American comic-strip character that ran from 1895 to 1898 in Joseph Pulitzer‘s New York World, and later William Randolph Hearst‘s New York Journal. Created and drawn by Richard F. Outcault, it was one of the first Sunday supplement comic strips in an American newspaper.
He was a bald (having to do, it has been suggested, with the prevalent lice of his milieu) barefoot boy who wore an oversized yellow nightshirt (Trump with his really long tie? And I’m sure I’ve seen him in a bright yellow tie, marvelous-marvelous) and hung around in a slum (with Trump, a moral slum) typical of certain areas in late 19th-century New York City. Yellow’s Alley was filled with equally odd characters. (Trump’s soon–alas–to-be-cabinet, and his staff.) He habitually spoke in a ragged, peculiar slang. (Sounds on the money to me.)
The two newspapers which ran The Yellow Kid quickly became known as the yellow kid papers. This was contracted to the yellow papers and the term yellow kid journalism was at last shortened to yellow journalism, describing the two newspapers’ editorial practices of taking – sometimes even fictionalized (ROFL) – sensationalism and profit as their priorities.
The Yellow Kid’s image appeared on mass market retail objects such as billboards, buttons, cigarette packs, cigars, cracker tins, ladies’ fans, matchbooks, postcards, chewing gum cards, toys, whiskey and many other products. (Steaks, golf clubs, universities?)
He was the first to demonstrate that a comic strip character could be merchandised profitably. (I’m not so sure about the steaks, but certainly politically.)
Historians attribute The Yellow Kid success to the fact that he was a children’s character marketed as an anti-establishment symbol packaged for mass consumption. (Anti-Washington gull – not to be confused with gall, though that applies also – marketed to the simple-minded.)
Outcault having been lured to the Journal, the strip continued to be drawn for the World by another artist. Pulitzer and Hearst both fought to give their competing Yellow Kids more and more page space. The Battle of the Yellow Kids represented a trend in the decline of journalistic integrity (decline of journalistic integrity. Check.), of which both the World and the Journal had been guilty for years.
One vocal critic, New York Press editor Ervin Wardman, had tried many times to pin a name on the papers’ sensationalistic, exaggerated, ill-researched, and often untrue reporting, calling it new journalism and nude journalism. With the epic battle of the comic strips, he had a name that stuck: Yellow-Kid Journalism, which was eventually shortened to Yellow Journalism.
From now on I call DJT The Yellow Kid. (Carl calls him Mango Mussolini.) I like that one too. Us flotsam from the sixties might enjoy: Not-So-Mellow-Yellow.
Donovan’s lyric with revisions (I don’t think he would object):
I’m just mad about Bannon, Bannon’s mad about me. I’m just mad about Bannon. He’s just mad about me, the not-so-mellow-yellow (Quite rightly!) tremendously smart fellow. (That I be!)
I’ve decided that my verse needs some thought. It’s too much like the rabble-rouser stuff I put into Sly’s mouth. I’m laying it aside for now. I do get carried away with myself at times.