As I gathered evidence of the contributions Black cartoonists made to the world of cartooning & comic strip art, many different & varying comics were re-discovered. (I have no Columbus complex-- I acknowledge that these comics existed before I found them. In fact, this one existed before my parents were born !)
Like the 'mainstream' comics, some Black Press comic strips enjoyed years in print. Some simply appeared for about four weeks or so, to vanish unceremoniously without further trace. (see Pioneer Cartoon Gallery) A few, disappeared with good reason. They were poorly drawn, or conceived. Others were sad rip-offs of some more successful cartoons. Still others (in my opinion) deserved their fate, due to its self-destructive imitations of stereotypical, derogatory images of African Americans which stubbornly persisted in the 'mainstream' press. But due to unintentional or deliberate neglect, the story of these cartoons needs to be presented all the same.
One cartoon in particular stands out among the others created by Pioneering Cartoonists of Color; Bungleton Green.
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First introduced to the Chicago Weekly Defender readers in 1920 by staff cartoonist, Gary, IN native, Leslie Rogers, Bungleton Green, or simply Bung as he was often called by friends was a happy go lucky little chap who wise-cracked his way through daily life avoiding hard work, trying to outsmart an assortment of landladies, bill collectors, police & gambling associates alike. Bung seems to have his "little Tramp" period, where he appeared to have no means of support. Then he appeared to be financially well off, escorting women to dinner or a night club. At other times, he is seen operating a business or doing menial work such as a street cleaner. Leslie Rogers' style was flowing & rounded, reflective of the early 20s cartoons.
Whatever the activity Bung found himself in from week to week, there was always some social relevance to it. This appears to be present in nearly all 'Black' comics. The topics or subject matter aims at the experiences of African Americans of the day making special references to local, national & international events as they relate to the Black lifestyle, or perspective.
Little or no effort was made to appeal to a 'White' audience, since in those days the cartoonist knew it was pointless to expect them to see their cartoons anyway. In some states, it was considered dangerous to be in possession of a 'race' paper & some groups would attempt to destroy any copies that arrived at train depots so that Black readers couldn't get them either. (Many Black Press papers traveled the country through a network of Black porters who would make sure copies made it to areas populated by people of Color who wanted news of what was happening in the world.)
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In 1929, Defender Staff cartoonist, Henry Brown takes over telling the story of Bungleton Green, with a hard-edge sketchy drawing technique similar to his editorial feature. Under Brown's pen, Bung departs from the gag format & takes on a serial feel. He starts him out where Rogers apparently left him, as a vagrant. Through clever planning (or trickery over those out to do him harm), Bung becomes a millionaire. Somewhere along the line (perhaps a year I couldn't locate) he acquires a wife, but not before getting caught up in a blackmail scheme in New Orleans (which returns to haunt him in the 1933 when sacred Egyptian jewels turn up missing, but this is directly connected to his honeymoon in Africa, where the wife comes in.) While in Africa in Bungleton Green is made King of the Congo. He is most pleased with life there, until his wife (supposedly unaccustomed to the heat) becomes seriously ill. To save her life, Bung sacrifices a kingdom to return to the USA, & less personal freedom.
In 1930, in an attempt to educate readers about high financial business activities, Bung takes on Wall Street, when unscrupulous businessmen try to take over his business by purchasing majority stock. Bung has to call on all his 'street smarts' & some old homeboys to once again outsmart the smarties at their own game, save his company & make even more money. He decides to celebrate by sailing his private yacht to Hawaii. However, his wife, who seems to remain sickly refuses to go along. Bung goes alone to drool over hula girls & the peaceful, stress free environment, until faced with helping the Hawaiians cope with America's ever encroaching prejudices & discrimination against them.
In September of 1930, Bung gets an urgent wire from his wife to return home. Leaving the Hawaiian situation unsettled (at least to my sensibilities) Bung rushes home to discover the reason for his wife's irritability. She presents him with a new son. (My father, by the way would be born a month later in the 'real' world.) This leads to a month-long "name the Bungleton Green family baby" contest. The name submitted by a reader in Cleveland, Ohio is selected. Proud papa Bungleton introduces the nation to his son Cabbage Green (Cabbage ? Hey, it's not my cartoon!)
However--- on October 18, 1930, bowler-wearing infant Cabbage (who for unexplained reasons can speak intelligently & sometimes walk.) is kidnapped. Apparently as a result of the high profile kidnapping of the Lindbergh baby in the late 1920s, kidnapping stories dominated the headlines of newspapers, so it is only natural comic strips too would reflect this. A topic particularly frightening to African Americans who have suffered generations of memories of forced removal from home & families. This storyline leads to a comic expose of incompetent police & even less helpful Federal agents, who are always one step behind the criminals who acted with impunity. Cabbage finally rescues himself by taking the kidnapper's gun while he brags about his crimes & holds him until the bungling police arrive. But while breaking down the door, they cause Cabbage to lose the rifle, & the kidnapper escapes.
During the remaining "missing" years of Henry Brown's Bungleton Green, (1931-33) Bung's wife leaves him. Now raising the bit older Cabbage alone, he seems to have settle down into a more quiet philosophical life. The comic is somewhat stagnant, & incompletely drawn (again my opinion) With Bungleton Green either sitting, standing or looking out of a window, spouting home-spun wisdom about life, often at the expense of the never-seen "Ol' Jones" who had an unending series of bad beaks. Probably reflective of what many Americans experienced during the early 30s. Bung even has a brief try at running for political office on a Freedom Ticket, since both the Republican & Democratic parties outwardly showed disrespect for Black voters at the time. His opponents set out to smear his name-- but the storyline abruptly switches to a jewel theft mystery. This switch bring readers back to the time Bung spent in Africa, where his company apparently excavated the tomb of Pharaoh Tut, Tut, Tut. Now some sacred gems are missing & all clues point to Bungleton Green, who cryptically professes his innocence. The ever-bungling police simply want to pin the rap on somebody quickly. First they arrest (a confusion of nationalities & religions) Pun Jabb, the 'Hindu' Egyptian, who allegedly tossed a dagger with a note through a window of the Green house. Since Pun Jabb doesn't speak English & the police can't read the hieroglyphics on the note, they assume he's guilty of something & arrest him, & set off in search of his supposed accomplice, Allah, since he keeps calling his name. Enter Sir Calico Katt, Scotland yard's top detective, who takes over the case. Understanding the note, he orders Pun Jabb's release & proceeds to round up suspects. One being the woman from New Orleans who tried to blackmail Bung long ago. It seems that Bung becomes the chief suspect & is arrested--- then without giving us the conclusion, old comics are re-run until 1934. (The year of my Mother's birth in July)
(A personal favorite Henry Brown era comic is a strip where Bung is admonishing Cabbage for coming home with a black eye. Assuming his son lost the fight, Bung asks where the other boy is, he wants to congratulate him for being a better fighter. Cabbage sniffles, & tell his father the other boy is now in the hospital.)
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Without explanation in early 1934 until October, Leslie Rogers returns to take up Bungleton Green, returning him to his gag strip roots. The drawing style is visibly different from his 20s Bungleton Green. He appears more angular compared to the earlier soft rounded appearance. It is not clear what happened between Henry Brown & the Chicago Defender. But his art work continued to appear in other papers, such as the Chicago Bee, owned by Robert Abbott's publishing rival, Anthony Overton. Bungleton Green being the property of the Defender remained in place until a third artist takes over in that same year.
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October 20, 1934. Although the heading still credits the artist, Leslie Rogers, the drawing style is noticeably changed again. (noticeable to me anyway) Careful examination (and the ability to enlarge the image.) reveals that the actual artist is Jay Jackson. Jackson (no relation) continues to feature Bungleton Green in the same fashion as Leslie Rogers; top hat striped pants, black waistcoat as did the mysteriously missing Henry Brown, except Jackson presented Bung as more actively searching for work & now living with a niece. (What happened to Cabbage?) A lot of references are made to the "Century of Progress" Worlds Fair (part 2) that took place in 1934 Chicago. With Bung trying to get in without paying & find a job therein.
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Bungleton Green of the 1940s, under the pen of Jay Jackson, Bung takes on a more realistic, pro-social message theme. America was becoming more war conscious, as Southern politicians fresh out of the Lynching-crazed 1930's fought to brutally deny basic human rights to Black citizens, also turned their attention to the cruelty of the Germans against the Jewish population in Europe. It didn't escape the attention of this cartoon with brief action scenes of kids Bung had taken under his wing going off to war & how being faced with war changed them. Also during this time, Bung goes through a few changes of his own, not only allowing the naturalistic drawing style of Jackson to take over, with the ever comical, cartoony appearance of Bung himself remaining. Bung becomes involved with a group of teens calling themselves The Mystic Commandos to bring Black historical information to readers, as the youth club uses names of figures in history as passwords to confuse both a rival club of delinquent, hateful youths & the prejudiced police who want to eliminate both groups, by pitting one against the other.
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Taking on a decidedly adventure theme, the strip becomes Bungleton Green and the Mystic Commandos, blending pro-social messages with educational information & the war effort. While thwarting Nazi spies, Bung & the Commandos (along with the German scientist & his scheming wife) are transported back to 1778 America, where they are instrumental in a slave revote aboard a ship (This after fleeing a lynch mob). The scientist finds himself teamed with the Commandos & revolting Africans to save his life & restore the time-line, while his wife, living comfortably with aristocratic sugar plantation owners enjoys the privilege of things as they are & plots to spoil Bung & company's plans to regain the time device.
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Somehow (these comics are still yet to be found at this writing) they recover or recreate the device & are transported forward to what seems to be the future--- however, it is discovered that in this time-line, ancient green-skinned, horned helmeted underground beings have been awakened by mining. The Commandos, now accompanied by an extremely racist, bigoted White man must confront a new race of men who want to subjugate all surface dwellers. Using segregationist " Black Codes" & "Jim Crow" laws as their guide to control the people, the larger, green-skinned humans enact the laws from the book. (some still active in the 1940s to keep African American in a second-class citizen state.) Although their goal was to enslave everybody, the book of segregation laws teach them to divide the people by skin color, Blacks being (also colored) closest in darkness of complexion to themselves (being green) are given slightly better treatment, followed by Native Americans, Mexicans, with Whites at the bottom. The bigot learns what it's like to be forced to drink from segregated water fountains, get rejected from restaurants & told to use the rear entrance of buildings 'For Greens Only' as well as the loss of preferential treatment he always enjoyed & took for granted. After being left behind when a rocket leaving for America refuses him wouldn't allow Whites aboard (He had to wait for a later, less reliable 'Jim Crow' rocket.)
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Upon returning to find a hotel room with Bud (who is Black & felt sorry enough to remain behind with the bigot) they are stopped at the door by a 'Green' man who says "you can't come in that door, it's for Green only! (to Bud) Not you kid-- you're colored too!"
"But I did," exclaims Jon Smythe (the bigot). "Well go right out again, " The Green man orders him. "The door for your kind is on the alley!" (A sign in the background on the wall above a drinking fountain reads: 'Whites must not use public fountain! use cup!') Smythe turns to go out & is stopped again, "Hey wait! You can't go OUT that door either !" (since access through the door is Green Only). Becoming confused himself, the Green man pulls out his book on Jim Crow Laws; "Hm!" He thinks to himself. "I'll have to read up on 20th century American Jim Crow Laws to figure this one out!"
Later, transported some 100 years further into the future, the Mystic Commandos, & Bungleton Green find a society that enjoys freedom & equality exempt from the prejudice of 20th century America. To save his life, Bung experiences future technology that transforms him from the squat cartoony, pointy-nosed little man created by Leslie Rogers 20 year earlier to a tall, muscular "superman" (who later discovers he can't be killed either) more fitting the way the rest of the characters are illustrated. He discovers his wife (back in 1940s) is in some danger & desires to return to his own time. The Commandos having had their fill of racial discrimination throughout time, choose to stay in the future.
1. Bud: "Thanks for asking us to go back with you, Bun... But we won't!" |
2. girl: "We enjoy freedom and equality here! We'll never go back to the prejudice and Jim Crow of 20th century America!" |
3. Bud: to Bungleton "Why must YOU go back? Maybe your wife won't know you now that you've been changed so... Maybe she has re-married...you've been gone a long time..." |
4. Bung: "Never the less, Commandos, I must go and see for myself! I'm going back !" |
5. Boo (Future girl): "You must take me with you Mr. Green! The two scientists will kill me if you leave me here!" |
6. Bung: "Prepare the time machine Tong! Commandos, see that neither of these scientists try any tricks! Come on Boo !" |
7. "The scientist beams his machine back a hundred years to 20th century America!" | 8. "Bungleton Green, now a superman and Boo, girl of the future step into the beam that will carry them back to the hectic present!" |
1945, again titled simply Bungleton Green the now 'super' empowered 'Bun' Green (seems the 'G' in Bung has now been dropped) returns to the present to take on segregation, hoods & Southern politicians as a special operative to the police department due to a manpower shortage. (I'm still wondering what became of Cabbage, who should be about 15 now!)
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After more lost years--- cartoonist Jay Jackson dies in 1953 (I must confirm this however, since I have found his work dated 1955)--- Bungleton Green is continued by the another Defender staff artist, newly promoted from the layout department to fill the vacancy as Editorial cartoonist. Enter the capable brush & pen of Chester Commodore, who in 1950 restores Bungleton Green once again to his simpler, gag strip roots. With a yet distinct style, Bun settles in to an adventure-free 50s lifestyle. Gone forever is the top hat, striped trousers & waistcoat. Now Bun dresses in modern clothes, either full suit (at work in some nonspecific office) or sport shirt during leisure times.
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The Chicago Defender becomes a daily newspaper in 1956, which no doubt doubled the amount of work on the cartoonist to draw the strip to fill 5 days instead of just 4 a month. Along with his other duties of drawing five other cartoons as well as illustrations on demand, Bungleton Green begins to suffer from old age & lack of readership & an extremely over-worked cartoonist. As Civil Rights Laws go into effect, Bung ails like so many other Black institutions. Now that there was freedom to go where we wanted, eat where we choose, stay in any hotel (well almost any there are still a few---) the Black public neglected their own to blend in with the 'mainstream'. Abandoning our local stores to shop with 'the white folks' downtown, we worked hard not to be identified as Black & now that the 'mainstream' dailies would occasionally feature stories about us, we let our subscriptions to the Black press lapse.
After 44 years & four different cartoonists, in 1964, the longest continuously running Black comic strip in America at the time is quietly retired. Not being native to Chicago, I have no idea how or if the public reacted to Bungleton Green's departure. Not to mention I would have been all of 5 years old & thought Huckleberry Hound represented the whole world in cartoons.
From comedic pauper, to a King, to wealthy millionaire, to financial tycoon, to domestic family man & role-model, to adventuring time-traveler, to a super-man for racial justice & back to a comedic, everyday man, Bungleton Green has spanned nearly half a century as a relatively uninterrupted comic strip that just happened to feature a Black lead character.
1925 - Rogers |
1930 - Brown |
1932 - Brown |
1934 - Rogers |
1934 - Jackson |
late 1930s - Jackson |
mid 1940s After transformation - Jackson |
1959 - Commodore | |
Bungleton Green is only just beginning to gain wider recognition in the cartooning world, along with Bootsy of Dark Laughter & the two incarnations of Torchy Brown. It is hoped that this web page has also enlightened the reader to an active, yet sadly overlooked portion of the celebrated art & artists of newspaper comics--- overlooked it would seem solely due to the reality that the artists who created them, the characters they represented, & the fans who eagerly awaited their weekly adventures, were Americans of African descent. Accompanied with the persistent American myth, that we have contributed nothing to society, despite of evidence to the contrary, the neglect taints even the so-called one-world, politically correct, color-blind new millennium. As long as this belief is allowed to remain unchallenged, historians who have written the anthologies of cartoons & comics & students who will read them & write future collections alike, will simply never try to find the truth.
