Heir apparent.
I thought I'd dive back into our archives and pull out another discussion about The House with a Clock in its Walls (1973). This one is about product placement, of sorts. Before the reader ever gets to know Lewis and realize the greatness he will soon perform, we know he has greased his hair down to keep it in place with Wildroot Cream Oil [3].
The SlickVille website explains how in the 1920s and through the 50s, "the standard haircut for young boys was a sharp part, short sides, and a small wave in the front held in place with lots of hair tonic."
This makes sense, as one would have a hard time picturing Lewis with a ducktail or butch cut. Yeah, that’s it – Lewis is a greaser. Anyone ever use any of these tonics in their own hair? Anyone have any hair-raising stories to share from using them? And I suppose if you did, you wouldn't have a "hair-raising" story. But I digress. (Let us not be silly.)
The Wildroot Hair Tonic factory building stood on Bailey Avenue in Buffalo, New York, and ForgottenBuffalo.com shares some of the local history:
Wildroot Hair Tonic was introduced in Buffalo in 1911 with the trademark "Wildroot" registered in 1932. The company was locally owned and operated until 1959 when purchased by the Colgate-Palmolive Co. for $10.5 million dollars.Knowing how timid and frightened young Mr. Barnavelt would become, I'm thankful he never wiped his hands through his hair when he gets scared or tongue-tied. Talk about greasy kid stuff.
Now here's a poorly dated commercial.
I can say much about the Wildroot hair tonic as I have always hated having anything on my hair. But the product placement thing is something that has always sort of stuck in my head. John started this in 1973 with "The House With a Clock in Its Walls" and I have always assumed this was to firmly plant the story in the 1950's. Stephen King used pretty much the same tactic, starting with "Carrie" in 1974, to plant his stories in the here and now and to give them an everyday type of feel. He wanted the reader to feel at home and comfortable so the fear from the stories would be more abrupt and give it more of an edge. I have always wondered where this actually came from. Was it an idea floating in the air? Was this being taught in colleges at the time? It seems odd that two authors starting out at basically the same time would come up with the same writing trick. Did they meet somewhere and talk this over at some point? I don't know, but it has always seemed a little bit odd to me.
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