A New Yorker State of Mind

Men in Kilts

Above: Fredric March as the Earl of Bothwell in Mary of Scotland. March sported a kilt that Alex von Tunzelmann (the Guardian, May 7, 2015) calls "the bane of Scottish historical movies from here to Braveheart." Tunzelmann notes that "What we call a kilt today—the fèileadh beag, or small kilt—was invented in the mid-18th century, almost 200 years after this film is set. The Scots should be wearing belted plaid, or the rather fetching skintight tartan trews (image at right) sported by Mary’s father, James V." (eBay.com/pinterest.com)

These were truly the dog days of summer—New Yorkers had just endured one of the hottest months on record (106 F on July 9) and it remained intensely hot and dry as August rolled in. So for this post we will retreat to one of the few places that had air-conditioning—the cinema—and see what folks were enjoying in the first week of August 1936.

August 8, 1936 cover by **Arnold Hall.**

Before we jump into the movies, the wonderful cover by Arnold Hall recalled the summer night concerts at Lewisohn Stadium (although Hall took some liberties with the stadium’s design for the sake of composition).

A LITTLE NIGHT MUSIC…Top: Illustration by Scottish artist **Muirhead Bone** of a nighttime Lewisohn Stadium concert, circa 1920s; below: **Andre Kostelanetz** conducts before a crowd of thousands at Lewisohn Stadium in 1939—for an admission price of a mere twenty-five cents, concertgoers were treated to appearances by leading performers of jazz, classical music and opera. The stadium was demolished in 1973. *(digitalcommonwealth.org)*

On to our movies, Russell Maloney once again sat in for John Mosher as the magazine’s film critic, taking on everything from a Tudor romance to a horror film that featured Lionel Barrymore in drag.

In Mary of Scotland, Maloney found Katharine Hepburn’s turn as Mary, Queen of Scots a bit wanting (the role should have gone to a “grown-up actress”), while he thought the film itself was rather tedious with “lots of goings on.” He concluded that the “wisps of Mary of Scotland visible between cloak-swishings and sword-wavings are not especially encouraging.”

NOT READY FOR PRIME TIME?…Clockwise, from top left: Critic Russell Maloney thought the 29-year-old **Katharine Hepburn** was not seasoned enough to portray Mary Stuart in *Mary of Scotland;* **Fredric March** as the Earl of Bothwell, with Hepburn; March visits with director John Ford, who was better known for his Westerns (Ford and Hepburn would famously have an affair during the filming); Hepburn in a scene with **John Carradine**, who portrayed Rizzio, the Italian courtier and private secretary to Mary. Patriarch of the Carradine acting dynasty, his children included actors **David, Keith,** and **Robert Carradine.** *(imdb.com/pinterest.com/frockflicks.com)*

In addition to a forgettable lion-tamer flick (Bengal Tiger), Maloney also reviewed a Bing Crosby movie with a host of singing cowboys, Rhythm on the Range, and a “consistently funny” film with an “unpromising name,” We Went to College…

Bing Crosby played a humble traveling cowboy Norman Taurog Western musical film — COWBOY CROSBY…Clockwise from top left: **Bing Crosby** portrayed a traveling cowboy in love with a rich girl (**Frances Farmer**) in Rhythm on the Range; **Louis Prima, Martha Raye** (in her film debut), and Bob Burns performed in the ensemble “I’m an Old Cowhand from the Rio Grande” along with **Roy Rogers** (uncredited and performing under his original stage name, Leonard Slye) and **The Sons of the Pioneers**; **Una Merkel** and Walter Abel in a lobby card image advertising *We Went to College. (imdb.com)*

Maloney also reviewed a horror-farce, The Devil Doll, featuring Lionel Barrymore as banker Paul Lavond. A brief synopsis: Framed by his three partners and imprisoned on Devil’s Island, Lavond escapes with a fellow inmate who introduces him to his wife, Malita. The couple demonstrate a process that shrinks animals and people to the size of dolls, which then can be animated by will power. Seeing the dolls as an opportunity for revenge on his former partners, Lavond disguises himself as an old woman and sends out the shrunken people to harm his enemies.

PLAYING WITH DOLLS…At left, **Lionel Barrymore** disguised as Madame Mandelip, preparing his demonic dollies for revenge in The Devil Doll; at right, Marcel (**Henry B, Walthall**) and his wife Malita (**Raffaela Ottiano**) with one of their shrunken people. (classic-monsters.com)

MY, WHAT BIG TEETH YOU HAVE…At left, Tarzan star **Maureen O’Sullivan** portrayed Paul Lafond’s unsuspecting daughter—in this scene from *The Devil Doll* she doesn’t recognize her long-absent father, disguised as the kindly Paris toy shop owner Madame Mandelip; at right, **Lionel Barrymore** (dressed as Madame Mandelip) meeting with *Devil Doll* director **Tod Browning**, best known for his 1932 magnum opus, *Freaks. (classic-monsters.com/moriareviews.com)*

It seems there were few, if any, critics in the 1930s who didn’t like Mickey Mouse cartoons. These days we take animation for granted, but ninety years ago it was still something of a miracle, especially in color. Maloney noted the latest must-see Disney cartoon short, Donald and Pluto.

MARTYRDOM OF DONALD DUCK…**Donald Duck** was literally put through the wringer for our amusement in the 1936 short *Donald and Pluto*, one of the three installments of the *Mickey Mouse* series in which Mickey doesn’t appear as a character. Donald Duck was a fairly new Disney character in 1936, making his debut in 1934’s *The Wise Little Hen. (disneyfandom.com)*

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Life Goes On

E.B. White mused about the increasing life expectancy at birth of the American male from 47 years in 1900 to 58 years in 1936 (a woman’s life expectancy was roughly 49/62, respectively). White (who would live 86 years) said he would spend his extra years collecting “haunting” signs, such as one on the Boston Post Road that read: Trucks Must Use Right Fork.

AND NO ELBOWS ON THE TABLE, EITHER…Trucker poses in front of his rig in 1936. *(facebook.com)*

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Wartime Wardrobe

Beatrice Mathieu—the first and only Paris fashion correspondent for The New Yorker—sat in on Lois Long’s column to discuss the latest from The City of Light. Designers were soldiering on with their premieres despite the winds of war blowing from the east. Excerpts:

LIFE GOES ON…At left, a model shows off a “Carnival dress” by **Madeleine Vionnet,** 1936; a sidewalk café in Paris filled with fashionable folks, 1936. *(godsandfoolishgrandeur.blogspot.com/reddit.com)*

A note about Beatrice Mathieu: According to her 1976 New York Times obituary, “In an era when honest criticism in fashion writing was relatively rare, she blended humor with a kind of skepticism and honesty in writing that enhanced her reputation as a leader in the field…In 1928, when the young woman from Faribault, Minn., was making a living in Paris as a freelance writer, she received a cable from Harold Ross…asking her to do some work for him. She wired back: ‘What is The New Yorker?’ Mr. Ross replied at some length. She took the job.” Mathieu stopped writing her Paris column in 1936 but resumed after the end of World War II.

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A Dose of Passos

Clifton Fadiman reviewed the latest book by John Dos Passos (1896– 1970), who is known for his pioneering works of nonlinear fiction and his U.S.A. trilogy, which he completed in 1936 with The Big Money. One of the major novelists of the post-World War I “lost generation,” he is widely praised today for his timeless insights into America’s inequalities (and was also highly regarded by contemporaries including William Faulkner). Fadiman, however wrote “A great writer he is not.” Excerpts:

HIS TIME WOULD COME…**John Dos Passos** on the cover of *Time*, Aug. 10, 1936. Dos Passos is admired today for showing how Americans respond to the chaos and inequalities of modern life. *(time.com)*

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From Our Advertisers

We begin our advertising section with the Grace Line, which offered this inviting image (on the inside front cover) of nighttime swimming on the deck of one of its Santa liners, en route to South America and California…

…less inviting, it would seem at the time, would be a cruise to Germany aboard a Hamburg-America Line (HAPAG) ship—beginning in 1939, U.S. and British forces would seize nearly all of HAPAG’s fleet…

…the relatively new company Old Mr. Boston (founded in Boston in 1933, right as Prohibition ended) went big with this two-page color advertisement touting its line that included gin, rum, whiskey, and cordials…

…in the back of the book…Brown & Williamson launched its Viceroy brand in 1936 as the world’s first cork-tipped filter cigarette…at the bottom is a modest ad for Pilsner Urquell, a Czech brewer that produced the world’s first pale lager…it is still brewed in Pilsen (Czech Republic) under the ownership of Tokyo-based Asahi Group…

…Schaefer promoted their “light beer” in this rather spare advertisement…the “light” referred to its pale color, not to its calorie count…founded in New York City in 1842, Schaefer grew to be a top five brewer in America…today it is marketed by Pabst as a regional heritage brand…

…Dr. Seuss was still at it with his Flit ads…after rejections from nearly thirty publishers, in 1937 Seuss (aka Theodor Geisel) would publish his first book with Vanguard Press—And to Think That I Saw It on Mulberry Street…Seuss also illustrated ads for Schaefer beer, Esso gasoline, Holly Sugar, and General Electric, among others…

HONING A STYLE…A sampling of **Dr. Seuss’s** advertising art from the 1930s to the 1950s. *(aoghs.org/UC San Diego/booksforgoatlings.weebly.com)*

…R.J. Reynolds lined up another socialite endorsement for their Camel cigarettes…here they go to the West Coast, with a plug from Mrs. William J. Hollingsworth, Jr., aka Madeleine Ruth Piper…her marriage to Hollingsworth was over by 1937…she would marry three more times before her death in 1993…

SHE REALLY LIGHTS UP A ROOM…At left, undated photo of socialite **Madeleine Ruth Piper** (1916–1993), who was apparently telling the truth about her love of smoking; at right, the Victor Hugo Restaurant in Los Angeles (Beverly Hills), featured in the Camel ad. *(findagrave.com/facebook.com)*

…on to our illustrators and cartoonists, we begin with spots by Christina Malman…

…Helen Moore Sewell…

…Victor de Pauw…

and Aaron Sopher…

…there was another installment of Morris Bishop limericks illustrated by Richard Taylor…

…Ned Hilton’s lord of the manor took up rice farming…

…Alan Dunn showed us some devious domestic doings…

…and a complaint to the mayor…

…in contrast to Dunn’s style, the spare lines of Gardner Rea…

…Gregory d’Alessio prepared for Olympic glory…

…William Crawford Galbraith continued to plumb the creepy waters inhabited by impressionable young women and lecherous older men, in this case a woman’s personal physician…

…and Rea Irvin continued to explore historic moments in American industry…

…we close with Helen Hokinson, and some scandal brewing under a hair dryer…

Next Time: Bottoms Up…

A Letter From Berlin

Above: Nineteen-thirties dance class sponsored by Kraft durch Freude (Strength Through Joy), a sub-organization of the German Labour Front that sought to fulfill the totalitarian ambitions of the Nazi regime by "forming a genuine national and performance-based community of all Germans," in other words, keep them busy and distracted from reality. (bundesarchiv.de)

Paris correspondent Janet Flanner visited Berlin to check on that city’s preparations for the 1936 Olympic Games, an event Nazi leaders saw as a prime opportunity for some big-time propaganda.

August 1, 1936 cover by **Constantin Alajalov** with a wry twist on the upcoming Berlin Olympic games (note the strap along the left edge bearing some of flags of competing nations).

Flanner noted Propaganda Minister Joseph Goebbels’ charge to the German people, instructing them to show the world that the German Volk were “more charming than Parisians, more lively than the Romans, more worldly than the Londoners, and more efficient than the New Yorkers.”

EYE ON BERLIN…**Janet Flanner,** who wrote under the pen name *Genêt,* in 1940. *(National Portrait Gallery)*

There was an ambiguous quality to Flanner’s early writings about Nazi Germany and Adolf Hitler in particular. As The New Yorker’s Andrew Marantz noted in “Takes” (Aug. 10, 2025) regarding Flanner’s 1936 profile of Hitler, “Instead of telling readers what they needed to know—that was what newspapers were for—she focused on what they might want to know…” Rather than taking sides, she reported in a cool and ironic tone. In her biography Genêt, Brenda Wineapple wrote that Flanner in her early writings “thought of herself as a high-class gossip columnist.”

Here are excerpts from the first part of Flanner’s “Berlin Letter.”

FASCIST FEVER DREAM…The Nazis spent large sums in preparation for the Olympic games, seeing them as the ultimate propaganda opportunity. Clockwise, from top left: Nazi officials show the extent of the Olympic village using a scale model in July 1936; a street scene with displays of the Olympic and swastika flags in Berlin, August 1936— the regime temporarily toned down public anti-Semitic displays and cleaned up the streets to impress international visitors; lively café scene on the Kurfürstendamm, known colloquially as the Ku’damm, in 1936. (Robert Hunt Library/Sueddeutscher Verlag Bilderdienst/tripadvisor.com)

BEFORE IT ALL WENT DARK…In 1936 the Kurfürstendamm was a bustling Berlin boulevard, temporarily masking the oppressive Nazi regime with a veneer of normalcy for the 1936 Summer Olympics—shown at left is the Scharlachberg House at the corner of Kurfürstendamm/Uhlandstraße in Berlin, where the Maison de France stands today; at right, the Hindenburg flies over the Olympic Stadium in Berlin, August 1936. *(Wikipedia/Encyclopædia Britannica)*

In these excerpts, Flanner wrote that the arts were overseen by Joseph Goebbels and Hermann Göring (of all people). She also noted the absence from the opera (which she rated poor under Goebbels) of the world-renowned conductor Wilhelm Furtwängler, who was in seclusion “writing an opera,” but probably wanted to be out of the limelight due to his controversial decision to stay in the Reich rather than flee like other artists and musicians. Furtwängler detested Hitler, but believed his art would wither if he left his homeland.

HORROR SHOW…**Adolf Hitler** and his Nazi thugs at the opera in Berlin in 1936. Hitler often appeared in carefully staged public settings like this one and the one in the photo below. *(archaeohistories.via Facebook.com)*

MUSICAL STRAIN…Conductor Wilhelm Furtwängler acknowledges the audience following a 1935 performance by the Berlin Philharmonic Orchestra—visible in the left corner of the photo are **Hermann Göring, Adolf Hitler,** and Joseph Goebbels, among other Nazi leaders. (Archiv Berliner Philharmoniker)

A closer look at the photo—a combination of hatred and fear in Furtwängler’s eyes? The first and second violinists don’t look too thrilled either.

In a related item, Howard Brubaker (in his “Of All Things” column), had this to say about Germany’s Olympics preparations.

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A Friendly Shakedown

In Part Two of his profile on Tammany powerbroker Jimmy Hines, journalist Jack Alexander noted Hines’ unorthodox habit of soliciting contributions from his friends (illustration by Hugo Gellert). Excerpts:

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At the Movies

“In the dreadful summer of 1932, [The New Yorker] paid me ten dollars for an anecdote. I was ripe for seduction…,” Russell Maloney once recalled. “[Then] I sent in an account of a situation that I thought would make a good Helen Hokinson picture…and got paid for that: seven dollars.”

Maloney (1910–1948) proceeded to send more ideas to The New Yorker, and enough were accepted that in 1935 he packed his bags and moved to Manhattan for a job at The New Yorker. In his ten years at the magazine he would contribute thousands of anecdotes to “The Talk of Town” as well as casuals, profiles, and countless cartoon captions. His interest in theater as well as celebrity gossip suited him well when he substituted for John Mosher as the magazine’s film critic.

So let’s see what Maloney—who would later call 1939’s The Wizard of Oz a “stinkeroo,” had to say about the latest fare from Hollywood.

BUT THEY PAID ME THIS MUCH…Top: **Russell Maloney** wrote that both **Bette Davis** and **Warren William** seemed “embarrassed” to be appearing in *Satan Met a Lady*, which was a loose adaptation of Dashiell Hammet’s 1930 novel *The Maltese Falcon—*Maloney found Satan to be vastly inferior to the 1931 film *The Maltese Falcon* (below), which starred Ricardo Cortez and **Bebe Daniels**. In 1941 Humphrey Bogart and Mary Astor would appear in yet another adaptation of the Hammet novel. *(imdb.com/facebook.com/jbkaufman.com)*

Maloney “enjoyed” The Return of Sophie Lang, with actors “baffling one another with the greatest suavity”…

IS THIS SUAVE ENOUGH FOR YOU?…**Ray Milland** and **Gertrude Michael** get close in *The Return of Sophie Lang. (Pinterest.com)*

…while Spendthrift, featuring actors speaking in various accents, was “perfectly dreadful.” Fortunately Suzy managed to lift the reviewer’s spirits, especially with the appearance of Jean Harlow.

A WINNER AND A WIENER…Top, **Jean Harlow, Cary Grant,** and **George Davis** in *Suzy*; bottom: **Henry Fonda** is flanked by **Pat Paterson** (left) and Mary Brian in *Spendthrift. (tcm.com/eBay.com)*

See this post from Michael Maslin’s Inkspill about Maloney’s contributions to The New Yorker. Also, check out this photo below that includes Maloney (standing next to James Thurber):

LITERARY CLUBHOUSE…Familiar New Yorker faces gathered for a cocktail party at the Hotel Algonquin to celebrate the success of **Frank Case’s** 1938 memoir, *Tales Of a Wayward Inn.* Seated, from left, are **Fritz Foord, Wolcott Gibbs, Case** and **Dorothy Parker**; standing, left to right, are Alan Campbell, St. Clair McKelway, Russell Maloney and James Thurber (untappedcities.com)

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From Our Advertisers

We begin with this colorful inside front cover advertisement for Bacardi rum, illustrated by George de Zayas, the younger brother of Marius de Zayas. Born in Mexico, these talented brothers took different artistic paths—Marius became a prominent avant-garde artist who collaborated with Alfred Stieglitz and others in New York, while George focused on commercial art and popular media…

…this isn’t exactly avant-garde, but the makers of Four Roses added a modern twist to their usual traditional style…

…United Airlines offered overnight flights as well as “scenic” daylight flights from coast to coast (New York to San Francisco)…this flight typically took seventeen to nineteen hours, with refueling stops in Cleveland, Omaha, and Cheyenne/Salt Lake City…the planes were not pressurized, so they flew through the weather rather than above it…at least this plane (Boeing 247), according to the ad, had air-conditioning…

…for the more adventurous (and perhaps wealthier) traveler, you could hop aboard a Pan Am Clipper and head for Rio de Janeiro…in 1936, this flight from Miami to Rio took five days (flying in daylight only)…

…a one-way ticket to Rio would have cost close to $11,000 in today’s dollars, while the equivalent $9,000 would get you a one-way ticket to Europe on the Hindenburg…

…in the back of the book we find various food and cocktail diversions…

…and some one-column tennis-themed ads…”Johnson’s Tennis Gut” referred to the material used in the Thirties to string rackets…the strings were almost exclusively made from natural animal gut—commonly called “catgut,” though they were actually made from processed and twisted sheep intestines…

…Liggett & Myers claimed the back page to promote their Chesterfields to women smokers…one wonders if a racking cough interfered with her playing…

…on to our illustrators and cartoonists, we kick things off with spots by Adolph K. Kronengold…

…John Groth…

…Richard Taylor…

…Christina Malman…

…and Victor de Pauw…

…Carl Rose took us through a sculptor’s creative stages…

…Helen Hokinson pondered a recipe for the day’s catch…

…and she checked out some summer reading (Warwick Deeping was a British writer of historical romances as well as books that defended the lifestyles of the bourgeoisie)…

…this was F.E. Smith’s sole contribution to The New Yorker, and it’s pretty good…beyond that, I came up empty trying to find out more about the cartoonist…

…but we all know Leonard Dove (who contributed fifty-seven New Yorker covers and 717 cartoons)…here he’s keeping things quiet on the tennis court…

…and, of course, we have the great Charles Addams…

…we close with one of my favorite cartoonists, Barbara Shermund, keeping things light after the wedding…

Next Time: Men in Kilts…

That Tammany Taint

Above: The building that housed Manhattan's Democratic Party, known as Tammany Hall, circa 1935, and James Joseph "Jimmy" Hines, perhaps Tammany's most powerful leader. (wpsu.org/facebook.com)

Tammany Hall was founded more than two hundred years ago as an independent social organization serving the needs of New York City’s immigrants and Irish Catholics in particular. After the 1854 mayoral election, however, Tammany grew into a powerful political force, and for nearly a century controlled both city and state elections and the power of patronage that came with them.

July 25, 1936 cover by **William Crawford Galbraith.**

It was no secret that political graft was rampant in the organization, but business leaders were happy to support Tammany’s corrupt practices as long as they served the bottom line. The same, it seems, also applied to politicians, law enforcement, and the courts, beneficiaries of political favors as well as outright bribes.

Few knew how to work Tammany’s levers better than James Joseph “Jimmy” Hines (1876–1957), who held absolute power over New York’s Eleventh District. Journalist Jack Alexander published Part One of a three-part profile on Hines for the July 25 issue. Excerpts:

SOBER REPORTING…Journalist **Jack Alexander** (1902–1975) was a reporter in St. Louis before joining New York’s *Daily News* in 1930. He later worked for *The New Yorker* and then moved to *The Saturday Evening Post*, where he became senior editor. He is best known for his groundbreaking 1941 article on Alcoholics Anonymous. *(saturdayeveningpost.com)*

Tammany was weakened when their scandal-plagued mayor, Jimmy Walker, was ousted in 1932 and eventually succeeded by reformist Mayor Fiorello LaGuardia. Hines, however, grew even more powerful as head of the U.S. Civil Service’s patronage system for Manhattan District employees. Ironically, Hines was appointed to the post by President Franklin D. Roosevelt, who saw Tammany as a liability but owed Hines a favor—in 1932 Hines split from other Democratic machine bosses (who initially favored Al Smith) to back Roosevelt’s bid for the presidency.

One person who was not tainted by Hines’ influence was Special Prosecutor Thomas E. Dewey, who in 1936 was busy going after New York’s rackets and Hines in particular.

William Auerbach-Levy provided the illustration for Part One of the Hines profile:

In these excerpts, Alexander noted Hines’ “ace in the hole” (the White House) when Tammany Leader James J. Dooling tried to oust him.

I’M GONNA GET YA…Clockwise from top left: In 1936 reformers looked to Special Prosecutor **Thomas E. Dewey** to fight New York’s entrenched rackets; **Jimmy Hines** (right) leaves the courthouse after a 1938 mistrial; Hines was accused of having close ties with mobsters **Dutch Schultz** and **Lucky Luciano** among others; Hines with his attorney, **Martin Littleton**, after leaving Tombs Prison on April 4, 1939—he was released on $35,000 bail pending an appeal for his conviction as a political fixer for the numbers racket. Hines would lose the appeal—convicted on thirteen counts of racketeering, he would be imprisoned at Sing Sing until 1944. *(alchetron.com/facebook.com/Wikipedia)*

Despite his misdeeds, Hines’ many admirers remained faithful to him until his death in 1957 at age 80. Many recalled his annual “June Walk” from the days before he went to prison. According to his New York Times obituary, the annual event in Central Park drew as many as twenty-five thousand women and children, who “listened to half a dozen brass bands, put on paper hats and gorged themselves on ice cream, hot dogs and pop furnished by Hines, who used to take part in the fun wearing the gay green bucket hat of the stage Irishman.” The obituary noted that when Hines left Sing Sing prison, a guard said, “Best of luck. Jimmy! Give my regards to the missus!”

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At the Movies

Critic John Mosher found the perfect distraction from the summer heat in the Mary Boland–Charlie Ruggles comedy Early to Bed:

SILLY SOMNAMBULIST…From left, **Mary Boland, Charles Ruggles** and **Colin Tapley** in *Early to Bed. (*Pinterest)

Mosher also reviewed a Nero Wolfe mystery starring Edward Arnold, and a rather “slight” romance featuring an heiress with a penchant for speeding.

HOMEBODY…**Rex Stout’s** portly detective Nero Wolfe loved to solve crimes without venturing from the comforts of home. Clockwise, from top left; **Edward Arnold** (as Wolfe) with **John Qualen, Lionel Stander**, and **Dennie Moore** in *Meet Nero Wolfe*; eighteen-year-old **Rita Hayworth** (credited as Rita Cansino) appeared in several Nero Wolfe scenes as she continued to build her résumé at Columbia; an heiress with a lead foot runs afoul of a traffic cop (**Randolph Scott**) who eventually falls in love with her in “And Sudden Death; **Frances Drake** as the heiress in a scene with **Tom Brown**. (dancinglady39.wordpress.com/csfd.cz)

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Genteel Sport

The New Yorker featured a variety of sports in its early years, most of them elite pastimes except for hockey, college football and boxing. Save for the occasional mention of Babe Ruth’s antics (and his 1926 “Profile”) and a scattering of cartoons and spots, the game was conspicuously absent from the magazine during the Yankees’ “Murderers’ Row” years in the late 1920s and beyond. I’ve read that editor Harold Ross hated the game, but perhaps the real reason was explained by James Thurber in his “Talk of the Town” piece titled “Peanuts and Crackerjack” (September 22, 1928). Thurber described Yankees baseball as a mass spectacle for out-of-towners who were “a bit mad.” It wasn’t cool to be a Yankees fan if you counted yourself among Manhattan’s smart set.

G.O.A.T. HERD…Less than a month after James Thurber published “Peanuts and Crackerjack,” the New York Yankees would sweep the St. Louis Cardinals in The World Series. The 1928 Yankees set a major league record by having nine players on the team who would eventually be elected to the Hall of Fame. (Wikipedia)

Basketball was also missing from those early issues of The New Yorker, even though it had been played since the 1890s. So we turn to New Yorker cartoonist and author Michael Maslin (via his essential Ink Spill), who recently noted The New Yorker’s very first basketball-themed cartoon by Robert Day (Dec. 23, 1933). The post also features Abe Birnbaum’s terrific 1951 basketball-themed cover and a hilarious MAD magazine parody of Charles Addams.

The elite sports that dominated the back half of the magazine in those early years included golf, tennis, badminton, squash, yachting, rowing, horse hunts and horse racing, and polo (both indoor and out).

Lets look at a couple from the July 25 issue, beginning with these brief excerpts from the “Polo” column authored by “Backhander”—a generic pen name that referred to a rotating cast of polo correspondents including Robert F. Kelley, George F. T. Ryall and Tom O’Reilly (who covered indoor polo).

ELECTRIC HORSEMEN…At left, the Jaipur Polo team (shown here in England in 1933) won all the open tournaments between 1930 and 1938 in India and England. From left is **Maharaja Swai Man Singh** of Jaipur State and **Rao Raja Hanut Singh**, **Rao Raja Abhey Singh** and Colonel Prithvi Singh of Baria; at right, international polo star **Laddie Sanford** was the dynamic patron and captain of the famed Hurricanes, which won the U.S. Open in three different decades. (The Rajputs via Facebook/polo museum.org)

The “Yachts and Yachtsman” column was also signed by a pen name—”Bosun”—signifying any staff writer assigned to boat races or boat shows. In this case the writer was H. K. Rigg, who covered the start of the 1936 Larchmont Race Week, one of the most successful and heavily attended spectacles in the early history of yacht racing.

ON YOUR MARK…Photo above depicts the start of the July 21, 1936 Larchmont Yacht Club Race. The 1936 event is remembered for its massive turnout—300 boats duelling through crowded waters. In the Aug. 1, 1936 issue of *The New Yorker,* **H. K. Rigg** wrote that a “sausage balloon” was needed just to see over the congested fleet. *(Rosenfeld Collection via newyork32.org)*

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From Our Advertisers

A couple of issues ago we looked at the Advertising Federation of America’s “truth in advertising campaign” (Better Living Through Fiction) that sought to forestall government regulation. On June 29, 1936, the AFA hosted more than a thousand ad executives in Boston, where the head of advertising at Scripps-Howard criticized competitive selling among papers (it hurt them in competition with other media). Newspaper ad executives were urged to work together as a profession, and that likely explains this lavish two-page spread in The New Yorker…

…as well as this full-page appeal from the Chicago Daily News…

…and this spot from the Philadelphia Evening Bulletin…

…Dr. Seuss was still honing his style in ads for Flit insecticide…

…this White Rock ad featured the work of two artists…the prolific R. John Holmgren famously illustrated White Rock ads in the 1930s and 40s, often featuring the “tiny Colonel,” seen below regarding the original painting of Psyche at Nature’s Mirror by German artist Paul Thumann…the owners of White Rock bought the rights to the painting after seeing it at the Chicago World’s Fair in 1893 and adopted Psyche as their trademark…Holmgren would incorporate a modernized version of Psyche in dozens of ads…

…on the inside front cover Seagram’s referenced the character of Thomas Jefferson as an apt metaphor for their product…

…and on the back cover the makers of Luckies kept it simple with this colorful appeal to the growing market for women smokers…

…on to our cartoonists, we begin with another installment of “Limericks” by Morris Bishop featuring the unique style of cartoonist Richard Taylor…

…Alain helped open things up for the events calendar…

…as did Susan Willard Flint with her woodcuts…

…Ned Hilton offered a new wrinkle in a familiar game of skill…

…and Hilton again, preparing for take-off…

…Carl Rose used a double spread to illustrate a singles match…

…Alan Dunn illustrated a familiar problem of the electric age…

…and Dunn again with some realtor trickery…

…Helen Hokinson looked to an Eastern ascetic for some sage advice…

…and found one of her “girls” overdressed for an outing on the Thames…

…Rea Irvin celebrated the genius of American marketing…

…and we end with Peter Arno, and his unique view of matrimony…

Next Time: A Letter From Berlin…

Platoon Platitudes

Above: Political cartoon by Clifford Berryman depicting three supporters of the Neutrality Act, 1939; at right, Frank Sullivan at his favorite watering hole, the Worden Hotel in Saratoga Springs, NY. (nationalww2museum.org/digitalarchive.sspl.org)

In 1935 the American humorist Frank Sullivan introduced the “Cliche Expert” Mr. Arbuthnot to New Yorker readers, exploring a variety of bromides associated with everything from political campaigns to the legal system.

July 18, 1936 cover by **Antonio Petruccelli.**

For the July 18 issue Sullivan (1892–1976) called on Mr. Arbuthnot to explore the subject of war (Sullivan had some familiarity with the subject as a soldier in World War I). Below is the first of two excerpts from “The Cliché Expert Testifies on War” (spot drawing by Susanne Suba):

A peripheral member of the Algonquin Round Table, Sullivan wrote his first article for The New Yorker in 1925, and seven years later published his inaugural “Greetings, Friends!” Christmas poem (he would contribute forty-two of them, his last in 1974). He penned more than a dozen Mr. Arbuthnot stories from 1935 to 1952, and also introduced such characters as Aunt Sally Gallup, Martha Hepplethwaite, and the Forgotten Bach. An expert in comparative illusion, he is credited with this gem: “This is either a forgery or a damned clever original!”

Here is the second excerpt from “The Cliché Expert Testifies on War”…

In a 1967 interview with The New York Times, Sullivan remarked that the war-divided country had lost its sense of humor. “But wars have never stopped humor,” he told Alden Whitman. Sullivan maintained that the world was more lighthearted in the 1920s and 30s, despite the horrors of World War I. “It was a time of beautiful nonsense,” he said.

SAGE OF SARATOGA was the nickname conferred upon **Frank Sullivan,** who preferred the simpler life in his hometown. Top left, the small clapboard house Sullivan shared with his sister in Saratoga Springs; at right, Sullivan reading the July 9, 1966 issue of *The New Yorker*; below, an **Al Frueh** illustration topped Sullivan’s annual “Greeting Friends!” message for the Dec. 26, 1936 issue. *(algonquinroundtable.org/hillcountryobserver.com)*

Here is the cover of the July 9, 1966 issue featured above; the painting is by Charles E Martin:

A final note: After his service in World War I, Sullivan moved to New York City and wrote for several newspapers including the New York World. After the World folded in 1931, Sullivan moved back to his hometown, Saratoga Springs, where he shared a small clapboard house with his older sister, Kate Sullivan. Of his preference for small town life, he wrote: “Once I visited New York for twenty years but I wouldn’t live there if you gave me Philadelphia. A small town is the place to live. I live in a small town 180 miles from New York and while I would not say it has New York beat by a mile I would put the distance at six furlongs.”

Called the “Ultimate Freelancer,” Sullivan wrote for The New Yorker for fifty years and also contributed to the New York Times sports section, the Saturday Evening Post, and Town & Country. His work is collected in more than a half-dozen books.

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Hanging Around

In his “Notes and Comment,” E.B. White noted the speed at which the Hindenburg made its Atlantic crossing, although the giant German airship had to hover over Lakehurst, N.J. for an extra hour to wait for customs officials to get out of bed. White also mentioned a “Dr. Eckener,” a reference to Zeppelin captain Hugo Eckener (see below), who was also manager of a German aircraft company that produced the ill-fated Hindenburg.

DOOMSDAY MACHINE…The Hindenburg flies above New York City in 1936—the airship made seventeen round trips across the Atlantic in 1936—its first and only full year of service—with ten trips to the United States. The Hindenburg would famously crash and burn while docking in Lakehurst, NJ on May 6, 1937. (zeppelin-museum.de)

LOYAL TO AIRSHIPS, NOT GASBAGS…Airship innovator **Hugo Eckener** was apparently commanding the Hindenburg flight noted by E.B. White, but he was not on board when the giant airship crashed and burned the following May. A stickler for safety, Eckener was sidelined by the Nazi regime and replaced by Hitler loyalists. (Wikipedia)

White also commented on a recent evening at the movies “in the back country,” where a Clark Gable–Myrna Loy picture was playing in a makeshift theater outfitted with wooden benches.

RUSTIC RIVOLI…**E.B. White** found the silver screen a bit diluted in a “back country” theater, probably similar to the one pictured at left. He most likely took in the film *Wife vs Secretary* featuring Myrna Loy, Clark Gable and Jean Harlow. (facebook.com/MGM)

* * *

Komrade With Kamera

Humorist Leo C. Rosten contributed numerous short fiction stories to The New Yorker as well as several “A Reporter at Large” pieces between 1936 and 1939. He published “A Shot of Lenin’s Tomb” (classified as fiction) in the July 18 issue. Two brief excerpts:

THE SOUL OF WIT…**Leo C. Rosten** (1908–1997) was an American writer and humorist in the fields of scriptwriting, storywriting, journalism, and Yiddish lexicography. Fran Lebowitz once called Rosten “the Jewish James Thurber.” Above, Rosten circa 1940s and a foggy view of Lenin’s Tomb, undated. (forward.com/tass.com)

* * *

Crossing Over

Station wagons were first built in the 1910s as custom jobs—independent manufacturers would produce wooden bodies for the Model T chassis. These were considered “depot hacks” and commercial vehicles rather than family cars. But things changed in the 1930s as manufacturers saw their potential in the consumer market. Journalist George F.T. Ryall (pen name “Speed”), who wrote the “Motors” column for The New Yorker in the 1930s, looked in on the new automobiles that would foreshadow today’s crossovers.

IN THE FAMILY WAY…In the mid-1930s U.S. automakers began introducing a new kind of car—the station wagon. Pictured above are the 1936 Dodge Westchester Suburban (left) and the 1936 Chevrolet Carry-All Suburban. (Facebook.com/hemmings.com)

* * *

At the Movies

The 1929 play The Green Pastures, which portrayed Old Testament stories as seen through the eyes of a young Black child, was written by playwright Marc Connelly, one of founding members of the Algonquin Round Table. The play was based on Roark Bradford’s popular 1928 story collection Ol’ Man Adam an’ His Chillun (strongly criticized over the years for its patronizing and demeaning portrayals of Black characters). Connelly, who won a Pulitzer for the play, also directed its screen adaptation, one of just six feature films in the Hollywood Studio era to feature an all-Black cast. Critic John Mosher gave the film, along two other releases, an unenthusiastic review.

HEAVEN CAN WAIT…Clockwise from top: **Oscar Polk** (left) as the Angel Gabriel with “De Lawd” **(Rex Ingram)** in *The Green Pastures—*the film was a commercial success despite criticisms about its racial stereotyping; **Robert Young, Gene Raymond** and **Barbara Stanwyck** in *The Bride Walks Out*; **Dorothy Gish** and **Charles Laughton** in Wanted Men, originally released as the 1930 British crime film *Wolves. (cinemafaith.com/imdb.com)*

* * *

From Our Advertisers

We set off down a long road with a tankful of leaded petrol…

…from the back of the book, select living arrangements from the upscale to the budget conscious…

…this ad from Bell Telephone anticipated the Sherman Brothers 1964 earworm that still accompanies a popular Disney attraction…

…the back inside cover offered a colorful splash of sex and humor (and a bit of phonetics) to promote Siboney Rum…

…on to our cartoonists, we begin with some heavy lifting from Garrett Price…

…Richard Taylor sketched up these merry illustrations for a Morris Bishop ditty…

…Alain engaged in some market research…

…and channelled a bit of Barbara Shermund humor…

…Dorothy McKay explored the sad world of phonies and cheapskates…

…Alan Dunn gave us a dutiful doorman…

…and Dunn again, contemplating a hefty tome…

…Helen Hokinson continued her exploration of department store drama…

…as well as the world of foreign affairs…

…Syd Hoff sounded the alarm on some burning cutlets…

…and we close with the master of dark humor, Charles Addams…

Next Time: That Tammany Taint…

Better Living Through Fiction

Above: Introduced by the American Tobacco Company in 1917, the iconic slogan "It's Toasted" became the cornerstone of Lucky Strike marketing in the 1930s. The company claimed their heat-curing method (as opposed to sun-drying) removed tobacco's "corrosive acids." This 1933 Lucky Strike advertisement was illustrated by Hayden Hayden. (wash.edu)

In May 1936 the Advertising Federation of America (AFA) celebrated the 25th anniversary of its “truth in advertising” movement, highlighting the work of vigilance committees that encouraged advertisers to avoid government intervention through self-regulation. As one can imagine, such voluntary efforts were largely ignored.

July 11, 1936 cover by **William Steig.**

The celebration was short-lived, for later that year the Food and Drug Administration’s Ruth Lamb, published American Chamber of Horrors: The Truth About Food and Drugs. Lamb, who was head of public relations for the FDA, based her publication on a FDA traveling exhibit that exposed dangerous, poisonous, and deceptively marketed cosmetics, foods, medicine, and medical treatments. Lamb played an important role in advising Congress on new regulations that culminated in the Wheeler-Lea Act of 1938, which expanded the Federal Trade Commission’s unfair competition mandate to include consumer protections from “unfair or deceptive acts or practice.” That same year, Congress also passed the Federal Food, Drug, and Cosmetic Act, requiring pre-market safety testing and prohibiting false therapeutic claims.

BLISTERS INSTEAD OF BEAUTY…In 1933 the makers of Lash Lure mascara promised women a permanently made-up look using aniline dye on eyelashes. Tragically, Lash Lure contained p-phenylenediamine, which caused horrific blisters, abscesses and ulcers on the face, eyelids and eyes of Lash Lure users. It even led to blindness in some women. *(livingnewdeal.org)*

Apparently Lamb hadn’t yet published her American Chamber of Horrors when E.B. White filed his July 11 “Notes and Comment.” He did, however, pen this satirical take on the AFA’s sanctimonious commitment to the “truth.”

…Otto Soglow provided this apt illustration along the bottom of White’s “Notes” column…

HORROR SHOW…The FDA’s Ruth Lamb displays some of the worthless and harmful products in her “Chamber of Horrors.” Lamb was instrumental in advising Congress on new drug and food legislation. *(Wikipedia)*

BUYER BEWARE…Clockwise, from top left: In the 1930s Othine promised to remove brown spots and lighten skin; the active ingredient was mercury; Bred-Spred was a line of beautifully colored “jellies” that did not contain the industry standard of 50 percent fruit/juice to qualify as jelly. Indeed, they had no fruit or juice at all—just artificial colors and flavors, and in the case of the “strawberry flavor” pictured above, a few hayseeds were added to simulate strawberry seeds; a circa 1930 ad claiming substantial weight loss simply by listening to a record. (fda.gov/brandingstrategyinsider.com)

Quackery was not confined to the smaller companies. Big Tobacco made outlandish claims regarding the health benefits of smoking…

BIG MONEY from tobacco companies financed these splashy ads from the 1930s, including, from left, Lucky Strike’s weight-loss claims; Philip Morris asserted they used a different type of moistening agent that also prevented throat irritation—these ads were aimed at easing smoker anxiety about deep inhaling; R.J. Reynolds claimed their Camels did everything from aiding digestion to easing one’s nerves. Many of the ads featured famous athletes claiming they could smoke all they wanted and still perform at their peak. (Stanford.edu)

* * *

A Quiet Place

E.B. White (in “Notes and Comment”) revealed a hallowed spot in the city where he could gather his thoughts on hot summer mornings…

REFUGE FROM THE HEAT AND DIN…This apartment building’s courtyard at 277 Park Avenue offered E.B. White a place to ponder on a summer day. Built in 1905 and designed by McKim, Mead and White, the apartments were demolished in 1964 and replaced with a glass tower. (mcny.org)

* * *

On Your Mark

“The Talk of the Town” visited the new Randalls Island Stadium (later renamed Downing Stadium). Built with WPA funding, the stadium hosted the Men’s Olympic Track and Field Trials where Jesse Owens qualified for the Berlin Summer Games.

READY TO RUN…Aerial photo of the new Randalls Island Stadium taken on July 10, 1936, the day before the Olympic trials; at right, **Jesse Owens** at the stadium’s Olympic tryouts—Owens dominated the competition by winning the 100-yard dash, the 220-yard run, and the broad jump. He would go on to win four gold medals at the Berlin Games. (Associated Press/randallsisland.org)

* * *

Ach Du Lieber

In his column “Of All Things,” Howard Brubaker offered his thoughts on the state of higher education in Nazi Germany:

* * *

Haggard and Debonair

Margaret Case Harriman profiled talent agent and theatrical producer Leland Hayward (1902–1971), a kid from Nebraska City, Nebraska who would become a renowned playboy (married five times) and agent to scores of Hollywood actors. He would also produce the original Broadway stage productions of South Pacific and The Sound of Music. Excerpts:

ALL SMILES…at left, **Katharine Hepburn** with agent/boyfriend **Leland Hayward** arriving at director **George Cukor’s** home, circa 1936; Hayward with wife number three Margaret Sullivan⁣, circa 1940. *(instagram.com/alchetron)*

* * *

Juvie Justice

For the column⁣ “A Reporter at Large” (titled “Gamins”), Morris Markey looked in on the workings of the Children’s Court on East Twenty-second Street. Beginning with the sixth paragraph is an example of how teen pregnancies were addressed in New York ninety years ago. Excerpts:

Markey examined the possible outcomes of unwed mothers and fathers, and concluded that the Children’s Court was a realistic and kindly way to deal with these issues as well as a range of juvenile offenses. History seems to be on Markey’s side; for its time, the Children’s Court offered a progressive approach that kept minors from the horrors of the prison system.

STILL STANDING…The Children’s Court building on East Twenty-second Street was visited by **Morris Markey** for his column. Today it serves as Newman Hall for CUNY’s Baruch College. *(J.C. Rice via nypost.com)*

JUST SOME KIDS HANGING OUT…**Arnold Eagle’s** Federal Art Project photo, “Boys Climbing the Fire Escape of a Deserted Building,” 1935. *(mcny.org)*

* * *

Some Lawn Tennis

American journalist and sports radio personality Cedric E. Adams (known as “Ced,” hence the initials below) occasionally provided tennis commentary for The New Yorker. Here he takes in Wimbledon, where he found the men’s matches dull and the women’s memorable.

THREE’S A CHARM…In 1936 Fred Perry won the men’s singles title at Wimbledon for the third year in a row, while Helen Jacobs’ “cool tactics” helped her capture the women’s title. (facebook.com/findagrave.com)

* * *

At the Movies

Laurence Olivier (1907–1989) was a rising star of the London stage when he moved to Hollywood in the early 1930s. Not making the breakthrough he had hoped for, he returned to London for stage and film work, including the 1935 film Moscow Nights, which was released in the U.S. in 1936 as I Stand Condemned. Critic John Mosher still wasn’t wowed by Olivier, but found the film better than average.

SPIES LIKE US…**Laurence Olivier** and **Penelope Dudley-Ward** in I Stand Condemned. Directed by Anthony Asquith, the film concerned a wounded officer who falls in love with his nurse. *(rotten tomatoes.com)*

Mosher also reviewed a “minor melodrama,” Forgotten Faces.

A GAMBLER AND A STRIPPER were portrayed by **Herbert Marshall** and **Gertrude Michael** in *Forgotten Faces*. (*mubi.com*)

* * *

From Our Advertisers

Illustrator Jon Whitcomb sketched up this happy scene to promote this “Smart French Drink”…

…as noted in our lead story, cigarette manufacturers made all sorts of health claims connected to heavy smoking…

…now this was the way to travel…sadly the U.S. has largely abandoned reliable rail service…

…from the back of the book, enticements to escape the city into the countryside…

…another Dr. Seuss Flit ad, anticipating his 1954 bestseller Horton Hears a Who…

…on to our spots, we start with a summer stock-themed woodcut by Susan Willard Flint…

…escaping the heat with Christina Malman…

…on to our cartoonists, we begin with caption-less entries by Constantin Alajalov…

…Daniel ‘Alain’ Brustlein…

…George Price…

…and Otto Soglow…

…Alan Dunn gave us a man seeking order in chaos…

…and Helen Hokinson gave us a woman turning chaos into order…

…another from Hokinson, anticipating a scene from The Music Man…

…and we close with Peter Arno, and a surprise announcement…

Next Time: Platoon Platitudes…

Highfalutin Absurdities

Above: Margaret Mitchell poses with her award-winning novel, c. 1938. Mitchell won the National Book Award for Fiction for Most Distinguished Novel of 1936 and the Pulitzer Prize for Fiction in 1937. Gone With the Wind was the only novel she published in her lifetime. (britannica.com)

Margaret Mitchell’s 1936 novel Gone With the Wind and the 1939 film it inspired have both served as controversial reference points for cultural critics and scholars, particularly for the stereotypical and derogatory portrayals of African Americans in the 19th century South.

Ninety years later the novel still proves divisive; it also remains one of America’s most-loved books. Worldwide, more than 30 million copies have been printed in the U.S. and abroad.

In 1936 the novel quickly rose to the top of fiction bestseller lists, and was generally well received by critics. Novelist and literary critic Louis Kronenberger (1904–1980), who sat in for Clifton Fadiman in The New Yorker’s book section, praised the novel for its “highfalutin absurdities,” calling it a “masterpiece of pure escapism.” Kronenberger wrote that Gone with the Wind provided “a kind of catharsis…of all the false sentiment and heady goo that even the austerest mind somehow accumulates and periodically needs to get rid of.” He correctly predicted that the novel would be “very feverishly discussed” once people found the time to read its thousand-plus pages. Excerpts:

GOO GONE…Clockwise, from top left: Reading *Gone With the Wind* will clear one’s “heady goo,” according to critic Louis Kronenberger; **Margaret Mitchell** (1900–1949) seated before a selection of Gone With the Wind translations; an example of a German version of the novel—*Gone With the Wind* was translated into at least forty different languages with eight hundred unique international printings. *(azquotes.com/Atlanta Journal-Constitution/georgiaencyclopedia.org)*

IT HAS HOW MANY PAGES?!…**Clark Gable,** who portrayed Rhett Butler in the 1939 film adaptation of *Gone with the Wind,* has a look at **Margaret Mitchell’s** doorstop of a book. Mitchell was not involved in the screenplay or film production. *(yahoo.com)*

* * *

Tweet From Tinseltown

Apparently actress Mary Astor was a New Yorker reader, having read an E.B. White “Notes” column that mentioned his stained-glass hummingbird feeders.

FOR THE BIRDS…A *New Yorker* column by E.B. White inspired actress **Mary Astor** to feed Hollywood’s hummingbirds. (Wikipedia)

* * *

Going, Going, Gone

A “Talk of the Town” piece co-written by A. J. Liebling and Russell Maloney tracked down what remained of the Central Park Casino, which had been demolished under the orders of Parks Commissioner Robert Moses.

Moses hated former Mayor Jimmy Walker, and by association he hated Walker’s favorite haunt, the Central Park Casino. Despite pleas from preservationists to save the famous Art Deco supper club, which had been beautifully rebuilt by the late designer Joseph Urban, Moses moved as quickly as possible to demolish the building. Following a public auction, the iconic horseshoe-shaped bar and some interior fixtures were acquired by the Palisades Amusement Park in New Jersey and subsequently installed beside the park’s wave pool.

FROM GLITTER TO RUIN…Clockwise, from top left, the Central Park Casino on the evening of Sept.10, 1935; interior images of **Joseph Urban’s** elegant Art Deco designs; workers remove windows and interior fixtures as demolition commences in May 1936. *(nycgovparks.com/centralpark.org/mcny.org)*

* * *

Maddy Returns

It’s a shame that writer Maddy Vegtel is largely forgotten today. She wrote with great wit and verve, and was well known in the 1920s and 30s for her Vanity Fair profiles and for her articles about Holland, her native land. A contributor to The New Yorker from 1926 to 1956, she published this casual in July 4 issue.

* * *

Bad Men and Mad Men

The poet Ogden Nash shared his thoughts on the summer political convention season:

THE LORD’S ANOINTED…**Ogden Nash** (center) observed this belief in the political animal; at left and right, the Democratic and Republican nominees for president in 1936, **Franklin D. Roosevelt** and **Alf Landon**. (Wikimedia/poetryverse.com/Wikipedia)

* * *

At the Movies

Critic John Mosher was on board for MGM’s musical-drama disaster film San Francisco, which told the story of a saloon keeper, a singer, and a priest caught up in 1906 San Francisco earthquake.

SHAKING IN THEIR BOOTS…Clockwise, from top left: MGM poster for San Francisco touts the first-time pairing of **Clark Gable** and Jeanette MacDonald in a film; scene from the film featuring, from left, **Gable, Jack Holt, Spencer Tracy** and **MacDonald**; the film included stunning effects, including an earthquake montage sequence that interspersed scenes of wreckage with the faces of terrified victims; Gable assesses the carnage in a scene from the film. *(imdb.com/kittypackard.wordpress.com)*

Mosher offered a tongue-cheek assessment of Shirley Temple’s appearance in her latest film, The Poor Little Rich Girl, noting that “There’s not the slightest indication of aging in Miss Temple.” The child star was just shy of eight years old when she filmed the picture. As for the The White Angel, Mosher found the Florence Nightingale biopic—with Kay Francis in the title role—”a little schoolbookish [and] quite on the dull side.”

THAT YOUTHFUL GLOW…Top photo: Critic **John Mosher** found **Shirley Temple** still able to “delight her tremendous public” in *The Poor Little Rich Girl*—she is seen here with co-stars **Jack Haley** and **Alice Faye**; Below: **Kay Francis** and **Ian Hunter** in *The White Angel*, a film about Florence Nightingale’s pioneering work as a nurse during the Crimean War. *(tcm.com)*

* * *

From Our Advertisers

Sunscreen as we understand it today wasn’t available to New Yorkers in 1936, so they relied on zinc oxide and other mineral applications to avoid sunburns…however, Eugene Schueler, founder of L’Oréal, developed the first tanning oil with UV radiation-filtering properties in Europe in 1935 (active ingredient was benzyl salicylate), and later marketed it to the U.S. as Ambre Solaire…the brand is still sold today…

…Stage magazine continued to promote their 1911 throwback issue…

…the back cover belonged to Liggett & Myers, offering another romantic couple enjoying their Chesterfields…

…we open the cartoons with Richard Taylor, who felt the heat as summer took hold in the city…on July 4, 1936, the official high temperature in Central Park reached an unseasonably warm 93 degrees F (34 c), hitting 106 F (41C) five days later on July 9…that mark remains the city’s all-time absolute highest temperature…

…Otto Soglow’s spot art showed us how one well-heeled family escaped the hot city…

…while Susan Willard Flint offered a woodcut if a quiet cobbled street…

…Tom Holloway showed us how one posh kid delivered the Saturday Evening Post (Holloway was a cartoonist for the Post, contributing just two drawings to The New Yorker, both in 1936)…

…the woman’s expression says it all in this Helen Hokinson cartoon…

…George Price gave us a saleswoman who saw one two many pool floats…

…Gardner Rea drew up a vast estate for a man who (almost) had it all…

…Fritz Wilkinson did some deep sea swan diving…

…Gilbert Bundy found a clue at the gentleman’s club…

…Mary Petty went all out for the Fourth of July…

…and we close with Peter Arno, and the miracle of birth…

Next Time: Better Living Through Fiction…

Poppy Returns

Above: Rochelle Hudson and W.C. Fields in scene from Poppy. Fields reprised his vaudeville character Professor McGargle (from the hit 1923 stage revue of the same name), who learns about a million-dollar inheritance meant for a long-lost local heiress and concocts a plan to pass off his daughter, Poppy, as the true heiress. (Facebook.com)

Eighty years after his death W.C. Fields is still recognized as one of the America’s great comic geniuses. When he made a sound film version of his hit Broadway play, Poppy, in 1936, many thought it would be his last, since he suffered from a variety of ailments including a bad back and chronic lung congestion. Doubtless two quarts of liquor a day also had a few people wondering.

It would have been an appropriate, if premature ending to Field’s career, since it was the Poppy stage play that launched him into national stardom (along with the play’s first adaptation into film, the 1925 silent Sally of the Sawdust). The play and the silent film introduced audiences to the lovable snake oil salesman “Professor” Eustace McGargle, who returned in the 1936 film, “a slightly blurred affair” according to critic John Mosher.

THE PROFESSOR RETURNS…Clockwise, from top left: **W.C. Fields** and **Carole Dempster** in 1925’s *Sally of the Sawdust*, which was based on the stage play *Poppy* and was directed by **D.W. Griffith**; Fields as Professor Eustace McGargle and **Rochelle Hudson** as Poppy in 1936’s *Poppy*; Fields and **Catherine Doucet,** who portrayed Countess Maggi Tubbs DePuizzi. *(filmforum.org/doctormacro.com/facebook.com)*

The “blurred” performance by Fields (1880–1946), the result of his various ills, didn’t seem to affect most critics—the New York Times, for example, called the film “a glorious victory.” Remarkably, Fields would live another ten years and go on to star in such classics as 1940’s My Little Chickadee, (with Mae West), 1940’s The Bank Dick, and 1941’s Never Give a Sucker an Even Break.

HELLO FRIENDS…**W.C. Fields** chats with his close friend and Poppy director **Eddie Sutherland**, who was accompanied by writer Dorothy Parker during a visit to the set of *Poppy*. *(Facebook.com)*

Mosher also reviewed a “sad” picture about the tragic life of a Tyrolean sexton, Sins of Man, and the musical comedy Dancing Pirate, which he deemed even sadder because it was so terrible (Mosher walked out during the middle of the picture).

FROM BELLS TO THE BOWERY…**Jean Hersholt** played a Tyrolian sexton with an American dream that goes awry in *Sins of Man*. (eBay.com)

SEEING RED…Not even Technicolor could spare *Dancing Pirate* from John Mosher’s wrath. At left, **Steffi Duna** and **Charles Collins** in a dance scene; eighteen-year-old Rita Hayworth (right) appeared as an uncredited dancer in the film—here she poses in a publicity photo for 1936’s *Human Cargos.* *(mediaplaynews.com/facebook.com)*

* * *

All Aboard

In his “Notes and Comment,” E.B. White described a trip on a Boston & Main streamliner that traveled along a branch line. Lacking a turning loop, the train had to run in reverse for half of the round trip.

TWO-WAY TICKET…The Boston & Main streamlined Flying Yankee (seen here in 1938) would run both forward and backward when traveling along a branch line that lacked a turning loop. (Wikipedia)

* * *

Furies Al Fresco

On June 17, 1936 Rockefeller Center opened the Promenade Café in the plaza surrounding the Prometheus Fountain (later that year a temporary ice skating rink took the spot, now a permanent, iconic feature of the plaza). Writing for “The Talk of the Town,” E.B. White commented on the breezy dining experience he shared with wife, Katharine Sergeant White. Excerpt:

FIRE AND ICE…Patrons enjoy dining with the god of fire in the plaza beneath 30 Rock, circa 1970. The plaza is converted to an ice skating rink in the winter. (eBay.com)

The magazine’s next issue (July 4) advertised dinner, dancing and thirty-five cent cocktails at the Promenade Café…

* * *

From Our Advertisers

We open with a June Bride and hubby tanking up on some leaded gas before heading to Niagara Falls…

…opposite the Ethyl ad was this Simeon Braguin-illustrated spot for Bergdorf…

…the pacifists behind the World Peaceways ads pulled no punches when delivering their anti-war message…

…Budweiser continued its laborious series of ads that employed analogies and metaphors to promote its best-selling suds…

…recall the ad from the April 18 issue of The New Yorker, when the brewer used this disagreeable analogy to tout its “vacuum-cleansing” process…

…the Revere Copper and Brass company responded to the recent invention of canned beer with an invention of its own…the Tapster, an elegant nickel and brass pitcher with a built-in punch on the underside of the lid…just insert a can, push down on the lid, and pour…great for the yacht, or as a gift to some newlyweds…

The nickel-silver and brass “Tapster” is highly sought by collectors today. (americanhistory.si.edu)

…in contrast to Budweiser’s wordy ads (or to White Rock’s colorful ones), the folks at Hoffman advertised their products with just a few lines of black ink…

…Don Dickerman continued to promote his latest “Pirates Den” near Port Chester…note that among many other talents, Dickerman was also an artist…he illustrated the ads for all of his enterprises, including this one…

…John Hanrahan, publisher and editor of Stage theater magazine (and who also helped put The New Yorker on solid financial footing), set aside the August 1936 issue as a special edition, the “1911 Number,” a nostalgic, tongue-in-cheek look back to the founding of Stage’s predecessor, The Theatre Guild Magazine. The magazine marked its 25th anniversary by examining the striking differences between 1911 and 1936 in the world of theater as well as in fashion and cultural mores.

…here is the cover of that issue, featuring Billie Burke, a leading Broadway actress who would marry producer and impresario Florenz Ziegfeld Jr in 1914…she is still known today for her portrayal of Glinda the Good Witch of the North in 1939’s The Wizard of Oz…

…and Dr. Seuss was still at it, finding new and clever ways to deploy the insecticide Flit…

…the New York radio station WOR employed Otto Soglow to drum up some business for their ad department…WOR began broadcasting in early 1922, and is one of the oldest continuously operating radio stations in the U.S. (the three–letter call sign is characteristic of stations dating from the 1920s)…

…Soglow gives us a nice segue to our cartoonists and illustrators, beginning with a Susan Willard Flint woodcut…

…Alan Dunn contributed this spot drawing…

…as did Richard Taylor…

…Perry Barlow offered some sketches from the summer convention scene…

…Helen Hokinson considered the value of fortune-teller…

…Alain illustrated what dreams are made of, at least for one man…

…and what are friends for? Gardner Rea had an idea…

…Barbara Shermund offered a challenge at a dress shop…

…and Shermund again, with an enterprising commuter…

…just the facts ma’am, with Peter Arno in the court of law…

…Robert Day presented a construction conundrum…

…Rea Irvin took a child’s perspective of the wild world…

…and we close with this gem from James Thurber…

Next Time: Highfalutin Absurdities…

An Urban Spectacle

Above: Rudolf Persson's rendering of the main entrance to the Stockholm Exhibition of 1930, designed by Swedish architect Gunnar Asplund. The exhibition was a landmark event that introduced Functionalism to Swedish architecture and design.(Svensk Form)

Architecture critic Lewis Mumford turned his exacting eye on exhibitions at the Museum of Modern Art that looked to the future of building design. Of particular interest was an exhibit on those world expositions that have given us everything from the Eiffel Tower (1889 Exposition Universelle) to the car-dominated landscape that inspired millions of Depression-weary visitors at New York’s 1939 World’s Fair.

June 20, 1936 cover by **Adolph K. Kronengold.** Kronengold (1900–1986) created twenty-three covers for the *New Yorker from 1928 to 1947.* Born and raised in New Orleans, he frequently used watercolors and often painted scenes honoring his hometown. The June 20 cover was Kronengold’s seventeenth for the magazine.

Mumford made passing mention to the museum’s exhibit on government housing (he noted it was below MoMA’s standard) and then turned his attention to a review of world’s fairs, examining how they have inspired both waves of architectural achievement and “counterfeits of civic grandeur…”

BREAK FROM THE PAST…Images from the covers of MoMA’s exhibition catalogs depict the 1934-35 Carl Mackley Houses in Philadelphia (top, from the government housing exhibit) and the 1930 Stockholm Exposition. (MoMA.org)

STILL SERVING…the 1934-35 Carl Mackley Houses in Philadelphia have been on the National Register of Historic Places since 1998. *(Wikipedia)*

PONDERING what a modern exhibition should be, **Lewis Mumford** cited the granddaddy of them, the London Exhibition of 1851 (top), with its Crystal Palace, which he called “the first definitive monument of modern architecture,” as definitive and challenging as the Pavillon L’Esprit Nouveau (bottom), designed by **Le Corbusier** and **Pierre Jeanneret** for the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. *(devonandexeterinstitution.org/Wikipedia)*

SHAM AESTHETIC…Mumford referred to buildings in the 1893 Chicago World’s Fair (left) as “laborious limestone counterfeits of civic grandeur,” while praising the 1893 and 1900 Paris expositions for design innovations including the Art Nouveau style—at right is Le Pavillon Bleu, a lavish restaurant once located at the foot of the Eiffel Tower. It was built by French architect René Dulong in collaboration with Belgian architect and designer Gustave Serrurier-Bovy, one of the founders of the Art Nouveau movement. *(getzen.com/messynessychic.com)*

Looking ahead to the planned 1939 World’s Fair at Flushing Meadows, Mumford believed the age of grand world expositions had passed, especially those that moved the needle on design innovation. Moreover, he observed that the lack of real drama or rational purpose would threaten bankruptcy to future fairs, a symptom especially acute in America: “…a hasty transfer of attention from the agents of production to the organs of reproduction; a bevy of naked hussies remind the spectator that there are other wonders in Nature besides the harnessing of Niagara Falls, or the five-millionth Ford car.”

POINTING TO THE FUTURE..Rosalie Fairbanks, a guide to the 1939 New York World’s Fair, points to the theme of the exposition—the Trylon and Perisphere—after the entire sheath of scaffolding was removed for the first time on February 22, 1939. (Associated Press)

Earth-movers were already at work sculpting the fair’s site from the swampland and ash heaps along the Flushing River when Mumford assembled a self-anointed advisory group in 1936. This group— the “Fair of the Future Committee”—urged the fair’s leaders to abandon superficial commercialism and instead demonstrate how technology could serve the public good and restore ecological balance in American communities. That did not come to pass; when the fair opened in 1939, Mumford wrote in his “Sky Line” column (titled “Genuine Bootleg”) that the committee’s “hopes and proposals for a major contribution to urban design were progressively defeated. Today their wreckage is strewed about the Fair, so thoroughly smashed and disfigured that their own fathers could scarcely identify the corpses.”

FUTURAMA was a popular exhibit and ride at the 1939 New York World’s Fair. Designed by **Norman Bel Geddes** for the General Motors pavilion, it proposed a sprawling car-based future that was the antitheses of **Lewis Mumford’s** vision of human-scaled, ecologically balanced development. *(Wikipedia)*

Mumford got one thing right. Although the 1939 fair attracted more than 45 million visitors, it lost a lot of money, recouping only 32 percent of its original cost.

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Only a Memory

In “Notes and Comment,” E.B. White recalled the brief life of “America’s Little House” at 39th and Park in the Murray Hill neighborhood. The eight-room Georgian colonial was built in 1934 during the “Better Homes in America” campaign that promoted single-family home ownership as well as design innovations. The CBS radio network (which contributed $50,000 to the project) installed a studio in the house’s garage, from which it broadcast three national radio programs to a hundred stations across the country.

Open for about a year, the house was demolished in November 1935, its doors and interior furnishings sold to hostesses who had worked at the house. In its place William Van Alen—architect of the Chrysler Building—erected the all-steel “House of the Modern Age.”

CHANGE OF SCENE…At left, America’s Little House on Park Avenue and 39th Street, replaced by **William Van Alen’s** prefabricated steel house (right), “The House of the Modern Age,” detail from a photo by Berenice Abbott. (Wikipedia/cornell.edu)

…in the following week’s issue of The New Yorker, June 27, a back of the book ad from the Modernage Furniture Corporation touted the opening of “The House of the Modern Age”…

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Fan Fans

Staying on the domestic scene, here is an excerpt from Barbara Blake’s “About the House” column, where she updated readers on the latest in electric fans (air-conditioning in private homes was still a rarity).

ELECTRIC WIND…**Barbara Blake** highlighted the latest in electric fans including, clockwise from top left, the Airflow Safefan, which moved air with looped ribbons; the Samson Safeflex employed rubber blades as a safety feature; the noted designer **Robert Heller** produced these fan designs (1936 and 1937) modeled on airplane propellers. *(worthpoint.com/ebay.com/Montreal Museum of Fine Arts)*

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Billy’s Beef

In 1899 vaudevillian Billy Watson (aka Isaac Levie) formed his Beef Trust burlesque troupe of plus-sized women. Although his shows starred women in the 200-pound range, he also relied on slight-of-hand provided by the “Tights King” Morris Kohan, who apparently could produce tights that could make a person look either heavier or slimmer. “The Talk of the Town” explains in this excerpt:

WHERE’S THE BEEF?…**Billy Watson’s** burlesque troupe of plus-sized women—the Beef Trust— padded their profiles with the aid of specially designed tights. (Facebook.com)

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Divine Dilemma

In Part Two of Father Divine’s profile, St. Clair McKelway and A.J. Liebling recounted the preacher’s 1931 arrest, prompted by ongoing complaints from the citizens of Sayville, New York about the traffic jams caused by Divine’s daily feasts as well as the noise generated by the faithful who would holler hallelujahs late into the evening. During one of these late night revivals police raided Divine’s property and fined each of the seventy-eight followers a few dollars apiece. Divine, however, insisted on a jury trial, which was held seven months later. The charge: Maintaining a public nuisance.

Jurors convicted Divine, with a request for leniency, but Justice Lewis Smith sentenced the preacher to a year in prison, calling him a “menace to society.” However, four days later the judge dropped dead of a heart attack, and Divine was freed. The notion that the judge’s death was divine retribution was naturally perpetuated by the media. A brief excerpt, with illustration by Abe Birnbaum.

GET OUT OF JAIL CARD…In 1931 **Father Divine** was arrested for maintaining a public nuisance. Following a jury trial and conviction, the presiding judge dropped dead, leading the preacher’s freedom a few days later. *(facebook.com/nydailynews.com)*

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At the Movies

The drama film Private Number was based on the 1915 play Common Clay, which had already been made as a silent in 1919 and as a sound film in 1930. The play had a somewhat scandalous theme for the time (a young servant is fired when she becomes pregnant by her employer’s son), but thanks to the Hays Code, the more scandalous parts of the earlier films were omitted in 1936’s Private Number, leaving the viewer with little except for some “old-fashioned hocus pocus,” according to critic John Mosher.

THE BUTLER DID IT…In Private Number, **Basil Rathbone** portrayed a tyrannical butler with a personal interest in one of his new maids (**Loretta Young**). She in turn secretly marries the scion of the family (**Robert Taylor**) and bears his child. Clockwise from top left: Poster for the film; Rathbone, **Kane Richmon**d, and Young; Taylor, Young, and well-known canine actor Prince; rivals for a maid’s affection—Taylor and Rathbone. *(Wikipedia/imdb.com/basilrathbone.net)*

Thirty-nine-year-old Marion Davies appeared in one her final films, Hearts Divided, a musical based on the real-life marriage between American Elizabeth ‘Betsy’ Patterson and Jérôme Bonaparte, the brother of Napoleon Bonaparte. Although in real life Napoleon annulled the marriage, Hollywood gave the couple a happier ending.

THREE’S A CROWD…Napoleon (**Claude Rains**) comes between lovers **Marion Davies** and **Dick Powell** in *Hearts Divided.* The two also shared an off-screen romance behind the back of William Randolph Hearst, with whom Davies had a long-term relationship and to whom she believed she owed her career. (imdb.com)

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From Our Advertisers

Illustrator R. John Holmgren drew up this non-partisan appeal for White Rock mineral water…

…Stage magazine touted its upcoming July issue, featuring the “Glamour Girls” of Hollywood…

…here is the cover of that July 1936 issue, illustrated by Abe Birnbaum, featuring caricatures of leading ladies including Greta Garbo, Joan Crawford, Jean Harlow, Merle Oberon, Myrna Loy, Claudette Colbert, Bette Davis, Marlene Dietrich, and Katharine Hepburn…

…longtime member of the New Yorker coterie and contributor Alexander Woollcott appeared in this full-page ad endorsing the work of the American Civil Liberties Union…

…from the 1920s to the 1940s the Powers Reproduction Corporation was a prominent, New York City photo-engraving firm that created high-quality color images for magazines and advertising agencies…

…these back of the book ads joined forces to promote the healing waters of Saratoga Springs and the Gideon Putnam hotel and spa…apparently the waters and other spa services treated everything from heart conditions to obesity…

…Dr. Seuss returned with another scenario for insecticide use…

…on the inside back cover, the distillers of Four Roses Whiskey conjured up a June bride as an apt metaphor for their blending techniques…

…while Lucky Strike reclaimed the back cover with an ad that promoted its low acid cigarettes, whatever that meant…

…on to our illustrators and cartoonists, we begin with Arnold Hall…

…and Robert Day…

…with other featured spots from John Groth…

…Richard Taylor…

…and Otto Soglow…

…James Thurber drew up an unusual development in the sheepfold…

…Barbara Shermund posed a challenge for a hair dresser…

…and Shermund again, revealing a tactic of the modern woman…

…Carl Rose commanded a two-page spread to tell his tale of sin and redemption…

…Ned Hilton needed a hand at the subway station…

…Mary Petty gave us a patient in need of a second opinion…

…while Alan Dunn weighed summer camp options…

…and we close with Dunn, and a true urban escape…

Next Time: Poppy Returns…

Meet Father Divine

Above: Father Divine points to a Crum Elbow Estate sign (in Highland, NY) in July 1938. His followers purchased the 500-acre spread from anti-New Dealer Howland Spencer...the property was located directly across the Hudson from President Franklin D. Roosevelt's Hyde Park family home. That same summer Father Divine would also buy a fifty-room double dwelling in New York City. These and other locations served as integrated "heavens" for his followers. (Wikimedia Commons)

America has long been fertile ground for various religious denominations, sects and cults. Although the U.S. Religion Census has cataloged more than 370 distinct religious groups and bodies in the U.S., there are tens of thousands of independents scattered across the country.

Some of these remain small, while others grow into megachurches often organized around a charismatic leader. Such was the case with Father Divine (1876–1965), aka Reverend Major Jealous Divine, aka George Baker.

His life as George Baker of Valdosta, Georgia came to an end in 1907 when he became known as “the Messenger.” He parted ways with the Baptist church, declared himself a god, and was asked to leave Georgia after his 1914 arrest for lunacy. He led his followers to Brooklyn and later to a commune in Sayville, New York (Long Island), where he founded the International Peace Mission movement and came to be known as Father Divine. By the early 1930s his small and predominantly black congregation had grown into a multiracial and international church.

So intriguing was his story that The New Yorker published a lengthy, three-part profile written by St. Clair McKelway and A.J. Liebling. Here are excerpts from Part One (illustration by William Cotton):

A DEFT DUO…**A.J. Liebling** (left) and **St. Clair McKelway**, both acclaimed journalists, co-authored the three-part profile of **Father Divine**. Liebling (1904–1963) was closely associated with The New Yorker, joining the magazine in 1935 (he was also a well-known gastronome); McKelway (1905–1980) served as *The New Yorker’s* managing editor for journalistic contributions from 1936 to 1939 and wrote for the magazine for forty-seven years. *(Wikipedia/sfgate.com)*

DIVINE’S PATH…Clockwise, from top left: After relocating to Brooklyn in 1914, **Father Divine** married his first wife, **Peninniah**—they are shown here admiring his portrait; Father Divine led large gatherings centered on food—here he entertains guests at a summer retreat in upstate New York in 1938; following the death of **Peninniah**, the 70-year-old Father Divine married 21-year-old **Edna Ritchings** in 1946—she took the name “Mother Divine, with Father Divine claiming she was the reincarnation of Penninah; in 1953 Father Divine was given a hilltop estate (“Woodmont”) in Gladwyne, Pennsylvania, by follower John Devoute. The estate is the center of the International Peace Mission movement, a shrine to Father Divine’s life, and a meeting place for the few remaining followers. *(thecityroot.com/Newark Public Library/hsmcpa.org/Wikipedia)*

How did Father Divine come to believe he was a god? This excerpt offers some insights into his early development:

One of the perils of this kind of thinking is that it can lead to the formation of dangerous cults. Jim Jones, the notorious leader of the Peoples Temple, heavily modeled his early church activities and authoritarian structure on Father Divine’s example. Jones even attempted to take over the International Peace Mission after Father Divine’s death—in 1971 he tried to convert the Peace Mission’s followers, claiming he was the reincarnated Father Divine. His takeover attempt was thwarted by Mother Divine, who went to the media and publicly denounced Jones and the Peoples Temple. In 1974 Jones and his followers would relocate to a Guyana commune he called Jonestown. Four years later Jones would lead the mass murder-suicide of 909 Jonestown inhabitants.

AT ODDS…**Jim Jones** (left, circa 1970) attempted to take over the International Peace Mission after **Father Divine’s** death, but was publicly denounced by Mother Divine. At right, **Mother Divine** giving her first interview following the death of Father Divine in 1965. (Wikipedia/temple.edu)

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At the Movies

The media has always thrived on crime stories, feeding the public’s insatiable desire to be tantalized; once sated, they often demand swift justice. Take the heavily publicized 1933 case of two San Jose, California men who were accused of kidnapping and murdering a department store heir. Rather than wait for justice to be served, an angry mob broke into the jail and lynched the accused. Fascinated by the story, MGM screenwriter Norman Krasna pitched it as a potential film.

That film would become Fury, German director Fritz Lang’s first American project. Prior to fleeing the Third Reich in 1933, Lang was perhaps best known to Americans for his pioneering 1927 silent sci-fi film Metropolis and the 1931 thriller M. Lang sought to demonstrate how a decent and civilized man could become filled with vengeance and hate. Although critic John Mosher could see how the film had been tampered with by studio execs (and the Hays Code), he was nevertheless impressed by Lang’s direction and by the performances of lead actors Sylvia Sidney and Spencer Tracy.

WRONG TURN…Clockwise, from top left: In *Fury,* **Spencer Tracy** played gas station owner Joe Wilson, who drives west to reunite with his fiancée—the dog seated to his right is **Terry**, the same Cairn Terrier who played Toto in *The Wizard of Oz*; while camping outside a small town, Joe is arrested by a creepy local deputy (**Walter Brennan**) on suspicion of kidnapping a child; a mob forms and tries to burn Joe in his cell; in the confusion of the fire he escapes and seeks vengeance on the mob, but in the end finds peace with his fiancée (**Sylvia Sidney**). (imdb.com)

Peter Lorre, who was famously directed by Fritz Lang in the 1931 German thriller M, was starring in Alfred Hitchcock’s Secret Agent, which also featured John Gielgud (already famous as a London stage performer), Madeline Carroll, and Robert Young.

SECRETS AND LIES…Clockwise from top left: **Peter Lorre, John Gielgud, Madeline Carroll,** and **Robert Young** in *Secret Agent;* Carroll with Young, who played a German mole; Carroll, Gielgud and Lorre amid the wreckage of a train; Lorre in a scene with **Lilli Palmer.** *(imdb.com)*

Mosher briefly mentioned a new Fred MacMurray/Carole Lombard comedy–mystery, and the return of two silent movie stars.

CHOOSE YOUR PARTNER…The second of four films **Fred MacMurray** made with Carole Lombard between 1935 and 1937, *The Princess Comes Across* featured Lombard doing a clever take-off on **Greta Garbo**; silent-film veterans **Harry Carey** and **Hoot Gibson** stood for the ideals of the Old West in a culture clash with scientific crime-fighting in *The Last Outlaw.* The film was a remake of a 1919 silent film originally written and directed by John Ford. (imdb.com/csfd.cz)

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Beer Bottle Battle

E.B. White (in his “Notes and Comment”) seized on the battle between bottle and can manufacturers as an apt metaphor for the jousting of Republicans and Democrats ahead of the November elections.

FOAMING AT THE MOUTH…Competing ads from Collier’s magazine circa 1935-36 illustrate the battle between can and bottle manufacturers. Ninety years later, beer drinkers still debate the merits of glass over cans. *(boakandbailey.com/ebay.com)*

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From Our Advertisers

In 1936 whisky was still firmly in bottle form, and the makers of Canadian Club—through a series of ads—wanted to let us know you could enjoy their tipple almost anywhere in the world…

…this woman poses an interesting question, considering the fellas are riding atop a dusty stagecoach in the Arizona heat—in formal attire no less…

…over the years we’ve seen a lot of Adolph Teidler’s work for the Bermuda Board of Trade…Teidler (1886–1981) was also well known for his Saturday Evening Post covers…

…here’s an example of Teidler’s work for the Bermuda Board of Trade from the Feb. 22, 1936 issue of The New Yorker…

…the Zenith Radio Corporation touted their modern, streamlined “Zephyr” radio by industrial designer Robert Davol Budlong…

A restored Zenith 10-S-147 Zephyr chairside radio. (Pete Johnson–Zenith Radios Enthusiasts and Collectors via Facebook.com)

…Frank Quail Jr was a prominent automotive illustrator active from the 1920s through the 1930s. He was well-known for his work with luxury automobile brands such as Cadillac, LaSalle and Packard…here he conjures up a breezy seaside image for Cadillac’s more affordable LaSalle model (most of these ads were two-page spreads, with promo copy on the right-hand page)…

…and more Dr. Seuss on behalf of Flit insecticide…

…we begin the cartoon section with some spot art…here are two by Arnold Hall…

…and one from Richard Taylor…

…Alain referenced the upcoming heavyweight bout at Yankee Stadium between Max Schmeling and Joe Louis…their two fights in 1936 and 1938 were international sensations…

…more glimpses of “Holy Wedlock” from William Steig…

…a bit of trouble in Yonkers, per Carl Rose…

…George Price brought out the fire brigade for the Crêpes Suzette…

…Peter Arno drew up a colonel with a communication issue…

…William Crawford Galbraith celebrated the June bride…

…two by Mary Petty, at the dress shop…

and at the in-laws…

…Petty’s husband Alan Dunn feted the Class of ’36 (and ’06)…

…Perry Barlow illustrated a scoutmaster’s leadership skills…

…and we check out with Whitney Darrow Jr…

Next Time: An Urban Spectacle…

Izzy & Moe

Above: Former Prohibition agents Isidor "Izzy" Einstein (right) and Moe W. Smith meet at a New York City bar in 1935. Known for their clever disguises and unorthodox tactics, from 1920 to 1925 the duo confiscated roughly five million bottles of illicit liquor and arrested 4,932 people. (Wikipedia)

Legendary Americans come from all walks of life—sports stars, movie actors, political and business leaders—and they also come from unlikely places; take for example a pushcart peddler and a cigar store owner who became national celebrities for their exploits during the first years of Prohibition.

June 6, 1936 cover by Constantin Alajalov.

Prohibition agents Isidor “Izzy” Einstein (1880–1938) and Moe W. Smith (1887–1960) were known for their clever disguises, but the author of their “Where Are They Now?” profile was also in disguise—the piece was written by James Thurber under the pseudonym Jared L. Manley.

Einstein was 40-year-old pushcart peddler and postal clerk when he applied for a job as an enforcement agent at forty dollars a week. Although the 5-foot-5, 225 pound Einstein wasn’t the agency’s “type,” he convinced the feds that there was an advantage to not looking the part (the Austrian-born Einstein also spoke six languages). After landing the job, he asked if his friend, cigar store owner Moe Smith, could join him, since “he doesn’t look like an agent, either.” Some brief excerpts from part one of “Where Are They Now?”

TRICKSTERS…Clockwise, from top left: **Isidor “Izzy” Einstein** (right) and **Moe W. Smith**; the pair sported hundreds of disguises (Einstein on the left); Einstein’s badge and his bestselling 1932 book *Prohibition Agent No 1*; *Daily News* clipping from September 1920 showing results of a raid—Izzy and Moe are at right and left. *(history.com/Library of Congress/Wikipedia/goodreads.com/nydailynews.com)*

In her 2012 article for Smithsonian magazine (“Prohibition’s Premier Hooch Hounds”), Abbott Kahler notes that the agents were victims of their own success. “Superiors grew to resent their headlines, and other agents complained that their productivity made their own records look bad…In November 1925, Izzy and Moe were among 35 agents to be dropped from the force.” Both men went on to successful careers as insurance salesmen. Want to know more? Read Kahler’s excellent account of the duo at the Smithsonian magazine’s website.

TRIBUTE ON THE TUBE…In 1985 **Art Carney** and **Jackie Gleason** starred in CBS’s made-for-television film, *Izzy & Moe,* which was loosely based on the exploits of **Izzy Einstein** and **Moe Smith**. *(imdb.com)*

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At the Movies

Two of the better films playing in Manhattan cinemas featured murders and matrons, the matrons played by Britain’s top female screen star, Madeleine Carroll, and America’s queen of screwball comedy, Jean Arthur. Critic John Mosher observed that their films were the only ones with any “life.”

TRADING GALLOWS FOR A GROOM…Top, **Madeleine Carroll** portrayed a “lady of privilege,” accused of murder, who falls in love with the prosecuting district attorney (**George Brent)** in The Case Against Mrs. Ames—**Scotty Beckett** played Carroll’s son; below, **Jean Arthur** and **William Powell** in the comedy-mystery The Ex-Mrs. Bradford.(imdb.com/mikestakeonthemovies.com)

Other films reviewed by Mosher were rated as “negligible” and “disappointing,” despite their talented casts…

TRAIN SPOTTING…Clockwise from top left: **Esther Howard** portrayed a “flirtatious dowager” who worked her charms on **Jack Oakie** (center) in *Florida Special*; **Sally Eilers** prepares to board the *Florida Special* with **Dwight Frye** and Claude Gillingwater; **Robert Montgomery** and Rosalind Russell in *Trouble for Two;* Montgomery (left), **Leonard Carey**, and **Frank Morgan** in *Trouble for Two. (pinterest.com/imdb.com)*

THE OLD PRINCESS IN DISGUISE TRICK…From left, **Grace Moore, Eve Southern**, and **Franchot Tone** in *The King Steps Out. (IMDb.com)*

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From Our Advertisers

Last week Lois Long mentioned the return of famed Greenwich Village restaurateur and Sheridan Square funboy Don Dickerman. The June 6 issue featured two back-of-the-book ads placed by Dickerman that promoted his latest venture at Port Chester…this ad was on the bottom of page 75…

…and turning the page, you’d find this at the bottom of page 76…

WHERE IT ALL BEGAN…In 1916 **Don Dickerman** (1893–1981) opened a tearoom called the Pirate’s Cave at 133 Washington Place in Greenwich Village. The 6-foot-6 artist and entrepreneur was famous for his many themed establishments as well as for his eccentricities. Obsessed with pirate life, he dressed in full pirate gear in both public and private life. *(facebook.com)*

…Pacific Pottery was among firms in the 1930s marketing informal dinnerware featuring vibrant glazes and Art Deco streamline designs…

…you don’t hear much about the “June Bride” these days, but 1930s advertisers played up the tradition to sell everything from fashions to refrigerators…here the folks at Fisher made sure they connected their solid steel “Turret Top” to the safety of newlyweds…