November 2015 – A New Yorker State of Mind

Technicolor World

Screen Shot 2015-11-03 at 5.01.33 PM — March 13, 1926 cover by **H.O. Hofman**.

Although the trade name “Technicolor” conjures up images of mid-century Hollywood, the process was actually invented in 1916 and developed over subsequent decades.

Early Technicolor was a complicated process, using a prism beam-splitter behind the camera lens to simultaneously expose two consecutive frames of a single strip of black-and-white negative–one behind a red filter, the other behind a green filter. A projectionist had to be highly skilled to keep the film aligned during its showing. The Black Pirate, however, used a later technique that cemented the two prints together, making for a thick film that was prone to bulging and distortion.

When the New Yorker’s Theodore Shane reviewed Douglas Fairbanks’ latest swashbuckler film, The Black Pirate, in the March 13, 1926 issue, it appeared that after ten years of development the Technicolor process had a long way to go:

The-Black-Pirate-18117_1 — DEAR, YOU LOOK A BIT PEAKY…**Billy Dove** and **Douglas Fairbanks** rendered in early Technicolor in *The Black Pirate*. (MovieMail.com)

Art critic Murdock Pemberton wrote about the genius of the young artist Georgia O’Keeffe, whose work was on display at husband Alfred Stieglitz’s new exhibition space, the Intimate Gallery:

hb_69.278.1 — **Georgia O’Keeffe’s** *Black Iris*, 1926. (Metropolitan Museum of Art)

On to the March 20 issue, boldly illustrated by S.W. Reynolds, who contributed a number of deco-themed covers for the magazine:

Screen Shot 2015-11-13 at 10.40.51 AM — March 20, 1926 cover by **S.W. Reynolds.**

For all The New Yorker’s progressive wit and style, you are occasionally reminded that some of its sensibilities were still very much mired in those times. For example, this bit from the issue’s “The Talk of the Town” segment:

The March 27 issue offered a profile of actress Helen Westley, who was described by writer Waldo Frank (pen name “Search-light”) as “a goddess of our city” whose “true value and her art (was) her personal life.”

Screen Shot 2015-11-13 at 10.53.18 AM — March 27 cover by Ilonka Karasz.

Wesley often played a stern, indomitable character who wore a hawk-like glare, and in her later years portrayed dour dowagers and no-nonsense matrons. Frank wrote that while Wesley was not a particularly good actress, she lived her life with a spirit for adventure and a need to plunge her fine-born, gracious manner into the “frowsy” world of Broadway.

Screen Shot 2015-11-13 at 2.04.52 PM — A **Miguel Covarrubias** rendering of **Helen Wesley** for the “Profiles” piece.

And to close, Al Frueh’s take on a day in the life of a doorman:

Next Time: Parisians and Puritans…

Life of a Rum Runner

Screen Shot 2015-10-30 at 10.13.15 AM — March 6 cover by S.W. Reynolds.

Although they didn’t know it, thirsty New Yorkers still had more than six and half of years of Prohibition to endure, and business was brisk for the rum runners who plied the coastal waters.

The March 6, 1926 issue featured the article “Rum Runners Must Live,” in which writer Emile C. Schnurmacher described the heroic efforts of bootleggers and rum runners in keeping New York’s countless speakeasies (and many home liquor cabinets) well stocked. Some 30,000 speakeasies were opened in New York City alone during the Prohibition era.

Schnurmacher described the risky game of running “overboard stuff:”

He told of how one rum-running boat, the Sea Bird, made its way through Flushing Bay (to pick up bootleg Scotch) while evading the Coast Guard:

The boat later successfully delivered the “Scotch” near Yankee Stadium:

“The Talk of the Town” offered its regular update on bootleg prices. The local “synthetic” gin was reported to be of better quality than the imports, surprising given that synthetics poisoned a good number of folks back then:

The blog Speakeasy Science notes that during Prohibition, police department chemists, “analyzing the so-called gin in the Brooklyn bar and around the city, reported that much of it was industrial alcohol, re-distilled to try to remove the wood alcohol content. The re-distilling was not notably successful. The poisonous alcohol remained and there was more: the chemists had detected traces of kerosene and mercury, and disinfectants including Lysol and carbolic acid in the beverages.”