Hot Jazz in Stone and Steel

With the Chrysler Building nearing completion and the Empire State Building beginning to rise from the old Waldorf-Astoria site, the New York City skyline was taking on the iconic form most of us now associate with the city.

April 12, 1930 cover by Theodore Haupt.

Dubbed “hot jazz in stone and steel” by modernist architect Le Corbusier, the Chrysler Building’s gleaming spire beckoned the New Yorker’s E.B. White and real estate journalist David G. Bareuther (New York Sun) to its summit for a closer look…

BARE BONES…The spire in place atop the Chrysler building, the dome awaiting its metal skin. (skyscraper.org)
WHAT LIES BENEATH…The stainless steel spire still gleams atop the Chrysler Building; beneath the spire, a maze of scaffolding — navigated by E.B. White and David G. Bareuther for their “Talk of the Town” piece, supports the upper portions of the building’s dome. (yahoo.com/nygeschichte.blogspot.com)
THE HIGH LIFE…The Chrysler Building’s exclusive Cloud Club was located on the 66th, 67th, and 68th floors. At one time it was the highest lunch club in the world. It closed in 1979. (decopix.com)

If you want to get a sense of what E.B. White and David Bareuther experienced during their climb through the Chrysler’s dome, take a look at this video featuring American radio personality “Opie” (Gregg Hughes) and Hidden Cities author Moses Gates…

The article also noted that an “observation balcony” would be available for visitors to the 71st floor (actually an enclosed room inside the dome), but I’m sure the expectations for revenue fell quite short, given the competition it would soon receive from the much larger, higher, open air observation deck of the Empire State Building…

REACHING FOR THE STARS…When the Chrysler Building officially opened in 1931, visitors could go up to the 71st-floor observatory (in the dome) and view the city through its triangular windows. The observatory closed in 1945. (nygeschichte.blogspot.com)

…a bit of a digression, but I couldn’t help but notice the observatory’s resemblance to this set from the 1920 silent film The Cabinet of Dr. Caligari

(silent-volume.blogspot.com)

…and here is a terrific graphic from Popular Science (August 1930) demonstrating how the spire, which was assembled inside the dome, was raised into its final position…

…and finally, some great archival footage documenting the achievement…

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Tragic Theater

We continue our forays into the built environment of 1930 New York by looking at what was lost, including two beloved Broadway theaters. “The Talk of the Town” lamented the decline of the Garrick…

FINAL CURTAIN…Built in 1890 and originally named Harrigan’s Theatre, The Garrick closed as a playhouse in 1929. After a short run of burlesque, the building was demolished in 1932.

…and the Casino…

You can read more about the Casino at one of my favorite blogs, Daytonian in Manhattan.

HEYDAY…Clockwise, from top left, circa 1910 postcard image of The Casino Theatre at Broadway & 39th; an audience on the Casino’s roof garden glimpses the performance below; interior of the Casino; the British musical comedy Floradora would become one of Broadway’s greatest hits — the New York production opened in 1900 and ran for 552 performances. (Museum of the City of New York )

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From Jazz to Gothic

We return our gaze to the skies with three more new buildings reviewed by architecture critic George S. Chappell in his “Sky Line” column. He began with the Manhattan Towers Hotel, which thanks to the Depression would soon fall on hard times, going into foreclosure by October of 1931 and becoming a favorite gangster hideout (read more about the hotel at Daytonian in Manhattan)…

GOD AND MAMMON…Clockwise, from top left, the Manhattan Congregational Church in 1927. The church was torn down in 1928 and replaced by the Manhattan Towers Hotel at Broadway and 76th; the completed hotel, designed to wrap around the three-story Jones Speedometer Building, seen in the lower right of the photo; the first five floors of the building were dedicated to church use; after falling into disrepair, in 1980-83 the 626-room hotel was converted into 113 cooperative apartments. Note that the Speedometer Building still stands, sadly shorn of its ornamentation. (New York Public Library/Daytonian in Manhattan)

…Chappell also found much to admire in the new Fuller and Squibb buildings…

FULLER HOUSE…Clockwise, from top left, the 1929 Fuller Building was the third home of the George A. Fuller Company (its second home was the 1903 Flatiron Building); detailed views of the building’s tiled pinnacle and unique glass display windows that distinguish the building’s first six stories; an advertisement from the March 2, 1929 New Yorker that touted these gallery spaces for “superior merchandise”; detail of a coffered panel on an elevator door. (deskgram.net/nyc-architecture.com)
Clockwise, from top left, entrance to the Squibb Building, now known as 745 Fifth Avenue; the cool white marble of the building’s base so admired by critic George Chappell; today, the building at dusk, the slender profile of 432 Park Avenue rising in the background. (pinterest.com/OzBibliophile/paramount-group.com/landmarkbranding.com)

…From the Chrysler Building to the Fuller and Squibb, these new buildings, their architects, and the city’s ever-changing skyline were famously celebrated at the January 1931 Beaux Arts Ball…

HEADS IN THE CLOUDS…the Chrysler Building’s architect, William Van Alen (center), flanked by, from left to right, Stewart Walker (The Fuller Building), Leonard Schultze (The Waldorf-Astoria), Ely Jacques Kahn (The Squibb Building), Ralph Walker (1 Wall Street), D.E. Ward (The Metropolitan Tower), and Joseph H. Freelander (Museum of the City of New York). The New York Times referred to the group as “a tableau vivant of the New York Skyline.” (Van Alen Institute)

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Quiet on the Set

The early days of sound movies created numerous challenges for directors who not only had to adjust the action to accommodate cumbersome microphones, but also to keep out unwanted noises or bad enunciation. “The Talk of the Town” explained…

CLOSETED…In the early days of the talkies, cameras had to be soundproofed in cabinets so their noisy motors would not be picked up by primitive sound equipment. (coloradocollege.edu/Library of Congress)

Peter Arno illustrated the predicament of filming in nature in this cartoon from the April 5, 1930 issue…

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One of Ours

In the story of the New Yorker, Alexander Woollcott and Marc Connelly were there at the beginning as founding members of the Algonquin Round Table and advisory editors to the first issues of the magazine. Basking in the success of his latest play, The Green Pastures (for which he would receive a 1930 Pulitzer Prize for Drama), he was the subject of a April 12, 1930 profile, titled “Two-Eyed Connelly,” which was written by Woollcott. Some excerpts, and a caricature by Al Frueh

FAMILIAR WITH THE SUBJECT…Alexander Woollcott, left, explored the life of his old friend Marc Connelly in the April 12 profile. (goodreads.com/Fine Art America)

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The Party is Really Over

Lois Long’s column “Tables for Two,” which in the 1920s was a must-read for those interested in Jazz Age night life, appeared intermittently in its last year, and its April 12 installment was not even written by Long, but by a writer who signed the column “F.D.” — I assume this is Fairfax Downey, who tried his best to capture Long’s style…

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From Our Advertisers

Warner Brothers opened their pocketbooks to publicize John Barrymore’s latest film, The Man From Blankey’s, which the studio described as a “Modern High Hat Comedy”…

WHEN ALCOHOLISM WAS FUNNY…Loretta Young, John Barrymore and Angella Mawby in The Man from Blankley’s. (IMDB)

…Thanks to William Randolph Hearst and his King Features Syndicate, Robert Ripley, the P.T. Barnum of the funny pages, soared to fame in the 1930s with his “Believe It or Not” panel…here he begins his 14-year run on the radio…

HELLO SUCKERS…Robert Ripley in 1930 with a drawing of “the Horned Man of South Africa.” (RIPLEY ENTERTAINMENT INC.)

…and here’s an ad for another questionable but very American diversion — Fred Harvey’s “Indian Detours”…

WE’RE NOT IN KANSAS ANYMORE…The Fred Harvey Company was renowned for its chain of eating houses hosted by the famed “Harvey Girls” along the Atchison, Topeka & Santa Fe Railroad between 1876 and 1968. To encourage train travel (and Harvey business) in the Southwest, the Harvey company developed “Indian Detours.” The photo at left is of an “Indian Building” in Albuquerque, which featured displays of art and “live exhibits” that included Native Americans from many tribes around New Mexico. (santafeselection.com)
EASY RIDER…1929 Cadillac Harvey Indian Detour Car outside La Fonda, Santa Fe. (Palace of the Governors photo archive)

…if you preferred to travel abroad, Texaco wanted you to know that you could still gas up with their product, even in distant Singapore…

…we begin our cartoons with the spare stylings of Gardner Rea

…and Otto Soglow

…we find one of Helen Hokinson’s ladies on her way to fitness…

William Crawford Galbraith showed us an enterprising young man…

Art Young illustrated the challenges of the lecture circuit…

…and one of my all-time favorite Peter Arno cartoons…

Next Time: The Circus Comes to Town…

 

Published by

David O

I read and write about history from the perspective that history is not some artifact from the past but a living, breathing condition we inhabit every moment of our lives, or as William Faulkner once observed, "The past is never dead. It's not even past." I read original source materials, such as every issue of The New Yorker, not only as a way to understand a time from a particular perspective, but to also use the source as an aggregator of various historic events. I welcome comments, criticisms, corrections and insights as I stumble along through the century.

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