Front Page News

It’s hard to beat Chicago as a source for hardboiled storytelling, and two of its best newspaper reporters, Ben Hecht and Charles MacArthur, would draw on their rough and tumble newsroom experiences to create one of Broadway’s most-beloved plays.

March 28, 1931 cover by Ruth Cairns.

Although they were Chicago boys, the New Yorker crowd viewed Hecht and MacArthur as adopted (or perhaps naturalized) Manhattanites. So when John Mosher wrote his glowing review of the film adaption of The Front Page, he was writing about the work of a pair well known to the Algonquin Round Table set.

WE ❤ NY…Chicagoans Ben Hecht, left, and Charles MacArthur were familiar faces with the Algonquin Round Table crowd. (Chicago Tribune/Amazon)
NEWSIES…Editor Walter Burns (Adolphe Menjou) sizes up his reporter Hildy Johnson (Pat O’Brien) and Hildy’s fiance Peggy Grant (Mary Brian) in The Front Page. (IMDB)

MacArthur (1895-1956) was especially close to the Algonquin group, having shared an apartment with Robert Benchley and a bed with Dorothy Parker in the early 1920s. In 1928 MacArthur would marry one of Broadway’s most beloved stars, Helen Hayes.

For his part, Hecht (1893-1964) contributed short fiction pieces to the New Yorker during its lean first years, 1925-1928. After the success of The Front Page, Hecht would go on to become one of Hollywood’s greatest screenwriters.

Here’s Mosher’s review:

Playwright and essayist James Harvey observes that The Front Page was “Hecht and MacArthur’s Chicago…(and) that counts most deeply in the imagination of Hollywood. And their play, the first of the great newspaper comedies, did more to define the tone and style, the look and the sound of Hollywood comedy than any other work of its time.”

DESK JOB…Hildy Johnson (Pat O’Brien) and Molly Malloy (Mae Clarke) hide escaped murderer Earl Williams (George E. Stone) in a rolltop desk in 1931’s The Front Page. (Everett)
TRIUMPHANT TRIUMVIRATE… Following up on the success of his famously over-budget war film Hell’s Angels (1930), Howard Hughes (left) had another hit on his hands as co-producer of The Front Page; at the Fourth Academy Awards the film was nominated for Best Picture, Lewis Milestone (center) for Best Director, and Adolphe Menjou (right) for Best Actor. (Wikipedia/IMDB)

A footnote: Ben Hecht and Charles MacArthur were close throughout their careers, and remain so even in death: they are buried near each other on a hilltop in Oak Hills Cemetery, Nyack, NY.

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From Our Advertisers

In the late 1920s and early 1930s several illustrators drew inspiration from the style Carl “Eric” Erickson made famous with his elegant series of ads for Camel cigarettes…I’m not sure if this ad (part of a series promoting “The New Chevrolet Six”) is by Erickson or an imitator, but it seems the artists were likely inspired by the actress Greta Garbo and her signature beret…

…and for comparison, an Erickson Camel ad from the March 21, 1931 issue…

…and our inspiration, Greta Garbo circa 1930…

…those Chevy buyers might have considered investing in Velmo mohair upholstery to boost the resale value of their auto…

…among other technological wonders of the age — furniture crafted from aluminum, soon to become ubiquitous in workplaces across the country…

…and then there was the electric refrigerator, still new to a lot of households in 1931 as icemen began to hang up their tongs and head for the sunset…

…if you were a modern man or woman of means, you could ditch the auto altogether and get yourself a Pitcairn autogiro…

…in the 1920s and 30s the autogiro was considered by many to be the transportation of the future, a flying machine as easy to operate as driving a car…

HEY DAD, CAN I HAVE THE KEYS TO THE AUTOGIRO?…Above, a Pitcairn PCA-2. In the 1920s and 30s, many future-forward designers imagined the autogiro as the flying car of tomorrow. (Wikipedia)

…for those who preferred to be passenger rather than pilot, they could relax in the comfort of an airplane cabin and enjoy some…hmmm…beef broth! From what I understand, passenger flight was not this cosy in 1931…this was long before pressurized cabins, when you had to mostly fly in the weather, and not above it, and you probably had to fight to keep from upchucking that Torex all over the lovely flight attendant…

…while we are on the subject of flight, we turn to our cartoons, beginning with Garrett Price

…meanwhile, William Steig explored the trials of young love…

…a rare two-pager from Ralph Barton

Leonard Dove adopted an alias for a cartoon that seems inspired by a recent trip to Persia…

Otto Soglow illustrated one man’s dilemma at a bus stop…

Gardner Rea found offense in an unlikely setting…

Barbara Shermund defined pathetic in this sugar daddy’s boast…

…while on the other end of the spectrum, I. Klein illustrated the burdens of life as a Milquetoast…

…and we sign off with Mary Petty, and one woman’s terms of endearment…

Next Time: Last Stand for Beau James…

The Road to 1931

The New Yorker entered its sixth year in 1931, and despite the deepening Depression managed to stay afloat and even gain new subscribers. Perhaps more than ever folks needed that weekly dose of levity the magazine ably supplied.

Rea Irvin rang out the old and welcomed the new with back-to-back covers for the Dec. 27, 1930 and Jan. 3, 1931 issues. The second cover commemorated the New York Auto Salon, mentioned later in this blog entry.

That isn’t to say the magazine’s contributors donned rose-colored glasses. Rather, they commiserated with their fellow Americans:

CRANKY COUPLETS…Ogden Nash lent his droll verse to the nation’s economic woes. In 1931, while working as an editor at Doubleday, Nash submitted a number of poems to the New Yorker and spent three months working on the magazine’s editorial staff. (poeticous.com)

Over the course of 1930 many Americans, including Ogden Nash, woke to the fact that their business and political leaders were ill-suited to lift them out of the economic mess, and were likely responsible for it in the first place. At the top of the list was President Herbert Hoover, who was profiled in the New Yorker in three installments beginning with the Dec. 27 issue. This brief excerpt gives you a glimpse into a very different White House 89 years ago:

The first installment of the profile was accompanied by a Cyrus Baldridge portrait of the president (left), but the final two installments featured a less-than-flattering Abe Birnbaum rendering that first appeared in the New Yorker in the March 2, 1929 issue:

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Vorse Was a Force

Social critic, labor activist and novelist Mary Heaton Vorse (1874–1966) was no fan of Herbert Hoover or wealthy business tycoons, and in the first decades of the 20th century joined with Lincoln Steffens and other muckraking journalists in advocating for social reform. Vorse, however, also had a background in fiction writing and in observational pieces like the one below (excerpts) in which she commented on the rustic old ladies she found everywhere in the city:

FOR THE CAUSE…Mary Heaton Vorse (left) with fellow activists preparing to leave on a relief expedition to aid striking Kentucky miners, 1932. At right, a 1925 drawing of Vorse by Hugo Gellert. (nysut.org/Smithsonian)

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The Mystic

Before the Beatles made the Maharishi Mahesh Yogi a famed Transcendental Meditation guru in the 1960s, there was George Ivanovich Gurdjieff, a Russian/Greek/Armenian spiritual teacher of the “Fourth Way,” which promised a path to a higher state of consciousness and full human potential. Gurdjieff also enjoyed living in a French chateau and taking trips to New York to share his wisdom with eager Americans, including famed architect Frank Lloyd Wright. “The Talk of the Town” had these observations on the visiting mystic:

HE COULD SEE THINGS…George Ivanovich Gurdjieff, in an undated photo.

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Sunny Days

Forget about financial woes or spiritual dilemmas. What are you going to wear next summer? Fashion writer Lois Long (“On and Off the Avenue”) asked the question and looked to the south for some answers:

…numerous ads peppered the Dec. 27 issue urging Manhattan’s snowbirds to dress appropriately for the warmer climes…

…and operators of “PlaneTrains” promised to get them there as quickly as possible…

…and if you were headed to Cuba you could stay at the brand new National Hotel…

…here’s what it looked like three years ago when I was in Havana…I can guarantee you the hotel service was WAY better in 1931…

…whether home or abroad, New Yorkers were celebrating the New Year by “dancing to the melodies of Old Vienna” and smoking like chimneys…

…a popular New Year’s Eve destination was the The Roosevelt Hotel, where Guy Lombardo’s orchestra helped ring in the New Year from 1929 (radio’s first nationwide New Year’s Eve broadcast) to 1959…

I stayed at the Roosevelt Hotel in late December, and found Lombardo still presiding over the bar…

…we also find New Year’s revelry in the cartoons, with Mary Petty

Izzy Klein

Otto Soglow...

…and Leonard Dove

…and for those who stayed home, we have this scene of domestic bliss from Don Herold

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On to the Jan. 3, 1931 issue, we have Howard Brubaker (“Of All Things”) waxing sour on the state of the economy…

…so what a better way to cheer up than to look at shiny new cars, especially the ones almost no one could afford? The New Yorker paid another visit to the New York Automobile Salon at the Grand Central Palace…

…according to the article, 1931 was “a streamline year,” and leading the way was the REO motor car company, which despite its innovative ways would drop its car line altogether in 1936 — a casualty of the Depression…

FLOWING FENDERS…The 1931 REO Royale was a trendsetter, introducing streamlining designs. The Great Depression would cause REO to abandon the manufacture of automobiles in 1936. (historicvehicle.org)

…over at the Chrysler Building, which served as that corporation’s headquarters from 1930 until the mid-1950s, new cars were on display on the building’s first two floors…

CATHEDRAL OF CARS…The first two floors of the Chrysler Building served as an auto showroom during the building’s first decade. (Wikipedia/thewelcomeblog.com)

…we segue to our advertisements, many from car companies touting their displays at the New York Automobile Salon. Like REO, Marmon was noted for various innovations, including the introduction of the rear-view mirror. It also manufactured a stunning 16-cylinder automobile that was on display at the 1931 Salon. But also like REO, the Depression proved too much for Marmon, and it was defunct by 1933…

SLEEK…The 1931 Marmon Sixteen. (RM Auctions)

…another car company that would fall to the Depression was the luxury brand Pierce Arrow. Without a lower-priced car in its lineup to provide cash flow, the company ceased operation by 1938…

…by contrast, the Chrysler Corporation had several low-priced models to help it survive the lean years and enable it to produce its luxury model, the Imperial…

ANOTHER FIRST…Chrysler was also known for its innovative ways. A custom version of the Chrysler Imperial Eight included a dictaphone. (hemmings.com)

…the Hudson Motor Car Company is long gone, but in 1930 it was the third largest carmaker after Ford and Chevrolet, and instead of luxury it touted the affordability of its cars, especially its low-priced Essex line, priced $1,000 less than its predecessor from ten years earlier. The $595 Essex would be comparable to a $9,000 to $10,000 car today (by comparison, the 1931 Marmon or Imperial would set you back somewhere between $3,000 and $5,000, roughly equivalent to a $46,000 – $78,000 range today)…

…so let’s say the Depression has wiped you out and you can’t even afford an Essex…well you could try to “smoke your way back to normalcy”…

…or be like this pair, who seem content with their Chesterfields…

…of course the movies were another means of escape from the cruel world, and Paramount’s Publix Theatres promised plenty of sex to ease troubled minds…

PRE-CODE WORLD…During a brief period of the early sound era, many films used both sex and violence to attract audiences to theaters. The Publix Theatres ad above implied that these three films had plenty of sex, or “it” — clockwise, from top left, Fredric March ran around in his skivvies in The Royal Family of Broadway (1930); Mary Brian and Ina Claire portrayed acting sisters Gwen and Julie Cavendish in The Royal Family of Broadway; David Manners and Ruth Chatterton shared an embrace in The Right to Love (1930); and Marlene Dietrich lured a schoolmaster into a life of madness and despair in The Blue Angel (1929-30).

…and we close with our cartoonists…Reginald Marsh heralded the new year with this two-page spread depicting the heavens glorifying dental hygiene…

Leonard Dove inked two cartoons featuring table talk…

E. McNerney continued the New Yorker tradition of cartoons featuring rich old men and their gold diggers…

Gardner Rea pondered the value of kitsch in a regal setting…

A.S. Foster looked in on a crowd of John Does at a speakeasy…

…and Lillian Reed took us shopping with a very specific request…

Next Time: Requiem For the Flapper…

 

The Future Was a Silly Place

One of the most expensive movies of 1930 was a sci-fi musical comedy titled Just Imagine, a silly mash-up of great sets, terrible acting, and a vision of the future fifty years hence that was way off the mark.

Nov. 29, 1930 cover by Victor Bobritsky.

Not that the film ever set out to be an accurate prediction of the future. Nevertheless, it is instructive (or, at the least, amusing) to look back on “yesterday’s tomorrows” to understand the American mind in the first year of the Great Depression.

COME FLY WITH ME…Clandestine lovers LN-18 (Maureen O’Sullivan) and J-21 (John Garrick) share a romantic moment high above the streets of 1980 New York City. (scifist.net)

Just Imagine borrowed some of its look from Fritz Lang’s Metropolis (1927), a dystopian vision of the future that reflected the contentious years of Germany’s Weimar Republic. Just Imagine similarly reflected its time and place — the early years of the Depression — Hollywood responding not with gloom and doom but rather with uplifting fare — comedies, musicals, and escapist fantasies (Flash Gordon came along in 1936). The producers of Just Imagine rolled all of it into one film, and the New Yorker’s John Mosher tried to make sense of the mess:

EYE IN THE SKY…In Just Imagine, technology is advanced enough to have a traffic cop floating in the sky, but he still must rely on his arms and mechanical signals to keep the skyways in order. (YouTube clip)

The floating traffic cop is just one example of the film’s attention to set design. The New York skyline, featured in the opening scene, was constructed in a giant hangar at enormous cost…

(Reddit)

In one of the films weirder twists, vaudeville comedian El Brendel is brought back to life with an electric beam…

SMOKED HAM…Vaudeville comedian El Brendel is zapped back to life to provide the world of 1980 with comic relief. Some of the electrical equipment assembled by set designer Kenneth Strickfaden would be seen again in 1931’s Frankenstein. (scifist.net)

…and Brendel (below, center), proceeds to get drunk on booze pills and spew a series of really bad jokes throughout the duration of the film…

SHOULD HAVE LEFT HIM DEAD…Frank Albertson, El Brendel and John Garrick in Just Imagine. (scifist.net)
MARS ATTACKS…The film also took audiences to the surface of Mars via a phallus-shaped spaceship that would later be used in Flash Gordon serials. Clockwise, top left, the spaceship blasts off surrounded by a crowd of men in fedoras; aboard the spaceship; landing site on Mars; J-21 (John Garrick) encounters the Martian Queen (Joyzelle Joyner). (YouTube/scifist.net)

The movie flopped at the box office, but producers were able to recoup some of the costs by farming out clips of the futuristic sets, and some of the props, to other sci-fi films of the 1930s including the Flash Gordon and Buck Rogers serials.

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Toys For Tots

By mid-November the New Yorker’s “On and Off the Avenue” column had lengthened to include ideas for Christmas shoppers. The Nov. 29 issue offered these ideas for children’s toys from Macy’s…

XMAS IS COMING…Patsy Ann dolls in smart berets, and dollhouses in various styles (a 1930 Triang Tudor dollhouse at right) could be had at Macy’s Herald Square flagship store. (Pinterest)

GRRRR…First introduced in 1922, the revival of “Radio Rex” proved popular to the kiddies in 1930. It was the “high tech” toy of its day, the first to respond to voice commands. Rex the dog would spring out of his doghouse at the sound of the word “Rex,” thanks to a sound-sensitive electromagnet. (ctinventor.wordpress.com)

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A Century-old-Problem

Traffic woes have been around almost as long as there have been cars. In an excerpt from “A Reporter at Large,” Morris Markey explained the challenges facing the city’s police department:

IF YOU BUILD IT, THEY WILL COME…Traffic clogs Fifth Avenue near 42nd Street in 1930. (Pinterest)

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Speaking of cars, this ad in the New Yorker announced the opening of the annual Automobile Salon at the Commodore Hotel…

…and the magazine was on hand to describe its various wonders. Some excerpts:

POETRY IN MOTION…Top, the Walter Dorwin Teague-designed Marmon 16-cylinder wowed crowds at the Salon, even if few could afford it. The Great Depression limited the production of the luxury Marmon, and less than 400 were produced. The company abandoned the car business altogether in 1933. Below, the sporty Ford Model L Roadster, designed by Raymond Dietrich. (supercars.net/Sotheby’s)

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Maestro Politician 

The New Yorker profiled pianist, composer and statesman Ignacy Jan Paderewski (1860-1941). Paderewski served as Poland’s prime minister in 1919, negotiated on behalf of his country at the Treaty of Versailles, and had a 60-year career as a virtuoso pianist. A brief excerpt:

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Not For the Moneychangers

Architecture critic George S. Chappell checked in on the progress of three prominent Manhattan cathedrals in his “Sky Line” column:

LANDMARKS ALL…From left, Riverside Church, the still yet-to-be completed St. John the Divine, and St. Bartholomew’s. (MCNY/masonrymagazine.com/dtjoyce.com)

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The theater review section included this illustration of a new play, Roar China, that opened Oct. 27, 1930 at the Beck Theatre.

The staging of Roar China included this reconstruction of the bow of the H.M.S. Europa on the Beck Theatre stage…

(messynessychic.com)

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From Our Advertisers

The holiday season was in the air, and retailers were taking various approaches to entice Depression-era shoppers to consider their wares. The ads have a more conservative bent, when compared to late 1920s, and in the case of Wanamaker’s and B. Altman’s, an appeal to simpler times…

…Macy’s, on the other hand, looked to sell rather expensive lighters “to arouse the youthful enthusiasm among veteran smokers”…

…despite the Depression, New Yorker subscriptions continued to steadily increase — the magazine had nearly 45,000 subscribers in 1930, and by the end of the decade the number would approach 100,000 — below, a house ad designed to entice new subscribers…

…our cartoons include this holiday spot illustration by Barbara Shermund

…and another by Shermund of her parlor room crowd…

Otto Soglow amused us with a couple of tots…

Gardner Rea imagined a confrontation between a Macy’s Thanksgiving Day Parade balloon and Italy’s Fascist dictator Benito Mussolini

…the balloon Rea illustrated was “The Captain” from the popular Katzenjammer Kids comic strip. Along with his “family,” the Captain appeared in the parade in 1929 and 1930 (and possibly 1931). They were the first licensed character balloons in the parade’s history…

macysthanksgiving.fandom.com

…back to cartoons, book shopping with William Crawford Galbraith

…and some holiday cheer from A.S. Foster

Next Time: Ziegfeld’s Folly…

 

 

 

Will It Play In Peoria?

Cecil B. DeMille was known for his epic films (e.g. The Ten Commandments, 1923 and 1956) and cinematic showmanship, but in 1930 he puzzled his audiences with a very weird pre-Code musical, Madam Satan.

Oct. 11, 1930 cover by Theodore Haupt.

The film centered on a wealthy couple, Angela and Bob Brooks (played by Kay Johnson and Reginald Denny). Bob is unfaithful to his wife (a common pre-Code theme), and she attempts to lure him back by disguising herself as a mysterious devil woman at a masquerade ball held aboard a dirigible. Quite a plot indeed. Here’s what the New Yorker’s John Mosher had to say about it.

PAJAMA GAMES…Lillian Roth, Roland Young, and Kay Johnson in Madam Satan. At right, Reginald Denny falls for the charms of his wife (Kay Johnson), disguised as a devil woman at a masked ball held aboard a giant dirigible. (IMDB/cecilbdemille.com)
AIRHEADS…Via a giant mooring mast, partygoers board a dirigible for the masquerade ball in Madam Satan. Curiously, developers of the Empire State Building (which was under construction) envisioned a similar use for the mast that would top out their tower. In reality, winds that whipped around high towers would have prevented this type of boarding. (twitter.com)
SOMEONE CALL THE FAA…At right, the lavish masquerade ball aboard a giant dirigible in Madam Satan. At right, the dirigible is damaged by lightning in a scene that foreshadowed the Hindenberg disaster of 1937. (cecilbdemille.com/precode.com)
SEEMS PLAUSIBLE…In a silly ending to a silly film, partygoers float on parachutes away from the damaged dirigible. (twitter.com)

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Let Them Eat Cake

Somerset Maugham regarded his comic novel, Cakes and Ale, to be his favorite. The book took aim at snobs as well as at the legacy of one overrated, late-Victorian writer — a character many believe was based on the recently departed Thomas Hardy (Maugham denied the inspiration). The New Yorker had this to say about Cakes and Ale:

THROW HARDY INTO THE DUSTBIN…Somerset Maugham as photographed by Carl Van Vechten in 1934. (Wikipedia)

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He Meant What He Said

Howard Brubaker, in his “Of All Things” column, found humor in the words of a rising figure in German politics, you know who…

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Throw Him a Softball

The famed French artist Henri Matisse paid a visit to New York City, and according to this account in “The Talk of Town,” seemed to be seeking some peace of mind…

AN OPPOSITE VIEW…Henri Matisse struck a thoughtful pose atop a Manhattan apartment at 10 Mitchell Place in 1930. The Queensboro Bridge can be glimpsed in the background. (ephemeralnewyork.wordpress.com)

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Still Barred From the Bar

We are still about three years away from the official repeal of the 18th Amendment, but as we know the partying continued in houses and speakeasies across the great city. E.B. White, in his “Notes and Comment,” wistfully recalled the days when good booze was legal:

White did find some cheer in the pro-wet platforms of the two major parties…

A GIMLET IN EVERY POT…The major political parties in 1932’s U.S. presidential race were represented by incumbent Herbert Hoover (Republican) and Franklin D. Roosevelt (Democratic). Both favored repeal of the 18th Amendment. Pictured at the center, a New Yorker cocktail, the object of E.B. White’s longing. (Wikipedia)

And while we are on the subject, we have this Wallace Morgan illustration of a lively speakeasy with the ironic caption, “The Saloon Must Go!” — referencing an old Anti-Saloon League Slogan.

You didn’t have to go to a speakeasy if you wanted a glass of wine. During Prohibition American winemakers found a lucrative loophole by selling perfectly legal concentrated grape juice (called “wine bricks”) to home brewers and bootleggers alike.

According to an article in the Smithsonian, winemakers marked the wine bricks with warnings that they were “for non-alcoholic consumption only.” However, the package would also bear a note explaining how to dissolve the brick in a gallon of water, and yet another “warning” instructing the buyer not to leave the jug in a cool cupboard for 21 days, lest it turn into wine.

Here’s an ad in the Oct. 11, 1930 New Yorker that not-so-subtly offered a selection of varietals…

Here’s what a wine brick looked like:

A wine brick from San Francisco’s Vino Sano company. The label reads: “Each Brick dissolve in one gallon of water. To prevent fermentation, add 1-10% Benzoate of Soda.” Yeah right. (vinepair.com)

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From Our Advertisers

No doubt Prohibition caused more than a few people to take up smoking. Women adopted the habit in droves during the Roaring Twenties, and by the Depression it seemed everyone was lighting up. Advertisers explored various ways to market cigarettes, and long before the Marlboro Man made the scene, that brand pushed its product through a series of dopey handwriting and essay contests,,,

…the makers of Luckies used a combination of sex and bogus health claims to sell their products…

…cigarettes were not confined to ads by tobacco companies; here they are accessories to fine furs…

…even the New Yorker’s spot illustrations (this by Frank McIntosh) featured smokers…

…as did cartoons, such as this one by Barbara Shermund in the Oct. 4 issue…

…and we have one more ad, this one from Chrysler, which acknowledged the new world of the Great Depression, but only through use of careful euphemisms (the New Yorker editorial side practiced much of the same)…

…on to our cartoons, beginning with an exploration of city vs. country life, by Alice Harvey

…a depiction of what commuter flying was actually like in 1930, thanks to Leonard Dove

…a glimpse at modern parenting, with Helen Hokinson

…humor in a gentleman’s drawing room, courtesy Peter Arno

…and 89 years later, a hilarious update on the subject by Edward Steed in the Sept. 9, 2019 issue…

…and finally, the joys of urban life brought to us by Alan Dunn

Next Time: Ghosts of Gotham…

Marble Halls

We close out the boiling August of 1930 with Wolcott Gibbs and his fanciful musings regarding the future offices of the New Yorker, inspired by his recent visit to the glitzy new lobby of the New York Daily News Building.

August 30, 1930 cover by Julian De Miskey.

I include a brief excerpt of Gibb’s tongue-in-cheek fantasy of the future, which inadvertently foresees the New Yorker’s current offices (see contrast of old and new above) in the gleaming glass tower now known as One World Trade Center:

THAT WAS THEN…The New Yorker’s first offices were located at 25 West 45th Street, a 16-story building erected in 1913 (it still stands). It’s almost impossible to find images of the New Yorker’s early office spaces, but you can probably get some idea from these photos of another tenant of the building, the  Y.M.C.A. Dental School. (Museum of the City of New York/New York Public Library)
THIS IS NOW…Almost in fulfillment of Wolcott Gibbs’ fantasy, the New Yorker today occupies offices in the Condé Nast section (images above) of the 104-story, 1,776 foot One World Trade Center (floors 20 to 44). When the New Yorker moved onto the building’s 38th floor in early 2015 (one floor above Wired), it marked the first time the magazine was located outside of a small area in Midtown. (New York Magazine/interiordesign.net)

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His Bit of Earth

“The Talk of the Town” noted an increasingly rare sight along Fifth Avenue, a private garden created by Thomas Fortune Ryan that in 1930 was occupied by his son Clendenin J Ryan:

DUST TO DUST…Thomas Fortune Ryan demolished the Charles T. Yerkes mansion and its art galleries (before and after photos, top, and image of a gallery, bottom right) to make way for his private flower garden, which is visible in the bottom left hand corner of the image at top right. An apartment building erected in 1937 (bottom left) occupies the site today. (Museum of the City of New York/Alice Lum)

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From Our Advertisers

Backgammon became all the rage in the 1930, so much so that one Grosvenor Nicholas, “a famous authority on backgammon,” commanded a fill-page ad from Saks…

…for reference, the New Yorker made note of Nicholas’s visit in the Sept. 6 “Talk of the Town”…

FUN IN THE SUN…Joan Crawford playing backgammon with her first husband Douglas Fairbanks Jr. in 1931. (Pinterest)

…celebrity endorsements continued to grow in importance in the 1930s, here the famed Australian-born British actress Judith Anderson (1897-1992) marvels at the products manufactured by Angelus…

…Anderson would later be made a “Dame,” and would enjoy a long career and a long life, even appearing in 1984’s Star Trek III: The Search for Spock as the Vulcan High Priestess T’Lar…

VERSATILE…At left, Dame Judith Anderson in 1930. At right, Anderson on the set of 1984’s Star Trek III: The Search for Spock, with actor Leonard Nimoy. (Tumblr)

…this ad for Buick shows a rich gent dismissing his chauffeur, something he would probably have to do permanently as the Depression continued to ruin fortunes…

…and perhaps a lost fortune could lead to one being “difficult,” and in that case Dyers & Dyers could sooth the hurt with squab from a can…

…on to our cartoonists, we have Constantin Alajalov illustrating a scene at the Battery…

Ralph Barton continued his interpretations of a new decade…

…some unfortunate racist humor from Al Frueh

…an indelicate moment at the beach, courtesy Garrett Price

Perry Barlow looked at the challenges of city life…

…and Alan Dunn found a man with a case of the moderns…

Next Time: Animal Crackers…

For the Byrds

Since time immemorial human beings have clung to the idea that unknown lands must surely contain vast mineral treasures.

July 26, 1930 cover by Helen Hokinson.

Such was the case when Admiral Richard Byrd returned from his Antarctic expedition, during which he conducted a number of geological studies. Ever ready to tweak a senator’s nose, the New Yorker’s James Thurber imagined an exchange between Byrd and a U.S. Senate subcommittee that was more interested in exploitable commodities than in scientific discoveries:

HMMM, NO OIL HERE…Richard Byrd’s expedition building their “Little America” encampment at the South Pole in 1928. (osu.edu)

One passage of particular interest in this imaged exchange dealt with the speed of climate change in relation to potential mineral extraction…

BIRDS MEET BYRD…Admiral Richard Byrd onboard the USS Bear during his second expedition to the South Pole. (Wikipedia)

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Before CNN

Newsreels came into their own with the advent of sound, offering moviegoers a selection of news stories from the around the world. In his “Notes and Comment,” E.B. White observed that newsreels depicted foreigners as people who just liked to hang out (note the racial slur directed at Latin Americans). White’s characterization of Germans as an indolent lot is also noteworthy, given the country was just two and half years away from Nazi takeover.

TANZEN UND TRINKEN…Kroll’s Biergarten in Berlin in September 1928; English visitors raise a glass at a beer hall in Hesse, 1929. (YouTube)

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Speaking of Slurs

Here is what passed for a humorous anecdote in the July 26, 1930 “Talk of the Town”…

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Star Power

William Powell and Kay Francis were frequent co-stars, and would team up for the 1930 courtroom drama For the Defense. Powell and Francis would be two of Hollywood’s biggest stars in the 1930s.

LET’S MAKE A PICTURE…Frequent co-stars William Powell and Kay Francis in a publicity photo for 1930’s For the Defense. Francis was a longtime friend of the New Yorker’s Lois Long. (IMDB)

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From Our Advertisers

What Depression? As bread lines lengthened so did the “super-chassis” of this monster Cadillac…

…in contrast, this ad in the Aug. 2 issue questioned the necessity of a 4,000-pound car (or in the case of the 16-cylinder Cadillac, 6,500 pounds), and touted this “common sense” British import…imagine the America of today if this idea would have taken hold in the 1930s…

…we return to the June 26 issue to find an ad that would likely not appear in today’s New Yorker

…another unlikely ad is this spot from the makers of Farina cologne featuring a skinflint applying the stuff to his armpit…yeah, I’ll take a bottle…

…and Rea Irvin continued his series of illustrations for Murad cigarettes…

…in cartoons, Irvin gave us this interpretation of country life in a full-page panel originally featured sideways…these “Country Life in America,” scenes depicted common folks enjoying the outdoors at the expense of country squires…

…and then we have the bohemian artist and set designer Cleon Throckmorton (1897-1965), with his one and only contribution to the New Yorker

…in a previous issue (May 31, 1930) Throckmorton had placed this tiny, curious ad in a corner on page 46…

…and in the June 7, 1930 issue, he placed another ad in the bottom corner of page 94…

Cleon Throckmorton, well-known for his bohemian lifestyle, operated a backyard speakeasy called the Krazy Kat Club in Washington DC. He is pictured here (center) with a couple of “Klub” members in 1921. He was no slouch, however, designing 149 New York theatrical productions between 1920 and 1934. (messynessychic.com)

…back to our cartoons, we have Otto Soglow, who was going through a wavy period in his illustrations…

…Soglow would soon become famous for his Little King strip, but for now we’ll leave the king jokes to Peter Arno

Gardner Rea contributed this series cartoon that slid around page 20…

Leonard Dove looked in on a domestic scene…

…and John Reehill contributed this weird little cartoon that reminded me a bit of the humor of Gahan Wilson

Next Time: The Drys Are All Wet…

 

 

Transatlantic Dreaming

When Apollo astronauts landed on the moon fifty years ago, many skeptics asked the question, “What good does this accomplish?”

July 12, 1930 cover by Constantin Alajálov.

New Yorker writer Morris Markey posed the same question 89 years ago about transatlantic flights, then limited to a handful of daredevils chasing various speed and distance records. Crossing the ocean in an airplane, Markey observed, was “one of the most difficult things imaginable.” He concluded that despite the heroics of a few pilots, “we are still not much nearer to transoceanic commercial service…”

TESTING THE LIMITS…In photo at left, Charles Kingsford Smith (second from left) and the crew of his airplane, Southern Cross, pause before embarking on their east-west crossing of the Atlantic in  June 1930; photo at right: Dieudonné Costes (right) with Maurice Bellonte in Boston in 1930. On September 1-2, 1930, they flew the “Point d’Interrogation” from Paris to New York, the first heavier-than-air aircraft to reach New York in the more difficult westbound direction between the North American and European mainlands. (National Library of Ireland/Wikipedia)
BIG THINKERS…Germany’s massive Dornier Do-X made its first test flight on July 12, 1929. A few months later, it carried a world-record 169 passengers on a 40-minute flight, an astonishing number given that the largest planes at that time rarely carried more than 20 passengers. In 1930, the Do-X took off on an international publicity tour through Europe, down the west coast of Africa, across the Atlantic to Brazil and up to New York before returning to Berlin. (Mashable)

Markey went on to detail the various obstacles facing transatlantic fliers, including fairly good odds that a plane, laden with fuel and supplies for such a journey, would crash on takeoff. He noted that a little over half of the attempts succeeded, while the others seemed doomed from the start.

ILL-ADVISED…With only 70 hours of flying experience, Montana rancher Urban F. Diteman (left, with his airplane “Golden Hind”) took off from Harbour Grace, Newfoundland, bound for London. He was never seen again; at right, the William Randolph Hearst-sponsored “Old Glory,” a Fokker F.VIIa single-engined monoplane that was used in 1927 on an attempted transatlantic flight from Old Orchard Beach, Maine to Rome, Italy. The overloaded plane and its crew were lost approximately 700 miles east of Newfoundland, where only a section of wing was recovered. (dailymontana.com/Wikipedia)

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Glare of the New

Architecture critic George Chappell enthusiastically followed the construction of the world’s tallest building, but in its completion he found the Chrysler Building’s now-iconic spire to be little more than a stunt, and suggested that a covering of masonry might be in order:

MAYBE SOME VINYL SIDING?…George Chappell wasn’t too crazy about the Chrysler’s chrome dome, and also worried about the amount of steel that would clad the exterior of the Empire State Building, right, which is composed of limestone, chrome bars and aluminum panels. (Wikipedia)

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Bottoms Up

In his “Notes and Comment,” E.B. White pondered the drinking habits of his fellow citizens in the tenth year of Prohibition:

MAKE THAT A DOUBLE…Finding refreshment in the dark days of Prohibition. (junkee.com)

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Good Old Summertime

Along the bottom of “The Talk of the Town,” a Reginald Marsh interpretation of Coney Island fun and games…

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Still the Same

Lois Long, who painted a picture of Jazz Age nightlife like no other in her “Tables for Two” column, teased her readers by disguising her identity, often claiming she was a frumpy old lady. With her “Tables” column now relegated to the dustbin, the fashionable and young Long maintained her pose, referring to herself as an “old war horse” in her fashion column “On and Off the Avenue.”

Problems of the Rich

John Mosher reviewed the 1930 American Pre-Code comedy Holiday, which told the story of a young man torn between his wild lifestyle and the tradition of his wealthy fiancée’s family. Films that explored the “problems” of the rich seemed particularly popular in the Depression years…

POOR LITTLE RICH GIRLS…Mary Astor and Ann Harding in Holiday. (IMDB)

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From Our Advertisers

The makers of Pond’s Cold Cream continued its campaign of endorsements by society women, including Philadelphia socialite, philanthropist and champion horsewoman Elizabeth Altemus

Altemus (1906-1988) was a prominent owner/breeder of Thoroughbred racehorses for more than 50 years. Her first marriage was to Jock Whitney, U.S. Ambassador to the United Kingdom, publisher of the New York Herald Tribune, and president of the Museum of Modern Art. By the looks of this 1937 portrait of Altemus, the cold cream certainly didn’t do her any harm…

Mary Elizabeth Altemus Whitney in 1937. (geni.com)

…speaking of cold cream, when Kleenex was introduced in the early 1920s, it was marketed solely as a hygienic way to remove cold cream. It wasn’t until the 1930s that the makers of Kleenex began to suggest it could also be used as a tissue in place of a handkerchief. Of course it was also a great way to dramatically expand consumption of its brand, and help usher in a new age of disposable products…

…as the Depression deepened, ads for automobiles began to change with the times, most manufacturers emphasizing the affordability of their cars over performance or prestige, as this sad little ad from Packard attested….

…in three consecutive issues (June 5, 12 and 19) Peter Arno featured the same drawing with a different caption that gave readers a very brief courtship story…

Alan Dunn offered a glimpse of life among the newsboys…

Leonard Dove found Americans browsing newsstands along the Seine…

Helen Hokinson looked in on an existential crisis…

Perry Barlow was Out West at a dude ranch…

Barbara Shermund eavesdropped on a couple of debs…

Garrett Price gave us an awkward encounter among the yachting crowd…

…and finally William Crawford Galbraith, and a case of domesticus interruptus

Next Time: Aleck & Frank at Taliesin…