The Little King

Like his New Yorker colleague Reginald Marsh, Otto Soglow trained in the “Ashcan School” of American art, and his early illustrations favored its gritty urban realism. He had his own life experience to draw upon, being born to modest means in the Yorkville district of Manhattan.

We look at two issues this week. At left, cover of March 31 issue by Peter Arno; at right, June 7 cover by Constantin Alajalov.

But Soglow (1900-1975) would soon abandon the gritty style in the work he contributed to the New Yorker…

RAGS TO RICHES…At left, Otto Soglow’s first cartoon in the New Yorker, Nov. 14, 1925, was rendered in the Ashcan style ; at right, an example of the sparer style he later adopted, one of his manhole series cartoons from March 2, 1929.

…and in the June 7, 1930 issue, Soglow would publish his first Little King strip, which would soon launch the 29-year-old into fame and fortune…

Did Soglow know he was on to something big with that first Little King cartoon? Well Harold Ross (New Yorker founding editor) liked what he saw, and asked Soglow to produce more. After building up an inventory over nearly 10 months, Ross finally published a second Little King strip on March 14, 1931. It soon became a hit, catching the attention of William Randolph Hearst, who wanted the strip for his King Features Syndicate.

KING OF COMEDY…Otto Soglow working on an illustration for The Ambassador, a short-lived comic strip he created in 1933 for King Features Syndicate. The strip was replaced by The Little King in 1934 after Soglow fulfilled his contractual obligation to the New Yorker. (comicartfans.com)

After Soglow fulfilled his contractural obligation to the New Yorker, The Little King made its move to King Features on Sept. 9, 1934, and the strip ran until Soglow’s death in 1975. After his move to King Features, Soglow continued to contribute cartoons to the New Yorker, but with other themes.

Left, Soglow cartoon from the book Wasn’t the Depression Terrible? (1934); at right, King Features strip from Nov. 19, 1967. (Wikipedia/tcj.com)

You can read more about Soglow and The Little King in The Comics Journal.

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The Party’s Definitely Over

During the summer of 1925, a young writer at Vanity Fair named Lois Long would take over the New Yorker’s nightlife column, “When Nights Are Bold,” rename it “Tables For Two,” and set about giving a voice to the fledgling magazine as well as chronicling the city’s Jazz Age nightlife. There were accounts of Broadway actors mingling with flappers and millionaires at nightclubs and speakeasies, but Long also spoke out on issues such as Prohibition, taking the city’s leaders to task for raids on speakeasies and other heavy-handed tactics contrary to the spirit of the times. “Tables For Two” would expire with the June 7, 1930 issue, and appropriately so, as the deepening Depression gave the the city a decidedly different vibe. In her final column Long would write about the Club Abbey, a gay speakeasy operated by mobster Dutch Schultz

PARTIED OUT…In her final nightlife column, Lois Long wrote about the new Club Abbey in the basement of the Hotel Harding (left), which was operated by mobster Dutch Schultz (inset). The club’s emcee was Gene Malin (right), Broadway’s first openly gay drag performer. The club was short-lived (as were Schultz and Malin), closing in January 1931 following a mob brawl. (infamousnewyork.com/Pinterest)

…and she would update her readers on “Queen of the Night Clubs” Texas Guinan, whose Club Intime was sold to Dutch Schultz and replaced by his Club Abbey…

FINAL ACT…Clockwise, from top left, Texas Guinan at Lynbrook, circa 1930; Joseph Urban murals on the rooftop of the St. Regis Hotel; Duke Ellington and his orchestra at the Cotton Club, circa 1930s.

Long’s final nightlife column would signal a definitive end to whatever remained of the Roaring Twenties. It would also signal the end to some of those associated with those heady times. Texas Guinan’s Lynbrook plans would flop, and Gene Malin’s Club Abbey would close in less than a year. Both would both be dead by 1933. As for Dutch Schultz, he would be gunned down in 1935.

Lois Long, however, would continue to write for the New Yorker for another 40 years, and would prove to be as innovative in her fashion column, “On and Off the Avenue,” as she was as a nightlife correspondent.

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Gone to the Dogs

In another installment of his pet advice column (June 7), James Thurber gave us one of his classic dogs…a disinterested bloodhound…

…while Thurber’s buddy and office mate E.B. White commented (in the March 31 issue) on a recent poll conducted among students at Princeton, discovering among other things that New Yorker cartoonist Peter Arno was preferred over the old masters…

FAN FAVORITES…The Princeton Class of 1930 named (from left) Rudyard Kipling, Lynn Fontanne and Peter Arno as favorite poet, actress and artist respectively in a student poll. (YouTube/Wikipedia/giam.typepad.com)

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We Like It Fine, Thank You

The New Yorker dedicated a full page of the March 31 issue to a tongue-in-cheek rebuttal directed at the New York Evening Journal, which had reprinted one of Peter Arno’s cartoons to illustrate the moral cost of Prohibition. I believe the author of the rebuttal is E.B. White (note how he refers to Arno as “Mr. Aloe”).

…also in the May 31 issue, Rea Irvin changed things up, at least temporarily, with some new artwork for the “Goings On About Town” section. The entries themselves were often clever, such as this listing for a radio broadcast: PRESIDENT HOOVER—Gettysburg speech. Similar to Lincoln’s but less timely…

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From Our Advertisers

New Yorker cartoonists can be found throughout the advertisements — from left, Julian De Miskey, Rea Irvin and John Held, Jr

…and in the June 7 issue we find an unusual ad for a used car…a sign of the times, no doubt…

…before it was associated with Germany’s Nazi Party (especially after it seized power in 1933), for thousands of years the swastika had been widely used as a religious or good luck symbol…

…Actress Clara Bow was famously pictured sporting a “good luck” swastika as a fashion statement in this press photo from June 1928, unaware that in a few years the symbol would become universally associated with hate, death and war…

From an unidentified publication dated June 6, 1928. (@JoHedwig/Twitter)

…on to our cartoons, I. Klein illustrated a cultural exchange…

Garrett Price gauged the pain of a plutocrat…

Alan Dunn eavesdropped on some just desserts…

Helen Hokinson found humor in the mouths of babes…

…as did Alice Harvey

Leonard Dove examined one woman’s dilemma at a passport office…

…and Peter Arno, who found some cattiness at ringside…

Next Time: Germany’s Anti-Decor…

 

Red Alert

The New Yorker had a number of favorite punching bags, among them one Grover Whalen (1886–1962), a product of Tammany Hall politics who in 1928 was appointed New York City Police Commissioner by another Tammany alumnus, Mayor Jimmy Walker.

May 17, 1930 cover by Rea Irvin.

Ironically, a mayor known for openly flouting prohibition laws had placed into office a man who would become known as a ruthless enforcer of those laws (excepting Mayor Walker, of course). Whalen was also known for fighting crimes that didn’t necessarily exist, including those committed by “Reds” organizing protests by the city’s growing numbers of unemployed.

In the May 10, 1930 issue, New Yorker writer Alva Johnston penned a tongue-in-cheek assessment of America’s “Red Revolution” (see previous post). In the following issue (May 17), Morris Markey took a few swipes at Whalen’s “Crimson Menace” in his “A Reporter At Large” column:

FLYING HIGH…Mayor Jimmy Walker (second from left) and his new Police Commissioner Grover Whalen (far right) visit Mitchell Field on Long Island in 1928; portrait of Whalen circa 1930. (Amazon/WNYC)

Whalen’s career as police commissioner came to an end around the time Markey’s column appeared. Whalen was under fire for how his police responded to an International Unemployment Day demonstration, where 1,000 baton-wielding police went to work on a crowd of more than 35,000 demonstrators. The New York Times reported: “From all parts of the scene of battle came the screams of women and cries of men with bloody heads and faces.”

IDLE HANDS…The International Unemployment Day demonstration in Union Square on March 6, 1930, turned ugly  when 1,000 baton-wielding police went to work on the protestors, identified by the then-staid New York Times as “Reds.” (Pinterest)

And in the May 24 issue, E.B. White took his own swipe at Whalen in his “Notes and Comment”…

In ensuing years Whalen found more peaceful pursuits, serving as New York City’s official greeter of dignitaries and organizer of ticker tape parades. In 1935 he was named president of the New York World Fair Corporation and became the face of the forward-looking 1939 New York World’s Fair.

DAWN OF A NEW DAY was the opening slogan for the 1939 World’s Fair. At left, preparing to lower the fair’s time capsule into it’s 5,000-year resting place are A.W. Robertson, Westinghouse Electric Company’s chairman of the board (left) and Grover Whalen, president of the New York World’s Fair; at right, the fair’s iconic symbols, the Trylon and Perisphere. (heinzhistorycenter.org/Flickr-Ricksoloway)

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It’s In The Stars

E.B. White led off his “Notes and Comment” with thoughts on the latest trends in product endorsement, including the use of astrology to boost the sales of toothpaste and perfume:

A FORTUNE IN TOOTHPASTE…The makers of Forhan’s Toothpaste promote their Astrology Hour radio show in the Akron Beacon Journal, May 1931. At right, 1931 ad for Perfum Astrologique. (newspapers.com)
THAT WAS THEN…White actors Freeman Gosden and Charles Correll portrayed Amos ’n’ Andy on the radio from 1928 to 1960. Here they shill for Pepsodent toothpaste on circa 1930 stand-up cards. (thetimes.co.uk)

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More Advice on Troublesome Pets

The May 17 issue featured James Thurber’s latest advice on pet care in the “Talk of the Town” section…

…and this two-page illustration by Reginald Marsh ran along the bottom of “Talk.”

click image to enlarge

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A Fighter for Rights

The May 17 issue featured the first installment of a two-part profile on social reformer Samuel Untermyer (1858-1940) titled “Little Giant.” The profile’s author, Alva Johnston, praised Untermyer’s legacy, and chided New Yorkers for not giving him his proper due. Known for defending the public trust against powerful corporations, he laid the groundwork in the U.S. for the Federal Reserve Law, the Clayton Anti-Trust Law, the Federal Trade Commission Bill and the Securities and Exchange Act. A fierce defender of Jewish rights, Untermyer served as attorney for Herman Bernstein, who filed suit against automaker Henry Ford for anti-semitic articles published in Ford’s Dearborn Independent. 

Johnston concluded his two-part profile with these words:

BRING IT ON…Samuel Untermyer was known as a fierce defender of the public trust. At right, illustration that accompanied the New Yorker profile. (findagrave.com)

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From Our Advertisers

Julian De Miskey picked up some extra work with this illustration for Macy’s…

…while in cartoons, Barbara Shermund discovered the challenges of exercise by radio…

Helen Hokinson looked at the challenges of city driving…

Gardner Rea explored the mysteries of street food…

…and Peter Arno greeted one Manhattan couple at sunrise…

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On to the May 24, 1930 issue, with a lovely cover by Madeline Pereny…

May 24, 1930 cover by Madeline Pereny.

As construction continued on the Museum of the City of New York, the New Yorker’s architecture critic George Chappell liked what was taking shape:

THE STORY OF A CITY…The Museum of the City of New York opened its doors at 104th Street and Fifth Avenue in early 1932. (nyctourist.com/www.ennead.com)

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From Our Advertisers

Travel by train in the States wasn’t always miserable as this ad attested…

…a bit of color courtesy the Lenthéric salon…

Fontaine Fox, best known for his long-running Toonerville Folks comics, contributed this cartoon on behalf of Talon Slide Fasteners, or “zippers” as they came to be known in the late 1920s and early 30s, when they were still something of a novelty…

…I believe this is the first-ever image of the Empire State Building in the New Yorker, an artist’s rendering since the building wouldn’t be completed until the spring of 1931…note how this ad links the building’s site location to New York history and specifically the Astor family…

…here is how the Empire State Building looked in June 1930…

(New York Public Library)

…the old Waldorf-Astoria Hotel was torn down to make way for the Empire State Building, and that provides a nice segue to our cartoons…this one by Garrett Price featured a modest work crew contemplating the razing of a building that recalled the old hotel…

…across the pond, one of Helen Hokinson’s ladies was busy trying to procure a banned book…

…while William Crawford Galbraith gave us a young woman in search of a love song (with the help of a seriously timid man)…

Barbara Shermund found some bedside humor…

…and Peter Arno took us back to the nightlife, with our familiar gold-digger and sugar daddy…

…and finally, over the course of 12 issues (Feb. 8 to May 10, 1930) Abe Birnbaum provided illustrations of New York’s “Restaurant Royalty.” These usually ran in or near “The Talk of the Town” section. Please click to enlarge.

Next Time: The Little King…

 

 

 

 

All Quiet on the Western Front

Still considered one of the greatest anti-war films ever made, All Quiet on the Western Front opened in New York on April 29, 1930 to strong reviews. Based on a Erich Maria Remarque novel of the same name, the film’s depictions of the horrors of war were so realistic and harrowing that it was banned in a number of countries outside of the U.S.

May 10, 1930 cover by Theodore Haupt.

Banned, that is, by nations gearing up for war. In Germany, Nazi brownshirts disrupted viewings during its brief run in that country, tossing smoke bombs into cinemas among other acts of mayhem. Back in the U.S., the New Yorker’s John Mosher attended a screening at a “packed” Central Theatre:

WAR IS HELL…Clockwise, from top left, movie poster for 1930’s All Quiet on the Western Front; German soldier Paul Bäumer (Lew Ayres), falls into a shell crater with a French soldier and draws his knife; in one of the most moving scenes in cinema, Bäumer is forced to spend the night in the crater, where he vainly tries to safe the life of the Frenchman he has mortally wounded; a German soldier crawls through the mud in a German training camp. (IMDB/Universal).

Mosher found the film’s adaption from the novel wanting in places, but overall praised the acting and the quality of the picture…

…and just in case some audiences were put off by the blood and guts, Universal promoted other themes on its lobby cards…

(IMDB)

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More Than a Stunt

In her profile of aviator Elinor Smith (1911-2010), writer Helena Huntington Smith took great pains to distinguish Elinor from other “lady fliers” who were little more than passengers in various flying exploits. Like Amelia Earhart, Elinor Smith had the bona fides of a true aviator: in 1927 Smith become the youngest licensed pilot in the world at age 16, learning stunt flying at an early age. At age 17, she smashed the women’s flying endurance record by soloing 26½ hours, and in the following month set a woman’s world speed record of 190.8 miles per hour. In March 1930 she set a women’s world altitude record of 27,419 feet (8,357 m), breaking that record in 1931 with a flight reaching 32,576 feet. Smith would continue to fly well into old age. In 2000 she flew NASA’s Space Shuttle vertical motion simulator and became the oldest pilot to succeed in a simulated shuttle landing. In 2001 (at age 89) she would pilot an experimental flight at Langley AFB. An excerpt from the profile:

HEAD IN THE CLOUDS…Elinor Smith’s flying career would extend from age 16 and into her 90s. At left, Smith poses in Long Island with the Bellanca monoplane she used to beat the solo flight record in 1929. Right, portrait of Smith circa 1930s. (findagrave.com)

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I’d Rather Be in Philadelphia

Theatre critic Robert Benchley was over the moon regarding a performance of Lysistrata staged by the Philadelphia Theatre Association. Benchley suggested the Philadelphians had “put New York to shame” in staging such a “festival of beauty and bawdiness…never seen on an American stage before.”

NO MORE HANKY PANKY…Left, actress Miriam Hopkins in Aristophanes’ Lysistrata, as photographed by Edward Steichen; at right, Sydney Greenstreet with unidentified actress from the 1930 Philadelphia production of Lysistrata. (timeline.com)

Benchley praised the seemingly advanced tastes of Philadelphia audiences as he continued to the lament the fact that the City of Brotherly Love had beaten New York to the punch with the staging of the play. He needn’t have worried much longer; the play would open on Broadway on June 5, 1930, at the 44th Street Theatre.

LOVER COME BACK…Production photograph for Norman-Bel Geddes’s staging for Lysistrata, titled “the women of Greece return to their men.” (hrc.utexas.edu)

While we are on the subject of theater, Constantin Alajálov provided this lovely illustration of Anton Chekhov’s Uncle Vanya for the New Yorker’s theater review section…

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Make ‘Em Dance, Boys

The author Robert Wilder contributed this interesting casual about the appearance of gangster Al Capone at a Chicago nightclub. Excerpts:

LIGHT ON HIS FEET…Al Capone in 1930. (Wikipedia)

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You Say You Want a Revolution?

Alva Johnston offered his thoughts on how America could stage its own “Red Revolution,” given that Russia and several European countries had already experienced communist uprisings of their own, and also given that New York Police Commissioner Grover Whalen, always in search of problems that didn’t exist, had announced a new “Red Scare” in his fight against communism.

Tongue firmly in cheek, Johnston suggested how American know-how could be brought to bear in inciting a Red Terror. An excerpt:

YANKEE INGENUITY…Alva Johnston, left, offered some innovative ideas for a uniquely American “Red Revolution.” At right, soldiers stand behind a barricade during Germany’s communist Spartacist uprising of January 1919. (Wikipedia)

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Speaking of Revolutionaries

Thomas Jefferson’s home at Monticello is one of America’s most-visited historical sites, but in 1930 it was still something of a regional curiosity, having only been acquired in 1923 for the purposes of turning it into a public museum. Although Jefferson is well known today for his various inventions at Monticello, E.B. White was just learning about this side of the president in his weekly “Notes and Comment” dispatch:

THIS OLD HOUSE…Left, a combination of neglect and Civil War vandalism left Thomas Jefferson’s Monticello enmeshed in weeds and in a state of near collapse by the 1870s. At right, students of the University of Virginia pose outside Monticello in 1930. (UVA/Hulton Archive)

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Play Ball?

We are well into the spring of 1930, yet the New Yorker stood firm in its complete lack of baseball coverage. As I’ve noted before, the magazine covered virtually every sport from horse racing to rowing to badminton, and even lowered itself to regular features on college football and professional hockey, but not a line on baseball, save for an occasional note about the antics of Babe Ruth or the homespun goodness of Lou Gehrig. There were signs, however, that baseball was being played in a city blessed with three major league teams; we do find game times in the “Goings On About Town” section, as well as occasional baseball-themed filler art, and a comic panel in the May 10 issue by Leonard Dove:

From Our Advertisers

We begin with an endorsement for Chase & Sanborn coffee by the soprano Alma Gluck, wife of famed violinist and composer Efrem Zimbalist Sr. Originally I thought she was enjoying coffee with a sister in law named “Mrs. Zimbalist,” but as reader Frank Wilhoit astutely points out, the “Alma Gluck” (celebrity) and “Mrs. Zimbalist” (housewife) are alternate personae of the same individual. And now that I look at the ad again, the clothes and hair styles are identical. I will try to locate a clearer image of the ad…

…and from the makers of White Rock we have a group of swells and their airborne friends enjoying some bubbles that are doubtless mixed with illegal hootch…

Dr. Seuss continued to offer his artistry on behalf of Flit insecticide…

…and on to our comics, Peter Arno illustrated the hazards of the road…

…while Leonard Dove explored the hazards high above the streets of Manhattan…

Constantin Alajálov explored an odd encounter in a park…

I Klein mused on the tricks of mass transit…

…and two from Barbara Shermund, who looked in on one tourist’s plans for a trip to Mussolini’s Italy…

…and some helpful advice at a perfume counter…

Next Time: Red Alert…

 

 

 

Paramount on Parade

Before we launch into the latest offering from Tinseltown, a note about the cover artist for the April 26, 1930 issue.

April 26, 1930 cover by Barney Tobey.

Barney Tobey (1906-1989) was known for gently humorous cartoons that appeared in the New Yorker for more than fifty years. He also contributed four covers, the first of which appears above. In the Sept. 21, 1998 issue, illustrator Richard Merkin offered this remembrance:

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Star-spangled Banter

All-star musicals were all the rage in the early sound era, as they gave studios the opportunity to showcase contract players (who were virtually owned by the studios) doing things they usually didn’t do on screen. Following the success of MGM’s Hollywood Revue of 1929, Paramount Studios released Paramount on Parade in April 1930, much to the liking of New Yorker critic John Mosher, who also praised the film’s accompanying cartoon, 1929’s The Prisoner’s Song:

You can watch The Prisoner’s Song here (and ponder how far animation has advanced)…

Mosher also praised a number of Paramount’s contract players, and especially actors Jack Oakie and Maurice Chevalier

MUCH ADO…A great crowd gathers for the premiere of “Paramount on Parade” at the New York’s Rialto Theatre in April 1930. (cinematreasures.org)
SEEING STARS…Clockwise, from top left, Helen Kane (possibly the inspiration for the cartoon character “Betty Boop”) and Jack Oakie do a little footwork; Clara Bow, Hollywood’s “It Girl,” pops through a Navy recruitment poster at the beginning of her song and dance number (with Stuart Erwin and Richard ‘Skeets’ Gallagher); one of Hollywood’s top actresses in 1930, Kay Francis, portrays “Carmen” in the revue; Ruth Chatterton entertains doughboys Stuart Erwin, Fredric March, Jack Oakie, and Stanley Smith in Paramount on Parade. (IMDB)
BOOP GIVES A BOP…Helen Kane (left) and child star Mitzi Green in a sketch from Paramount on Parade. (IMDB)

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Lost In the Crowd

In his “Notes and Comment,” E.B. White lamented the fact that the world’s tallest building appeared less than lofty, since neighboring skyscrapers were nullifying its grandeur:

DOWN IN FRONT…E.B. White found the streetview of the world’s tallest building wanting after it was completed in 1930; the iconic Flatiron Building, however, enjoys some elbow room even today. (spectator.co.uk/walksofnewyork.com)

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Full of Hot Air

That was another opinion shared by E.B. White, this time regarding the Empire State Building’s top promotor, former New York Governor Al Smith, who spoke of plans to attach a mooring mast to the top of his skyscraper (which would eclipse the Chrysler as the world’s tallest in 1931):

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View From the Top

The New Yorker featured a profile of Aloysius Anthony Kelly (1893?-1952), better known as the Roaring Twenties most famous pole-sitter, “Shipwreck” Kelly. He achieved his greatest fame in the 1920s and 1930s, sitting for days at a time on elevated perches — often atop buildings — throughout the U.S.

Kelly’s fame was already on the wane when this profile appeared, and by 1934 he was reportedly working as a dance hall gigolo. Kelly’s last flagpole stunt was at a 1952 event sponsored by a Lion’s Club in Orange, Texas — he suffered two heart attacks while sitting atop their 65-foot flagpole. After climbing down he announced, “This is it. I’m through.” He died one week later after he was struck by car on West 51st Street in Manhattan.

LOFTY AMBITIONS…Alvin ‘Shipwreck’ Kelly atop a flagpole near College Park, Maryland, in October 1942. At right, undated photo circa 1940s. (CSU Archives/Digital Commonwealth)

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Brand X

Folks were still abuzz about the discovery of a ninth planet in the solar system, soon to be dubbed “Pluto” by an English schoolgirl. Howard Brubaker, in “Of All Things,” observed…

…and Kindl illustrated the problem a new planet posed for astrologers…

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I Beg Your Pardon

Will Rogers was a beloved comedian with a few rope tricks up his sleeve, but I’ve never known him for working blue. However, one critic for the New Yorker (“A.S.”– not sure who this is) found Rogers’ new radio show both humorless and gauche…

CAN YOU TAKE A JOKE?…In photo above, Will Rogers debuts his new radio show in April 1930. It would become the most popular Sunday evening radio show, and Rogers would prove to be the second biggest motion picture box office draw in the U.S. before his death in 1935. (Will Rogers Memorial Museum)

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Before He Got Axed

Ten years before he was murdered by one of Stalin’s NKVD agents, Leon Trotsky published an autobiography that was written in his first year of exile in Turkey. The review is signed “G.H.” so I am assuming the author is Geoffrey Hellman, who contributed for decades to the New Yorker’s “Talk of the Town.” Excerpts from the review:

RED ALERT…Leon Trotsky wrote his autobiography, My Life, while exiled in Turkey. (Wikimedia)

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From Our Advertisers

The makers of Bozart rugs and fabrics invited New Yorker readers to “introduce a breath of summertime indoors”…

…while Macy’s urged the same by gracing a sunroom or terrace with one of their Marcel Breuer-inspired chairs…

…Colonial Airways touted an early form of radar — an “invisible pilot” — as the latest safety feature in its airplanes…

…the Douglas L. Elliman company promoted its yet unbuilt River House, which would feature a pier where residents could dock their yachts…

The 26-story River House in the 1930s. Originally, the Art Deco building featured a pier where residents could dock their yachts, but that feature was lost with the construction of FDR Drive in the early 1950s, effectively sealing the building off from the water. The building has been home to author Barbara Taylor Bradford, US Secretary of State Henry Kissinger, and actress Uma Thurman. (observer.com)

…and then we have our more unfortunate ads, such as this one from Macy’s that shows grandpa passing along his racist tendencies to a grandchild…

…and this sad appeal from the makers of Lucky Strike to keep puffing and avoid that hideous double chin…

…our cartoons include Garrett Price and thoughts of spring…

Barbara Shermund eavesdropped on tea time…

Alice Harvey found an awkward moment in a hosiery department…

Peter Arno revisits a familiar theme — chorus girls and sugar daddies…

…and Otto Soglow looked in on a fat cat’s moment of pride…

Next Time: Minding the Gap…

 

 

 

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The Circus Comes to Town

If you lived in small town America in the 20th century, it was a big deal when the circus came to town with its entourage of clowns, acrobats and exotic animals from distant lands.

April 19, 1930 cover by Gardner Rea.

Even New Yorkers, it seems — who could be quite blasé about such things — got a thrill when the Ringling Brothers and Barnum & Bailey Circus rolled into town for its annual spectacle at Madison Square Garden. The New Yorker marked the occasion with its April 12 cover by Theodore Haupt:

For the April 19 issue, E.B. White welcomed the circus on a cautionary note, airing concerns in his “Notes and Comment” column that this old-timey entertainment might be falling under the “base influences” of broadcast radio, Broadway, and Hollywood:

SEND IN THE…YOU KNOW…THOSE GUYS…Top, clowns in town for the 1931 Ringling Brothers and Barnum & Bailey Circus at Madison Square Garden. Below, circus poster announcing the arrival of “The Greatest Show on Earth.”  (potterauctions.com)

José Schorr, who wrote a number of humorous columns in the New Yorker from 1926 to 1930 on the subject of “how to the pass the time” in various situations, offered this advice on attending the spectacle at Madison Square Garden…

I’D RATHER BE FLYING…1930 poster advertising “The Human Projectile”; 1931 photo of the Ringling Brothers and Barnum & Bailey Circus at Madison Square Garden. (worthpoint.com/bidsquare.com)

…for example, Schorr advised circus-goers to pass the time by considering the inner lives of performers such as “The Human Projectile”…

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Funny Farm

Perhaps you’ve never heard of Joe Cook (1890-1950), but in the 1920s and 30s he was a household name and one of America’s most popular comedic performers. “Talk of the Town” looked in on his antics at his Lake Hopatcong farm, “Sleepless Hollow”…

BATTER UP…Comedian Joe Cook’s residence at Lake Hopatcong, NJ, was known for its celebrity-studded parties. At left, Babe Ruth takes a swing with a giant bat on Cook’s wacky three-hole golf course; at right, Cook relaxing on the steps of his farm. (lakehopatcongnews.com)

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Fun With Balloon Animals

One thing that distinguishes the 1930s from today is that era’s apparent lack of safety standards, or fear of liability. A case in point was Macy’s Thanksgiving Day Parade, which began a tradition in the late 1920s of releasing its giant balloons into the sky at the conclusion of the parade — a $50 reward was offered by Macy’s for their return. “The Talk of the Town” explained:

GOING, GOING, GONE…When Felix the Cat (left, in 1927) was released after the Macy’s Thanksgiving Day Parade, it floated into a power line and caught fire; in 1931 the parade’s Big Blue Hippo (right) was apparently spotted floating over the ocean, never to be seen again. (Macy’s/hatchingcatnyc.com)

Perhaps the craziest anecdote attached to the parade’s annual balloon release belonged to Annette Gipson. While flying a biplane at 5,000 feet with her instructor, she spotted the parade’s 60-foot “Tom Cat” balloon rising high above Queens. Looking to have a bit of fun, the 22-year-old Gipson flew the plane directly into the cat. According to the book Macy’s Thanksgiving Day Parade, “Upon impact, the balloon wrapped itself around the left wing. The plane went into a deep tailspin (nearly throwing Gipson from the cockpit) and sped toward the ground out of control.” Fearing the plane would catch fire when it hit the ground, the instructor killed the ignition, and somehow managed to pull the plane out of the spin and land it safely at Roosevelt Field.

KITTY LITTER…Annette Gipson, right, nearly killed herself and her flight instructor after she deliberately crashed her biplane into a Tom Cat balloon (left) that had been released following the 1932 Macy’s Thanksgiving Day Parade. Of her near-death experience,Gipson told reporters, “It was a sensation that I never felt before—the whirling housetops, rushing up to meet me—and the thoughts of a whole lifetime flashed through my mind.” (ephemeralnewyork.wordpress.com)

A footnote: Following Gipson’s brush with death, Macy’s announced it would not give prize money to those who tried to down the balloons with their airplanes. The incident also brought an end to the company’s tradition of releasing the balloons.

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Birth of the Soundtrack

Songs from popular theater productions were first made available to the masses in the mid-19th century via printed sheet music and later through early recordings. Part of this lineage is the movie soundtrack, which has its origins in the early days of sound pictures. According to the New Yorker’s “Popular Records” column, these new recordings would bring the talkies into your home, albeit without the picture…

FROM MAMMY TO MAMMA MIA…Left, a 1930 Brunswick 78 RPM recording of Al Jolson’s “To My Mammy”; at right, soundtrack from the 2008 film Mamma Mia! (popsike.com/amazon.com)

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Cosmo Calvin

Before Helen Gurley Brown came along in the 1960s and sexed it up, Cosmopolitan was known as a somewhat bland literary magazine, and it was certainly bland enough in 1930 to welcome the scribblings of America’s blandest president to its pages. E.B. White mused in his “Notes”…

NOTHING COMES BETWEEN ME AND MY CALVIN…At left, the May 1930 issue of Cosmopolitan; Kourtney Kardashian on the cover of the October 2016 issue. (Pinterest/Cosmopolitan)

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How Dry I Am

After a decade of living under Prohibition, John Ogden Whedon (1905-1991) put pen to paper and shared his sentiments in a poem for the New Yorker

…Whedon would go on to a successful career as a screenwriter, especially finding acclaim for his television writing on The Donna Reed Show, Leave It to Beaver, The Andy Griffith Show, and The Dick Van Dyke Show, among others. He was also the grandfather of screenwriter and director Joseph “Joss” Whedon and screenwriters Jed Whedon and Zack Whedon.

Another poem in the April 19 issue was contributed by John Held Jr., who was perhaps better known to New Yorker readers for his “woodcut” cartoons…

…example of Held’s work from the April 12 issue, featured in an Old Gold advertisement…

…and that provides a segue into our ads for the April 19 issue, beginning with this spot for an early electric dishwasher…

Here’s what that bad boy looks like in color. (automaticwasher.org)

…I couldn’t find a review in the New Yorker for Emily Hahn’s new book, Seductio Ad Absurdum, but her publisher did take out an ad to get the attention of readers. Many years later the New Yorker would call the journalist and author “a forgotten American literary treasure”…

Emily Hahn circa 1930; first edition of Seductio Ad Absurdum. Author of 52 books, her writings played a significant role in opening up Asia to the West.(shanghaitours.canalblog.com/swansfinebooks.com)

…and here we have another sumptuous ad from illustrator Carl “Eric” Erickson, a far cry from the “Joe Camel” ads that would come along decades later…

…on to our cartoons, Reginald Marsh offered a blue collar perspective on city fashions…

Alice Harvey captured a moment of reflection by an overworked housewife…

…and I. Klein looked in on a couple of working stiffs in need of a dictionary…

…now over to the posh set, with Barbara Shermund

Leonard Dove found humor on the chorus line…

…and we end with this terrific cartoon by Peter Arno, and the perils of apartment life…

Next Time: Paramount on Parade…

 

 

 

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 )

*  *  *

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…

 

Noblesse Oblige

Just three years before she would enter the White House as First Lady, Eleanor Roosevelt was familiar to some New Yorkers for her social work, but was known to most as the wife of the Governor of New York, Franklin D. Roosevelt.

This week we look at two issues, March 29 and April 5, 1930, both with covers by Rea Irvin.

In a profile featured the April 5 New Yorker, Helena Huntington Smith looked at the life of a woman who was a niece to former President Theodore Roosevelt and a fifth cousin (once removed) to her husband Franklin. A somewhat reluctant mother (who nevertheless had six children) in a marriage that was mostly a political arrangement, Eleanor devoted considerable time and energy to social causes. Below is a brief excerpt, accompanied by an illustration of Eleanor by Cyrus Baldridge.

ALBANY DAYS…Clockwise, from top left: Eleanor Roosevelt in 1933; Gov. Franklin Roosevelt, Eleanor, and their youngest son, John, in Albany in 1930; FDR being sworn in as Governor of New York, January 1929. (Wikipedia/Albany Group Archive)
IN HER ELEMENT…Eleanor Roosevelt with boy and girl scout volunteers at the University of Kentucky, July 1934. (eleanorroosevelt.org)

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No Laughing Matter

In a surprising twist, James Thurber took a hand at writing the “A Reporter at Large” column (titled “Cop Into College Man”) in the March 29 issue, visiting a new “Police College” in New York City. In this engaging piece, Thurber seemed thoroughly engrossed in the operation…

…and particularly in the mugshots of some of the city’s most notorious criminals, including gangster Jim Flanagan, “debonair in a Bangkok hat”…

…and in the college’s museum, filled with all manner of deadly implements…

PREPPING FOR PERPS…The April 1930 edition of Popular Science featured the opening of New York’s new Police College. (Modern Mechanix)

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Pluto’s Salad Days

In was something of a sensation in February 1930 when Clyde Tombaugh (1906-1997) discovered the then-planet Pluto at the Lowell Observatory in Arizona. Howard Brubaker in “Of All Things” (March 29) had this to say about the achievement:

JUST A SPECK…Clyde Tombaugh poses with the telescope through which he discovered the planet Pluto at the Lowell Observatory on Observatory Hill in Flagstaff, Ariz., 1931. At right, images of the planet (specks indicated by arrows) were all the proof Tombaugh needed to confirm his discovery. (AP/NASA)

Thanks to a 2015 flyby by NASA’s New Horizons spacecraft, we now have a better idea of what Pluto, now classified as a “dwarf planet,” actually looks like…

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Dandy Doodle Mayor

Fillmore Hyde, author (and four-time national amateur squash tennis champion), penned this ditty in the March 29 issue in tribute to New York City’s dandyish mayor…

HAT’S OFF…Mayor Jimmy Walker.

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Back for More

Also for the March 29 issue art critic Murdock Pemberton was back at the Museum of Modern Art — a new institution he met with skepticism when it opened in late 1929, but a place that was definitely growing on him as a destination to revel in the work of some of the world’s top modern artists, including the American Max Weber (1881-1961), whose retrospective was supposed to the big draw of MoMA’s latest show, but Pemberton seemed more impressed by French artist Aristide Maillol (1861-1944) and particularly by the Swiss-German Paul Klee (1879-1940).

AMERICAN CUBIST…Max Weber’s The Cellist, 1917, oil on canvas, was featured in Weber’s 1930 retrospective exhibition at the Museum of Modern Art; at right, Weber seated in front of Interior with Music (1930). (Brooklyn Museum/Smithsonian)
Aristide Maillol’s Crouching Woman, bronze, 1930. (MoMA)

Pemberton wrote that Klee’s show gave you “quite a feeling”…

Catalogs from Max Weber’s retrospective and Paul Klee’s exhibit at the Museum of Modern Art. (MoMA)

…and when he compared Klee’s work to that of the other artists, Pemberton saw something “more potent even than electricity…signposts toward a glorious future”…

A GLIMPSE OF THE FUTURE…From left, Paul Klee’s Actor’s Mask, 1924, oil on canvas mounted on board; Josef Albers’ 1929 photographic portrait of Klee, 1929; Klee’s In the Grass, 1930, oil on canvas. (MoMA/Guggenheim.org)
 A week later, writing for the April 5 issue, Pemberton penned this piece for “The Talk of Town” about the work habits of artist John Marin

OLD MAN AND THE SEA…John Marin in 1921, in a photograph by Alfred Stieglitz; Marin’s Bathers, 1932, oil on canvas. (mfa.org/Dallas Museum of Art)

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Who Needs a Vet?

The April 5 issue featured James Thurber’s latest installment of “Our Pet Department…

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Spend It Quickly

April 5’s “Talk” also featured this item about Al Capone’s release from prison in Philadelphia, lavishing money and gifts on prison employees as he made his exit from Eastern Penitentiary…

…it was no wonder, because officials at the prison didn’t treat Capone like some ordinary prisoner…

SALUTARY CONFINEMENT…Arrested outside a Philadelphia movie theater for carrying a concealed, unlicensed .38 caliber revolver, Al Capone was sentenced to a year in Eastern State Penitentiary. His last seven months were served in a cell (right) with fine furniture, oriental rugs, paintings, and a console radio, among other frills. (easternstate.org)

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This Al Could Sing

Upon the DVD release of Al Jolson’s 1930 film, Mammy, Dave Kehr of the New York Times wrote that Jolson was “Simultaneously one of the most significant and most embarrassing show business figures of the 20th century.”

That was not view of most audiences 89 years ago, when Jolson reigned as one of America’s most famous entertainers. In his review of Mammy for the April 5, 1930 issue of the New Yorker, critic John Mosher admitted that he didn’t care for minstrel shows depicted in the film, but not for any of the reasons we would cite today…

UGH…Clockwise from top left, Al Jolson and Lois Moran in Mammy; a studio promotional poster; Jolson as a minstrel performer in the film. (IMDB)

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From Our Advertisers

We have more racial stereotypes, this time to sell Stetson shoes…

Theodore Geisel (Dr. Seuss) continued to pay the bills by illustrating ads for Flit insecticide…

…while professional golfer Walter Hagen picked up some extra cash by launching his own line of golf underwear…

…Walter has been gone for 50 years, but you can still get his branded clothing from Dick’s Sporting Goods…

Julian De Miskey picked up some extra work illustrating this house ad for the New Yorker

…and then we have this spot from the American Austin Car Company, which produced cars licensed from the British Austin Motor Company from 1930 through 1934…interestingly, the ad doesn’t feature the car itself…

…which looked like this…

(theoldmotor.com)

…on to our comics, Alan Dunn looked in on a devoted listener of S. Parkes Cadman’s Sunday radio broadcast…Cadman (1864-1936) was a British-born clergyman whose NBC radio broadcasts reached millions of listeners across America…

…signs of spring were noted by Otto Soglow

Don Herold shared an observation on stage entertainments…

…William Crawford Galbraith found unrequited love at the circus…

…while Barbara Shermund found a more agreeable pairing at a Manhattan cocktail party…

Garrett Price found humor in the growing numbers of the down and out…

…and Peter Arno turned in this epic two-pager that illustrated the challenges of filming in nature…

Next Time: Hot Jazz in Stone and Steel…