sports – A New Yorker State of Mind

The President’s Mystery

Above: President Franklin D. Roosevelt was credited as a writer on the film "The President's Mystery," although his role was more one of inspiration; at right, Betty Furness and Henry Wilcoxon starred in the film. (rottentomatoes.com)

Just one month before the 1936 general election, Republic Pictures released a film “conceived by Franklin D. Roosevelt.”

October 24, 1936 cover by **Constantin Alajalov.**

Yes, the president of the United States, standing for re-election in November (which he would win by a landslide), was actually credited as a writer for the film The President’s Mystery, although FDR’s actual role in the film was its concept. While visiting with Fulton Oursler, editor of Liberty magazine, Roosevelt posed the question: “How can a man disappear with five million dollars of his own money in negotiable form and not be traced?” Oursler, a close friend of the president’s, responded by enlisting several prominent authors to write a screenplay. New Yorker film critic John Mosher takes it from there:

The story behind the film was first featured in the Nov. 16, 1935 issue of Liberty magazine…

…and released as a movie on Sept. 28, 1936…

MAN OF MYSTERY…Clockwise, from top left, President **Franklin D. Roosevelt,** a fan of mysteries, conceived the idea for *The President’s Mystery*; **Henry Wilcoxon, Frank O’Connor**, an unidentified actor, and **Wade Boteler** featured on a lobby card promoting the film ; **Betty Furness, Si Jenks**, and **Henry Wilcoxon** in a promo shot for the film; poster for the film featured an image of FDR on the cover of Liberty magazine. *(instagram.com/imdb.com/themovieb.org)*

Mosher also had “pretty good fun” with the star-studded screwball comedy, Libeled Lady, which was acclaimed by critics and nominated for Best Picture:

LOVE QUADRANGLE…Lovers spats and romantic mix-ups were just part of the stew in the screwball comedy Libeled Lady. At left, **Myrna Loy** and **Spencer Tracy;** at right, **William Powell** and Jean Harlow. *(imdb.com/movie nation.com)*

There were still other films reviewed by Mosher, including The Devil is a Sissy, starring sixteen-year-old Mickey Rooney, still emerging as a star, as well as famed child actors Jackie Cooper and Freddie Bartholomew. There was also a film featuring Clark Gable as a prize fighter, and a movie titled The Longest Night, ironically the shortest feature ever produced by MGM—just 51 minutes.

STREET SMARTS…**Mickey Rooney, Jackie Cooper,** and Freddie Bartholomew in *The Devil is a Sissy*, a story about a posh kid who befriends a couple of ruffians; **Clark Gable** was down for the count in *Cain and Mabel,* co-starring **Marion Davies**; **Robert Young** teamed up with **Florence Rice** in the mystery-thriller, *The Longest Night*—Florence Rice was the only child of sportswriter **Grantland Rice**. (Wikipedia/mubi.com/tcm.com)

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A Second Life

E.B. White still wasn’t done with the new Life magazine—recall his “Notes and Comment” from Sept. 19, when he lamented a magazine that would “consist almost entirely of pictures” and would “do away with the last vestiges of privacy in America.” Here White notes the purchase of Life by Time, Inc., and compares it to the old Life.

ASKING FOR MERCY…**E.B. White** hoped the new *Life* magazine would have some of the mercy and grace of its predecessor. (sunrisepoint.com/time.com)

LIFELESS…Launched in 1883, *Life* was an American humor and general-interest magazine. Purchased and shut down in 1936 by Henry Luce, he replaced it with his new, and very different Life. The image above is the cover of the Feb. 2, 1922 issue of the old magazine. (Wikipedia)

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A Sensitive Hamlet

There are as many approaches to playing Hamlet as there are versions of the famous Shakespeare play, The Tragedy of Hamlet, Prince of Denmark. In the case of actor John Gielgud, as reported in “The Talk of the Town,” Hamlet was quite sane, although he was “immensely sensitive.”

MOMMY DEAREST…At left, **Judith Anderson** as Hamlet’s mother, Gertrude, Queen of Denmark, and **John Gielgud** as Hamlet in Broadway’s 1936 production of the Shakespeare play; at right, **Carl Van Vechten** portrait of Gielgud during the actor’s time on Broadway, December 1936. Gielgud is widely regarded as one of the definitive Hamlets of the 20th century. *(newyorktheater.me/newworldencyclopedia.org)*

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Safety Last

Morris Markey was on hand for the Vanderbilt Cup Race (recently featured here), offering a track-side look at the pit crews. Notable in this excerpt is the complete lack of safety protocols, from gasoline poured out of wide-mouthed cans to smoking and drinking among drivers and pit crews. The race winner, Tazio Nuvolari (who refuses some brandy but puffs on a cigarette) would eventually have to retire by 1950 due to his total deafness and other health problems—he spent years racing in an open cockpit with the manifold ends right next to his ear. Those combustion gases—containing gasoline juiced with methanol, benzene, acetone, and nitrobenzene—easily penetrated Nuvolari’s ears and nose and were absorbed directly into his skin and bloodstream.

GUTS AND GLORY…Italian racing legend **Tazio Nuvolari** (1892–1953) with his Alfa Romeo before the start of the 1935 Nice Grand Prix in France. Nuvolari easily won the 1936 Vanderbilt Cup on Long Island. *(notenoughcylinders.com)*

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Color My World

The works of John Marin, considered one of America’s finest water-colorists, were featured in a major exhibition at the Museum of Modern Art. In addition to a review by art critic Lewis Mumford, Marin was featured in this mini bio on the opening pages…caricature by William Auerbach-Levy…

MASTER WATER-COLORIST…**John Marin’s** *Movement No. 2, Related to Downtown New York (The Black Sun)*, 1926. Image reproduced from the 1936 MoMA exhibition catalog. (moma.org)

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From Our Advertisers

The Oct. 24 issue opened with this advertisement by the distillers of Old Taylor, who continued to compare their product to the work of “masters,” here the painter Frederic Remington…

…on the opposite page, this spare ad from Chrysler, a stark contrast to their previous week’s very wordy appeal…

…the promoters of Budweiser took a cue from the whiskey distillers, invoking the words of an historic personage to promote their product…

…predating modern thermostats by decades, the mechanical Chronotherm was one of the earliest automated room thermostats ever produced by the Minneapolis-Honeywell Regulator Company…it was often used to control coal or early heating systems by automatically adjusting dampers or furnaces on a schedule…

The Minneapolis-Honeywell Chronotherm retailed for about $41 in the 1930s (equivalent to roughly $970 today). It was considered a high-end luxury upgrade for the home. *(si.edu)*

…Martini & Rossi would have about six more months to serve their vermouth on the Hindenburg before it would go down in a fireball on May 6, 1937…

…the illustrations in this No-Mal ad mimicked the style of Otto Soglow to market a new patent medicine touted as a stimulant and hangover cure, among other things…these remedies often contained heavy doses of caffeine plus aspirin, mild laxatives, and antacids, while some also contained the amphetamine Benzedrine…

…model railroading for adults started to build up steam in the 1930s…here’s a back of the book ad aimed at those who couldn’t afford to travel but who could afford a Scale-Craft kit…

…here’s a page from the 1936 Scale-Craft catalog…

…and an example of what you could build from a kit…

…and there’s no guessing the target audience for this brand of cigarettes…

…on to our cartoonists, Al Frueh was back with illustrations for the theater review section…

…Alain found nothing humorous about being a Good Humor man…

…a couple of spots by Abe Birnbaum (left) and unidentified at right (signature looks like PHRANK)…

…a stray arrow found its way into this cartoon by Charles Addams…

…Whitney Darrow Jr illustrated the childish side of politics…

…we zoom in for a close-up…

…Darrow again, making a new friends…

…Ned Hilton drew up an outfit that clashed with the salad course…

…James Thurber greeted a group of dour birds (interesting background with sporting scenes…one wonders why)…

…Otto Soglow gave us some shattered dreams…

…Alan Dunn visited the fiction section, no questions asked…

…and Dunn again…with an around the world adventure stuck in traffic…

…Fortune magazine probed the mysteries of middle class life, per Carl Rose…

…and we close with Helen Hokinson, and the unease of an approaching winter…

Next Time: Far-Fetched Faulkner…

Road Warriors

Above: 1936 Vanderbilt Cup program cover and the winner of the race, Italy's Tazio Nuvolari. (Wikipedia)

When William K. Vanderbilt II founded the Vanderbilt Cup Race in 1904, Long Island’s Nassau County was mostly farmland, its North Shore dotted with the luxurious country estates of wealthy New Yorkers. The Vanderbilt Cup would help crack open the door to the eventual suburbanization of Long Island, now home to more than eight million people.

October 10, 1936 cover by **Helen Hokinson.**

The race was cancelled after just three years—a spectator was killed in 1906— but it was revived in 1908 with the opening of the Long Island Motor Parkway. That nine-mile (14.4 km) private toll road, combined with fourteen miles (22.5 km) of public dirt roads, served as the Vanderbilt Cup course until the race was suspended in 1916 with the U.S. entry into World War I. The race would not be revived until Oct. 12, 1936, when the new Roosevelt Raceway opened in Westbury, welcoming 50,000 spectators. New Yorker correspondent G.F.T. Ryall (aka “Speed”) looked forward to the big race:

EAT MY DUST…*Top photo*: Averaging sixty-five miles per hour (104.6 kph), with a top speed exceeding one hundred mph (161 kph), **George Robertson’s** 1906 Locomobile is shown rounding a turn in the 1908 Vanderbilt Cup race—the crowd, estimated at more than 250,000—often stood dangerously close to the action (a spectator was killed in the 1906 race); *Below:* The 1906 finish saw the first-ever use of a checkered flag to signal the winner of an automobile race. *(hemmings.com)*

The 1936 race was revived by William K’s nephew George Washington Vanderbilt III, NFL founder George Preston Marshall, and famed World War I flying ace Eddie Rickenbacker. The three hundred-mile (482.8 km) race, featuring seventy-five laps on a twisting, four-mile (6.4. km) circuit, was won by Italy’s Tazio Nuvolari driving a twelve-cylinder Alfa Romeo. The best American driver, William Cummings, finished almost twenty-five minutes behind Nuvolari.

STEERING COMMITTEE…At left, 1936 Vanderbilt Cup winner **Tazio Nuvolari** and his mechanics prior to the race—his average speed was similar to the winner of the 1908 race due to the twisty, maze-like design of Roosevelt Raceway; at right, **George Washington Vanderbilt III** presents the winning trophy to Nuvolari. The massive sterling silver cup, crafted by Cartier, is now housed at the Museo Nicolis in Verona, Italy. *(vanderbiltcupraces.com)*

Ryall noted that the leading American driver was Louis Meyer, but Meyer would not compete due to a crash on a practice run. Also noted was the labor and materials involved in the construction of Roosevelt Raceway, where the winning average speed (65.998 mph or 106.2 km/h), was nearly the same as the 1908 race. This lack of speed was later mocked by spectators and the press, who criticized the many twisty hair-pin turns on the course.

LOTS OF CURVES, YOU BET…Army Air Forces aerial photograph of the new Roosevelt Raceway taken during the 1936 Vanderbilt Cup Race Oct. 12, 1936. Deluxe clubhouse seats were sold for $27.50, or about $700 today. The four-mile (6.4. km) layout featuring sixteen unbanked corners (many with tight hairpins), a layout that kept average speeds disappointingly low. *(Wikipedia)*

The revived race lasted only two years, both won by Europeans. Check out the website Vanderbilt Cup Races for more photos and information on the race. This final note by Ryall suggested that travelers use the Long Island Motor Parkway to get to the race—the very same road that was originally constructed for the 1908 race.

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A Gentler Pastime

Noel F. Busch reported from the 1936 U.S. Women’s Amateur Championship, where the young British golfer Pamela Barton won her second major tournament of the year.

KING AND COUNTRY…Photo at left: **Pamela Barton** (right) defeated **Maureen Orcutt** (left) to win the 1936 U.S. Women’s Amateur Championship, becoming the youngest, at age nineteen, to win the U.S. and British women’s amateur titles in the same year—Barton was considered the best female golfer in the world in the late 1930s; photo at right: Barton takes part in training for the Volunteer Ambulance Service in England during WWII—sadly, the crash of a Royal Air Force Tiger Moth on November 13, 1943, claimed Barton’s life at age twenty-six. *(USGA Archives)*

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At the Movies

Italian tenor Nino Martini took top billing in the second film produced by Mary Pickford and Jesse Lasky for United Artists, the musical comedy The Gay Desperado. Critic John Mosher gave a thumbs up to this spoof of the gangster genre.

LIGHT AND EASY…*Top photo*: Italian operatic tenor **Nino Martini** took top billing in *The Gay Desperado,* seen here with co-star Ida Lupino; *below:* the film’s other co-star, **Leo Carrillo**, performs in costume in front of (from left) **Martini**, producer **Mary Pickford**, director **Rouben Mamoulian,** Mexican Consular Ricardo G. Hill, and producer Jesse L. Lasky. *(Citizen Screen via Facebook/just watch.com)*

Not so light was Craig’s Wife, starring Rosalind Russell as a domineering woman who drives everyone from her life, including her husband. Mosher found some relief in the “toothsome” comedy Kelly the Second.

MOTHER MAY I?…Top photo: **Rosalind Russell** portrayed the domineering wife of Walter Craig (**John Boles**) in *Craig’s Wife;* Below: **Patsy Kelly, Guinn ‘Big Boy’ Williams** and Charley Chase in *Kelly the Second. (melanienovak.com/tcm.com)*

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Whining for Winesburg

Book critic Clifton Fadiman found himself “stymied” by Sherwood Anderson’s latest novel, Kit Brandon: A Portrait, in which the author seemed “to be asking himself questions about a dozen things at once.”

A LOT ON HIS MIND…**Sherwood Anderson’s** *Kit Brandon: A Portrait*, would be his eighth novel. (neh.gov/abebooks.com)

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The calendar pages continued to feature mini-bios of celebrities, this week theater producer and director Guthrie McClintic…caricature by William Auerbach-Levy…

THEATER ROYALTY…**Katharine Cornell** and **Guthrie McClintic** in the library of their home at 23 Beekman Place in Manhattan, 1933. (Wikipedia)

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From Our Advertisers

We begin with this antediluvian image from Hiram Walker, which greeted readers on the inside front cover…the ad was part of series showcasing the consumption of Canadian Club around the world…

…National Distillers lined up their domestic and imported brands to promote a “perfect martini”…

…and we have more stylish lids from Stetson, which included a “new pork-pie” that was apparently popular among university students…

…and Hockanum Woolens continued its series celebrating the seasons in fashion…

…there were numerous ads in the issue touting the latest in modern furniture, including Bloomingdale’s…

…and B. Altman…

…The New York Sun hired cartoonist Fred Neher to tout the newspaper’s advertising reach…

…Neher (1903–2001) was best known for his long-running syndicated cartoon Life Is Like That, which ran from 1934 to 1977…he also published one cartoon in The New Yorker, Jan. 21, 1933…

Left, **Fred Neher’s** sole *New Yorker* cartoon (Jan. 21, 1933), and at right, an example of his long-running gag panel from 1936. (Thanks to Ink Spill for the always invaluable reference!)

…the inside back cover featured an appeal to motorists to make the switch to leaded gasoline (during the 20th century, leaded gasoline released millions of tons of toxic lead particles into the air, soil, and water, and even today persists throughout ecosystems, including human bloodstreams)…

…on a cheerier note, we have a bunch of cartoons, beginning with spots by Carl Rose…

…Victor de Pauw, Helen Moore Sewell, and Alice Chamalian…

…Richard Taylor began his series of “Ancient Favorites”…

…Barney Tobey gave us a 1930s version of “can you hear me now?”…

…Garrett Price recognized a face in the crowd…

…after a long absence, Isadore “Izzy” Klein returned to The New Yorker with this contribution (in 1935 Klein (1897–1986) resumed his work as an animator for major studios including Screen Gems and Disney)…

…Barbara Shermund got creative at a department store…

…Whitney Darrow Jr overheard some inside scoop at the theater…

…Alain offered up some timeless advice from the advertising world…

…Helen Hokinson’s “girls” steered clear of some political rhetoric…

…Ned Hilton had an urgent change order…

…and we close where we began, at the races, this time with Charles Addams…

Next Time: National Treasure…

Mirror, Mirror

Above: In his review of Tallulah Bankhead's performance in "Reflected Glory," Wolcott Gibbs noted that she was a force to be reckoned with: ..."she would pull any home in the world down around her ears in ten minutes, and after that perhaps eat the children." (newyorker.com/facebook.com)

Broadway’s fall season was still young when the Morosco Theatre staged Reflected Glory, featuring Tallulah Bankhead in a role that mimicked her famously flamboyant lifestyle.

October 3, 1936 cover by **Robert Day.**

The play, which ran for 127 performances, was not well-received by the critics, but audiences loved it, and especially those who, in the words of critic Wolcott Gibbs, “would be enchanted to spend the evening just watching (Bankhead) knit a sock.”

Bankhead (1902–1968) also appeared in films (she won a New York Film Critics Circle award in 1944 for her performance in Alfred Hitchcock’s Lifeboat), but she was mostly known for her stage acting and her wild lifestyle—drugs, alcohol, and lots of sex with both men and women; she was candid about her vices, including the claim she smoked 120 cigarettes a day.

ART IMITATES LIFE…Clockwise, from top left: **Tallulah Bankhead** in promotional photo for *Reflected Glory*; Bankhead played Muriel Flood, a flamboyant, self-absorbed actress who constantly dramatizes her own life both on and off stage; author and director George Kelly wrote *Reflected Glory* specifically for Bankhead; Broadway’s Morosco Theatre (demolished 1982). *(cinemaclassico.com/jacksonupperco.com/Wikipedia)*

Early in her career Bankhead, an Alabama native, moved into the Algonquin Hotel and quickly made her way into the orbit of the famed Algonquin Round Table—so, she was well-known to Gibbs, who noted in this excerpt that Bankhead’s only competition in Reflected Glory was William Brisbane, a man with a face “as mad and vacant as the moon.”

MAD MATCH…**Wolcott Gibbs** noted that **William Brisbane** was **Tallulah Bankhead’s** only competition in *Reflected Glory.* *(themovieb.org/npg.org.uk)*

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The Yankee Clipper

Baseball was mostly ignored in the early years of the New Yorker, but every now and then the magazine would feature a famous personality from the game, in this case Joe DiMaggio, who in 1936 would set a franchise record for rookies by hitting twenty-nine home runs (in just 138 games).

DIZZY AND JOE D…Yankees rookie **Joe DiMaggio** meets with Cardinals pitcher **Dizzy Dean** at the All-Star Game in Boston July 7, 1936. *(AP Photo)*

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Right of the Right

In his “Notes and Comment,” E.B. White took issue with a proposal by the New York Board of Aldermen to ban right-hand turns against a red light (the board ultimately approved the ban).

SEEING THE LIGHT…City officials examine new traffic lights on Fifth Avenue, 1933. *(Golden Age Of Travel via facebook.com)*

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At the Movies

Based on a 1929 novel by Sinclair Lewis, the William Wyler-directed Dodsworth was acclaimed by critics as one of the best films of the year. New Yorker critic John Mosher wholeheartedly agreed:

SHE SAID, HE SAID…At left, **Ruth Chatterton** and **Walter Huston** portrayed a couple in a declining marriage in Dodsworth; at right, retired auto magnate Sam Dodsworth (Huston) reconsiders the life he has made for himself. *(torontofilmsociety.com/YouTube.com)*

COMPLICATIONS…While travelling on the RMS *Queen Mary* to England, the Dodsworths find romantic companions—at left, Sam finds a soulmate in Edith Cortright (**Mary Astor**), while Fran flirts with a younger Englishman, Captain Lockert, played by **David Niven.** It was Niven’s first sizable role—he was a lieutenant in the British Army before coming to Hollywood in 1935. (eBay.com/film-foundation.org)

Mosher also reviewed a mixed bag of films, including the “wicked comedy” La Kermesse héroïque (Carnival in Flanders) featuring French opera star Françoise Rosay as a mayor’s wife who cleverly thwarts potential troubles from visiting Spanish soldiers.

BAWDY FUN was how John Mosher described the schemes of a mayor’s wife in *La Kermesse héroïque (Carnival in Flanders)—c*lockwise, from left: **Françoise Rosay** (seated) organizes the village women to tame some visiting soldiers; **Betty Grable** and John Arledge in the crime drama Don’t Turn ’em Loose; *La Croisière Jaune* (*Yellow Expedition*) documented a 1931-32 French trans-Asian expedition organized by Citroën to promote its rugged Kégresse track vehicles; **Jack Oakie**, **Bennie Bartlett** and **Fred MacMurray** in The Texas Rangers. (mubi.com/imdb.com/radiofrance.fr/csfd.cz)

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From Our Advertisers

Fall advertising continued its uptick in the magazine, with many splashes of color including this carpet ad that greeted readers on the inside front cover…

…R.J. Reynolds continued to roll out endorsements from society mavens…here Anne C. Rockefeller stated that Camels gave her “a delightful sense of well-being”…

…more Colonel and Duchess archetypes turn up in this issue, on behalf of Ruppert beer…

…the Warwick Hotel (Philadelphia), and College Inn tomato juice “cocktail”…College Inn had softened the appearance of their Duchess…

…since she was last spotted in The New Yorker in 1935 (detail)…

…after a blazing hot summer, the brewers of Rheingold figured this image would still appeal to parched New Yorkers…

…a back of the book ad from Johnston & Murphy, quoting an unidentified author regarding some childhood wishes…

…John Held Jr. was one of the earliest contributors to The New Yorker—from 1925 to 1932 his woodcut-style cartoons and fanciful maps were frequent features…by 1936 Held had turned his talents to painting, book illustration, and the occasional advertisement, here on behalf of Macy’s…

…our illustrators and cartoonists for this issue include Christina Malman…

…a caricature by William Auerbach-Levy for the calendar section’s mini bio…

…another Richard Taylor–Morris Bishop collaboration…

…more historic moments from American Industry, with Rea Irvin…

…Alan Dunn had an M.C. Escher moment on the turnpike…

…Helen Hokinson made a big ask at the beauty parlor…

…Ned Hilton drew up a big man with a big complex…

…Leonard Dove offered a challenge and a unique perspective at the subway station…

….Barbara Shermund’s modern women thrilled to the sights of Manhattan…

…George Price turned this trio into a quartet…

…and we close with a terrific, terrifying moment at the World Series, courtesy Peter Arno…

Next Time: Road Warriors…

Epic Adversity

Above: Fredric March and Olivia de Havilland in "Anthony Adverse". (tcm.com)

Epic costume dramas were all the rage in the 1930s, doubtless due to their escapist qualities (escape from the Depression and fears of war, among other things) and the cool comforts of a movie palace during a decade of exceptionally hot summers (yes, once again I’m leading with a movie. Nevertheless, some tasty bits ahead!).

August 29, 1936 cover by **William Steig.**

Unlike MGM’s Romeo and Juliet, which lost money, Anthony Adverse was Warner Brothers’ most popular release in 1936, a nearly two-and-a-half-hour film featuring the seemingly ever-present Frederic March and rising star Olivia de Havilland. Based on Hervey Allen’s 1933 historical novel by the same name, New Yorker critic John Mosher gave Anthony Adverse passing marks.

COSTUMES IN MOTION…Critic John Mosher appreciated a costume drama that was also lively. Clockwise, from left: Warner Brothers promotional poster; **Olivia de Havilland** as Angela, the daughter of a cook who becomes Mademoiselle Georges, a famous opera star and mistress of Napoleon Bonaparte; **Anita Louise** portrayed sweet young Maria, betrothed to grumpy old Don Luis (**Claude Rains**). *(frockflicks.com)*

WICKEDLY GOOD…**Gale Sondergaard** with Claude Rains in *Anthony Adverse.* Sondergaard would win the inaugural Academy Award for Best Actress in a Supporting Role for her performance as the villainous Faith Paleologus. In total, the film would earn four Oscars. (IMDb.com)

Mosher found other cinema diversions, including a film featuring a cameo by Robert Benchley.

WORLD OF WODEHOUSE…**Madge Evans** and **Robert Montgomery** in *Piccadilly Jim*; **Dolores Costello** and George Raft in *Yours for the Asking*; **Ida Lupino** portrayed con artist Gertie Malloy in Yours for the Asking; pioneer American film animator **Mary Ellen Bute** created some of the first electronically generated film images, her specialty being visual music. *(imdb.com/csfd.sk/facebook.com/Wikipedia)*

And lest we forget, here is The New Yorker’s Robert Benchley portraying a “barroom character” in Piccadilly Jim:

THE TWO BOBS…**Robert Montgomery** and **Robert Benchley** in *Piccadilly Jim.* *(immortalephemera.com)*

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Pentameter Pickle

E.B. White expressed his annoyance with MGM’s claim regarding Norma Shearer as “the first screen Juliet” (see last week’s post on Romeo and Juliet). He also noted that after seeing Romeo and Juliet, he had the urge to speak in Shakespeare’s iambic pentameter.

White noted that either Beverly Bayne or Theda Bara were the first screen Juliets…actually both appeared in dueling films in 1916, opening just three days apart.

FILM DUEL…Top, **Francis X. Bushman** and **Beverly Bayne** (married in real life) in Metro’s 1916 adaptation of *Romeo and Juliet.* Below, **Theda Bara** and Harry Hilliard in Fox’s 1916 *Romeo and Juliet.* In direct competition, the Fox film was released on Oct.22, the same week as Metro’s (Oct. 19). Both silent films are considered lost. *(theeverydaycinephile.com)*

If White had had access to the internet, he would have learned that the very first screen Juliet was actually Florence Lawrence , who appeared in a fifteen-minute silent film short made in 1908 by Vitagraph Studios (amazingly, the film survives and can be viewed on YouTube).

THE ORIGINAL…The first screen Juliet was **Florence Lawrence**, who appeared in a 1908 silent film short by Vitagraph Studios. Lawrence (1886–1938) is widely referred to as the “first movie star”, appearing in almost three hundred films. She also invented a surprising list of patents, including the first “auto signaling arm.” *(messynessychic.com).*

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He Used His Bean

“The Talk of the Town” featured a rare mention of baseball in the form of a brief profile of Jo-Jo Moore (1908–2001), a New York Giants left fielder known for his intimidating, left-handed-hitting as lead-off man; Moore batted over .300 five times in his career. Apparently he was also known for getting beaned at the plate, as this excerpt explains:

LEANING IN…**Jo-Jo Moore**, who batted left-handed and threw right-handed, hit over .300 five times in his career with the Giants from 1930 to 1941. When he died in 2001 at age 92, he was the last surviving member of the 1933 World Champion New York Giants. (centerfieldmaz.com)

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The Bobby We Didn’t Know

Mention the name Bobby Riggs to those of a certain age and they’ll likely conjure up the cheeky grin of a 55-year-old man who in 1973 challenged 29-year-old Billie Jean King to a much-ballyhooed “Battle of the Sexes” tennis match at the Houston Astrodome—which King won in straight sets (6–4, 6–3, 6–3). What seems forgotten is the fact that Riggs was once considered the best tennis player in the world. As a 21-year-old amateur in 1939, he won Wimbledon and the U.S. Open. Even in 1936 the teenaged Riggs was already sensation, as this excerpt explains:

PROMISING BEGINNINGS…Left, **Bobby Riggs** (center) accepts the 1939 men’s national singles championship trophy after defeating **Welby Van Horn** at Forest Hills. Riggs also won the U.S. Singles Championship in 1941. At right, **Billie Jean King** and **Bobby Riggs** strike a pose in 1973, the year they competed in famed “Battle of the Sexes” tennis match. (facebook.com/Wikipedia)

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From Our Advertisers

Singer Ethel Merman lit up the opening page of the August 29 issue in this colorful advertisement for Stage magazine…

…the makers of the bargain cigarette Twenty Grand used this New Yorker-style cartoon to push their brand of tobacco…

…the inside back cover featured this bright appeal from Imperial Wallpapers…

…and the makers of Luckies claimed the back page to build their base of women smokers…

…on to our cartoonists, we begin with spots by Abe Birnbaum…

…and Robert Day…

…more cartoon art from Richard Taylor to enliven Morris Bishop’s limericks…

…Birnbaum again, with a bit of hide and-seek…

…Alan Dunn confronted a moral quandary…

…Rea Irvin put up a tempting target…

…Helen Hokinson found the right words to describe a bridge party…

…Peter Arno illustrated one way to accommodate an estrangement…

…and we close with Gardner Rea, and a proud papa…

Next Time: Late Summer Chatter…

Bottoms Up!

Above: E.B. White had a bone to pick with whiskey distillers who tried to establish "quick antiquity" by naming their products "Old Something-or-Other." That was not true for these two brands—Old Grand-Dad was introduced in Kentucky in 1840, while Old Overholt debuted in Pennsylvania in 1810, making it America's oldest continually maintained whiskey brand. Both are now subsidiaries of Japan's Suntory Global Spirits. (alcohol professor.com/pinterest)

With the official end of Prohibition on December 5, 1933, brewers and distillers raced to ramp up production and revive brands that had lain dormant for more than a decade. Distillers of aged spirits like rye and whiskey were especially keen to invoke history and tradition when marketing their tipple.

August 15, 1936 cover by **Paul C. Robertson.**

In some cases newer distilleries made generous use of the word “Old” in their branding, according to E.B. White in his “Notes and Comment.” White also called out the folks at Seagram’s, who compared the character of Thomas Jefferson to that of their “V.O.” whisky (no “e” in spirits tied to British distilling traditions—Scotland, Canada, Japan, Wales, India). Most egregious, however, was the ad’s claim that Jefferson helped to draft the Constitution. White explained:

HE DID WHAT?…**E.B. White** called out the Seagram’s ad (left, from the July 25 issue of The New Yorker) for its historic inaccuracy (the distiller erroneously credited **Thomas Jefferson** for the Constitution; at right, the character and leadership of the Founding Fathers (and other early American leaders) were oft-employed metaphors for a number of whiskey brands, including James E. Pepper. (facebook.com)

GOLDEN OLDIES…Here are more examples of historic figures being associated with fine spirits…at left, in 1960 the makers of Old Crow (founded 1835) depicted the genocidal **Andrew Jackson** pouring a glass of the stuff for Martin Van Buren; at right, in 1937 the makers of Old Taylor (1887) used quotes and themes from **Thomas Paine’s** revolutionary writings to promote their Kentucky Straight Bourbon. *(bourbonbanter.com/etsy.com)*

While we are on the subject of ardent spirits, let’s take a look at these excerpts from “The Talk of the Town” (attributed to Eugene Kinkead and Russell Maloney), which told the story of a private detective who had a nose for liquor— disguised as hair tonic.

A SIP WITH YOUR SHAVE…During Prohibition (1920–1933), high-alcohol hair tonics like Rexall 93 (containing up to 24% alcohol) were legally sold as cosmetics but were frequently bought and consumed by people seeking a cheap, accessible substitute for bootleg liquor. The photo at right is of a 1930s barbershop—it is not implied that these fine gentlemen were involved in such illicit activities. *(ebay.com/pinterest.com)*

A closer look at the Rexall label—the makers made sure “24% Alcohol” was clearly visible. Folks known as “strainers” would run hair tonics like these through bread, cloth, or charcoal to filter out poisonous additives, obviously a dangerous practice.

* * *

Doggy Downer

The legendary Kress “five-and-dime” stores, with more than 250 locations across twenty-nine states, served the needs of regular folks, but the designs of its stores were anything but pedestrian. This was especially true of its Fifth Avenue location, a 1935 Art Deco masterpiece. Given its lofty address, it was no place for one to order a lowly hot dog. E.B. White explained:

DECO EDIFICE…**Samuel Henry Kress** believed his department stores should function as works of public art that elevate the shopping experience for ordinary people. The company maintained an in-house architectural division, under the leadership of architect **Edward F. Sibbert**, that designed iconic, custom buildings, including the 1935 flagship S. H. Kress & Co. store on Fifth Avenue and 39th Street, an Art Deco masterpiece rendered in granite, bronze, and stainless steel; at right, a view of the store’s Ladies Lounge. Sadly, the building was razed in 1983. (*Museum of the City of New York/New York Public Library)*

* * *

Merely Mortal

Janet Flanner filed her second report from the Berlin Olympics, where America’s Black athletes dominated the track and field events (ESPN’s Larry Schwartz credits Jesse Owens for “single-handedly crushing Hitler’s myth of Aryan supremacy”). Flanner noted attempts by propagandists to make sense of the beating they received, including likening the American athletes to wild animals “living in a state of innocence.” Excerpts:

CONQUERING HEROES…Eighteen Black athletes went to Berlin as part of the U.S. team in 1936. Clockwise, from top left: Standing are high jumpers Dave Albritton and **Cornelius Johnson,** hurdler **Tidye Pickett,** sprinter **Ralph Metcalfe,** boxer Jim Clark, and sprinter **Mack Robinson**…in front, weightlifter **John Terry** (left) and long jumper John Brooks; **Jesse Owens** captured four gold medals and became the hero of the Olympics—his long jump (26 feet 5-1/2 inches) was an Olympic record; the American press reported widely on the friendship between Owens and his German long jump competitor **Carl Ludwig (“Luz”) Long**…Long was killed in action during World War II; the faithful offer their ugly salutes at the opening of the games. (webs.org/Bundesarchiv Koblenz/ushmm.org/history.com)

Flanner also reported on the great fanfare at the opening of the games, including “seventeen searchlights, from far outside the arena…a lofty birdcage of streaming light beams.” One wonders if those same searchlights were deployed during the war four years later, when RAF Lancaster bombers began their night bombing campaign of Berlin.

* * *

At the Movies

Last week we saw Lionel Barrymore in drag (as an old woman) in The Devil Doll. This week he resurfaces as a senile old warhorse in The Road to Glory, a Howard Hawks war film with a screenplay co-written by William Faulkner (the film also featured Frederic March, who had star billing in three major films in 1936). John Mosher found the film “presentable,” but nothing special. The same went for Down Under the Sea, a film concerning sponge divers who battle over the affections of a woman (Ann Rutherford).

WERE THEY SPONGE WORTHY?…Clockwise, from top left: **Ann Rutherford** finds herself torn between two sponge divers vying for her affections in *Down Under the Sea* (aka *Down to the Sea*); divers Ben Lyon and Russell Hardie surprise Rutherford with a “native necklace” in the film; **Frederic March, Lionel Barrymore,** and Warner Baxter in *The Road to Glory*; **June Lang** with March in *The Road to Glory. (eBay/silverscenesblog)*

Mosher also took in Jailbreak, a minor noir picture about racketeers, cops and newspaper reporters.

SERIOUS BUSINESS…**Barton MacLane**, **June Travis** and Joseph Crehan in *Jailbreak. (IMDb.com)*

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From Our Advertisers

The inside front cover featured a wholesome image of a roadside stand on behalf of leaded gasoline…the makers of Ethyl, which boosted octane ratings and stopped engine knocking, deliberately hid or omitted the word “lead” in their advertising…I don’t miss the Ethyl, but I do miss those roadside stands…

…Warner Brothers took out a full-page ad to trumpet the East Coast release of their epic drama Anthony Adverse, which would go on to win four Academy Awards…

…the original torch singer Helen Morgan lent her endorsement to a budget cigarette brand in this back of the book ad…at this point her career would be headed on a downward spiral, ending with her death in 1941…

…the makers of the Dominican rum Siboney competed with Cuban rival Barcardi with this colorful full-page ad illustrated by American graphic artist Ervine Metzl…

…Barcardi placed this front cover advertisement in Aug. 1, 1936 New Yorker (illustrated by George de Zayas)…

…James Thurber kicks off the cartoons with two terrific spot drawings…

…this spot drawing by Victor de Pauw recalls my favorite childhood book, Mike Mulligan and His Steam Shovel (1939), by Virginia Lee Burton…

…I’m not sure if one would call this a spot drawing or a caption-less cartoon, at any rate, Garrett Price aptly illustrated the dangers of swimming beyond the bouys…

…Rea Irvin demonstrated the perils of dognapping in this multi-panel entry…

…William Steig celebrated summer in the city…

…Helen Hokinson drew up an urgent social connection…

…Denys Wortman looked in on the trappings of motherhood…

…Alan Dunn showed us one effect of long-distance travel…

…and Dunn again, with a man who’d rather not ask questions…

…and leave it to Charles Addams to draw up The New Yorker’s first Medusa-themed cartoon…

…before we continue, here are other interpretations of the mythic Gorgon from The New Yorker…this one by Lars Kenseth is from Jan. 21, 2019…

…this is by Ali Solomon (Oct. 29, 2025)…

…and from May 3, 2025, this terrific caption contest cartoon by Jason Adam Katzenstein (and the winning caption by Peter Sergison, Durham, NC)…

…and here’s a timely cartoon by Daryl Seitchik that was rejected by the magazine…

…we go back to 1936 with George Price and a plucky salesman…

…Chon Day made an unappetizing find at the fish market…

…Gardner Rea looked in on a summer stock performance…

…Peter Arno drew up a Milquetoast unwittingly ordering a knuckle sandwich…

…and we close with some racy decor, courtesy Richard Taylor…

Next Time: Wherefore, Old Romeo?…

A Letter From Berlin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* * *

A Friendly Shakedown

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

* * *

At the Movies

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

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

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

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

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

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

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

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

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

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

* * *

From Our Advertisers

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

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

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

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

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

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

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

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

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

…John Groth…

…Richard Taylor…

…Christina Malman…

…and Victor de Pauw…

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

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

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

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

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

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

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

Next Time: Men in Kilts…

That Tammany Taint

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

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

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

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

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

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

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

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

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

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

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

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

* * *

At the Movies

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

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

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

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

* * *

Genteel Sport

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

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

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

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

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

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

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

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

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From Our Advertisers

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

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

…and this spot from the Philadelphia Evening Bulletin…

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

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

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

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

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

…Alain helped open things up for the events calendar…

…as did Susan Willard Flint with her woodcuts…

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

…and Hilton again, preparing for take-off…

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

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

…and Dunn again with some realtor trickery…

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

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

…Rea Irvin celebrated the genius of American marketing…

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

Next Time: A Letter From Berlin…

Better Living Through Fiction

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

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

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

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

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

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

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

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

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

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

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

* * *

A Quiet Place

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

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

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On Your Mark

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

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

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Ach Du Lieber

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

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Haggard and Debonair

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

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

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Juvie Justice

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

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

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

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

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Some Lawn Tennis

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

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

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At the Movies

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

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

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

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

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From Our Advertisers

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

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

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

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

…escaping the heat with Christina Malman…

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

…Daniel ‘Alain’ Brustlein…

…George Price…

…and Otto Soglow…

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

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

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

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

Next Time: Platoon Platitudes…

Modern Times

Above: A mechanic (Chester Conklin) gets caught up in his work with the help of the Tramp (Charlie Chaplin) in Modern Times. (festival-entrevues.com)

The film Modern Times was Charlie Chaplin’s last performance as “The Tramp” (or, “The Little Tramp”), a character he created more than twenty years earlier to represent a simple person’s struggle to survive in the modern world. That struggle was no more apparent than in Modern Times, a film in which the Tramp faced the dehumanizing industrial age in all its kooky complexity.

A sweet Valentine’s Day-themed cover by **William Steig,** February 15, 1936.

The film is notable for being Chaplin’s first picture to feature sound, and the first in which Chaplin’s voice is heard—singing Léo Daniderff’s comical song “Je cherche après Titine” (although Chaplin replaced the lyrics with gibberish). Modern Times was nevertheless filmed as a silent, with synchronized sound effects and a small amount of dialogue. Critic John Mosher appreciated the movie as being “of the old era,” not anticipating that it would become one of cinema’s most iconic and beloved films.

JUST A COG IN THE MACHINE…Clockwise, from top left: Repetitive assembly line work drives the Tramp **(Charlie Chaplin)** to a nervous breakdown; the steel factory is an Orwellian world where the president (**Allan Ernest Garcia)** constantly monitors his workers—even in the bathroom where the Tramp is caught taking a break; the company tries out a new lunch efficiency machine on the Tramp, with mixed results; iconic image of the Tramp at work. (medium.com/YouTube.com)

One of the film’s best stunts involved the blindfolded Tramp rollerskating on the fourth floor of an under-construction department store; Chaplin employed a matte painting, perfectly applied on a glass pane in front of a camera, to create the illusion of a sheer drop-off. Even as an illusion, Chaplin’s skating skills were remarkable.

HIGH ANXIETY…The blindfolded Tramp (**Charlie Chaplin**) skates precariously close to a sheer drop-off on the fourth floor of a department store while his companion, an orphan girl known as “The Gamin” (**Paulette Goddard**) puts on her skates, unaware of his peril. (YouTube.com)

The model below shows how the effect was achieved, filming next to a glass-mounted matte painting to create the illusion of a sheer drop off…

In his conclusion, Mosher found the film to be “secure in its rich, old-fashioned funniness.”

Chaplin gave a happy send-off to the Tramp, who at the end of earlier films walked down the road alone. Modern Times closed with the Tramp and the Gamin walking hand in hand, dreaming of a life together.

FOND FAREWALL…**Paulette Goddard** joined **Charlie Chaplin** on the road at the end of *Modern Times.* Goddard became Chaplin’s third wife in 1936. (the-cinematograph.com)

THE TRAMP RETURNS…World premiere of *Modern Times,* Feb. 5, 1936, at the Rivoli Theatre in New York City. The film was one of the top-grossing films of 1936. (Wikipedia)

A final note: The website The Twin Geeks offers an excellent synopsis and analysis of Modern Times.

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Bachelor King

In his “Notes and Comment,” E.B. White wrote about the ascension to the British throne by Edward VIII following the death of his father, George V. In this excerpt, White considered a question raised by the Daily News regarding the king’s plans to marry (a question answered a few months later when Edward announced his plan to wed American divorcee Wallis Simpson, which led to a constitutional crisis and Edward’s subsequent abdication).

BUT I DON’T WANNA BE KING…The reluctant king **Edward VIII** would choose love over the crown when he abdicated the throne in December 1936 to marry **Wallis Simpson** (bottom left); **E.B. White** noted one woman’s suggestion that the king should marry actress **Greta Garbo,** since “Both have had a rough time at love.” (highland titles.com/George Eastman Museum)

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By Any Other Name

“The Talk of Town” featured a profile of Arthur J. Burks, a prolific writer of pulp fiction who published everything from detective stories to science fiction under a half-dozen pseudonyms. A brief excerpt:

A CURIOUS MIND…**Arthur J. Burks** (1898–1974) and the cover of *Astounding Stories*, January 1932, which featured the first part of his two-part tale, “The Mind Master.” Burks produced around eight hundred stories for the pulps, twenty-nine of which appeared in the magazine *Weird Tales*. (findagrave.com/gutenberg.org)

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A Day in the Life

From 1935 to 1962 Eleanor Roosevelt published a daily syndicated newspaper column titled “My Day”—through the column millions of Americans learned her views on politics, society, and events of the day as well as details about her private and public life. James Thurber couldn’t resist writing a parody—here’s an excerpt:

THE REAL DEAL…At left, sample of one of Eleanor Roosevelt’s syndicated “My Day” columns from 1938; photo of the First Lady from 1932. (arthurdaleheritage.org/Library of Congress)

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At the Movies

Besides Modern Times, there were other movies of note that were given rather scant attention in Mosher’s column, including the film adaptation of The Petrified Forest starring Humphrey Bogart, Bette Davis and Leslie Howard.

Robert E. Sherwood wrote the 1934 Broadway play of the same name, which was co-produced by Howard and featured both Howard and Bogart. When it was adapted to film, Howard insisted that Bogart appear in the movie, and it made Bogart a star (he remained grateful to Howard for the rest of his life).

DANGEROUS DINER…An odd mix of patrons at a gas station cafe are taken hostage by desparate criminals in *The Petrified Forest.* From left are **Leslie Howard, Dick Foran, Bette Davis** and **Humphrey Bogart.** Playwright Robert Sherwood based Bogart’s character, Duke Mantee, on the the real-life criminal **John Dillinger**, the FBI’s first “Public Enemy #1.” (moma.org)

Other cinema diversions included the musical Anything Goes, which included songs by Cole Porter; the comedy Soak the Rich, which featured a radical who falls in love with a rich man’s daughter; and a detective film, Muss ‘Em Up, with the usual movie gangsters.

TAKE YOUR PICK…Clockwise, from top left: **Ida Lupino** and **Arthur Treacher** in the musical *Anything Goes*; **Bing Crosby** (in disguise) and Ethel Merman in Anything Goes; **John Howard, Mary Taylor** and **Walter Connolly** in the comedy *Soak the Rich*; **Preston Foster, Maxine Jennings** and Guinn “Big Boy” Williams in the detective film *Muss ‘Em Up.* (imdb.com/torontofilmsociety.com/zeusdvds.com)

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The Amazing Race

The New Yorker periodically featured “That Was New York,” which took a detailed look at significant events in the city’s history. In this installment, Donald Moffat recalled the 1908 New York to Paris automobile race, which commenced in Times Square on February 12 with six cars representing the U.S., France, Germany and Italy. It was an extraordinary event given that motorcars were a recent invention, and roads were nonexistent in many parts of the world. A brief excerpt:

ON YOUR MARK…Cars lined up in Times Square on Feb 12, 1908 for the start of what would become a 169-day race. American George Schuster was declared the winner when he arrived in Paris on July 30, 1908, after covering approximately 10,377 miles (16,700 km). (Library of Congress)

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Miscellany

Another regular feature in the early New Yorker was coverage of the New York Rangers, a team founded in 1926 by Tex Rickard after he completed construction of the third incarnation of Madison Square Garden. The Rangers were one of the Original Six NHL teams before the 1967 expansion, the others being the Boston Bruins, Chicago Blackhawks, Detroit Red Wings, Montreal Canadiens and Toronto Maple Leafs.

In this excerpt, the writer “K.B.” described the rough play against rival Detroit, which would win back-to-back Stanley Cups in 1936 and 1937.

ZESTY…The excerpt above noted that the Rangers’ **Phil Watson** cuffed the Red Wings’ **Syd Howe** “with a zest richly appreciated by the balcony.” At left, team photo of the 1935-36 New York Rangers, with star and fight instigator **Phil Watson** identified with arrow; at right, **Syd Howe** won three Stanley Cups with Detroit, winning back-to-back in 1936 and 1937, and then again in 1943. (hockeygods.com)

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From Our Advertisers

General Motors’ luxury car line offered three price points (and this lovely image) to weather the Depression years, ranging from the relatively affordable La Salle to the Cadillac Fleetwood…

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…recall last summer when College Inn featured the Duchess in a series of ads that illustrated her increasing fury over plain tomato juice…one wonders what sort of sadistic torment she had in mind for her hostess, “the old WITCH”…

…on to our cartoonists, beginning with this spot by James Thurber…

…and Thurber again, with an unwanted call to solidarity…

…William Steig explored marital bliss…

…George Price gave us a Three Stooges moment…

…I do not have the identity of this cartoonist…I will keep looking, but would love suggestions in the meantime…*update*…thanks to Frank Wilhoit for identifying the cartoonist below as John Kreuttner, also confirmed through Michael Maslin’s Ink Spill…

…Charles Addams added some frills to an executive suite…

…Otto Soglow illustrated the hazards of sleepwalking…

…Alain revealed a challenge to the publishing industry…

…Peter Arno possibly craved some sauerkraut and corned beef…

…William Crawford Galbraith was in familiar sugar daddy territory…

…Whitney Darrow Jr gave a nod to some homey surrealism…

…Barbara Shermund offered some well-weathered advice…

…and we close with Garrett Price, and a visitor more suited to Charles Addams…

Next Time: Comfort Food…

The New Ziegfeld

Above: The 1936 Ziegfeld Follies premiered on Broadway at the Winter Garden Theatre on January 30, 1936 and closed on May 9, 1936 after 115 performances. (Hulton Archive)

Broadway impresario Florenz Ziegfeld Jr died in 1932, but his famous theatrical revue lived on for years with revivals including one in 1936 that Robert Benchley praised for being better than the originals.

February 8, 1936 cover by **Helen Hokinson,** marking the opening of the Westminster Kennel Club Dog Show at Madison Square Garden. According to **Michael Maslin’s** always enlightening Ink Spill, the first dog-themed *New Yorker* cover was Feb. 8, 1930, by **Theodore Haupt** *(below).*

Now on with the show. Brought back to life by Ziegfeld’s widow Billie Burke and theatre operators Lee and J. J. Shubert, The Ziegfeld Follies of 1936 was loaded with talent, with lyrics by Ira Gershwin, choreography by George Balanchine, and sets and costumes by Vincente Minnelli. What really brought people in was the star of the show, Fannie Brice, who was supported by cast members Bob Hope, Eve Arden, Josephine Baker, and the Nicholas Brothers, among others. Benchley wrote:

FANNIE AND THE REST…Clockwise, from top left: **Bob Hope** and Eve Arden performed the popular tune “I Can’t Get Started With You”; Hope with Fannie Brice in the sketch “Baby Snooks Goes Hollywood”; **Josephine Baker** premiered “The Conga” at the *Follies*, and **Harriet Hoctor** performed her “Night Flight.” *(gershwin.com/uneicone-josephinebaker.webador.fr/libraryofcongress,org)*

This ad for the 1936 Follies prominently featured Benchley’s endorsement:

Billie Burke (1884–1970) authorized Follies revivals with the Shuberts in 1934, 1936 and 1943, with the Shubert family producing a final revival in 1957. In 1936 MGM also filmed a Ziegfeld biopic, The Great Ziegfeld (which won two Academy Awards), casting William Powell as Ziegfeld and Myrna Loy as Burke. Burke wanted to play herself in the film, but at age 51 she was deemed too old for the part.

ZIEGFELD MAGIC…**Florenz Ziegfeld’s** widow **Billie Burke** kept the Follies going after her husband’s death in 1932. She is best known today for her portrayal of Glinda the Good Witch of the North in 1939’s *The Wizard of Oz.* (oscars.org/Wikipedia)

Fannie Brice (1891–1951) was the biggest star of the Follies and so dominated the show that when she became ill in May 1936 the production closed. Brice returned to the Winter Garden that September for 112 more performances.

Benchley also praised Call it a Day, a 1935 play by British writer Dodie Smith that ran for 194 performances at the Morosco Theatre. Benchley thought it was so good he saw it twice.

SPRING FEVER drove the action in Dodie Smith’s (right) hit comedy Call it a Day. The play chronicles a single spring day in the lives of the Hilton family, during which each member encounters unexpected romantic temptations and complications. **Gladys Cooper,** left, starred as Dorothy Hilton. The play was adapted to a Hollywood film in 1937. (vocal.media/Wikipedia)

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At the Movies

We go from the stage to the screen, where John Mosher took in Rose Marie, a musical comedy based on a popular 1924 Broadway play. The film “repolished” the old play and used it as a framework for a series of duets between Jeanette MacDonald and Nelson Eddy.

MELODIOUS MOUNTIE…Lobby card for *Rose Marie*, a musical romcom about a singing Mountie and a world-renowned prima donna, joined in love by a haunting “Indian mating call.” (Wikipedia)

Mosher reviewed three other films that could have used some of Rose Marie’s cheer:

CHEERLESS FARE…Clockwise, from top: **Gloria Stuart, Freddie Bartholomew,** and **Michael Whalen** in *Professional Soldier*; **James Stewart, Margaret Sullavan** and **Ray Milland** in Next Time We Love; **Helen Vinson** and **Conrad Veidt** in *King of the Damned. (Wikipedia/imdb.com/letterboxd.com/silversirens.co.uk)*

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Miscellany

I strive to keep these posts at a readable length, and (hopefully) lively and enjoyable to read, which means that I cannot include absolutely everything that appears in each issue. For example, there are a number of regular features from the sports world—ranging from major attractions like hockey and college football (no coverage yet of baseball—which for some reason Harold Ross hated—or basketball) to more niche pursuits, such as squash (below) or indoor polo. From time to time I will include these under “Miscellany” as a way to give readers a more complete picture, and to assuage my fear that I am leaving something important out. Here is a very brief snippet of a regular feature, “Court Games,” by staff writer Geoffrey T. Hellman.

RACKETEERS…At left, **Beekman Pool** of the Harvard Club was the 1936 singles champion of the Metropolitan Squash Racquets Association; at right, **Edwin Bigelow** of the U.S. Squash Racquets Association presents the National Trophy to **Germain Glidden**. To the far right is runner-up **Andrew Ingraham**, who looks a bit miffed about getting a plate rather than a trophy cup. (thecarycollection.com)

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From Our Advertisers

Let’s start with the inside front cover…advertisements from Dorothy Gray salons were all about the restoration of youth in older women…apparently the treatments were so successful that “Mrs. M” was a bigger attraction at a Ritz-Carlton debutante party than her society-bound daughter…note the young gents at right checking out mom, and not the deb…

…opposite Dorothy Gray was this elegant appeal from Bergdorf Goodman…ads aimed at more refined tastes almost always featured these attenuated figures (whether they were people or luxury automobiles)…I guess I would hold onto something too with stilts like those…

…here’s a Steinway grand for less than a grand…$885 in 1936 is roughly equivalent to $20,000 or so today, but that’s still a bargain—Steinway grand pianos currently start at around $85,000…

…speaking of bargains, you could own “The Most Beautiful Thing on Wheels” (according to this ad) for a mere $615…

…and for an extra twenty-five bucks you could own a durable Dodge like the one endorsed by Roy Chapman Andrews (1884–1960), a globetrotting explorer who discovered fossilized dinosaur eggs in the Gobi Desert in the 1920s…

THE REAL INDY…**Roy Chapman Andrews** gained national fame as an explorer for New York’s American Museum of Natural History (AMNH). The discovery of a nest of complete dinosaur eggs in Mongolia in 1923 (above) provided the first proof that the critters hatched out of eggs. Named AMNH’s director in 1934, Andrews is thought to be an inspiration for the film hero Indiana Jones. (amnh.org/roychapmanandrewssociety.org)

…the folks at Chrysler were doing everything they could to get people interested in buying their Airflows—despite its technological advances, the car’s streamlined design (toned down in later models) was just too radical for mass market tastes…note how the ad draws attention to the work of “Artist Floyd Davis”…

…here’s a photo of Floyd Davis…

CHEERS…Illustrator Floyd Davis (1896–1966) poses in an ad for Lord Calvert whiskey, 1946. In 1943 Life magazine called him the “#1 Illustrator in America.” (Wikipedia)

…the Fisher company, makers of car bodies for General Motors, liked to emphasize the safety of their “Turret Top,” although it didn’t seem to occur to anyone that a child dangling from a car window was problematic…

…actress Lupe Vélez made the unlikely claim that flying on a 1930s airliner was “as comfortable as a private yacht”…

…ads for White Rock were among the more colorful found in the early New Yorker…

…on the back cover, Liggett & Myers tobacco company shifted gears from elegant to homespun with an ad that emphasized the high quality of Turkish leaf tobacco…

…the folks at Coty hired two New Yorker contributors, poet Arthur Guiterman and illustrator Constantin Alajalov, to promote their line of lipsticks…