A New Yorker State of Mind

Something Frivolous

And what can be more frivolous than a Busby Berkeley musical, with scores of leggy showgirls tap-dancing in perfect rhythm, or dressed in identical white gowns while playing flying pianos. Make sense? No, and that was the whole point.

March 23, 1935 cover by Peter Arno. The color, contrast and composition are striking; it looks more like a cover from the 50s or 60s.

“In an era of breadlines, depression and wars, I tried to help people get away from all the misery…” Berkeley once remarked. “I wanted to make people happy, if only for an hour.” Gold Diggers of 1935 was Berkeley’s second “Gold Digger” picture (he choreographed or directed four; there were six in all, including one silent), and it was the first in which he served as sole director. Critic John Mosher didn’t know what to make of the film, likening it more to an earthquake than an entertainment.

SOMEONE HAS TO DO IT…**Busby Berkeley** (1895-1976) works with dancers (left) during the production of 1933’s *42nd Street*; right, at work on one of his lavish sets, circa 1930s. (IMDB)

The “harmless jingle” Mosher referred to, Harry Warren and Al Dubin’s “Lullaby of Broadway,” received an Oscar for Best Original Song (it also gave me an earworm for a week).

GOLDEN GIRLS…Clockwise, from top left, **Alice Brady** as the parsimonious Matilda Prentiss and Adolphe Menjou as the conniving Russian dance director Nicolai Nicoleff in *Gold Diggers of 1935*; a scene from the dancing pianos sequence; **Dick Powell** and Gloria Stuart as the film’s sweethearts. (Wikipedia/YouTube/IMDB)

Amid the frivolity, Mosher noted the juxtaposition of the jingly “Lullaby of Broadway” with the haunting, two-minute sequence of Wini Shaw singing “Lullaby” as her disembodied face emerges from the blackness toward the viewer.

The scene continues as the woman (Shaw) turns onto her back, her head slowly dissolving into the nighttime city…after a raucous, mass tap-dancing scene, she falls to her death, and the sequence is reversed, her face disappearing into the blackness. The blog Acidemic gives an interesting take on this part of the film, which is more reminiscent of a German avant-garde film than Berkeley’s usual fare…

…Mosher found the scene “terrifying.” Perhaps Shirley Temple helped calm his nerves with her precocious antics in The Little Colonel…

NO FLOATING HEADS HERE…**Shirley Temple** and **Bill Robinson** doing the famous staircase dance in *The Little Colonel* (1935). (TCM)

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Up In Smoke

In “Notes and Comment” E.B. White considered the possibility that cigarette smoking might be harmful to unborn babies, and wryly suggested that embryos could replace grandmothers as a new growth market for big tobacco:

…White referred to the advertisement below, which appeared in the Feb. 9, 1935 issue of The New Yorker:

…White also commented on his recent visit to Madison Square Garden’s winter skating carnival…

THE DOUBLE AXEL was still thirteen years in the future when Swedish skaters **Gillis Emanuel Grafström** (left) and Vivi-Anne Hultén delighted E.B. White at Madison Square Garden. Photos are from 1924 and 1932, respectively. (Wikipedia)

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Prescience of Mind

We have more from E.B. White, this time in a humorous piece titled “The Dove’s Nest,” in which White took a poke at the most influential newspaper editor in the country, Arthur Brisbane. A close friend of William Randolph Hearst, Brisbane essentially ran Hearst’s newspaper empire. The New Yorker often ridiculed Hearst’s (and Brisbane’s) jingoistic approach to the news that included giant headlines warning of war. Excerpts:

William A. Swanberg, author of the 1961 biography Citizen Hearst, described Brisbane as “a one-time socialist who had drifted pleasantly into the profit system…in some respects a vest-pocket Hearst–a personal enigma, a workhorse, a madman for circulation, a liberal who had grown conservative, an investor.”

DAMN THOSE TORPEDOES…**Arthur Brisbane** in 1933. His grandson, **Arthur S. Brisbane,** now retired, served as public editor of *The New York Times* from 2010 to 2012. (credo.library.umass.edu)

The New Yorker continued to take jabs at Brisbane in the following issue (March 30). Brisbane owned a large estate (including a horse farm) in New Jersey that he made available to New Deal work programs during the Depression. I suppose this Al Frueh cartoon was some kind of reference to that…

…also in the March 30 issue was this ad from World Peaceways, which raised alarms about possible war and bombs raining down from the sky…

…back to the March 23 issue, where we find the calming strains of a Brahms concerto at Carnegie Hall, conducted by Arturo Toscanini with some support from his son-in-law, Vladimir Horowitz…

MAY I CALL YOU DAD?…Not likely something said by young **Vladimir Horowitz,** left, to father-in-law **Arturo Toscanini**. (WQXR/Britannica)

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From Our Advertisers

Beginning in 1934 the makers of Old Gold cigarettes hired pin-up artist George Petty to create a series of ads featuring a homely, clueless sugar daddy and his leggy mistress…here he turns the tables, introducing a “Pudgy Wudgy” matron putting the moves on a handsome hosiery salesman…

…this Petty ad appeared in the Feb. 9, 1935 issue of The New Yorker…

…the makers of Camels continued their campaign of “distinguished women” who enjoyed their product…here we have a former debutante, Dorothy Paine, an “alert young member of New York’s inner circle.” Not much of a record of Dorothy, who married a man named Walter H. Sterling in 1935…apparently they moved to Phoenix and bought up property in the Southwest…

…the makers of General Tire offered this grim assessment of tire safety…the lad seems to be a mere investment of time…

…although prestige brands suffered mightily during the Depression, the folks at Packard were doubling down on the elite status of their automobile…

…we’ve seen the work of fashion illustrator Ruth Sigrid Grafstrom before in ads for Spud cigarettes…here she contributes some elegant lines to a spot for Bergdorf Goodman (is the woman on the right smoking a Spud?)…

…here’s the Duchess again, still blowing her top over College Inn tomato juice…just look at her clenched fists…that fop with a monocle looks like he just took a left hook to the chops…

…on to our illustrators, William Cotton created this caricature of Rexford Guy Tugwell for Russell Lord’s two-part profile…Tugwell and President Franklin D. Roosevelt created the Resettlement Administration, which relocated rural unemployed to “Greenbelt Cities” near urban job markets. Critics called him “Rex the Red” for his social engineering experiments, and after he was forced out of federal government, Tugwell was appointed in 1938 as the first director of the NYC Planning Commission. Naturally, he would butt heads with Robert Moses…

…illustrator and painter Maurice Freed kicked off the calendar section…

…bookended on the bottom of page 4 by one of James Thurber’s most recognized drawings…

…Thurber again, and more woes between the sexes…

…we continue with our cartoonists by looking in on Barbara Shermund…

…George Price found a new wrinkle for his recurring floating man cartoon…

…Helen Hokinson graced page 19 with scenes from the opera…

…leaving an extra drawing stranded on page 18…

…Alain offered a new twist on the promotion of physical fitness…

…Gluyas Williams brought us to the stuffy confines of club life (the cartoon was originally featured vertically)…

…and we close with Richard Decker, and a lucky draw at the IRS…

Next Time: The Lighter Side of George Grosz…

Home Sweet Motohome

Morris Markey thought he was getting a glimpse of the future when he attended an exhibit of “machines to live in” at New York’s Grand Central Palace.

March 16, 1935 cover by **Constantin Alajalov.**

The Great Depression created a housing shortfall in the U.S. of nearly two million units, so many idled architects and builders turned to industrialized housing as a way to boost the building industry. In “A Reporter At Large,” Markey described his encounter with one type of “machine to live in”––the Motohome.

The idea of pre-fab living wasn’t exactly new in 1935, originating in the 1920s with the German Bauhaus school and with notables such as Swiss architect Le Corbusier.

NOT THRILLED WITH FRILLS…**Charles-Édouard Jeanneret** (1887-1965), better known as **Le Corbusier**, stated in 1923 that “a house is a living machine.” He believed the world had evolved beyond the need for decorative frills, and that homes and furnishings should reflect their functions. Top left, Corbu’s 1929 Villa Savoye in Poissy, France; at right, his 1947-52 Unité d’habitation de Marseille. (Fondation Le Corbusier/Architectural Digest/Le Corbusier World Heritage)

Markey correctly surmised that the American twist on Le Corbusier’s vision was largely driven by big corporations, and in the case of the Motohome, by General Electric.

GET YOUR MOTO RUNNING…Clockwise, from bottom left, New York’s Grand Central Palace; the Eggiman House in Madison, Wisconsin, a 1936 Motohome listed in the National Register of Historic Places; Long Island Motohome featured on a brochure; *Popular Mechanics* article on the Motohome. A common wall “core” was prefabricated with all kitchen and bath fixtures, as well as the HVAC system. (Wikipedia/makeitmidcentury.com/books.google.com)

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Strange and Wonderful

That is how E.B. White described the 3,664-seat 43rd and Broadway in 1926. After nine years White was still in awe of its palatial trappings. In his “Notes and Comment,” White offered some thoughts after an evening at the movies.

CINEMA GLORY DAYS…**E.B. White** visited the Paramount Theatre to take in **Charles Laughton’s** hit film, *Ruggles of Red Gap*. From left, **Zasu Pitts, Laughton, Charles Ruggles** and Maude Eburne in *Ruggles.* (nyc.gov/TCM)

PALACE FOR THE PICTURES…The Paramount Theatre’s Grande Hall featured a 75-foot-long ceiling mural by artist **Louis Grell** above the Italian marble-lined entrance. In 1966, after a run of the James Bond film *Thunderball,* the Paramount was closed for good and later gutted and turned into retail and office space. (Louis Grell Foundation)

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Bad Guys

Andrew Mellon’s tax fraud troubles were sandwiched between the woes of a fascist bromance in Howard Brubaker’s “Of All Things”…Mellon would soon be dead, Adolf Hitler would lie his way around the Brits, and Benito Mussolini would struggle to inspire Italian women to produce his “army of tots”…

NOT TONIGHT, WE HAVE A HEADACHE…Little wonder fascist dictator Benito Mussolini couldn’t inspire a baby boom. (Wikipedia)

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Zoom Zoom

In his “Motors” column, writer “Speed” looked in on Sir Malcolm Campbell (1885-1948), who was attempting to break the 300-mph mark at Daytona in his 2,500-horsepower Blue Bird.

BLUE STREAK…**Sir Malcolm Campbell’s** bid for a land speed record surpassing 300 mph began at Daytona Beach in March 1935 in his Campbell-Railton Blue Bird, powered by a 2,500 hp supercharged Rolls-Royce V-12. He managed to hit 276 mph (combined runs in each direction), but conditions at the beach (bottom photo) left him short of his goal. He found a smoother, longer run at Utah’s Bonneville Salt Flats in September, where he would average 301.337 mph (484.955 km/h) in two passes to set the new record. (floridamemory.com/oldmachinepress.com)

ONCE IS NOT ENOUGH…**Sir Malcolm Campbell** MBE was a British racing motorist and motoring journalist. He gained the world speed record on land and on water several times. He was also one of the few land speed record holders of his era to die of natural causes. (Wikipedia)

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From Our Advertisers

For ninety bucks you could get this swell pajama suit and matching robe (plus headdress) at Henri Bendel, the perfect ensemble for having a leisurely smoke after a day facing the world…For more than 100 years, Henri Bendel’s flagship and only store was located at 10 West 57th Street…it closed in 2018…

…I doubt the woman in the Bendel ad would have been interested in clothes made with Acele…it was without question that the uppers only wore clothes derived from living things…

…this Anglophilic Peck & Peck ad is notable for its condescending reference to the “mountain folk” in Appalachia who “were born to loom”…

…while we are on the subject, check out this ad for Grace Cruises…this was a common theme in mid-century travel advertising, Westerners dressed in their Sunday best while having a gander at the colorful natives…

…who are just part of the scenery…

…all four of the automobile ads in this issue come from long-gone companies…the luxury carmaker Packard made beautiful, quality cars that outsold Cadillacs up until 1950, but competition from the Big Three (GM, Ford, Chrysler) plus Packard’s decision in 1954 to buy failing Studebaker led to Packard’s demise four years later…

…a more successful merger took place in 1954 between Nash…

…and Hudson, the two forming the new American Motors Corporation…

…contrary to this ad’s tagline, everything was actually going down for Hupmobile, which would go out of business in 1939…

…the makers of College Inn Tomato Juice Cocktail apparently thought an angry old “Duchess” would boost sales…she first appeared in the Feb. 23 issue…

…in the March 16 issue she appears to be psychotic, threatening, “I’ll teach her not to serve PLAIN tomato juice before dinner!” Will she break the glass on the table and lunge at her host (the old WITCH) with a glass shard?…Stay tuned…

…better to calm down and have a Guinness, which, by Jove, was affordable and good for you!…

…New Yorker cartoons are also good for you, and we begin with Al Frueh and this taxing illustration at the bottom of page 4…

…Frueh again, for the theater review section…in the center is Shirley Booth, known to Baby Boomers as the star of the old TV series Hazel (1961-66)…

…Booth was much more than a sitcom star, achieving the Triple Crown of Acting––an Academy Award, two Primetime Emmy Awards and three Tony Awards…

ACTING CHOPS…**Shirley Booth** (1898-1992) as Hazel in 1962; on the cover of the 1935 *Playbill* featuring *Three Men on a Horse.* (Wikipedia)

…we continue with Daniel ‘Alain’ Brustlein, and a term of endearment from someone well known to the police…

…William Steig took up two pages to give one opera patron the cold shoulder…

…Alan Dunn cautioned against car dealers perched on high hills…

…George Price examined the finer points of salesmanship…

…Helen Hokinson headed for the high seas…

…and we close with an all-time classic from James Thurber…

Next Time: Something Frivolous…

Snapshot of a Dog

Above: A bull terrier in the early 1900s. (Westminster Kennel Club)

For dog lovers, or really for anyone with a heart, James Thurber’s “Snapshot of a Dog” is a moving tribute to a childhood pet, a bull terrier named Rex.

“Snapshot of a Dog” was reprinted almost two decades later in Our Dogs, A Magazine For Dog Lovers, which featured cover stories of various celebrities and their dogs. I recall reading “Snapshot” as a child in an anthology belonging to my parents; it affected me deeply then and still does today. Grab your hankies—here are excerpts from the first and last sections of the story:

FAITHFUL FRIENDS…Clockwise, from left, **James Thurber** with his beloved Christabel; Thurber’s illustration of a childhood pet, a terrier named “Muggs” from the story “The Dog That Bit People” (1933); photograph of the real Muggs; dogs appear in many of Thurber’s cartoons as a stoic presence among maladjusted humans; Thurber at work on one of his dogs in an undated photo. (thurberhouse.org/ohiomemory.org/jamesthurber.org)

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Searching For the American Way

Ninety years ago E.B. White (in “Notes and Comment”) offered some thoughts on America’s system of government, and the country’s need for a song of hope…

…White also commented on a distasteful development at the old Round Table haunt, the Algonquin Hotel…

MAYBE USE THE BACK DOOR…Entrance to the Hotel Algonquin, early 1930s. (Hotel Algonquin)

…In her column “Tables for Two,” Lois Long took issue with folks who were yapping about couvert charges, and offered a simple solution…

…following Long’s “On and Off the Avenue” column were several restaurant reviews signed “S.H.”…here the writer visited the home of the Reuben sandwich…

KNOWN FOR ITS EPONYMOUS SANDWICH, Reuben’s also offered a Georgie Jessel (sturgeon and Swiss) and an Al Jolson (raw beef). (restaurant-ingthroughhistory.com/tag/reubens)

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Getting Their Kicks

Professional football has been played in the UK since the 1870s, and by the early 20th century the sport drew massive crowds (the 1923 FA Cup final at Wembley Stadium drew an estimated 300,000). This excerpt from “London Letter” correspondent Samuel Jeake, Jr. (aka Conrad Aiken) offered a glimpse into the sport in 1935:

DOWN IN FRONT…Spectators in a crush at Highbury ground in London when a huge crowd turned up for the Arsenal versus Tottenham Hotspur match in January 1934. (Photo by A. Hudson/blog.woolwicharsenal.co.uk)

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Endurance Test

Thomas Wolfe (1900-1938) published a number of novellas as well as plays and stories during his short life, but he only published two novels before his death in 1938 (others would be published posthumously). Wolfe’s second novel, the autobiographical Of Time and the River, would be well received by New Yorker critic Clifton Fadiman. Here is an excerpt from Fadiman’s lengthy review:

KNOCKOUT…**Clifton Fadiman**, right, wrote that **Thomas Wolfe’s** energetic writing could leave one feeling “punch-drunk.” (biblio.com/Wikipedia)

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From Our Advertisers

We begin with two pioneers in the cosmetics industry…Dorothy Gray salons set the springtime mood with this advertisement on the inside front cover…

…Dorothy Gray (1886-1968), a.k.a. Dorothy Cloudman, sold her business in 1927 to Lehn & Fink, a New York-based pharmaceutical company best known as the maker of Lysol. In 1929, the company opened a flagship salon and executive offices in the new Dorothy Gray Building at 683 Fifth Avenue…

Dorothy Gray Building at 683 Fifth Avenue (cosmeticsandskin.com)

…Richard Hudnut (1855-1928) began working in his father’s drug store in 1873, and in 1899 opened his own pharmacy on Broadway. Hudnut, who promoted his perfumes and cosmetics by distributing booklets detailing his preparations, sold his company in 1916 to William R. Warner, which eventually became Pfizer…

Hudnut is recognized as the first American to achieve international success in cosmetics manufacturing. Part of that success was Du Barry, a premium perfume he created in 1902. It was used to scent a variety of products.

At left, the narrow Hudnut Building at 693 Fifth Avenue, designed by Ely Jacques Kahn and Eliel Saarinen. The Elizabeth Arden salon was next door. At right, salon treatment room in the Hudnut building.(cosmeticsandskin.com)

…if salon treatments weren’t your thing, you could revive by taking a trip to sunny Southern California…just look what it did for the old Major…

…the makers of Camel cigarettes offered an even quicker and cheaper way to feel invigorated…

…the back cover continued to be dominated by tobacco companies targeting women smokers…this week Chesterfield got in on the act…

…on to our cartoonists, we begin with James Thurber at the top of page 2 to kick off “Goings On About Town”…

…and Thurber again, with the ultimate party pooper…

…George Price graced the bottom of “Goings On” on page 4 with this whimsy…

…Helen Hokinson looked in on a children’s concert…

…there was another quarrel among lovers via Peter Arno…

…revolution was in the air at Alan Dunn’s cocktail party…

…George Price again, with two women who found a new perspective atop the Empire State Building…

…and we close with Syd Hoff, and an unexpected bundle of joy…

Next Time: Home Sweet Motohome…

The Mouse That Roared, In Color

John Chapin Mosher was the first regularly assigned film critic for The New Yorker, writing reviews for the magazine from 1928 to 1942. He was also a fan of Disney animated shorts, and one particular mouse.

Mosher, who also contributed short stories to the magazine, displayed a lively, witty style in his reviews, and in the early years of Walt Disney animation he was quite partial to Mickey Mouse, who from his sound debut in 1928’s Steamboat Willie had quickly grown into an international star—when the cartoon mouse first appeared in color in The Band Concert, it was a sensation. Mosher’s other review was not so enthusiastic, even though Sweet Music featured another major star of the 1930s, Rudy Vallée.

The 73rd short film in Disney’s Mickey Mouse series, The Band Concert was acclaimed by no less than conductor Arturo Toscanini, who saw it six times. Esquire’s culture critic Gilbert Seldes wrote that “[none of] dozens of works produced in America at the same time in all the other arts can stand comparison with this one.”

BEDAZZLED…Along with *New Yorker* film critic **John Mosher**, both the great Italian conductor **Arturo Toscanini** and culture critic **Gilbert Seldes** praised Mickey Mouse’s debut in color. Even later critics revered the nine-and-a-half minute short. In 1984 **Leonard Maltin** said that The Band Concert is “one of the best cartoons ever made anywhere… There are nuances of expression in Mickey’s character throughout this film that had seldom been explored in earlier shorts…” (Wikipedia/YouTube)

PASSING THE TORCH…Bandleader **Rudy Vallée** and famed torch singer **Helen Morgan** in *Sweet Music.* Years of heavy drinking had taken a toll on Morgan by this time; she appeared for a “scant moment” in the film, and would leave movies altogether in 1936. (cinemasojourns.com)

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Rudy Was Here, Too

Rudy Vallée was among the celebrities gathered at Jack Dempsey’s Restaurant, a placed visited in the previous issue by Lois Long. This time Russell Maloney and Charles Cook took a look inside for “The Talk of the Town”…

JACK DEMPSEY LOOMS over his restaurant at 50th Street and Eighth Avenue in this odd postcard image (top), where the backdrop of the city has been replaced with an open sky (**Terry Gilliam’s** *Monty Python* animation comes to mind). The restaurant would relocate to 1619 Broadway in 1937-38. (Courtesy eBay)

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Keeping It to Themselves

New Yorkers typically don’t boast about their city because they often consider it a natural part of their lives and identity. Indeed, overt displays of civic boosterism are found to be embarrassing, if not distasteful. E.B. White, in his “Notes and Comment,” explained:

BEING NUMBER TWO, WE TRY HARDER…Although not mentioned in White’s note, *The New Yorker* enjoyed taking shots at boosterism, and especially the Chicago Tribune and its publisher, **Robert R. McCormick,** a leading booster of the Second City. (Michigan State University)

White observed, however, that New Yorkers weren’t so thrilled about the cost of living in their fair city…

* * *

Those Excitable French

In her “Letter from Paris,” Janet Flanner recalled the previous year’s “Bloody Sixth” riot that resulted in the police fatally shooting seventeen people. She noted that things were more peaceful on the riot’s anniversary.

AN UGLY TURN…On Feb.6, 1934, thousands of extreme right-wing activists and war veterans gathered in Paris to protest against the alleged corruption of the left-wing government. When protests turned violent, police responded by fatally shooting seventeen people, only nine of whom were far-right protesters. (Wikipedia/wienerholocaustlibrary.org)

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From Our Advertisers

Auburn made some of America’s most beautiful and technologically advanced automobiles, but the Depression was too much for luxury brands like Auburn, which would sadly fold in 1937…

…while luxury brands struggled, Americans turned to less expensive cars that touted safety and economy…in the 1930’s safety meant strong body construction, although this didn’t address the problem of unharnessed riders rattling around inside the “TurretTop” shell, or being launched through the windshield…

…the bargain brand Plymouth, however, employed snob appeal, and safety, to move their “Floating Ride” autos…

…Feel classy driving that Plymouth? Well apparently beer drinking is classy too…just ask this chap, who is apparently toasting a successful fox hunt…

…Speaking of class, the folks at Essex House played on class anxieties to fill their rooms at Central Park South…

…a common theme in upscale fashion ads was aviation; that is, the suggestion that the smart set took to the air when they traveled–they were the only ones who could afford it…

…in stark contrast is this ad from the pacifist/antiwar organization World Peaceways…their bold and unflinching ads described soldiers as pawns in the corrupt games of the rich and powerful…

…Radio City Music Hall was originally opened in December 1932 as a live performance venue, but the cavernous hall wasn’t particularly suited to theatrical performances, and just two weeks after opening, managers announced that the theatre would switch to showing feature films. This modest one-column ad tried to stir up interest in a comedy featuring none other than Edward G. Robinson, who was known for his tough guy, gangster roles…

CRACKING SMILES INSTEAD OF HEADS…**Jean Arthur** and **Edward G. Robinson** in *The Whole Town’s Talking.* (postmodernpelican.com)

…beautifully photographed, stylish women smoking cigarettes were common in 1930s advertising as tobacco companies continued to tap the growth potential of this demographic…

…this next spot employs of the talents of Otto Soglow to promote blended Penn Maryland whiskey…

…which segues to our cartoonists, and Soglow again…his popular Little King stopped running in The New Yorker when it was acquired by Hearst in 1934, but Soglow simply created other King-like characters to run the gags…

…”Profiles” featured socialist cartoonist Art Young, with an illustration by Al Frueh…

…James Thurber contributed this illustration/cartoon at bottom of page 12 in “The Talk of the Town” section…not sure what this means…fear of being attacked by giant Puritan women?…

…Jaro Fabry contributed only one cartoon to The New Yorker…the meaning is lost on me…

…I was also baffled by this Gilbert Bundy cartoon, until I consulted this excerpt from a Paris Review article (“Trading Places” by Sadie Stein 3/19/14): Time was, the passing on of compliments was so ritualized a part of life that the practice had a name: trade-last. Merriam-Webster’s defines it as “a complimentary remark by a third person that a hearer offers to repeat to the person complimented if he or she will first report a compliment made about the hearer,” and dates the first recorded use of the term to 1891…

…Kemp Starrett offered up a uniquely honest sales pitch…

…Alan Dunn advised against eating your vegetables…

…Leonard Dove, and where old-timey music met an old-timey feud…

…and we close with William Crawford Galbraith, and a bartender trying to class up his joint…

Next Time: Snapshot of a Dog…

Quite a Month

ABOVE: E.B. White presented us with a mixed bag of February happenings, from the comings and goings of Neily Vanderbilt to the Macon disaster and the economic power of Mickey Mouse.

The title for this entry comes from E.B. White’s “Notes and Comment” column, which kicked off the Feb. 23, 1935, issue with a quick rundown of February events.

February notably marked the end of the Bruno Hauptmann trial. Convicted of the abduction and murder of the infant son of Charles and Anne Morrow Lindbergh, Hauptmann would go to the electric chair on April 3, 1936. White also noted the return of Admiral Richard Byrd from his second Antarctic expedition, the demise of the U.S. Navy airship U.S.S. Macon, and the economic miracle of the Mickey Mouse watch.

FLYING AIRCRAFT CARRIER…The US Navy’s 785-foot rigid airship *USS Macon* could launch and retrieve up to five airplanes in mid-flight. Known as “parasitic fighters, the Sparrowhawks were hung from a rail system inside the airship. On Feb. 12, 1935 the *Macon* crashed in a storm off the coast Point Sur, California. Only two of the 66 crew were lost. Photos above, clockwise from top left, show the deployment of a Sparrowhawk; the USS *Macon* over New York City in 1933; crew pose for a photo in the dirigible’s hanger; photo from the wreckage discovered in 2006—the pre-1941 pattern U.S. roundel emblem still recognizable. Sky-hook also visible. (sanctuaries.noaa.gov/macon/Sunnyvale Historical Society)

TIME WAS RUNNING OUT for the Ingersoll Waterbury Company (now known as Timex) during the Great Depression. It was saved from bankruptcy, in part, by the introduction of the Mickey Mouse watch. (connecticuthistory.org)

White also made note of the comings and goings of Cornelius “Neily” Vanderbilt III (1873–1942), who was saying farewell to Fifth Avenue (although he would return to live out his life there), while New Yorkers were apparently saying farewell to the Park Avenue Tunnel (aka Murray Hill Tunnel). After more than 190 years it is still there, now serving a single lane of northbound traffic from 33rd to 40th Street.

TUNNEL VISION…Park Avenue Tunnel in 1890 (top) and in 2013 during a Voice Tunnel art installation. The nearly two-century old tunnel was made open to pedestrians for the first time in coordination with the annual Summer Streets event which began in 2013. (viewing.nyc/Wikipedia)

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Getting An Earful

Howard Brubaker, in his column “Of All Things,” made this observation of deepening repression taking place in Nazi Germany…

* * *

Try Our Knockout Cheesecake

Lois Long continued her chronicle of New York night life, in this excerpt making note of the celebrity gawkers at Jack Dempsey’s tavern/restaurant near Madison Square Garden. Apparently Dempsey’s place was renown for its cheesecake…

PLEASED AS PUNCH…Heavyweight boxing champ **Jack Dempsey** opened his restaurant at 50th Street and Eighth Avenue in 1935 (bottom photo) before moving to Broadway’s Brill Building in 1937 (top). According to Ephemeral New York, “In the restaurant’s early years, Dempsey was known to hold court at a table, a legendary figure greeting customers and glad-handling guests.” (Ephemeral New York)

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From Our Advertisers

The refurbished Earl Carroll Theatre (7th Ave. and 50th St.) opened as the French Casino late in 1934. The art deco theatre’s first show was the Revue Folies Bergères, promoted here in this small ad on page 54 in the Feb. 23 issue…

…the menu’s cover suggests patrons weren’t there for the cheesecake (yes, there is a pun, but I’m not touching it)…

…another ad in the back pages touted the “Post-Depression Gaities” at the New Amsterdam Theatre with an impressive roster of stars including New Yorker notables Robert Benchley and Alexander Woollcott…

…following Prohibition, Seagram introduced two blended whiskies—5 Crown and 7 Crown. Seagram 5 Crown was discontinued in 1942, while Seagram 7 would go to become the first million case brand in U.S. history…

…this one-column ad caught my eye for the rendering of the stereotypic ill-tempered matron, here having a fit over tomato juice…

…coming from an old and influential New York family, it’s hard to believe Elizabeth West Post Van Rensselaer thought about Campbell’s soup when her daughter, Elizabeth, fell seriously ill…at any rate, something must have worked because her daughter lived until 2001…

…For a time “Chief Pontiac” served as a logo for the Pontiac line of automobiles, discontinued by GM in 2010…

…many automobile advertisements of this era emphasized safety, none more prominent than the “Body by Fisher” ads that frequently featured happy little children…oddly, no one had yet considered seat belts, car seats or other safety measures we now take for granted…

…the makers of Old Gold cigarettes (Lorillard) ran a series of ads featuring a sugar daddy and his leggy mistress…they were drawn by George Petty (1884–1975), famed for his “pin-up girls”…as an added bonus below the ad, you could renew your New Yorker subscription—two years for seven bucks…

…the makers of Camels kept it classy with their continuing series of society women enjoying their unfiltered “Turkish & Domestic” blend…

…the “young matron” in the ad, the Sydney, Australia-born Joan (Deery) Wetmore (1911-1989), was indeed “much-photographed,” and was a favorite of Vogue photographer Edward Steichen:

Detail from a Steichen photo of **Joan Wetmore,** taken in Rockefeller Center’s Rainbow Room, 1934. (Condé Nast)

…on to our cartoonists, Al Frueh illustrated Humphrey Bogart as the coldblooded killer Duke Mantee in the 1935 play The Petrified Forest; the 1936 film adaptation would be Bogart’s breakout role in the movies…

…Helen Hokinson went shopping for drapes…

…George Price was all tied in knots…

…and still up in the air…

…Barbara Shermund dreamed of Venice…

…James Thurber gave us the life of the party…

…and we close with Leonard Dove, and some unexpected party life…

Next Time: The Mouse Roars, In Color…

A Century and a Decade

Above: The first three issues of The New Yorker, an Al Frueh cover (#2) sandwiched between Rea Irvin covers.

The current team at The New Yorker has put together a great read (Feb. 17 & 24, 2025) to mark the magazine’s centennial. I’m still reading, but what I have seen so far is first rate, including Jill Lepore’s insightful “War of Words” (chronicling the battles between editors and writers over the years) and David Remnick’s look back at those first years of struggle in “The Talk of Town.”

I was glad to see the return of the Rea Irvin cover (appended with the “100”), but was a bit disappointed to see “Talk” headed by the re-draw of Irvin’s original art. Oh well, you can’t have it all. However, Seth’s “Appreciation” of Irvin was wonderful. Here is a little clip:

**DOUBLE TAKE…Seth’s** “Appreciation” of **Rea Irvin** in the centennial issue notes the relationship between those first two Irvin covers. Bravo!

The joy of writing this blog is the vicarious pleasure found in the deep reading of every issue, as well as occasional historical insights into how we have arrived at our present day. It has also been rewarding to follow the maturation of the magazine from its first issue, which was a bit of a jumble (see my previous post). However, what we see in Issue #1 and in subsequent issues were subjects The New Yorker found worthy of attention in 1925, whether they were frequent potshots at publisher William Randolph Hearst or the many comic possibilities of President Calvin Coolidge, here rendered by Miguel Covarrubias in the March 14, 1925 issue…

Harold Ross cronies and various Algonquin Round Table stalwarts were also frequent subjects of the early magazine…Covarrubias again, with a rendering of Ross pal Heywood Broun in the March 7, 1925 issue (#3)…

The first issues also featured frequent references to celebrities of the day, some still known to us while others have faded into the mists of time, such as the “literary lion” Michael Arlen (March 28, 1925) and Queen Marie of Rumania, the March 14, 1925 issue noting that New York was “agog” about her possible visit.

CELEBS OF THEIR DAY…Writer **Michael Arlen** (aka Dikran Kouyoumdjian) and **Queen Marie of Rumania** were prominent in the pages of the early New Yorker.

The June 6, 1925 issue even featured the Queen in a Pond’s cold cream ad…

The leading lady of New York’s nightlife, Texas Guinan, was also prominent in those early issues. Her 300 Club, constantly raided by Prohibition-era police, was a favorite of Broadway and Hollywood agents. Another frequent subject was the life of Charlie Chaplin, mostly due to his scandalous marriage to sixteen-year-old Lita Grey when he was thirty-five. Then there was Pola Negri, Polish stage and screen star and headliner of gossip magazines that followed her series of love affairs that included Chaplin and Rudolph Valentino.

GOSSIP FODDER OF ’25…From left, **Texas Guinan** reigned supreme as Queen of the Speakeasies during Prohibition; **Charlie Chaplin’s** teen bride **Lita Grey** kept tongues wagging, as did the off-screen antics of the volatile **Pola Negri.**

The Scopes “Monkey Trial” was also big news at the time, and The New Yorker had a heyday with the populist firebrand William Jennings Bryan. Here Rea Irvin joined in on the fun:

In those lean first months advertisers were hard to come by, and during this time we see a few oddballs…

From left, ads from Sept. 19, 1925 and April 18, 1925. **Charles Culkin,** a Tammany Hall politician, would serve as county sheriff from 1926 to 1929. He would also embezzle interest money from the sheriff’s office, part of the whole mess that would bring down Mayor Jimmy Walker.

…there were regular ads for Fleischmann’s Yeast (this example from Sept. 19, 1925)…Raoul Fleischmann hated the family baking business but loved hanging out with the Algonquin Round Table gang. When the fledging magazine nearly went belly up in 1925, Fleischmann kicked in the money (and on a number of occasions thereafter) to keep it going. Hence the advertising for his yeast cakes, touted not as a baking aid, but rather as a cure for constipation and other intestinal turmoils…

…and it’s a kick to see ads like this (from April 18, 1925), a modest little one-column spot for what some consider to be the Great American Novel… The Great Gatsby would receive a brief, lukewarm review from The New Yorker…

…and then there were those early cartoons and illustrators…as noted before, the very first was by Al Frueh…

…Reginald Marsh would make his first appearance in Issue #2…a social realist painter, Marsh was a prolific contributor to The New Yorker from 1925 to 1944…

…a number of the early cartoons resembled the captioning style of the British Punch…here is an April 4, 1925 contribution by the British illustrator Gilbert Wilkinson…

…In the April 11, 1925 issue, Miguel Covarrubias offered these caricatures of 1920s celebrities…

…another contributor from the April 11 issue, Hans Stengel…

…and John Held Jr supplied the first of his many woodcuts in the April 11 issue…

…Barbara Shermund found her way onto the June 13, 1925 cover, the first of nine covers she would contribute to magazine, along with hundreds of cartoons…

From the June 27, 1925 issue, this is one of my favorite illustrations. In The New Yorker’s “Critique” section, a terrific caricature of Russian-American actress Alla Nazimova, by Swedish artist Einar Nerman…

…another early contributor, Johan Bull, was especially prolific in providing spots for sports columns. Here in the July 11, 1925 issue he contributed this rare multi-panel cartoon…

…Peggy Bacon was another early contributor, here from July 18, 1925…

…and of course there was Ralph Barton, listed as one of The New Yorker’s original “Advisory Editors,” contributing several different features including “The Graphic Section,” a satiric take on new trends in photojournalism, and this July 4, 1925 feature on the various ways of Europeans, written and illustrated by Barton…here is a clip from that feature…

…I can’t include all of the first cartoonists who contributed to those critical first months, so I will end with dear Helen Hokinson, and her first New Yorker contribution, a spot illustration for “The Talk of the Town” in the July 4, 1925 issue…

Next Time: Quite a Month…

A Centennial to Remember

ABOVE: Although Harold Ross looms large in most accounts of the early New Yorker, his wife at the time, Jane Grant, played a major role in its conception and launch.

After a year hiatus, during which I changed jobs (yes, I’m still “hewing the wood and drawing the old wet stuff,” as Bertie Wooster would put it), I am returning to A New Yorker State of Mind, just in time for the 100th anniversary of the greatest magazine in the world.

Issue #1 cover by **Rea Irvin,** Feb. 21, 1925.

Before I continue where I left off—the tenth anniversary issue, Feb. 15, 1935—let us mark the magazine’s centennial year with a look back at the first issue, Feb. 21, 1925.

It is remarkable that after a century the magazine still retains its character, even if it is more serious these days, and more topical, and, most egregious, still fiddling with Rea Irvin’s original designs (for more on this issue, please consult Michael Maslin’s Ink Spill. In addition to being one of the magazine’s greatest cartoonists, Maslin offers a wealth of New Yorker insight and history, including his longstanding crusade to restore Irvin’s original artwork for “The Talk of the Town,” which was removed and replaced by a contemporary illustrator’s redraw in 2017).

Although founder and editor-in-chief Harold Ross set the tone for the magazine in the first issue, famously proclaiming “that it is not edited for the old lady in Dubuque,” it was Irvin that gave the magazine a signature look that set it apart from other “smart set” periodicals of the day.

It took a few issues for the editors to sort out regular features and their order of appearance. The opening section of Issue No. 1 featured the Irvin masthead—flanked by Eustace Tilley and the night owl—and Irvin’s distinctive typeface that would introduce “The Talk of Town” for many issues to come. However, in that first issue, “Of All Things” appeared under the masthead, followed by “Talk of the Town” which was (for the first and last time) under this banner:

As for Ross’s manifesto, it appeared at the end of “Of All Things,”…

…and “Talk” ended with this signature…

…In Defining New Yorker Humor, Judith Yaross Lee wrote that early readers of The New Yorker would have recognized the Van Bibber III persona “as a joke, a personification of Van Bibber cigarettes, whose ads targeted the devil-may-care, swagger young man about town all dressed up for the opening night. As an insiders view of the urban scene, Van Bibber’s accounts featured casual conversation—that is, talk.”

Van Bibber advertisement in Cosmopolitan, 1896.

The magazine’s very first cartoon was by Al Frueh…

…and among the features that persisted through the years was “Profiles,” the first one featuring Giulio Gatti-Casazza (1869-1940), who served as Metropolitan Opera’s general manager for a record 27 seasons (1908-1935).

The profile featured this illustration by Miguel Covarrubias, the renowned Mexican painter, caricaturist, and illustrator, who was a frequent contributor to the early New Yorker.

“Goings On” also persists, sans the original artwork…

…the same goes for these sections…

…still others disappeared altogether…

…some would hang around for awhile…

…others for just a few issues…”The Hour Glass” featured brief vignettes of local personalities…

…such as the ever-fascinating antics of Jimmy Walker, who would soon be elected mayor…

…while “In Our Midst” detailed the comings and goings of other locals…

…including The New Yorker’s own Al Frueh.

“The Story of Manhattankind” was another short-lived feature. It offered drawings by Herb Roth and tongue-in-cheek accounts of early Manhattan life replete with cartoonish Indians and bumbling settlers. It is here where the magazine took its first of many shots at William Randolph Hearst, the perceived rival and publisher of Cosmopolitan (which was more of a literary magazine in 1925).

…other items that persisted through the early issues included “Lyrics from a Pekinese” by writer Arthur Gutterman, who was known for his silly poems…

…and this recurring column filler, “The Optimist”…a tired joke featured repeatedly in the first issues until Katharine Angell came on board and put an end to such nonsense…

…in those lean first months there was little advertising, making this back page ad seem out of place…

…since many of the early ads were small, signature ads for theatre and other diversions…

…the magazine also leaned heavily on full-page house ads to fill space…

…the one thing that has persisted to this day is the prominence of cartoonists and illustrators, although in the early issues some of the cartoons resembled those found in Punch, including this one by British graphic artist Alfred Leete, who was a regular contributor to such British magazines including Punch, the Strand Magazine and Tatler.

Also in the Punch style there were a number of “He-She” captioned cartoons, such as this Ethel Plummer cartoon of an “uncle” and a “flapper” looking at a theater bill for The Wages of Sin (most notably, Plummer was the first woman artist published in The New Yorker)…

Plummer was a noted artist/illustrator in her day, as was Wallace Morgan, who contributed this two-page spread, “The Bread Line”…

…this illustration by Eldon Kelley is notable for what it lacks…namely, clothing. Early New Yorker lore has it that Ross was somewhat puritanical, and shied away from suggestions of sex or nudity, but here it is in the first issue, what Michael Maslin refers to as “The New Yorker’s First Nipples.”

…and before I go, I am wondering about The New Yorker’s first film critic, who signed his review “Will Hays Jr.” Is this the same Hays as in the “Hays Code?” I will investigate.

Next Time: A Century and a Decade…

A Decade of Delights

With this post (No. 413), we mark the tenth anniversary of The New Yorker. Since I began A New Yorker State of Mind in March 2015, I’ve attempted to give you at least a sense of what the magazine was like in those first years, as well as the historical events that often informed its editorial content as well as its famed cartoons. Those times also informed the advertisements; indeed, in some cases the ads give us a better idea of who was reading the magazine, as well as their changing tastes and buying power as we moved from the Roaring Twenties to the Depression, and from Prohibition into Repeal.

I have also chosen this time to go on hiatus, and hopefully resume this blog when The New Yorker celebrates its centennial next February (this site will remain active and available, and I will continue to monitor comments and messages). Let us hope that the editors use the original Rea Irvin cover for that occasion, and restore his masthead above “The Talk of the Town” section. Perhaps some enterprising soul could start a petition.

Moving on to the tenth anniversary issue, we find E.B. White recalling the world of The New Yorker’s first days. Given the massive economic and societal shifts that occurred from 1925 to 1935, those first days seemed distant to White, who felt old, “not in years but events.”

DAYS OF YORE…**E.B. White** noted the many changes that had taken place during *The New Yorker’s* first ten years, including, clockwise from top left, the passing of 1920s notables such as **President Calvin Coolidge** and two very different theatre impresarios—**David Belasco** and Flo Ziegfeld; White also recalled the much-publicized 1925 wedding of **Abby Rockefeller** to **David Milton,** the throngs of women who took to smoking in public in the 1920s and the drinkers who took their activities behind closed doors; and one of the early magazine’s beloved contributors, **Ralph Barton,** who offered his whimsical take on the news in “The Graphic Section” as well as in other illustrated features. (Wikipedia/Wikitree/Ephemeral New York)

White also noted a new craze that had originated around the same time as the birth of The New Yorker…

TWO ACROSS…**Max Schuster** and Richard Simon of Simon & Schuster, with their first crossword book, 1924. (americanbusinesshistory.org)

White concluded with these parting words, tinged with world-weariness, writing “More seems likely to happen.” One wonders if he imagined The New Yorker at 100, which in our day is just around the corner. Like White, many us have grown weary of this angry world, where indeed more seems likely to happen. Let us hope it is for the best.

Now, some unfinished business. We need to look at the previous issue, Feb. 9, 1935, before we close out the decade.

Feb. 9, 1935 cover by **William Cotton.**

We stay on the lighter side, joining critic John Mosher at the local cinema to appreciate Leslie Howard’s dashing performance in The Scarlet Pimpernel…

WORKING OVERTIME…**Leslie Howard** and **Merle Oberon** in *The Scarlet Pimpernel.* Howard portrayed an aristocrat who leads a double life, publicly appearing as a dandy while secretly rescuing French nobles from Robespierre’s Reign of Terror. (PBS)

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From Our Advertisers

Cigarette manufacturers employed every angle from sex to health claims to move their product…not to be left out of any niche market, Chesterfield even went after the little old ladies…

…by contrast, the makers of Old Gold cigarettes featured a clueless sugar daddy and his leggy mistress in a series of ads drawn by famed pin-up artist George Petty…

…Otto Soglow would do well with advertisers during his career, promoting everything from whiskey to Pepsi and Shredded Wheat to department stores…in this case Bloomingdale’s…after William Randolph Hearst’s King Features Syndicate wrested The Little King away from The New Yorker in September 1934, this was the only way you would see the harmless potentate in the magazine…

…another New Yorker artist earning some ad dollars on the side was Constantin Alajalov, here adding a stylish flair for Coty…

…and then there’s James Thurber, who continued to contribute his talents on behalf of the Theatre Guild…

…and we move along to the Feb. 9 cartoons, with Thurber again…

…the issue also featured two by George Price…

…and Howard Baer supplied some life to this little party…

…now let’s return to the Feb. 15, 1935 issue…

…where John Mosher was back at the cinema, this time enjoying the story of a “beautiful stenographer”…

POPCORNY…**Fred MacMurray** and **Claudette Colbert** meet cute over popcorn in the romantic comedy *The Gilded Lily.* It was MacMurray’s second credited screen role, and it was the first of seven films in which Colbert and MacMurray would star together. (Wikipedia)

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More From Our Advertisers

In its bid for survival during the Depression, the luxury brand Packard introduced its first car under $1000, the 120. Sales more than tripled in 1935 and doubled again in 1936…

…meanwhile, Hudson was hanging in there with innovations such as the “Electric Hand”…it was not a true automatic transmission, but it did allow drivers to shift gears near the steering wheel…

…as demonstrated here…

…whatever you were driving, Goodyear claimed it would keep you the safest with their “Double Eagles”…

…I include this ad for Taylor Instruments because it features an illustration by Ervine Metzl, who would become known for his posters and postage stamp designs…

…Metzl’s design of a three-cent stamp commemorating the 1957–1958 International Geophysical Year…

…on to our cartoonists, we begin with this Deco-inspired artwork by an unidentified illustrator…

…one of Helen Hokinson’s “girls” was going about her daily rounds…

…Garrett Price gave us a gatekeeper not quite up to his task…

…Gilbert Bundy was seeing stripes rather than stars…

…while James Thurber’s medium was getting in touch with an equine spirit…

…scientific inquiry knew no bounds in Robert Day’s world….

…and in the world of Alain (aka Daniel Brustlein), old habits died hard…

…and we close with Peter Arno, at his risqué best…

Thanks for reading The New Yorker State of Mind!

Legitimate Nonchalance

Above: W.C. Fields was a well-known juggler and vaudeville performer decades before he became even more famous in the movies of the 1930s.

William Claude Dukenfield was a vaudeville juggler who distinguished himself from other “tramp acts” by adding sarcastic asides to his routines. Internationally known for his juggling skills, by the turn of the century the man who billed himself as “The Eccentric Juggler” would become much better known by another name: W.C. Fields.

In the first of a three-part profile, Alva Johnston pondered the secret behind Fields’ genius, an “inborn nonchalance” that he considered “the rarest of gifts.” Johnston surmised that some of that genius derived from the volatile relationship Fields had with his father, and the street-smarts he gained as a runaway at age eleven. It is no surprise, however, that these childhood stories of hardship were significantly embellished by the great wit himself.

A STAR IS FORMED…Clockwise, from top left, **W.C. Fields** in his youth; Fields was an internationally known juggler, seen here in his vaudeville days in the early 1900s; Fields made his screen debut in 1915, seen here in his second film, *Pool Sharks* (1915); Fields with **Carol Dempster** in Sally of the Sawdust, a 1925 silent comedy film directed by D. W. Griffith. (Pinterest/YouTube)

Johnston also described Fields’ acting style and demeanor, noting that the actor’s asides were likely inspired by his mother, Kate Spangler Felton, who was known for her doorstep witticisms.

NINETEEN THIRTY-FIVE WAS A GOOD YEAR for W.C. Fields, who starred in *It’s a Gift* (right), released the previous December, and in the 1935 screen adaptation of **Charles Dickens’s** *David Copperfield*, as the character Wilkins Micawber. (MGM/IMDB)

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Macabre Diversions

In the days before television and the internet, folks got their dose of the sensational and macabre from the tabloids, or, on occasion, in real life. Before crime or accident scene investigations became more sophisticated, it was not uncommon for crowds to mob grisly death scenes, including the car containing the bullet-riddled bodies of notorious bank robbers Bonnie Parker and Clyde Barrow. Their Ford automobile, pocked with 112 bullet holes, became a popular traveling attraction at fairs, amusement parks, and, in February 1935, at a car dealer’s showroom in Missouri. E.B. White explained:

BEFORE THE INTERNET, folks got their ghoulish thrills by rubbernecking at famous crime scenes. At left, a crowd gathers around the bullet-riddled car belonging to Bonnie and Clyde. According to one account, at the scene of the police ambush on Louisiana State Highway 154, nearly everyone collected souvenirs including shell casings and bloody pieces of clothing from Bonnie and Clyde. One man even tried to collect Clyde’s left ear with a pocket knife; at right, unidentified man standing next to the “death car.” (KXAN/unt.edu)

* * *

Saar Kraut

Janet Flanner mused on the recent plebiscite in the Saarland, which following World War I was seized from Germany and placed under the governance of a League of Nations commission. Much to the dismay of the French, the majority German population voted to return the Saar region to Germany, and its Nazi leadership.

* * *

Over the Rainbow

In a previous column, Lois Long took aim at the Rockefeller Center’s new Rainbow Room, dismissing it as a tourist trap filled with interminable strains of organ music. In her latest column, Long retracted some of that vitriol, finding the entertainment (and, one supposes, the food) more to her liking.

THE ‘INCORRIGIBLE’ **Beatrice Lillie** (left) delighted Lois Long and audiences in the Rainbow Room on the 65th floor of Rockefeller Center; at right, ballroom dancers **Lydia** and **Joresco** take to the floor in the then newly opened Rainbow Room, 1934. (Pinterest/#rainbowroomnyc)

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From Our Advertisers

As Lois Long mentioned in “Tables for Two,” British actress and singer Beatrice Lillie was appearing at in the Rainbow Room on the 65th floor of Rockefeller Center; according to the ad below, also featured were ballroom dancers Lydia and Joresco and bandleader Jolly Corburn…

…at first I though this was Alfred Lunt and Lynn Fontanne shilling for Luckies, but the resemblance isn’t quite there, plus I’m not aware of the Broadway legends ever endorsing any product, let alone cigarettes…

…the folks at Hormel continued to feature notable Frenchmen who were known to enjoy French onion soup, although this particular image doesn’t do much for one’s appetite…

…the Bermuda Trade Development Board continued to feature colorful ads that enticed New Yorkers away from the late winter blahs…

…this ad for Schaefer is a bit odd…I guess the artist wanted to suggest a handbill, and therefore tilted the image it at an angle, unsuccessfully, one might add…

…The Theatre Guild once again called upon the talents of James Thurber to advertise their latest production…

…which segues into our cartoons, with Thurber once more…

…Al Frueh did his part to promote the stage with this illustration for the theatre section…

…Otto Soglow offered his spin on pairs figure skating…

…Gardner Rea explored the world of art appreciation…

…Helen Hokinson aptly supplied this cartoon for Lois Long’s fashion column…

…Whitney Darrow Jr. showed us the consequences of classified advertising…

…Barbara Shermund clued us in on the latest gossip…

…and we close with Peter Arno, and one butcher’s cold greeting…

Next Time: A Decade of Delights…

Mary Quite Contrary

Above: Illustration and article on "Typhoid Mary" that appeared in 1909 in The New York American. At right, Mary Mallon with other quarantined inmates on North Brother Island. (Wikipedia)

The Irish-born Mary Mallon (1869–1938) lived a simple life as a maid and a cook, and it would have been a life of anonymity save for a sad twist of fate on the day she was born.

History knows Mary Mallon as Typhoid Mary. From 1901 to 1907 she would cook for seven wealthy New York families that would later contract typhoid. Mallon was born to a mother who was infected with typhoid, which offers a possible explanation as to why she became an asymptomatic carrier of the disease. Forcibly quarantined on North Brother Island (near Long Island) from 1907 to 1910, Mallon agreed upon her release to take hygienic precautions, including ending her occupation as a cook.

When other jobs failed to pan out, Mallon returned to cooking—this time in restaurants and hotels—infecting many more while evading investigators who were desperately trying to track her down (it is estimated she infected up to 122 people, resulting in as many as four-dozen deaths). When she was finally arrested in 1915, she was returned to North Brother Island, where she would live out her days. Stanley Walker (1898–1962), a native Texan, longtime editor of the New York Herald Tribune, and a New Yorker contributor from 1925 to 1956, featured Mallon in a profile for the Jan. 26, 1935 issue. Some brief excerpts:

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The Latest Sensation

Mary Mallon was the source of sensational headlines in the early 1900s, but even she couldn’t top the media frenzy prompted by the Lindbergh baby kidnapping and the trial of accused murderer Bruno Hauptmann. The New Yorker’s Morris Markey went to the courthouse in Flemington, New Jersey, to file this report for “A Reporter at Large.” Excerpts:

TRIAL OF THE CENTURY…Clockwise, from top left: **Bruno Hauptmann** (center) at his murder trial, which ran from Jan. 2 to Feb. 13, 1935, in Flemington, New Jersey; **Charles Lindbergh** takes the witness stand; novelist **Fanny Hurst** and gossip columnist Walter Winchell at the trial on Jan. 30, 1935—the “Trial of the Century” was followed by more than 700 reporters; police ropes contained the large crowds gathered at the courthouse. (Library of Congress/umass.edu/*Courier Post*)

Hauptmann would be convicted of the crime and immediately sentenced to death. On April 3, 1936, he would meet his end in an electric chair at the New Jersey State Prison, maintaining his innocence to the very end.

* * *

From Our Advertisers

On to our ads, we begin with another colorful spot from Penn Maryland, and jolly times on Miami Beach…

…here is the first in a series of ads that the makers of Old Gold cigarettes (Lorillard) began running in 1935, featuring a sugar daddy and his leggy mistress…they were drawn by George Petty (1884–1975), famed for his “pin-up girls” featured on many magazine covers as well as in ads for Old Gold, Jantzen swimsuits, and TWA, among others…

…here is Petty at work in 1939…

…Buffalo-based Pierce-Arrow was known for its expensive luxury cars, which were not exactly hot sellers during the Great Depression; moreover, Pierce was the only luxury brand that did not offer a lower-priced car to provide cash flow to the company, and contrary to the claims in this ad, Pierce-Arrow would close its doors by 1938…