Germany’s Anti-Decor

The annual Salon of the Société des Artistes Décorateurs in Paris reflected the growing importance of design as a profession, although it was primarily attuned to an affluent urban elite. Then along came the Germans.

June 14, 1930 cover by Helen Hokinson.

A radical new wind blew through Paris in 1930 when Bauhaus designers were invited to exhibit in their own special section at the Salon. According to the New Yorker’s Paris correspondent Janet Flanner, the Germans put on a display in their Section Allemande that left some French designers scratching their heads.

KEEPING IT CLEAN…Members of the Bauhaus Werkbund displayed their wares in the Section Allemande (German section) of the annual Salon of the Société des Artistes Décorateurs in Paris. Clockwise, from top left, examples of reception areas and workspaces by Walter Gropius; bottom left, inside pages of the exhibition catalogue for the Section Allemande. (journal.eahn.org)
STAIRWAY TO THE FUTURE…A staircase fashioned from galvanized chicken wire, by Walter Gropius, on display in Section Allemande of the 1930 Salon of the Société des Artistes Décorateurs. (journal.eahn.org)
UNKNOWN THEN, COMMON NOW…The Section Allemande also featured building models, including this multi-story apartment with communal facilities, designed by Walter Gropius. (Journal of Design History, 2004)
HOW IT STACKED UP…Rather than dazzle audiences with the latest in posh decor, the Germans confronted Salon audiences with their radical approaches to furniture and interior spaces. At left, chairs by Marcel Breuer and others; at right, Light Prop for an Electric Stage by László Moholy-Nagy. (journal.eahn.org/Artists rights Society)

Many critics and commentators at the time characterized the Salon as a nationalistic showdown between French luxury decor and German efficiency and standardization. Flanner suggested that while the Germans seemed to be throwing out the rule book, the French were accepting modernity at a much slower pace:

MODE DE VIE…Salon entries by French designers had a more art deco bent. Clockwise, from top left, vestibule of a boudoir by Jean Dunand; cover of the Salon’s catalogue; Petit Salon by André Groult; a living room by Jules Leleu. (Pinterest/art-utile.blogspot.com)

Of course we know how this story in turns out. In just three years the Nazis would shut down the Bauhaus, scattering its faculty and students abroad, including many to America, where they would find fertile soil to continue their work and eventually spread their design philosophy and aesthetic (for better or worse) across the U.S. and to every corner of the world.

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A Gay Old Time

New Yorkers could escape the summer heat by taking in the latest incarnation of the Garrick Gaities at Broadway’s Guild Theatre. Character and voice actor Sterling Holloway Jr., (1905-1992) best known today as the voice of Disney’s Winnie the Pooh, appeared in all three Garrick Gaiety revues (1925, 1926, 1930), which were staged as benefits for New York’s Theatre Guild. Robert Benchley offered this review:

                   Sterling Holloway, left, with June Cochran in Garrick Gaieties.

Another familiar face in the Garrick Gaieties was Imogene Coca (1908-2001), a pioneer of early television (with Sid Caesar on Your Show of Shows) who is best known today for her role as Aunt Edna in National Lampoon’s Vacation (1983).

KEEP ‘EM LAUGHING…Clockwise, from top left, Scene from the 1930 Garrick Gaieties revue, with Philip Loeb in the high hat and Thelma Tipson standing behind him. Also from left are Ruth Chorpenning, Donald Stewart and Ted Fetter; cover of the program for the 1930 revue; publicity photo from 1983’s National Lampoon’s Vacation, with Imogene Coca as Aunt Edna at right; Coca, far left, in the chorus line for the 1930 Garrick Gaieties. (New York Public Library/IBDB/ifccenter.com/Pinterest)

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Ahh-Choo

A child of New York City’s suburbs, E.B. White developed a love of the natural world thanks to a severe bout of hay fever he had as a child — on the advice of a doctor, he was sent to Maine for the summer. White’s allergies, and his love of country living, would prompt him to buy a summer residence on the Maine Coast in 1933. He and his wife, New Yorker writer and fiction editor Katherine Angell White, would make it their permanent home four years later. In 1930, however, White was still putting up with the bad summer air of the city:

THANK GOD I’M A COUNTRY BOY…E.B. White on the beach with his dog Minnie, circa 1940s. (Wikipedia)

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It Didn’t Work Then, Either

Some things never change. The HawleySmoot Tariff Act, sponsored by Representative Willis C. Hawley and Senator Reed Smoot and approved June 17, 1930, raised tariffs on more than 20,000 imported goods. Promoted as a way to protect American businesses and farmers, it put additional strain on international markets already reeling from the effects of the Depression. A resulting trade war severely reduced imports and exports. Writing for “The Wayward Press,” Robert Benchley (under the pen name Guy Fawkes) shared these observations:

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How Dry I Ain’t

Despite his sober demeanor, Henry Hastings Curran (1877-1966) was a champion for those seeking the repeal of Prohibition laws. A longtime city manager in several roles, in 1930 he was president of the Association Against Prohibition Amendment. According to profile writer Henry Pringle, Curran predicted the end of Prohibition in five years. Happily for the wet side, they would get their wish in just three. A brief excerpt from the profile, titled “The Wet Hope.”

Henry H. Curran (Underwood and Underwood)

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From Our Advertisers

The Hotel Algonquin ran a series of ads in the back pages of the New Yorker that capitalized on its reputation as a place where stars and other notables gather. And although the Algonquin Round Table was a thing of the past, the hotel made sure to showcase names forever associated with the famed table, including Robert Benchley and the hotel’s manager, Frank Case

…hoping for some crossover interest from New Yorker readers, William Randolph Hearst’s Cosmopolitan (then a publisher of fiction, not sex tips) promoted this fictionalized autobiography of a famous tap dancer in this full page ad…

…introduced in 1924, Kleenex was originally marketed as a cold cream remover, and not as something you would blow your nose into, for goodness sake…

…however, after 1930 Kleenex was being marketed with the slogan “Don’t Carry a Cold in Your Pocket”…

DON’T BLOW IT…Kleenex boxes circa 1925. (Kleenex.com)

…and artist Carl Erickson remained busy making Camel cigarettes look so darn appealing…

…from Macy’s we have a jolly ad illustrated by Helen Hokinson

…and for our cartoons, Peter Arno, and an awkward moment in a parking lot…

Reginald Marsh visited Coney Island…

…fresh off his first “Little King” strip for the New Yorker, Otto Soglow returned with this wry observation…

...Garrett Price looked in on a clash of cultures at a golf course (an image that seems quite relevant today)…

Barbara Shermund found a bit of trouble at home…

…while Art Young offered this woman a choice of her daily mayhem…

Next Time: Robeson’s Othello…

 

Red Alert

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

May 17, 1930 cover by Rea Irvin.

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

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

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

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

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

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

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

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

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It’s In The Stars

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

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

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More Advice on Troublesome Pets

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

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

click image to enlarge

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A Fighter for Rights

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

Johnston concluded his two-part profile with these words:

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

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From Our Advertisers

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

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

Helen Hokinson looked at the challenges of city driving…

Gardner Rea explored the mysteries of street food…

…and Peter Arno greeted one Manhattan couple at sunrise…

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

May 24, 1930 cover by Madeline Pereny.

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

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

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From Our Advertisers

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

…a bit of color courtesy the Lenthéric salon…

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

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

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

(New York Public Library)

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

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

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

Barbara Shermund found some bedside humor…

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

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

Next Time: The Little King…

 

 

 

 

All Quiet on the Western Front

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

May 10, 1930 cover by Theodore Haupt.

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

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

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

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

(IMDB)

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More Than a Stunt

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

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

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I’d Rather Be in Philadelphia

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

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

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

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

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

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Make ‘Em Dance, Boys

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

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

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You Say You Want a Revolution?

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

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

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

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Speaking of Revolutionaries

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

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

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Play Ball?

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

From Our Advertisers

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

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

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

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

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

Constantin Alajálov explored an odd encounter in a park…

I Klein mused on the tricks of mass transit…

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

…and some helpful advice at a perfume counter…

Next Time: Red Alert…

 

 

 

Minding the Gap

Tens of thousands of commuters daily cross the George Washington Bridge, but in the din of modern commuting few give nary a thought to a span that was once considered a modern marvel.

May 3, 1930 cover by Rose Silver.

Twice as long as any previous suspension bridge when it opened in 1931, the George Washington Bridge’s main span of 3,500 feet (1,100 m) would be the world’s longest until it was surpassed by San Francisco’s Golden Gate Bridge in 1937. The New Yorker’s “Talk of the Town” (entry most likely by E.B. White) checked on the bridge’s progress for the May 3 issue:

MEN OF STEEL…Some 107,000 miles of wire were used in cables made by John A. Roebling’s Sons Company for the George Washington Bridge — the same firm also supplied wire for the Brooklyn Bridge 60 years earlier (John Roebling and his son, Washington, also designed and built the Brooklyn Bridge). Clockwise, from top, employees of John A. Roebling’s Sons pose atop cable bundles; bottom right, the bridge’s four main cables were each composed of a single strand carried back and forth across the river 61 times. Each strand itself is a bundle of 434 individual wires; bottom left, worker poses atop completed cable. (Flickr/Pinterest)
BY ANY OTHER NAME…Known as the Hudson River Bridge during its construction, the George Washington Bridge opened to traffic in 1931. During the first full year of operation in 1932 more than 5.5 million vehicles used the original six-lane roadway — today it is the world’s busiest motor vehicle bridge, carrying more than 100 million vehicles per year. Although the steel towers are iconic today, the original plan called for them to be clad in stone. (Wikipedia)

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A Cabin in the Sky

Other signs of modern life were being seen in Midtown, where an “Aircraft Salon” hosted by the Aeronautical Chamber of Commerce was taking place at Madison Square Garden.

Nicholas Trott was on hand to take in the exhibits, noting that advances in aviation included the use of metal bodies (instead of fortified cloth) and greater attention to interior decoration:

SIGNED, SEALED, DELIVERED…An attendee of the New York Aircraft Salon received a special postal stamp, and an autograph from aviator Cy Caldwell, at the Madison Square Garden show. (Joe Krantz)

Trott noted that designs of passenger compartments, still in their infancy, suggested something between automobile and nautical motifs:

SORRY, NO HEADPHONES…Clockwise, from top left, a Curtiss Condor 18 and its interior appointments; a Fokker Trimotor featured dining in its cabin. As peaceful as the scene appears, the noise from the motors must have been unbearable. (Wikipedia/dutch-aviation.nl)

Trott also commented on the debate surrounding metal vs. fabric in the construction of airplanes. Before 1930 most planes were constructed of wood covered with fabric (which were much lighter than metal craft). Although as early as 1920 the National Advisory Committee for Aeronautics declared metal to be superior to wood, only five percent of aircraft in 1930 were of all-metal construction.

DON’T CALL ME WOODY…This eight-passenger Consolidated Fleetster was a rare example of metal construction in early 1930. The wings, however, were still fashioned from wood. (Aeronautical Chamber of Commerce 1931 Aircraft Yearbook)

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Road to Nowhere

The New Yorker’s enthusiasm for modern marvels did not extend to the West Side Highway, a project that would extend from the late 1920s to the early 1950s. Here is E.B. White’s take on the opening of the highway’s first section:

White’s observations were somewhat prescient — constructed in tight confines, the road’s on-ramps proved too narrow and the turns too tight for use by large trucks. The roadway also lacked proper maintenance, and just two decades after it was completed a section of the highway collapsed under the weight of an asphalt-laden truck. The roadway was demolished between 1977 and 1989. Read more here about the West Side Highway’s surprising history at the Museum of the City of New York.

THE ROAD NOT TAKEN, TAKEN…Left, West Side Express Highway and Piers 95-98, photographed by Berenice Abbott from 619 West 54th Street on Nov. 10, 1977; West Side Highway Ramp at 23rd Street reveals Art Deco ornamentation. Detail of photo by Jan Staller, 1978. (Museum of the City of New York)

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For Pet Lovers

Our latest installment of James Thurber’s “Our Pet Department” column…

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Hate Couture

The New Yorker’s Paris correspondent, Janet Flanner, using the pen name “Hippolyta,” contributed this profile of François Coty (1874-1934), a French perfumer and businessman. Flanner’s profile (the introduction included below) described Coty’s rags-to-riches rise in the perfume industry, and touched on his life as a sometime journalist and politician.

What doesn’t come across in the profile is Coty’s extreme right-wing stance on politics and his virulent anti-Semitism, which was often expressed in his newspaper, Figaro. Three years after Flanner’s profile Coty would co-found Solidarité Française, a fascist, paramilitary organization, and a year after that he would be dead of an aneurysm.

François Coty circa 1930. (aperfumeblog.com)

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From Our Advertisers

The New Yorker’s bottom line reaped benefits from the big aviation show at Madison Square Garden…

…and even if you weren’t selling airplanes or flying lessons, you could still get in on the action…

…also from the fashion world, this colorful entry from Onyx Hosiery…

…and this weird ad from Saks, advertising shoes and a party dress but dominated by a caricature of designer Joseph Hergesheimer

…on to our cartoons…Helen Hokinson paid a visit to the aviation show…

…on the domestic front, Garrett Price examined the challenges of home decor…

Al Frueh offered an ironic twist on a room with a view…

Peter Arno once again found humor in the partying life…

…as did Gardner Rea…

Next Time: All Quiet on the Western Front…

 

 

 

 

Paramount on Parade

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

April 26, 1930 cover by Barney Tobey.

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

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Star-spangled Banter

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

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

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

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

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Lost In the Crowd

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

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

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Full of Hot Air

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

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View From the Top

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

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

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

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Brand X

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

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

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I Beg Your Pardon

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

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

 *  *  *

Before He Got Axed

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

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

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From Our Advertisers

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

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

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

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

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

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

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

…our cartoons include Garrett Price and thoughts of spring…

Barbara Shermund eavesdropped on tea time…

Alice Harvey found an awkward moment in a hosiery department…

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

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

Next Time: Minding the Gap…

 

 

 

  • zeusdvds.com

The Circus Comes to Town

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

April 19, 1930 cover by Gardner Rea.

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

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

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

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

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

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

 *  *  *

Funny Farm

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

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

 *  *  *

Fun With Balloon Animals

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

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

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

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

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

 *  *  *

Birth of the Soundtrack

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

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

 *  *  *

Cosmo Calvin

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

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

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How Dry I Am

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

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

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

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

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

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

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

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

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

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

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

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

…now over to the posh set, with Barbara Shermund

Leonard Dove found humor on the chorus line…

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

Next Time: Paramount on Parade…

 

 

 

Noblesse Oblige

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

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

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

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

 *  *  *

No Laughing Matter

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

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

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

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

 *  *  *

Pluto’s Salad Days

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

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

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

 *  *  *

Dandy Doodle Mayor

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

HAT’S OFF…Mayor Jimmy Walker.

 *  *  *

Back for More

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

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

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

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

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

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

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

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Who Needs a Vet?

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

 *  *  *

Spend It Quickly

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

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

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

 *  *  *

This Al Could Sing

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

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

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

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From Our Advertisers

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

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

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

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

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

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

…which looked like this…

(theoldmotor.com)

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

…signs of spring were noted by Otto Soglow

Don Herold shared an observation on stage entertainments…

…William Crawford Galbraith found unrequited love at the circus…

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

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

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

Next Time: Hot Jazz in Stone and Steel…

 

 

 

 

 

 

Garbo Speaks

Imagine your favorite Hollywood actress, maybe someone like Meryl Streep or Judi Dench. You’ve followed their careers and watched most of their movies, but you’ve never heard their voices.

March 22, 1930 cover by Gardner Rea.

That’s what it was like for Greta Garbo fans before March 1930, when she spoke her first onscreen words in the 1930 MGM drama Anna Christie, which was adapted from a 1922 play by Eugene O’Neill. 

SWEDISH SPHINX…Greta Garbo’s mask-like qualities on display in this publicity still for Anna Christie. (IMDB)

The New Yorker’s film critic John Mosher, not always a fan of Garbo’s silent work (although she had plenty of fans), found a “special kind of glamour” in her first talking picture, even tossing out the word “legend” to describe this Swede who avoided publicity like a bad cold…

No doubt a few moviegoers saw the movie just to finally hear that voice, which Mosher described as “a surprise…a deep, low voice, a boy’s voice really, rather flat, rather toneless, yet growing more attractive as the picture advances”…

Director William H. Daniels (seated, left) with unidentified cameraman filming a scene from Anna Christie with actors Greta Garbo and Clarence Brown; at right, the actors contemplate the microphone hovering above them. Note how the camera in the first photo is contained in a soundproof case. (IMDB) click image to enlarge

Publicized with the tag line “Garbo talks!,” Anna Christie premiered in New York City on Feb. 21 and became the highest-grossing film of 1930. Later that year a German language version would be filmed featuring Garbo but with a different director and supporting cast.

SOUND DEBUT…Clockwise, from top left, Greta Garbo and Marie Dressler in Anna Christie; an MGM ad touting the film as one of the best pictures of the year (it would be the year’s highest-grossing, and Garbo would receive an Academy Award nomination); studio portraits of Garbo used in the film’s promotion. (IMDB)

And if you want to hear Garbo deliver those famous first lines — “Give me a whisky, ginger ale on the side. And don’t be stingy, baby” — here it is, in a scene about sixteen minutes into the film…

*  *  *
Chicken and Cocktails
En route to the South Seas, the French artist Henri Matisse (1869-1954) paid a visit to New York City, and by all accounts had a good time there. His visit was described by Murdock Pemberton in “The Talk of the Town”…

I ♥ NEW YORK…Henri Matisse arriving in New York City on the S. S. Mauretania, December 15, 1930. He described the city as “majestic.” (artistandstudio.tumblr.com)
NICE PLACE, THIS…Henri Matisse sitting on the brick roof terrace of 10 Mitchell Place (formerly Stewart Hall), the Queensboro Bridge glimpsed in the background. The photo was taken in 1930 by his son, Pierre Matisse, who was living in New York. At right, 10 Mitchell Place today. A framed photograph of Matisse sitting on the rooftop hangs on the wall of the building’s lobby. (Henri-matisse.net/Ephemeral New York)
 *  *  *
The Last Page
The death of author D.H. Lawrence (1885-1930) was reported to New Yorker readers by Janet Flanner, the magazine’s Paris correspondent, who briefly detailed the writer’s rather sad decline…

FLEETING DAYS…D. H. Lawrence (right) with fellow writer Aldous Huxley at Bandol, in the South of France, 1929. (Topham Picturepoint)

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What Depression?

Nearly five months into the Great Depression, yet little evidence in the New Yorker of the catastrophe that was unfolding across the land. And true to form, the approach to the topic was made with humor, via E.B. White in “Notes and Comment”…

KNOW ANY GOOD JOKES?…At left, unemployed New York dockworkers; at right, folks enjoying the New York Public Library’s outdoor reading room in Bryant Park, 1930s. (Lewis Hine/National Archives and Records Administration/New York Public Library)

 *  *  *

Cathedrals of Commerce

E.B. White also observed the changing skyline, and how the towering skyscrapers were quickly overshadowing the once prominent steeples of the city’s churches…

REACHING TO THE HEAVENS…Clockwise, from top left, Trinity Church Wall Street and St. Patrick’s have been eclipsed by the towers of Mammon, but St. John’s and Riverside still dominate their surroundings today. (Wikipedia/St. John’s/Riverside)

 *  *  *

The Other House of Worship

Perhaps a certain skyscraper ennui settled in, as architecture critic George S. Chappell was not all that impressed by the “huge” Lincoln Building (which today still seems huge)…

SIZE DOESN’T MATTER…Although the new Lincoln Building proved to be a massive addition to the New York skyline, its style seemed outdated in contrast to its flashy new neighbor, the Chrysler Building — one of its gargoyles, at right, seems poised to devour the Lincoln Building. (nyc-architecture.com)

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From Our Advertisers

We have a bit more evidence of the Depression in the ads, including this one from Abercrombie & Fitch, with two sporting gents opting to go fishing to take their minds off the markets…

…if fishing wasn’t your thing, perhaps you just wanted to escape into the “quiet” of the wide streets in the East Seventies…

…or relax with a smoke, which artist Carl Erickson made look so appealing with his Camel ad illustrations…

…or take the humorous route to a relaxing smoke, with this ad for Murad as illustrated by Rea Irvin

…on to our cartoonists, Garrett Price captured the mood of the times…

…while Alfred Krakusin captured an altogether different mood…

...Leonard Dove examined the path to stardom…

I. Klein pondered modern art…

William Crawford Galbraith found an unlikely victim of religious zeal…

Mary Petty gave us a glimpse of a doctor’s office…

…and Leonard Dove again, this time at ringside…

Next Time: Noblesse Oblige…

 

The Lion Roars

It’s easy to get into the weeds while digging through the New Yorker archives, as it is filled with a richly interconnected cast of characters whose lives and work still resonate with us today.

March 15, 1930 cover by Rose Silver. (Please see note on this artist at the end of this blog entry)

A case in point is Bert Lahr (1895-1967), who at age 15 dropped out of high school and joined the vaudeville circuit, working his way up to top billing in Broadway musical comedies including 1930’s Flying High, which received an enthusiastic welcome from New Yorker critic Charles Brackett

…Brackett enjoyed the “feminine beauty” offered by a George White chorus that included the “Gale Quadruplets,” described in the Playbill as “The only Quadruplets in the world appearing on the stage”…

…although in fact the Gale Quadruplets were actually two sets of twins: June and Jane, and Jean and Joan (real names were Doris, Lenore, Helen and Lorraine Gilmartin). But I digress.

What really caught Brackett’s eye were the antics of Bert Lahr:

ONLY ONE BERT…Clockwise, from top left, publicity photo of Bert Lahr from the 1931 film version of Flying High; cover of the Apollo Theatre Playbill; the Gale Quadruplets, circa 1930; Lahr as the Cowardly Lion in the 1939 film The Wizard of Oz. (Everett/Playbill/Pinterest/Wikiwand)

The Gale Quadruplets are long forgotten, but the work of Bert Lahr still lives on thanks to his role as the Cowardly Lion in The Wizard of Oz (a film, incidentally, that was panned in 1939 by New Yorker critic Russell Maloney, who called it “a stinkeroo” that showed “no trace of imagination, good taste, or ingenuity”).

Lahr also connects us to today’s New Yorker magazine, where his son, John Lahr, has been a staff writer and critic since 1992. Lahr has written a number of stage adaptions (he won a Tony award in 2002, the first drama critic to do so) as well as nearly twenty books, including a 2017 biography of his father, Notes on a Cowardly Lion: The Biography of Bert Lahr.

DRAMATIC DUO…John Lahr with his father, Bert, backstage at the Belasco Theatre in the late 1940s; John Lahr today. (NY Times/Amazon)

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Greener Pastures

We remain on Broadway with another writer who was deeply connected to the New Yorker’s origins. Marc Connelly (1890-1980) was a playwright, director, producer and performer who collaborated with George S. Kaufman on five Broadway comedies in the 1920s. Connelly was also a founding member of the Algonquin Round Table, around which orbited a number of writers, critics and assorted wits who would help bring the New Yorker to life in 1925. Connelly was listed as an advisory editor on the masthead of the very first issue:

Connelly’s play, The Green Pastures (based on stories from the Old Testament), had just opened on Broadway, drawing much acclaim for both Connelly and actor Richard B. Harrison (1864-1935). “The Talk of the Town” looked in on the playwright and the actor:

DID YOU HEAR SOMETHING?...Richard B. Harrison (left) and unidentified actor in 1930’s The Green Pastures. At right, Wesley Hill as the Angel Gabriel. (blackarchives.org/ngv.vic.gov.au)
FINAL BOW…Richard B. Harrison in a 1930 publicity photo for the Broadway play, The Green Pastures. At right, Harrison on the cover of the March 4, 1935, Time magazine. He died of heart failure ten days after appearing on the cover. (Henrietta Alice Metcalf Collection/Time)

Connelly would receive the 1930 Pulitzer Prize for Drama for The Green Pastures. And nearly 60 years later he would be featured in a 1987 documentary about the Algonquin Round Table (The Ten-Year Lunch) as the Table’s last survivor. It would win an Academy Award for Best Documentary Feature. During his long career Connelly would act in 21 movies, including the 1960 romantic comedy Tall Story with Jane Fonda and Anthony Perkins. He also did some TV, included a stint from 1962 to 1964 as Judge Rampell in The Defenders.

HE COULD ACT TOO…Clockwise, from top left, Marc Connelly in a 1937 photo by Carl Van Vechten; a page from the Playbill for The Green Pastures; college student June Ryder (Jane Fonda) collides on campus with Professor Charles Osmond (Marc Connelly) in the 1960 romantic comedy Tall Story. (Wikipedia/Playbill/ridesabike.com)

Also in the “Talk of the Town” section of the March 15 issue was James Thurber’s latest installment of pet advice:

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Lipstick’s Lamentations

Once the place to read about wild speakeasies and other nighttime diversions of the Roaring Twenties, Lois Long’s “Tables for Two” column had quickly become anachronistic in the Depression years. Although the decade was still young, Long reminisced about her column’s “golden days” as if they had existed in some distant time, and lamented the state of the speakeasy; once a place for cheap and sordid frivolity, it had become staid and even snobbish…

THAT WAS THEN…Lois Long lamented the state of the speakeasy in 1930. Once sordid and given to frivolity, it had become a rather staid institution. (prohibition.themobmuseum.org/Time-Life)

…and Long described some of these new upscale speakeasies, where the oilcloth had been replaced with fine linen…

 *  *  *

Ozark Oeuvre

New Yorker art critic Murdock Pemberton, in his ongoing search for America’s best artists, took another look at that once “uncouth native” from the Ozarks, Thomas Hart Benton

PAINTING FROM THE SOIL…Cattle Loading, oil on canvas, by Thomas Hart Benton, 1930. It was one of the works viewed by critic Murdock Pemberton at the Delphic Studios in New York. (wahooart.com)

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From Our Advertisers

We start off with a couple of two-page ads, the first featuring caricatures of George Gershwin and Alexander Woollcott as rendered by the great Miguel Covarrubias

click image to enlarge

…and then we have this ad from the makers of Lux Toilet Soap, who must have had a bottomless advertising budget given all the splashy ads and celebrity endorsements…

…in the ads we also find clashes between the old and new…the new being this art deco-styled appeal for the newest form of transportation…

…and the old, the makers of the luxury car Pierce-Arrow, still harking back to its patrician origins (“The Tyranny of Tradition”)…the firm would not survive the lean years of the 1930s…

…and once again a colorful ad from Church using snob appeal to sell something as pedestrian as a toilet seat…”Toilet Seats For Better Bathrooms”…

…on to our cartoons, we have a voyeur’s perspective courtesy Helen Hokinson

…an exploration of the generation gap by Alice Harvey

…and this terrifically quaint encounter, rendered by Perry Barlow

…and before we go, a note about this week’s cover artist, Lisa Rhana, a.k.a. Rose Silver (1902-1985) who illustrated several New Yorker covers in the 1920s and early 30s. Her work is included in the permanent collections at the Whitney Museum, the Museum of the City of New York, and The Metropolitan Museum of Art, which holds this watercolor (left) that graced the cover of the Jan. 30, 1932 issue:

Next Time: Garbo Speaks…

 

 

 

 

The Non-linear Man

As Ernest Hemingway and F. Scott Fitzgerald spoke to the “Lost Generation” of writers and artists in the 1920s, John Dos Passos (1896-1970) drew upon the ethos of that period to usher in a new style of writing for the 1930s — modern, experimental, and deeply pessimistic.

March 8, 1930 cover by Ilonka Karasz.

Dos Passos’ book The 42nd Parallel would be the first of three books from 1930 to 1936 that would comprise his landmark U.S.A. Trilogy. The book critic for the New Yorker (identified as “A.W.S.”) sensed that this work of avant-garde historical fiction represented a significant marker in the modernist movement, likening it to the work of the great 20th century composer Igor Stravinsky:

A WRITER FOR DEPRESSING TIMES…The 42nd Parallel was the first book in a trilogy published by John Dos Passos between 1930 and 1936. At right, Dos Passos in the early 1940s. (22.hc.com/hilobrow.com)

Dos Passos also painted throughout his life, nearly 600 canvases including this early work from his days in Spain in the 1920s…

John Dos Passos’ watercolor painting of the the Spanish countryside, circa 1922. A modernist writer, Dos Passos also painted in the style of the avant-garde. His nearly 600 paintings throughout his lifetime show influences of Impressionism, Expressionism and Cubism. (johndospassos.com)

…and he joined his literary and artistic talents in 1931 when he translated and illustrated Blaise Cendrars’ long poem Le Panama et Mes Sept Oncles. Dos Passos became good friends with Cendrars, and in the book’s  foreword acknowledged his debt as a writer to the French poet…

(johndospassos.com)

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Don Could Also Write And Draw

Like Dos Passos, Don Herold (1889-1966) could express himself through both words and pictures, albeit in a much less serious vein. In the March 8 issue Herold wrote about the indignity of having to disrobe for a medical examination. An excerpt:

Also an illustrator and cartoonist, Herold made his debut in the New Yorker with this cartoon in the June 1, 1929 issue:

Herold began working as an illustrator around 1910, and enjoyed a long career with a number of publications, including the humor magazine Judge:

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Measuring Up

When the Chrysler Building was completed in May 1930, it officially became the world’s tallest building (a record it ceded 11 months later to the Empire State Building). Being the tallest gave the building the distinction of being something to be measured against, including the durability of a musical recording pressed into a material called “Durium”…

…and when advertisers were in need of something large for comparison, they also turned to the new skyscraper to drive home their selling point…

…new skyscrapers also were used to lend distinction to their tenants, such as Liberty Magazine in the new Daily News Building…

…below a 1940 postcard image of the Daily News Building, then known simply as “The News Building,” and a view of the lobby’s famous globe in 1941…

(Wikipedia)

…on to the rest of our ads, here’s a baldly misogynistic one from Longchamps restaurants…

…and as Prohibition wore on into the Thirties, we have sad little back page ads for cocktail “flavours” and Benedictine “Dessert Sauce”…

…on to our comics, Gardner Rea explored the subject of family planning…

Art Young illustrated the perils of modern art…

Otto Soglow took a stroll with a somnambulist…

Leonard Dove inked this awkward moment between the Old and New Worlds…

…and Peter Arno went to the movies…

Next Time: The Lion Roars…