Al Frueh – Page 6 – A New Yorker State of Mind

(Another) Fight of the Century

It seems that each generation has its “Fight of the Century,” a phenomenon that emerges from the alchemy of mass marketing, a lust for blood sport, and the madness of crowds. Gene Tunney — a boxer who also wanted to be a public intellectual — was party to at least two of these spectacles in the 1920s.

August 4, 1928 cover by **Julian de Miskey**.

Tunney is most famous for his fights against Jack Dempsey—in some ways they were the Ali–Frazier of their day. Tunney took the heavyweight title from Dempsey in 1926, and again defeated Dempsey in the controversial “long count” rematch one year later, on Sept. 22, 1927. That match was a huge spectacle, staged at Chicago’s Soldier Field in front of 105,000 spectators.

Boxing promoter Tex Rickard saw dollar signs when a scrappy New Zealander named Tom Heeney challenged the champ to a match. Heeney had won the Australian heavyweight title in 1922, and after arriving in the U.S. in 1926 found enough success in the ring to be ranked fourth among the world’s heavyweight boxers.

Writing in his column, “Sports of the Week,” in the July 21, 1928 issue of The New Yorker, Niven Busch Jr. assessed Heeney as a formidable opponent:

NO PALOOKAS HERE…**Tom Heeny** (left), and **Gene Tunney** in the late 1920s. (boxrec.com / Alchetron)

This cartoon by Leonard Dove, also in the July 21 issue, joined in the fun…

As for the actual fight at Yankee Stadium on July 26, 1928, Tunney won by a TKO in the 11th round. Perhaps the boxer from Down Under wasn’t in such great shape after all, or so surmised Niven Busch Jr in the August 4 issue:

New Yorker illustrator Johan Bull offered this perspective in artwork that accompanied Busch’s article…

Tunney’s winning purse was $525,000 (about $7.3 million today) and Heeney’s was $100,000 ($1.4 million), modest when compared to the recent debacle in Las Vegas that pitted professional boxer Floyd Mayweather Jr. against mixed martial arts champion Conor McGregor. Mayweather earned a disclosed purse of $100 million while Conor McGregor brought home $30 million.

Heeney would remain in the U.S. and fight a few more bouts before retiring to Florida, where he ran a bar and fished with his friend, Ernest Hemingway. Tunney, on the other hand, announced his retirement from boxing just five days after the fight. It was time to finally devote himself to a life of the mind. Norman Klein, writing in the Aug. 4 “Talk of Town,” offered a glimpse into that new life:

BRAIN OVER BRAWN…Boxing champ **Gene Tunney**, left, and writer **George Bernard Shaw** on a 1929 vacation to Brioni. (Associated Press)

Still not getting enough of The Champ, “Talk” also related this story about Lucky Strike cigarettes, and how that company’s publicists tried unsuccessfully to persuade Tunney to endorse their product:

However the promoter of the Tunney–Heeney fight, Tex Rickard, had no problem taking money from the American Tobacco Company:

THEN I’LL TAKE THE MONEY…The promoter of the Tunney – Heeney fight, **Tex Rickard,** had no problem endorsing Lucky Strikes in this 1928 advertisement. Rickard would die the following year at age 59, from an appendectomy of all things. (eBay)

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Tunney Was More Exciting

“The Talk of the Town” cast a jaded eye toward the Ninth Olympic Games in Amsterdam:

Poster from the 1928 games. (www.olympic.org)

And perhaps even less exciting than the Olympics was the magazine’s “Profile” subject, Andrew W. Mellon, referred to in the title as “Croesus in Politics.” Mellon was no Gene Tunney, but he did ensure his immortal fame through his philanthropy, still expressed today by the Andrew W. Mellon Foundation. Below are the concluding lines of the profile, written by Homer Joseph Dodge:

The article featured this terrific caricature by illustrator Abe Birnbaum…

Planned Obsolescence

The magazine’s “Motors” column touted Chrysler’s new “peaked” radiators, which no doubt caused many insecure Chrysler owners to consider junking their non-peaked models of yesteryear:

This ad in the same issue screamed “new, new, new” for what appeared to be mostly the same old, same old…

Our comic comes courtesy Al Frueh, who looks in on the workings of a printing press at a celebrity tabloid:

Next Time: Shadows of the South Seas…

A Familiar Ring

Ring Lardner is one of those 20th century American writers everyone has heard of but few have actually read. This is perhaps because he is often pigeonholed as a sportswriter rather than being remembered as a gifted satirist whose crisp writing style—often peppered with slang—influenced a generation of writers including Ernest Hemingway, who covered sports for his high school newspaper under the pseudonym “Ring Lardner.”

July 7, 1928 cover by **Julian de Miskey**.

Lardner would contribute nearly two dozen pieces to The New Yorker beginning with this ditty in the April 18, 1925 issue—

—and ending with “Odd’s Bodkins,” published posthumously in the Oct. 7, 1933 issue (Lardner died at age 48 of a heart ailment on Sept. 25, 1933). In his satirical “Profiles” piece for the July 7, 1928 issue, Lardner had some fun with editor and playwright Beatrice Kaufman, who like Lardner existed within the orbit of the famed Algonquin Round Table but was not a regular member (however Beatrice’s husband, playwright and director George S. Kaufman, was a charter member).

The entire piece, including an illustration by Peter Arno, is below (click image to enlarge the text):

**Ring Lardner** in undated photo, possibly mid 1920s (Encyclopaedia Britannica)

KAUFMAN CHUMS…Comedian **Julius Tannen** (left) frolics with **Beatrice Kaufman** and **George S. Kaufman** in Atlantic City in the 1920s; writer/critic **Alexander Woollcott** (left), artist **Neysa McMein**, actor **Alfred Lunt, Beatrice Kaufman** and comedian **Harpo Marx** hanging out in the 1920s. (spartacus-educational.com)

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One New Yorker writer who does stand the test of time is E.B. White, known to earlier generations for his many humorous contributions to The New Yorker and to later generations for his co-authorship of the English language reference The Elements of Style, and for his beloved children’s books including Stuart Little and Charlotte’s Web (Charlotte’s Web was often voted as the top children’s novel in a survey of School Library Journal readers, and most recently in 2012—the 60th anniversary of its publication). In the July 7, 1928 issue the nature-loving White offered these tongue-in-cheek plant care instructions, arranged atop a cartoon by Alan Dunn:

Another cartoon in the July 7 issue by Garrett Price offered another perspective on an advertising come-on:

No doubt Price was referencing ads such as this one below by the American Tobacco Company in which actress and dancer Gilda Gray—who in the 1920s popularized a dance called the “shimmy”—announced her preference for pipe smokers:

And we close with this cartoon by Al Frueh, who demonstrated how fashion had freed the woman of the Roaring Twenties:

Interested in the history of New Yorker cartoons and cartoonists? Then I recommend you check out cartoonist Michael Maslin’s Inkspill website for news on cartoonists and events. Another great site is Stephen Nadler’s Attempted Bloggery, which explores original art, auctions, obscurities and other angles of New Yorker cartoons and cartoonists.

A couple of my favorite Maslin cartoons (among many):

Next Time: 100 Percent Talker…

Summer Breeze

In the days before air conditioning, summertime city dwellers escaped the heat by fleeing to the countryside or the coast, or, if they lacked the time or the means, by taking their dining and dancing to one of Gotham’s breezy rooftop nightclubs.

June 30, 1928 cover by **Helen Hokinson**.

In her column “Tables for Two,” nightlife correspondent Lois Long welcomed the addition of rooftop dining atop the St. Regis Hotel, which featured decor by the famed theatrical set designer and architect Joseph Urban:

The St. Regis Hotel in New York City. (StreetEasy)

Illustrations by Alice Harvey (in the July 7, 1928 issue) depicted diners and dancers on the St. Regis rooftop…

“DISDAINFUL ROOSTERS” looked down upon diners from **Joseph Urban’s** roof garden murals at the St. Regis. At right, Urban in 1920. Urban was right at home at the St. Regis, and even died there in 1933 after suffering a heart attack in his apartment. (artcontrarian.blogspot.com / Columbia University, Butler Rare Book and Manuscript Library)

CONTINENTAL INSPIRATION…**Joseph Urban’s** 1928 design for the Roof Garden at the Hotel Gibson in Cincinnati, Ohio, was inspired by 19th century European pleasure gardens. (Cooper Hewitt)

Long also fondly recalled a “comic waiter” who entertained patrons of another popular rooftop destination, The Cascades atop the Strand:

CASCADES…A 1920s postcard image of the Strand’s rooftop dining room, known as “The Cascades.” The room once featured a comical waiter who entertained diners with various gags and pratfalls. (thejumpingfrog.com)

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The June 30 issue featured a Profile of cosmetics entrepreneur Helena Rubinstein, who began her cosmetics empire with a dozen jars of face cream. Writer Jo Sterling described a businesswoman of limitless energy whose habits could be described as restless and haphazard but also revealed a woman of great generosity. Sterling noted that this woman of great wealth and a renowned collector of fine art and other rare objects preferred riding the bus to owning an automobile (illustration by Hugo Gellert).

IT STARTED WITH A DOZEN JARS OF FACE CREAM…Polish American businesswoman, art collector, and philanthropist **Helena Rubenstein** in the 1920s. (Womanology)

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Portents of War (to be continued…)

In the Roaring Twenties most believed the Great War was indeed the “War to End All Wars,” so when militarism was clearly on the rise in Shōwa Japan few took it seriously, including New Yorker cartoonist Al Fruh:

On the lighter side, Peter Arno offered up his take on a cinematic love scene:

Next Time: A Familiar Ring…

The Russians Are Coming

Compared to Hollywood, cinema as an art form in the 1920s was more advanced in Europe, where filmmakers took a more mature, nuanced approach to movies; they focused less on money and more on exploring difficult social and historical issues. Trench warfare, genocide and famine have a way of doing that to you.

June 9, 1928 cover by **Ilonka Karasz**.

The contrast between the European avant-garde and Hollywood’s Tinseltown was not lost on The New Yorker’s film critics, who consistently lambasted American cinema while applauding nearly everything coming out of Europe, and especially the films produced by German and Russian directors. The critic “O.C.” used the Russians latest American release, The End of St. Petersburg, to drive home the point. He also chided those who dismissed the film as propaganda, a stance much in line with leftist intellectuals of the day who found inspiration in the Russian Revolution (and sometimes they looked the other way when things didn’t go so well in the Soviet experiment—1928 marked the beginning of the Soviet Union’s first Five-Year Plan. By 1934 it was estimated that almost 15 million people died from forced collectivization and famine).

The End of St. Petersburg was blatant propaganda, to be sure, but to this day it has been widely praised for its cinematic innovations. The story itself was fairly straightforward: A peasant goes to St. Petersburg looking for work, gets arrested for his involvement in a labor union and is subsequently sent to fight in the trenches of World War I. His experiences in the war solidify his commitment to revolution and the overthrow of the capitalist overlords. The New Yorker review:

OPPRESSORS & OPPRESSED…The shareholders of a steel mill (top) demand longer hours from workers who already suffer from hellish conditions at the factory in *The End of St. Petersburg.* (Stills from the film, available on YouTube)

The New Yorker reviewer suggested that a story used primarily to influence an audience—propaganda—was not necessarily a bad thing:

ALL CHOKED UP…The horrors of trench warfare were graphically depicted in *The End of St. Petersburg*. (stills from film)

* * *

Back in the New World, most of the talk in cinematic circles revolved around the excitement of “talking pictures.”

FORERUNNER…The Vitaphone system was the most successful of early attempts at sound movies. It synchronized a large recorded disc (seen at lower right) with the film. *The Jazz Singer*, often heralded as the movie that marked the commercial ascendance of sound films, used Vitaphone technology. (Audio Engineering Society)

BETTER YET…Sound movies took off with the invention of a soundtrack that could be printed directly onto the film. Filmmakers either used Variable Area (left) or Variable Density (center) mono optical soundtracks located between the film’s picture frame and sprocket holes. The tracks could be read by a newly developed photocell (a light source also known as Aeo-light) that could be modulated by audio signals and was used to expose the soundtrack in sound cameras such as the one at right. (Images 1 & 2, Audio Engineering Society/ Image 3, Wikipedia)

It seems that Fox Movietone newsreels really got things going with sound and whetted audience appetites for more:

TELLING US A THING OR TWO…Irish playwright and critic **George Bernard Shaw’s** first visit to America, recorded for posterity in this 1928 Fox Movietone Newsreel. (YouTube still from film)

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Then There Was The Other Playwright…

Mae West, to be exact. My guess is her approach to the craft was a bit different than G.B. Shaw’s, and we can gather as much from these excerpts from the June 9 “Talk of the Town.” The piece discusses West’s rise to fame as the creator and star of the scandalous play Sex, and her unorthodox approach to rehearsals.

DEMURE SHE’S NOT…**Mae West** in 1928’s *Diamond Lil*. (doctormacro.com)

* * *

Although many today would identify D.H. Lawrence as one of great English novelists of the 20th century, eighty-some years ago New Yorker book critic Dorothy Parker described him as “very near to being first rate.”

A BARDIC QUALITY…**D.H. Lawrence** with wife Frieda Weekley in Chapala, Mexico in 1923. (tanvirdhaka.blogspot.com)

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Blind Justice

The makers of Old Gold cigarettes claimed to have scientific proof on their side with a series of ads featuring endorsements by the rich and famous. This ad ran in the June 9 issue:

In the same issue was this cartoon by Al Frueh that took a poke at Old Gold’s marketing strategy…

…and Peter Arno offered this unique take on human vanity…

Talking pictures continued to be a theme in the June 16, 1928, issue…

June 18, 1928 cover by **Julian de Miskey.**

In his “Of All Things Column,” Howard Brubaker suggested that sound movies would spell the end of careers for some silent stars:

Although some actors struggled with the transition to sound, the reasons why some major stars faded with the advent of “talkies” are far more varied and nuanced. In many cases, some stars packed it in because their careers had already peaked during the silent era, and both studios and audiences were looking for some fresh faces.

HAS BEENS?…It is a common assumption that sound motion pictures killed the careers of many silent stars, including big names like **John Gilbert** (left) and **Clara Bow**. The reality is far more nuanced. (Wikipedia)

* * *

Niven Busch, Jr. continued to explore the illicit bar scene in his recurring feature “Speakeasy Nights.” I include this excerpt because it described a rather clever facade devised by the owner of the “J.P. Speakeasy.”

WORK/LIFE BALANCE…What might appear to be a typical business office might conceal an even more lucrative business in the back rooms. (Musée McCord/americanhistoryusa.com)

Busch observed an interesting protocol for admittance into the speakeasy, including a typewritten message devised to throw off any would-be Prohibition officers:

From Our Advertisers…

This ad leaves a bad taste in your mouth no matter how you look at. Nothing like coating your mouth with Milk of Magnesia before lighting up that first fag of the day…

…and here we have another ad for Flit insecticide, courtesy of Theodore “Dr. Seuss” Geisel.

And finally, a look at a Roaring Twenties wedding reception, courtesy cartoonist Garrett Price:

Next Time: Down to Coney Island…

Conventional Follies of ’28

U.S. presidential elections have long provided fodder for the nation’s humorists, and the 1928 contest between Herbert Hoover and Al Smith was no exception.

March 31, 1928 cover by **Theodore G. Haupt**.

In the March 31, 1928 issue of the New Yorker writer Frank Sullivan and cartoonist Al Frueh took particular delight in skewering the party nominating conventions. As Sullivan observed:

Regarding item No. 3, Sullivan was referring to Minnesota’s famed Mayo Clinic, and the related pride that was doubtless associated with the removal of an appendix from Catherine Dunn, the wife of Al Smith, four-term governor of New York and nominee to lead the Democratic ticket.

The candidates could not have been more different. The first Catholic to be nominated for president, Smith was a crowd-loving, charismatic personality, a Tammany Hall politician and a committed “wet” who opposed Prohibition. He attracted strong support from Catholics, women, drinkers and those who were tired of the crime and corruption associated with dry America.

WET VS. WET BLANKET…The staid, “dry” Republican candidate **Herbert Hoover** (right) easily defeated the charismatic “wet” Democratic candidate **Al Smith** in the 1928 U.S. Presidential Election. (Wikipedia)

Hoover, on the other hand, was deliberately dull and humorless, as stiff as his heavily starched collars and committed to keeping the country dry. But the economy under fellow Republican Calvin Coolidge was booming, and it didn’t hurt that many Protestants believed the Catholic Church would dictate Al Smith’s policies if he were elected. Sullivan had some fun with this perceived religious prejudice:

In light of the recent 2016 elections and the prominence of “Islamophobia” in the political rhetoric, Sullivan’s joke regarding the role of “Mohammedans” in the 1928 election is noteworthy:

Illustrations by Al Frueh, both top and bottom, aptly captured the picture Sullivan painted of the nominating process:

Smith would lose in a landslide. Journalists at the time attributed his defeat to the three P’s: Prohibition, Prejudice and Prosperity. Rural voters, who favored Hoover, also had a bigger say than their urban brethren: Republicans would benefit from a failure to reapportion Congress and the electoral college following the 1920 census, which had registered a 15 percent increase in the urban population. After the election, Smith became the president of Empire State Inc., the corporation that would build the the Empire State Building in 1930-31.

In his piece Sullivan also took at parting shot at President Coolidge…

…as did cartoonist John Price in the same issue…

For reference, the image that inspired Price:

BIG CHIEF… **Calvin Coolidge** donned a headdress while being named an honorary Sioux chief (“Leading Eagle”) in Deadwood, South Dakota in the summer of 1927. (Associated Press)

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New Yorker Monotypes

Another humorist who regularly contributed to The New Yorker was Baird Leonard, who beginning with the second issue of the magazine (Feb. 28, 1925) wrote a series titled “Metropolitan Monotypes.” Over five years and 36 installments Leonard wrote free-verse characterizations of various New York “types,” from debutantes to aesthetes to “The Anglomaniac” as described below in this installment from March 31, 1928:

As noted before, Anglophilia oozed from The New Yorker ads, particularly those directed at the male reader (France was a common lure in ads for women). Every issue from the 1920s is rife with examples, but sticking to the March 31 issue we find this ad employing the British slang for cigarettes to market a silly, dog-shaped cigarette case to fashionable women:

In the same issue this ad from Macy’s appealed to participants of a famous cultural event for the posh set—the annual Easter Parade on Fifth Avenue. A tradition dating back to the 1870s, in its first decades the “parade” was a display of wealth and beauty, as the well-to-do strolled from church to church to check out various floral displays.

In 1928, the poor and middle classes were merely observers of the passing parade, perhaps hoping to learn something about the latest fashions. The April 14 “Talk of the Town” suggested as much:

And finally, our cartoon comes courtesy of Leonard Dove, who explores the lighter side of boxing…

Next Time: We Americans…

Amen Aimee

It what would become a longstanding tradition, The New Yorker marked its third anniversary by featuring the original Rea Irvin cover illustration from Issue No. 1. The New Yorker was a very different magazine by its third year, fat with advertising and its editorial content bolstered by such talents as Peter Arno, E.B. White and Dorothy Parker.

Parker livened up the magazine’s books section, mincing few words as she took on writers both great and not so great.

In the latter category was Aimee Semple McPherson, a 1920s forerunner of today’s glitzy televangelists. In her column “Reading and Writing,” Parker took aim at McPherson — “Our Lady of the Loud-speaker” — who had just published a book titled In the Service of the King.

READY FOR MY CLOSEUP…Although she was an evangelical preacher, **Aimee Temple McPherson** was also considered one of the most glamorous women in 1920s America. (Foursquare Church)

McPherson (1890–1944) was a Pentecostal-style preacher who practiced “speaking in tongues” and faith healing in her services, which drew huge crowds at revival events between 1919 and 1922. She took to the radio in the early 1920s and in 1923 she based her ministry in Los Angeles at her newly completed Angelus Temple, which served as the center of the International Church of the Foursquare Gospel.

McPherson’s book detailed her conversion and her various hardships, including her mysterious “kidnapping” in 1926. Parker was having none of it:

Parker was referring to events beginning on May 18, 1926, when the evangelist visited Venice Beach for a swim and went missing. Some thought she had drown, others claimed they saw a “sea monster” in the area. McPherson reemerged in June on the Mexico-Arizona border, claiming she had been kidnapped and held captive by three strangers.

Numerous allegations of illicit love affairs targeted McPherson during her years of fame, so some were inclined to believe she went missing in order to engage in a love affair with her sound engineer.

Upon her return to Los Angeles she was greeted by a huge crowd (est. 30,000 to 50,000) that paraded her back to the Angelus Temple. However many others in the city found McPherson’s homecoming gaudy and annoying. A grand jury was subsequently convened to determine if evidence of a kidnapping could be found, but the court soon turned its focus to McPherson herself to determine if she had faked the kidnapping. Parker thought the condition of the preacher’s shoes, after a long trek through the desert, were evidence enough of a sham:

THE MEGACHURCH IS BORN…Angelus Temple, completed in 1923, is the center of the International Church of the Foursquare Gospel founded by McPherson. It is still in active use. (Loyola Marymount University)

SPECTACLE…**Aimee Semple McPherson** surrounded by massed choirs at Angelus Temple for a musical requiem in 1929. (Los Angeles Public Library/*Herald Examiner*)

**Aimee Semple McPherson** (second from left) joins tambourine players in a service at Angelus Temple. McPherson produced weekly dramas, often major spectacles, illustrating various religious themes. (Los Angeles Public Library/*Herald Examiner*)

McPherson, who was married three times and twice divorced, died in September 1944 from an apparent overdose of sleeping pills. She was 53. Her son Rolf took over the ministry after her death. Today McPherson’s Foursquare Church has a worldwide membership of about 8 million, and is still based in Los Angeles.

But How Do I Look?

The Feb. 25 issue profiled the young Jascha Heifetz, a Russian-born violin prodigy who seemed more interested in how he looked than in how he performed. An excerpt:

SARTORIAL PERFECTION…Detail of a 1928 photo of 27-year-old **Jascha Heifetz,** taken by **Edward Steichen.** (Condé Nast)

* * *

Speaking of fashion, one of the world’s greatest fashion designers, Paul Poiret, was seeing hard times in the late 1920s with his designs losing popularity in his native France and his formidable fashion empire on the brink of collapse. But Francophile New Yorkers, always hungry for French fashion, greeted Poiret with open arms when he arrived in the city in the fall of 1927.

It is something of a surprise, however, to find this advertisement in the Feb. 25 issue in which Poiret endorses Rayon, a man-made substitute for silk. We don’t usually associate synthetics with haute couture, but then again maybe Poiret just needed the money. Better living through chemistry, as they say…

Also in the issue was a sad, Prohibition-era advertisement that extolled the virtues of an oxymoronic “non-alcoholic vermouth”…

And finally from the Feb. 25 issue, a cartoon by Carl Rose…

* * *

One-eyed Monster

In the March 3 issue “The Talk of the Town” discovered the miracle of television during a visit to the Bell Telephone laboratories.

Lab researchers demonstrated a “receiving grid” with a tiny screen that displayed images broadcast across the expanse of an auditorium:

WE’LL CALL IT THE BOOB TUBE…Engineer and inventor **Ernst Alexanderson** (right) and the TV projector he used for early public demonstrations of television, circa 1928. (edisontechcenter.org)

Another glimpse into the future in the March 3 issue came courtesy illustrator Al Frueh, who offered this fanciful look at the skyscraper of tomorrow:

* * *

“Profile” featured the first installment of a four-part article (by Niven Busch Jr.) on a man who put America on wheels and into traffic jams. Excerpts:

And finally, from W.P. Trent, an analogy that would take on new meaning after the market crash…

Next Time: To Bob, Or Not to Bob…

Odious Odes

After his famous transatlantic flight, not only did Charles Lindbergh have to endure endless banquets and the sweaty crush of adoring crowds, but he also inspired a lot of kitsch, including some spectacularly bad poetry that Dorothy Parker could’t help but eviscerate in the Jan. 7, 1928 issue.

jan-7 — January 7, 1928 cover by **Constantin Alajalov**.

Before we tackle the poetry, here is a sampling of various Lindbergh memorabilia:

screen-shot-2017-02-10-at-3-47-31-pm — THEY’RE SELLING YOU…Assortment of Lindbergh souvenirs on display at the Smithsonian’s Air & Space Museum. (Eric Long/Smithsonian)

screen-shot-2017-02-10-at-1-48-58-pm — SHARPENED TONGUE…**Dorothy Parker** in 1928. (literaryladiesguide.com)

Parker led off her “Reading & Writing” column with this observation about the collapse of grammar and civilization in general…

…and offered two examples—chocolate-covered olives and a new book of poems dedicated to Charles Lindbergh’s heroic solo crossing of the Atlantic…

Parker’s comment about guiding a razor across her throat is a bit unnerving, considering she was chronically depressed and occasionally suicidal throughout her life. But then again, Parker didn’t like ugly things, including bad poetry, and especially bad poetry written by a twelve-year-old “prodigy,” in this case a one Nathalia Crane, who claimed the top prize in the Lindbergh collection. Parker observed:

Little Nathalia Crane (1913–1998) gained fame after the publication of her first book of poetry, The Janitor’s Boy, which she wrote at age ten. After her second book of poetry was published in 1925, American poet Edwin Markham suggested the poems were part of a hoax because they exhibited a maturity of thought beyond the reach of a mere child. (A sidebar: Parker referred to Nathalia as a “Baby Peggy of poesy.” Baby Peggy, whose real name was Diana Serra Cary, was a beloved child silent film star. Still alive at this writing, she is 99 years old–the last living film star of the silent era). Update: Diana Serra Cary, considered the last surviving person with a substantial career in silent films, died February 24, 2020, at age 101.

90-105, 5, "Crane, Nathalia"; "Famous as a child prodigy, Nathalia Clara Ruth Crane (1913-1998) published her first book at age ten and later became a professor of literature. This photograph was used to illustrate a news story about ""The four ages of behavior,"" declaring that Crane, " — BAD POET’S SOCIETY?…**Nathalia Crane** in 1925. She would publish ten volumes of poetry and three novels, and would go on to a long career as a professor of English at San Diego State University. (Wikipedia)

Parker observed that “Lindbergh” was not a name well suited to poetry, and concluded with the hope that the aviator would be spared from having to read the “sickly, saccharine, inept, ill-wrought tributes”…

Tilt Your Vote to Al

When New York Governor Al Smith announced his candidacy for U.S. President, New Yorker cartoonist Al Frueh had some fun with the governor’s habit of wearing his ever-present bowler hat at a tilt:

They Dropped Like Flies

Nicholas Trott visited the 1928 New York Automobile Salon and rattled off this list of 43 car companies that would be displaying their shiny wares:

Of those 43 companies, only six are in operation today. Interestingly, the car ads that appeared in the Jan. 7 issue were mostly from companies that are long gone. Here is a sampling:

And finally, we close with Peter Arno and some dinner party hijinks…

Next Time: Guess Who’s Coming to Dinner…

The Perfect Gift for 1927

We close out 1927 by looking at the final December issues, which grew fat with Christmas advertising catering to the tastes of New York’s smart set.

Before we jump to the ads, let’s look in on Lois Long, who in the Dec. 10 issue continued her lamentations regarding the quality of New York’s Prohibition-era night life and reminded readers that her job was far from a “soft snap”…

The problem, as diagnosed by Long, was that there were not enough talented entertainers to fill the needs of an overabundance of nightclubs…

vit-94-bobbe-arnst1 — LOIS THOUGHT **BOBBIE ARNST** WAS PRETTY SWELL when she appeared at **Helen Morgan’s** nightclub. A noted broadway singer and dancer, Arnst is pictured above in a publicity photo from the 1929 film *Rhythms in Blue*. (picking.com)

screen-shot-2017-02-07-at-12-33-26-pm — ON THE OTHER HAND…**Evelyn Nesbit’s** tearoom (and later speakeasy) couldn’t survive on notoriety alone. In the early 20th century Nesbit’s face was everywhere—from advertisements to calendars—but in 1906 her fame took a nasty turn when her jealous husband, **Harry Thaw,** shot and killed suspected lover and famed architect **Stanford White** at Madison Square Garden’s rooftop theatre. At left, Nesbit in 1900. At right, Nesbit in her tea room on West 52nd Street, near Broadway, circa 1922. (Library of Congress / restaurant-ingthroughhistory.com)

Long also railed against the white appropriation of Harlem entertainment, which she felt was draining the place of its soulfulness. In particular she called out writer and photographer Carl Van Vechten, who among white writers was the most prominent in intellectualizing the “Harlem Renaissance”…

What to Buy in ’27

The Dec. 10 and Dec. 17 issues grew fat with holiday advertising, averaging 120+ pages as opposed to the usual 60 or so pages. The advertisements mostly appealed to upscale readers, ranging from this almost Victorian-style ad from the staid Brooks Brothers…

…to this ad from Rex Cole promoting the latest in modern conveniences…

And I’ll toss in this cartoon from the Dec. 10 issue, in which Peter Arno allows us to listen in on an unlikely conversation between a couple of toffs…

Lois is Also Tired of the Holidays

On to the Dec. 17 issue, in which Lois Long also shared with readers her weariness of Christmas shopping in her column, “On and Off the Avenue.”

The “Parisite” Long referred to in this excerpt was actually Elizabeth Hawes, who occasionally contributed to Long’s column (with cables sent from Paris) regarding the latest in French fashions. More on Hawes another time…

As for ads in the Dec. 17 issue, we get this one from Dunhill, maker of fine English cigarettes and accessories: a woman’s compact that resembles a lighter…

…and the same issue offers this glimpse into the life a spoiled rich kid, home from college for the holidays. The cartoon is by Alan Dunn, one of the most published New Yorker cartoonists (1,906 cartoons from 1926 to 1974)…

With Christmas advertising over, the magazine’s page length dropped by half from the Dec. 17 to the Dec. 24 issue…

…in which we find this holiday-themed illustration by Al Frueh:

Why We Sing Auld Lang Syne

This advertisement in the Dec. 24 issue invited readers to celebrate the New Year at The Roosevelt Hotel…

roosevelt-hotel-1924 — The Roosevelt Hotel after its completion in 1924 (Museum of the City of New York)

1387211957-0 — AULD ACQUAINTANCE…If you want to know why we sing “Auld Lang Syne” on New Year’s Eve, you can thank **Guy Lombardo** and his Royal Canadian Band, which made the song a staple at his New Year’s performances beginning in 1929 at the Roosevelt Hotel. Their performance that night was broadcast on the radio before midnight Eastern time on CBS, then after midnight on NBC radio. (neatorama.com)

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Now Let’s Get Out of Here

With the holidays out of the way, New Yorkers still faced a good three months of winter. That is, unless you were well-heeled enough to head south to Palm Beach. Considering the abundance of ads promoting travel to southern climes in the Dec. 24 and 31 issues, apparently many of the magazine’s readers possessed the means to do just that…

And we close this entry, and the year of 1927, with this cover…

dec-31 — December 31, 1927 cover by **Rea Irvin**.

…and another tropical-themed advertisement, courtesy of Russeks…

…and this cartoon by Mary Petty depicting those who were left behind, still returning their Christmas gifts…

Next Time: Odious Odes…

All That Jazz

The New Yorker’s “Talk of the Town” editors were always in search of something to amuse, and in the Jan. 29, 1927 issue they found it in one Maurine Watkins, who wrote the Broadway hit musical Chicago (yes, THAT one) while still enrolled in her drama class at Yale:

ct-flashback-chicago-murder-roxie-hart-fosse-yale-per-0315-jm-20150312 — **Maurine Watkins** *(Chicago Tribune)*

Watkins transformed a brief career as a Chicago Tribune crime reporter into her Broadway success, thanks to her fondness for writing about murderers:

Chicago opened on Broadway in late December 1926 at the Sam Harris Theatre, where it ran for 172 performances. Watkins wrote the play as “homework” for her Yale drama class:

It didn’t take long for Hollywood to come calling, with Cecil B. DeMille producing a silent film version (directed by Frank Urson) in 1927.

phyllishaverroxie — **Phyllis Haver** as Roxie Hart from the 1927 film, *Chicago*. **Ginger Rogers** would play the role in the 1942 movie *Roxie Hart*, and **Renée Zellweger** would play the part in the 2002 film, *Chicago.* (chicagology)

Watkins would go on to write about twenty plays, moving on to Hollywood to write screenplays including the 1936 comedy Libeled Lady. She left Hollywood in the 1940s to be close to her parents in Florida. A lifelong Christian, Watkins spent much of her fortune funding the study of Greek and the Bible at some twenty universities, including Princeton. Following her death in 1969, her estate sold the rights to Chicago to famed choreographer and director Bob Fosse. Fosse would go on to develop Chicago: A Musical Vaudeville in 1975, which was revived in 1997 and turned into an Academy Award-winning film in 2002.

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Winter doldrums had set into city, which was digging out of the latest snowstorm and leaving the “Talk” editors pining for spring.

b8a47deb10bba89d024899c9500bba81 — January 29, 1927 cover by **Ilonka Karasz**.

So it was unwelcome news that the green lawns along Cottage Row were to become the latest casualties of the booming city:

According to the excellent blog Daytonian in Manhattan, around 1848 William Rhinelander filled the 7^th Avenue block between 12^th and 13^th Streets with eleven three-story homes above “English basements.” The simple residences were intended for middle-class families and sat more than twenty feet back from the street, providing grassy lawns and garden space. During summer weather each floor had a deep veranda that provided shade and caught cooling breezes.

rhinelander row abbott March 30 1936 — This 1936 photograph by **Berenice Abbott** shows the abandoned “Cottage Row.” (Library of Congress)

As it turned out, the green lawns won a brief reprieve: By the time developers got around to building an apartment on the site, the Depression hit and left Cottage Row standing for another ten years. It was demolished in 1937, replaced not by an apartment building but rather by a gas station and used car lot, which were replaced in 1964 by the Joseph Curran Building (now the Lenox Hill Healthplex):

Lenox-Hill-Exterior-1000x600 — Today the Cottage Row site is occupied by the 1964 Joseph Curran Building (now the Lenox Hill Healthplex). **Albert C. Ledner**, a New Orleans architect, fancifully evoked seafaring themes in his design of the Curran Building, which originally housed the headquarters of the National Maritime Union. (MCD Magazine)

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The winter drear was further compounded by the sooty smog that lingered over the city, fed by so many coal-fired furnaces. The “Talk” editors noted:

Screen Shot 2015-10-30 at 9.52.10 AM — A PERENNIAL NUISANCE…This **Al Frueh** drawing originally appeared in the Feb. 27, 1926 issue of the magazine.

To read more about “soft coal days,” see my previous post, “A Fine Mess.”

* * *

Columnist Lois Long (“Tables for Two”) was contemplating dance lessons to learn the “Black Bottom,” the dance craze that supplanted “The Charleston” in 1926.

Apparently the dance called for special shoes, per this advertisement from the same issue:

Up to now I’ve been posting images of often lavish ads featured mostly in the first sections of the magazine and on the front and back inside covers, but there were other, less expensive (and less artful) ads sprinkled in the back pages of the magazine, a tradition that continues to this day:

Next Time: Spring Fever…

Fight Night in Philly

We skip ahead to the Oct. 2, 1926 issue to look at one of the big events of that year–the Dempsey-Tunney heavyweight prize fight (I’m not skipping issues…Sept. 25 appears later in this blog).

652f917918402a71eb86f6671c9f228a — Oct. 2, 1926 – Issue # 85 – Cover by **Constantin Alajalov**. (Once again, note the ongoing comic reference to androgyny in 20’s fashion)

Heavyweight boxing was a big part of the American sports scene in the 1920s, and two giants of the sport, Jack Dempsey and Gene Tunney, dominated the headlines in the late 1920s thanks to much-heralded bouts in Philadelphia in 1926 and a rematch in Chicago the following year (which would include the famous “long count” incident).

Screen Shot 2016-02-26 at 12.30.40 PM — An estimated 135,000 fans packed Sesquicentennial Stadium in Philadelphia for the Dempsey-Tunney bout. (NYTimes)

The New Yorker joined in on the hoopla, publishing a lengthy account of the match by Waldo Frank (aka “Search-light”), who trained his jaded eye on the whole affair:

MediaStream.ashx — VIEW FROM THE CHEAP SEATS…a rain-soaked throng at the Dempsey-Tunney fight in Philadelphia. (City of Philadelphia)

According to the New York Times, the crowd included such notables as Charlie Chaplin, cowboy movie star Tom Mix and the English Channel swimmer Gertrude Ederle.

Screen Shot 2016-02-26 at 12.13.08 PM — Coverage of Tunney’s victory by unanimous decision took up three-quarters of the front page of *The New York Times,* and also filled most of pages 2 through 7. (*The New York Times*)

But in typical fashion, Waldo was less than dazzled, finding the rain an apt metaphor for a spectacle mostly unseen by those in attendance:

Never one to wallow in tragedy, the magazine made a brief (and oddly droll) reference in “The Talk of the Town” to a hurricane that hit Miami and its environs (it killed 372 people and injured more than 6,000):