Age of Wonders

Despite the deepening economic depression, work continued apace on a number of large building projects that were transforming the Manhattan skyline, including the Empire State Building, which was being readied for its May grand opening.

March 14, 1931 cover by Rea Irvin.

Developers also looked to the future, including the Rockefeller family, who commissioned a massive project in Midtown — 14 buildings on 22 acres — that would be one of the greatest building projects in the Depression era…

SAY ‘CHEESE’…A group of dour-looking developers unveil an early model for Rockefeller Center, March, 1931. (drivingfordeco.com)

…so great that even E.B. White found the proposed Rockefeller Center difficult to fathom:

DECO DREAM…Conceptual rendering of the Rockefeller Center complex by architectural illustrator John C. Wenrich. (beyondarchitecturalillustration.blogspot.com)

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Star Power

The Depression years also offered lesser diversions, and there’s nothing like celebrity culture to distract one’s mind from daily woes. For our amusement, E.B. White offered up the recent nuptials of Olympic swimmer (and future Tarzan movie star) Johnny Weissmuller and Ziegfeld singer/showgirl Bobbe Arnst…

MONKEY’S UNCLE…Newlyweds Johnny Weissmuller and Bobbe Arnst pose for photographers in 1931. The marriage would last two years. In 1932 Weissmuller would appear in his first “Tarzan” movie, Tarzan the Ape Man, and after divorcing Arnst would marry four more times. (Pinterest)

…of course there’s no better place to find celebrities than Hollywood, where Marlene Dietrich was collecting good reviews for her latest film, Dishonored. The New Yorker’s John Mosher was absolutely gah gah over the German actress…

COME HITHER IF YOU DARE…Marlene Dietrich portrayed Agent X-27 in Josef Von Sternberg’s 1931 spy film Dishonored. (IMDB)

…if you preferred the stage to the screen, you could check out a show on Broadway, but if you were Dorothy Parker (subbing as theater critic for her pal Robert Benchley), you’d have trouble finding anything worth watching. Her latest review was something of a double-whammy: not only was the play a stinker, but it was written by one of Parker’s least-favorite authors, A. A. Milne

…AND MY MONEY BACK, TOO…

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Cinéma Vérité

However, Dorothy Parker could have found consolation in the fact that someone, somewhere, had it a lot worse. For example, the eight defendants in a Soviet show trial, filmed for the edification of the masses and as a warning to opponents of the Bolshevik Revolution. In this warm-up for the Great Terror to come, five of the eight were condemned to death after making what were obviously forced confessions. John Mosher had this to say about the real-life horror film:

PRELUDE TO MADNESS…Scenes from the Treason Trial of the Industrial Party of Moscow. Above, filming the proceedings; below, one of the accused scientists confessing his “crimes” against the state. (moderntimes.review/YouTube)

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End of the World, Part II

In my last post we saw how E. B. White mourned the end of the New York World newspaper in a lengthy “Notes and Comment” entry. By contrast, White’s colleague Morris Markey wasn’t shedding any tears for a newspaper he believed had seen its better days. Markey shared his observations in his March 14 “Reporter at Large” column…

AFRAID OF THE DENTIST? Murder suspect Arthur Warren Waite, a dentist from Grand Rapids, Michigan, appeared at Criminal Courts in New York City on May 22, 1916, to face double murder charges (he poisoned his in-laws). He was sent to the electric chair at Sing Sing on May 24, 1917. According to Morris Markey, the World’s coverage of the story was the newspaper’s swan song.(Criminal Encyclopedia)

…Markey described the newspaper’s final day with veteran rewrite man Martin Green quietly typing his last story amid the tears and wisecracks of reporters suddenly out of work…

LONG GONE…Veteran rewrite man Martin Green (inset) filed his last story for the New York World on Feb. 27, 1931. Above, the New York World building was located on Manhattan’s “Newspaper Row” near City Hall. Commissioned by the newspaper’s owner, Joseph Pulitzer, the 20-story building was the world’s tallest office building when in was completed in 1890. It was demolished in 1955 to make way for an expanded car ramp entrance to the Brooklyn Bridge. (New York Times/Library of Congress)

…the end of the World was also on the mind of Gardner Rea, who contributed this cartoon to the March 21 issue: 

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The State of Modern Man

Lois Long continued her “Doldrums” series by looking at the condition of bachelor life in the city, and like everything else among the younger generation she found it wanting. Lois was a ripe old 29 when she wrote this, but given how radically life had changed since the Roaring Twenties, a wide gulf now separated those days from the more somber Thirties. Note how Long, who embodied flapper life in her defunct “Tables for Two” column, described herself as a “modest, retiring type” who knew nothing about men. Around this time Long was preparing to divorce husband (and New Yorker cartoonist) Peter Arno after a brief, tempestuous marriage…

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From Our Advertisers

In those depressed days the makers of Buick automobiles decided to look to a brighter future, imaging how the boys of the present would be drivers of Buicks in the future…this kid probably ended up driving a tank or a Jeep rather than a Buick when 1942 rolled around…

Adele Morel also wanted you to think about the future, and how to hold off those inevitable wrinkles…note the message near the bottom: “Do you realize that a youthful appearance means happiness?”…

…I included this ad for River House because of its sumptuous detail…it rather resembles a 17th century European silk tapestry, and the people depicted look like they could be from that time as well…

…speaking of another age, we have this Murad ad by Rea Irvin, illustrating office behavior that was quite common in the 20th century…

…on a related note, in the cartoons E. McNerney illustrated a “Me Too” moment…

…when Otto Soglow published his first Little King strip in the June 7, 1930 issue, it caught the eye of Harold Ross (New Yorker founding editor), who asked Soglow to produce more. After building up an inventory over nearly 10 months, Ross finally published a second Little King strip, which you see below. The strip would become a hit, and would launch Soglow into cartoon stardom…

William Dwyer offered a dim view of a man’s stages of life in the first of two cartoons he contributed to the New Yorker

James Thurber shared tears with some sad sacks…

…in a few years Leonard Dove’s housewife would see her fears realized as another world war would loom on the horizon…

…and we end with Garrett Price, and an appreciation for fine art…

Next Time: Killer Queen…

 

 

 

 

The End of the World

In today’s world of endless media options, it is hard to fathom the influence newspapers had over daily life in the 19th and early 20th centuries. There was one news source that many New Yorkers simply could not live without: The New York World.

March 7, 1931 cover by Helen Hokinson.

So when the World ceased publication after a 70-year run, many of its readers struggled to come to terms with the loss. Despite the World’s working class appeal and sensationalistic reporting, E.B. White nevertheless counted himself among its mourners, offering a lengthy eulogy in his “Notes and Comment” column…

THE COLOR OF MONEY…Under the leadership of Joseph Pulitzer, who bought the World in 1883, the newspaper began an aggressive era of circulation building, and in 1896 enticed readers with pages printed by one of the world’s first four-color printing presses. The World was the first newspaper to launch a Sunday color supplement, which featured “The Yellow Kid” cartoon Hogan’s Alley (above, right). (5dguide.com)

A pioneer of yellow journalism, the World also featured sensational stories and headlines to capture the attention of readers…

…however, the World was also home to a number of prominent journalists, including the famed Elizabeth Cochran Seaman (aka Nellie Bly) and many writers from the social orbit of the Algonquin Round Table who were also early contributors to the fledgling New Yorker.

In his “Notes” essay, White suggests that he found something authentic in the World’s sensational style, and praised it for going after stories that more staid publications, like the New York Times, tended to ignore or downplay. The World’s staff of writers came from the rough and tumble, muckraking world of journalism, the same world in which the New Yorker’s founding editor, Harold Ross, first cut his teeth.

ALL-STAR LINE-UP…Many of the World’s famed writers inhabited the orbit of the New Yorker and the Algonquin Round Table, including, from left, music critic Deems Taylor, journalist and social critic Heywood Broun, “The Conning Tower” columnist Franklin P. Adams, and humorist Frank Sullivan. (deemstaylor.com/britannica.com/Wikipedia)

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Swedish Sphinx?

Thirty years after her death, Greta Garbo remains an iconic figure in popular culture, due to her expressive eyes and sensuality, but perhaps even more so due to her elusive air. In her profile of the star for the New Yorker, titled “American Pro Tem,” Virgilia Peterson Ross refused to buy into the mysterious aura that was partly manufactured by Garbo’s handlers at MGM. The other part, however, was genuine Garbo, who detested parties, serious talk, and other formalities.

THE FACE…Like her contemporary Marlene Dietrich, Greta Garbo preferred an androgynous look. From left, Garbo wearing the flat-heeled oxfords she favored; publicity photo from 1932; wearing one of her trademark berets in the late 1930s. (garboforever.com)

Ross touched on Garbo’s love life — she never married in her 84 years, but she was close to her mentor, Finnish director Mauritz Stiller, who died in 1928, having been eclipsed by his protégé. Garbo’s co-star in the silents, John Gilbert — known as a great lover on the screen — wanted to marry Garbo, but she balked at his frequent proposals. The two lived together intermittently in 1926 and 1927, Gilbert helping Garbo not only with her acting also teaching her how to behave like a star and barter with studio bosses. Garbo later admitted that she was in love with Gilbert, but preferred to remain single because she “always wanted to be the boss.” Drink and despair would send Gilbert to an early grave in 1936. In her profile piece, Ross concluded that Garbo was “not a mystery to be solved,” but rather “a limpid child.”

THE MEN IN HER LIFE…Greta Garbo contemplates a new-fangled microphone with film director Clarence Brown on the set of Garbo’s first talkie, Anna Christie. Brown would direct Garbo in seven different films; Garbo with sometime lover John Gilbert in Flesh and the Devil (1926). They would appear in four films together; Garbo with Finnish director and early mentor Mauritz Stiller, in 1926. (Wikipedia/IMDB/garboforever.com)

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Suffering Artist

Dorothy Parker continued to sub as theater critic for her friend, Robert Benchley, who was traveling abroad. It was not a task to her liking — during her temporary stint she had yet to see a play that didn’t insult her taste or her intelligence. Her review for the March 7 issue would prove no different.

BROADWAY BLAHS…Dorothy Parker had yet to find a play to her liking in her stint as theater critic for the New Yorker. To her credit, she had to sit through a couple of stinkers: A Woman Denied lasted about a month — 37 performances — and Paging Danger closed its curtains for good after just four performances. (Playbill/BBC)

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The Misanthrope

To call Wyndham Lewis a character is an understatement. The English writer, social critic and painter (he founded the cubist-inspired Vorticist movement) managed to offend just about everybody before his death in 1957. He was described by the London Review as “fiercely unsentimental,” and that is how I would describe this opening paragraph from his short story “Dark Party”…

CLASSIC POSE…A 1929 portrait of Wyndham Lewis by photographer George Charles Beresford. (Wikipedia)

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From Our Advertisers

A couple of ads appealing to women readers of the New Yorker, including this elegant bon voyage scene advertising travel clothes…

…and something you never see anymore, the “boneless” girdle…replaced today by Spanx and the like…

…Before we roll into our cartoons, some cinema-inspired art by Al Frueh

Alan Dunn went out to dinner…

Garrett Price went on safari…

E. McNerney channelled his inner Arno for this backstage scene…

…and the real Peter Arno gave us this passing scene which recalled his old Whoops Sisters gags…

Next Time: Age of Wonders…

 

 

 

Chaplin of the Jungle

In the 1920s and 30s the concept of the documentary film was still in its infancy, and beginning with the silent Nanook of the North (1922), the idea that a documentary and a drama were separate things was unknown to filmmakers.

Feb. 28, 1930 cover by Theodore Haupt.

What was known, however, was the box office appeal of films that explored unknown and exotic lands, like Ernest B. Schoedsack’s 1927 blockbuster Chang, which featured a mix of staged events as well as the actual slaughter of wild animals. Audiences (and most critics) seemed little troubled that these films were a mix of fact and fiction. It was a movie, after all, and movies followed a story arc, and they had drama, and sometimes comedy. And so when Schoedsack (1893-1979) introduced audiences to an orangutan named Rango, publicists described the simian star as the “Charlie Chaplin of the Jungle.” The New Yorker’s John Mosher found the performances of the various apes “astonishingly adept”…

MONKEY BUSINESS…Clockwise, from top left, the Iowa-born Ernest B. Schoedsack cut his filmmaking teeth as a producer/director of quasi-documentaries, beginning with 1925’s Grass, which followed a caravan from Angora to Persia; a young Sumatran boy, Bin, bonds with the orangutan Rango; promotional theater card for the film. (filmaffinity.com)
NOT SO CUDDLY…Two years after Rango, Ernest B. Schoedsack would co-produce and co-direct 1933’s King Kong, with Merian C. Cooper. (Britannica)

If interpretations of tropical life weren’t accurate in 1931, it wasn’t completely due to filmmakers taking dramatic license. Attitudes toward “exotic” lands and people commonly ranged from naively paternalistic to downright racist. In a letter to the New Yorker, Patrick T.L. Putnam (1904-1953) is decidedly of the former, portraying Congo pygmies as clever, amusing children who hoodwink unsuspecting “explorers”…

To Putnam’s credit, he showed a genuine interest (and respect) in the lives of tribal peoples, and particularly the Mbuti of the Congo’s Ituri Forest. He remained in the Congo for the rest of his life. This thumbnail is the only photo I could find of Putnam:

(geni.com)

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Big Bill Turns Pro

In first decades of the 20th century it was still widely believed that athletic competition should be for its own sake rather than as a means for making money, so many top stars competed as amateurs. Professional golf wasn’t established until 1916, and professional leagues in basketball and football first formed in the 1920s. Amateur status was especially prized in tennis — before the “Open Era” began in 1968, only amateurs were allowed to compete in Grand Slam tournaments.

Sports promoter C. C. Pyle established the first professional tennis tour in 1926 with American and French stars playing exhibition matches in front of paying audiences. According to the New Yorker’s John Tunis, many in the crowd were finely dressed, with men in top hats and women turned out in the latest high fashion.

America’s top draw was “Big Bill” Tilden, the world’s number one player from 1920 to 1925 and the first American to win Wimbledon. It caused quite a stir when Tilden went pro on Dec. 31, 1930. He barnstormed across the country,  playing one-night stands with a small group of professionals including the top Czech player Karel Koželuh. “The Talk of the Town” had this to say about the fledging game of professional tennis:

BARNSTORMERS…Bill Tilden (left) and Karel Koželuh toured America and Europe with a handful of other players in a series of exhibition matches in the fledgling professional tennis circuit. (Britannica/cyranos.ch)

In his sports column, John Tunis offered this description of the competitors:

NOW AND THEN…At left, you can still spot a few neckties at Wimbledon as the audience watches Roger Federer and Andy Roddick enter Centre Court in 2009; at right, Wimbledon crowd in 1925. (BBC/Vintage Every Day)

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Triple Tripe

Dorothy Parker continued to sub in the theater column for her friend Robert Benchley, who was traveling abroad. She found little to like on the Great White Way, including three forgettable plays she reviewed in the Feb. 28 issue:

Apparently audiences agreed with Parker’s assessment. The Gang’s All Here closed after just 23 performances, The Great Barrington, after just 16. And Heat Wave was not so hot, closing after a mere 15 performances.

NOT SO GREAT…Program for 1931’s The Great Barrington. It lasted 16 performances. (IBDB)

Parker once again closed the column with a plea to her dear friend:

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To Swash No More

In his “Notes and Comment,” E.B. White lamented the end of Douglas Fairbanks as the swashbuckler of the silents, and rejected the talkie version of the actor in Reaching for the Moon, a film in which Fairbanks portrayed Larry Day, a Wall Street millionaire who later loses his fortune in the 1929 stock market crash.

KEEP YOUR SHIRT ON, DOUG…From left, Douglas Fairbanks in the silent era’s The Thief of Bagdad (1924); Fairbanks on an ocean cruise with Bebe Daniels in Reaching for the Moon. The 47-year-old Fairbanks was still fit enough to pose shirtless, but E.B. White wasn’t having any of it. Despite his fit appearance, Fairbanks would die of a heart attack at the end of the decade. (IMDB)

The film today is perhaps best known for its sumptuous Art Deco sets…

…and for one of Bing Crosby’s earliest film appearances. Reaching for the Moon was originally intended to be a musical featuring numbers by Irving Berlin, however Berlin found director Edmund Goulding difficult to work with, so only one of the original five songs recorded for the film was used, “When the Folks High Up Do the Mean Low Down,” sung by Crosby. It was filmed late at night after he had completed his gig at the Cocoanut Grove.

SINGING WITH BA-BA-BEBE…A young Bing Crosby sings “When the Folks High Up Do the Mean Low Down” with Bebe Daniels in Reaching for the Moon. (IMDB)

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Modern Living

E.B. White also commented on the modern world’s reliance on electric appliances, a habit a mere decade in the making since the gadgets he lists below did not exist before the 1920s:

ELECTRIC SURGE…Prior to the 1920s none of these electric appliances existed. By 1931 many homes were dependent upon them — although many country houses would have to wait for the Rural Electrification Administration (1935) and other New Deal programs get electrical service. (Pinterest)

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From Our Advertisers

I’ve written before about Lux Toilet Soap’s celebrity-studded ad campaigns, but this two-page ad in the Feb. 28 issue caught my eye because it featured one of my favorite actresses, Jessie Royce Landis

…who appeared in two of my favorite films, both by Alfred Hitchcock: To Catch a Thief (1955) and North by Northwest (1959).

MATERNAL ROLES…Jessie Royce Landis usually played older than she was in real life. Clockwise, from top left, detail of Lux ad; Landis circa 1930; opposite Cary Grant in 1955’s To Catch a Thief; and again with Grant in 1959’s North by Northwest. In the latter film she played Grant’s mother, but in reality she was only seven years older than Grant. (IMDB)

…much of the Douglas Fairbanks/Bebe Daniels film Reaching for the Moon was set on a luxury ocean liner…if the stock market didn’t get you down, you could also afford to travel in style with the Empress of Britain

…or on one of the fine ships of the French Line fleet…

…the Imperial was one of the luxury cars that could get you to the docks…

…among the stranger ads to appear in the New Yorker was this one by the maker of clay plumbing fixtures…

…on to our cartoonists, Ralph Barton returned with this illustration for the theater section…

Rea Irvin brought us another of his two-page series cartoons…

Gardner Rea commented on the state of the art world…

Peter Arno peered in on an unfortunate infant…

Helen Hokinson gave us this exchange along a city street…

Garrett Price illustrated a tall order for a blues musician…

Kindl found clashing styles in the shoe department…

…and James Thurber returned with a prelude to his battle of the sexes…

Next Time: The End of the World…

Super Tramp

The late film critic Roger Ebert once observed that “if only one of Charles Chaplin’s films could be preserved, City Lights would come the closest to representing all the different notes of his genius.”

Feb. 21, 1931 cover by Rea Irvin, marking the New Yorker’s sixth anniversary.

The New Yorker’s film critic in 1931, John Mosher, would have agreed. Before he previewed the picture, however, Mosher feared (along with others) that the great actor and director had seen his best days…

…instead, the film proved a hit with both audiences and critics, and today is regarded as one of the greatest films ever made. It was no doubt a relief to Ebert when the film was selected by the Library of Congress for preservation in the National Film Registry.

HE DOES IT ALL…United Artists issued several different types of posters to promote the film, including these two. (IMDB)
A TENDER FELLOW…The Tramp (Charlie Chaplin) encounters a blind flower girl (Virginia Cherrill) on a street corner and is instantly smitten; later that evening the Tramp saves a drunken millionaire (Harry Myers) from suicide. (IMDB)

The film has its tender moments, but being a Chaplin production it also had plenty of slapstick, including this famous scene in which the Tramp and his millionaire friend go out on the town and dig into plates of spaghetti…and in the Tramp’s case, some confetti…

Mosher (and many other critics since) believe the opening scene of the film — in which a statue is unveiled to reveal a sleeping Tramp — was Chaplin’s attack on sound movies:

CAUGHT NAPPING…The Tramp is unveiled along with a statue in the opening scene of City Lights. (IMDB)

Although the film had a full musical score and sound effects, there was no spoken dialogue. Rather, Chaplin poked fun of the tinny-sounding talkies of the day by putting not words, but the sounds of a kazoo, into the mouths of speechifying politicians gathered at the statue’s unveiling…

For all its humor, City Lights was a serious work by a serious actor and director who sought something close to perfection. The scene in which the Tramp encounters a blind flower girl on a street corner required three hundred and forty-two takes with actress Virginia Cherrill, who was a newcomer to film.

Writing in the New Yorker, critic Richard Brody (“Chaplin’s Three Hundred and Forty-Two Takes,” Nov. 19, 2013) noted that “Chaplin didn’t have a mental template that he wanted Cherrill to match; he approaches the scene not quite knowing what he wanted.” Brody observed that the perfection Chaplin sought was one of results, and not of conformity to a preconceived schema. “He sought what provoked, in him, the perfect emotion, the perfect aesthetic response — but he wouldn’t know it until he saw it. He started to shoot in the confidence that the thing — whatever it was — would happen.” Chaplin’s technique can be seen in this clip from the Criterion Collection’s 2013 DVD release of the film. Note that this footage was shot by the New Yorker’s Ralph Barton, a close friend of Chaplin’s:

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Chaplin, Part Two

The Chaplin buzz was not confined to the movie section of the magazine, which featured more insights on the star in “The Talk of the Town.”

GENIUS LOVES COMPANY…Photo of Albert Einstein and Charlie Chaplin at the Los Angeles premiere of City Lights. Einstein said Chaplin was the only person in Hollywood he wanted to meet. (Wikipedia)

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Funny In a Different Way

Like City Lights, Tod Browning’s Dracula is today considered a classic film. Indeed, Bela Lugosi’s timeless portrayal of the old bloodsucker set a standard for vampire flicks and horror films in general. The New Yorker’s John Mosher, however, would have none of it, dismissing the film in a single paragraph.

PAIN INTHE NECK…Count Dracula (Bela Lugosi) goes for a nibble on the fragile Mina (Helen Chandler) in 1931’s Dracula. (IMDB)

Mosher was also dismissive of Fritz Lang’s By Rocket to the Moon, originally released in German as Frau Im Mond (Woman in the Moon). The 1929 production is considered one of the first “serious” science fiction movies, anticipating a number of technologies that would actually be used in space travel decades later.

RETRO ROCKET…Fritz Lang’s Woman in the Moon would predict a number of technologies used decades later in actual space flight, including multi-stage rockets. Lang also anticipated the future in the much-acclaimed Metropolis (1927).

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Bored on Broadway

Robert Benchley was visiting friends abroad, so Dorothy Parker did what any pal would do and subbed for his theater column. As it turned out, it was not a happy task, even if she did receive complementary tickets to one of the hottest shows on Broadway:

Having dispatched Katharine Cornell’s Barretts of Wimpole Street, Parker took aim at America’s Sweetheart, based on a book by Herbert Fields with music and lyrics by Richard Rodgers and Lorenz Hart. Parker ended the savaging with a plea to her dear friend and colleague to return home soon:

THEY LAUGHED, THEY CRIED…Katharine Cornell (left) portrayed Elizabeth Barrett in Barretts of Wimpole Street. Dorothy Parker thought Cornell was a first-rate actress, but didn’t think much of her play. As for Inez Courtney (right) in America’s Sweetheart, Parker believed she did what she could, whatever that meant. (Pinterest)

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Lest We Forget

The New Yorker turned six with this issue, and in the life of any magazine, that is something to be celebrated, and especially in hindsight as our beloved publication closes in on its centenary in 2025.

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From Our Advertisers

We’ve seen in past ads how Prohibition-era vintners marketed grape juice bricks that could be dissolved in water and fermented in the home. In this ad they took it a step further, sending expert cellarers direct to customers’ homes to help them create their own, perfectly legal, wine cellar…

…those with wine cellars might have preferred to live in a “highly restricted” community in Jackson Heights…

…and furnish their homes with the latest in modern furniture design…

…and here we have an early example of the “macho” smoker, anticipating the arrival of his buddy, the Marlboro Man…

…on to our cartoonists, another theater section entry by one of Charlie Chaplin’s closest friends, Ralph Barton

…and cartoons by Peter Arno, who channelled Dracula via his Sugar Daddy…

Garrett Price, and the burdens of the rich…

Denys Wortman examined the follies of youth…

…and we end with dear Helen Hokinson, and the miracle of birth…

Next Time: Chaplin of the Jungle…

And the Winner Is…

We lead off with a couple of winners from the Feb. 7, 1931 issue, beginning with a cover by Rea Irvin that takes measure of a lighter moment at the Westminster Kennel Club Dog Show.

Feb. 7, 1931 cover by Rea Irvin.

The 1930 Best of Show winner Pendley Calling of Blarney also took the top honor in 1931, giving the wire fox terrier back-to-back Westminster wins. Overall, terriers have dominated Westminster — wire fox terriers have won Best of Show 15 times, with Scottish terriers a distant second, with eight wins.

TOP DOG…Pendley Calling of Blarney won back-to-back crowns in 1930-31 at Westminster Kennel Club Dog Show at Madison Square Garden. The dog’s owner, John Grenville Bates, mercifully retired the pooch after the ’31 win. (Westminster Kennel Club)
STANDARD? ARE YOU KIDDING ME?…Standard poodle Siba won Best in Show at the 144th annual Westminster Kennel Club Dog Show on Feb. 11, 2020, at Madison Square Garden. (Reuters)

The other winner was Cimarron, the first film to receive more than six Academy Award nominations, winning three including Best Picture (then called Best Production). It was the first Western to win Best Picture, and it would be nearly 60 years until another Western, Dances with Wolves, would take the top honor.

HE LOST HIS SHIRT, TOO…

Despite some “sagging moments,” John Mosher mostly lavished praise on the film, which was showing at the Globe Theatre:

THAT’S NO WELCOME WAGON…Clockwise, from top left, Yancey and Sabra Cravat (Richard Dix and Irene Dunn) join the 1889 Oklahoma Land Rush with their son, Cim (Junior Johnston); a less-than-friendly greeting at a boomer town; wagons line up for the big land grab; a young prostitute, Dixie Lee (Estelle Taylor), outwits Yancey for a piece of prime property. (IMDB)
OH DEAR, THERE’S THAT LOOK AGAIN…Yancey (Richard Dix) takes it upon himself to establish order in the boomer town of Osage. On the bed are Yancey’s son, Cim (Junior Johnston) and wife Sabra (Irene Dunn). (IMDB)

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Handy Painter

It is hard to imagine the struggles of one-handed painter José Clemente Orozco (1883-1949), who despite his handicap was able to complete huge murals in true fresco style (paint applied quickly on fresh, wet plaster), including five socially-themed frescoes at the Joseph Urban-designed New School. The murals included controversial depictions of Lenin and Stalin, but it wasn’t until the 1950s — during the McCarthy era — that school officials felt compelled to cover the images with a curtain. More protests followed, this time from faculty and students, and the curtains fell along with Joe McCarthy. “The Talk of the Town” looked in on the artist at work:

HE LOOKS FAMILIAR…José Clemente Orozco’s “The Struggle in The Occident”, 1930-1931, one of five frescoes at the New School. (Pinterest)

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Prescience of Mind

News reporter and author Elmer Davis submitted this humorous piece to the New Yorker doubtless thinking how preposterous, and therefore humorous, the following notion would be (a brief excerpt):

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Funny Cigarettes

In the early years of broadcast radio (and later TV) tobacco companies rightly saw a huge gold mine in radio show sponsorships. So when CBS radio executives accepted a sponsorship from Lorillard (the makers of Old Gold), they realized they had a challenge on their hands. “Talk” explained:

COUGH ME A MELODY…The makers of Old Gold cigarettes had CBS in their clutches in this September 1933 ad featuring bandleader Fred Waring and singer Babsie. (period paper.com)

…The above “Talk of the Town” item referred to the famous Murad ads illustrated by the New Yorker’s own Rea Irvin

…while other advertisers were scaling back a bit due to the Depression, lovely full-color ads continued to flow from tobacco companies (and oil companies)…

…Pierce-Arrow was also known for its sumptuous ads, but they wouldn’t save the luxury car maker from going under by the mid-1930s…

…Some less expensive black and white ads, such as this hand-lettered ad from Stein & Blaine, could be quite charming…

…speaking of charm, this ad from Arthur Murray could have used a little of it…note the stern visage of the woman, described as “typical of Arthur Murray’s staff of expert teachers”…

…on to our Feb. 7 cartoons, we have one of Peter Arno’s stock characters, the Sugar Daddy, in an awkward moment at a costume party…

…Arno’s party looked a lot more lively than this affair, illustrated by William Crawford Galbraith...

…and Carl Rose gave us this pair, who seem to having the best time of all…

Mary Petty eavesdropped on a guileless young woman…

…and Gardner Rea paid a visit to the Met…

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On to our Feb. 14 issue, and Gardner Rea once more…

Feb. 14, 1931 cover by Gardner Rea.

The Feb. 14 issue featured a profile of actress Katharine Cornell (1893-1974), written by cultural critic Gilbert Seldes. The caricature of Cornell is by Al Frueh. Excerpts:

Promotional photograph of Katharine Cornell as Elizabeth Barrett in the original 1931 Broadway production of The Barretts of Wimpole Street. It was her most famous role(Theatre Magazine, March 1931)

Cornell is considered one of the greatest actors of American theater, known for her eloquence and romantic stage presence. Seldes concluded:

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Strange Bedfellows

In his column “Of All Things,” Howard Brubaker referred to an exchange between American capitalists and Soviet Russians that resulted in the rapid industrialization of the Soviet Union. That actual story behind this effort is pretty amazing.

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Sneak Peek

Film critic John Mosher was so excited about Charlie Chaplin’s latest film that he offered this teaser to readers…

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From Our Advertisers

We have this ad from the developers of the Empire State Building, which was being readied for a May 1931 opening…

…the Empire State Building was erected on the site of the old Waldorf-Astoria Hotel. The new Waldorf-Astoria, also completed in 1931, was located more than 15 blocks away from its original site. Both the Empire State Building and the Waldorf Astoria would become Art Deco landmarks, and both shared the distinction of holding world records: the Empire State was the world’s tallest building (a record it would keep until 1970), and the Waldorf would claim the title of the world’s tallest hotel (until 1963)…

…on to our cartoonists, we have Ralph Barton contributing one of his last illustrations to the theater review section…

Richard Decker references a recent change in New York telephone numbers with this prison scene…

…Decker was referring to this bit of news, here interpreted by E.B. White in his Feb. 14 “Notes and Comment.”

James Thurber returned with his second-ever stand-alone cartoon for the New Yorker

Garrett Price mined a theme that would become common in New Yorker cartoons: the tycoon vs. meek employee…

Nancy Fay gave us a glimpse of the seamier side of family life…

R. Van Buren goes even darker with this entry…

…and we end on a high note, with Alan Dunn

Next Time: Super Tramp…

Happy Holidays 1930

Happy Holidays to readers of A New Yorker State of Mind! We open with an image of Christmas shoppers at 34th and Broadway, circa 1930, and peruse the Dec. 20, 1930 issue of the world’s greatest magazine.

Dec. 20, 1930 cover by Constantin Alajalov.

“Notes and Comment” began with a Christmas message of sorts from E.B. White, his holiday cheer tempered by the Great Depression and the lingering effects of Prohibition…

Howard Brubaker seconded White’s mood in his “Of All Things” column…

…keeping things on the lighter side was Margaret Fishback, who turned her talents as a poet into a successful career as an ad writer for Macy’s. By the 1930s she was one of the world’s highest-paid female advertising copywriters. For the Dec. 20 issue she offered this holiday ditty:

THANKS MARG...Margaret Fishback, circa 1930s.

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More Marlene

Last week we looked at Marlene Dietrich’s breakout performance in The Blue Angel (reviewed by John Mosher in the Dec. 13, 1930 issue) that launched her into international stardom. Although Mosher had some gripes about the film’s dialogue, Dietrich’s performance nevertheless created enough of an impression to warrant a lengthy note on the German star in the Dec. 20 “Talk of the Town”…

A RED, WHITE AND BLUE ANGEL…Marlene Dietrich was a new face for many New Yorker readers in 1930, but she would soon become one of Hollywood’s most recognizable stars in the decade and beyond. She would apply for American citizenship in 1937, and later become a staunch supporter of the U.S. war effort against her native country. She is pictured above at a war charity event in the 1940s with singer and comedian Eddie Cantor. (Pinterest)

Even though John Mosher gave a rather tepid review of The Blue Angel in the Dec. 13 issue, he obviously couldn’t shake it (or Dietrich) from his head, returning to the film and its star in the opening paragraphs of his Dec. 20 cinema column.:

Mosher also observed that new Hollywood version of Dietrich (in 1930’s Morocco) was “far prettier” than the German version. You decide:

The German Marlene Dietrich in Ufa’s The Blue Angel

…and the Hollywood Dietrich in Paramount’s Morocco (with Gary Cooper)…

(both images IMDB)

…on to our advertising…Dietrich pops up again in this ad for Publix Theatres (which were owned by Paramount)…

…the same ad block also featured light fare, such as 1930’s Tom Sawyer

AIN’T THEY CUTE?...Mitzi Green as Becky Thatcher and Jackie Coogan as Tom Sawyer in 1930’s Tom Sawyer. Jackie was a famous star by 1930, thanks to his co-starring performance with Charlie Chaplin in 1921’s The Kid. In adult life Coogan would play Uncle Fester in TV’s The Addams Family. Green would have less success, and retire from films in the 1950s. (IMDB)

…not all advertisers were thinking about Christmas, but rather were turning their sights to the southern climes and the fashions they would require…here’s an appeal from Burdine’s of Miami…

…and Fifth Avenue’s Bonwit Teller…

…travel agencies created enticing scenes such as this to lure snowbirds to places like Bermuda…

…of course in those depressed times you had to be a person of means to spend your winters in the Caribbean, or to surprise your family with a new Buick for the holidays…

…and for those stuck at home, they had to console themselves with bootleg liquor, perhaps jazzed up with one of these “flavors”…

…but if you were in the holiday spirit, you might head to the Roosevelt for New Years Eve with Guy Lombardo

…once again, the issue was sprinkled with spot drawings on the holiday theme…

…and our cartoonists, Garrett Price at the doctor…

E. McNerney in Atlantic City during off-season…

Al Frueh, and the clash of modern aesthetics with Christmas traditions…

…and for those in that last, desperate holiday crush, we close with Alan Foster

Next Time: The Road to 1931…

Ziegfeld’s Folly

Broadway impresario Florenz Ziegfeld Jr knew how to pack a Broadway theater, and from 1907 to 1932 he staged a number of revues and plays (most notably Showboat) that featured lavish costumes and a bevy of chorus girls.

Dec. 6, 1930 cover by Rea Irvin, depicting a peephole view of a speakeasy during the holidays.

When his latest show, Smiles, hit the stage of the Ziegfeld Theatre on Nov. 18, 1930, it was greeted by an audience that had endured the first year of the Great Depression. Ziegfeld’s entertainments, on the other hand, were more associated with the high times of the Roaring Twenties. So even the popular brother-sister dance team from Omaha — Fred and Adele Astaire — seemed a bit old hat.

GO WITH THE FLO…Broadway impresario Florenz “Flo” Ziegfeld Jr with his Follies cast, 1931. (Wall Street Journal)

Or so it seemed to Robert Benchley, who observed in “The Wayward Press” that most of his readers could draw pictures of the Astaires from memory. But what really irked Benchley was the way William Randolph Hearst manipulated his mighty newspaper empire to promote Ziegfeld’s Smiles in a way that made the show appear to be the biggest hit of the year.

Ziegfeld Theatre was built with Hearst’s financial backing, so the media mogul was determined that the show would be a success, commanding his editors and writers to lavish praise on the tepid production, which would close in less than two months as a box office failure.

SAY CHEESE…Program for Smiles featuring Fred Astaire, Marilyn Miller and Adele Astaire. At right, publicity photo for Smiles featuring Fred and Marilyn. (Playbill/Pinterest)

For the Astaires, they were nearing the end of their 27-year collaboration — Adele would retire from the stage in 1932 to marry Lord Charles Cavendish, and in 1934 Fred would pair up with Ginger Rogers for the first of nine films they would make together for RKO. Marilyn Miller, one of the most popular Broadway stars of the 1920s and early 1930s, would also seek her fortune in films, but would only make three. Alcoholism and persistent sinus infections would cut her life short in 1936 — she would die at age 37 from complications following nasal surgery.

BRIEF CAREER…Marilyn Miller in 1931’s Her Majesty, Love, one of just three films she would make before her death in 1936. (IMDB)

Benchley revealed how some of Hearst’s reporters responded to the edict from their boss:

TWEAKING HIS NOSE…Walter Winchell, left, registered his protest against his boss, William Randolph Hearst, by laying it on thick in his column. (IMDB/BBC)
THE FOLLY OF FOLLIES…Robert Benchley (left) cried foul regarding Hearst’s attempt to prop up a lousy show; Ogden Nash (right) found humor in the “immorality” of Ziegfeld’s productions.  (Wikipedia/Notable Biographies)

On a related note, Ogden Nash also zeroed in on Ziegfeld’s latest show, turning the tables on religious zealots who found the Follies immoral. An excerpt:

And finally, one more theater-related item: a drawing by Al Frueh highlighting the melodrama On The Spot, which ran from Oct. 29, 1930 through March 1931 at the Forrest Theatre.

BETTER THAN ZIEGFELD, THIS…At right, Crane Wilbur and Anna May Wong in the melodrama On The Spot, which opened Oct. 29, 1930 at the Forrest Theatre. (New Yorker/Pinterest)

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In the Dec. 6, 1930 “Notes and Comment,” E.B. White shared his observations on a new type of chair that doubled as a dog house…

…and he wasn’t making it up, because the chair he described was featured in this ad from the same issue…

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Drunk History

In the fall of 1930 Scribner’s magazine published a series of three articles titled “If Booth Had Missed Lincoln,” If Lee Had Not Won the Battle of Gettysburg,” and “If Napoleon Had Escaped to America.” The New Yorker’s James Thurber claimed to be the author of a fourth article, “If Grant Had Been Drinking At Appomattox.” An excerpt:

REVISIONIST…James Thurber circa 1930. (thurberhouse.org)

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From Our Advertisers

The rolling pin was often deployed as a prop — especially in the comics — to illustrate marital discord; the makers of Hoffman ginger ale used the common trope to sell their fizzy drink…

…for reference, Maggie gives it to Jiggs in this comic book cover from 1953…

(Good Girl Comics)

…the issue was stuffed with ads for Christmas shoppers, ranging from colorful plastic tumblers…

…to “unforgettable” appliances…

…to a variety of accessories at Wanamaker’s…

…Macy’s offered this pajama and robe combination for (insufferable) little boys who “strive for sartorial effect”…

…while Burdine’s of Miami urged snowbirds to purchase multiple wardrobes to remain fashionable throughout the winter season…

…and in stark contrast, this ad appealed for donations to help the jobless…

…our cartoons are supplied by Art Young

…the ever reliable Barbara Shermund

…and equally reliable Peter Arno

…and Helen Hokinson

…and we close with this gem by Garrett Price

Next Time: A Blue Angel…