The New Yorker welcomed spring with a cover featuring Peter Arno’s popular Whoops Sisters testing the waters at the beach…
…and so was the New Yorker, on the south shores of Brooklyn to check out attractions old and new at Coney Island, paying a visit on an “off-day” to check out attractions ranging from incubating babies to the mechanical horse-race at the old Steeplechase:
Of course not everything was as dazzling as Luna Park at night. Like any carnival, Coney Island had its share of barkers announcing everything from games of “chance” to freak shows and a wax museum that depicted–among other grisly sights–the murder of Albert Snyder by his wife, Ruth Snyder, and her lover, Judd Gray, and the subsequent execution of the notorious pair.
Charles Lindbergh, feted with his own wax image at Coney Island, was beginning to appear on the verge of a meltdown thanks to the relentless attention he was getting in the aftermath of his historic flight:
Lois Long also seemed at her wit’s end, abruptly announcing to readers that her nightlife column, “Tables for Two,” would go on hiatus for the summer. No doubt this was a relief to Long, who seemed to be growing weary of the nightclub scene and was doing double duty as fashion writer (“On and Off the Avenue”) for the New Yorker:
And perhaps there was another reason Long was taking a break–she would marry fellow New Yorker contributor and cartoonist Peter Arno on Aug. 13, 1927.
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Always poised to take a poke at the newspaper media, the New Yorker had some fun with the New York Times’ attempt to reproduce an early wirephoto of Clarence Chamberlin, the second man to pilot a fixed-wing aircraft across the Atlantic from New York to Europe, while carrying the first transatlantic passenger, Charles Levine. The original photo apparently showed Chamberlain and Levine being greeted by the mayor of Kottbus, Germany:
Charles Levine took a plane to Europe, but most still had to settle for the more leisurely pace of a steamship. Below is a two-page advertisement featured in the center of the June 18 issue for an around the world excursion on the Hamburg-American Line (click to enlarge):
And finally, this advertisement in the back pages for Old Gold cigarettes, which claimed to be “coughless”….
The artist for these Old Gold ads was Clare Briggs, an early American comic strip artist who rose to fame in 1904 with his strip A. Piker Clerk. Growing up in Lincoln, Nebraska gave Briggs the material he needed to depict Midwestern Americana, a style that would influence later cartoonists such as Frank King (Gasoline Alley).
Publisher William Randolph Hearst was a larger-than-life personality who inspired writer Herman Mankiewicz* — an early NewYorker contributor — to pen the screenplay for Orson Welles’ film Citizen Kane.
* Stuart Cooke adds this clarification: Herman Mankiewicz did not write the screenplay of Citizen Kane. He contributed to it along with many others. (See Citizen Welles by Frank Brady). However, Welles credited him as the co-writer and at the last minute, graciously put Mankiewicz’s before his in the credits.
So when the New Yorker featured Hearst in its April 23, 1927 “Profile,” it required five lengthy installments by the writer (and Hearst biographer) John K. Winkler, who began the profile with this observation:
Winkler detailed Hearst’s plunder of European art and architecture — much of it sitting on a wharf below his “castle” at San Simeon on California’s Central Coast — awaiting architect Julia Morgan’s decision on where it might fit into the fabric of what became one of America’s most famous “homes.” Later in the profile Winkler described Hearst’s purchase of St. Donat’s Castle in Wales, and his acquisition of another castle that he had dismantled and shipped to San Simeon.
The mid-1920s to the mid-1930s were glory days at San Simeon. In his Great Hall Hearst “held court” with movie stars and statesmen who also attended famous costume parties hosted by Hearst and his mistress, Marion Davies.
The profile writer, John K. Winkler, would publish two books on Hearst in 1928 and 1955, as well as books on other captains of industry including Andrew Carnegie, John D. Rockefeller, F.W. Woolworth, J. Pierpont Morgan and the DuPont family.
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The Germany-based Hamburg America Line had been a major player in moving both passengers and freight between Europe and North America since 1847. In 1914, its passenger flagship, the Vaterland, was caught in port at Hoboken, New Jersey at the outbreak of World War I. She was later seized, renamed Leviathan after the declaration of war on Germany in 1917, and served as a U.S. troopship. So it was significant to European travelers (including many New Yorker readers) that the line was out to regain its former glory with the launch of the New York.
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Lois Long chronicled nightly escapades of drinking, dining, and dancing for The New Yorker in her column “Tables for Two,” and she often teased her readers about her true identity. Although in reality she was young (26), attractive and a big partier, she often described herself to readers as a bit of wallflower, or a “short squat maiden of forty.” When her marriage to The New Yorker cartoonist Peter Arno was announced in August 1927, her true identity was revealed.
Long seemed to be growing bored with New York nightlife, as evidenced by shorter “Tables” columns (the feature would end in 1930) while her fashion column — On and Off the Avenue — took on more importance. In her “Tables” column for the April 23, 1927 issue, she devoted most of it to yet another playful deception for her readers.
This time she portrays herself as a bookish spinster…
In other diversions, “Talk of the Town” made this mention of the Orteig Prize,a reward offered to the first aviator to fly non-stop from New York City to Paris or vice versa. Of course we know Charles Lindbergh would capture the prize the following month (and six others would die trying):
In advertising, the issue featured this promotion for radio station WOR. Broadcast radio was in its infancy in 1927, and this is one of the first ads of its kind to appear in the New Yorker:
The following advertisement for Balcrank auto bumpers tells you a lot about the bourgeois New Yorker reader it is trying to reach. It suggests the addition of these bumpers to your car will lend an upper class touch people will admire and notice — everyone from the traffic cop in the signal tower to the smart couple who seem to be inches away from having their feet run over.
I love the smug expression worn by the female passenger. Of course the actual old money upper class wouldn’t see this ad — they could care less about bumpers — and would be reading Town & Country, the Social Register, or nothing at all. Funny how the early New Yorker loved to tweak the nose of the upper class, all the while running ads that appealed to a grasping bourgeois desire for status. The bumper ad says it all.
The issue included this cartoon by Wallace Morgan, set in Central Park. Displayed across a two-page spread, the caption reads: SHE: “Let’s just sit back Wilmot, and pretend we’re living in grandmother’s day.” (click to enlarge)
And finally, the Barnum and Bailey Circus was in town, so we end with this cartoon by Carl Rose: