Prophet of Doom

The October 1929 stock market crash took most people by surprise, but one man, Roger Babson, knew all along it was coming…thanks to Sir Isaac Newton

Feb. 15, 1930 cover by Peter Arno.

Babson (1875-1967) is perhaps best known today as the man who predicted the market crash and the Great Depression that followed. He employed an economic assessment tool called the “Babsonchart” that was based on Newton’s Third Law: For every action, there is an equal and opposite reaction. In the Feb. 15, 1929 “Profile” (titled “Prophet of Doom”) Henry Pringle tried to make sense of this eccentric businessman, who would go on to wage war against gravity itself:

TOLD YOU SO…Illustration by Hugo Gellert for the profile on Roger Babson, who famously predicted the stock market crash; at right, Babson circa 1930. (Gravity Research Foundation)
BIG THINKER…Roger Babson dedicates the world’s largest spinning globe at Babson College in 1955; at right, the globe as it appears today. Founded by Babson in 1919, Babson College is often ranked as the most prestigious entrepreneurship college in the U.S. (babson.edu/Wikipedia)

Pringle concluded his profile on a confused note, wondering if his subject — a product of sober New England stock — could possibly be a socialist in disguise…

In any case, it is difficult to assign Babson to any one category. Some considered him a genius and visionary, while others thought him a crackpot, particularly in the late 1940s when, following the death of a grandson by drowning, he began to wage war against gravity itself. In 1948 essay “Gravity – Our Enemy Number One,” he wrote: “Broken hips and other broken bones as well as numerous circulatory, intestinal and other internal troubles are directly due to the people’s inability to counteract Gravity at a critical moment.”

That same year Babson founded the Gravity Research Foundation to expedite the discovery of a “gravity shield.” The foundation is still in operation, but rather than seeking to block gravity it works to better understand it. It continues to hold an annual essay prize contest — remarkably, five of its winners have gone on to win the Nobel Prize in physics. The essay contest’s 1971 winner was none other than physicist Stephen Hawking.

ROCK STAR…Clockwise, from top left: Roger Babson at home with a portrait of Sir Isaac Newton; Babson was the Prohibition Party’s candidate for President of the United States in 1940; Babson provided charitable assistance to unemployed stonecutters in Gloucester, Mass., during the Great Depression, commissioning them to carve inspirational inscriptions on more than 20 boulders near the abandoned settlement of Dogtown. (centennial.babson.edu/Wikipedia)

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An Imperfect Romance

Born in the midst of the Jazz Age, it would seem that the New Yorker would have been a perfect fit for the most prominent chronicler of that era, F. Scott Fitzgerald. But it was mostly not to be: Fitzgerald would publish just two poems and three humorous shorts in the New Yorker between 1929 and 1937, including “Salesmanship in the Champs-Élysées” in Feb. 15 issue.

In all fairness, the New Yorker wasn’t exactly enamored of the young author. In its book review section for the May 23, 1925 issue, the magazine singled out three books for review, the first (and longest) review was devoted to James Boyd’s historical novel Drums. This was followed by a brief review of Fitzgerald’s The Great Gatsby, the reviewer writing that the book revived his interest in the author but “not in a Byronic promise he probably never had,” and referred to the character of Jay Gatsby as “a good deal of a nut.”

The following year Fitzgerald was the subject of a New Yorker profile titled “That Sad Young Man.” In the magazine’s March 12, 2017 issue, Erin Overbey and Joshua Rothman note that the profile (by John Mosher) would be called “snarky” in today’s lingo. They also point out that “Fitzgerald, for his part, appeared to take a rather snobbish view of Harold Ross’s new publication, referring to the short stories he published in it as “hors d’oeuvres.”

With that, here is one of F. Scott Fitzgerald’s “hors d’oeuvres” … “Salesmanship in the Champs-Élysées.”

SOUR GRAPES…The Champs-Elysées in 1929; F. Scott Fitzgerald with his daughter, Scottie, and wife Zelda in Paris in 1925. Despite being products of the Jazz Age, the author and the New Yorker were mostly at odds. In a letter to his daughter, Scottie, Fitzgerald advised that she expand her knowledge of literature “instead of skimming Life + The New Yorker.”  (fr.wikibooks.org/AP)

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The Empire-less State

In his “Notes and Comment,” E.B. White pondered the possibilities of a large lot at the corner of Fifth Avenue and 34th Street previously occupied by the Waldorf-Astoria hotel. Although construction of the Empire State Building would soon commence at the site, White mused about other possibilities…

LIGHT THERE BE LIGHT…E.B. White found the newly excavated space at Fifth Avenue and 34th Street (former site of the Waldorf-Astoria) to be a refreshing change. It would be short-lived, as the first beams of the Empire State Building would begin to rise from the site in March 1930. (NYPL Digital Gallery)

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Westminster People Show

Although it’s now customary to retire Westminster Kennel Club Dog Show winners, back in 1930 a wire terrier called Pendley Calling of Blarney won Best of Show in 1930 and won the title again the following year. Alice Frankforter was on hand for the event, but found the people at the show every bit as diverting as the animals. Some excerpts…

DOGGONE FUN…The 1932 Westminster Kennel Club Dog Show at Madison Square Garden, NYC. (westminsterkennelclub.org)

REIGN OF TERRIER…Wire Fox Terrier Pendley Calling of Blarney, left, won back-to-back Westminster Kennel Club Best of Show titles in 1930-31. At right, King’s Best of Show win in February 2019 made him the 15th Wire Fox Terrier in Westminster history to earn the top prize. Terriers are by far the winningest breed at Westminster. (aka.org)

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Why Can’t We Be Friends?

Robert Benchley struck a pre-emptive pose in his review of a new Broadway play titled Rebound — written by his good friend (and fellow Algonquin Round Table alumnus) Donald Ogden Stewart (1894-1980) — and responded to “a chorus of yawps” that accused him of log-rolling…

A FRIEND INDEED…Robert Benchley (right) said his friendship with playwright and screenwriter Donald Ogden Stewart (left) had no influence over his review of Stewart’s latest play, Rebound. It seems Benchley was in safe territory here, since Stewart’s output was generally high in quality. Indeed, in 1940 Stewart would win an Academy Award for Best Adapted Screenplay for the The Philadelphia Story.

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Georgia On His Mind

The opening of the Museum of Modern Art in late 1929 had a profound effect on the New Yorker’s art critic Murdock Pemberton. In the beginning he dismissed the museum as just another place for the old money crowd to throw parties, but with the opening of its third exhibition, “Painting in Paris” — which featured an extensive display of the works of French modernists — Pemberton began to come around to the idea that this new MoMA was a place to see groundbreaking works of art. In his Feb. 15 column Pemberton looked beyond France for signs of talented modernists in the States, and found only one who stood out — Georgia O’Keeffe.

MOD COUPLE…Clockwise, from left, Alfred Stieglitz attached this photograph to a letter for Georgia O’Keeffe, dated July 10, 1929; Georgia O’Keeffe Exhibition of Paintings (1919-1934), at Stieglitz’s An American Place gallery, 1935; O’Keeffe’s Trees at Glorieta, New Mexico, 1929. (Beinecke Library, Yale/Georgia O’Keeffe Foundation)

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From Our Advertisers

Just as hemlines were dropping after the stock market crash, so were the brims of women’s hats — the flapper caps of the 1920s now sprouted droopy ears…

…this ad for Chase and Sanborn coffee featured a weirdly distended image of the writer and humorist Irvin Cobb

…Cobb as he actually appeared, circa 1930…

(talesofmytery.blogspot.com)

…G. Washington coffee, on the other hand, continued to draw from the New Yorker’s stable of cartoonists, including Garrett Price, for its illustrated ads…

…I was surprised to see this ad for two reasons: I wasn’t aware floss was in common use 90 years ago, or that it once came in the handle of a toothbrush…

…and then we have this sad little back page ad (just above a tiny ad for piano lessons) promoting Peggy Joyce’s ghostwritten “tell all” — Men, Marriage and Me. A former Ziegfeld girl and occasional actress who cultivated fame for fame’s sake, Joyce (1893-1957) was mostly known for her six marriages and extravagant lifestyle. By feeding the media a steady stream of scandals and other adventures (she often received reporters in her bedroom, dressed in a see-through negligee) she remained in the celebrity spotlight throughout the 1920s…

Peggy Joyce in 1923; cover of the first edition of her “tell all” — Men, Marriage and Me. Celebrated in the 1920’s as a swinging golddigger, her fame quickly evaporated into the mists of the Great Depression. (Wikipedia/Abe Books)

…speaking of celebrity, advertisers were so eager for endorsements of the famous that even “Mrs. Ring Lardner” (Ellis Abbott) got a piece of the action…

…as travel by airplane became more fashionable, automobile manufacturers increasingly paired their products with flying machines…

…for those who wished to stay on the ground, the Pickwick-Greyhound bus system featured “Nite Coaches” with 14 sleeping compartments (for 28 passengers), hot and cold water in each compartment, and hot meals served by stewards…

…on to our comics, I. Klein illustrated the excitement of heavyweight boxing…

Perry Barlow paid a visit to a writer and his dimwitted visitor…

Helen Hokinson looked in on a prep school dance…

Barbara Shermund demonstrated the finer points of beauty…

…and we end with Peter Arno, and one woman’s plan for a costume party…

Next Time: Five Years in the Making…

Strike Up the Band!

Before we launch into the Jan. 25 issue, the rendering of the old New York Aquarium in this Sue Williams cover bears some consideration.

Jan. 25, 1930 cover by Sue Williams.

The aquarium was housed within the historic walls the South West Battery, constructed off the tip of Manhattan between 1808 and 1811 as a defense against the British. Renamed Castle Clinton in 1817 (in honor of former Mayor/Governor Dewitt Clinton), it was deeded to the city in 1823 to be used as an entertainment center. From 1855 to 1890 it served as an immigrant landing depot, then remodeled in 1896 (by the architectural firm McKim, Mead, and White) to become the popular New York City Aquarium.

FISH OUT OF WATER…Postcard image of the New York City Aquarium from the early 1900s; aerial view of the aquarium circa 1934; postcard image of aquarium interior; demolition of the aquarium in 1941, on orders from city planner Robert Moses. (thebattery.org/nycgovparks.org)

Although the aquarium proved to be a cultural and educational magnet, it stood in the way of master planner Robert Moses’s designs to build a bridge from The Battery to Brooklyn. After residents, preservationists and even Eleanor and President Franklin Roosevelt protested, the city opted instead to construct a tunnel under the East River. Nevertheless, Moses managed to get the aquarium knocked down before demolition was halted by the outbreak of World War II. After the war, Congress passed a bill declaring the site a National Monument, and preserved the walls of Castle Clinton.

HIGH AND DRY…Until it was demolished in 1941, the New York City Aquarium occupied the space in the center of Castle Clinton, which was added to National Register of Historic Places in 1966. (nps.gov)

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Now, About That Band…

A play that satirized America’s enthusiasm for war — Strike Up the Band — was loved by critics but spurned by audiences when it opened in Philadelphia in 1927. Written by George S. Kaufman, with music and lyrics by George and Ira Gershwin, the play had the pedigree for success, but audiences weren’t quite ready for a show that poked fun at the U.S. military just nine years after the end of World War I (in the original play, America is goaded into declaring war on Switzerland by an American cheese tycoon).

Enter lyricist Morrie Ryskind, who reworked the script, softening its political message and remaking the war plot into a dream sequence. The revised play proved to a be hit, running for 191 performances at the Times Square Theatre. It also introduced a number of popular songs, including “The Man I Love” and “Strike Up the Band.” Robert Benchley was on hand for opening night:

TEAMWORK…Clockwise, from top, Ira (left) and George Gershwin at work circa 1930; lyricist Morrie Ryskind, who softened the tone of George S. Kaufman’s original script. (U of Michigan/Wikipedia)

Benchley noted that the antics of comedian Bobby Clark caused him to laugh so loud that his guffaws were even noted in the Herald Tribune’s review:

MAKE ‘EM LAUGH…The comedy team of Paul McCullough (left) and Bobby Clark were one of the play’s big draws. At right, Herald-Tribune illustration by Al Hirschfeld announcing the Broadway opening of Strike Up the Band. (aaronneathery.org)

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Duncan Yo-Yos

We’ve seen the Duncan Sisters (Rosetta and Vivian) before in this blog, the sister vaudeville act that became famous with the 1923 hit musical Topsy and Eva, which inspired a silent 1927 film starring the duo. They were back on the screen in late 1929 with It’s a Great Life, which the New Yorker’s John Mosher found to be “pretty dreary”…

NOT SO GREAT, THIS…Clockwise from top, promotional poster for It’s a Great Life; a scene from a dance number in the film; Rosetta (in blackface) and Vivian Duncan as Topsy and Eva (characters derived from the novel Uncle Tom’s Cabin). It’s a Great Life flopped at the box office, along with the Duncan’s brief movie careers. In the years to follow the duo would became popular nightclub entertainers and would continue to perform their Topsy and Eva routine even though appearing in blackface was increasingly considered offensive. (Wikipedia/freewebs.com)

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Miracle Worker

The New Yorker profile, written by Robert Coates, featured Helen Keller (with illustration by Hugo Gellert). A brief excerpt:

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From Our Advertisers

Advertisers in the Jan. 25 issue included the new Fortune magazine, which announced its first issue with this full-page ad:

…the table of contents is fascinating, spare in descriptions of everything from “Hogs” to “Orchids”…

From left, issue No. 1, February 1930; table contents for the issue; a prototype of the magazine, September 1929. (Fortune) please click to enlarge

…also listed in the new magazine’s table of contents was the name of a 24-year-old photographer, Margaret Bourke-White

A photo of coal piles by Margaret Bourke-White in the first issue of Fortune magazine. At right, Bourke-White photographing atop a skyscraper circa 1930. (Fortune)

…on to our other advertisements, we have this entry from Elizabeth Arden…ads from this salon chain in the 1920s and 30s featured this ubiquitous image of a woman with a distant stare, her head tightly bound — mummy-like — as part of a firming treatment called “muscle-strapping”…

…in contrast to the rather cold, clinical look of Elizabeth Arden ad, the Primrose House appealed more to social climbing than skin toning…

…while the makers of Pond’s cold cream continued to draw from their stable of debutantes and society ladies to move their product…

…long before there was Joe Camel, R.J. Reynolds also appealed to social climbers with a series of ads beautifully illustrated by fashion artist Carl Erickson

…society’s smokers were advised to pack a tube of Bost toothpaste, or have their French maid do it for them…

…and once again we have an ad by Dr. Seuss for Flit insecticide that is very much of its time…

…as is this cartoon by I. Klein, perhaps the first in the New Yorker that depicted African Americans as something other than minstrel show stereotypes. Nevertheless, the rendering is still a bit crude — especially the boy’s face — as is the idea behind the “joke” —  that a black boy could actually aspire to be a great violinist like Jascha Heifetz

John Reynolds explored a less troubling juxtaposition among the bohemian set…

…and we end with this peek into society life courtesy Barbara Shermund… 

Next Time: The Wild Kingdom…

 

 

 

 

In Search of Yuletide Cheer

E.B. White’s “Notes and Comment” column led off the New Yorker’s “Talk of the Town,” and as such helped set the tone for what was to follow in the magazine.

Dec. 14, 1929 cover by Theodore Haupt. Opening image: Construction workers line up for pay beside the first Rockefeller Center Christmas tree in New York in 1931. (NY Daily News)

For the Dec. 14 issue White attempted to strike a positive note in the aftermath of the stock market crash, offering a few nuggets of hope for the holiday season:

HEAVYWEIGHTS…Both President Herbert Hoover and retired prizefighter Gene Tunney offered signs of stability to a nation reeling from economic collapse. At right, Gene and Mary Tunney return to New York on the ocean liner Vulcania after 14 months in Europe. (Wikipedia/AP)

Alexander Woollcott, however, described his financial woes in his “Shouts and Murmurs” column, where he parodied newspapers that listed charity cases during the Christmas season:

BOOK-END POOR…Alexander Woollcott, in a 1939 portrait by Carl Van Vechten. (Wikipedia)

Paris correspondent Janet Flanner noted how the ripples of the market crash were being felt in Paris: Americans no longer had wads of cash to lavish on booze, jewelry, antiques and real estate:

DON’T RAIN ON OUR PARADE…The Place de la Nation, Paris, 1930. (thevintagenews.com)

Flanner added that despite the past boorish behavior of American tourists, the level of schaudenfreude among the French was remarkably low…

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Sinful Diversions

For yet another sign that the Roaring Twenties were decidedly over, it appeared that even “Sex” had run its course. Theater critic Robert Benchley noted that Mae West’s scandalous 1926 play inspired a spate of shows that had little new to offer, save for amping up the salacious content: A Primer for Lovers, The Amorous Antic, and Young Sinners. Audiences were unimpressed. A Primer for Lovers closed after just 24 performances, The Amorous Antic after just eight. Only Young Sinners would survive into the spring season.

JUST LOOK WHAT YOU STARTED…”Sex” was panned by critics as vulgar, but Broadway audiences in 1926 loved it. After 375 performances police arrested Mae West on obscenity charges, which landed her in a prison workhouse for ten days. (boweryboyshistory.com)
Actress Phoebe Foster (left) found success on Broadway, but not so much in The Amorous Antic, which closed after just eight performances. Dorothy Appleby (right) had better success with Young Sinners, which ran for 289 performances through August 1930. (IMDB)

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Final Bows

Theater was changing in other ways too. In the late 19th and early 20th century audiences patronized various playhouses based more on their reputation and tradition than on a particular play. E.B. White, in the “Talk of the Town” noted the imminent passing of one such house, the Knickerbocker Theatre, slated for demolition in 1930. The 33-year-old theater was Broadway’s first to display a moving electric sign (1906).

A HOUSE OF GOOD REPUTE…The Knickerbocker Theatre at 1396 Broadway was built in 1896 and demolished in 1930. (Internet Broadway Database)

White noted that smaller venues like the Knickerbocker, with their own distinct character and clientele, were falling victim to big theater-owning corporations that introduced more homogeneity into the play-going scene. In White’s estimation just two old-timers remained:

Both buildings still stand. The New Amsterdam, constructed in 1902–03, is now the oldest theater on Broadway. In the 1910s and 1920s it hosted the Ziegfeld Follies on its main stage and the racier Ziegfeld Midnight Frolics on the building’s rooftop. The Music Box was constructed in 1921 by composer Irving Berlin and producer Sam H. Harris to house Berlin’s Music Box Revues.

DISNEYFIED…The New Amsterdam, constructed in 1902–03, still stands today, now operated by the Disney Company, which signed a 99-year lease with the city in 1993. When it was built it was the largest theater in New York, with a seating capacity of 1,702. (Wikipedia)
IRVING’S PLACE…The Music Box Theatre at 239 West 45th Street was constructed in 1921 by composer Irving Berlin and producer Sam H. Harris to house Berlin’s Music Box Revues. It was later co-owned by Berlin’s estate and the Shubert Organization until Shubert assumed full ownership in 2007. (Wikipedia)

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Stocks Down, Arno Up

Peter Arno could be found all over the Dec. 14 issue: an ad promoting his new book Peter Arno’s Parade, a blurb in the book section touting the same…this ad for Peck & Peck featuring his handiwork…

…in the comics, a full pager with the economy as a theme…

…and this submission that was doubtless inspired by Arno’s own home life and his brief, tempestuous marriage to New Yorker colleague Lois Long

…here’s a couple of comics featuring Milquetoast characters…this one by Garrett Price

…and another by Leonard Dove

…and two submissions from one of my favorite cartoonists, Barbara Shermund, so ahead of her time…

 

Helen Hokinson examined a physician’s bedside manner…

…and I. Klein offered his take on the new economy…

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We move right along to the Dec. 21, 1929 issue, where things seemed to turn a bit more sour…

Dec. 21, 1929 cover by Rea Irvin.

Elmer Rice’s serialized novel, A Voyage to Purilia, finally concluded in its 11th installment in the New Yorker…and E.B. White took on a more choleric disposition in his “Notes and Comment”…

Lois Long contributed a “Tables for Two” column, a feature that had become infrequent and would soon be shelved as she turned her full attentions to her fashion column “On and Off the Avenue.” In this installment of “Tables” we get her first mention of the market calamity…

Robert Benchley finally found something to like on Broadway, because Billie Burke was the star attraction…

SHE”S THE GOOD ONE…Billie Burke in 1933. Most of us know her today for her performance as Glinda the Good Witch of the North in the 1939 film The Wizard of Oz. (Wikipedia)

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Violin Prodigy 2.0

The New Yorker raved about the 12-year-old violinist Yehudi Menuhin when he wowed audiences at the Berlin Philharmonic earlier in the year. So when the 10-year-old Ruggiero Ricci expertly fiddled with the Manhattan Symphony, well…

YEAH, I GOT THIS…Ruggiero Ricci, about 1930, by then a touring professional. At age 6 Ricci began lessons with Louis Persinger, who also taught another San Francisco prodigy, Yehudi Menuhin. (Text and image, The New York Times)

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Namesake

Despite the market crash, the skyline continued to change at a rapid pace, and as we enter the 1930s the city would add some of its most iconic buildings to the skyline. George Chappell, the New Yorker’s architecture critic, had this to say about the magazine’s “namesake”…

ROOMY…The New Yorker Hotel, at 481 Eighth Avenue. When the 43-story Art Deco hotel opened 1930, it contained 2,500 rooms, making it the city’s largest for many years. (Wikipedia)

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Art critic Murdock Pemberton continued his quest to make sense of the upstart Museum of Modern Art…

…and the American artists showcased there…

…I would add Edward Hopper, John Sloan, Lyonel Feininger, and Rockwell Kent (also displayed at the exhibition) but then again, I have the advantage of hindsight…

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From Our Advertisers

We have more New Yorker cartoonists augmenting their income through advertising, including (once again) Rea Irvin for Knox Hatters…

Raeburn Van Buren for G. Washington’s instant coffee (also a client of Helen Hokinson’s)…

…and Helen Hokinson for Frigidaire…

…and on to cartoons for Dec. 21, Hokinson again…

…and we end with Peter Arno, and another peek into marital bliss…

Next Time: The Curtain Falls…

 

 

 

A Glimpse of the Future

Just nine days after the stock market crash, three women opened a new museum on Fifth Avenue that would play a major role in defining the type of city that would emerge from the other side of the Depression and World War II.

Nov. 23, 1929 cover by Theodore Haupt.

These visionary women would borrow works from modernists of the past century — the post-impressionists —  to stage the first-ever exhibit of the Museum of Modern Art. Abby Aldrich Rockefeller, along with her friends Lillie P. Bliss and Mary Quinn Sullivan, had rented six rooms on the 12th floor of the Heckscher Building, and on Nov. 7, 1929, they opened the doors to the museum’s first exhibition, simply titled Cézanne, Gauguin, Seurat, Van Gogh. The New Yorker’s art critic Murdock Pemberton was on hand for the opening:

THE FOUNDERS…Mary Sullivan, Lillie Bliss and Abby Rockefeller, known socially as “the daring ladies,” founded the Museum of Modern Art in 1929. (virginiafitzgerald.blogspot.com/MoMA)
OLD AND NEW…The 12th floor of the Heckscher Building (now called the Crown Building) at Fifth Avenue and 57th Street served as the first location of the Museum of Modern Art. The 1921 building was designed by Warren and Wetmore, the same architects who designed Grand Central Terminal. Note in the foreground the rooftop of the Vanderbilt mansion, demolished in 1926 to make way for the Bergdorf Goodman department store; at right, a page from the new museum’s brochure. (Museum of the City of New York/MoMA)

The gallery rooms in the Heckscher were modest — although Abby’s husband was John D. Rockefeller Jr., she had to find funding on her own (he was opposed to the museum, and to modern art). In his review, Pemberton noted the “inferiority complex” that had already set in at the new museum, which took a preemptive swipe at the Met in its pamphlet (pictured above):

AMBITIOUS…Although the museum was small and had no curatorial departments, MoMA produced a 157-page exhibition catalogue for its first show. (Image and text courtesy MoMA)
MODEST BEGINNINGS…MoMA’s first gallery spaces on the 12th floor of the Heckscher Building were indeed modest, as these photos of the first exhibition attest. (MoMA)
HOW THEY LOOKED IN COLOR…Works featured in MoMA’s first exhibition included The Bedroom (1889) by Vincent Van Gogh, and Pines and Rocks (c. 1897), by Paul Cézanne. (Art Institute of Chicago/MoMA)

Pemberton attempted to set MoMA straight regarding the Met’s reputation:

HOME AT LAST…After moving three times over the course of ten years, the Museum of Modern Art finally found a permanent home in Midtown in 1939. Although Abby Rockefeller’s husband, John D. Rockefeller Jr., was initially opposed to the museum, he eventually came around and donated the land for the 1939 museum (designed by Philip L. Goodwin and Edward Durell Stone) and became one of the museum’s biggest supporters. (MoMA)

Less than three years later, the museum would point to the world to come in 1932’s Modern Architecture: International Exhibition, curated by Philip Johnson and Henry-Russell Hitchcock. The exhibition showcased an emerging architectural style that would dominate the New York skyline in the postwar years.

Top, model of Le Corbusier’s Villa Savoye from MoMA’s 1932 Modern Architecture: International Exhibition; below, model and photographs of works by Walter Gropius. Both architects would have major influences on the postwar New York skyline. (MoMA)

A footnote: The Museum of Modern Art hosts a remarkable website that features photographs of 4,875 exhibitions (plus images of catalogs and other materials) from 1929 to the present.

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That’s Entertainment?

Theater critic Robert Benchley was looking for something to take his mind off the economic collapse, but he wasn’t finding it on Broadway. He found the drama Veneer to be depressing, and apparently so did a lot of other theatergoers; it closed the next month after just 31 performances at the Sam Harris Theatre:

NO LAUGHS HERE, EITHER…Joanna Roos and Osgood Perkins during a 1930 performance of the Chekhov play Uncle Vanya at the Cort Theatre. Roos was also in 1929’s Veneer, and she was singled out for praise by critic Robert Benchley, who otherwise found the play depressing. (New York Public Library)

Benchley also found little cheer in the play Cross Roads, which also closed the next month after just 28 performances at the Morosco Theatre:

FOR CRYING OUT LOUD…Actress Sylvia Sidney bawled out her lines in Cross Roads. (Photoplay, 1932)

Benchley finally found something to laugh about at the Alvin Theatre, which featured the musical comedy Heads Up! Tellingly, it ran much longer than its more somber competition: 144 performances…

CLOWNS…Victor Moore, left, and Ray Bolger delivered comic relief in Heads Up! Both actors provided much-needed levity on the Broadway stage during the Depression. (movie-mine.com/Pinterest)

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Ideas for a Post-Crash Christmas

Creighton Peet (1899-1977) was best known as an author of books for young people with titles ranging from Mike the Cat (1934) to How Things Work (1941). A regular contributor to the New Yorker from 1925 to 1957, in the Nov. 23 issue Peet offered up some suggestions for a post-crash Christmas in a short piece titled “Helpful Hints for Marginaires.” An excerpt:

The recent market crash was also on the mind of Howard Brubaker. In his weekly column, “Of All Things,” he looked for divine guidance…

CAN YOU PUT IN A GOOD WORD? James Cannon Jr. was a bishop of the southern Methodist Church and a relentless advocate of Prohibition. (encyclopediavirginia.org)

…in the wake of recent elections, Brubaker also made this observation about voting rights in the South…

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Solace of the Silver Screen

Americans would turn to the movies for a much-needed distraction from their economic woes, and critic John Mosher found a couple of mild diversions starring Greta Garbo and Clara Bow

MUM’S THE WORD…Greta Garbo and Lew Ayres in The Kiss. The film was a rare silent in the new age of the talkies (although it did feature a Movietone orchestral score and sound effects). Audiences would have to wait until 1930’s Anna Christie to hear the voice of Garbo. (IMDB)
PLEASE PASS THE BITTERS, DEAR…Greta Garbo and Anders Randolf trapped in a loveless marriage in The Kiss. (IMDB)

For a few laughs, moviegoers could check out Clara Bow’s second talkie, The Saturday Night Kid. A sex symbol of the Roaring Twenties, Bow’s career began to wane with the advent of the talkies and the onset of the Depression. Her kind would be eclipsed by a new type of sex symbol — the platinum blonde — embodied by the likes of Jean Harlow, who also appeared in The Saturday Night Kid, her first credited role…

SIBLING RIVALRY…Sisters Mayme (Clara Bow) and Janie (Jean Arthur) vie for the affections of next door neighbor William (James Hall) in a scene from The Saturday Night Kid. (doctormacro.com)
SATURDAY NIGHT FEVER…Jean Arthur, Clara Bow, Jean Harlow and Leone Lane in a publicity photo for The Saturday Night Kid. (IMDB)

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From Our Advertisers

We begin with a couple of ads featured on back-to-back pages of products that no longer exist — the first promotes the use of Ethyl gasoline to increase performance and eliminate engine knock. Ethyl (tetraethyl lead) — a big contributor to soil, air and water lead pollution — was removed from gasoline beginning in the 1970s…the Marmon Motor Car Company introduced a more affordable (under $1,000) car to New Yorker readers in 1929, but it was too late for the struggling company, which due to the Depression folded in 1933…

…this seems an unusual ad for the New Yorker, but then again perhaps the White Company hoped to reach well-heeled readers who were also owners of companies in need of such things, although it is doubtful a lot of truck-buying was taking place after the crash…

…the 1920s are considered a golden age for American road-building, but if you wanted to travel across country, the national highway system was limited to just a few, mostly two-lane routes…

…with their frayed nerves, folks were doubtless smoking like chimneys…the makers of Fatima cigarettes acknowledged the pain felt by the market crash, while nevertheless justifying the higher cost of their brand…

…the holiday season was fast-approaching, and Bergdorf Goodman was ready to set the mood…

…on the lower end of the scale, the California Fruit Growers offered up this dandy “juice extractor” as the gift to delight a loved one (with illustration by Don Herold)…

…I suppose given its quasi-medicinal (digestif) qualities, Cointreau was able to sell their product at 6% alcohol content to dry Americans (although the full- strength Cointreau, not legally available to Americans, was rated at 40%)…at right, another back page ad from Reuben’s restaurant, with more handwritten endorsements from stars including singer Helen Kane (Boop-Boop-a-Doop), cartoonist Rube Goldberg, and Paramount Studio co-founder Jesse Lasky

Helen Hokinson’s society women were featured in two separate ads in the Nov. 23 issue…

…and the folks at Frigidare got an extra plug thanks to Leonard Dove

Lois Long’s “On and Off the Avenue” column began to grow in length as the holiday season approached, peppered with spot drawings including these two by Julian De Miskey and Barbara Shermund

…and I. Klein offered his own take on the holiday shopping scene…

Rea Irvin reprised his folk-satirical approach to life at the Coolidge house…

John Reynolds found more humor in the clash of cultures…

Helen Hokinson contributed this very modern rendering of writer’s block…

…and Peter Arno looked in on the challenges of commuting…

…and a quick note regarding a recent issue of the New Yorker (Dec. 3, 2018)…the cover featured a reprint of a Matias Santoyo cover from April 2, 1927…very cool…

Next Time: Mrs. Parker and the Vicious Writer…

 

 

 

City of Glass

The New Yorker, via the pen of E.B. Whitelooked to the metropolis of the future in the Oct. 19, 1929 issue — to a city of glass towers that were ready to move from drafting table to reality. That is, until the stock market crash, just days away, which would put a heavy damper on those visions.

Oct. 19, 1929 cover by Rea Irvin.

White reported in “The Talk of the Town” that several “all-glass” buildings were in the works, including “four apartment houses of glass” designed by Frank Lloyd Wright:

The 1926 Pinaud cosmetics factory designed by Ely Jacques Kahn and Albert-Buchman was poised to get a three-story addition (by Kahn) constructed entirely of glass block, but the market crash likely killed the project. The Depression probably didn’t help Wright’s project either, which would have constituted his first buildings in New York City, and the first with all-glass exteriors.

BEST-LAID PLANS…The 1926 Pinaud factory (left), now home to The School of Visual Arts, did not get its Ely Jacques Kahn-designed glass block addition in 1929; center and at right, Frank Lloyd Wright’s 1929 design for three skyscrapers surrounding St. Mark’s Church-in-the-Bowery. A single tower of similar design was eventually built in 1956—not in NYC—but out on the prairies in Bartlesville, Oklahoma. Click images to enlarge. (collectingvintagecompacts.blogspot.com; 6sqft.com)

Thanks to the Depression, and World War II, Gotham would have to wait 23 years for its houses of glass…

LATE ARRIVALS…Left, the 1952 Lever House, by Gordon Bunshaft and Natalie de Blois of SOM; right, the 1959 Seagram Building, by Mies van der Rohe. (Shorpy/ArchDaily)

and let’s not forget one of the most important post-war modernist statements to rise near the East River…

INTERNATIONAL STYLE…The 505-foot-tall United Nations Secretariat Building, constructed between 1947 and 1952. The building was designed by the Brazilian architect Oscar Niemeyer and the Swiss-French architect Le Corbusier. (United Nations)

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Rising From the Ashes

While most architects were looking to the future, some still gazed into the past, and in the case of Whitney Warren, rather bitterly. It was Warren who designed a new library in Louvain, Belgium, to replace one that was burned to ground by invading German troops during World War I. Around three hundred thousand books and a thousand manuscripts were destroyed in the fire, not to mention thousands of civilians who died during the invasion and occupation. The New Yorker seemed ready to forgive, but given the scale of the atrocity just 15 years earlier, one could understand Warren’s obstinance:

And to add insult to injury, the second library designed by Warren was also destroyed by the Germans in the World War II. What stands today is a restoration of that building.

A TALE OF TWO LIBRARIES…Clockwise, from top left, a comparison of the Louvain university library in 1913, and after its destruction by the Germans in 1914 (the postcard photo at top right became almost instantly famous around the world). At bottom, left, the replacement designed by Warren, which was also destroyed by the Germans in World War II. Inset, Whitney Warren, circa 1915. (Associated Press/Wikipedia)

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Belles Lettres? Non!

E.B. White, in his “Notes and Comment,” noted a new trend in the world of letters: celebrity authors. White lamented that the job of writing books and newspaper articles was being usurped by politicians, actors and athletes:

ASPIRING SCRIBBLERS…Former New York Gov. Al Smith, slugger Babe Ruth (dictating to his “ghost” writer) and former President Calvin Coolidge all got in on the act of book publishing. (Amazon/ourgame.mlblogs.com)

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Where Babies Come From

For his “A Reporter at Large” column, Morris Markey, paid a visit to the Lying-In Society of New York, a maternity hospital now known as Rutherford Place. I include a few excerpts below to give some idea how times have changed in the past 89 years…

THE EASY PART…Fathers admire their newborns in this circa 1920s photo. At right, the building that housed the Lying-In Society of New York. Inset, one of the cherubs carved into the building’s facade. (Wikipedia)

…imagine, if you will, the scent of ether (then commonly used as an anesthetic) and other drugs as you entered the hospital (no air-conditioning or HVAC to whisk those odors away!)…

NIGHTY NIGHT…Anesthesiologist administers ether and nitrous oxide to a patient before surgery in a Washington hospital, 1922. (Everett Collection)

…not to mention the sweat of anxious fathers banished from delivery or recovery rooms…

WELCOME TO THE WORLD…Nurse learning to care for infants, Philadelphia General Hospital, c. 1930; nurses caring for infants at Long Hospital, Indiana University, in the 1920s. Note row of cribs fastened to the wall, which seemed to be a standard design back then. (upenn.edu/comet.soic.iupui.edu)

…or hospital stays for mothers that averaged 10 days…

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Should Have Stayed Home

Dorothy Parker was dealing with a “baby’ of her in own, in this case a grown man with the conversational skills of brick wall. She related her experience in a casual titled, “But the One on the Right…” An excerpt:

Dorothy Parker, happily at home, in 1924. (New York Public Library)

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More Applause for Helen

The New Yorker continued to shine an approving light on the work of nightclub singer Helen Morgan, this time in her first talking picture, Applause:

FALLING STAR…Helen Morgan (foreground, right) portrayed a fading burlesque star named Kitty Darling in 1929’s Applause, Morgan’s first all-talking picture. (MOMA)

On a sad note, Morgan’s real life had parallels to the film, including the abandonment of a child and a death due to alcohol and drugs — in the film Kitty overdoses on sleeping pills before a show; in real life Morgan would collapse onstage during a Chicago performance of George White’s Scandals of 1942. She would die of cirrhosis of the liver at age 41.

IMITATING LIFE…Helen Morgan as Kitty Darling in Applause. Her best days behind her, Darling becomes an alcoholic who lives in the past. Sadly, Morgan’s real life had parallels to the movie. (art fuse.org)

There was no such applause from the New Yorker for another talkie, the screen adaptation of the popular Ziegfeld Broadway stage show Rio Rita:

BEEN THERE, DONE THAT…Lobby Card for Rio Rita, featuring John Boles and Bebe Daniels. (IMDB)

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From Our Advertisers

The Stewart fashion shop on Fifth Avenue featured a series of attractive, modern ads, these two appearing in the Oct. 19 and 26 issues…

According to the terrific website Driving for Deco, “Stewart and Company broke away from the traditional department store layout. Instead of aisle after aisle of display cases the new store comprised many shops. These “shops” were not individually owned as in a present day mall. They were rooms or alcoves devoted to specific merchandise. The design of the shops and floors fell to several different interior design firms…”

Clockwise, from top, artist rending of the Stewart women’s shoe department; Stewart and Company building at 721 5th Avenue; Stewart Millinery Shop. (Vogue/Museum of the City of New York, all via drivingfordeco.com)

The Depression brought an end to Stewart and Company, which went out of business in the spring of 1930. Later that year Bonwit Teller opened in the former Stewart Building. They would close their doors to business 49 years later.

Sadly the building was demolished in 1980 to make way for a monument to a massive ego: Trump Tower.

Demolition of the former Stewart & Company building in 1980. The Rene Paul Chambellan bas-relief sculptures on the building’s facade were supposedly destined to the Metropolitan Museum of Art. Developer Donald Trump thought the removal of the sculptures was cost-prohibitive, so they were smashed by jackhammers. (drivingfordeco.com)

…back to the ads, we have another image of a building that is now but a ghost (I am writing this on Halloween)…

The Mayflower Hotel, left, a 1926 building designed by Emery Roth, was demolished in 2005 to make way for Robert A.M. Stern’s luxury condominiums, 15 Central Park West. (nymag.com)

…speaking of luxury, these posh types seem to be almost lulled to sleep by RCA’s “Radiola Super-Heterodyne”…

…and I throw in this ad from Milgrim for its use of the word “patrician” to appeal to the aristocratic yearnings of some New Yorker readers…

…perhaps those patricians would have preferred a move to “aristocratic” Scarsdale, as the middle ad below suggests, or perhaps they would have chosen something more “unusual” in East Orange…

…for reference, here is a Google street view image of 75 Prospect in East Orange, New Jersey…

…and if you were of the upper classes, you probably would have wanted the latest in toothbrushes and “French” mouthwashes…

…on to our illustrators and cartoonists, I. Klein looked in on the elections…

Peter Arno illustrated the plight of a hapless silent film actor…

…and Helen Hokinson eavesdropped on a canine faux pas…

Next Time…Prelude to a Crash…

 

 

Prophecies of 1929

E.B. White gazed 50 years into the future in the Sept. 21, 1929 issue, predicting that New York City would be much the same if not a little worse by the time the calendar turned to 1979.

Sept. 21, 1929 cover by Theodore G. Haupt.

White dismissed the popular notion that the future would be one of push-button happiness and gleaming white cities. And as it turned out, he was mostly right on the mark with his predictions:

LOVE IS IN THE AIR…Autogyros (as illustrated on a 1930 cover of Modern Mechanics) were often seen as the future of transportation in the 1920s and 30s; Maureen O’Sullivan (as “LN-18”) and John Garrick (“J-21”) glide above 1980 Manhattan in 1930’s  Just Imagine. (modernmechanix.com/pre-code.com)

Instead of the antiseptic fantasy world predicted in such movies as 1930’s Just Imagine (a futuristic musical set in 1980), White correctly foresaw a city that, despite technological advances, would still be a gritty rat race. And if you lived in New York City in 1979 (I was but a visitor then, as now), you would have found a city that indeed was quite dirty and crime-ridden (check out the 1979 movie The Warriors to get a sense of how Hollywood perceived the city at that time). As White observed, “Prophets always leave out the eternal mud”…

JUST A LOT OF HOT AIR…In addition to autogyros, futurists in the 1920s and 30s also saw dirigibles as integral to future transportation. At top left is an illustration of a solar-powered aerial landing field atop a dirigible on the cover of Modern Mechanix magazine, October, 1934; top right, Manhattan in 1980 as depicted in the the 1930 film Just Imagine; bottom right, workers dismantling the Third Avenue Elevated line in 1955; bottom left, Times Square in 1979. (airships.net/IMDB/gothamist.com/viewoftheblue.com)

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Cradle of Civilization

Dorothy Parker took aim at ugly Americans abroad in a casual titled “The Cradle of Civilization.” In these excerpts, Parker commented on the pretensions of young New Yorkers in France, including their ridiculous costumes…

…their bad French, and their even worse manners…

WELL, THEY GOT AWAY WITH IT…Actors Leslie Howard and Ingrid Bergman don the look of French fishermen during the filming of Intermezzo: A Love Story, in 1938. Howard and Bergman were supposed to look like a couple visiting the French Riviera, but in reality it was all filmed near Hollywood. The film was Bergman’s Hollywood debut. (Pinterest)

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A Penny Saved

Back stateside, Wolcott Gibbs looked in on the dying art of the penny-arcade peepshow, and expressed his disappointment with the quality of that product in general…

DON’T JUDGE A PEEP BY ITS COVER…A patron checks out “Hot Tango” at a penny peepshow parlor of the 1920s. (Pinterest)

Gibbs seemed particularly miffed by a film with the misleading title “For Men Only”…

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Uncle Jed

Jed Harris (1900-1979) was a wunderkind of Broadway, producing and directing 31 shows between 1925 and 1956. Before he turned 28 he produced a record four consecutive Broadway hits over the course of 18 months (including the 1928 smash hit The Front Page), and so it was time for some rest. “The Talk of the Town” reported…

Although it was rumored Harris would retire at age 30, he would instead return in the spring of 1930 with a production of Anton Chekhov’s Uncle Vanya, and continue producing on Broadway through the 1950s.

WUNDERKIND…A 1928 portrait of Jed Harris that was featured on the Sept. 3, 1928 cover of Time magazine. (Wikipedia)

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Dueling Cassandras

About a month before the big stock market crash we find this curious little item in Howard Brubaker’s “Of All Things” column…

…Considered the first “celebrity economist,” Irving Fisher stated in September 1929 that the stock market had reached “a permanently high plateau,” while around the same time (Sept. 5, 1929) rival economist Roger Babson warned in a speech that “sooner or later a crash is coming, and it may be terrific.” Note: “Ben Bolts” refers to a character in a popular 1842 poem that became an oft-parodied popular song. Each stanza begins with a variation of “Oh don’t you remember…”

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Parental Advisory

Fifty-five years before Tipper Gore and the Parents Music Resource Center pushed the music industry to place warning labels on records containing explicit lyrics, there was much ado about “lascivious lyrics” uttered on “race records” — the term referred to 78-rpm records marketed to African Americans from the 1920s and 1940s. The Sept. 21 “Popular Records” column looked at the controversy surrounding Ethel Waters’ “Second Handed Man,” and didn’t find any…

MUCH ADO ABOUT NOTHING…Ethel Waters (circa 1930) and her recording of “Second Handed Man.” (discogs.com/YouTube)

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New Kids on the Block

Architecture critic George S. Chappell (aka “T-Square”) concluded his Sept. 21 column with praise for the designs of the yet-to-be-built Daily News and Chrysler buildings, but expressed dismay at the recently completed Lincoln Building…

BAD COMPANY…New Yorker architecture critic George S. Chappell was excited about the designs for the Daily News Building (left) and Chrysler Building (center), but the Lincoln Building left him wanting. No doubt its gothic topper seemed dated in contrast to the sleek lines of the other buildings. (nyc-architecture.com)

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Movie critic John Mosher took in a couple of new films including Paramount’s  1929 pre-Code drama Jealousy…

FINAL CURTAIN…Jeanne Eagels and Fredric March in a publicity photo for Jealousy. Eagels died of a drug overdose on Oct. 3, 1929, just days after Mosher’s review appeared in the New Yorker. (IMDB)

…and Mosher also reviewed the musical drama The Great Gabbo, which was derived from a story by occasional New Yorker contributor Ben Hecht

WHO ARE YOU CALLING A DUMMY?…Erich von Stroheim has issues with his co-star in The Great Gabbo. (MoMA)

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From Our Advertisers

What appeared to be an unassuming ad from General Motors was actually a plan for world domination, at least in the area of ground transportation. GM gobbled up a number of car companies in the 1920s (see the ad’s fine print) as well as shares in power plants and home appliances. It would overtake Ford in sales in the late 1920s, and thanks to propaganda efforts including those illustrated in the ad below, it would lead a streetcar removal conspiracy that would destroy intercity train transport systems across the U.S. (and convert them to GM buses, naturally)…

Here we have yet another “distinguished handwriting contest” ad from the makers of Marlboro, this time exploiting the efforts of Corinne B. Riley of Sumter, S.C….

…Riley would win more than a handwriting contest, however. She would be elected as a Democrat to Congress in 1962 to fill a vacancy left by her husband, Congressman John Jacob Riley.

Corrine B. Riley in 1962. (Wikipedia)

On to our illustrators and comics, we begin with this two-page drawing by Reginald Marsh that appeared along the the bottom of “Talk of the Town” (click to enlarge)

Gardner Rea lent his spare style to this peek into Wall Street…

Peter Arno appeared to be experimenting with yet another style of drawing…

…that is in some ways looked similar to Alan Dunn’s

…the British cartoonist Bruce Bairnsfather provided this sumptuous drawing of an exchange at a card shop…

…and I. Klein gave a vertiginous perspective to home buying…

Next Time: Frigidity in Men…

A Carnival in the Air

When Charles Lindbergh gunned his Wright Whirlwind engine on Roosevelt Field and took to the skies on his historic flight, he sparked such an interest in flying that just two years later that very same field was hosting huge weekend crowds that came to marvel at the airborne wonders of a new age.

August 31, 1929 cover by Theodore Haupt.

Writing for “The Talk of the Town,” James Thurber was on hand to take in the spectacle, noting how the announcer sold air-mindedness to the mob “in great clamorous phrases and resonant assurances.” Among those taking their first flight was a “Mr. Galleger, aged 101.” Thurber also observed:

AIRBORNE SPECTACLES…Clockwise, from top, a 1931 aerial view looking southeast at a group of Army twin-engine biplane bombers overflying Roosevelt Field; parachute records were broken when 14 men and 2 women leaped from a Sikorsky bombing plane at Roosevelt Field in November 1929 (in the photo they seem to be standing precariously close to the plane’s whirling blades); Jack Cope waved to onlookers in Chicago before he performed a 15,000 foot jump in 1929. (tripod.com/Worthpoint/Chicago Tribune)

Although there were thrills galore up in the sky, Thurber seemed equally impressed by the spectacle on the ground…

THE SUN GOD…Clockwise, from top, a 1928 photo of biplanes lined up by a row of hangars at Roosevelt Field; the spectacle of mid-air refueling was demonstrated above Roosevelt Field by Texaco Oil’s Spokane Sun God. (Tom Heitzman/barnstmr.blogspot.com/Wikipedia)

One of the big attractions was Texaco Oil’s Spokane Sun God, which traveled around the country to demonstrate the art of mid-air refueling. Note in the excerpt below (second paragraph) how the Sun God’s pilot communicated with his ground crew: He tossed some notes—tied to a heavy piece of lead(!)—out of the airplane’s window. It nearly landed in a crowd of onlookers…

AND HOW WAS YOUR DAY?…For some perspective, the first attempt at refueling in mid-air was made in 1921. In the photo above, Wesley May climbs from the lower biplane to the upper while carrying a 5-gallon can of fuel strapped to his back. After lifting himself onto the wing, he worked his way between the wings and into the cockpit. He then poured the fuel into the engine. (Seattle Museum of Flight) 

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Falling Short

As I noted in a previous post (The Last Summer), the race to build the tallest building was erroneously reported by the New Yorker as a man against himself (namely, architect William Van Allen). In the Aug. 31 issue, the magazine’s “Talk of the Town” corrected the error, and added another curious note about another plan to build an “airplane lighthouse” taller than the Eiffel Tower…

As noted above, Col. Edward Howland Robinson Green (son of the notorious miser Hetty Green) wanted to build a thousand-foot tower on his estate in Massachusetts. Here is what he settled for instead:

WORK-LIFE BALANCE…Edward Green, radio enthusiast and son of the miserly Hetty Green, erected huge radio towers at his Massachusetts estate in the 1920s to operate an early broadcast station, WMAF. (Wikipedia)

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When Trains Fly

Cashing in on the enthusiasm over aviation, the City of New York promoted its elevated train system as an “Air Line.” According to “Talk”…

Click on the video below to take a ride on the “L”. Most of the 1929 footage begins at 4:47…

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Haw Haw

One more “Talk” item: a self-referential piece in which the New Yorker pondered its “mission” as a humor magazine…

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Audax Minor

For more than five decades, George Francis Trafford Ryall (1887-1979) wrote the horse racing column for the New Yorker under the pseudonym Audax Minor. He published his first column on July 10, 1926, and his last on Dec. 18, 1978. He was the writer of longest record at the magazine when he died at age 92 in 1979 (52 years, a record that has been shattered by the nearly 98-year-old Roger Angell, who has published in the New Yorker from 1944 to 2018).

According to Ryall’s obituary in the New York Times, he adopted the nom de plume Audax Minor in a nod to Arthur F. B. Portman, who wrote about racing in England under the name of Audax Major. Ryall’s writing was so entertaining that many of his readers had never even been to a racetrack. According to Brendan Gill in his book, Here at the New Yorker, “(Ryall’s) world is a romantic fiction and they (the readers) are grateful when they learn that, with his green tweeds, his binoculars hung smartly athwart his chest, and his jaunty stride, Ryall resembles a character out of some sunny Edwardian novel.” An excerpt of his column from the Aug. 31 issue, with illustrations by Johan Bull:

A DAY AT THE RACES…At left, a crowded second floor dining area in the clubhouse at Saratoga, 1929; a postcard image of the track, with expanded clubhouse at left, circa 1929. (Saratoga Springs Historical Museum/Boston Public Library)

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Shut Out

As I’ve noted before, the New Yorker covered nearly every imaginable sport except baseball. Here is a rare mention of the game in Howard Brubaker’s “Of All Things” column:

The Cubs would win the NL pennant, but they would fall to the Philadelphia Athletics in the 1929 World Series.

Rough and Ready

When Fiorello La Guardia challenged incumbent Jimmy Walker for New York City mayor in 1929, the city’s voters were presented with two colorful candidates who could not have been more different in their styles. Walker, a product of Tammany Hall, was a svelte dandy with a taste for the refined, whereas the reform-minded La Guardia was often coarse and unkempt. If they had anything in common, it was their dislike of Prohibition. La Guardia was featured in the Aug. 31 profile, written by Henry F. Pringle. Some excerpts:

JUST TRY TO STOP ME…Congressman Fiorello La Guardia pouring beer in his office during Prohibition, when he served New York’s 20th district in U.S. House of Representatives. (La Guardia Wagner Archives)

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Praise for the King

The New Yorker’s film critic John Mosher found most of Hollywood’s output to be pedestrian, but occasionally he saw a bright spot, including King Vidor’s latest production, Hallelujah:

William E. Fountaine, Nina Mae McKinney and Daniel Haynes in Hallelujah. The 17-year-old McKinney was the first African-American actress to hold a principal role in a mainstream film, and the first African-American actor to sign a long-term contract with a major studio—MGM. (IMDB)

As for another film, Paramount’s The Sophomore, Mosher probably felt a bit obligated to say something nice, since it was a derived from a story by humorist Corey Ford, an early contributor to the New Yorker and part of the Algonquin Round Table orbit:

BOY MEETS GIRL…Lobby card for The Sophomore. (IMDB)

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A Bright Interval for Nancy

The New Yorker gave a brief but approving mention of Nancy Hoyt’s latest book, Bright Intervals, in its book review section…

Hoyt was a member of a socially prominent but deeply troubled family that included her recently deceased sister, the poet and writer Elinor Wylie (I wrote about the Hoyt family in my post Generation of Vipers). Characters in Hoyt’s novels often resembled the women in her family.

Nancy Hoyt in an undated photo by Sherril Schell. (Conde Nast/Amazon)

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From Our Advertisers

It was back to college time, and Macy’s had a thrifty new fall lineup ready for the “Junior Deb”…

…and on the less thrifty side, Best & Company offered these new looks for fall…

…note in the above ad that the first model is Virginia Maurice, the very same model we encountered in a recent post (The Last Summer) posing for Chesterfield cigarettes…

Model Virginia Maurice posed for this 1929 Chesterfield ad, illustrated by artist Charles Edward Chambers.

…the other model in the Best & Company ad, Babs Shanton, also wasn’t averse to taking money from the tobacco companies…

Undated newspaper ad for Lucky Strikes featuring Babs Shanton, a sometime performer with the Ziegfeld Follies and a singer with the Lucky Strike Dance Orchestra. (Stanford University)

…the makers of Studebakers tried to add sex appeal in this ad for their President Roadster. The artist was obviously challenged to work all of the necessary elements into the picture—car, swimming pool, diving board—not to mention the block of superfluous text where the steps to this impossibly long diving board should have been located…

…and sex not only sold cars…its also sold printing services…

…instead of sex, the promoters of Tudor City chose strangulation to get their pitch across, equating a man’s daily train commute to death at the gallows (Danny Deevers refers to a character in a Rudyard Kipling poem who is hanged for murder)…

…the gawkers at Roosevelt Field weren’t the only folks with their heads in the clouds…an ad for Flit insecticide by Dr. Seuss…

…this ad for Raleigh cigarettes, which appeared on the back cover of the Aug. 31 issue, assumed that folks were so familiar with their mascot that no further explanation was needed…

…here is a 1929 ad from House Beautiful that featured the same mascot with the Van Dyke beard…both ads were rendered by French illustrator Guy Arnoux

…on to our cartoonists…Helen Hokinson contributed this two-page spread on the challenges of visiting an old friend (click to enlarge)

Peter Arno looked in on a cheapskate at a posh restaurant…

Bruce Bairnsfather visited the talkies…

Justin Herman examined the literary life of the street…

Kindl explored an awkward moment from the annals of technological advancements…

…and I. Klein illustrated the hazards of the tonsorial trade…

Next Time: The Last Hurrah…