Lights, Camera, Action

Comedian Ed Wynn began his long acting career on a vaudeville stage in 1903, and beginning in 1914 his giggly voice would delight Broadway crowds flocking to the Ziegfeld Follies. So when he stepped in front of a movie camera for a talking picture, it was something of a sensation.

September 27, 1930 cover by Sue Williams.

It was not an easy transition for the stage veteran. As you can see from Morris Markey’s account below in “A Reporter at Large,” the early talkies presented all manner of challenges and restrictions for stage actors accustomed to a bit more freedom of movement and expression.

SCANDALOUS BUNCH…Ed Wynn (in hat) portrayed a character he developed on Broadway — “Crickets” — in his film debut Follow the Leader. At left is actor Stanley Smith, and at center, holding Wynn’s hand, is a brunette Ginger Rogers, with chorus girls from George White’s Scandals. (IMDB)

PAY NO ATTENTION TO THE MAN BEHIND THE WINDOW…Noisy cameras were enclosed in soundproof boxes in the early days of the talkies. Above, Woody Van Dyke directs Raquel Torres and Nils Asther in 1930’s The Sea Bat. (Pinterest)
TINSELTOWN IN QUEENS…For his article, Morris Markey visited the set of Follow the Leader at Astoria Studios in Queens. The original studio building, at 35th Avenue, is on the National Register of Historic Places. Although Paramount moved its movie operations to Hollywood in the early 1930s, the studio continued to be used for both film and television productions. At right, a bit of Paris was erected in the midst of Queens for the filming of 1929’s The Gay Lady. (Wikipedia/Kaufman Astoria Studios)
FILM DEBUT…A December 1930 magazine advertisement touting Ed Wynn’s first motion picture. (IMBD)

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False Modesty?

In Morris Markey’s second installment of his profile on Charles Lindbergh, Markey suggested that Lindbergh’s aversion to publicity might be a pose…

NO WI-FI, BUT YOU CAN SMOKE…Top, the posh set take wing circa 1930; below, passengers prepare to board an American Airlines flight in 1930. (Pinterest/Daily Mail)

…and also wondered how much credit Lindbergh could take for sparking the aviation industry, given that flying was still an activity reserved for a very few…

…Markey also noted a “lively rumor” that Lindbergh wanted to be President…

…fortunately Lindbergh did not give truth to the rumor, or fulfill the alternate history created by Philip Roth in his 2004 novel The Plot Against America

HANGIN’ WITH A BAD CROWD…Top, Charles Lindbergh accepts a ceremonial sword from Hermann Göring during a 1936 visit to Nazi Germany; below, right, Lindbergh in Germany, 1937. Philip Roth’s novel imagined Lindbergh’s election to the Presidency in 1940 and its chilling results. (Reddit/New Yorker/Goodreads)

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Bad Moon Rising

In 1930 few, if anyone, were aware of Lindbergh’s proclivities toward nationalism and antisemitism. And lacking a crystal ball, Markey’s New Yorker colleague, Howard Brubaker, had little reason to be alarmed by the federal elections in Germany, which gave the Nazis the second largest number of seats in the Reichstag. In his “Of All Things” column, Brubaker quipped:

INCOMPATIBLE…As Howard Brubaker noted in “Of All Things,” the fascists led by Adolf Hitler, left, and the communists led by Ernst Thälmann (right) made big gains in the 1930 German elections. After gaining power in 1933, Hitler would arrest Thälmann and later have him shot. (Wikipedia)

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Gummed to Death

The New Yorker’s John Mosher took in the latest travelogue to exploit and misrepresent life on the African savannah. Africa Speaks included a scene depicting a fatal attack on a “native boy” by a lion —  an attack that was actually staged at a Los Angeles zoo and involved a toothless lion…

STRANGE INDEED…At left, movie poster for Africa Speaks; top right, Pygmy drummers in the film; bottom right, explorer Paul Hoefler getting closer to nature. (IMDB/Wikimedia)

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From Our Advertisers

When Paris unveiled is spring and fall fashions, large department stores were always quick to respond with “copies”…

…while the higher end boutiques offered originals to “poor little rich girls”…

…perhaps some of these “poor little rich girls” socialized at the Panhellenic, a “club-hotel for college women”…

…and here are some views of the Panhellenic House, circa 1929…

Center, The Panhellenic House, at First Avenue and 49th Street; at left, the solarium; at right, a ballroom. (Avery Library/Museum of The City of New York via the New York Times)

…the makers of Old Gold cigarettes had some of the weirdest ads to push their smokes, including this one…

…and one wonders what the world would be like (and especially the U.S.) if car buyers would have favored a more compact version of the motorcar going forward…

…on to our comics…we begin with parenting tips from the posh set, courtesy Garrett Price

Alan Dunn explored modern matrimony…

…one of Helen Hokinson’s ladies demonstrated a unique taste in furniture…

Otto Soglow continued to explore humor in a wavy fashion…

…and we close with this vertiginous view provided by Leonard Dove

Caption: “Beer at lunch always makes me drowsy.”

Next Time: Leatherheads…

 

 

The Woes of Mr. Monroe

Whether probing the battle of sexes or exposing the secret lives of daydreamers like Walter Mitty, James Thurber (pictured above) had a knack for revealing the frustrations and various tics that plagued ordinary people.

Aug. 9, 1930 cover by Rea Irvin.

That included the fictional John Monroe, whom Thurber placed in various awkward situations in a series of humorous stories, including this encounter with some moving men that required the rather inept Monroe to make a series of decisions usually left to his wife, Ellen. Some excerpts from the Aug. 9 issue:

ODD COUPLES…Sue Randall, left, and Orson Bean portrayed John and Ellen Monroe on a 1961 episode of The DuPont Show with June Allyson…
…a decade later, William Windom, left, and Joan Hotchkis portrayed John and Ellen Monroe on the Thurber-inspired (and award-winning) NBC comedy My World and Welcome to It (1969-70). (Wikipedia/Amazon)

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Beats the Heat

In the hot August of 1930, film critic John Mosher probably found the air-conditioned theaters to be the best feature of the cinema, given the generally mediocre quality of the summer movies. Mosher also noted the new trend of adapting Broadway plays to the screen, a practice that continues to this day.

THE SOUND OF 1930…Joan Crawford (left) examines a boom microphone on the set of Our Blushing Brides. Although most films were produced with sound in 1930, it was still something of a novelty to actors who began their careers in the silent era; at right, Douglas Fairbanks Jr. and Anita Page in Little Accident. (IMDB)

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From Our Advertisers

Well who doesn’t love a whole chicken in jar, ready to “fry or cream” in just 20 minutes? This was actually a big deal in 1930, given that chicken dinners were not as common back in the days before factory farms and Chick-fil-A…

…the makers of Marlboro cigarettes abandoned their essay and penmanship contests and took another direction with their drab, back-page ads, appealing to a vague sense of status in the prospective smoker…

…this sad little bottom-of-the-page ad enticed readers to take a drive in the country to see Texas Guinan and her “Famous Gang” still whooping it up like it was 1925. The venture was short-lived…

…on to our cartoons, Peter Arno looked in on nightlife in the city…

William Crawford Galbraith took in an outdoor concert…

Ralph Barton offered his comic skills to a glimpse of domestic life…

Garrett Price observed some boaters on an outing that would be frowned upon today (or at least I hope so)…

…and Constantin Alajalov examined the pitfalls of modern art…

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Speaking of art, we move on the Aug. 16, 1930 issue…

Aug. 16, 1930 cover by Barney Tobey.

…in which Robert Benchley has fun with the foibles of the art world…

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Rough Riders

In his “Reporter at Large” column, Morris Markey looked in on the working world of one chain-smoking ambulance driver…some excerpts…

SOMEONE NEEDS TO CLEAN THIS UP…Clockwise, from top left, a 1930s Flexible ambulance and its rather cramped interior; scene of a 1933 Manhattan murder. (coachbuilt.com/NY Daily News)

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From Our Advertisers

Hard to believe that zippers were a novel invention just 90 years ago…in this ad from the leading manufacturer, Talon, this “hookless” wonder was still referred to as a “slide fastener”…

…the Chrysler Corporation was never the biggest car company in America, but it was always known as a leader in both technology and design, as in these graceful lines that flowed over its new “Straight Eight” models…

…the makers of Camel cigarettes continued to push their product as a sound way to stay fit and trim…

…in the cartoons for Aug. 16, this drawing by Peter Arno appeared for the fifth time in the magazine, always with a different caption (the others appeared in three consecutive issues — June 5, 12 and 19, and on Aug. 2, 1930)…

William Crawford Galbraith detected some wet vs. dry tension at the country club…

Ralph Barton returned with another full-page illustration of a weekend domestic scene…

Garrett Price found confusion in a lengthy queue…

…and Kemp Starrett gave us a bird’s eye view of a future New Yorker…

Next Time: Hell’s Angels…

Transatlantic Dreaming

When Apollo astronauts landed on the moon fifty years ago, many skeptics asked the question, “What good does this accomplish?”

July 12, 1930 cover by Constantin Alajálov.

New Yorker writer Morris Markey posed the same question 89 years ago about transatlantic flights, then limited to a handful of daredevils chasing various speed and distance records. Crossing the ocean in an airplane, Markey observed, was “one of the most difficult things imaginable.” He concluded that despite the heroics of a few pilots, “we are still not much nearer to transoceanic commercial service…”

TESTING THE LIMITS…In photo at left, Charles Kingsford Smith (second from left) and the crew of his airplane, Southern Cross, pause before embarking on their east-west crossing of the Atlantic in  June 1930; photo at right: Dieudonné Costes (right) with Maurice Bellonte in Boston in 1930. On September 1-2, 1930, they flew the “Point d’Interrogation” from Paris to New York, the first heavier-than-air aircraft to reach New York in the more difficult westbound direction between the North American and European mainlands. (National Library of Ireland/Wikipedia)
BIG THINKERS…Germany’s massive Dornier Do-X made its first test flight on July 12, 1929. A few months later, it carried a world-record 169 passengers on a 40-minute flight, an astonishing number given that the largest planes at that time rarely carried more than 20 passengers. In 1930, the Do-X took off on an international publicity tour through Europe, down the west coast of Africa, across the Atlantic to Brazil and up to New York before returning to Berlin. (Mashable)

Markey went on to detail the various obstacles facing transatlantic fliers, including fairly good odds that a plane, laden with fuel and supplies for such a journey, would crash on takeoff. He noted that a little over half of the attempts succeeded, while the others seemed doomed from the start.

ILL-ADVISED…With only 70 hours of flying experience, Montana rancher Urban F. Diteman (left, with his airplane “Golden Hind”) took off from Harbour Grace, Newfoundland, bound for London. He was never seen again; at right, the William Randolph Hearst-sponsored “Old Glory,” a Fokker F.VIIa single-engined monoplane that was used in 1927 on an attempted transatlantic flight from Old Orchard Beach, Maine to Rome, Italy. The overloaded plane and its crew were lost approximately 700 miles east of Newfoundland, where only a section of wing was recovered. (dailymontana.com/Wikipedia)

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Glare of the New

Architecture critic George Chappell enthusiastically followed the construction of the world’s tallest building, but in its completion he found the Chrysler Building’s now-iconic spire to be little more than a stunt, and suggested that a covering of masonry might be in order:

MAYBE SOME VINYL SIDING?…George Chappell wasn’t too crazy about the Chrysler’s chrome dome, and also worried about the amount of steel that would clad the exterior of the Empire State Building, right, which is composed of limestone, chrome bars and aluminum panels. (Wikipedia)

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Bottoms Up

In his “Notes and Comment,” E.B. White pondered the drinking habits of his fellow citizens in the tenth year of Prohibition:

MAKE THAT A DOUBLE…Finding refreshment in the dark days of Prohibition. (junkee.com)

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Good Old Summertime

Along the bottom of “The Talk of the Town,” a Reginald Marsh interpretation of Coney Island fun and games…

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Still the Same

Lois Long, who painted a picture of Jazz Age nightlife like no other in her “Tables for Two” column, teased her readers by disguising her identity, often claiming she was a frumpy old lady. With her “Tables” column now relegated to the dustbin, the fashionable and young Long maintained her pose, referring to herself as an “old war horse” in her fashion column “On and Off the Avenue.”

Problems of the Rich

John Mosher reviewed the 1930 American Pre-Code comedy Holiday, which told the story of a young man torn between his wild lifestyle and the tradition of his wealthy fiancée’s family. Films that explored the “problems” of the rich seemed particularly popular in the Depression years…

POOR LITTLE RICH GIRLS…Mary Astor and Ann Harding in Holiday. (IMDB)

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From Our Advertisers

The makers of Pond’s Cold Cream continued its campaign of endorsements by society women, including Philadelphia socialite, philanthropist and champion horsewoman Elizabeth Altemus

Altemus (1906-1988) was a prominent owner/breeder of Thoroughbred racehorses for more than 50 years. Her first marriage was to Jock Whitney, U.S. Ambassador to the United Kingdom, publisher of the New York Herald Tribune, and president of the Museum of Modern Art. By the looks of this 1937 portrait of Altemus, the cold cream certainly didn’t do her any harm…

Mary Elizabeth Altemus Whitney in 1937. (geni.com)

…speaking of cold cream, when Kleenex was introduced in the early 1920s, it was marketed solely as a hygienic way to remove cold cream. It wasn’t until the 1930s that the makers of Kleenex began to suggest it could also be used as a tissue in place of a handkerchief. Of course it was also a great way to dramatically expand consumption of its brand, and help usher in a new age of disposable products…

…as the Depression deepened, ads for automobiles began to change with the times, most manufacturers emphasizing the affordability of their cars over performance or prestige, as this sad little ad from Packard attested….

…in three consecutive issues (June 5, 12 and 19) Peter Arno featured the same drawing with a different caption that gave readers a very brief courtship story…

Alan Dunn offered a glimpse of life among the newsboys…

Leonard Dove found Americans browsing newsstands along the Seine…

Helen Hokinson looked in on an existential crisis…

Perry Barlow was Out West at a dude ranch…

Barbara Shermund eavesdropped on a couple of debs…

Garrett Price gave us an awkward encounter among the yachting crowd…

…and finally William Crawford Galbraith, and a case of domesticus interruptus

Next Time: Aleck & Frank at Taliesin…

Red Alert

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

May 17, 1930 cover by Rea Irvin.

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

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

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

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

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

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

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

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

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It’s In The Stars

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

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

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More Advice on Troublesome Pets

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

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

click image to enlarge

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A Fighter for Rights

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

Johnston concluded his two-part profile with these words:

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

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From Our Advertisers

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

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

Helen Hokinson looked at the challenges of city driving…

Gardner Rea explored the mysteries of street food…

…and Peter Arno greeted one Manhattan couple at sunrise…

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

May 24, 1930 cover by Madeline Pereny.

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

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

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From Our Advertisers

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

…a bit of color courtesy the Lenthéric salon…

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

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

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

(New York Public Library)

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

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

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

Barbara Shermund found some bedside humor…

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

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

Next Time: The Little King…

 

 

 

 

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…

 

 

Is Sex Necessary?

James Thurber and E.B. White shared an office at the New Yorker that has been described as “the size of a hall bedroom.” This proximity doubtless supported a rich exchange of ideas that coalesced in their 1929 bestseller, Is Sex Necessary? Or, Why You Feel the Way You Do.

Sept. 28, 1929 cover by Julian De Miskey.

A spoof of popular sex manuals and how-to books that dealt with Freudian theories, the book featured chapters (alternately written by Thurber and White) that delved into pseudo-sexual conditions such as “Frigidity in Men” — the title of a chapter by White excerpted in the Sept. 28, 1929 issue of the New Yorker…

Expanding on the condition known as “recessive knee,” White coined the term “Fuller’s retort,” and claimed it was “now a common phrase in the realm of psychotherapy”…

THE ARTIST EMERGES…Although James Thurber had yet to publish one of his drawings in the New Yorker magazine, Is Sex Necessary? featured 42 of them, including the illustration at right that demonstrated the male greeting posture. (brainpickings.org)

No other editor besides founder Harold Ross did more to give the New Yorker its shape and voice than Katharine Angell, who recommended to Ross the hiring of both White and Thurber. It is worth noting that White would marry Angell in the same month, November 1929, as the publication of Is Sex Necessary? In their case, sex was necessary, as Katharine would give birth to their son, Joel White, the following year.

DYNAMIC TRIO…Katharine Angell (inset) would be instrumental in bringing both E.B. White (left) and James Thurber to the New Yorker. (Pinterest/Wikipedia)

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A New Rabbit Hole

In other news from the world of publishing, “The Talk of the Town” (also largely a product of Thurber and White) noted the publication of a new edition of Alice in Wonderland that featured a re-drawn Alice with bobbed hair and the slender profile of a 1920s flapper. White mused:

NEW ALICE, MEET OLD ALICE…A 1929 edition of Alice and Wonderland featured a Jazz Age Alice (left) as rendered by Willy Pogany. At right, Sir John Tenniel’s original Alice, from the 1866 edition. (comicartfans.com/girlmuseum.org)

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Rise of the Boob Tube

Also in “Talk,” it was reported that the BBC would be putting television on the air “five times a week for a half an hour.” The broadcasts, on a single channel, featured speeches, comic monologues and popular songs. The technology did not allow sound and image to be transmitted together, so “viewers” (there were only a handful of sets) first heard each piece in audio, followed by a mute moving image:

COMMERCIAL-FREE…Early television promotor Sydney Moseley (left) and two employees of the Baird Television Development Co. watch the inaugural television broadcast on a “Noah’s Ark Televisor,” Sept. 30, 1929. The televisor was the invention of British TV pioneer John Logie Baird (1888-1946). (scienceandmediamuseum.org.uk)

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Mutt & Jeff & Peggy

This odd little item in “Talk” focused on the literary interests of Peggy Hopkins Joyce, an actress and dancer best known for her lavish lifestyle and multiple marriages and affairs. She was a Kardashian of her day — famous for being famous. Despite her flamboyant ways, Joyce seemed to have some rather pedestrian tastes, at least when it came to her reading pleasure…

JEEVES, BRING ME SOME LIGHT READING…Peggy Hopkins Joyce (left) might have preferred the high life, but her tastes in reading seemed more of the rabble. She is pictured here in her Hollywood debut, the 1926 silent film The Skyrocket. The film bombed, and Joyce made just one more screen appearance before moving on to other things. (Bizarre Los Angeles/mycomicshop.com)

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Ring Cycle

Ring Lardner contributed a casual titled “Large Coffee,” in which he checks into a hotel to escape life’s distractions and get some writing done. The piece consisted of diary entries largely concerned with Lardner’s inability to get a proper order of coffee. He began with an editor’s note that described how his corpse was found in the room, along with the diary. Some excerpts:

COFFEE AND CIGARETTES helped fuel the genius of writer Ring Lardner. (Brittanica)

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Master of the Screwball

Preston Sturges (1898-1959) was known for taking the screwball comedy and turning into something more than a simple farce. Reviewer Robert Benchley saw the potential in this young Broadway producer, whose second play, Strictly Dishonorable, opened to great acclaim:

KEEPING IT LIGHT…Tullio Carminati as Count Di Ruvo and Muriel Kirkland as Isabelle Parry in Broadway’s Strictly Dishonorable, 1929. Producer Preston Sturges reportedly wrote the hit play in just six days. (Museum of the City of New York)

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Have No Fear

Morris Markey (1899-1950) often took on the lurid and sensationalist reporting of his day in a column he established at the New Yorker titled “Reporter at Large.” In his Sept. 28 column titled “Fear, Inc.” Markey chided everyone from the newspapers and Hollywood to the headline-grabbing NYC Police Commissioner Grover Whalen, and painted a picture of organized crime that was less violent and glamorous, and a lot more mundane…

MAKE SURE YOU GET MY GOOD SIDE…NYC Police Commissioner Grover Whalen loved to make headlines with his “get tough on crime” approach. He was was famously quoted as saying, “There is plenty of law at the end of a nightstick.” (wnyc.org)

Markey suggested that rather than screeching tires and blazing Tommy guns, most of the crime in the city was just the humdrum of making money…

Sadly, Markey himself would meet a violent end, dying of a gunshot wound at the age of 51. It is unclear whether it was self-inflicted.

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The Last Laugh

The year 1929 saw the passing of Minnie Marx, the beloved mother of the Marx Brothers comedy troupe. Alexander Woollcott offered this tribute in his “Shouts and Murmurs” column…

MY LITTLE CLOWNS…Minnie Marx with her sons, The Marx Brothers, circa 1920. (Find a Grave)

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From Our Advertisers

Harper’s Bazar began weekly publication in 1867, catering to women in the middle and upper classes. The magazine was a frequent advertiser in the upstart New Yorker, no doubt perceiving a considerable overlap among its readers. This full page ad in the Sept. 28 issue of the New Yorker featured a column by the Bazar’s Paris fashion correspondent, Marjorie Howard

…no doubt the New Yorker’s own fashion editor, Lois Long (1901-1974), read her rival’s column with great interest, and, like the magazine she wrote for, Long was the young upstart compared to the veteran Howard (1878-1958). However, according to future New Yorker editor William Shawn, Long was the superior writer. Upon Long’s death in 1974, Shawn said “Lois Long invented fashion criticism,” adding that she “was the first American fashion critic to approach fashion as an art and to criticize women’s clothes with independence, intelligence, humor and literary style.” Here is a brief excerpt from Long’s fashion column, “On and Off the Avenue,” in the Sept. 28 issue…

OF A FASHION…Majorie Howard (left) served as fashion editor for Harper’s Bazar in the late 1920s and 1930s. Lois Long (right) wrote the New Yorker fashion column, “On and Off the Avenue,” from 1927 to 1970. (findagrave.com/Vassar College)

…looking at some of the ads from the magazine’s back pages, here’s one from Scribner’s announcing the publication of A Farewell to Arms (a first edition for only $2.50)…

…the back pages of the New Yorker near the theater section were filled with signature ads promoting various entertainments…

…this ad from Kargère referenced an exchange from Oscar Wilde’s The Picture Of Dorian Gray: “They say that when good Americans die they go to Paris,” chuckled Sir Thomas…” Really! And where do bad Americans go to when they die?” inquired the Duchess. “They go to America,” murmured Lord Henry…

…several ads and filler illustrations from the Sept. 28 issue featured posh folks dressed for fox hunting season, the makers of Spud cigarettes among them…

…this ad from Frigidaire featured an illustration by Herbert Roese, whose style at the time somewhat resembled Peter Arno’s

…for comparison, an Arno cartoon from 1930…

From Peter Arno’s book Hullabaloo, 1930. (attemptedbloggery.blogspot.com)

and Arno’s full-page contribution to the Sept. 28 issue…

…another artist at the New Yorker who along with Arno often received a full page for her work was Helen Hokinson, here looking in on life at Columbia U…

…and there were artists who were lucky to get any space at all, including Kent Starrett, who probably drew on his own experiences at the New Yorker’s front office for this entry…

…and finally, Garrett Price illustrated the challenges of the “house call”…

Next Time: American Royalty…

 

The So-So Soprano

Although its founding editor, Harold Ross, was raised in the rude surroundings of a Colorado mining town and often displayed the manners of a backwoodsman, the New Yorker nevertheless looked down its sophisticated nose at most anything west of the Hudson, and the middle west was reserved for particular ridicule in its homespun piety and small city boosterism.

April 20, 1929 cover by Adolph K. Kronengold.

Enter one Marion Talley, a child prodigy from the tiny town of Nevada, Missouri. After appearing in a lead role at age 15 for the Kansas City Grand Opera, excited civic leaders raised enough money to send Talley to New York to study voice. Four years later (February 1926) she made her Metropolitan Opera debut as Gilda in Rigoletto — at that time the youngest prima donna to appear on the Met stage. A delegation of Kansas City’s two hundred leading citizens (including the mayor) travelled to New York via special train to attend the performance. Adding to the spectacle, a noisy telegraph machine was set up backstage so Talley’s father could send dispatches back home during the performance. Writing in his “A Reporter at Large” column for the New Yorker’s Feb. 27, 1926 issue, Morris Markey scoffed at the hype and Babbitry on display:

THE MANY PHASES OF MARION…Clockwise, from top left, 18-year-old Marion Talley in 1925 in a detail of an image that appeared on the cover of Time; Talley in 1927 (detail of a portrait by Edward Steichen); an autographed portrait dated May 1936; with co-star Michael Bartlett in her only movie, Follow Your Heart (1936); promoting Ry-Krisp crackers, sponsor of her NBC radio show, 1937. (Getty/famousfix.com/imdb.com/mnopedia.org)

The New Yorker (via E.B. White in “Notes & Comment”) caught up with Talley more than three years later in the April 20, 1929 issue, her short career seemingly over, her voice perhaps destined for nothing more than “hog-calling”…

When Talley’s Met contract was not renewed for the 1929 season, she announced her plans to retire to a wheat farm in Kansas (hence the hog calling reference). She did, however, try to revive her career on concert tours and then on her own NBC Radio program (1936-1938), sponsored by Ry-Krisp. She made one film, the 1936 musical Follow Your Heart, but after its tepid reception the 30-year-old Talley decided to retire from show business.

ONE MORE TRY…Testimonial ads promoting weight reduction usually signal the end of a career, and for Marion Talley her Ry-Krisp diet endorsement was no exception. (imdb)

How good a singer was Marion Talley? We will never really know, but you can get some sense of her style and range from this 1927 Vitaphone short (the Vitaphone sound method synchronized the film with what was essentially a record player):

Talley married twice — to pianist Michael Rauchelsen (1932–1934) and to music critic Adolph Eckstein (1935–1942), the latter with whom she had a daughter, Susan. Talley died in 1983 in Beverly Hills, California.

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Dark Clouds on the Horizon

The April 20, 1929 “Talk of the Town” made passing mention of a man who would be instrumental in the stock market crash later that year—National City Bank President Charles E. Mitchell:

The “Talk” item references a $25 million advance Mitchell offered to stock market traders who were getting the yips in an overheated market. This happened after a “mini crash” on March 25, 1929, when the Federal Reserve told its banks to withhold all loans to finance securities. Mitchell’s announcement apparently reassured the public enough to stop the panic, but in reality it only delayed the inevitable—a major market crash brought on in large part by the over-selling of securities by Mitchell’s bank.

RUNAWAY BULL…Charles E. Mitchell’s reckless overselling of securities played a large role in the October 1929 stock market crash. Arrested and indicted for tax evasion in 1933, Mitchell would be acquitted of criminal charges but would end up paying a million dollars to the U.S. government in a civil settlement. At right, Walker’s stately townhouse on Fifth Avenue, now home to the French consulate. (geni.com/daytonian in manhattan)

The “Talk” item continued with this observation on the Panic of 1907, and how banker J.P. Morgan had also offered $25 million to bring the market back to earth:

PANIC ATTACK…banker J.P. Morgan (left) used a pile of money to calm the stock market during the Panic of 1907. His son, J.P. Morgan Jr., (right) would try to do the same following the October 1929 crash, when he and other bankers attempted to prevent a depression by purchasing some overpriced blue chip stock. As we know, their actions had little effect. (Library of Congress)

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Funny Girl

One of Broadway’s biggest stars in the 1920s, Fanny Brice (1891-1951) was profiled by Niven Busch Jr. in the April 20 issue. In addition to her work with the Ziegfeld Follies and other stage productions, by 1929 the comedian, singer and actress had recorded two-dozen songs and appeared in the 1928 film, My Man. Brice’s star would continue to rise in the 1930s and 40s, especially on the radio portraying the bratty toddler “Baby Snooks.” Here are the opening lines of the profile, which included a caricature of Brice by Miguel Covarrubias:

Top right, caricature of Fanny Brice that accompanied the New Yorker profile, drawn by Miguel Covarrubias. Below, publicity photo of Brice as Baby Snooks, 1938. (Photofest)

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From its very beginnings comic verse played an important role in the pages of the New Yorker. The subjects of my previous blog post (Generation of Vipers), sisters Elinor Wylie and Nancy Hoyt, both contributed comic poems to the magazine, as did Clarence Knapp, a former mayor of Saratoga, New York, who also wrote prose pieces on that city’s famed horse racing scene. According to Judith Yaross Lee (Defining New Yorker Humor, p. 354), Knapp was a New Yorker insider who penned a total of 14 mock-melodramatic “sob ballads” between 1927 and 1930. Lee observes that Knapp’s ballads followed a fixed formula, two 16-line stanzas followed by eight-line refrains, that “joked about present social values by invoking past forms.”

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They Loved a Parade

After the passing of literary giant Victor Hugo in 1885 (his funeral attracted two million mourners), Paris became known for its spectacular funeral processions. So when famed French general and (WWI) Supreme Allied Commander Marshal Ferdinand Foch died on March 20, 1929, the City of Light turned out in droves to say goodbye. On hand to report the scene was the New Yorker’s Paris correspondent, Janet Flanner, aka Genêt:

A PARIS FAREWELL…The Tricolor-draped coffin of Marshal Ferdinand Foch is escorted by the Allied Commanders from the Great War (WWI) during the funeral procession. The American General John J. Pershing can be seen marching alongside the catafalque in the center of the photo. (Associated Press)

By Flanner’s account, Foch’s send-off easily matched Hugo’s in terms of crowd size:

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The Art of Smoking

Cigarette manufacturers used a variety of marketing techniques to promote their tobacco products. During the late 1920s and early 30s R.J. Reynolds sought to attract more women smokers through a series of stylish ads for its Camel brand that evoked a softly elegant world. These ads were illustrated by Carl Erickson (1891–1958), a fashion artist whose work was widely seen in Vogue and in promotions for Coty cosmetics. This ad appeared in the April 20 issue of the New Yorker:

While studying at Chicago’s Academy of Fine Arts, Erickson was nicknamed “Eric,” a name he later used to sign his works. Also a successful portrait artist, Erickson lived part of his professional life in France (1920 to 1940) with his wife, the fashion illustrator Lee Creelman. Below are several examples of Erickson’s Camel work, including two back page illustrations from Delineator, a women’s fashion magazine that featured Butterick sewing patterns.

Clockwise from top, left, ad from Delineator, July 1930; 1929 ad from unknown source; unknown date and source; Carl “Eric” Erickson at work circa 1950; ad from the Delineator, July 1929. (Delineator/fashionising.com/periodpaper.com)

And From Our Other Advertisers…

With our Cuba relations once again eroding, let’s look back 89 years to a time when affordable, care-free living could be yours in sunny Havana…

…or in the days before foam rubber, “ozonized” animal hair gave bounce to your rugs…

…or the modestly well-off could contemplate an apartment on Park Avenue…

View from a 16th floor condo at 784 Park Avenue, yours today for a cool $8 million. (triumphproperty.com/stribling.com)

Our cartoons come courtesy of Garrett Price (1895-1979), who would contribute hundreds of cartoons as well as 100 covers during his more than 50 years with the New Yorker. An excellent look at Price’s life and work can be found in The Comics Journal

Garrett Price, circa 1918, and one of his New Yorker covers from May 21, 1949. (The Comics Journal)

Denys Wortman (1887-1958) looked in on a bookseller with a “spoiler” problem. From 1924 to 1954 Wortman drew the nationally syndicated comic strip Metropolitan Movies for the New York World. The beautifully drawn strip offered a naturalistic portrayal of daily life in New York City…

Denys Wortman at work in an undated photo. At left, an example from his Metropolitan Movies comic strip, dated May 11, 1932. (New York World/New York Times)

…and John Reynolds looked in on the challenges of the architecture profession. Reynolds contributed 34 drawings to the New Yorker from 1928 to 1930.

Next Time: Hello Molly…