Life of a Rum Runner

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March 6 cover by S.W. Reynolds

Although they didn’t know it, thirsty New Yorkers still had more than six and half of years of Prohibition to endure, and business was brisk for the rum runners who plied the coastal waters.

The March 6, 1926 issue featured the article “Rum Runners Must Live,” in which writer Emile C. Schnurmacher described the heroic efforts of bootleggers and rum runners in keeping New York’s countless speakeasies (and many home liquor cabinets) well stocked. Some 30,000 speakeasies were opened in New York City alone during the Prohibition era.

Schnurmacher described the risky game of running “overboard stuff:”

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He told of how one rum-running boat, the Sea Bird, made its way through Flushing Bay (to pick up bootleg Scotch) while evading the Coast Guard:

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The boat later successfully delivered the “Scotch” near Yankee Stadium:

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“The Talk of the Town” offered its regular update on bootleg prices. The local “synthetic” gin was reported to be of better quality than the imports, surprising given that synthetics poisoned a good number of folks back then:

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The blog Speakeasy Science notes that during Prohibition, police department chemists, “analyzing the so-called gin in the Brooklyn bar and around the city, reported that much of it was industrial alcohol, re-distilled to try to remove the wood alcohol content. The re-distilling was not notably successful. The poisonous alcohol remained and there was more: the chemists had detected traces of kerosene and mercury, and disinfectants including Lysol and carbolic acid in the beverages.”

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HE HAD THE GOOD STUFF…Not all bootleg was poison. Until he was busted in 1923 by government agents, one of the most famous purveyors to wealthy buyers was rum-runner William McCoy. (US Coast Guard)
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In order to destroy evidence, the crew of the rum-runner Linwood set fire to their vessel after being pursued by a patrol boat. (Photo circa 1923, U.S. Coast Guard)

In “Tables for Two,” Lois Long (who imbibed her share of bootleg alcohol) paid a visit to the Algonquin hotel and took some playful swipes at the denizens the famed Round Table:

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IS THAT YOU DOUG? Silent screen star Douglas Fairbanks could relax unmolested in the quiet confines of the Algonquin. (Meredy.com)

At the movies, Theodore Shane took deadly aim at the silent film version of the opera La Bohème:

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A “pop-eyed” John Gilbert and Lillian Gish in the 1926 silent film version of La Bohème.

And finally, Al Frueh’s sympathetic take on the wintertime toils of the rich:

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Next time: A Technicolor World…

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Why We Go To Cabarets

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Nov. 28, 1925 cover art by H.O. Hofman.

If you are looking for a watershed moment in the history of The New Yorker, this is one of them. The issue of Nov. 28, 1925, featured an article written by 22-year-old Ellin Mackay titled “Why We Go To Cabarets: A Post-Debutante Explains.”

Mackay was the daughter of a Catholic multi-millionaire, Clarence McKay, who was threatening to disinherit his daughter because of her romance with Jewish songwriter Irving Berlin. Mackay’s essay explained why modern women were abandoning the forced social matchmaking of débutante balls in favor of the more egalitarian (and fun-loving) night club scene:

At last, tired of fruitless struggles to remember half familiar faces, tired of vainly try to avoid unwelcome dances, tired of crowds, we go to a cabaret. We go to cabarets because of the very fastidiousness that Our Elders find so admirable a quality. We have privacy in a cabaret…What does it matter if an unsavory Irish politician is carrying on a dull and noisy flirtation with the little blonde at the table behind us? We don’t have to listen; we are with people whose conversation we find amusing. What does it matter if the flapper and her fattish boy friend are wriggling beside us as we dance? We like our partner and the flapper likes hers, and we don’t bother each other.

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MAKING MUSIC TOGETHER…Irving Berlin and Ellen Mackay Berlin return from their Atlantic City honeymoon. They were married on Jan. 4, 1926, in New York Municipal Court, a union that lasted 62 years. (NY DAILY NEWS)

Mackay’s piece provided a huge boost to The New Yorker’s circulation, which had dipped below a death-rattle low of 3,000 in August 1925 before it rebounded a bit with new and more aggressive advertising and marketing strategies.

The “Debutante” article was featured on the front page of the New York Times, and was also covered on the front pages of other New York newspapers and even in papers across the country. By the end of the year circulation of The New Yorker neared 30,000.

TIME magazine later observed that with the Mackay piece, The New Yorker “suddenly found that it had succeeded in storming the penthouses of High Society.  Its success opened the eyes of Editor Ross to the importance of the Manhattan socialite, to the fact that Broadway gossip sounds dull on Park Avenue.”

In The New Yorker’s 90th anniversary issue (Feb. 23, 2015), Ian Frazier wrote about the “débutante to the rescue in the Harold Ross era…”

Sometime during the magazine’s early months, Alice Duer Miller gave him (Ross) Ellin Mackay’s “Cabarets” essay. Jane Grant recalled that Ross kept it at the bottom of the pile of manuscripts he brought home, procrastinating because he liked Ellin and expected he would have to reject it, as he often did with others. Grant urged him to run the piece. “It will make wonderful publicity,” she said. Alexander Woollcott, the Times drama critic, with whom the Rosses shared a house…also championed Ellin’s piece. Woollcott knew her through Berlin, whose worshipful biography he had written.

Frazier writes, “In 1,076 words, the “Cabarets” essay had hit precisely the sophisticated young night-club-going, speakeasy-patronizing, up-and-coming, unimpressed-by-their-elders readership Ross was aiming for. The grateful editor gave Ellin Mackay a lifetime subscription to the magazine.” You can read Frazier’s entire article about Mackay and Berlin here.

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Mackay and Berlin pose for Cecil Beaton in the June 1930 Vanity Fair. (LIVEJOURNAL/Conde Nast)

Mackay, who would publish several novels, would marry Berlin on Jan. 4, 1926. The marriage would last until her death in 1988 at age 85. Berlin would die the following year at age 101.

Here is Mackay’s full article:

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*  *  *

Even as one grand house after another fell to the wrecking ball along “Millionaires Row,” it was hard to believe that the Vanderbilt Mansion between 57th & 58th Streets would also succumb to the commercial interests transforming Fifth Avenue seemingly overnight.

“The Talk of the Town” noted that the doomed mansion, once the largest private home in New York City, was being descended upon by all manner of curiosity seekers:

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According to writer Adrian Dannatt, the 130-room, full-scale Renaissance-style château was “originally built to accommodate an entire regal court, a small army, huntsmen and ladies in-waiting, but it was given over instead to a family of eight.”

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A photo of the 58th Street side of the house, taken shortly before the house was sold for $7.1 million, demolished and replaced by the Bergdorf Goodman store. (newyorksocialdiary.com)

This grand pile was designed by George B. Post in 1882, with interior design by John LaFarge and Augustus Saint-Gaudens among others. Post, along with Richard Morris Hunt, substantially expanded the house in 1893. Demolished in 1926, Bergdorf Goodman Department Store now occupies the site.

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Opened in 1928, the Bergdorf Goodman store occupies the Vanderbilt site today. (Wikipedia)

According to Benjamin Waldman, writing for untappedcities.com, a few remnants from the mansion weren’t reduced to dust, including a pair of monumental gates relocated to Central Park and two of six bas-relief sculptures by Karl Bitter that were relocated to the lobby of the Sherry-Netherland Hotel. Apparently the other four disappeared without a trace.

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REMNANT…Caryatid-flanked fireplace designed by Augustus Saint-Gaudens, topped with a LaFarge mosaic, at the Metropolitan Museum of Art. (Metropolitan Museum)

A fireplace designed by Augustus Saint-Gaudens, topped with a John LaFarge mosaic, was donated to the Metropolitan Museum of Art and is displayed in the courtyard of the museum’s American Wing.

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EPIC…In 1923 Cecil. B. DeMille built the largest set in movie history near Guadalupe, California, for his silent epic, The Ten Commandments. (Santa Barbara Historical Museum)

“Profiles” looked at the life and work of movie director Cecil B. De Mille. R. E. Sherwood wrote that De Mille was the “archetype of the motion picture director—a composite photograph of all the Olympian gods who have descended from Mount Hollywood to dominate the earth.”

Harry Este Dounce (“Touchstone”) reviewed John Dos Passos’ new novel, Manhattan Transfer, and noted that Dos Passos’ version of Manhattan was “not the hypothetical typical New Yorker reader’s, but as far as this department knows, it is very much like the real, complete thing—which is to say, like a hell of chaotic futility.”

In “Sports of the Week,” football continued to dominate the column, with a report on Harvard and Yale battling to a 0-0 tie.

With this issue, “Motion Pictures” was moved from the “Critique” section and given its own page under the Johan Bull-illustrated heading “The Current Cinema.” Theodore Shane wrote that he found Laurence Stalling’s The Big Parade “utterly satisfying,” but he was less impressed with the much-hyped Stella Dallas, which he viewed as a contrived weeper designed to draw lovers of such fare to the box office.

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BOO HOO…Belle Bennett and Lois Moran in Stella Dallas, 1925 (Yam Mag)

Near the back of the magazine the editors printed an exhaustive list of prices on the bootleg liquor market. The prices are quite astonishing, given that $50 in 1925 would be the equivalent of roughly $675 today, based on inflation. Of course that number could vary depending on all sorts of other economic and historic factors, but nevertheless fascinating reading if you are into that sort of thing:

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At the conclusion of “The Talk of the Town,” the editors offered this qualifying note regarding their liquor market list:

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Next Time: Courtin’ and Sparkin’…

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Party Time With Gentleman Jimmy

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Nov. 21, 1925 cover by Stanley W. Reynolds.

Mayor Jimmy Walker wasn’t known for being cerebral. But as the voters’ choice to lead the City of New York, he could not have been more well-suited (pun intended) to the zeitgeist of the final, dizzying, roaring years of The Jazz Age.

Walker was a flamboyant man-about-town, a clothes horse who was no stranger to speakeasies or the backroom politics of Tammany Hall.

As Jonathan Mahler wrote in New York magazine (April 1, 2012), Gentleman Jimmy “perfectly embodied that moment of indulgence: the public servant who favored short workdays and long afternoons at Yankee Stadium, who was loath to miss a big prizefight or Broadway premiere, who left his wife and Greenwich Village apartment for a chorus girl and a suite at the Ritz-Carlton.”

Not that there weren’t some concerns. “The Talk of the Town” offered this early observation of the incoming mayor:

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New York City Mayor Jimmy Walker during a visit to Boston. (voxart)

Mahler quoted a columnist from Walker’s time, who noted that “No man could hold life so carelessly without falling down a manhole before he is done.” And Walker would fall to scandal by 1932. But we will get to that. For now, it’s party time in Gotham.

The New Yorker continued to have fun with President Calvin Coolidge, publishing this cartoon by Izzy Klein that took a poke at Coolidge’s Thanksgiving Day Proclamation, in which Coolidge spoke at length about the nation’s abundance:

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Talk also reported the latest bootleg prices in “The Liquor Market…”

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“Profiles” examined the life of New York Times owner Adolph Ochs. The writer Elmer Davis observed that “More than any other newspaper owner, he is his paper, and his paper is himself…”

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Detail from a lantern slide depicting Basil Sydney as Hamlet and Charles Waldron as Claudius in the Booth Theatre’s 1925 production of Hamlet in “modern dress.” (Graphic Arts Collection, Princeton)

In “The Theatre,” critic Herman J. Mankiewicz addressed criticisms of the Booth Theatre’s new approach to Hamlet, which was presented “in modern dress.” Mankiewicz wrote that the departure from traditional Elizabethan costumes had brought the play “into the open,” and that Basil Sydney was a “splendid” Hamlet.

In “Books,” reviewer Harry Este Dounce recommended Ford Madox Ford’s No More Parades (“a fine display of virtuoso writing”) and Arthur Schnitzler’s Fraulein Else (“a scintillant little firework”).

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Lilyan Tashman, left, and Pauline Starke in Robert Z. Leonard’s Bright Lights, 1925 (Tumblr)

In “Motion Pictures,” Theodore Shane panned the movie Lord Jim (based on the Joseph Conrad novel), but he enjoyed the “simple hokum tale” of Bright Lights and the “restrained” performance of Pauline Starke, “a perfect miniature Gloria Swanson.”

In “Tables for Two,” Lois Long despaired of finding a decent “swank dinner” on a rainy autumn evening, and finally headed to a Viennese restaurant (Frau Greta’s) for some German comfort food. The rain turned to torrents as she then headed out for some nightlife:

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Long concluded her “Tables” column with this peevish note on “grammar:”

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In her other column, “On And Off The Avenue,” Long wrote about the increasing popularity of New Yorkers traveling to Florida for the winter, and in anticipation of the Christmas holiday, offered this advice on what not to give as gifts:

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In her report from Paris, Janet Flanner commented on the popularity of Josephine Baker at the Champs Elysees Theater:

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Josephine Baker and Joe Alex in their opening night performance of “La Revue Negre” at the Theatre des Champs-Elysees, Paris, 1925 (Tumblr)

Flanner also commented on the growing appreciation of paintings by Henri Rousseau, who just a decade or so earlier was considered something of a joke among art circles:

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Henri Rousseau’s The Football Players, 1908. Today even Rosseau’s lesser-known works are valued in the millions (Wikimedia)

And finally, Julian de Miskey’s take on The Big Game:

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Next Time: A Debutante’s Diatribe…

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Gloria Swanson, Close Up

Silent film star (and sometime French “noble”) Gloria Swanson was back in the States after a summer sojourn at her Paris residence.

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Nov. 14, 1925 cover by Joseph Fannel.

“The Talk of the Town” reported that she had arrived on the steamer Paris, with the great Polish pianist and statesman Jan Paderewski in tow…

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Johan Bull’s take on Swanson’s grand arrival with Paderewski, who was much decorated as both a statesman and artist:

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The New Yorker made light of the fact that Swanson assumed a rather regal bearing not only as a famous film star but also as the new wife of French aristocrat Henri, Marquis de la Falaise de la Coudraye, her third husband. In his column, “Of All Things,” Howard Brubaker added this swipe at the Swanson’s pretensions to royalty:

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Although a marquis and member of the famous Hennessy Cognac family, Henri was not wealthy and worked for a living. He met Swanson when he was hired to be her assistant and interpreter during the filming of Madame Sans-Gêne (1925) in France. The match of a Hollywood star with European nobility made the marriage a global sensation.

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MON CHÉRI…Photo taken around the time of the wedding of Marquis Henri de la Falaise and Gloria Swanson, January 1925 (indypendent-thinking.tumblr.com)

The marriage ended in divorce in 1930. According to Wikipedia, (citing two books on the subject), Swanson had an affair with Joseph P. Kennedy Sr. for several years during her marriage to Henri:

Henri became a film executive representing Pathé (USA) in France through Joseph P. Kennedy, Sr., who was running the studio. Many now assume he was given the position, which kept him in France for ten months a year, to simply keep him (Henri) out of the way…(Kennedy) became her business partner and their relationship was an open secret in Hollywood. He took over all of her personal and business affairs and was supposed to make her millions. Unfortunately, Kennedy left her after the disastrous “Queen Kelly” and her finances were in worse shape than when he came into her life.

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GOOD OLD DAYS…Life beneath the Sixth Avenue El (Wikipedia)

In another Talk item, the Sixth Avenue Elevated rail line continued to serve as a “blot” upon the city of New York:

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According to a Wikipedia, the old Sixth Avenue El (constructed during the 1870s) was notoriously noisy, made buildings shake, and bombarded pedestrians underneath with dropping ash, oil, and cinders. Eventually, a coalition of commercial establishments and building owners would stage a successful campaign to have the El removed because it was hurting business and property values. It would be razed in 1939 and replaced by the underground IND Sixth Avenue Line.

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SPOIL SPORTS…Buckner’s agents padlock New York’s El Fey Club in 1925 before a gathering crowd.

The New Yorker also featured a lengthy interview with Emory Buckner (conducted by Morris Markey), in which the New York District Attorney discussed his approach to Prohibition enforcement, including the padlocking of restaurants and clubs found to be serving alcohol. In a surprisingly frank interview, Buckner said his zealous crusade had nothing to do with moral conviction:

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Buckner also admitted that the government wasn’t making a serious effort to enforce Prohibition (e.g. low salaries for agents), and if it wasn’t going to make the effort then the law should be repealed. Markey concluded his article with words of surprising admiration for a man who had been so thoroughly excoriated in previous issues of The New Yorker.

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In other items, theatre critic Herman J. Mankiewicz stepped out of the “Critique” section to write about his experience travelling by train to a football game. He found the whole spectacle (especially the coonskin coat-clad fans) wanting.

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No doubt Mankiewicz’s fellow travellers were clad in something similar to this. The ad appeared in the same issue as Mankiewicz’s article.

Waldo Frank contributed a profile of the popular poet Carl Sandburg, whom he described as moving “through the Machine of our world” with “a peasant’s mind.” Frank used the term not necessarily as a criticism but as a way to describe Sandburg’s Midwestern simplicity. However, a drawing by James House Jr. that accompanied the article depicted Sandburg not as a man of letters, but more like some dim-witted forebear of Homer Simpson:

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The actor Leslie Howard contributed another humorous piece to The New Yorker titled “Such is Fame,” accompanied by this Julian de Miskey illustration:

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Theodore Shane reported in “Motion Pictures” that Rudolph Valentino appeared in person at the opening of his new film, The Eagle. Known for his aversion to public appearances, Valentino handled the occasion with a silent flourish:

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Vilma Bánky and Rudolph Valentino in The Eagle.

At the end of his column Shane included this exchange with novelist and playwright Edna Ferber, who was also one of the regular wits at the Algonquin Round Table:

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In “Tables for Two,” Lois Long wrote about the opening of the Nineteenth Hole Club at the Roosevelt Hotel, and noted that the putting greens on either side of the dance floor offered “additional uplift” to short skirts worn by some female patrons:

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She closed her column with this observation and a “warning” about “Lipstick” imposters:

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This was a familiar jest by Lois Long in her “Tables for Two” column–describing herself as short and squat–since most readers did not know her true identity or appearance, which was quite the opposite.

In Long’s other column, “On And Off The Avenue,” she offered this advice to women who were fashion-conscious but also thrifty:

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Next Time: Getting The Holiday Spirit…

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How Dry I Am

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Oct. 31 cover,  Julian de Miskey.

The woes of Prohibition were acutely felt by the readership of The New Yorker. The magazine responded in kind with its continued criticism of the law’s enforcement and particularly the tactics of Manhattan District Attorney Emory C. Buckner, whose agents continued to padlock restaurants and clubs suspected of selling alcohol.

The New Yorker previously called the padlocking tactic a “promotional stunt” that would ultimately backfire (I wrote about this in a previous blog post last March).

Both the “The Talk of the Town” and “Tables for Two” took aim at Buckner this time around. “Talk” led with this item, accompanied by the art of Johan Bull:

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“Talk” also made a call to action by “men of virtue:”

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Heck with statements. Lois Long just wanted to have some fun, and led her column, “Tables for Two,” with her own attack on Buckner and on the “stupidity” of establishments that were closed by Buckner’s agents (I include art that accompanied the column by Frank McIntosh–at least that is what I think the “FM” stands for; if I am in error, someone please correct me!):

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In a previous column (Oct. 17), Long pondered the popularity of a new dance, the “Charleston.” She closed her Oct. 31 column with “telegrams” from exemplary colleges in answer to the query: “Is the Charleston being done at college dances?”

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“W.J. Henderson wrote a lengthy article about the upcoming opera season at the Metropolitan Opera (it was opening with La Gioconda), and recalled the days after World War I when the once-popular German singers suddenly grew scarce on the American stage.

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The old Metropolitan Opera House at 1411 Broadway. The “Old Met” opened in 1883 and was rebuilt after a fire in 1892. The interior, shown here, was redesigned in 1903. This photo depicts a recital by pianist Josef Hofmann on November 28, 1937. The old Met was torn down in 1967 and replaced by a 40-story office tower. (Wikipedia)
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Site of the old Metropolitan Opera House today.

According to Henderson, this led to a general falling off of quality in the performances, a situation made even worse by the absence of the late, great Enrico Caruso on the Metropolitan’s stage.

In other items, John Tunis wrote about Illinois All-American halfback Red Grange in “Profiles,” calling him “a presentable youth of twenty-two…well-groomed, he would pass anywhere—even in the movies—for a clean type of American manhood.”

Tunis also noted that Grange had been offered a “half a million” to star in movies, and that professional football was ready to offer him a sum “that would cause even the once-mighty Ruth to blanch.” Grange, known as “The Galloping Ghost,” would later join the Chicago Bears and help to legitimize the National Football League (NFL).

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Howard (Real Photograph)

The young actor Leslie Howard, who was appearing on Broadway in Michael Arlen’s The Green Hat, wrote a humorous account of theatre life in “The Intimate Diary of An Opening Night.”

It was one of seven articles on the acting life that Howard (perhaps best known for his role as Ashley Wilkes in Gone With the Wind) would write for The New Yorker between 1925 and 1927.

For the record, I include Howard’s first New Yorker article here:

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“Motion Pictures” looked at Buster Keaton’s new film, Go West…

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Cow and Keaton in Go West (1925) (silentology.com)

Theodore Shane wrote that what at first seemed to be a real weeper…

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…turned into a comic romp thanks to the introduction of the “sad-eyed cow…”

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And finally, in keeping with the Prohibition theme, here is a center-spread cartoon by Rea Irvin that seemed to depict the results of consuming too much bootleg booze:

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Next Time: Oh Behave…

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The Maddest Week

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Sept. 26 cover by Rea Irvin.

“The maddest week any of us remembers in the theatre,” observed “The Talk of the Town” for Sept. 26, 1925, as The Green Hat (the play based on Michael Arlen’s popular novel) was creating a riotous rush for tickets on The Great White Way.

Talk described The Green Hat as “a play so eagerly sought after that even in a week providing 12 openings, speculators were offering five hundred dollars for twenty tickets” ($500 then is roughly equivalent to $6,800 today).

It was noted that despite the openings of such plays as The Vortex and No, No Nanette, The Green Hat was consuming most of the attention, with the opening attracting “every bigwig of Broadway” including Irving Berlin.

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Michael Arlen in 1925 (Wall Street Journal)

One notable guest, however, did not arrive until after the second act: Michael Arlen himself. It was said that Arlen had never seen a complete performance of his play, due to “nervousness.”

Perhaps there was a good reason for his butterflies.

Later in the “Critique” section, Herman J. Mankiewicz (H.J.M.) pronounced The Green Hat as “unreal and consequently uninteresting…a grand sentimental debauch for the romantically inclined. It has no place at all in the discussion of the Higher Theatre…”

Mankiewicz observed that the acting itself was passable, with Katherine Cornell delivering an “excellent, though scarcely ideal portrayal of Iris March,” but she was “showing the strains of playing a role that has no more grasp on life than a little boy’s daydream that the Giants will, after all, snatch the pennant from Pittsburgh.”

A publicity photo from the play:

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Broadway newcomer Leslie Howard embraces Katherine Cornell in this publicity photo from The Green Hat. (inafferrabileleslie)

And Ralph Barton’s unique take on the whole thing:

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Mankiewicz also reviewed the play, Arms and the Man, but his focus was not the play but rather an annoying patron in seat T-112:

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Although the Scopes Trial was long over, The New Yorker still found opportunities to take potshots at the backwardness and Babbittry of folks in the hinterlands:

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Talk also continued to help its readers with regular updates on the bootleg liquor trade:

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An article titled “Mid-Town” celebrated the 100th anniversary of 42nd Street. Henry Collins Brown wrote that 100 years had changed the street “from a dusty country lane to a self-contained metropolis. The brownstone of its middle age has given way to granite and marble. It has seen a railroad dynasty rise and has written its epitaph on a narrow, short avenue.”

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A 42nd Street landmark: Grand Central Station in the 1920s (wirednewyork)

Then Brown concluded with these prescient thoughts:

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An illustrated tribute (by Rea Irvin) to 42nd Street appeared in the “Talk” section:

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In “Profiles,” Jo Swerling looked at the life of comedian Louis Josephs, known to all as Joe Frisco, a mainstay on the vaudeville circuit in the 1920s and 1930s.

Swerling wrote admiringly that Frisco—who was from Dubuque, Iowa, of all places—was “the comedian’s comic.”

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Joe Frisco (findagrave.com)

Considered one of the fastest wits in the history of comedy, Frisco was a famous stutterer but could recite his scripted dialogue unimpaired. According to Wikipedia, he was first known for his popular jazz dance act–called by some the “Jewish Charleston”– which was a choreographed series of shuffles, camel walks and turns. He usually danced in a derby hat with a king-sized cigar in his mouth, often performing in front of beautiful women “smoking” prop cigars.

His most famous line was uttered while in a New York hotel. A clerk learned that Frisco had a guest in a room that was only reserved for one occupant, so he called up to the room and said, “Mr. Frisco, we understand you have a young lady in your room.” Frisco replied, “T-t-t-then send up another G-g-gideon B-b-bible, please.”

With vaudeville in decline, in the 1940s Frisco moved to Hollywood and appeared in several low-budget movies. A compulsive gambler who was constantly in debt, he died penniless in Los Angeles in 1958.

In “Motion Pictures,” Harold Lloyd’s “college comedy,” The Freshman, which Theodore Shane wrote was filled with “glorious laughter.” Shane also noted that another Rin Tin Tin picture was appearing at Warner’s Theatre (Below the Line), and “as usual our hound hero is enlisted on the side of virtue.”

FOLLIES OF YOUTH…Harold Lloyd and Jobyna Ralston in The Freshman. (avclub.com)

An interesting ad near the back of the magazine (and the book reviews) offered readers an opportunity to sample a new, unnamed work by James Joyce:

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What this ad described was an avant-garde work by Joyce that would appear in serialized form until it was finally published in its entirety in 1939 as Finnegans Wake.

In other book-related matters, this illustration by Herb Roth appeared in the pages of the “Critique” section:

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Anne Margaret Daniel wrote about this “Suggested Bookplate” in her May 1, 2013 blog for the Huffington Post, and made this observation:

“Be Your Age” shows how fully the magazine at the pulse of the Jazz Age registered both Fitzgerald’s personification of the decade, in many readers’ eyes, as well as the dangers he had foretold in The Beautiful and Damned, and again in Gatsby of decadence and of the coming Crash. It’s a very double-edged image of festivity and fatality, just like so many of the images of people at parties that end in disasters in Fitzgerald’s best-known, and best-loved, novel.

Charles Baskerville (Top Hat) continued to report from the City of Lights in his “Paris Letter,” mainly focusing on the doings of American tourists. No offense to the urbane and talented Baskerville (also a great illustrator), but I am looking forward to Janet Flanner’s (a.k.a. Genêt) take on Paris in future issues (Does anyone out there know if she wrote the unsigned “Paris Letter” in the Sept. 5 issue?).

The issue featured a rather faded-looking movie ad for the back cover:

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And a still from the film on which the drawing is no doubt based:

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Tyrone Power Sr. and Greta Nissen in The Wanderer (1925) (Sad Hill Archive)

Next Time: Lois Long’s Fifth Avenue…

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Lighter Than Air

The New Yorker was launched as a sophisticated, funny, urbane weekly, so it’s always interesting to see how the magazine will respond to a national tragedy.

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Sept. 12, 1925 cover by Rea Irvin, depicting plutocrats on a Merry-Go-Round.

For example, the Sept. 12, 1925 “Talk of the Town” featured a brief item titled “Zachary Lansdowne.” It opens with a paragraph describing the lieutenant commander’s demeanor and character:

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Then it becomes apparent that this is a eulogy of sorts, since Lansdowne was the pilot of the American dirigible S.S. Shenandoah:

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Built in 1922, the S.S. Shenandoah was the first of four U.S. Navy airships. On Sept. 2, 1925, it departed on a promotional flight that would include flyovers of 40 cities and visits to state fairs. While passing through thunderstorms over Ohio on the morning of September 3, the Shenandoah was caught in a violent updraft that carried it beyond the pressure limits of its helium gas bags. It was torn apart in the turbulence and crashed in several pieces. Fourteen of Shenandoah‍ ’ s crew, including Commander Lansdowne, were killed. Amazingly, there were 29 survivors who succeeded in riding three sections of the airship to earth.

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Wreck of the Shenandoah. The front section rests in a field near Caldwell, Ohio. (Wikipedia)

After a lean summer, advertising in The New Yorker picked up dramatically, with the opening spread for the Sept. 12 issue featuring full-page ads by The Roosevelt Hotel and the French fashion house Paul Poiret:

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This infusion of advertising was largely the result of a big promotional push orchestrated by John Hanrahan, considered one of the most gifted writers of publisher promotions. The magazine’s major (and really only) investor, Raoul Fleischmann, brought Hanrahan on board to address the magazine’s dearth of advertising, a move that was much to the dislike of the acerbic Harold Ross.

The trials of starting a new magazine were not lost on Ross, as was evidenced in this Newsbreak on page 13:

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But Ross knew that the ad push helped the bottom line, and he did his part to draw new talent to the magazine and improve its overall quality.

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Ingersoll in the 1940s (baseball-fever.com)

New talent included Ralph Ingersoll, who joined the magazine as managing editor in the summer of 1925. Ingersoll went to work giving the magazine a “voice,” especially in the rather weak and unfocused “Talk of the Town” section.

After suffering Ross-induced burnout in 1930, Ingersoll would go on to serve as a managing editor of Time-Life Publications, and would later found the short-lived, left-wing daily newspaper, PM.

That summer Ross also brought on Katharine Angell (later Katharine White) as a part-time reader of manuscripts, but almost immediately she became a full-time employee and was soon involved in every aspect of the magazine.

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Katherine Angell (Wikipedia)

She is often credited with the magazine’s maturity and its sophisticated taste and style. It was through Angell that Ross would meet and hire both E.B. White (who would later marry Angell) and James Thurber.

In the “Profiles’ Section, Murdock Pemberton took a look at the challenges facing Richard Bach in his attempts to promote the arts to business-minded New Yorkers. Bach was an “Associate in Industrial Arts” at the Metropolitan Museum of Art. Today, merchandise based on art museum collections is a ubiquitous practice, but in 1925 Bach’s job was viewed as somewhat distasteful:

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Morris Markey (“In The News”) tried to make sense of the continued enforcement of Prohibition, and seemed to conclude that it originated in Puritan resentment in the Midwest, and would continue to be enforced according to regional customs and strictures:

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And true to form, New Yorker film critic Theodore Shane panned a movie that today is considered a classic of the silent era:

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UM, AWKWARD…Theodore Shane called Phantom of the Opera “Grand Guignol in imitation of Poe with a generous smear of Laemmle hokum”…in this scene, Erik, The Phantom (Lon Chaney) woos Christine Daaé (Mary Philbin) (Wikipedia)

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With this issue Lois Long retired “When Nights Are Bold” (a column on local nightlife she inherited from Charles Baskerville) and introduced us to a renamed column, “Tables For Two.” She opened with a description of a police raid on a on old barroom where she had been apparently enjoying a nice beefsteak. She then abandoned the “slums” for the Plaza Hotel, where she spied none other than Charlie Chaplin and Adolph Menjou:

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Ads return to the back cover, an indication that things are picking up:

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The poster above was created by American illustrator Rose O’Neill, who is best known as the creator of the popular Kewpie comic characters in 1909. The wildly popular Kewpies were later produced as dolls, and became one of the first mass-marketed toys in America. Raised in rural Nebraska, O’Neill was active in the women’s suffrage movement and at one point was the highest-paid female illustrator in the world.

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Rose O’Neill in 1907, and her famous creation (Wikipedia)

On the back cover, we are treated to some more great illustrations by artist Einar Nerman in this ad from Doubleday:

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And a whimsey from Julian de Miskey:

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Next time: Signs of Autumn…

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