Showing posts with label 1930s. Show all posts
Showing posts with label 1930s. Show all posts

Monday, August 08, 2011

Come Out of That Kelly Pool!

Okay, these Womrath's advertisements are lots of fun. From November 29, 1930, this one tells us that reading books is WAY more enjoyable than any of the (then-) current fads, including Kelly pool.

Stop falling through that auction bridge...quit trying to walk into that full-house on your inside straight...don't leave your footprints in that sand-trap. Roll your bones in another alley! Save your quarter...only a fourth of a dollar...for a gamble where you're sure to win...adventure...romance...how detectives get their man-hunts...how the great got that way...Use your two-bits to rent a book from Womrath's...for a week...

Apples for the Unemployed


Having -- like most of the rest of the country -- concluded that the newly-born depression was no big deal, The New Yorker, managed to virtually ignore it until November 1930. Then, suddenly, the paper was FULL of depression references...to apple sellers.

Cartoons. Comments. Little snipes in otherwise unrelated articles. I don't know if the apple seller scheme -- the International Apple Shippers Association sold apples to the unemployed at a loss, putting an "apples for the unemployed" vendor on virtually every New York street corner -- actually worked, but it certainly seemed to put a visible face on the worsening depression, and it also annoyed a lot of pedestrians in the city. Those with jobs, anyway.

Another source of depression news in the paper were the ever-present full-page advertisements for the Evening Standard, which basically said "These troubles will be over soon, and the only firms which will survive are the ones which continue to advertise!" The Evening Standard was truly making lemonade in response to the lemons...or at least grinning while eating the lemons raw.

I leave you with a poem called "Confession" by Richard Peckham, from the November 29, 1930 issue:
It may be shameful to avoid
The apples of the unemployed
But, since they've been on every corner,
I have become an apple-scorner.
Snow, McIntosh, and Northern Spy
Are now as painful to my eye
As pencils and shoelaces were
When apples were uncommoner.
An antisocial state of things,
I know. It will not earn me wings.
But why, when wits were being deployed
To get the unemployed employed,
Did no one, to whom things were clear,
Distribute, say, light wines and beer?

Sunday, August 07, 2011

Robert Benchley Wants No More Sex

In the November 29, 1930 issue of The New Yorker, Robert Benchley concluded his weekly theatre column with this:
I am now definitely ready to announce that Sex, as a theatrical property, is as tiresome as the Old Mortgage, and that I don't want to hear it mentioned ever again. I am sick of little Southern girls who want "to live." I am sick of hearting fathers and mothers talk to little girls, Southern or otherwise, about "what lies before them." I am sick of rebellious Youth and I am sick of Victorian parents, and I don't care if all the little girls in all sections of the United States get ruined or want to get ruined or keep from getting ruined. All I ask is: don't write plays about it and ask me to sit through them.

I assume that Benchley was soon to get his wish.

Friday, August 05, 2011

Sow Geraniums and Reap Orchids


My impromptu "Weirdest Metaphor" award goes to Madame Nina's geranium cream (New Yorker, November 22, 1930), which confuses a debutante's face with...a map of Manhattan. Really.
When going to bed, she dips a slim finger in the fat glass jar and rubs contents across the map of Manhattan in the mirror, paying particular attention to the bright lights that so easily run to dark circles on the morning after. Incipient crosstown lines are refused police protection. General traffic conditions are improved. And the Great White Way gets a gentle bleach all over.

In the morning, she uses the same specific as a foundation for make-up that looks more natural than little sister's first blush. Rouge--if she follows the revived vogue for it--can never be mistaken for a stop-signal. Powder doesn't skid. And the first aid work begun for the entire facial countryside goes on all day.
 Now you know how to flatter a dame: "Darling, your face...it's like the street map of a huge metropolitan area. Your nostrils: the north and south subway lines. That freckle: city hall..."

Thursday, August 04, 2011

Take the Rank Out of Drank

Advertising came into its own during the '20s, having learned that nothing sells a product like fear. I imagine executives sitting around in a plush highrise meeting room somewhere, staring at each other with bug-eyes, saying "How can we scare people into buying all this CRAP?"

Social anxiety always helps. From the November 22, 1930 New Yorker I bring you "The Savoy Cocktail Book," which you'd better buy if you don't want your parties to suck.
Of course, you have a bar in your pent-house, but even that does not insure social success!

Do you find that guests are glad to put their foot on the rail the first time, but seldom return? Do you feel like the girl who was often a bridesmaid but never a bride?

Of course, you have all your liquor analyzed, so you can't blame your bootlegger.

Perhaps the trouble is with you. Perhaps it's the way you mix the cocktails that bars you from the popularity you feel that you deserve.
"Whew!" Said a bunch of advertising executives. "That's done! Now how can we make them frightened of RADIOS..."

Incidentally, "The Savoy Cocktail Book" was "compiled and amplified" by Harry Craddock of London's Savoy bar. As his biography at the bottom of the advertisement says, he was "the man who took the rank out of drank."

Wednesday, August 03, 2011

What Does It Mean?

I think this picture is very funny. At the very least it makes a stoic ritual look as ridiculous as it probably is.


Caption contest! No prize! What's up with these guys?

Tuesday, August 02, 2011

Throb of Tom-Tom Cats!


Here's a wonderful advertisement from Womrath's bookstore, intended to convince us that READING about stuff is more exciting that actually EXPERIENCING it. They make a strong case for the joy of delightful puns and alliteration, at least...
Ankles aweigh! All abored the SS. VAN DINE...sailing to darkest Boop-a-Doop...land of mystery and philovances. Star-drenched daze. Sunkist knights. Drone of dramaturgic dromedaries...drowse of drastic dhuhinkies. Lots of good fellahs. Oil-burning cannibals...ready to take pot-luck with missionaries. Pooh yourself! More fun to stay home...
The advertisement mentions fiction, travel, biography, and history, so I suppose the dense wordplay is meant to evoke all those things: the mystery books of Philo Vance, the "darkest Africa" travel literature, Hollywood biographies, and...whatever "dhuhinkies" are.

(The New Yorker, November 15, 1930)

Monday, August 01, 2011

Watch Your Husband!


It's really an advertisement for a cruise (eg. if you notice your husband getting stressed, take him on a cruise), but you'd be excused for seeing something more sinister.

(The New Yorker, November 15, 1930, when everybody was running off to warmer climes, the French and Germans were rumbling about war, and backgammon was the game of choice)

Thursday, August 05, 2010

Scrutable Poetry Corner: "It Rolls On" by Morris Bishop

A poem for the uneasy modern, from the November 1, 1930 issue of The New Yorker.
This is the time of wonder, it is written;
Man has undone the ultimate mysteries.
(We turn from the Chrysler Tower to watch a kitten,
Turn to a dead fish from Isocrates;

Drinkers on five-day boats are gladly smitten
Unconscious on the subjugated seas;
Einstein is even more dull than Bulwer-Lytton;
You cannot smoke on the Los Angeles.)

Science no longer knows the verb-form "can't,"
Fresh meat will soon be shipped by radio;
Scholars are harnessing the urgent ant
And making monstrous bastard fruits to grow,
Building machines for things I do not want,
Discovering truths I do not care to know.
You can find out more about Morris Bishop and his elf-loathing here.

Tuesday, August 03, 2010

How Long Can Marriage Last...In a Cocktail Setting?


I love the qualification in the Mark Hellinger endorsement: one of the best novels IN ITS CLASS. Just so we're not confusing it with Dostoyevsky or anything.

Monday, August 02, 2010

"Earth" Review, Plus Bonus John Candy

The New Yorker film reviewer of 1930 ("J.C.M."), after pooh-pooing the trend toward larger-format films (so-called "three-dimensional films" that "fill the whole proscenium"), provides a great review of a movie that has always confused me: "Earth" by Alexander Dovzhenko (translated in this case as "Soil").
To conclude my memoirs on a lofty and dignified note, I should mention "Soil," a new Russian film. The picture is concerned with the favorite dramatic theme of the Soviet artists: the introduction of new methods of farming to the local wheatlands. Of more interest to these unusual people than the awakening of pure love or the dawn of passion is the coming of the tractor. I must say, too, that there are more persons in this town absorbed in this subject than one might suspect. Down there at that little Eighth Street house, where the picture has been shown, the crowd gets very excited, and there is applause, and even now and then a hiss... In "Soil," a silent picture, a caption was thrown on the screen, a comment of the older peasant as the tractor comes over the hilltop. "There is no God," he says at the sight, and this statement was suddenly met with applause by some of the guests. You will be happy to learn that at once the faithful downed the applause with pious hisses. The whole moment was very intense, and it was a great relief to everyone when the picture passed on to some closeups of apples seen from various angles.
I can certainly understand and appreciate most propaganda, but "Earth" left me totally confused. I couldn't figure out if it was a love song to the soil, a warning to farmers, or an outright parody. Maybe it was all three?

You can hardly say the same about "Hey Giorgy!" This was one of several hilarious SCTV spoofs of Russian television.

Giorgy! If he's not helping somebody, he's helping somebody else! Featuring a bevy of Eastern European immigrants waving at John Candy somewhere in North York.

Saturday, July 31, 2010

Here's How to GET RID of Prohibition

As best as I can glean from the pages of The New Yorker, 1930 was the year of:
  • Backgammon. All the department stores were selling deluxe sets and offering free lessons and tournaments.
  • Tom Thumb golf. Suddenly there were courses everywhere. Rather than the low-rent "mini golf" of today, the fad was marketed to the Gay Young Things as an after-club pastime drunkenly played in evening gowns, tuxedos, and high heels. Much ado was made about the damage to the courses caused by high heels.
  • Maybe this "depression" thing isn't going away?
  • Even the staunchest defenders of prohibition are getting sick of it. Like, to the point where virtually everybody wants to somehow repeal it.
The most obvious sign of the anti-prohibition fever so far is this advertisement in the October 18, 1930 issue. It sums up everything I've been reading (click for a larger view).


Joseph S. Auerbach seems to have been a moderately well-known lawyer...well-known enough to have been publishing books before and after this one, at least.

The Volstead Act would not be repealed until 1933, so it will be interesting to see if this vocal opposition continues to swell, or if it will simply be viewed as a fait d'accompli in the laps of the lawyers.

Wednesday, July 28, 2010

Mathematics from Macy's


By extension, if you're wearing the WRONG clothes then games are only half as much fun.

Monday, July 26, 2010

The New Yorker Hitler-Watch

I am near the end of the 1930 issues of The New Yorker, and I am interested to see when Adolph Hitler begins appearing in the pages. I knew he really began consolidating his power after the depression hit Germany, but I didn't realize he was already internationally-known by October 11, 1930.

Here is a brief jokey comment in the "Of All Things" section of that issue. It marks -- as far as I know -- the first mention of Hitler in the magazine.
Hitler threatens to cut off some important German heads unless the demands of his party are met. He evidently means to set up a dictatorship of decapitalists.
Such is the style of New Yorker political commentary at the time: puns, puns, and more puns.

Anyway, it's obvious that Hitler was a visible figure to Americans at the time -- they don't even bother to mention his first name -- but I wonder what the charming fellow was up to and which demands he wanted met.

Monday, July 19, 2010

Works Automatically...Won't Burn Toast!

You might remember the spectacular introduction of the Toastmaster back in February of 1929. But holy shit, have you seen the new and improved Toastmaster? These two ladies in fur coats are looking at it right now!


Stop it, ladies! NO WATCHING! Don't watch it! Do something else for a while!
Of the hundreds of thousands who saw the remarkable first model which revolutionized toastmaking in America, not one would have believed it could ever have been improved upon.

Yet--that has been done!

It is even more simple, more amazing, more beautiful!
How has the Toastmaster improved in the last two years? They replaced one of the levers with a "small, new-type indicator," and it comes with "cool-type carrying handles" so you won't burn your pretty-type hands, and it also can't overheat and start your fur coat on fire at the flaming breakfast table! It won't burn your tabletop! It now does two slices at once! It's wonderful!

Ladies and Gentlemen, these ladies and I honestly don't think this toaster can get any better.

Saturday, July 17, 2010

They Gave a New Thrill -- That's Why They Got There....So Quickly

During 1930, the cigarette manufacturers continue to aim their advertisements at the Gay Young Things. It was a market that Murad had long courted (by 1930 they were in the midst of a long and tiresome pidgin-French campaign), Lucky Strikes had graduated from flippant "Happy Go-Luckies" to paranoia about weight (a reaction to a candy manufacturer's campaign that told readers to eat candy instead of smoke), and Spud was still hammering the "Smoke a Spud When You're Freaking Out" storyline (after briefly flirting with bogus science).

What about Old Gold? Last time I mentioned them in this blog they were in the midst of a rickety vaudeville promotion, and since then they've continued with the "Not a Cough in a Carload" tagline by hiring John Held Jr. to create his signature Victorian woodcut cartoons (the joke is usually about a male Victorian stereotype being berated for his rough smoker's voice).

But I suspect they felt the need to capture the same flapper audience that the other manufacturers were targeting, so in September 27, 1930 there's a full-page advertisement with a new angle, which I paraphrase as Old Gold is a plucky newcomer who became instantly popular because of its exceptionality, just like This Famous Broadway Star!

I'm sure this is the first in a long line. This time the star is Marilyn Miller:
From her grandmother's cellar...to Ziegfeld's Roof...in just the twinkle of a toe. She really was the "Sally"...of the alley called Broadway.

How to explain the miracle of Marilyn's success?...Nature simply blessed her with a charm all her own.
The real interesting part of the advertisement, however, is the huge picture of Marilyn dancing in a dirty basement.


I've mentioned before that some design elements in The New Yorker reflect a shift from the "modern" 20s to a new 30s style. This is definitely one of them. As an added bonus here's the caption:
"Mar'lyn, chile, shake yo' feet!" Grandmother's kinky-haired old furnaceman was first to educate Marilyn Miller's feet. At those same feet, a few years later, old New York laid its heart.
Ah, the kindly kinky-haired drudge with his native rhythm. There's also a reproduction of the moment when Old Gold's supposedly first arrived in Waikiki, but the quality is so poor I won't bother posting it. Which is a shame because it looks really bizarre.

Friday, July 16, 2010

Scrutable Poetry Corner: "Anachronism" by Peggy Bacon

From the September 27, 1930 issue of The New Yorker, here's "Anachronism," written by a poetess with the rather unpoetic name of Peggy Bacon.
In the mummy-case the queen--
brittle toes and matted hair!
Her compelling portrait seen
on the lid, returns a stare.

Through millenniums enduring
as a relic, for a while
she was laughing and alluring
as a siren by the Nile.

Bead and bauble, tool and chattel,
symbol, amulet, and token,
effigies of sacred cattle
lie beside her, chipped or broken.

In the Bowery I meet
Sadie, similarly fair,
flashy sandals on her feet,
bangle, bead, and busy hair

(mummy-matted, tonsor twirled,
tinted with a dubious dye),
and a little serpent curled
in the angle of her eye.
Who was Peggy Bacon? She wrote poetry (and later fiction) for The New Yorker from the first month of publication up to the 1950s, and she even drew a few illustrations along the way:


You can find out much more online, starting here. She seems to have been a remarkable person.

Wednesday, July 14, 2010

Talkie Technology in 1930

By September 27, 1930 the talkies had hit their stride. The technology had advanced to a point where procedures for recording sound were standardized and efficient, but as the wonderful Morris Markey tells us in his New Yorker article entitled "Hit the Switch!", things were still uncertain in the studios.

Markey takes a trip to Stage B "in the Paramount studio at Astoria" to see the filming of a new movie (possibly "Follow the Leader") starring comedian Ed Wynn. He discovers that studios are no longer sound-proofed and cloistered the way they were in the early days of the talkies, but some new equipment has certainly arrived.
There were four cameras. Three of them were the familiar movie cameras, a little bulky with their sound-insulation but recognizable. The fourth was the sound camera. Instead of a lens, it was fitted with a microphone at the end of a very long, very thin telescopic arm. The arm thrust out from the camera like the tentacle of an insect, and the microphone at its end was poised immediately over the spot where the action was to take place--high enough to be invisible to the lenses of the other cameras. As the actors moved about, the arm could be extended or shortened, raised or lowered in an instant so that the sound-collecting microphone always hovered over them.

The sound camera does not carry its own film. It merely carries certain electrical equipment which transmits the sound from the microphone to a telephone wire. The telephone wire carries the speech of the players to the central sound-recording room in the basement.
It's interesting that Markey doesn't know the names for any of this equipment, and so relates to it as though it were simply refurbished from the silent film days. The "boom microphone" is a "sound camera," even though it has nothing whatsoever in common with the other cameras. The cable which carries the sound is a "telephone wire."

He goes on to describe the somewhat magical goings-on inside the basement room where another camera stares at "infinitesimal reeds" which vibrate to the transmitted sound impulses. The light which shines between these vibrating reeds creates the visible sound wave which is recorded onto film for later playback. Was this REALLY how it was done?

He also mentions the "control booth," a little "soundproof room on wheels." Inside sits a man who monitors the recorded sound and controls the volume. This man -- credited as a "sound recordist" and possibly Ernest Zatorsky -- actually stops the entire shoot by walking out and protesting:
"There's a hum," he said, glancing vaguely toward the ceiling and the arc-lamps.

"What kind of hum?" asked the director.

"Something technical," said the young man. "It's an induced hum. I told 'em they'd have to fix it. This stuff sounds lousy."
The director, unable to solve or even understand the problem, walks helplessly off the set. "Like lost sheep, the actors and the helpers drifted out after him and the young man of the booth, nodding with satisfaction, picked up his hat and went home."

Monday, July 12, 2010

Fireman, Save My Chop!


Yes, this General Electric advertisement on the back page of the September 20, 1930 New Yorker is...baffling. I can only print it in full.
Don't worry, lady. You'll find that chop as fresh as on the day it roamed the fields of Iowa. Ain't this a General Electric Refrigerator?

Don't ask silly questions, lady. Sure it's a General Electric -- can't you see the Monitor Top? In the Monitor Top, the nonchalant motor of this astonishing Refrigerator is doubtless idling with its feet perched atop its desk--totally oblivious to the muffled epithets of the perspiring fire department.

Lady--in ten or fifteen hours, when the noble fire brigade has succeeded in drenching the entire back cover of the New Yorker with half of Croton Reservoir, these gallant fire-fighters will open the regrigerator door, and--as is the custom of gallant fire-fighters--they'll "take a little peep inside."

They wouldn't blink an eyelash--since this refrigerator is General Electric--if they found a huddle of sleepy penguins roosting on the topmost shelves. And ice cubes frozen solid--with a happy band of baby walri (walruses) frisking in their midst.

No, lady--it takes more than a mere conflagration to fluster a chop in a General Electric Refrigerator. That's one reason why we think you'd like to own one. You don't like your chops flustered--do you?
Besides employing the flippant, slangy tone that I'm increasingly seeing in advertisements of this era, what the hell is the point of all this? Are they saying that GE fridges will keep their contents cool even when the temperature outside is hot? Are they actually implying that said fridge will survive an apartment fire?

Heck, those things WERE built like tanks, but I'd think at least the Monitor Top (whose motor apparently has FEET) would melt into a puddle of toxic goo.

PS: A possible explanation. It's obvious this was written specifically for The New Yorker. Maybe it's a clumsy attempt at exploiting some of the recent themes in the magazine? Several months earlier The New Yorker had printed a long serialized feature about the history of firefighting in New York; the rivalries, the technology, the ubiquitous Croton Reservoir.

I wonder if GE made it a habit to scour the pages of the magazines they advertised in, then write tailor-made copy about whatever they found.