Judge — May 22, 1920

# Analysis This is **not a cartoon or satire page**, but rather a **subscription advertisement** for Leslie's Illustrated Weekly Newspaper. The ad targets post-WWI readers seeking clarity on national policy. It appeals to men wanting "constructive reality" and "something definite" regarding war-related problems and postwar uncertainty. The Capitol building image symbolizes authoritative American governance. The pitch offers Leslie's as a source of "forward-looking, intelligent conversation" on business, politics, and international affairs. The promotional offer—five dollars for 52 weekly issues—emphasizes accessibility and immediacy ("your card will be enough"). This reflects the early 20th-century magazine industry's competitive positioning: establishing credibility as a trusted source during a period of national anxiety and policy debate.

# Judge Magazine, May 22, 1920 This cartoon by Walter De Maris depicts a salon or social gathering with the caption: "In Woman's Struggle for Equal Rights with Man, What Provision Has She Made for Such as These?" The drawing appears to satirize the women's suffrage movement (women gained the vote in 1920). The cartoon shows well-dressed, able-bodied women in a fashionable interior while suggesting the movement has neglected society's most vulnerable—likely the elderly, infirm, or poor visible in the composition. The satire questions whether women's equality advocacy addresses practical concerns for disadvantaged members of society, or focuses only on middle/upper-class women's rights. This reflects conservative criticism of suffragism as self-interested rather than broadly humanitarian.

# Analysis of Judge Magazine Cartoon This cartoon satirizes wealthy women's ostentatious jewelry displays in high society. The scene depicts an elegant interior gathering where a woman (likely a nouveau riche socialite or wealthy wife) is being remarked upon for her extensive jewelry collection. The joke, captured in the caption—"What a lot of jewelry she wears!" / "She really ought to publish a catalogue"—mocks how excessive her adornments are, suggesting they're so numerous they'd require cataloging like merchandise. This reflects early 20th-century social commentary on conspicuous consumption and the nouveaux riches flaunting wealth through jewelry rather than demonstrating refined taste. The drawing is credited to F. Forster Lincoln.

# Analysis of "The Great Yellowish Mystery" This page features a serialized mystery story by Geleti Burgess rather than political satire. The two illustrations at top, drawn by P.D. Johnson, show a woman at a desk in two poses—labeled "As We Imagine Her When She Says: 'Here's Your Party'" and "'Bury'"—depicting her shifting expressions while speaking. The story itself concerns detective Ferrett investigating mysterious stains at the Jitney National Bank. The narrative emphasizes the detective's superior deductive abilities compared to the bumbling bank President. This appears to be entertainment fiction satirizing incompetent authority figures through mystery-story conventions rather than targeting specific political events or real individuals. The focus is purely comedic storytelling.

# Analysis This page appears to be from a serialized detective fiction story rather than political satire. The narrative follows "Ferrett" investigating a mystery involving a Jitney Bank, with chapters titled "The Horrible Hat Pin," "The Plot Coagulates," and "The Mystery Solved." The two illustrations show comedic scenes: the upper depicts characters in chaotic action (possibly a bank robbery or altercation), while the lower illustration titled "News from the Sockyards—Branding the Calves" shows a row of legs/feet under a decorative border, likely a satirical commentary on meatpacking industry labor practices. The page blends fiction storytelling with social commentary, though the primary content is the ongoing mystery narrative rather than direct political commentary.

# Analysis of This Judge Magazine Page This page contains a serialized satirical mystery story ("Chapter VI: The Albino's Triumph") parodying detective fiction. The humor relies on absurdist logic: Detective Ferrett "solves" a bank robbery mystery by deducing the stenographer is guilty because of her hair's "accent" on the gilt, and ultimately reveals the explosive used was *Limburger cheese*—a punchline playing on the cheese's notoriously pungent smell. The accompanying illustrations and brief pieces ("His Wail," "All He Asked") are lighter satirical vignettes. References to Trotsky suggest Cold War-era anxieties, while the millionaire's complaint about multimillionaires reflects wealth-gap social commentary. The page's primary purpose is entertainment through absurdist humor and parody of popular mystery narratives—typical of Judge's satirical approach to contemporary culture.

# Analysis: "Barbers" in Judge Magazine This page contains a satirical essay by Omar Shapfer mocking barbers as talkative, opportunistic professionals who exploit customers while providing minimal actual skill. **The Main Article's Satire:** Shapfer characterizes barbers as garrulous hustlers who launch endless monologues, upsell unnecessary services (massages, hair treatments), and charge exorbitant prices. The reference to Delilah cutting Samson's hair suggests barbers have historically held power over their clients. The piece ridicules barber college graduates as mass-produced, mediocre practitioners requiring only "pretty bottles" and mirrors to start businesses. **The Two Cartoons:** 1. **Top illustration** (by J.K. Baas): Shows a barber with a customer, illustrating the essay's themes. 2. **Bottom illustration** (by John Conselman): Depicts children with a kite, captioned about making "bullsheeweeks outa us"—likely satirizing servants/employees who waste time or resources, paralleling the barber theme of being exploited by unreliable service providers. **Context:** This reflects early 20th-century class anxieties about service workers and consumer culture.

# "A Rainy Night" - Context for Modern Readers This is a humorous short story by Walt Mason (illustrated by Ralph Barton) that uses a rainy night as a springboard for social commentary, particularly about **Prohibition**. The narrator, stuck indoors during rain, reflects nostalgically on drinking ("drinks he used to quaff of yore"), noting that those days are gone. He mentions that sheriffs now inspect people's breath and arrest them for drinking—a direct reference to Prohibition enforcement. The satirical point: the weather forecaster predicted "Fair" but it rains anyway, mirroring how Prohibition promised to improve society but failed. The joke extends to the neighbor collecting rainwater in buckets—possibly implying he'll use it for illicit alcohol production, or simply that he's foolishly collecting useless water. The cartoon's caption references Noah, wishing he were present—likely suggesting Noah's experience with water parallels modern Americans' relationship with drink under Prohibition. The overall tone is wistful complaint about lost freedoms and broken promises.

# "The Usual Spring Crop of Green Drivers" This satirical cartoon depicts the annual phenomenon of inexperienced drivers appearing on roads each spring. The overhead view shows a chaotic traffic scene with numerous cars, pedestrians, and warning signs ("STOP! LOOK! LISTEN!", "DANGEROUS—GO SLOW", "PRIVATE—NO TRESPASSING"). The satire targets "green drivers"—novice motorists, likely new car owners or teenage drivers who emerge seasonally. The cartoon humorously presents their unpredictability and recklessness as an inevitable seasonal occurrence, comparable to agricultural crops. The multiple warning signs and crowded, disorderly scene emphasize the danger and confusion created by these inexperienced operators on public roads. This reflects early 20th-century concerns about automobile safety as car ownership expanded.

# Analysis of "The New Order" Page from Judge Magazine This page contains a serialized romance story by Ada Patterson titled "The New Order: A Romance of Today." The narrative describes a working-class woman in worn clothing visiting a shoe shop, where she negotiates to buy nine pairs of shoes on a two-week payment plan for five dollars down. The two illustrations by C.F. Parrish and Blaksdale Rogers depict rural/working-class scenes consistent with the story's setting. The dialogue emphasizes economic struggle and the woman's resourcefulness in managing limited finances. The page appears to be straightforward serialized fiction rather than political satire, reflecting early 20th-century concerns about working-class financial hardship and the emerging consumer credit system.

# Explanation of Judge Magazine Page Content This page contains two satirical stories reflecting early 20th-century social attitudes: **"The New 'Fish' Story"** (top): A working-class shoe clerk in worn clothes asks a well-dressed woman of high social standing to carry her shoes home. She accepts, and they marry. The satire mocks the era's obsession with class distinction—the newspaper announcement emphasizes her family's "oldest families" pedigree while reducing him to his employment at the "Busy Bee Shoe Store." Their honeymoon dialogue reveals the real joke: she's grateful he married *down* to her, while he resents the financial gap between her wealth and his meager ten-dollar weekly wage. The satire critiques both rigid class consciousness and the awkwardness of cross-class marriages. **"The Usual Thing"** (bottom): A man complains of illness to a friend, who suggests seeing a doctor. He refuses, claiming it's old-fashioned to bore people with health complaints—now men simply "march in parades" and demand reform instead. This satirizes contemporary progressive activism, suggesting reformers exploit personal grievances for public causes rather than addressing them privately.

# "A Suburban Romance" — Explanation for Modern Readers This page contains a short romantic story illustrated with line drawings. A man named Harlan Conboy drives a roadster and spots Josephine Parker waiting at a suburban trolley stop. He's nervous about approaching her, but when he finally stops to offer her a ride, she rebuffs him coldly—he's removed his hat, revealing he's bald. The twist: moments later, when his car breaks down and he kneels to examine it, he wears his hat. Josephine sees him again, now finding him attractive and "a gentleman" for his embarrassed politeness. The satire mocks suburban romance and shallow attraction: a man's entire romantic prospects hinge on whether he's wearing a hat. It's gentle humor about vanity and the arbitrary nature of first impressions in courtship, specifically targeting early 20th-century suburban dating culture where appearance and proper decorum were paramount.