Judge — November 6, 1920

# Analysis This is primarily an **advertisement for Judge magazine itself**, not a political cartoon. The small illustration in the upper left appears to show two figures in a chaotic scene with money flying—likely depicting slapstick humor or comedic chaos, meant to exemplify the magazine's comedic content. The ad promotes Judge as "the champion gloom chaser," emphasizing it publishes "clean, wholesome, health-giving laughs." It highlights features like "The Digest of the World's Humor," "Bad Breaks," and "College Wits," positioning itself as a premier humor publication. The subscription offer—two dollars for four months (17 issues)—targets new subscribers only. This was Judge's membership model, inviting readers to join the "Happy Family" of 800,000+ subscribers. The page reflects early 20th-century magazine marketing and humor culture rather than political satire.

# Analysis of Judge Magazine Cover, November 6, 1929 This illustration by Orson Lowell depicts a post-World War I social scene. A distinguished gentleman (left) converses with two fashionably dressed women in an elegant drawing room. The caption reveals the satire: the man laments that post-war society expected to restore social order and propriety, but instead "everything and everyone is extravagant" with "nothing one can do to raise himself above the common herd." The cartoon mocks the anxiety of the upper classes about social upheaval following WWI. The wealthy man complains that the traditional class hierarchy has collapsed—even ordinary people now behave extravagantly, making it impossible for the elite to distinguish themselves through refined conduct. It's social commentary on 1920s egalitarianism threatening traditional class distinctions.

# "Their Wedding Bell" This illustration by A.T. Meanys depicts a large bell structure partially submerged in ocean waves, with two birds (appearing to be doves or similar creatures) perched atop it. The caption "Their Wedding Bell" suggests this is satirical commentary on a maritime or naval wedding theme, likely referencing a specific historical event or couple of the period. The submerged bell may symbolize something sinking, endangered, or troubled about the union being referenced. Without additional context about Judge magazine's publication date or contemporary events, the specific couple or marriage being satirized remains unclear, though the ocean setting suggests naval or political significance typical of Judge's satirical commentary on American affairs.

# Analysis The cartoon and story "A Miserable Business" by Ellis Parker Butler illustrate Prohibition-era frustrations. The sketch shows a man attempting to transport a car being pulled by horses—a visual joke about the impracticality of trying to move forward using outdated methods. The accompanying story describes the narrator's inheritance of illegal whiskey during Prohibition and his inability to dispose of it legally. He tries various methods—giving it away, hiring people to remove it, even consulting burglars—but everyone refuses, knowing possession is a federal crime. The satire targets Prohibition's absurdity: it created situations where perfectly good property became impossible to manage or sell. The car-and-horses image symbolizes how Prohibition forced people into ridiculous, backward positions, undermining practical commerce and common sense.

# Analysis of Judge Magazine Page This page contains three separate satirical pieces with illustrations: 1. **"'Twas Ever Thus"** (left): A cartoon depicting a man climbing a rope or pole toward what appears to be wealth or success at the top, while falling or struggling below. The title suggests ironic commentary on perpetual human struggle. 2. **"The Family Phonograph Obliged with a Tune"** (top right): Shows a car with figures, likely satirizing early automobile culture and the novelty of phonograph technology in vehicles—poking fun at modern conveniences. 3. **"Thirty Minutes in Havana"** (bottom right): Features figures with cameras, apparently satirizing tourists in Cuba, likely referencing the quick excursion tourism popular after U.S.-Cuba relations normalized. The main text discusses burglary and whiskey smuggling in prohibition-era language, suggesting 1920s content addressing illegal alcohol trade.

# "The Cupidity of Cupid" - Judge Magazine Satire This story-cartoon satirizes romantic expectations across different female archetypes of the era. Cupid encounters women representing various social types—a starry-eyed young girl, a married woman, a spinster, a wealthy woman, a "New Woman" (the era's term for feminists seeking careers), and a divorcée—each with unrealistic demands about love. The satire targets women's perceived contradictions: they want love yet also independence, respect yet romance, emotional understanding yet social advancement. Cupid's resigned responses mock how impossible their expectations are. The accompanying cartoon "The Race Is Not Always to the Swift" (top) uses a wealthy woman's overweight silhouette as visual comedy about materialism versus true love. The humor assumes a conservative stance: women seeking careers ("Senator or even President") or independence are foolishly rejecting their natural role in romantic relationships. The page ultimately mocks modern women's aspirations as incompatible with real love.

# Analysis for Modern Readers This page contains a satirical short story titled "When the Girls Come Home" about romantic jealousy. The narrative depicts a young man visiting his girlfriend Irene after her summer vacation in the country. She enthusiastically shows him photographs from her time away, repeatedly featuring a wealthy, athletic young man named Billy—who appears in nearly every picture. As Irene describes Billy's accomplishments (football letter, Phi Delta Theta fraternity membership, wealthy family) and sings romantic songs they shared, the narrator grows increasingly frustrated and jealous, ultimately wishing he could harm them both (though legally prevented). The satire mocks both male insecurity and the casual cruelty of women who flaunt their summer romantic interests to their jealous city suitors. Below are two brief joke items: "Poor Fish" (about fishing depletion) and "Help!" (a racial stereotype joke about a Black applicant misunderstanding a "No Work Today" sign). The page includes fashion illustrations titled "A Little Matter of Two Years" showing women's clothing evolution, drawn by Cesare L. Giardino.

# Success in Life: A Satire on Wealth and Health This 1920s-era piece by Walt Mason satirizes the American obsession with material success. The cartoon depicts three wealthy men at a seaside resort, all visibly suffering from ailments—a commentary on the irony that money cannot buy health. Mason's sermon argues that true success means freedom from physical pain, not wealth or status. The narrator, initially envious of the rich, discovers that millionaires suffer identical afflictions: asthma, gout, dental problems. The joke undercuts the "self-made man" mythology of the era—that accumulating riches solves life's problems. The detailed complaints about dentists, digestive issues, and chronic pain reflect early 20th-century anxieties about modern life's toll on bodies. The final irony: even the healthy envy the rich for possessing automobiles ("choo-choo carts"), suggesting no class escapes dissatisfaction. The satire mocks both wealth-worship and the perpetual human tendency to want what others have.

# November Calendar Satire This is a satirical calendar strip by Joseph A. Cesare (signed Cesare) mocking November 1920s American culture and politics. The daily panels contain topical references including: - **Billy Sunday**: The famous evangelist appears in panel 19, satirizing his religious revival campaigns - **Thanksgiving**: Referenced on the 25th with typical holiday humor - **Prohibition-era jokes**: References to drinking and alcohol appear throughout, mocking the recently-enacted dry laws - **Social commentary**: Panels mock consumerism, dating customs, and contemporary social behaviors The strip's title "Mercy! How Time Flies" suggests the rapid passing of months and the repetitive nature of seasonal activities. Each day contains brief gags and observations about everyday life, typical of Judge magazine's satirical format, targeting readers' recognition of current events and cultural figures.

# Understanding This Judge Magazine Page This page from Judge combines literary criticism with political satire about Prohibition-era America. **The Cover Illustration** depicts various figures in chaos—likely representing competing political interests during the heated debates over Prohibition ("While the Political Pot Boils"). **"The Divine Coquette"** section reviews poetry by Arthur Symons, using theatrical metaphors about an elusive ideal (Columbine, the stock character). **The Main Satire** ("Sacré Nom de Volstead!") mocks French visitors—the Countess and her daughter—who were shocked by American moral restrictions, particularly hotel rules separating unmarried couples and (more importantly) Prohibition. The author sarcastically criticizes the French for laughing at American "liberty" while America had sacrificed to help France in WWI. The reference to "Volstead" invokes the Volstead Act, which enforced Prohibition. The piece expresses indignation that foreigners dare mock American values and restrictions. **Context**: This reflects 1920s American defensiveness about Prohibition and anxiety about European criticism of American morality and "progress."

# "Judge" Editorial: "Thumb-Handedness" This editorial satirizes thoughtless, inconsiderate public behavior—termed "thumb-handedness" (physical or mental inability/unwillingness to "do the right thing"). The cartoon header depicts a chaotic newspaper editorial office where staff members jostle and disrupt work. The piece catalogs everyday inconsiderations: violating traffic rules, blocking sidewalks, monopolizing telephone booths, spreading newspapers wide on public transit, wearing oversized feathered hats, and—most sharply—"over-dressed" women who assert social superiority by talking loudly in theaters, ignoring others' rights. The author argues Americans must tolerate newly-arrived immigrants' and children's rudeness, hoping they'll learn civic consideration. The satire's target isn't immigrants themselves but the broader social problem of thoughtlessness in crowded modern cities. References to "Candidate Cox" and "Senator Harding" (visible in text) suggest this piece addresses post-WWI American civic behavior and social cohesion.