Judge — December 3, 1921

# Analysis This is a **promotional advertisement**, not satire or political commentary. Judge magazine is announcing that **William Allen White**—a prominent American journalist and editor—will become a regular contributor. The ad promises readers: 1. Weekly **editorials** by White 2. **Humorous fiction** pieces 3. Content covering "life, society and manners" with only light, satirical treatment of politics The tone is celebratory ("Good news, folks!") and the message emphasizes White's appeal: his writing will provide intelligent discussion without heavy-handed political sermonizing. The photograph shows a formal, dignified gentleman in suit and tie, positioning him as a respectable literary figure. This is essentially **magazine promotion** leveraging White's reputation to attract subscribers.

# "Her Photograph as a Baby" This cartoon from *Judge* magazine (December 3, 1921) appears to satirize a woman's vanity or dishonesty about her age. The image shows three figures examining what is labeled "her photograph as a baby"—but the photograph depicts a fully grown adult woman rather than an infant. The joke mocks the common social pretense of women misrepresenting their age, particularly in early 20th-century society where youthfulness held significant social value. The men's exaggerated expressions of surprise or skepticism emphasize the absurdity of the claim. The satire targets both female vanity and the broader cultural anxiety about aging and appearance that characterized the era.

# Analysis of Judge Magazine Page This page contains three separate satirical pieces drawn by Perry Barlow: **Main Cartoon**: Shows a man examining a large automobile engine, commenting that it needs "a mos' powerful mainspring"—satirizing early car engines as overly complex or unreliable. **"So Have You"**: Mocks someone claiming an "Atlas" supported the world, suggesting the person himself is similarly burdened. **"Publicity Desired"**: A chauffeur is arrested for traffic violations; he seeks favorable press coverage rather than legal help—satirizing how people prioritize public image over accountability. **"May Be Necessary"**: References a "Disarmament Conference in Washington," likely satirizing diplomatic efforts regarding weapons reduction, suggesting delegates need "tips" to succeed. The page satirizes contemporary concerns: automotive technology, public relations manipulation, and international diplomacy.

# "Why Be Wise?" - Analysis This story by Edwin Baird satirizes the Secret Service and law enforcement recruitment. The protagonist, Mr. DeGolyer, a polished stranger on a train, recruits a naive young man named McWhinney to become a detective by flattering his intelligence and offering financial incentives (a $100 deposit, $50 bonus per arrest). The satire targets how detective agencies recruit—appealing to vanity and greed rather than genuine qualification. The cartoon "The Tie that Binds" (bottom) appears to illustrate romantic entanglement, contrasting with the story's theme of questionable institutional bindings. The story's conclusion suggests the young man falls into trouble when observed smoking a cigarette—highlighting how arbitrary enforcement and bureaucratic rules entrap ordinary people into criminal situations.

# Analysis of Judge Magazine Page **Main Story Illustration**: The cartoon depicts a dental office scene where a man sits in a dentist's chair receiving what appears to be an arrest. The caption identifies "the gentleman in the chair is no other than our young dentist's profiteering landlord." **The Satire**: The story mocks a landlord who exploits tenants by demanding excessive rent. He's arrested for receiving a check for $27,500—apparently related to stolen bank bonds worth $900,000. The irony is that this profiteering landlord, who extracts money from desperate renters, faces consequences for his own financial crimes. **Secondary Content**: Below are brief poems and a small cartoon about horses ("Very Considerate"), typical of Judge's mixed satirical content. **Social Context**: This reflects post-WWI concerns about profiteering and exploitation of working people by landlords and property owners.

# Analysis This is a humor cartoon titled "How to Attract a Lady's Attention," drawn by René Vincent for Judge magazine. The cartoon presents two contrasting approaches: On the left, a bald man in formal evening wear (tuxedo) stands stiffly, appearing anxious or uncomfortable. On the right, a woman in an elaborate white gown with fur stole and feathered hat dramatically sweeps past him, ignoring his presence entirely. The satire suggests that a man's conventional formal attire and proper etiquette—the expected "gentleman's" approach—fails to capture a woman's interest. Instead, the woman's attention is drawn to her own elaborate costume and appearance. The joke targets early 20th-century courtship rituals, implying that women are primarily concerned with fashion and display rather than the man's efforts to impress her through formality.

# Historical Analysis: "The December Days Have Come" This Judge magazine calendar page presents a satirical month of December events mixing holidays, historical anniversaries, and contemporary scandals. **Key References:** - **John D. Rockefeller resigning from Standard Oil** (panel 11): A major 1911 business event, satirized as typical of wealthy industrialists - **Dempsey boxing** (panels 29-30): Likely Jack Dempsey, prominent heavyweight boxer of the era - **Pilgrims landing at Plymouth Rock** (panel 23): Historical reference used for holiday context - **French language/cuisine jokes** (panels 7, 20): Common American stereotypes about French culture - **Revolution in China** (panel 5): References the 1911 Xinhai Revolution **The satire's point**: The calendar juxtaposes serious historical/political events with frivolous holiday observations and drinking culture ("Month of Spirits"), mocking American society's conflation of significant moments with superficial celebration. The crude caricatures and broad humor reflect early 20th-century Judge's irreverent style toward politics and social pretension.

# Judge Magazine Page Analysis This page from *Judge* (a satirical weekly) contains a collection of brief humorous sketches and jokes typical of early 20th-century American humor. Key content includes: **The main cartoon** ("A Fallen Idol," bottom) depicts a man being thrown from a horse, satirizing disappointment or exposure of a once-respected figure—the specific reference is unclear without dating. **The jokes** mock contemporary social situations: a teacher's ironic observation about borrowing cultural practices; a wife's maiden sister as a "burglar alarm"; women adopting short skirts to "run for office" (likely referencing women's suffrage activism); references to "disarmament" suggesting post-WWI era concerns about military spending and fashion. **Other sketches** include domestic humor (husbands lecturing wives, unfaithful relationships) and wordplay ("I'm on the cent" for hunting money). The overall tone is genteel, middle-class satire focused on manners, marriage dynamics, and contemporary fads rather than hard political commentary—typical of *Judge*'s target audience of educated urban readers.

# Analysis of Judge Magazine Page **The Main Cartoon:** The illustration titled "A Woman's Man" shows a figure (appears to be a businessman or gentleman) in an intimate or compromising position with a woman. The image is rendered in dark, sketchy tones typical of period satirical art. **The Article's Point:** Walter Prichard Eaton's essay humorously questions whether American businessmen are "growing up"—suggesting they remain immature or overly focused on trivial matters. He discusses Robert Cortes Holliday's new essay collection "Turns About Town," praising Holliday's observational writing about Washington politics and notable figures (Harding, Tumulty, etc.). **The Satire:** The pairing of the suggestive illustration with an essay questioning American male maturity appears deliberate—the cartoon reinforces Eaton's implicit criticism that American businessmen remain preoccupied with romantic/sexual pursuits rather than intellectual development. The contrast between sophisticated essay criticism and the risqué illustration exemplifies Judge's typical approach: pairing social commentary with cheeky visual humor about masculine behavior.

# "Incompatibility" by Walt Mason This story satirizes marital discord by depicting the Jinx couple as hopelessly mismatched: Jasper prefers dusty scholarly books while his wife craves movies and social gaiety. The satire's point is subtle—rather than mock their incompatibility, Mason praises Mrs. Jinx for loyally promoting her husband's interests despite their opposing desires. The lower illustration shows a judge presiding over divorcing couples being pulled apart, visualizing Mason's opening complaint about courts producing "bushels of divorces." The moral: some couples divorce over trivial incompatibilities, while "wiser couples" (like the Jinxes) survive by tolerating differences—the husband accepting his wife's love of entertainment, the wife forgiving his disdain for bacon and acceptance of sauerkraut. The satire critiques both divorce culture and the expectation that spouses must share identical interests to maintain marriage.

# "The Hart of the World" — Heywood Broun's critique of cinema's cultural influence This article discusses actor William S. Hart (visible in the three portrait photographs), a major Western film star of the era. Broun argues that motion pictures—particularly Hart's films—possess unprecedented power to shape public behavior and values. The piece uses historical examples to support this claim: Goethe's *Werther* inspired suicides, *Uncle Tom's Cabin* affected infant mortality rates, and Ibsen's *Nora* influenced Scandinavian culture. Broun contends cinema's influence vastly exceeds literature's because it reaches millions. His evidence: Americans adopted Latin gestural expressiveness from watching film actors, and Senator Hiram Johnson allegedly makes political decisions by asking "What would Bill Hart do?" Broun concludes with anecdotal proof—a legitimate stage actor who failed at theater by unconsciously mimicking silent film acting techniques, using exaggerated physical gestures instead of relying on spoken dialogue. The satire critiques both cinema's manipulative power and society's susceptibility to entertainment-driven conformity.