“Oh, Dear My Thanksgiving Dinner.”

Detail: “Oh, Dear, My Thanksgiving Dinner!” c. 1907 by Jeanette Bernard:
Jeanette Bernard: American photographer, born in Germany: (1855-1941)
A gelatin silver print from original glass plate negative acquired by Culver Service : 15.6 x 20.0 cm:
from PhotoSeed Archive
Source: Oh, Dear, My Thanksgiving Dinner! | PhotoSeed

“War of the Worlds” Radio Show,1938.

orson-war-of-the-worldsOn October 30, 1938, from the Mercury Theater in New York City, Orson Welles broadcasted a “modernized” radio play of H.G. Wells 1898 novel “War of the Worlds.”
For the last three quarters of the century, we’ve been told that this fictionalized CBS broadcast sent Americans into a panic; that citizens across the country did not realize that this was science-fiction (despite the fact that it was explicitly stated at the beginning and twice during the broadcast) and thought the USA was under attack from an invading Martian army.
Littered with realistic simulated news reports and “eyewitness accounts,” the hour long broadcast was innovative and an extremely entertaining way to present the story.
But the thing is, no such nation-wide panic actually occurred.
While there were certainly many exceptions, documented evidence indicates most who listened did know it was a dramatization and were completely aware that New Jersey was not being destroyed by visitors from space.
Further, the broadcast didn’t have very good ratings when it first aired; so even if everyone who listened had thought it was real, it wouldn’t have resulted in the level of mass hysteria commonly spoken of since.
Read on further via The “War of the Worlds” Mass Panic That Never Really Happened.

Sundance Kid and Etta Place.

Pictured above are Harry Longabaugh (A.K.A. the “Sundance Kid”) and Etta Place.
Etta Place disappeared from history in the early 1900’s.
The big question, of course, is whether Butch Cassidy and Harry Longabaugh (Sundance) were in fact killed in Bolivia in 1908.
Featured above is a picture of a number of members of the “Hole in the Wall Gang”.
Some speculate they faked their deaths in order to live out the rest of their lives in peace and quiet.
See more via Old Picture of the Day: Outlaws.

Australian Pulp Fiction,1940-50.

6077004-3x4-700x933Photos: Australian pulp fiction became popular in the 1940s and 1950s. (NSW State Library)
They were eye catching, provocative and Australians could not get enough of them.
A new exhibition at the State Library of New South Wales explores the history of Australian pulp fiction with work from the Frank Johnson publishing house.
Tales of tawdry affairs and crime dramas exploded in the 1930s and the local market was flooded with American imports.
Conservative forces wanted them banned, and forged an unlikely alliance with Australian publishers who wanted the market all to themselves.
Crime writer Peter Doyle who curated the Pulp Confidential exhibition said Australian publishers were on a mission.
“Why do we really need to buy this mental rubbish from America, we can produce perfectly good mental rubbish here in Australia, and once they got the chance, they did,” he said.
They got their chance because American imports were banned during the 1940s and 1950s.
It meant Australian publishers could fill the void, and they did, with often spectacular cover artwork that easily stood out at the news stands.
Bold, bright colours were in vogue, and women were always portrayed as stereotypes.
“Women were either the femme fatal and buxom and blonde and quite gorgeous,” according to Rachel Franks from the State Library of NSW.
via Pulp Confidential exhibition: NSW State library explores Australian pulp fiction of the 1940s and 50s – ABC News

1950s Crazy Art.


Source:: Shell Petroleum.
JF Ptak Science Books LLC Post 907
I like Found Art categories: Found Absurdist, Found Surrealist, Found Cubist. This is a vision of art or design produced for something specifically not absurd or surreal or cubist, but once removed from their intended environment and definers, become the thing that was beyond their specified reach.
The examples are all from the mid-1950’s, their sources reprinted below:
Source: Shell Petroleum.
And this Spongebob-like existence under water, where you can have beaches and surf and fire and etc. at the bottom of the sea:
And of course the mom at the modern electric range feeling the birth of some sort of deep outer space astronautical space travel outer space rocket (though with no visible viewing windows which leads me to believe that perhaps no Outer Space Astronauts were on board):
Read more via Ptak Science Books: Found Absurdist Art: 1950’s Mommy Rockets, Flannel Moon Suits & Underwater Firefighters.

The Mimeograph, circa. 1876.

1889_Edison_MimeographThomas Edison received US patent 180,857 for “Autographic Printing” on August 8, 1876.
The patent covered the electric pen, used for making the stencil, and the flatbed duplicating press. In 1880 Edison obtained a further patent, US 224,665: “Method of Preparing Autographic Stencils for Printing,” which covered the making of stencils using a file plate, a grooved metal plate on which the stencil was placed which perforated the stencil when written on with a blunt metal stylus.
The word “mimeograph” was first used by Albert Blake Dick when he licensed Edison’s patents in 1887.
Dick received Trademark Registration no. 0356815 for the term “Mimeograph” in the US Patent Office. It is currently listed as a dead entry, but shows the A.B. Dick Company of Chicago as the owner of the name.
Over time, the term became generic and is now an example of a genericized trademark. (“Roneograph,” also “Roneo machine,” was another trademark used for mimeograph machines, the name being a contraction of Rotary Neostyle.)
Others who worked concurrently on the development of stencil duplicating were Eugenio de Zaccato and David Gestetner, both in Britain.
In Britain the machines were most often referred to as “duplicators,” though the predominance of Gestetner and Roneo in the UK market meant that some people referred to the machine by one of those two manufacturers’ names.
In 1891, Gestetner patented his Automatic Cyclostyle. This was one of the first rotary machines that retained the flatbed, which passed back and forth under inked rollers.
This invention provided for more automated, faster reproductions since the pages were produced and moved by rollers instead of pressing one single sheet at a time.
By 1900, two primary types of mimeographs had come into use: a single-drum machine and a dual-drum machine. The single-drum machine used a single drum for ink transfer to the stencil, and the dual-drum machine used two drums and silk-screens to transfer the ink to the stencils.
The single drum (example Roneo) machine could be easily used for multi-color work by changing the drum – each of which contained ink of a different color.
This was spot color for mastheads. Colors could not be mixed.
The mimeograph became popular because it was much cheaper than traditional print – there was neither typesetting nor skilled labor involved.
One individual with a typewriter and the necessary equipment became his own printing factory, allowing for greater circulation of printed material.
via Mimeograph – Wikipedia, the free encyclopedia.