Piano Lessons in Marble Hill

 

It would be perfectly fine for the 12-year old girl to ride the trolley across the 225^th Street Bridge. By 1940, she knew the city well and could glare fiercely at anyone who scared her.   

During those years her mother was chronically ill and often disappeared into hospitals and sanitariums. But Rose was around often enough to decide that her only child, Gloria, should have piano lessons, and she went about finding the right teacher.

That turned out to be Mrs. H. Victoria Wilde. Born in England in 1864, Mrs. Wilde immigrated to the U.S. in 1894. There, she taught piano and voice for decades.

Around 1910, Mrs. Wilde and her family moved from Brooklyn to an apartment in Marble Hill, N.Y.

New York, 1911
Mrs. Wilde, unknown woman, Elsie 
& Muriel, seated
(courtesy of the family)

Marble Hill is such an evocative name. One imagines Primrose Hill in London, with its panoramic views. Mrs. Wilde’s Marble Hill was a hilly hodge-podge of narrow streets lined with houses and apartment buildings. Except for the commercial district along 225^th Street, near the subway and trolley stations, the neighborhood stayed pretty quiet. It had its own charm.

There is a strange twist in the history of Marble Hill. Originally, in the time of the Lenape Indians who inhabited Manhattan until the early 1600s, a narrow creek, which the Dutch named “Spuyten Duyvil,” flowed around the northern tip of the island between the Hudson and Harlem Rivers.

In 1886, the city fathers decided to widen and reroute the creek to accommodate a growing number of barges and tugs. Over nine years, as laborers constructed the Harlem Ship Canal, Marble Hill was transformed into an island and subsequently, through the miracle of landfill, became part of The Bronx.

Politically, it remains affiliated with Manhattan. Marble Hill’s residents vote in Manhattan elections.

Amusingly, in 1939 the Bronx Borough President, James T. Lyons, planted a Bronx flag at the highest point of Marble Hill and claimed it for his borough.

Everyone laughed and the Times declared Marble Hill to be The Bronx’s Sudetenland.  

Trolley tracks on the 225th Street Bridge 

Gloria, her parents, and her grandmother lived in Inwood, the northernmost neighborhood in Manhattan. In order to get to Marble Hill, Gloria rode the trolley north on the lower level of the swing bridge that crossed the Harlem Ship Canal. Debarking on the other side, she’d walk a few blocks to Mrs. Wilde’s apartment.

Every spring, Mrs. Wilde hosted a piano recital to show off her students. She printed programs, so I know that Gloria performed pieces by Chopin and Grieg, Liszt’s Hungarian Rhapsody No. 2, and Gershwin’s Rhapsody in Blue.

Program for Mrs. Wilde's recital, 1942. 
On the left, Elsie Wilde performs a song by Clara Edwards;
 on the right, Gloria Stromberg performs Gershwin.

The recitals were held in Mrs. Wilde’s living room. Perhaps you’re wondering how all of the pupils and their guests squeezed in.

Mrs. Wilde didn’t teach on a grand, not even an upright. Her piano, a spinet, was small with extra-short keys. Spinets became popular during the Depression. Though eminently affordable, they fell short of the rich tone of grand pianos.  

In addition to the spinet, the room held a chest of drawers and a couch. As many chairs as possible were rounded up for the audience. 

45 Marble Hill Avenue

While she managed everything with aplomb, things had been bumpy since Henriette Victoria Hodson Wilde sailed from England to America in 1894 at the age of thirty.

She arrived with her six-year old daughter, Elsie, and the man who would soon become her mercurial common-law husband, William (Willoughby) Wilde. He traveled under “William White.”

Henriette and Willoughby were met by a friend, Francis Wilde. He went by Frank. The two men were not related. 

They had a plan, however, so everyone set out for North Adams, Mass., where Willoughby had been hired to perform as an organist or choirmaster, possibly accompanied by Mrs. Wilde’s voice.

But Mrs. Wilde might have been indisposed because her second daughter, Muriel, was born in North Adams.  

Before long they were off to Oskaloosa, Iowa, where Willoughby had secured a position as the organist and choirmaster at the First Presbyterian Church. He also directed the new philharmonic society in town.

Mrs. Wilde became very popular in Oskaloosa. She gave vocal performances at musicales, women’s clubs, graduations, and churches. The local papers showered her with praise: “artistic,” “delightful,” “sweet and dainty,” “the gem of the evening.”

Meanwhile, Frank worked in bookbinding or real estate. Sometimes he sold clothing and fruit.

In 1895, the family moved to Reading, PA, where Sidney was born. Before long they were off to Lebanon, PA, as the family began its zigzag journey back east, ending in Marble Hill.

Willoughby S. Wilde surrounded by members of
his chorus for an operetta, "The Ballet of the Seasons,"
performed in Reading, PA, 1903.

Of course, Mrs. Wilde’s students did not know that the British lady in her mid-70s had inhabited far more American cities and towns than they could imagine.

The teacher possessed her own odd story and so did my mother, who took piano lessons for at least ten years and insisted that my brother and I do the same. But we never heard her play a note. 

Mrs. H. Victoria Wilde and Gloria held their years close.

They have gone away but the mysteries remain.

 

*Deepest gratitude to Tom and Liz, who opened up their memories and files.

 

https://www.throughthehourglass.com/2025/11/piano-lessons-in-marble-hill.html?m=1

Confidence Man

Dr. J.W. Amey appeared in a 1918 "great men" directory.

 

Ironically, the first time the newspapers took note of Jesse Willis Amey, he was playing the role of a confidence man in a play, Black Diamond Express.

As the 29-year old Amey toured Pennsylvania and Maryland with the troupe Railroad Comedy Drama, he formulated grand plans for the rest of his life. It was 1900 and he did not intend to spend much more of the twentieth century living with his sister and brother-in-law in upstate New York.

Within a few years Amey enrolled at the New York University and Bellevue Hospital Medical College and by 1907 he was an MD ensconced in the NYU Department of Dermatology. Among his first patients, who both died, were the ringmaster of the Hippodrome Theatre and a repertory actor. The doctor always kept one foot in the theater.

Dr. Amey was living on West 45^th Street and getting around town as a member of the Friars Club and the New York Athletic Club when he made the acquaintance of Nelle Burrelle, wealthy widow and president of Burrelle’s Clipping Bureau.

An Ohioan named Frank Burrelle established the Bureau in New York City in 1888. Purportedly the idea came from a conversation he overheard: two businessmen in a bar bemoaning the fact that they had no way to keep track of the newspaper stories about their companies.

Frank’s second wife, Nelle, a native of Indiana who’d led a wild life as the wife of a Pittsburgh railroad man before she divorced him and came to New York, was creative and enterprising. She expanded the Bureau with commemorative scrapbooks and pitched Burrelle’s services to writers and performers on the circuit, such as Emile Zola in 1898.

 

Nelle and Frank embraced automobiles around the turn of
the twentieth century. This article appeared in 1905.

In 1910, Frank died unexpectedly while he and Nelle were on a cruise in the Gulf of Mexico. By that time Burrelle’s had 3,000 clients and a large office in the City Hall neighborhood where all of the New York newspapers were headquartered. Nelle moved into an apartment in the Carlton Hotel on 44^th Street, which she decorated with patent medicine ads, tools, and “For Sale” signs. 

On March 9, 1911, a notice of the engagement of Nelle Burrelle to Dr J. W. Amey appeared in the society pages. The Brooklyn Times-Union commented:

 

Beside having shown herself a competent business woman and having registered the biggest year’s business in the life of the firm, Mrs. Burrelle is well known in social circles and supports many charities unostentatiously. Dr. Amey is one of the most popular physicians in the city and he and Mrs. Burrelle have long been friends.  

That very night Nelle denied the engagement. Amey followed with a statement: “The story of the engagement between Mrs. Burrelle and myself, as published today, was authorized by me and issued in good faith.”

 Nelle mused to a reporter:

 

Why did Dr. Amey make such an announcement? I suppose, in his case, the wish was father to the thought. Perhaps the doctor has imagination and wished to carry me by storm. Well, we are not living in medieval times. Men don’t strap their women across their horses now and carry them away.

 

During these years, Nelle and her company were
on top of the world. 

Ten months later, Nelle fell ill at her apartment. Her death followed a 48-hour coma. Acute nephritis and uremia were listed as the causes, but the coroner received an anonymous telephone tip that hinted at murder.  

Coroner Holtzhauser did not say, “Something is rotten in the state of Denmark,” but he did make an announcement: “From what I have learned thus far I believe there may be something wrong.” He performed an autopsy and ruled Nelle’s death to be of undetermined cause.

Speaking to the press, Holtzhauser expressed surprise that Dr. Amey had been one of the three physicians who attended Nelle, that Amey had put his own nurse in charge of the patient, and that he had prescribed medicine that was found at Nelle’s bedside.

The drama continued.

Dr. Amey, whose inappropriate behavior did not seem to draw further suspicion among the authorities, reported to the police that thousands of dollars’ worth of jewelry was missing from Nelle’s bedroom and her safe in the Carlton Hotel. He described two solitaire rings, a pear brooch, a purse studded with diamonds, and so on.

Nelle’s will was missing, too! But about six months later, Dr. Amey delivered Nelle’s will to the surrogate. It had been slipped under his door, he said.

Someone leaked the contents to the press. Nelle had left shares of Burrelle’s stock and money to various employees, her two sisters, and Frank Burrelle’s two children by his first wife. She named Jesse W. Amey co-executor and left him the rest of her estate.

The date of execution and Nelle’s signature were missing, rendering it invalid. Eventually Nelle’s two sisters claimed the inheritance.

Dr. Amey went on with his life, purchasing a yacht, competing in trapshooting contests, and marrying Grace May Hoffman, a coloratura soprano who toured with John Philip Sousa. The couple had two sons who were young when their mother died in 1924. 

Grace’s parents were devastated—not only by their daughter’s early death. For some reason, the prospect of Dr. Amey continuing to play a part in the lives of their grandsons was out of the question.

Jesse, Jr. and Frank were reared in Manhattan until their grandfather’s death and then in Schenectady by their great-aunt Grace.  

Dr. Amey never missed a chance to get his name in the papers. In the late twenties, he started a cosmetic surgery clinic well before such doctors knew what they were doing in the operating room. Mehmet Oz-like, he promoted a controversial anti-cancer serum. His pronouncements were clunky and pompous at the same time.

He fit neatly into his time as an actor-doctor. 

 

*Eventually Dr. Amey wended his way to Coral Gables, Florida, remarried to a wealthy divorcee, and died in 1939.

 https://www.throughthehourglass.com/2023/11/confidence-man.html?m=1

 

Stanley Fox with English Sparrows

"The Sparrow's Home, Union Square, New York City,"
Stanley Fox for Harper's Weekly, 1869

Evidently New York City’s pigeon population is declining, and the English sparrow and European starling have assumed most-hated status. It’s hard to imagine that once upon a time sparrows were so desirable that the city built houses to keep them happy.

Originally, officials decided to import the birds from England to fix an urgent problem: caterpillars were munching on the leaves of shade trees. It was believed that the sparrows would eat the caterpillars.

During the 1850s, Brooklyn tried several times to establish a population but the birds kept dying. Finally, several broods were let loose at Green-Wood Cemetery and a man was hired to tend them; they flourished.  

Soon enough, the city of Portland, Maine, acquired its own sparrows. Then Boston brought them to the Common. During the Civil War, hundreds were set free in the parks of Manhattan. By the 1870s, Philadelphia, New Haven, Galveston, Salt Lake City, and San Francisco had large sparrow populations.

As the sparrows multiplied, Americans grew frustrated. The birds nested everywhere and ate crops. In 1903, the editor of The Warbler, a magazine devoted to North American ornithology, wrote, “The bird has now overrun the entire country and is a most serious pest.”

And in 1917, the Federal Government announced:

The U. S. Department of Agriculture scientifically investigated the contents of the stomachs of a large number of English sparrows, and reported that, aside from the destruction of weed-seeds, very little is to be said in the English sparrow’s favor. In reference to the insects destroyed this statement is made: ‘Out’ of five hundred and fifty-two stomachs inspected by the Biological Survey, forty-seven contained noxious insects, fifty held beneficial insects, and thirty-one contained insects of little or no importance.  

What a waste. But nothing could be done.

Fortunately, there’s one pleasing relic of the sparrow’s halcyon years:  a wood engraving of a giant bird house in Manhattan’s Union Square Park, circa 1869. Its creator, Stanley Fox, worked as an illustrator for Harper’s Weekly, the leading news magazine of the day, where the picture first appeared.

 Little Falls, N. Y., late nineteenth century

Mr. Fox was born and lived much of his short life in rural Little Falls, N. Y., 200+ miles northwest of New York City. The town lies in a deep gorge of the Mohawk River. Its dairy farms thrived because the Erie Canal passed right through.

In 1865, when Stanley Fox started working for Harper’s, the editors sent him south for the last year of the Civil War. He drew Fort Sumter and black soldiers arriving at Hilton Head. His picture of President Andrew Johnson pardoning rebels at the White House snagged the magazine’s cover.

After the war ended, Fox returned to Little Falls but continued to work for Harper’s. Now the editors wanted illustrations of topical urban scenes, which often required Fox’s presence in the city. He must have commuted back and forth on the New York Central Railroad.

Stanley Fox’s engravings are not in the same league as the work of Winslow Homer and Thomas Nast, who also contributed to Harper’s Weekly.

"Pedestrians Walking in a Blizzard" by Stanley Fox
Harper's Weekly, 1873

However, in addition to the sparrow palace at Union Square, Fox nicely captured various scenes around town: a thoroughbred horse race, a blizzard, a county fair, the Central Park Zoo, and boys swimming in the East River.

When the destitute widow Mary Lincoln exhibited her wardrobe in New York City, hoping to raise money by selling her gowns, furs, and jewelry, Fox’s drawing helped promote the show. 

And on May 30, 1868, Fox visited a Brooklyn cemetery to sketch visitors decorating the graves of the Union dead.

Many of his drawings were gritty:

The indigent pleading for mercy at Jefferson Market Court in Greenwich Village  . . .

A police wagon dumping a motley crew of men, women, and boys at New York City’s notorious prison, the Tombs . . .

Identifying the dead in a morgue . . .

Vulnerable immigrants and sly employers negotiating at Castle Garden. .  .

A horde of adults and children in a bar, “evading the excise law – laying in rum for Sunday.” 

"A Prison Van Discharging at the Tombs" by Stanley Fox
Harper's Weekly, 1871

  

One of the striking things about Fox’s engraving of the “Sparrow Hotel,” as the New York Times referred to it, is its resemblance to a nineteenth-century print of farmers shooting the passenger pigeons that used to fill American skies.

During the very same years that the sparrows thrived, the over-hunted passenger pigeon became extinct.

"Passenger Pigeons Being Shot to Save Crops in Iowa," 1867
Frank Leslie's Illustrated News, artist unknown

https://www.throughthehourglass.com/2017/05/fox-with-sparrows.html?m=1

Tale of Two Museums

The tables and chairs have been rearranged; otherwise
the room appears much as it did 100 years ago.

Some archives are worse than others. The chairs may be uncomfortable, the lighting poor, the taking of photographs forbidden.

Not so at the sun-filled library of the New-York Historical Society, with its two-story ceiling, swirling staircase, and creaky wooden card catalogue. Plus, everyone is friendly and helpful.

Therefore it’s hard to believe that once upon a time the place was haughty and insular. One of its defining characteristics was the requirement that new members be proposed by existing members. Subsequently, the trustees would meet, discuss various prospects, and make a decision much in the way of a country club.

This elitist system continued into the 1920s even though the Society desperately needed to expand its base in order to raise money. In 1908, the trustees had bought land and constructed a new building on Central Park West. Operating costs rose even as architects drew up plans for additions.

Through it all, the Society’s librarian, Robert H. Kelby, quietly went about his business, researching and writing; parrying inquiries. Visitors dropped by for lectures and little else.  The mission of the Society was not abundantly clear.

Then something happened in 1917.

Mrs. John King (Maria) Van Rensselaer, a Society member and descendant of one of New York’s oldest Dutch families, kicked up a fuss at the annual meeting.

According to those present, May, as she called herself, told the Society members that their institution was “dead.” Here’s what she said:

With the hordes of immigrants due to arrive here after the war, it is essential that some organization take enough interest to supply them with new national figures, history and folklore of this country and city, to take the places of those they had to leave behind. They will come to us full of illusions of America, the land of the free, and will find New York gasping under its load of munition millionaires, careless and spendthrift.

Washington and Lincoln are our only national heroes, and even they will seem remote enough to the immigrant landing at Ellis Island. It is our duty, and we shall hope to assimilate these new peoples without danger to our society and civilization, to make them over anew. The New York Historical Society can supply the straw to make bricks from the foreign mud and water…

During the past century, the goal of Americanization has become controversial. But in 1917, Mrs. V. R.’s words were quite progressive and way too much for the trustees, who pushed back. One year later at the annual meeting, she again urged change before storming off. In 1920, she established the Society of Patriotic New Yorkers, a branch of the Colonial Dames of America -- which she had founded in 1890.

Ironically, the Colonial Dames of America started as an exclusive organization whose members all descended from Colonists.

Newspaper sketch of
Mrs. Van Rensselaer 

But anyway . . .

In 1923, a startup called the Museum of the City of New York came on the scene. According to its founder, a Scottish immigrant named Henry Collins Brown, the new museum would “educate the schoolboy and inspire the immigrant.”  

A popularizer of the city’s history who once referred to himself as a “remembrancer,” Brown had many dealings with Kelby, the New-York Historical Society librarian, and his successor Alexander J. Wall.*  Brown often borrowed pictures from the Society’s collection and reproduced them in his books. Like Mrs. V. R., he urged Kelby and then Wall to coax the Society into the twentieth century.  

Gradually, the Society’s trustees changed their modus operandi.  

Meanwhile, Henry Collins Brown assembled a board for the Museum of the City of New York. Next he prevailed on the city to donate the dilapidated Gracie Mansion, overlooking the East River, as a temporary home for the museum. Built in 1799 as a country estate, Gracie Mansion would undergo the first of many restorations.

Henry Collins Brown, 1914

After being named director of the Museum of the City of New York, Brown moved his wife and young daughter into the mansion. That may have been one of the reasons why the board ousted him in 1926. 

Suffice it to say that the Society’s librarian, Alexander Wall, was unhappy to learn about the new museum. After Henry Collins Brown wrote to him that “We are a going concern,” Wall replied:

For some time there would be bitterness and rivalry. Eventually, each museum would find its place.

*Mr. Wall's real name was Wohlhagen, but the Society's trustees asked him to change it when the US entered World War I in 1917.

https://www.throughthehourglass.com/2017/05/tale-of-two-museums.html?m=1

Adventures of Allan Forman

Advertising card, 1890s
(New York Public Library)

Allan Forman was born by the beach on Long Island, in a cottage built by his Mayflower ancestors. He grew up in a Victorian brownstone in Brooklyn Heights.  His father had made a fortune from warehousing snuff and tobacco during the Civil War. 

Educated at the prestigious Brooklyn Polytechnic Institute, Allan started writing for the Brooklyn Daily Eagle in his teens. The paper’s editor, Thomas H. Kinsella, sent him to San Francisco to cover riots incited by an Irish labor leader named Denis Kearney. The violent fury directed at Chinese immigrants ended in death and destruction, and disgusted the young reporter.

Allan went on to Williams College in Massachusetts and always made a fuss about it, although he did not graduate.  

 Back in Brooklyn, Allan’s stories appeared regularly in newspapers and journals. Now he had two important mentors: Samuel S. Conant, editor of Harper’s Weekly, along with Kinsella of the Eagle.

In February 1885, Conant disappeared into a nineteenth-century melodrama involving a barroom, a watch & chain, and a man resembling him who might have taken a train to Florida.

Part of a search party, Allan scrambled around the beach at Coney Island, looking desperately for Conant and interviewing the proprietor of the Ocean House hotel where the editor might have been seen last.  

S. S. Conant never turned up.

But Allan continued to develop a nice style. Here’s the opening of an article entitled “The New York Crook”:

Not long ago I chanced to meet a lawyer somewhat prominent in a certain class of criminal case. After a few moments’ chat, I invited him to the theatre.

“No, I have to see a client of mine. Come with me and I’ll show you a new phase of life. I’ll introduce you to the ‘crooks.’”

The lawyer’s invitation chimed in with my lazy mood, and, hailing a passing hansom, we were whirled to our destination . . .

And here he is writing about dinner in Chinatown:

“Come and dine with me,” was the cheering invitation extended to me by a jolly New York lawyer of Bohemian tendencies. But I knew my man, and was aware of his penchant for mousing into all sorts of out-of-the-way quarters of the city where he fairly reveled in dirt and mystery and strange viands, so I lit another cigarette and lazily drawled, “Where?”

Illustration for Allan Forman's story about Chinatown

Already well-known in the world of the New York press, Allan really arrived when he took the helm of the first magazine devoted to journalism, The Journalist. The weekly was a few years old when he became editor in 1886.

At the time, press clubs had been established in most major U.S. cities. But reporters, publishers, and illustrators missed having a publication dedicated to their profession. The Journalist didn’t always fit the bill because Forman published whatever struck his fancy, but he would lead it for 22 years. 

Unfortunately, too, he was for sale – as scandals revealed in 1891 and 1905.  

It turned out that Allan had deals with the New York Life Insurance Company and the Mutual Life Insurance Company. He offered himself as a “press specialist.” For a fee, he used his influence to place flattering stories about the companies in newspapers around the country.

He might praise old management over new management, discredit newspaper investigations into corporate corruption or “spin” bad news. In fact, Allan may have been the true father of public relations.

Despite the bad publicity about Allan’s subterfuge, he carried on. However, the prestigious Lotos Club kicked him out for violating house rules and endangering others, so perhaps he was upset about something.

Subsequently, a series of exposes about the insurance business appeared in Joseph Pulitzer’s newspaper, The World.  A legislative committee (counseled by future Supreme Court justice Charles Evans Hughes) delved into the workings of the big companies. Allan did not testify, but one of his colleagues said that Forman earned $1 to $2 per line for six 250-word stories which editorialized in the guise of news.*

Frontispiece, 1889 issue of The Journalist

Once again, Forman remained untarnished. But he must have been running low on cash.

In 1896, he brought a suit to have his father declared insane after his mother refused to give money to one of Allan’s creditors. Justice Osborne of the Brooklyn Supreme Court accepted the testimony of two doctors: the elder Forman was competent to manage his own affairs.  

Then Allan’s first wife, Florence, divorced him, so he went off to Egypt for two years and left The Journalist in the hands of Marguerita Hamm, a pioneering woman reporter married to the jolly lawyer who lured him to dinner in Chinatown.

Allan had always loved the theater and occasionally wrote for The Dramatic Times. He liked to hang around backstage and gather gossip. In 1900 he remarried to a Swedish actress with the incomparable name of Xesia Yrsa Zephania Carlstedt.

*Ultimately, revelations about political slush funds and investing for self-gain led to significant regulation of the insurance industry.  

See part 2: April 20, 2017.

https://www.throughthehourglass.com/2017/03/adventures-of-allan-forman.html?m=1

Blue Pencil Bohemia

Ashcan School painter George B. Luks sketched dinner
at Maria's restaurant in Greenwich Village, 1890s.

In the 1890s, Maria’s restaurant on MacDougal Street drew quite a crowd.

Maria herself presided over the kitchen. While she cooked and served, men and women toasted each other, recited poetry, sang, teased, and argued as they milled around large tables.

At Maria’s, a meal of soup and spaghetti, roasted meat, salad, fruit, cheese, coffee, and Chianti could be had for fifty cents.

That’s where Ernest Jarrold – a newspaperman also known as Mickey Finn – often was goaded into singing “Slattery’s Baby.” Like much of Jarrold’s output, the song mocked Irish immigrants:

 Oh, I’m sorry to shtate I’m in trouble of late,

              From Slattery as well as the childer;

              He tries all the while me patience to rile

              An’ me poor broken heart to bewilder. . .

               

The scene at Maria’s restaurant, dubbed “Bohemian” by social observers and participants alike, rolled merrily along gathering artists and storytellers. Soon enough, it attracted uptown swells who hoped to be fashionably edgy. When Maria’s moved to Fourteenth Street, everyone followed. Intent on preserving their fun and exclusivity, the artists and writers established The Pleiades Club which met weekly at the restaurant.*

After a while, the lawyer and poet William E. S. Fales broke off to start The Blue Pencil Club. He located it in lower Manhattan near Newspaper Row, and invited the bawdy Mickey Finn and other journalists and illustrators to come along.

Among club members, the cartoonist R. F. Outcault was especially well-known. He had made his name with the inimitable character, the Yellow Kid. The bald urchin in an oversized yellow nightshirt emerged from a comic strip about street kids called “Hogan’s Alley,” which Outcault created for Joseph Pulitzer’s New York World. Soon enough, William Randolph Hearst lured Outcault to his New York Journal. It is said that the term “yellow journalism” originated with the circulation battle that ensued between the two papers. **

The Yellow Kid is front and center in this panel
from R. F. Outcault's "Hogan's Alley."

The irony is that newspapermen like Finn and Fales were a long way from the down-and-out, unconventional style that took its name from the early-nineteenth century vie de Boheme of Paris’ Latin Quarter.

Still they persisted in identifying as Bohemians, even declaring Fales “the King of Bohemia.” There are many histories of Bohemianism in the United States, some of which mention the crowd at Maria’s and none of which mention the Blue Pencil Club, but I won’t split hairs.     

What’s interesting is that the newspaper offices where these men worked were spitting distance from the neighborhoods where Chinese, Italian, and Eastern European immigrants had settled since the 1880s. In this way, they were right on top of the cultural and social changes brought about by new demographics.  

One change was the proliferation of ethnic table d’hote restaurants in lower Manhattan. In those days, table d’hote referred to a small restaurant, often in a cellar, where the chef and his family lived, cooked, and served dinner to guests. For these boisterous fellows, a visit to a Hungarian, Spanish, French, German or Romanian joint constituted a Bohemian adventure. 

Something new and different, unsullied by crowds hoping to be cool.

Besides, by 1900, a spaghetti dinner could be had at one of many “Italian eating houses,” one writer would recall.

* The Pleiades Club continued into the 1930s.

** Since the cartoonist had not copyrighted “Hogan’s Alley” or its characters, the World was able to continue the strip by employing a different illustrator and retitling it. That illustrator was George B. Luks, who went on to become a member of the Ashcan School of painting. Later, Outcault created Buster Brown, a comic strip character as well as the mascot of the Brown Shoe Company of St Louis.

See posts: 1/25/17, 2/1/17, 2/14/17.

 https://www.throughthehourglass.com/2017/02/blue-pencil-bohemia.html?m=1

Blue Pencil Boys

In 1899 when they started the Blue Pencil Club, the men were a bunch of rambunctious, though well-established, writers.

They rented some rooms on Spruce Street in lower Manhattan. Around the corner, the row of buildings that housed the city’s newspapers reached to the sky with a gold dome and towers.

The club was a mess, though:  The floor, when covered at all, was carpeted with sawdust. The ceiling decorations were mostly cobwebs. . .  The furnishings consisted of bare tables, tubs, beer kegs, a telephone and a bar.^*

From time to time, police busted the members for lack of a liquor license. But who had the heart to penalize such rollicking consumers of theater, literature, and Chinese culture?

Purveyors of wit that has, 117 years later, lost some of its luster, they joyously took down Tammany Hall, pompous publishers, and business titans.

But it should be noted they were rather smug themselves.

The point of the club was to have a good time, and to publish the Blue Pencil Magazine which they packed with doggerel, drawings, and tales ridiculous and fantastic.

Blue Pencil Magazine, cover of first issue

And the names of these men?

They were Billy Burgundy and Mickey Finn (pseudonyms) and Billy Fales.

And there was Forman, the pince nez’d scion of one of Brooklyn’s first families who got his start when the legendary Irish editor of the Brooklyn Daily Eagle, Thomas Kinsella, sent the lad to San Francisco in 1877 to cover an anti-immigrant uprising fomented by a labor leader named Denis Kearney.

Advertising card for cigarettes featuring Allan Forman

Forman ended up reporting on the Sand Lot riot, a three-night rampage during which four Chinese men were killed. He went on to write about theater, manners and the like. For 25 years, he edited The Journalist, the nation’s first magazine for writers and editors.

His essay, “How to Eat an Orange,” which appeared in Northwest Magazine in 1890, was well-received as they used to say.

As for Billy Burgundy!  Why would anyone named Oliver Victor Limerick need a pen name?

A Mississippi native who trained to be an allopath, Limerick was an incorrigible joker. He came to New York to edit a medical journal. After a while, he decided that he would rather write stories than practice medicine.

Limerick’s amusing advice column, “Billy Burgundy’s Balm for Burdened Bosoms,” and his books, such as Billy Burgundy’s Tales in Toothsome Slang, satirized romance:  

Percival was the confidential valve in the Borated Talcum Powder Trust, and drew down a voluptuous salary for his services in behalf of the Chafe-Allaying Industry. . .

Ernest Jarrold appeared on the frontispiece of
the February 1901 issue of Blue Pencil Magazine.

Then there was Mickey Finn, a.k.a. Ernest Jarrold, an Englishman who had been hanging around Newspaper Row for years, contributing short stories to The New York Evening Sun, Harper’s Weekly and other magazines. He often poked at Irish immigrants.

And there was Billy Fales – of whom his friends wrote:

Brave, brilliant Billy! No man or woman ever heard from his lips of the great grief that paralyzed his ambition and made a wreck of his career, for there was no yesterday on his calendar,

and

He often said that life was a joke and he generally appeared to make this epigram the maxim of his career.

A poet, essayist, diplomat, attorney, and adventurer, Fales bore the nickname “the Encyclopedia.” Married thrice, indifferent father of two sons, he caroused Manhattan, eating and drinking heavily.

Chow Chop Suey at Mong Sing Wah in Chinatown, the spaghetti at Maria Da Prato’s on MacDougal Street, the oyster stalls at Fulton Market, and the Lomo de Puerco con Platanos at Braguglia & Carreno on Broadway; Billy loved it all.

Artist's sketch of "Spaghetti Night" at Maria del Prato's

He steered the members of the Blue Pencil Club through the night, returning at dawn to his home on Pineapple Street in Brooklyn Heights.

They called him, as many had been called before, “The King of Bohemia.”  

*See posts on William E. S. Fales, 2/1/17 + 1/25/17 & about his mother, Imogene C. Fales, 5/25/16; also post on Allan Forman, March 22, 2017.

https://www.throughthehourglass.com/2017/02/blue-pencil-boys.html?m=1