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PM Daily, newspaper, 1940
PM, June 19, 1940

“This policeman is examining the crushed-eggshell wreck of an automobile which crashed into an abutment at Henry Hudson Parkway and 72nd St., seriously injured two persons this morning. PM hears that there has been persistent agitation to correct this dangerous curve, responsible for many accidents; will try to find out if anything is being done to eliminate the hazard. Conrad H. Lowell, 44 and Alexandria Lowell, 44, 360 East 55th St., are in Roosevelt hospital as a result of this latest smash – C.M.”

Perhaps the first Weegee photo in PM (excluding the preview issues)…

This photo is republished in PM on July 21, 1940:
“I also hated automobile accidents, but about those I did something. There was a real death trap on the West Side Highway at Seventy-second Street. Cars would hit the abutments, and some would come crashing down into the streets below. I made a series of pictures of the accidents there, and the newspaper PM ran a whole page and started a campaign. Finaly, the city put red lights on the unmarked abutments, and the accidents stopped. This work I consider my memorial.” Weegee by Weegee, pp. 68-69

PM Daily, newspaper, 1940
PM, June 19, 1940 (Photos by Peter Killian)

Your Rush for Vol. 1 No.1 Delighted PM
… We’re Sorry If You Couldn’t Get One

We went to press on time. The presses didn’t break down. We printed nearly 200,000 more papers than we had planned to for any day in the first few months of production. And still we failed to supply either newsdealers or subscribers all the copies they asked for.

In Times Square they had to call out the cops, but they arrived too late. An insistent crush of newsdealers ganged past a PM route man, divvied up his papers and ran before the cops could get there. At William and Wall, a route man gave 25 copies to a wrinkled old woman vendor. In three minutes she had disposed of every one, at prices that jumped from the original nickel to a half dollar for the last one. It made her cry a little “I never made so much money so fast,” she wept. Fifteen minutes after the first bundles were dropped elsewhere in the financial district, the newsstands had to stick up signs: “PM Sold Out.”

The most injured newsie in town was the fellow at Flatbush and Sixth avenues, about a block from the PM plant. At 2:30 he was still re-routing customers down the street to try their luck at PM’s own office.

We extend our apologies for not having made a better provision for this enormously encouraging interest in us. We are particularly unhappy for having missed delivery to some of those good people who encouraged us by subscribing in advance of publication, sight unseen.

If you are one of those, please write to us. We have saved copies for you.

PM Daily, newspaper, 1940
PM Daily, newspaper, 1940
“About to start his mural for the Museum of Modern Art, Orozco divides panels into blocks.
Orozco never draws a completed sketch on his walls, never makes a full-size cartoon. Above shows him studying his design (Dive and Bomber Tank) and contemplating the wall. The public is invited to watch him work.”
PM Daily, newspaper, 1940
PM Daily, newspaper, 1940
PM Daily, newspaper, 1940
PM, June 19, 1940

PM, WEDNESDAY, JUNE 19, 1940

ELIZABETH SACARTOFF

Modern Art Museum
Gets Fresco Mural

It took the Museum of Modern Art to add spice to the Art Season last May when it rolled three freight cars and 20 centuries of Mexican art into Manhattan. No sooner had the pepper got off the public’s tongue than the art chefs decided to provide a bit of dessert.
Yesterday came the announcement that Mexican Mura1ist Jose Clemente Orozco, no stranger in these parts, had been coaxed to leave one wall that engaged him in Mexico, and tackle another wall on the third floor of the Museum of Modern Art.
Planned as an extra feature to the Mexican exhibition, the public will be permitted to watch for the next few weeks the technique of true fresco develop under the hand of a master.

A Mural Is Born

For a month, soft-voiced, dark-skinned Orozco has been cooped up behind bare walls of a mid-town hotel, fiddling with designs. Finally, scratches of electric-charged forms and volumes evolved on a small sheet of ordinary drawing paper.
The completed work, called Dive Bomber and Tank, will try to convey the essence of war destruction.
Unlike most of the walls Orozco has worked on, the Museum’s are divided into six removable panels which can be sent on tour to other cities. Three feet wide by nine feet high, each plaster slab weighs 500 pounds. It took Orozco and his assistant, Lewis Rubinstein, three weeks to prepare the plaster before painting could be started. Using permanent colors mixed in water, working on a wet section every day – cross-wise fashion from top left to right – Orozco hopes to get the job finished by mid-July.

The Museum of Modern Art’s portable mural will be Orozco’s fourth in the U. S. A. Others are in Manhattan’s New School for Social Research, Pomona College, at Claremont, Cal. and Dartmouth College.
Orozco is one of the few Mexican painters who have not studied in Europe. Eager to be an architect, he didn’t get around to his art until 1909, when he was 26. Intolerant even then of the pretty, sun-lit school of painting, Orozco expressed his contempt by painting prostitutes, night life, used dark, lurid colors. To this day he has never painted a landscape.
As the result of encountering some Mexican dynamite when he was 17, Orozco has no left hand, is partly deaf, and wears thick glasses. Peering through them, he says:
“I paint the today feeling. Anything made with passion, interest will last.”- E. S.


PM, June 18, 1940, p. 12 (photos by Alan Fisher and D. Richard Statile)

75 Years Ago today… not only did a great newspaper start publishing, but a section of the East River Drive, from 49th to 92 Sts., opened… At a cost of $10,700,00… “At 10:30 a.m. there was a happy shindig: a boat ride of notables… then lunch and speeches by Mayor La Guardia and others.”