The Talking Machine World, January 15, 1921, 27, accessed archive.org.
Historians of blues music and folk culture consider Mamie Smith to be the first African American woman to record blues vocals. In 1921, only a year after this historic recording, Smith performed to sold-out crowds in Indiana. Newspapers covered the release of Smith’s records and her Indiana performances extensively. We were interested especially in a spring 1921 performance by this African-American star in Richmond, Indiana, a Ku Klux Klan stronghold at the time.
Before 1920, African American entertainer Mamie Smith, who was born in Cincinnati, worked in Harlem as a chorus girl and cabaret singer. Here she met the black pianist, singer, and composer Perry Bradford who had found success in theater and minstrel circuits in New York. Bradford, who was interested in preserving African-American musical traditions in recordings, convinced Fred Hager, recording director of the obscure label OKeh Records to take a chance on recording Mamie Smith. Bradford convinced Hager that African American music lovers were an untapped market and that “they will buy records if recorded by one of their own, because we are the only folks that can sing and interpret hot jazz songs just off the griddle correctly.”
“A studio headshot portrait of American blues singer Mamie Smith,” photograph, circa, 1923, Frank Driggs Collection/Getty Images accessed “Mamie Smith and the Birth of the Blues Market,” All Things Considered, NPR.
In February 1920, Smith recorded “That Thing Called Love” and “You Can’t Keep a Good Man Down” for OKeh Records. Blues music historians consider this to be the first blues recording by an African American woman. Record producer Hager received boycott threats if he recorded Smith or any other African American singer. In the face of the controversy, Bradford convinced Hager to continue backing Smith, as opposed to the white singer Sophie Tucker, who Hager was alternatively considering. Bradford recalled:
Mr. Hager got a far-off look in his eyes and seemed somewhat worried, because of the many threatening letters he had received from some Northern and Southern pressure groups warning him not to have any truck with colored girls in the recording field. If he did, OKeh Products – phonograph machines and records – would be boycotted. May God bless Mr. Hager, for despite the many threats, it took a man with plenty of nerves and guts to buck those powerful groups and make the historical decision which would echo aroun’ the world. He pried open that old ‘prejudiced door’ for the first colored girl, Mamie Smith, so she could squeeze into the large horn – and shout with her strong contralto voice.
Smith recorded another set of songs penned by Bradford for Okeh in August of 1920. The track “Crazy Blues” became massively popular and in less than a year the record sold over a million copies. According to long-time music writer Jas Obercht, Smith’s “Crazy Blues” “could be heard coming from the open windows of virtually any black neighborhood in America.” Okeh Records called it “a surprise smash hit.” According to New Orleans jazz musician Danny Barker:
There was a great appeal amongst black people and whites who loved this blues business to buy records and buy phonographs. Every family had a phonograph in their house, specifically behind Mamie Smith’s first record.
Indiana newspapers ran ads for Mamie Smith’s records not long after the release of “Crazy Blues.” Often the ads for Smith’s records were also attempts to sell phonographs as Barker mentioned in the above quote. A downtown Indianapolis music store ran this advertisement in the Indianapolis News in November:
The C. W. Copp Music Shop ran an advertisement in the South Bend News-Times in December for the hit “Crazy Blues,” but also let an interested public know that they stocked other Mamie Smith records. Hoosier interest in Smith’s records continued into the new year. In March of 1921, the same South Bend music shop ran several advertisements for five new Smith records and the Hammond Times ran an advertisement for Okeh Records releases, featuring Smith, and to sell listeners the phonograph to play them on:
According to Obrecht, Mamie Smith recorded 22 songs this year and “between sessions, she kept a grueling schedule of concert appearances.” The Talking Machine World magazine reported that Smith and a revue of entertainers were going to perform in all the major U.S. cities. By April 1921, many Hoosier music fans were familiar with Mamie Smith, as we can see from the newspaper ads. So when the news broke that she was booked to play in Indiana, the coverage continued almost daily until the performance.
According to the Talking Machine World she performed in Indianapolis and Evansville on this tour, but a search of Hoosier State Chronicles and our recent work to digitize the Richmond Palladium Sun-Telegram shows that she also performed to sold out crowds in Richmond and South Bend. This is especially interesting considering 1920s Richmond was only about 5% African American, while perhaps as many as 45% of white males belonged at some point to Whitewater Klan #60, an active chapter of the Ku Klux Klan. We wondered, what brought Smith to Richmond and how was she received?
The Richmond Palladium and Sun-Telegram ran a notice of Smith’s Saturday, April 23, 1921 performance at the Coliseum for weeks before the date. Here are some great examples:
On April 21, 1921 alone there were three ads for Smith’s upcoming performance and records, including this extensive listing of popular songs:
Richmond Palladium and Sun Telegram, April 21, 1921. Hoosier State Chronicles.“Famous Colored Star Sings Here Saturday,” Richmond Palladium and Sun-Telegram, April 18, 1921. Hoosier State Chronicles.
Advertisements were not the only coverage of Smith’s upcoming appearance in Richmond. On April 18, 1921 the Richmond Palladium Sun-Telegram reported on the “forthcoming appearance here of Mamie Smith, the popular phonograph star of the colored race, and her All-Star Jazz Revue next Saturday night at the Coliseum,” and called it “the greatest jazz concert that has ever been sent on tour.” The newspaper called Smith “a phonograph star of the first rank” and claimed that she “has done more than any other singer perhaps in America to popularize the genuine ‘blues’ song of the day.” The writer continued to laud Smith for her ability to make songs into “living, potent things charged with a pulsing and individual rhythm.” The paper reported that the popularity of her record had made Richmond residents excited to see her perform live and that they were expecting a “sold-out house when she reaches this city.”
Jazz Revue Seats On Sale Wednesday,” Richmond Palladium and Sun-Telegram, April 18, 1921. Hoosier State Chronicles.
Perhaps the most interesting article in the Palladium was the one that appeared the following day, April 19, and covered not Smith but the revue company traveling with her. Mamie Smith and her Jazz Hounds were the headlining, crowd-drawing act, but her tour included other acts as well: dancers, vaudevillian comedians, and minstrel performers. The appearance of a newly-minted blues and jazz star on the same stage as the historically popular minstrel performers marks and intersection of trends in African American music and performance history. While minstrel performers had both conformed to stereotypes out of employment necessity and defied them through their self-presentation (learn more), Mamie Smith’s rise to stardom ushered in a new era of music divas who presented themselves as upper class, educated, rich, and demanding of respect.
Obrecht writes:
While blues music had been performed in the American South since the very beginning of the twentieth century, no one had made recordings of it before, largely due to racism and the assumption that African-Americans couldn’t – or wouldn’t – buy record players or 78s. “Crazy Blues” changed all that, sparking a mad scramble among record execs to record blues divas. The stars they promoted in this short-lived era of “classic blues” were not the down-home country singers who’d record later in the Roaring Twenties, but the glittering, glamorous, and savvy veterans of tent shows, minstrel troupes, and the vaudeville stage. These mavericks defied stereotypes…
“Colored Star Wears Exprensive Creations,” Richmond Palladium and Sun-Telegram, April 22, 1921. Hoosier State Chronicles.
As if in response to this very idea, on April 22 the Palladium followed the coverage of the revue with an article detailing the glamorous appearance and presentation of Smith. The newspaper stated that through her record royalties “the popular young colored star is enabled to indulge her fancy in the latest creations both from Paris and New York, and in each city in which she has appeared a gasp of astonishment has greeted her every appearance, for her gowns are described as riots of color and beauty.”
In a telling sentence, the article called Smith “one of the most gorgeously dressed stars of the musical comedy world.” This notes both the respect for her appearance and success and a misunderstanding of her role in music history. While African American music fans were connecting to Smith’s sincere and authentic portrayal of the blues music that they grew up with, this white Midwestern newspaper still saw her as part of the vaudeville and perhaps even minstrel genres — understandably perhaps since it was marketed as such. While Smith had come from such a tradition, through her work with the blues and and jazz performers she had transcended her past. Black newspapers understood her importance much earlier than white newspapers. On March 13, 1920, the Chicago Defender wrote:
Well, you’ve all heard the famous stars of the white race chirping their stuff on the different makes of phonograph records . . . but we have never – up to now – been able to hear one of our own ladies deliver the canned goods. Now we have the pleasure of being able to say that at last they have recognized the fact that we are here for their service; the OKeh Phonograph Company has initiated the idea by engaging the handsome, popular and capable vocalist, Mamie Gardner Smith.
Similarly, the African American gospel, jazz, and blues music Thomas A. Dorseyexplained, “Colored singing and playing artists are riding to fame and fortune with the current popular demand for ‘blues’ disk recordings and because of the recognized fact that only a Negro can do justice to the native indigo ditties such artists are in demand.”
There were African American audience members at the Richmond performance, who likely had a better understanding of the significance of Smith’s success. The Richmond PalladiumSun-Telegram reported: “The best seats are selling fast from the plat at Weisbrod Music company as white and colored folk alike are wager to see and hear the ‘Queen of the Blues,’ a capacity house is predicted for Saturday night.”
Unfortunately, there are no extant issues of the historic African American newspaper the Indianapolis Recorder for this period. It would be interesting to explore the differences in the coverage of Smith’s performances between a white and black newspaper and perhaps this could be accomplished using the Chicago Defender, but is outside the scope of this post.
As expected, Mamie Smith and her Jazz Hounds sold-out the Richmond Coliseum, which held 2,500 people, for the April 23, 1921 performance. The next year, the KKK also sold-out the same venue. The Richmond Palladium and Sun-Telegramreported on December 12, 1922 that a crowd awaiting a Klan rally “taxed the space at the Coliseum waiting for the ceremonies quite a long time before the Klansmen finally arrived.” So how was the white population of Richmond able to enjoy an African American musician one year and then attend a Klan rally the next?
While this contradiction may seem surprising, there was (and some argue still is) a tendency for white Americans to de-contextualize African American music from African American culture. That is, the white residents of Richmond were able to appreciate black music while continuing to oppress black people. There has been much written on this topic (two good places to start are Imamu Amiri Baraka‘s The Music: reflections on Jazz and Blues and Perry Hall’s “African American Music: Dynamics of Appropriation and Innovation“) and an extensive analysis of Smith’s career through this lens is outside the scope of this post. However, advertisements continued after her performance, from which we can draw that she was a hit regardless of why. Notice the advertisement claims that there was “a capacity audience.”
While we were unable to find an article reviewing the Richmond performance or the crowd’s reception, it likely went well because she returned to Indiana the next month. On May 31, 1921, she performed to another capacity crowd at the Oliver Theater in South Bend. The South Bend News-Times covered her performance in much the same manner as the Richmond Palladium. The paper noted in various articles, her fame, her genius, and her status as “the first colored girl artist to attain world-wide fame as a singer and phonograph record star.”
Mamie Smith’s importance to music history is hard to overstate, according to a story on NPR’s All Things Considered for which famed activist Angela Davis (now a professor at University of California/Santa Cruz ) was interviewed. Davis summed up Smith’s importance succinctly:
“The recording of ‘Crazy Blues’ led the way for the professionalization of black music, for the black entertainment industry, and indeed for the immense popularity of black music today.”
What’s the connection between Quakers, whalers, cancer and onions? Here’s some unexpected medical history from the Hoosier State.
While flipping through a few of the oldest Indiana newspapers, we ran across several “vintage cures” — including a couple of surprising ones for cancer, a disease that was as feared in 1816 as it is now, though the pioneers suffered from exponentially lower rates of it.
Oddly enough, the first remedy here, which claims to be able to treat cancer with onions, might not be bogus.
Modern medical research agrees with “folk” doctors on one thing, at least: regardless of the real havoc wreaked on your breath, garlic and onions are potent cancer-fighting foods. These veggies rank up there with broccoli, wild berries, ginger, olive oil, and a daily glass of wine as one of nature’s best weapons against tumors.
Onions have figured into medical practice for far longer than chemotherapy and radiation. Alternative practitioners and cancer patients often claim that vegetable-based remedies are at least as effective as chemo and radiation therapy — and they avoid the psychological side effects. Red onions, containing high amounts of a “flavonoid” called quercetin, are a strong antioxidant, antihistamine, and natural antibiotic. Quercetin helps protect cells and DNA against damage and reduces cholesterol and inflammation. Not only do onions lend a hand in preventing cancer to begin with, they seem to help rid the body of it.
Believe it or not, an onion remedy for cancer appears (as a reprint) in Indiana’s oldest newspaper, the Vincennes Western Sun. This 1811 remedy — published when Vincennes was still the capital of Indiana Territory and just a few months before the Battle of Tippecanoe — isn’t too far off from the “onion juice therapy” still touted in alternative medicine.
It’s doubly interesting that the list of “signers” who vouched for the cure is headed by a woman, Jane Starbuck.
Genealogical records indicate that the Jane Starbuck who had apparently gotten involved in “folk medicine” and tried to help cancer patients was probably a Quaker named Jane Taylor Starbuck (1755-1834). Her “receipt” (i.e., recipe) for an onion-based cure made its way into the Vincennes Western Sun by way of a copy of the Raleigh Star that was brought from North Carolina to the Wabash Valley and read by editor Elihu Stout. (The Western Sun contains almost no local news, which would have traveled by word of mouth in a small place like Vincennes. Stout, however, was always eager to pass on news from back East and down South.)
Jane Taylor Starbuck lived in Guilford County, North Carolina, birthplace of several thousand Quakers who began moving north to Indiana just before the War of 1812. Most came for new land, but many came to get away from slavery, which most — not all — Quakers opposed. Jane Taylor Starbuck seems to have stayed in the South, but her son Edward Starbuck, who also endorsed the cancer cure, joined the Quaker exodus to the Midwest. Edward, born in 1777, settled just east of Fountain City in Wayne County. His brother William Starbuck, another Quaker pioneer, is thought to have bought twenty-one slaves in North Carolina before he came north — a clever move against slavery, perhaps, since he set them all free when they got to Indiana. (Even free African Americans moving north often traveled with and settled near Quakers for protection.)
If the name “Starbuck” means more to you than coffee, you’ve probably read Herman Melville’s Moby-Dick. The Starbuck family, into which Jane Taylor married in 1776, were prominent whalers on Nantucket Island, Massachusetts. While the Starbuck who served as chief mate of Captain Ahab’s doomed Pequod — sunk by the white whale in the South Seas — was a fictional cousin of these Hoosier pioneers, Melville’s story was based on the very real fate of the Essex, a Nantucket whaling ship that was crushed and sunk by a sperm whale in 1820. The Essex’s crew, floating around the Pacific Ocean on rowboats, were reduced to cannibalism and drew lots to see who would die next. One of the unlucky victims was a teenage sailor from Nantucket, Owen Coffin.
Now if the name “Coffin” means more to you than a casket, maybe you’ve visited the home of the “President” of the Underground Railroad, Levi Coffin, in Fountain City, Indiana. Coffin’s house is just a few miles from Edward Starbuck’s farm. One of the bravest men in Hoosier history, Levi Coffin was another ardent Quaker from Guilford County, North Carolina. He moved to Indiana in 1826 and began funneling escaped slaves toward Canada almost as soon as he arrived.
Like the Starbucks, Levi Coffin was originally from New Garden, North Carolina, but had Nantucket family roots. He almost definitely knew Jane Taylor Starbuck and her son Edward. (Both families belonged to the New Garden Quaker Meeting.) Coffin himself was a cousin of Jane Starbuck’s husband, William, who was a Nantucket native, reared among the whalers and seafarers of colonial Massachusetts. From his Indiana farmhouse, Levi Coffin showed as much fearlessness as his New England cousins and grandparents did sailing the remote seas.
(Levi Coffin, 1798-1877, who with his wife Catherine fought the cancer of slavery and survived to see its death, lived just north of Richmond. Their Indiana home has been called the “Grand Central Station” of the Underground Railroad. They helped thousands evade slave catchers.)
In his memoirs, Coffin mentions an Edward Starbuck. He and the man who offered a cancer remedy in 1811 appear to be one and the same. (Coffin wrote that an Edward Starbuck also helped him found an anti-liquor society in Fountain City — then called Newport — in 1830, when the fugitive slave conductor was also beginning a “War on King Alcohol.”) Edward Starbuck himself lived on a farm between Whitewater and Fountain City, a few miles from Ohio. At some point, Starbuck apparently left the Quakers to become a Methodist minister.
Here’s the onion cure — which called for more than onions, by the way. It also required puccoon root (blood root), used in both European and American Indian pharmacology for generations as an antibiotic. (American Indians also used it as a dye.) The Western Sun of Vincennes printed this alleged cure on June 9, 1811.
A decade later, “cures for cancer” were still coming out in American newspapers. The 19th century turned out to be a golden age of questionable — if not downright dangerous — panaceas, some of them offered by doctors, some by quacks. Even some university-trained practitioners swore they could make a patient cancer-free.
It’s hard to blame anybody for trying, but this cure, reprinted in the Richmond Weekly Intelligencer in 1822 and which seems to recommend some kind of cauterization, would be impossible to vouch for.
A few weeks ago, we ran a post on how peach stones, chestnuts, and coconut shells got enlisted into World War I. In 1917, the U.S. government began a campaign to gather fruit pits and other agricultural waste that could be used in manufacturing charcoal filters for army gas masks — a life-saving device partly invented by Hoosier chemical engineer James Bert Garner.
The “war to end all wars,” of course, failed to do so. Twenty years later, America was on the verge of an even worse conflict. And in 1942, the familiar specter of junk rallies and war-bond drives returned to American newspapers.
Across the U.S., papers advertised the army and navy’s dire need for rubber, scrap iron, and “anything made of metal.” Most of the ads were nationally syndicated, and no one local newspaper can take credit for these darkly comic illustrations of ordinary domestic items turned into deadly weapons.
Like a scene from Walt Disney’s Beauty and the Beast, old radiators, lawn-mowers and worn-out tires were turned into instruments of fighting and killing, from rifles and shells to grim-looking gas masks and hand grenades.
The government’s scrap conservation campaign broke down the math. This ad comes from Dale in Spencer County, Indiana, just down the road from Lincoln’s boyhood home and the small town of Santa Claus.
Drawn by an illustrator for the Conservation Division of the War Production Board, the illustrations were taken out and paid for by the American Industries Salvage Committee. Business at local scrap yards was booming in 1942. The ads stated that scrap material would be purchased at government-controlled prices.
In what was actually one of America’s first recycling programs, the call went out for refrigerators, garbage pails, broken garden tools, lengths of pipe, burlap bags, manila bags, copper wires, zinc, lead, tin, and any kind of old rubber. Rusty scrap metal, the committee reminded Americans, was “actually refined steel, with most impurities removed — and can be quickly melted with new metal in the form of pig iron to produce highest quality steel for our war machines.” In 1942, the U.S. armed forces — just months after Pearl Harbor — needed an additional six million tons of scrap steel for weapons production.
The government also encouraged “good Americans” to give up something else: Sunday country drives and “joy-riding.” Unnecessary shopping trips to town and failure to use public transportation sapped gasoline at a time when Nazi submarines were torpedoing hundreds of oil tankers off the Atlantic Coast. Unnecessary driving and fast driving also added to the rubber shortage by wearing down tires. So did driving with the wrong tire pressure, as a Phillips 66 ad informed the patriotic public.
If only that conservation effort could have carried over into peace time. . . no matter how restless the joy-riding doggies got:
National Road Traveler, September 3, 1942.
Since farmers were likely to have plenty of scrap metal hanging around their property, the salvage committee’s ads tended to target rural areas and small towns. Dale, Indiana, was one, but the illustrations appeared nationwide.
Beneath the dark humor of seeing a Japanese soldier knocked on the head with grandma’s laundry iron or her kitchen teapot, some of these cartoons were fairly racist. Though cartoonists are usually allowed to take liberties to provoke discussion, artists at all times –especially in war time — have sometimes helped destroy innocent lives.
The hysteria that targeted German Americans during World War I — when Indiana and many other states went so far as to criminalize teaching German to children — rarely occurred during World War II, though about 11,000 German nationals were detained. The same can’t be said of the fate of Japanese Americans, over 100,000 of whom were herded up and imprisoned in detention camps out West.
Yet as always, some Americans rose above hysteria and fear. In 1942, Quaker-led Earlham College in Richmond, Indiana, became one of the few U.S. schools to allow Japanese Americans to continue their education during the war. The decision of Earlham’s President William Cullen Dennis, who cooperated with the Japanese American Student Relocation Council to admit six students from the newly-militarized West Coast, was controversial.
(Kokomo Tribune, September 30, 1942.)
In September 1942, the local branch of the Junior Order of American Mechanics, a youth group, sent Earlham’s president a resolution protesting the students’ presence on campus. The OAM was originally an anti-Catholic and nativist fraternal group organized in Philadelphia in 1844 to resist the hiring of “cheap foreign labor” (i.e., Irish). Richmond’s Junior OAM captured a lot of local sentiment and tried to encourage other “patriotic and fraternal orders” in town to follow suit. Richmond Mayor John Britten was forced to advise the FBI of the “hostile attitude of the community toward the students.”
(Rushville Republican, September 30, 1942.)
Dennis stood by his decision, citing that the move was in accordance with the school’s Quaker religious principles and “the ideals for which we are fighting.” Yet he refused to denounce the Federal government’s original decision to move them off the West Coast. The Japanese pupils — along with about 1,900 others now scattered across the Midwest and East — were kept under FBI surveillance.
Earlham wasn’t alone. A total of eight Indiana schools, all but one of them religious, admitted displaced Japanese Americans. These were DePauw, Valparaiso, Hanover, Franklin, Manchester, St. Mary’s (Notre Dame), Indiana Technical College, and Earlham. The Indianapolis-based Disciples of Christ also led a campaign critical of the West Coast interment camps and issued a resolution condemning the incarceration of 100,000 Americans without fair trial, calling it a mockery of American principles. That church was active in helping resettled families find jobs and housing across the Midwest.
(Lieutenant General John L. DeWitt, head of the Western Defense Command in San Francisco, issued orders forbidding Japanese American students at Oregon State University from using the library after 8:00 p.m. Corvallis Gazette-Times, April 3, 1942.)
(Corvallis Gazette-Times, April 2, 1942.)
Edward T. Uyesugi was one of the students who came to Earlham in 1942. Born in 1922 and raised in Portland, Oregon, he was one of the ten students forced to leave Willamette University in Salem after the Federal “evacuation” of April 1942. In Richmond, Uyesugi studied biology. He also met Paoli native Ruth Farlow, who was studying Latin, English and journalism. Ruth, a Quaker, wrote for the Richmond Palladium (currently being digitized by Hoosier State Chronicles.) The couple went on to get married in Washington State in 1946.
Farlow had gotten her first teaching job in Oregon, but was fired after one semester for her marriage to a Japanese American. (“Interracial marriage” was frowned on in every state and was still illegal in many.) The Uyesugis eventually came back to Indiana, raising three children in Ruth’s native Orange County, where he worked as an eye doctor and she taught journalism at Paoli High School. In 1999, Ruth Uyesugi was inducted into the Indiana Journalism Hall of Fame. She’s also the author of a 1977 autobiographical novel, Don’t Cry, Chiisai, Don’t Cry, a war-time love story set in Indiana and Oregon.
(Ruth Farlow, seated center, and Edward Uyesugi, right, both served on the editorial staff of the Earlham Post in 1944. Uyesugi wrote a sports column and also played on the football team.)
In 1942, Hoosier readers may have had their first encounter with a rising star in the world of illustration — Theodor Seuss Geisel, a third-generation German American originally from Springfield, Massachusetts. Geisel studied at Dartmouth and Oxford before joining the staff of the humor magazine Judge in New York City in the 1920s. His first published cartoon came out in the Saturday Evening Post in July 1927. Surviving the lean times of the Great Depression by drawing ads and logos for companies like General Electric, Standard Oil, and the Narragansett Brewing Company, Geisel got his first major national exposure during a Standard Oil campaign to market motor boat lubricants.
Nearly expelled from Dartmouth as an undergrad for drinking gin during Prohibition, the quirky illustrator had been banned from publishing cartoons in the college’s writing magazine. He got around it by signing himself “Dr. Seuss,” his middle name. (The name is actually pronounced “Soiss,” but the illustrator gave in to the American pronunciation.)
By 1942, Dr. Seuss — a fervent, scathing opponent of isolationists and pacifists who wanted to keep America out of World War II — was busy trying to lubricate public opinion instead of motor boats. Though frequently mistaken as a Jew because of his name and his appearance, Dr. Seuss was a German Lutheran.
(An anti-isolationist cartoon published in 1941, before America went to war against Germany, Italy and Japan.)
In the wake of American entry into the war — and before he was ever at work on The Grinch and The Cat in the Hat — Dr. Seuss drew cartoons for the U.S. Treasury Department as part of a war-bond drive. Roundly criticized since the 1940s, his caricatures of Japanese with buck teeth, pig noses and insect bodies came out in many American newspapers, including the tiny Dale News. Though Dr. Seuss deserves credit for apologizing for these cartoons after the war, the dehumanization of Asians may have influenced the U.S. decision to drop nuclear bombs on Japan in 1945, an event that was less likely to befall a Western European nation.
While “Dr. Seuss” also depicted Hitler with a pig snout and animal body, Geisel’s 1942 cartoon of Japanese Americans receiving TNT and awaiting orders from Japan put him squarely in the tradition of fearing immigrants as “enemy aliens” — the long list of newcomers accused of undermining American safety and values. In the century before World War II, American periodicals were full of this material, some of it drawn by reformers like German American immigrant Thomas Nast. Only the characters changed — from Catholics, Jews, and Chinese to Germans, Japanese and Muslims.
(“Waiting for the Signal from Home,” Dr. Seuss, 1942.)
The “Tokio Kid” series, commissioned by the Douglass Aircraft Company and subsidized by the War Commissions Board, joined in on the recycling campaign. Posters showing the Japanese Emperor thrilled by Americans’ waste of items like scrap metal were little different from equally demonic depictions of the German Kaiser during World War I, but both episodes played off ethnic and racial prejudice. (Reform politics and bogus science were as guilty as everyday racism here. During World War I, “progressive” advocates of Prohibition had made identical charges against German American beer-lovers — for unpatriotically wasting grain. Dr. Seuss’ own father, brew master at the family-owned Highland Brewery in Springfield, Massachusetts, was driven out of his job when Prohibition shut the place down in 1919.)
As for social reform, that would have to wait for peacetime. It’s not clear who exactly cartoonist Nate Collier was satirizing when this illustration came out in the Dale News in February 1942, three months after Pearl Harbor. But we think we can guess.
