Back O’ the Yards Where Wild West is Still Seen Every Day
WITH the cutting up of the great ranges, the vivid cowboy with his wide sombrero, gay bandanna, chaps and spurs is fast fading into a dim shadow on the flickering screen of movieland.
Surrounded by towering buildings, clanking switch engines and a wilderness of tracks, the never-old drama of the wild west also is vanishing from one of its last strongholdsâ€”the Chicago stockyards.
Cattle still pour into Packingtown from their peaceful homes on the Texas plains or the prairies of Kansas or Oklahoma, but gone is the time when the 500-acres of pens represented a live part of a far-flung frontier.
Cowboys are still to be seen in and “back-o’-the-yards,” but they are city cowboys, although they can ride a horse just as well as the old timers who used to accompany the cattle to market. Nowadays, the railways feed, water, and exercise the animals so that the shipper does not have to send his cowboys with them. On arrival they are herded into pens by men who, in most cases, have grown up in the district, but who can rope a steer with as much skill as their brothers of the plains.
Stage Wonders Work of Hidden Toilers
Tinseled Fairylands Rise from Piles of Painted Drapes While Silent Wheels and Brilliant Lights Add Realism to Scene
TUCKED far behind the footlights of the stage, twenty-five tons of huge counterweights aid in controlling the movements of acres of spangled drops and curtains in the wonderlands of a production that is resorting to concealed machinery to increase the effects of theatrical arts. Instead of the usual painted canvas walls that rise and fall from high over the stage, tinseled and bronzed draperies, lacelike net works of metallic cloth, and shimmering fringed curtains are drawn from beneath the floor balanced by weighted chains and ropes. Figures impersonating gaudy birds of the wilds are sent up through the platform on silent elevators, to hurst suddenly from the midst of brilliant plumage into rays of light that rival the rainbow hues.
Snow White and the Seven Dwarfs
A Famous Fairy Tale Is Brought to the Screen as the Pioneer Feature-Length Cartoon in Color
By ANDREW R. BOONE
BEHIND the black walls of an air-conditioned Hollywood studio laboratory, the shutter on a strange eight-deck camera flicked open and shut the other day, exposing the last of 362,919 frames of color film. At that instant was completed the first feature-length motion-picture cartoon ever created, one requiring more than 1,500,000 individual pen-and-ink drawings and water-color paintings. Also, at that moment, depth, a sense of perspective and distance hitherto seen only in “live action” pictures, sprang into being for cartoons.
Both the giant camera and the picture had their beginnings in a decision made four years ago by Walt Disney, famed creator of Mickey Mouse and Donald Duck, to produce a feature based on a well-known folk tale. “Snow White and the Seven Dwarfs,” a movie version of Grimm’s famous fairy tale filmed by the multiplane camera, is the result.
I love how these people kill an animal and then talk about how they have “brought it to life”. Check out the last page in this pictorial. It is really bizarre.
World’s Largest Gorilla Preserved by New Art of Sculpturdermy
In the Remarkable Series of Pictures Reproduced on these Pages, You See How Sculpture and Taxidermy Were Combined To Re-Create a Rare Animal Specimen
AMAZINGLY lifelike, the mounted body of the world’s largest gorilla, a 500-pound giant, is being put on exhibition at the Academy of Natural Sciences, in Philadelphia, Pa. The enormous brute, together with its mate and baby, were bagged by a recent West African expedition led by George Vanderbilt, New York sportsman and explorer. The delicate work of mounting the gorillas was accomplished at the Jonas Brothers Studios, in Mt. Vernon, N. Y. On these four pages, you find pictured the successive steps, combining sculpture and taxidermy, which “brought to life” the jungle family. As an initial step, the experts assembled the bones of the skeleton by means of wires and steel rods.
If the A-Bombs Burst
Here is what to expect, what you can do today to prepare yourself, what you can do then to survive
By Clifford B. Hicks
8:15 a.m., August 6, 1945. A single plane flies over the city. The only warning is a blinding flash of light. A ball of fire explodes in the sky, hanging there for a moment as it grows in size and fury. Then in a crackling instant the world’s second atomic explosion races down to strike the earth at a spot called Hiroshima.
Sixty seconds later 70,000 Japanese are dead, caught above ground. The heart of the city has been blasted into rubble which still plummets down on the dead and dying.
10:15 a.m., January 2, 1950. A stenographer in Manhattan shrugs her shoulders over her mid-morning cup of coffee and says to her girl friend, “I’m tellin’ you, there’s nothing you can do to save yourself â€”just one bomb will wipe out New York. Me, I’m headin’ for the country if things get worse.”
At the same moment the sky above Chicago’s Loop is split by a bright flash of lightning from a sudden winter storm. A nervous executive freezes in terror for an instant, then smiles sheepishly as he returns to the morning mail. But he can’t help wondering whether the bomb would demolish his home and kill his family in a suburb 14 miles away.
Auto Stealing Now $50,000,000-a-Year RACKET
By Edwin Teale
A BLUE roadster, traveling at high speed, rounded a curve outside a New Jersey town and apparently vanished into thin air.
Five minutes later, two motorcycle cops, flattened against whizzing machines, raced around the corner, flashed past a lumbering furniture van and headed after the stolen car. Without knowing it, they had already passed it. Snugly housed within the big van, the roadster was already the center of attention of a corps of experts. License plates were being shifted; wire wheels were being substituted for wooden ones; gray, quick-drying paint was being applied to hood and body.
A hundred miles away, across the state line, the van stopped, A light steel runway slid to the ground from the rear of the truck and a gray roadster, with wire wheels and Pennsylvania license plates, rolled to the pavement ready for sale to an unsuspecting buyer. The latest trick of a motor-stealing mob had worked and the police were baffld.
Rare-Stamp Racketeers Thwarted by Black Light
By Edwin Teak
IN THE palm of his hand, not long ago, an eastern dealer held two carmine and blue postage stamps. One was worth 50,000 times its weight in gold. The other was worth no more than a scrap of paper. Yet, even under a high-powered magnifying glass, he could detect no difference. Only rays of black light, coming from a quartz lamp in his laboratory, had disclosed an amazingly delicate operation performed by stamp surgeons of the underworld.
The original was a rare 1918 twenty-four-cent airmail stamp with an inverted center. Less than one hundredth the size of this page, it was worth $3,300. An ordinary stamp of the issue, with center right-side-up, can be purchased for as little as a dollar and a quarter. Rare-stamp racketeers had bought two ordinary stamps and had combined them to produce a fake stamp with an inverted center.
Turning Out Photographs by the Million
Great Plants in All Parts of the Country Are Developed to Supply Quick Service and Assistance for Army of Amateurs
DEVOTED exclusively to developing films and printing pictures for an army of amateur camera enthusiasts, great plants have been built up in all parts of the country. During the “busy” months of June, July, August and September, when the weather is best suited to taking pictures, the seven largest finishing plants in Chicago handle more than 114,000 pictures daily. Several have an output of 8,000 to 12,000 every twenty-four hours, and many print more than 5,000,000 as an annual average.
In Cincinnati, a single company serves almost a hundred drug stores, employing a fleet of automobiles to collect the film and deliver the pictures to the proprietors who have found that the “side line” in film service is a profitable advertisement and brings in potential customers. In one week, one of the collectors for this company brought in 20,000 spools of film and as many as 17,500 prints have been distributed in a single day.
How Your Home Locks Work
PSM photos by W. W. MORRIS
1. The simplest, most common door lock is the single-tumbler type, the workings of which are exposed here in an oversized model. The slots in its key are called wards. They are mated with projections inside the lock to permit the key to turn. This type of lock gives little protection since an ordinary skeleton key will usually open it.
2. Inside a one-tumbler lock. The semicircular projection (arrow) just inside the keyhole fits a notch in the rear edge of the key and prevents a strange key from turning.
3. As the key turns, the notch or bitting in its bottom edge permits it to pass along the back of the irregular tumbler (arrow) fixed to the bolt. Without this notch the key would be stopped.
How the Experts Build a Snow Man
Their big, fancy snow sculptures take a lot of work, but you can copy them on a smaller scale in your yard.
By Carol Ennis
BUILDING a snow giant like this one is a real construction job that crews of students tackle every winter at Dartmouth College for the school’s Winter Carnival. They begin by erecting a framework around which the statue is molded. A separate scaffold gives working platforms at several levels. Snow mixed with water forms slush for shaping the statue. The job takes the crew about three weeks of spare-time work.
For your yard this winter, you can build a small version of this Alpinist and his horn. If the scale is modest, the statue won’t be as much work.