Tag Archives: #PopularCulture

A Jazz-Age Flapper Bride: The 1924 Noling-Anderson Wedding in Evanston, Illinois.

Feature Image: On Saturday, June 7, 1924, Ruth M. Anderson was married in this sleeveless wedding dress (left) to William Noling in Evanston, Illinois. The dress is now on display in the Charles Gates Dawes House in Evanston. Dawes was Vice President of the United States from 1925 to 1929 under President Calvin Coolidge. Author’s photograph (October 2015).

A surviving wedding dress and family home transform a local 1924 wedding into a study of popular culture, showing how the artistic styles and fashions of the Jazz Age reshaped American attitudes toward femininity, modernity, and social convention.

Wedding at the House of the Bride’s family

The Noling-Anderson wedding was held in the house of the bride and her parents, Isak and Jennie (née Johnson) Anderson, at 1035 Ridge Avenue in Evanston. Built in 1914, the house still stands as it did over 100 years ago.

Noling-Anderson Bridal Party Dresses, 1924 in the Charles Gates Dawes House, Evanston, Illinois. October 2015. Author’s photograph. 7.44 mb DSC_0893 (1)

The dress is made of silk satin in an egg shell color. It is accented by an oval medallion with bands also made of silk satin. The medallion is embroidered with faux pearl and other glass beads.

Thoroughly modern flapper style

While her wedding dress was very fashionable for the mid1920’s – sleeveless tops of all shapes and sizes were the rage in 1924 – it probably was not allowed in one of Evanston’s houses of worship. The fact that it was sleeveless and au courant would be deemed by many as risqué for showing too much bare skin inspired by a thoroughly modern flapper style. It was only in 1924, for instance, that the Methodist Episcopal General Conference first lifted its ban on going to the theater as well as dancing though dance music was the radio’s most popular programming.

The bridesmaid dress (right) was the height of women’s style in 1924 – a mainly straight, knee-length skirt gathered slightly or cut with front pleats. Short sleeve and sleeveless tops were the rage in 1924 reflected in Hollywood by the Mack Sennett girls who starred in movies where they pranced on the beach in a chorus line in not much more than bathing caps and short swim suits.

The fashionable bride and her court might have sported the latest style of facial make-up which is hinted at in the display– masklike with garish, even orange, lipstick and heavy red rouge on the cheeks. Popular fashion accessories from 1924 are also evident – pearls knotted at the neck and simple, though elegant, arm bracelets.

Father of the bride was an Evanston banker, local businessman, and Swedish immigrant

The bride’s father, Isak Anderson, was born in Sweden and came to the United States at 20 years old in 1890. In 1891 he married Jennie Johnson and they had Ruth and another child. Ruth’s father was a bank director and partner in a local tailoring business in downtown Evanston at 608 Davis that today is a noodle shop.  

The Jazz Age transformed American social customs, fashion, and ideas of modern womanhood, with the bride’s flapper-inspired wedding attire reflecting broader cultural shifts that were fashionable, controversial, and distinctly of their time.

The dance migrated North during the Great Migration. It officially exploded into mainstream American culture on October 29, 1923, when it debuted on Broadway in the all-Black musical revue Runnin’ Wild. The show featured the hit song “The Charleston,” composed by jazz pioneer James P. Johnson, which provided the fast, syncopated 4/4 rhythm that defined the dance. The Charleston was most fashionable during the “Roaring Twenties” (1923–1929), reaching its absolute peak popularity between 1926 and 1927.

It was most popular in major urban centers—particularly New York City, Chicago, Paris and London, where young women called flappers wore short dresses, rolled down their stockings, and kicked up their heels to flout traditional social etiquette

The original Charleston craze effectively ended as a mainstream fad with the onset of the Great Depression in 1929. However, it didn’t completely disappear. The Charleston’s fast kicks, hand-to-knee swivels, and loose movements were absorbed into newer, more complex swing dances, most notably, for the Lindy Hop and the Jitterbug in the 1930s and 1940s.

They served “Prohibition highballs”

With Prohibition starting in 1920, guests at the wedding may have been served the latest popular highball whose recipe called for fruit juice and raw eggs. Their morning might have started with a bowl of Wheaties at breakfast, since the cereal of champions made its first appearance in 1924.

Wearing that dress Ruth Anderson married William Noling in this house at 1035 Ridge Avenue in Evanston, Illinois, on June 7, 1924. May 2024. Author’s photograph. 92% 7.81 mb

The bride’s attire reflected contemporary flapper fashion, including higher hemlines and sleeveless styles.

SOURCES: Charles G. Dawes House. Evanston, Illinois.
Ernst Wilhelm Olson, The Swedish Element in Illinois: Survey of the Past Seven Decades (Chicago: Peter-Albin-Publishing, 1917), p. 586.
Lois Gordon and Alan Gordon, American Chronicle (New Haven: Yale University Press, 1999), pp. 230–38.
Thomas G. Aylesworth and Virginia Aylesworth, Chicago: The Glamour Years (1919-1941) (New York: Gallery Books, 1986), p. 14.

From Jules Verne to Virtual Reality: Why Journey to the Center of the Earth Never Stops Fascinating.

FEATURE image: Jules Verne’s Journey to the Center of the Earth follows Professor Lidenbrock, Axel, and Hans on a descent into a mysterious underground world filled with prehistoric landscapes and creatures. Image design by John P. Walsh, utilizing generative AI elements.

The novel’s first English edition was published in London in 1871. Journey to the Center of the Earth has appeared in various other English translations and has never gone out of print. PHOTO: “journey to the center of the earth” by cdrummbks is licensed under CC BY 2.0.

Jules Verne’s Journey to the Center of the Earth endures because its blend of scientific curiosity, adventure, wonder, and spectacle has proven endlessly adaptable, allowing a 19th-century science-fiction novel to captivate audiences across generations and media, from books and films to television, theme parks, and immersive attractions.

Promotion of a 2008 film adaptation of Journey to the Center of the Earth in 4D. PHOTO: “Journey to the Center of the Earth 4D Movie Sign” by rmanoske is licensed under CC BY-NC-ND 2.0.

The Novel That Opened a World Beneath Our Feet

Published in 1864, Journey to the Center of the Earth was one of the works that helped lay the foundations of modern science fiction. In it, French novelist Jules Verne (1828-1905) sent the fiery German geologist Professor Otto Lidenbrock, his anxious nephew Axel, and their steadfast Icelandic guide Hans Bjelke into the unexplored depths of the Earth. Their descent leads through vast caverns, prehistoric landscapes, and encounters with creatures long believed extinct.

The combination of scientific curiosity, exploration, danger, and imagination proved irresistible. More than 160 years later, the novel has never gone out of print in English and remains one of the most widely adapted works in science-fiction history.

Published in 1864, Journey to the Center of the Earth helped establish the foundations of modern science fiction.

Photograph of Jules Verne in Nantes by Étienne Carjat (1828-1906). In Société de Géographie. Public Domain.

From Novel to Screen

Verne’s subterranean adventure quickly escaped the pages of the book and entered popular culture. The story has inspired films, radio dramas, television programs, cartoons, and theme-park attractions, each generation reshaping the tale for its own audience while preserving its central appeal: the thrill of venturing into the unknown.

The most celebrated adaptation arrived in 1959, when 20th Century-Fox released its lavish Cinemascope production starring James Mason. The film became a classic in its own right and introduced countless viewers to Verne’s underground world.

The novel follows Professor Lidenbrock, Axel, and Hans on a descent into a mysterious underground world filled with prehistoric landscapes and creatures. Verne’s combination of science, exploration, danger, and imagination has given the story lasting appeal.

Bernard Herrmann’s Sound of Terror

A major reason for the 1959 film’s enduring reputation is its extraordinary score by Bernard Herrmann, already famous for his collaborations with Alfred Hitchcock on Vertigo and Psycho. Herrmann envisioned the subterranean world as a place devoid of human warmth, seeking what he called an atmosphere of “no emotion, only terror.”

To achieve this effect, he eliminated strings from many underground sequences and constructed an immense, echoing soundscape using five organs. He even revived the serpent, a rarely used sixteenth-century bass wind instrument whose guttural voice lent a primal menace to scenes involving giant reptiles and prehistoric creatures. The result remains one of the most inventive fantasy film scores of Hollywood’s Golden Age.

The 1959 film starring James Mason became a classic in its own right, aided by Bernard Herrmann’s innovative score.

From the late 1950s to the mid-1960s, Bernard Herrmann scored a series of mythically-themed fantasy films, including 20th Century-Fox’s Journey to the Center of the Earth in 1959. Photo credit: Unknown photographer, via the Arlington Heights Herald (c. 1970). Public Domain.

Saturday-Morning Adventure

The story returned for a younger audience in 1967 as an animated television series produced by Filmation Associates and 20th Century Fox Television. Rather than adapting Verne’s novel directly, the cartoon borrowed heavily from the successful 1959 film and transformed it into a colorful, episodic adventure series.

Its twenty-minute episodes emphasized fantasy, monsters, and cliffhanger action. In one representative installment, “Creatures of the Swamp,” Professor Lindenbrook and his companions battle hostile moss creatures and rescue captured allies in a hidden underground marsh. Though the series moved far from Verne’s harder science-fiction roots, it demonstrated the remarkable flexibility of the original concept.

The 1967 animated series introduced Verne’s subterranean adventure to younger audiences, demonstrating the story’s flexibility across formats.

“Creatures of the Swamp,” the fourth episode of the 1967 animated Journey to the Center of the Earth series, aired on ABC on September 30, 1967. In this fast-paced 20-minute adventure, Professor Lindenbrook designs a custom swamp buggy to help Lars cross a vast underground marsh, but the expedition quickly goes awry when hostile moss creatures ambush and capture him. When the scheming Count Saknussemm’s interference results in Alec’s capture as well, Lindenbrook and Cindy join forces with the friendly subterranean “swamp people” to stage a rescue. Like much of the Filmation series, the episode favored colorful fantasy and monster-driven action over Jules Verne’s original science-fiction approach. Veteran voice actor Ted Knight performed the dual roles of heroic Professor Lindenbrook and the villainous Count Saknussemm.

The 3D and 4D Age

Verne’s adventure found yet another life in 2008. That year, three separate film versions of Journey to the Center of the Earth appeared, a testament to the story’s ongoing commercial appeal. The most successful was director Eric Brevig’s effects-driven 3D adventure starring Brendan Fraser, Josh Hutcherson, and Anita Briem.

Rather than directly retelling the novel, the film presented Verne’s book as a roadmap to a hidden world beneath the Earth’s surface. Audiences followed volcanologist Trevor Anderson, his nephew Sean, and guide Hannah into a spectacular subterranean realm populated by dinosaurs, volcanic hazards, and breathtaking landscapes. Enhanced by early 4DX technology that added motion, water sprays, wind, and other sensory effects, the film became a worldwide hit, earning more than $244 million against a $60 million budget and introducing Verne’s classic to a new generation of moviegoers.

A Journey Without End

Most journeys remain private experiences, recorded in diaries and forgotten with time. Others transcend their origins and become part of our shared cultural imagination. Journey to the Center of the Earth belongs to that rare second category. From Verne’s 1864 novel to the 1959 film, the 1967 animated series, and the immersive 3D and 4D adventures of the twenty-first century, each adaptation has reaffirmed the same enduring truth: humanity is endlessly fascinated by mysteries that lie beyond the horizon or beneath our feet. More than a century and a half after its publication, Verne’s remarkable descent into the unknown continues to inspire wonder, proving that some adventures never reach their destination because each generation eagerly begins the journey anew.

Neon lights, a warm marquee glow, and a line out the door: opening night at the Roxy as moviegoers queue for the 4D adventure Journey to the Center of the Earth. Directed by Eric Brevig, the film reimagines Jules Verne’s classic novel as a springboard for family-friendly spectacle, immersive 3D visuals, and sensory theater effects. Released in 2008, it grossed $244.2 million worldwide on a $60 million budget. While critics found the plot familiar and some of Brendan Fraser’s humor overly broad, they praised the film’s visual inventiveness and energetic use of 3D. Audiences embraced it, making the movie a family favorite and paving the way for the sequel Journey 2: The Mysterious Island (2012). PHOTO: “Warner Bros. Movie World – Journey to the Center of the Earth 4-D Adventure” by Mohd Fazlin Mohd Effendy Ooi is licensed under CC BY 2.0.