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<v Speaker 1>What do you got three new potato piles, mister potato bird,

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<v Speaker 1>mister potato fish, and mister potato bugs. That's a funny

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<v Speaker 1>potato bugading me and Jahn. That's a nice potato fish.

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<v Speaker 2>Follow caw.

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<v Speaker 1>I like your potato bird doings that simple? Let's see him,

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<v Speaker 1>mister potato birds, mister potato but mister vocato bet mister

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<v Speaker 1>potato head and his pals.

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<v Speaker 2>Ha ha ha.

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<v Speaker 3>Welcome to Amusing Jews, where we celebrate Jewish contributors and

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<v Speaker 3>contributions to American popular culture. I'm Jonathan Friedman and I'm

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<v Speaker 3>Jelly Angelfield producer engineer Mike Tomran is working somewhere behind

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<v Speaker 3>the scenes. Amusing Jews is a project of a Dot

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<v Speaker 3>Caverine Cargation for Humanistic Judaism, the Jewish Museum of the

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<v Speaker 3>American West, and Atheist United Studios. Hey, Joey.

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<v Speaker 1>Some of the most.

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<v Speaker 3>Important names to me growing up didn't belong to people,

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<v Speaker 3>but to toy companies, names like Hasbro, Mattel Kinner, Toy Biz,

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<v Speaker 3>and Galoob. Unknown to me at the time, these toy

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<v Speaker 3>companies and many others were founded by Jews. We're happy

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<v Speaker 3>to chat with Michael Kimmel, the Sunny Distinguished Professor Emeritus

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<v Speaker 3>of Sociology and Jedder Studies at Stonybrook University, whose latest

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<v Speaker 3>book is Playmakers, The Jewish Entrepreneurs who created the toy

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<v Speaker 3>industry in America. Michael, welcome to Amusing Jews.

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<v Speaker 1>Well, nice to be with you guys. Thanks.

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<v Speaker 4>You're a sociologist with expertise in men and masculinities? What

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<v Speaker 4>led you to write about toys?

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<v Speaker 1>Retirement? For one thing? So I'm professor emeritis and in

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<v Speaker 1>twenty twenty I retired and COVID hit, and I've started

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<v Speaker 1>thinking like what's my next writing project? And and all girl.

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<v Speaker 2>All.

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<v Speaker 1>During my childhood there was a photograph on my piano

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<v Speaker 1>at home, and it was a photograph of an older

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<v Speaker 1>man with a very well known child actress on his

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<v Speaker 1>on sitting on his knee. Now I knew, and everybody

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<v Speaker 1>knows who Shirley Temple is, but I had, you know,

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<v Speaker 1>I didn't really know who the guy who's on whose

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<v Speaker 1>lap she was sitting was was. And my mom told

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<v Speaker 1>me that he was Mars mcdum, and he was he

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<v Speaker 1>was himself a famous man, and I thought, okay, I

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<v Speaker 1>didn't know anything about it. So here I am sitting there, going,

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<v Speaker 1>what am I going to write my next project about it?

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<v Speaker 1>I said, maybe I'll write about him. He has a

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<v Speaker 1>really interesting story. So I began to dig found out

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<v Speaker 1>some more of his story, and so and so that

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<v Speaker 1>was the beginning of the book was simply, I'm going

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<v Speaker 1>to tell my family story. It's going to be about

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<v Speaker 1>one hundred pages long, and I'm going to basically find

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<v Speaker 1>out everything I can about where he grew up in

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<v Speaker 1>the in you know, in in uh well, in the

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<v Speaker 1>Minsk district of what's now Belarus, how he made it

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<v Speaker 1>to the US, what he you know, what he did,

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<v Speaker 1>and and and that'll be it. It'll be a short

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<v Speaker 1>family story. Uh And then I sort of plunged in

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<v Speaker 1>and was instantly way over my head.

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<v Speaker 3>Well, of course his story has a lot to do

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<v Speaker 3>with the Teddy Bear, if you want to tell us

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<v Speaker 3>about that.

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<v Speaker 1>So Mars's story, he was a younger brother. His older

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<v Speaker 1>brother Harris, was taking over the you know, the the

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<v Speaker 1>the family farm in in in the schedtle that they

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<v Speaker 1>lived in, and and so Mars was prime for the

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<v Speaker 1>Russian army. So his family staged a mock funeral, declared

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<v Speaker 1>that he had died of typhus, and they staged a

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<v Speaker 1>mock funeral, buried a coffin filled with rocks, and he

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<v Speaker 1>quietly slipped over the border, ended up as so many

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<v Speaker 1>did in Vilnius. My great grandfather, uh how Trus, my

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<v Speaker 1>great great uncle Marris and his wife Rose, all came

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<v Speaker 1>to the US around the same time, ended up in

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<v Speaker 1>Castle Garden. In about eighteen ninety two ninety three, Mars

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<v Speaker 1>and Rose his wife opened a candy store in the

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<v Speaker 1>bedsince the I wasit neighborhood in Brooklyn, the candy store

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<v Speaker 1>was a very important neighborhood institution, sort of think of

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<v Speaker 1>the barbershop in the black community in the nineteen sixties

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<v Speaker 1>or so. It was the center of social life. Everybody

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<v Speaker 1>hung out there. It used to be. By nineteen hundred

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<v Speaker 1>it was probably the only place around that had a telephone.

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<v Speaker 1>So if you got a telephone call, people would go

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<v Speaker 1>to your apartment or your tenement knock on your doors

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<v Speaker 1>that you have a phone call. You go down, you

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<v Speaker 1>go to the candy store and pick up the phone. Okay, so,

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<v Speaker 1>and the candy store also was the place where you

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<v Speaker 1>bought newspapers. Morris being having that a failed rabbinical student

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<v Speaker 1>read them all, and in one day in nineteen oh two,

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<v Speaker 1>he was reading the newspapers and he saw a cartoon

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<v Speaker 1>that showed Theodore Roosevelt standing there with a gun and

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<v Speaker 1>in the background was somebody holding a little bear cub.

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<v Speaker 1>And the story was that Roosevelt had been in the

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<v Speaker 1>South adjudigating a boundary dispute between Louisiana and Mississippi, and

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<v Speaker 1>afterwards he was tired and he said, I'm gonna go

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<v Speaker 1>bear hunting in Mississippi. So he goes bear hunting and

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<v Speaker 1>after a week they find nothing, no bears, and he's grumpy.

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<v Speaker 1>So finally they find this little old strike to be bear.

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<v Speaker 1>They grab it, the dog's corner it. They tie it

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<v Speaker 1>to a tree and they say, come on, tr you

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<v Speaker 1>can shoot this bear. He takes one look at the

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<v Speaker 1>bear and says, I'm not killing that bear now. For

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<v Speaker 1>some reason, along on this trip was Clifford Berryman. Clifford

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<v Speaker 1>Berryman was a cartoonist, the daily cartoonist for the Washington Post,

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<v Speaker 1>and he drew this cartoon of Theodre Roosevelt refusing to

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<v Speaker 1>shoot the bear. And for some unknown reason, I have

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<v Speaker 1>no idea why Marris thought this was adorable. He said,

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<v Speaker 1>the czar was never so nice, and and so he

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<v Speaker 1>decided that, uh that So he said to Rose, hey,

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<v Speaker 1>you know, let's go. Let's go to the basement, put

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<v Speaker 1>together some scraps and material, and let's make a little,

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<v Speaker 1>you know, a little replica of this bear that t

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<v Speaker 1>R had refused to kill. They put it in the

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<v Speaker 1>window of the candy store. Fine, everything was going fine,

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<v Speaker 1>and people came by and said, that's really cool. What

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<v Speaker 1>is that? They said, well, you know the story they

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<v Speaker 1>were at here of Theodore Roosevelt. They said, I want one,

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<v Speaker 1>and suddenly they began to everybody wanted them. So so

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<v Speaker 1>apparently now this is that's that part we know is true.

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<v Speaker 1>What we don't know is the next part, which is

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<v Speaker 1>kind of family myth. Mars and Rose called it Teddy's

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<v Speaker 1>Bear and wrote to Roosevelt and said, hey, we'd like

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<v Speaker 1>to make these, and we'd like to use your name. Said, okay,

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<v Speaker 1>if we call it Teddy's Bear. And Roosevelt apparently said,

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<v Speaker 1>and this is the myth, marcause this letter has never

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<v Speaker 1>been found, but apparently he wrote back on White House stationary,

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<v Speaker 1>I have no idea if my name would be of

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<v Speaker 1>any value in the bear business, but you're welcome to

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<v Speaker 1>use it. And that's the origin of the Teddy Bear.

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<v Speaker 1>That's how Teddy Bear started was my great great uncle

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<v Speaker 1>Mars and his wife Rose Micdum in a candy store

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<v Speaker 1>in Bedford Stuyvesant in Brooklyn when you asked me, like,

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<v Speaker 1>why do you write this book? Okay, that's as far

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<v Speaker 1>as I got. And I thought, and if you ever

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<v Speaker 1>ever tried to, like done research or try to write

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<v Speaker 1>a book, one of the things that happens is you

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<v Speaker 1>reach a point where you say, Okay, I'm at the

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<v Speaker 1>end of my knowledge here. I don't know anything more.

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<v Speaker 1>And yet there was a question that I was facing,

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<v Speaker 1>which is what else was going on in toyland? What

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<v Speaker 1>are the other toy companies? As if I had not

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<v Speaker 1>asked that question, you would not have the book. I

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<v Speaker 1>asked the question, and I said, okay, let me find out.

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<v Speaker 1>How come there's no history. It's the American toy industry, right.

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<v Speaker 1>So I started to look and it turned out that

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<v Speaker 1>all but one of the major toy companies and at

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<v Speaker 1>the turn of the twentieth century were founded by first

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<v Speaker 1>generation Jews. Now, for you guys, I just want to

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<v Speaker 1>be clear I used the term first generation to refer

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<v Speaker 1>to those who were born the first generation born ear

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<v Speaker 1>born of immigrant parents, very poor lower East side tenements,

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<v Speaker 1>you know, had nothing, but they had this. They had

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<v Speaker 1>these ideas about what they could do and what niche

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<v Speaker 1>they could fill, and that's what they did. So I'm talking,

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<v Speaker 1>for example, about the Hasbro the Hassenfeld brothers who land,

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<v Speaker 1>who came first to Rhode Island and made bags out

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<v Speaker 1>of scrap material. Then they made doctor kits, and eventually

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<v Speaker 1>their first toy was potato Head Mattel, which grew up

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<v Speaker 1>where you guys live, which really was founded in the

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<v Speaker 1>post war Europe to take advantage of the exploding plastics industry.

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<v Speaker 1>But at the turn of the century, all the doll

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<v Speaker 1>companies Aaron B F and B, Louis Marx, Lionel Trains,

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<v Speaker 1>every single one of them from Madame Alexander Dolls, all

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<v Speaker 1>of them were founded by first generation Jews. So I

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<v Speaker 1>thought to myself, this is a story I never read.

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<v Speaker 1>I bet I now, I so, okay, I want to

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<v Speaker 1>now I want to find out about it. So that's

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<v Speaker 1>what that's that's how the book started.

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<v Speaker 3>I think some of you're alluding to and why there

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<v Speaker 3>may be is this lacuna in the history of Jews,

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<v Speaker 3>is that, just like comic books, took a long time

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<v Speaker 3>for that history to be written. And now it's fairly

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<v Speaker 3>well known. You know, toys generally speaking, are considered disposable,

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<v Speaker 3>especially from a historian's PERSPECTI I who look for more

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<v Speaker 3>serious things. And the whole idea of like looking at

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<v Speaker 3>material culture of a more commercial or a more you know,

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<v Speaker 3>mass produced perspective is fairly new. And your book is

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<v Speaker 3>is a great you know, I hope first study, because

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<v Speaker 3>this should be an entire field as far as I'm concerned.

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<v Speaker 1>It was also that it wasn't until fairly recently that

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<v Speaker 1>historians have even begun to think about childhood and history

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<v Speaker 1>and childhood as having a history, and you know what

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<v Speaker 1>childhood was like? And you know, I think that what

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<v Speaker 1>these what these first generation Jews did was they basically

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<v Speaker 1>furnished it. They basically created the material culture for children.

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<v Speaker 1>But it wasn't until even like the nineteen seventies that

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<v Speaker 1>really in the US there are histories of childhood. And

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<v Speaker 1>when you do histories of childhood, you have two things.

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<v Speaker 1>You have to deal with, how children could, what children consumed,

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<v Speaker 1>and how it was sold to them, and so I

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<v Speaker 1>feel like that was there was a big gap.

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<v Speaker 3>Mister Potato had coming from Hasbro. He always was pretty Jewish.

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<v Speaker 1>Saying that is really interesting because you know, if you

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<v Speaker 1>lived in Europe, the story of Morris mcdim and the

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<v Speaker 1>Ideal Toy Company and the teddy Bear would be a

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<v Speaker 1>completely different story. People in Europe believe that the Steife

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<v Speaker 1>Company invented the teddy bear because they were already a

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<v Speaker 1>well known to Most toys in nineteen hundred in the

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<v Speaker 1>United States were either handmade, homemade rag dolls and little

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<v Speaker 1>wooden toys and stuff full toys or imported from Germany.

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<v Speaker 1>Germany was the center for the entire toy industry in

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<v Speaker 1>the Western world, and so so you would hear that

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<v Speaker 1>Stiff invented the teddy bear, although Morris seems to have

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<v Speaker 1>invented it a year or two earlier. But Steife had

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<v Speaker 1>all the marketing muscle in the beginning, so they had

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<v Speaker 1>the distribution. So I credit them. They made a great

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<v Speaker 1>teddy bear. But if you look at the difference, there's

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<v Speaker 1>a picture in the book of the Steife teddy Bear

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<v Speaker 1>and the Victim teddy Bear, and it's impossible to look

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<v Speaker 1>at the two of them go. You know, the Steiffe

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<v Speaker 1>bear is very is standing, you know, head up like this,

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<v Speaker 1>and the Teddy bear that's in the Smithsonian, the ideal

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<v Speaker 1>teddy bear. He's sort of slumpy, he's sort of sitting.

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<v Speaker 1>He has a frown, and you think, you know, he

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<v Speaker 1>looks Jewish.

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<v Speaker 4>Enjoying the show, Click like and subscribe. Although your book

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<v Speaker 4>mostly centers on Eastern European Jewish immigrants, there's also a

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<v Speaker 4>part of it that's about the department stores and their

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<v Speaker 4>part in the popularization of toys. Can you tell us

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<v Speaker 4>a little bit about that?

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<v Speaker 1>Sure, you know, there's a big debate about how the

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<v Speaker 1>German Jews received the Eastern European in Yiddish Jews. On

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<v Speaker 1>the one hand, the German Jews who came in the

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<v Speaker 1>middle of the nineteenth century were middle class and upper

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<v Speaker 1>middle class. They were quite prosperous. They assimilated very quickly.

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<v Speaker 1>And then in the eighteen starting in the mid eighteen eighties,

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<v Speaker 1>suddenly these two point five million of these Yiddish speaking

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<v Speaker 1>any Lists or Steatle Jews arrived and a large number

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<v Speaker 1>of the German Jews were We're not them, no, no,

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<v Speaker 1>they're like Jews, We're Americans, and you know, they wanted

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<v Speaker 1>nothing to do with them, and they wrote these kind

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<v Speaker 1>of disgusting critiques of stettle of tenement life because they

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<v Speaker 1>wanted to distance themselves. There were many other German Jews

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<v Speaker 1>who founded all the Hebrew charities that as people streamed

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<v Speaker 1>off of these frigates, said you have any skills, here,

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<v Speaker 1>we have a place for you. Here, you have any money,

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<v Speaker 1>we can we can find you a bed here, any relatives.

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<v Speaker 1>So there was all of the Jewish charities in the

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<v Speaker 1>at the turn of the century were found were founded

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<v Speaker 1>by the German Jews. And that's really those Eber charities

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<v Speaker 1>is really the origin of the whole field of social

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<v Speaker 1>work in New York. In the nineteen tens and twenties.

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<v Speaker 1>At the same time, many of those German Jews founded

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<v Speaker 1>the all of I mean almost all of the premiere

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<v Speaker 1>department stores in America. And I'm not just talking about

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<v Speaker 1>like Bloomingdale's or Toys r Us or Fao Schwartz, but

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<v Speaker 1>within five years of its founding, Macy's and I Magnen

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<v Speaker 1>and Abraham and Strauss and Berghoff, Goodman and Gimbals. So

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<v Speaker 1>what these these Jewish toymakers had was was they had

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<v Speaker 1>their relatives and friends as the sales force. But they

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<v Speaker 1>had a place to sell. And once that, once that

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<v Speaker 1>you know, kind of manufacturing infrastructure was in place, they

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<v Speaker 1>had they they had a pathway to you know, the

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<v Speaker 1>kind of upward mobility that they were seeking. I mean,

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<v Speaker 1>in a way, I guess you guys you know, will

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<v Speaker 1>appreciate this, of course. I mean, the whole book is

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<v Speaker 1>really an assimilationist story. These poor people come off the

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<v Speaker 1>boat and they're thinking where do we fit in? Like,

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<v Speaker 1>how can we make it in this place? And they

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<v Speaker 1>found a niche, They helped each other and and they

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<v Speaker 1>had an already existing infrastructure.

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<v Speaker 3>Yeah, it's very similar, like we were saying with comic

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<v Speaker 3>books or the music or film industries, where you had

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<v Speaker 3>these outsiders who used a vacant sort of field, something

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<v Speaker 3>that wasn't attractive to the the elite, and through their

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<v Speaker 3>contributions to it, created a culture that they themselves could

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<v Speaker 3>live in.

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<v Speaker 1>Right.

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<v Speaker 3>So that's the that's the truest.

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<v Speaker 1>It's like an.

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<v Speaker 3>Active assimilation if that makes sense, very very much.

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<v Speaker 1>But to introduce the comic books, I think you have

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<v Speaker 1>to add another element to the equation, and that element

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<v Speaker 1>is of course anti Semitism, because the story of the

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<v Speaker 1>Jewish comic book artists was they all want they won't

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<v Speaker 1>want her to be artists and go into advertising. But

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<v Speaker 1>in the thirties and forties, the advertising business in New

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<v Speaker 1>York City was very white shoe It was very Protestant.

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<v Speaker 1>They didn't like Catholics, and they certainly didn't like Jews.

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<v Speaker 1>So these guys would show up to the ad agency

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<v Speaker 1>with their portfolio and the company and the guy interviewing

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<v Speaker 1>them would say are you Jewish? And guy would say yes,

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<v Speaker 1>he said, okay, we have our quota of Jews. Sorry,

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<v Speaker 1>now that quota may have been zero, but so Jews

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<v Speaker 1>are you know you know that phrase, you know, when

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<v Speaker 1>life gives you lemons, make lemonade. So Jews are the

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<v Speaker 1>ultimate lemonade makers. Like, Okay, we can't go into advertising

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<v Speaker 1>as artists, all right, we'll, you know, we'll start our own.

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<v Speaker 1>We'll go to the pulps, we'll start doing it. We'll

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<v Speaker 1>start doing art there, sort of like the way that

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<v Speaker 1>in Hollywood, you know, Jews, you know, Jews said you

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<v Speaker 1>won't let us into your country club. Okay, we'll start

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<v Speaker 1>our own. So what I'm what I'm trying to say

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<v Speaker 1>is you can't understand this story simply by this kind

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<v Speaker 1>of wide eyed vision and you know, finding a niche.

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<v Speaker 1>It's also confronting anti Semitism and finding a way around

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<v Speaker 1>it and through it.

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<v Speaker 3>Yeah exactly. And those fields were open largely because they

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<v Speaker 3>were disreputable, and that's where the Jews could go because

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<v Speaker 3>it wasn't guarded by all the moneyed interests of the day.

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<v Speaker 1>Yeah, yeah, exactly. You know murder Incorporated.

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<v Speaker 4>For example, as you mentioned, you connect toys to other

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<v Speaker 4>child centric industries like the comic books, parenting magazines, and

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<v Speaker 4>children's literature. Why is this context important?

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<v Speaker 1>So as I was writing this book, my second question

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<v Speaker 1>after I did all this stuff about the early toys

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<v Speaker 1>was where did they get their ideas for toys? And

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<v Speaker 1>one place they went was the comic strips. Comic strips,

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<v Speaker 1>you know, in newspapers were I mean everybody read them.

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<v Speaker 1>They had millions and millions of readers every and and

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<v Speaker 1>some of the most famous ones like Joe Peluca drawn

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<v Speaker 1>by Ham Fisher, a first generation Jew, or Lil Abner,

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<v Speaker 1>the most famous comic strip of you know, probably of

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<v Speaker 1>the century before Phenuts was drawn by al Cap, a

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<v Speaker 1>first generation Jew who actually never set foot in the South.

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<v Speaker 1>He uh, you know, but so what what I don't

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<v Speaker 1>know if you ever read Lil Abner as a kid,

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<v Speaker 1>but I did. And it's Mammy and Pappy yoakum in

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<v Speaker 1>dog Patch and his rural. Basically it's a seddle in Appalachia.

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<v Speaker 1>He just transposed the whole thing. So so I'm now.

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<v Speaker 1>And then of course comic books and the derivatives of

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<v Speaker 1>comic books like Mad Magazine and you know, all of

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<v Speaker 1>those other and the novelties. So all of these are

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<v Speaker 1>first generation Jews, including this was a big surprise to me. Carousels,

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<v Speaker 1>the carousel horses and lions in every major amusement park

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<v Speaker 1>in the country were carved by Jews. They were the

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<v Speaker 1>guys who carved you know, in like Central Europe. You

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<v Speaker 1>know the arcs in the synagogue that as the lions

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<v Speaker 1>around the arc. These are the guys they left. They

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<v Speaker 1>came here, they needed a job, and some guy very

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<v Speaker 1>wisely in Coney Island said We're gonna make a carousel,

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<v Speaker 1>you know, come work for me. So so even the

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<v Speaker 1>horses and lions of carousels. And then in the middle

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<v Speaker 1>of all this I, you know, I stumbled on this list.

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<v Speaker 1>The near Public Library had a list of one hundred

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<v Speaker 1>most important children's books of the twentieth century, and forty

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<v Speaker 1>two of the authors of those were first generation Jews.

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<v Speaker 1>I said, well, that's interesting, you know. So then I

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<v Speaker 1>started looking at the histories of some of those children's books,

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<v Speaker 1>and they all have these amazing stories, not only you know,

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<v Speaker 1>I mean the obvious ones like Sendek and Ezra. Jack

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<v Speaker 1>Keats's snowy Day Curious George is one of my favorite

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<v Speaker 1>stories because you know, it's literally but a couple living

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<v Speaker 1>in Paris. You know, the story of furious Georgia and

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<v Speaker 1>the Germans are coming through from Belgium, moving down into

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<v Speaker 1>into France from the set from the north and the east,

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<v Speaker 1>and the night before they arrived, you know that great

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<v Speaker 1>scene of the German troops marching down the Chauncyse. They

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<v Speaker 1>the night before Marguerite at Margaret and Hans Ryerbach grab

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<v Speaker 1>some bicycle parts, put together these bicycles and ride south

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<v Speaker 1>and west into Spain, eventually to Lisbon and come to

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<v Speaker 1>the US. And in their backpack is that is the

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<v Speaker 1>drawing of this crazy impish monk whose name was Fifi,

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<v Speaker 1>and they get here and they find a publisher of

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<v Speaker 1>children's books, and the publisher says, let's change fefe, you know,

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00:21:09.559 --> 00:21:12.960
<v Speaker 1>like and that's how Curious George was born. So in

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<v Speaker 1>a way, Joey, this is why this is important because

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<v Speaker 1>when I read these books, when I was reading these

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<v Speaker 1>books to my kid, I didn't know it had a

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<v Speaker 1>backstory like this. And I want parents and grandparents to

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<v Speaker 1>know the backstory of Snowy Day or or you know,

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<v Speaker 1>or or Frog and Toader Friends, or all of those

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<v Speaker 1>books that you had read to you when you were

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<v Speaker 1>a little kid.

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<v Speaker 5>They have these backstories, including Eloise. For God's sake, I

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<v Speaker 5>mean Eloise, your boys. So you probably didn't read Eloise

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<v Speaker 5>when you were a kid.

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<v Speaker 1>But Eloise lives on the tip on the tippity top

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<v Speaker 1>floor of the Plaza Hotel, right, and she's as waspy

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<v Speaker 1>as they can be. And you had no idea that

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<v Speaker 1>Kay Thompson was a first generation Jewet from Saint Louis.

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<v Speaker 1>So I wanted to give the backstory. I wanted you

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<v Speaker 1>to know. I wanted people to know there's a story

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<v Speaker 1>behind this story that you're reading. And it's a really

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<v Speaker 1>moving one, as you're.

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<v Speaker 3>Saying it's all connected, because part of what you convey

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<v Speaker 3>in the book is that all of these things were basically,

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<v Speaker 3>in one way or another, connected to the invention of

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<v Speaker 3>childhood as a phenomenon that wasn't necessarily recognized before all

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<v Speaker 3>of these you know, things for children were being created.

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<v Speaker 1>Why here, why these Jews and why at that time?

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<v Speaker 1>And it turns out that they happened to arrive at

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<v Speaker 1>the turn of the twentieth century, at the very moment

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<v Speaker 1>that progressive idea. Progressivism was beginning to take hold and

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<v Speaker 1>was beginning to articulate a new idea of childhood in

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<v Speaker 1>the first place, ending child labor laws for example, a

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<v Speaker 1>campaign that lasted for quite some time, compulsory school. All

382
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<v Speaker 1>of these forces were already moving to demarket. In nineteen

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<v Speaker 1>oh four, the psychologist G. Stanley Hall said, you know,

384
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<v Speaker 1>there's a if you know, kids would grow up and

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<v Speaker 1>after primary school they go to work on the farm,

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<v Speaker 1>they go to work in a factory, they go to

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<v Speaker 1>work in a coma. And he said, you know, kids

388
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<v Speaker 1>are like are living longer, extending that period before work.

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<v Speaker 1>And he said that the time between primary school and

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<v Speaker 1>the end of high school was what he called Adolescents.

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<v Speaker 1>Nineteen oh four, he wrote this sixteen hundred page book

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<v Speaker 1>about about this new stage of development between childhood and adulthood.

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<v Speaker 1>So you can see how it's elongating. So what were

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<v Speaker 1>these children going to do if they were in school

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<v Speaker 1>and not working and they had so part of it

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<v Speaker 1>was it was good timing. The second thing I think

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<v Speaker 1>is they these these poor steadled Jews. You know, somehow

398
00:24:06.599 --> 00:24:10.839
<v Speaker 1>they came to this country with you know, these old

399
00:24:10.839 --> 00:24:15.519
<v Speaker 1>beat up cardboard suitcases held together with string. But they

400
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<v Speaker 1>had a different idea of what childhood should be. Moving

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00:24:20.359 --> 00:24:22.799
<v Speaker 1>backward a little bit, it wouldn't surprise any any of

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<v Speaker 1>your listeners to know that the first kindergartens in the

403
00:24:26.279 --> 00:24:31.359
<v Speaker 1>US were Jewish. Families flocked to them. The first Montessori

404
00:24:31.440 --> 00:24:36.640
<v Speaker 1>schools were all filled with Jews. And partly because if

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<v Speaker 1>you look at the child rearing literature from the Middle

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<v Speaker 1>from the end of the nineteenth to the early twentieth century,

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00:24:44.000 --> 00:24:49.359
<v Speaker 1>that standard childbearing literature was this, children are wilful. The

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00:24:49.400 --> 00:24:52.880
<v Speaker 1>goal of child rearing is to break their will. And

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00:24:53.200 --> 00:24:56.319
<v Speaker 1>I mean some of the great books about child rearing

410
00:24:56.319 --> 00:24:59.559
<v Speaker 1>were things like if your child, if your baby is

411
00:24:59.799 --> 00:25:02.359
<v Speaker 1>wait up in the middle of the night and is crying.

412
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<v Speaker 1>Go into their room and give them a good spanking

413
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<v Speaker 1>and that'll stop. Others like John Watson, the great child

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<v Speaker 1>development writer in nineteen twenty eight, tests to parents, don't

415
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<v Speaker 1>hug or kiss your child. You can pat your son

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00:25:18.920 --> 00:25:21.440
<v Speaker 1>on his forehead when he goes to sleep and shake

417
00:25:21.480 --> 00:25:24.720
<v Speaker 1>his hand in the morning. And these steadied Jews come

418
00:25:25.160 --> 00:25:29.279
<v Speaker 1>with this idea from the Talmud that children are creative,

419
00:25:29.720 --> 00:25:33.920
<v Speaker 1>they're curious, they're to be nurtured, they'd be encouraged, and

420
00:25:33.960 --> 00:25:36.039
<v Speaker 1>if they're not going to find the stuff to do it,

421
00:25:36.119 --> 00:25:39.720
<v Speaker 1>they're gonna make it up. So I also think that

422
00:25:40.039 --> 00:25:43.960
<v Speaker 1>these Jews came with what I would call a different vision,

423
00:25:44.000 --> 00:25:47.039
<v Speaker 1>a different idea of childhood, and then they created the

424
00:25:47.079 --> 00:25:49.039
<v Speaker 1>material culture to nurture it. Yeah.

425
00:25:49.079 --> 00:25:50.920
<v Speaker 3>For some reason, before I read your book, I didn't

426
00:25:50.920 --> 00:25:53.039
<v Speaker 3>realize that Eric Erickson was Jewish.

427
00:25:53.359 --> 00:25:56.640
<v Speaker 1>Ah, so this is right. Well, Eric Erison is a trip.

428
00:25:56.799 --> 00:26:00.440
<v Speaker 1>But so that's the last piece of the book is

429
00:26:00.480 --> 00:26:04.279
<v Speaker 1>really saying. And the theorist, the great theorist of the

430
00:26:04.359 --> 00:26:10.640
<v Speaker 1>twentieth century, who created developmental psychology, who created child psychology,

431
00:26:11.160 --> 00:26:17.240
<v Speaker 1>Eric Erickson, Uri Brafenbrenner, Hien Ganad, Carol Gilligan, Lawrence Kolberg,

432
00:26:17.319 --> 00:26:20.599
<v Speaker 1>and the dean of all of the Abraham Maslow, all

433
00:26:20.680 --> 00:26:25.039
<v Speaker 1>of them first generation Jews. Eric Erickson was also a

434
00:26:25.079 --> 00:26:28.759
<v Speaker 1>first generation self hating Jew. His real name was Eric Comber,

435
00:26:30.559 --> 00:26:34.920
<v Speaker 1>and he was embarrassed about this, and so he renamed himself.

436
00:26:35.039 --> 00:26:37.920
<v Speaker 1>And what more American thing can you be than such

437
00:26:37.960 --> 00:26:42.200
<v Speaker 1>a self made man that he's Eric's son of Eric, right,

438
00:26:42.400 --> 00:26:45.359
<v Speaker 1>he'll give birth to himself. And this is like the

439
00:26:45.480 --> 00:26:49.559
<v Speaker 1>greatest theorist of childhood that we have. So yes, that's

440
00:26:49.559 --> 00:26:53.480
<v Speaker 1>the last piece, is the theories of child development. As

441
00:26:53.599 --> 00:26:57.759
<v Speaker 1>curious as you know, Maslow's hierarchy of needs come not

442
00:26:57.799 --> 00:27:02.599
<v Speaker 1>just material needs, but emotional ery. It's so Jewish.

443
00:27:02.839 --> 00:27:05.440
<v Speaker 3>Your book looks at toys chronologically from the turn of

444
00:27:05.480 --> 00:27:08.480
<v Speaker 3>last century to the nineteen seventies. What are some of

445
00:27:08.519 --> 00:27:10.720
<v Speaker 3>the major changes you've noticed along the way.

446
00:27:11.119 --> 00:27:16.519
<v Speaker 1>There were many different changes that happened, among them the

447
00:27:16.559 --> 00:27:21.359
<v Speaker 1>development of materials, like if you try if you bought

448
00:27:21.359 --> 00:27:25.000
<v Speaker 1>a doll in nineteen oh five, Let's say the head

449
00:27:25.119 --> 00:27:28.200
<v Speaker 1>was porcelain and you never played with it. It sat

450
00:27:28.240 --> 00:27:32.279
<v Speaker 1>on a shelf. And it was the Ideal Toy company

451
00:27:32.279 --> 00:27:36.839
<v Speaker 1>that created a unbreakable doll head that girls could actually

452
00:27:36.880 --> 00:27:40.079
<v Speaker 1>play with, and that was a big innovation. Other innovations,

453
00:27:40.119 --> 00:27:42.359
<v Speaker 1>of course, you know, probably the most important one is

454
00:27:43.880 --> 00:27:47.799
<v Speaker 1>the television in nineteen fifty five when the when the

455
00:27:47.839 --> 00:27:52.920
<v Speaker 1>Mickey Mouse Club first aired. It changed the toy business

456
00:27:53.039 --> 00:27:57.119
<v Speaker 1>because instead of instead of advertising in Look magazine or

457
00:27:57.160 --> 00:28:02.119
<v Speaker 1>Life magazine or Parade magazine, you could advertised directly to children.

458
00:28:02.720 --> 00:28:05.440
<v Speaker 1>You could market to them and they would be your salesman.

459
00:28:06.160 --> 00:28:09.640
<v Speaker 1>You didn't have to tell parents parents children were like this.

460
00:28:10.319 --> 00:28:13.960
<v Speaker 1>You were able instead to say kids telling your mom

461
00:28:13.960 --> 00:28:17.519
<v Speaker 1>and dad, do you want this for Christmas? And so

462
00:28:17.599 --> 00:28:20.920
<v Speaker 1>that was of course, that's a major change. One of

463
00:28:20.920 --> 00:28:23.799
<v Speaker 1>the things that was interesting to me, you know, Joe,

464
00:28:23.839 --> 00:28:26.039
<v Speaker 1>you led off by saying, you know that I was

465
00:28:26.039 --> 00:28:29.400
<v Speaker 1>at my career prior to this book was about, you know,

466
00:28:29.559 --> 00:28:33.680
<v Speaker 1>was the sociologists of gender and masculinity. And I was

467
00:28:33.720 --> 00:28:38.000
<v Speaker 1>looking at the at the ads and thinking about the

468
00:28:38.039 --> 00:28:41.400
<v Speaker 1>way girls and boys played in the nineteen fifties and

469
00:28:41.480 --> 00:28:46.519
<v Speaker 1>sixties when I grew up, and girls played with their

470
00:28:46.599 --> 00:28:51.039
<v Speaker 1>dolls and their peers and their girlfriends. So you know,

471
00:28:51.039 --> 00:28:54.039
<v Speaker 1>if you had your classic tea party, you would have

472
00:28:54.079 --> 00:28:56.880
<v Speaker 1>two girls and two of their dolls, and the four

473
00:28:56.920 --> 00:28:58.480
<v Speaker 1>of them would sit at the table and they would

474
00:28:58.480 --> 00:29:03.400
<v Speaker 1>have And here's what you never saw mom. You never

475
00:29:03.440 --> 00:29:07.200
<v Speaker 1>saw mother playing with children. Now look at the ads

476
00:29:07.240 --> 00:29:11.720
<v Speaker 1>for the toys for boys. It's all father son bonding.

477
00:29:12.000 --> 00:29:17.400
<v Speaker 1>Fathers are completely engaged with their sons. They're playing battleship together,

478
00:29:17.440 --> 00:29:20.039
<v Speaker 1>They're playing with the model trains, they're having a cat

479
00:29:20.680 --> 00:29:24.079
<v Speaker 1>And part of that, I think is that. And the

480
00:29:24.200 --> 00:29:27.720
<v Speaker 1>language of the ads is Lionel Trains makes him feel

481
00:29:27.759 --> 00:29:29.880
<v Speaker 1>like a man and makes me feel like a boy,

482
00:29:30.720 --> 00:29:33.279
<v Speaker 1>you know. And these guys are coming back from the

483
00:29:33.279 --> 00:29:36.759
<v Speaker 1>war utterly traumatized. They're moving into the suburbs. They're wondering,

484
00:29:37.039 --> 00:29:39.519
<v Speaker 1>like what am I going to do now with my life?

485
00:29:39.880 --> 00:29:43.640
<v Speaker 1>There's an entire infrastructure being built for them for their return,

486
00:29:43.920 --> 00:29:47.359
<v Speaker 1>the Interstate highway system, public schools, the GI Bill, to

487
00:29:47.519 --> 00:29:50.880
<v Speaker 1>help them reintegrate. And one of the ways that they

488
00:29:50.920 --> 00:29:54.160
<v Speaker 1>did that, I mean you probably there. There's good histories

489
00:29:54.160 --> 00:29:58.920
<v Speaker 1>of the fifties. It's like, guys develop a hobby, right,

490
00:29:59.079 --> 00:30:01.599
<v Speaker 1>you know, you should have a all the all these

491
00:30:01.599 --> 00:30:04.920
<v Speaker 1>suburban guys were learning how to play golf terribly and whatever.

492
00:30:05.200 --> 00:30:08.640
<v Speaker 1>You know, they they all developed hobbies and one and

493
00:30:08.680 --> 00:30:12.319
<v Speaker 1>the bonding with their children. I experienced this with my

494
00:30:12.400 --> 00:30:15.359
<v Speaker 1>own dad. I went out for Little League. Suddenly my

495
00:30:15.400 --> 00:30:19.079
<v Speaker 1>father decided to become an umpire in Little League. You know,

496
00:30:19.559 --> 00:30:22.559
<v Speaker 1>he hadn't he hadn't thought about baseball in years. But

497
00:30:22.799 --> 00:30:26.039
<v Speaker 1>so I think I think that the advertising, the whole

498
00:30:26.079 --> 00:30:31.039
<v Speaker 1>idea of toys for boys was a bonding experience with fathers.

499
00:30:31.519 --> 00:30:34.240
<v Speaker 1>And mothers are completely absent in the in the in

500
00:30:34.279 --> 00:30:38.000
<v Speaker 1>the kind of layout of toys for girls. And that

501
00:30:38.359 --> 00:30:41.160
<v Speaker 1>one of the reasons, of course for that is Barbie.

502
00:30:41.319 --> 00:30:44.960
<v Speaker 1>They had an older friend, they had, they had already

503
00:30:45.000 --> 00:30:47.200
<v Speaker 1>something older than them to aspire to.

504
00:30:47.640 --> 00:30:50.559
<v Speaker 3>Why is material culture is so important to understanding American

505
00:30:50.640 --> 00:30:51.319
<v Speaker 3>Jewish history?

506
00:30:51.839 --> 00:30:56.160
<v Speaker 1>I think Jewishness is really important to the study of

507
00:30:56.279 --> 00:30:59.799
<v Speaker 1>material culture. There's a ton of studies of material culture

508
00:31:00.200 --> 00:31:03.640
<v Speaker 1>out there, like what are the things people use to

509
00:31:03.799 --> 00:31:06.759
<v Speaker 1>make the meaning in their lives? The idea of material

510
00:31:06.799 --> 00:31:10.400
<v Speaker 1>culture is like what are the things we use? So?

511
00:31:11.559 --> 00:31:15.319
<v Speaker 1>You know, so like the anthropologists will follow like Levey

512
00:31:15.400 --> 00:31:17.920
<v Speaker 1>Strauss and look at the way that people eat and

513
00:31:17.440 --> 00:31:20.400
<v Speaker 1>how they put silverware and where they put it in,

514
00:31:21.119 --> 00:31:22.960
<v Speaker 1>and the raw and the cooked. How come we have

515
00:31:23.039 --> 00:31:27.279
<v Speaker 1>different words for raw foods and cooked foods. You know,

516
00:31:28.680 --> 00:31:31.480
<v Speaker 1>you know, all of those have to do with culture

517
00:31:31.599 --> 00:31:35.440
<v Speaker 1>and class. And I felt like, we know that there's

518
00:31:35.480 --> 00:31:38.519
<v Speaker 1>a material culture of childhood because we know that there's

519
00:31:38.559 --> 00:31:41.200
<v Speaker 1>the children's books and the comics and the toys they

520
00:31:41.200 --> 00:31:43.720
<v Speaker 1>play with and the ways they play with them, and

521
00:31:43.880 --> 00:31:47.680
<v Speaker 1>people study that, and I wanted to say, hey, wait

522
00:31:47.680 --> 00:31:53.440
<v Speaker 1>a minute, this also has an ethnic an ethnic foundation

523
00:31:53.920 --> 00:31:57.720
<v Speaker 1>as well as a developmental one, and that's the story

524
00:31:57.759 --> 00:32:01.240
<v Speaker 1>that's not been there and I think was really important.

525
00:32:01.599 --> 00:32:03.599
<v Speaker 3>Thank you so much, Michael for joining us.

526
00:32:03.640 --> 00:32:05.599
<v Speaker 1>Really a pleas where to be with you guys.

527
00:32:05.359 --> 00:32:08.440
<v Speaker 3>And to our audience. Now back to your regularly scheduled lives.

528
00:32:10.240 --> 00:32:12.799
<v Speaker 4>Amusing Jews is here to amuse you. If you like

529
00:32:12.880 --> 00:32:18.079
<v Speaker 4>being amused, go ahead and click like and subscribe.
