CLOSE

America Outraged by Zimmermann Telegram

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 268th installment in the series.  

March 1, 1917: America Outraged by Zimmermann Telegram

Following President Woodrow Wilson’s announcement on February 3, 1917 that the United States was breaking off diplomatic relations with Germany over the resumption of unrestricted U-boat warfare, the Allies were understandably elated. The expulsion of the German ambassador and his staff, and the recall of the American ambassador from Berlin, was the final step before a declaration of war; it was only a matter of time.

Or was it? As days passed, then weeks, it became apparent that Wilson had no intention of bringing the U.S. into the war right away. Even the sinking of a number of American steamers in February 1917, an “overt act” of German hostility, seemed unable to move him.

Wilson dragged his feet for a number of reasons. At a personal level, as Secretary of State Robert Lansing often complained in private, the cerebral, pacifically-inclined commander-in-chief was quite comfortable discussing sweeping principles and grand ideals, but found it much harder to take decisive action, especially when it involved putting Americans in harm’s way. 

Perhaps more importantly, in an age before regular opinion polls Wilson needed time to gauge the public mood, for example gleaning clues from newspaper reporting and opinion pages, as well as conversations with businessmen and other public figures, members of Congress and his own cabinet.

While it remains difficult to fully grasp the breakdown of American public opinion at the time, it’s clear that a large number of Americans still opposed entry into the war – as reflected in the success of Wilson’s reelection slogan, “He Kept Us Out of War,” which helped win him a second term just a few months before. 

But the balance was turning – albeit gradually and reluctantly – in favor of war, as every fresh submarine “outrage” on the high seas brought new American casualties, not least the young nation’s prickly sense of pride, especially sensitive where arrogant European powers were concerned. Meanwhile the country’s business elite couldn’t fail to be swayed by the fact that U.S. banks had loaned the Allies billions of dollars, funding huge purchases from American industries and delivering record profits, all of which would probably be wiped out by a German victory.

One Last Push

Still, given the slow pace of this evolution the British were understandably worried that the United States might drift on, rudderless, for several more months or even a year – a disastrous scenario, as the Allies were approaching financial collapse and needed major new loans, backed by the U.S. government, without delay. For this to happen, America had to officially declare war. 

Fortunately for the Allies, British intelligence held a trump card in the form of the Zimmermann Telegram, containing Germany’s sensational proposal of an alliance with Mexico and Japan against the United States, which the Admiralty’s cryptography team in “Room 40” had intercepted and decoded earlier that month – including its brazen offer of the U.S. southwest to Mexico as spoils of war. 

After carefully establishing a cover story to conceal how they had decoded the message from the Germans, on February 22, 1917, the head of Room 40, Admiral William Hall, presented the telegram to the American intelligence liaison, Edward Bell. Knowing the Allies were desperate to get the U.S. into the war, Bell was understandably skeptical at first, and inclined to dismiss the incredible text as a hoax, but was soon persuaded by additional evidence.

The American ambassador, Walter Hines Page, who had long supported U.S. intervention on the side of the Allies, recognized the importance of the Zimmermann Telegram at once. To help Page persuade Washington of its authenticity, Hall took the extraordinary step of offering to share Room 40’s own top-secret copy of the German code with the American Embassy, so they could decode the telegram and verify its contents themselves.

After Foreign Secretary Arthur Balfour officially presented the text to Page on behalf of the British government on February 23, Bell decoded the telegram in the presence of Nigel de Grey, one of three Room 40 cryptographers who had first decoded it. With their own decoding and translation now in hand, Page immediately sent a telegram to Washington in the early morning of February 24, alerting the State Department to expect a very important message for the President in the near future. 

Late in the evening of February 24 State Department officials went to the White House in person to present the telegram to Wilson. Furious, the president considered publicizing the telegram right away – but instead decided to keep the secret for several more days, before releasing it to the press as part of a political gambit.

Sinking of the Laconia

The day after he learned about the Zimmermann Telegram, Wilson proposed a new bill to Congress authorizing the arming of American merchant ships to defend themselves against German submarines – by far his boldest move yet, but far short of a declaration of war. However even this moderate measure met with opposition from a hard core of pacifist Republicans in the Senate, led by Wisconsin Senator Robert La Follette, who warned the arming merchant ships would throw American neutrality in doubt. 

As the La Follette anti-war faction filibustered the Armed Ship Bill on February 26, word came over the wires that a German submarine had sunk the British ocean liner Laconia the day before, with the death of two Americans. Floyd Gibbons, an American newspaper correspondent who was a passenger on the Laconia when it was sunk, would later describe his experience of the event:

Responding to the list of the ship, the wardrobe door swung open and crashed against the wall. My typewriter slid off the dressing table and a shower of toilet articles pitched from their places on the washstand. I grabbed the ship’s life-preserver in my left hand and, with the flashlight in my right hand, started up the hatchway to the upper deck… Suddenly there was a roaring swish as a rocket soared upward from the Captain’s bridge, leaving a comet’s tail of fire. I watched it as it described a graceful arc and then with an audible pop it burst in a flare of brilliant colour. Its ascent had torn a lurid rent in the black sky and had cast a red glare over the roaring sea. Already boat No. 10 was loading up and men and boys were busy with the ropes… Other passengers and members of the crew and officers of the ship were rushing to and fro along the deck strapping their life-preservers to them as they rushed. There was some shouting of orders but little or no confusion. One woman, a blonde French actress, became hysterical on the deck, but two men lifter her bodily off her feet and placed her in the life-boat.

Along with other survivors in the crowded lifeboat, Gibbons witnessed the Laconia’s coup-de-grace:

It must have been twenty minutes after that first shot that we heard another dull thud, which was accompanied by a noticeable drop in the hulk. The German submarine had despatched a second torpedo through the engine room and the boat’s vitals from a distance of two hundred yards. We watched silently during the next minute as the tiers of lights dimmed slowly from white to yellow, then to red and then nothing was left but the murky mourning of the night which hung over all like a pall… The ship sank rapidly at the stern until at last its nose rose out of the water, and stood straight up in the air. Then it slid silently down and out of sight like a piece of scenery in a panorama spectacle. 

Happily for Gibbons and his fellow passengers, the Laconia’s captain had broadcast a distress signal by wireless, British anti-submarine patrols were frequent, and civilian ships were on hand to rescue survivors; they were rescued after six hours in the open lifeboat on the rough sea. 

Overshooting the Mark 

Although the Laconia’s death toll of 12 was light compared to previous U-boat attacks, a testament to several years of training and passenger safety drills, the timing of the news – including American civilian casualties – sharpened the divisions in the Senate and intensified Wilson’s own commitment to arming merchant vessels, prompting him to make a fateful decision.

Vexed by La Follette’s successful filibuster of the Armed Ship Bill on February 26-27, and with his own anger over the Zimmermann Telegram growing, Wilson decided to bring public opinion to bear on the Senate pacifists by publicizing the Zimmermann Telegram. But he may not have anticipated the full impact that the Zimmermann Telegram would have on American public opinion. The wave of indignation unleashed by the publication of the Zimmermann Telegram on February 28 changed everything, as Wilson suddenly found himself under intense public pressure to take decisive action beyond merely arming merchant ships. The response of leading newspapers gives some idea of the level of fury across the country.

The Associated Press, which got the scoop, condemned the Zimmermann Telegram as part of “Germany’s worldwide plan for stirring strife on every continent where they might aid her in the struggle for world domination,” adding, “Such a proposal as Germany instructed her Minister to make to Mexico borders on an act of war if actually it is not one.” The next day the Chicago Tribune noted: “President Wilson’s accusation of Germany, given to the world through the medium of the Associated Press, fell like a thunderbolt upon official Washington,” adding: “Unless the Berlin government promptly establishes its innocence of the charge of plotting to incite Japan and Mexico to war upon the United States the American people may soon find themselves at war with Germany.”

In fact Germany did just the opposite. Indeed, the uproar only increased with German foreign secretary Arthur Zimmermann’s inexplicable admission, on March 4, that he was behind the telegram. This triggered a fresh round of outrage in American newspapers, with the Sacramento Bee memorably condemning Germany’s “treacherous enmity, underhanded, nasty intriguing.” 

In a little over a month the U.S. would enter the bloodiest conflict in world history. 

See the previous installment or all entries.

Original image
Lifetime Television
arrow
entertainment
Check Out These 10 Fun Facts About Supermarket Sweep
Original image
Lifetime Television

Thanks to a recent deleted SNL scene in which host Melissa McCarthy lost her mind on a segment of Supermarket Sweep, we started reminiscing about the heart-pumping, family-friendly game show back in early 2016. Back in the day, you couldn’t watch the show—which debuted in 1965—without fantasizing about reenacting it at your local grocery store. On it, pairs of contestants would race through supermarket aisles, attempting to pack their carts full of the most valuable items, in between quiz-style segments. Revivals of the series stopped filming in 2003, but there's good news for fans who can't let the dream of appearing on the game show die: Deadline reports that it's about to make a television comeback. Relive the high of Supermarket Sweep with these fun facts about the game show.

1. THE MEAT WAS FAKE.

In a special for Great Big Story, former host David Ruprecht confirmed, “All the meat was fake.” Former contestant Mike Futia reaffirmed the fact to The A.V. Club saying, “Everything that was meat, cheese—all that was fake because they’d get the meat juices on their sweaters. And that’s not telegenic, so they wanted to get rid of that.”

2. A LOT OF THE FOOD WAS EXPIRED.

“We shot for about five months every year and they used the same food over and over again,” Ruprecht admitted to Great Big Story. “A lot of the food, having been thrown in and out of the carts for three, four months had gotten pretty beaten up.”

3. WINNERS DIDN’T GET TO KEEP THE FOOD.

Given what Ruprecht said above, contestants were probably thankful that they didn’t get to keep the food. And according to Great Big Story, they didn’t get to keep their sweatshirts either. “They got $5000 but they didn’t get their sweatshirts,” said Ruprecht.

4. BEAUTY PRODUCTS COULD WIN YOU THE GAME.

Pro tip: Heading for the beauty aisle instead of the meat freezer could very well have won you the game. “Those who [used this strategy] won,” Ruprecht told Great Big Story. “Instead of five hams and five turkeys that load up your cart, you ... get five hair colorings ... get five of all these expensive health and beauty products. With one cart, you could beat everybody.”

5. FOR CONTESTANTS, PERSONALITY WAS KEY.

Supermarket Sweep was a TV show, after all, and vibrant personalities have always made for good television. “When we were going through the process, they put you in a room with a few other people and ask you sample questions,” former contestant Mike Futia recalled to The A.V. Club. “And you could sense it was because they wanted to see if you were slouching and things like that ... I felt pretty confident that we’d get the callback to have a taping.”

6. WINNING DURING THE TAPING DIDN’T GUARANTEE YOU’D ACTUALLY COLLECT YOUR WINNINGS.

“It was a syndicated show,” Mike Futia explained to The A.V. Club, “so they taped all the episodes, and you didn’t even know if you were going to get the money if you won unless it aired, which could be six months later, because they then had to sell it.” On the bright side: Even if you didn’t collect, at least you could always say you played Supermarket Sweep.

7. SHOOTING DAYS LASTED 12 TO 14 HOURS.

Most of that time consisted of waiting around. “We literally got in a room when we got called back for the actual taping, and they said, ‘Be prepared to be here. It could be a 12- to 14-hour day because there are three pairs of people on each show,’” Futia explained to The A.V. Club. “That day, I want to say they were taping something like eight shows. So you had 48 people just in a room, and the first thing they tape is your introduction where you run down to the camera and everybody gets introduced to [host] David Ruprecht ... Then they call you back and you tape the first segment.”

8. CONTESTANTS WORE DICKEYS.

Talk about dated fashion: “By winning, we didn’t get to keep the sweaters because we got paid,” Futia recalled to The A.V. Club. “But if you lost, your consolation prize was that you got to keep the sweater—but you didn’t get to keep the dickey.”

9. CONTESTANTS GOT TO MAP OUT THEIR ROUTES.

To prevent contestants from looking like chickens running around with their heads cut off, the show allowed them some time to strategize. “When you’re taping the show before the …  Supermarket Sweep round, you get about 10 minutes or so to walk around the supermarket so you can see the prices,” Futia told The A.V. Club. “Everything has a price on it, so ... you map out what you’re going to do. And it’s the weirdest things that were expensive, like hoses.”

10. THE “SUPERMARKET” WAS REALLY, REALLY SMALL.

“A little bit bigger than a bodega in the city” was how Futia described the supermarket set that was built for the 1990s revival of the series. “It’s very tiny. It looks huge, but it’s small. Even in the aisles, you had to be careful if you and your cameraman were running and another group was coming down that aisle. You had to make sure you were all the way to the side or there could have been an accident.”

Original image
PolyGram Filmed Entertainment
arrow
entertainment
15 Fascinating Facts About Candyman
Original image
PolyGram Filmed Entertainment

Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.

1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. IT COULD HAVE STARRED SANDRA BULLOCK.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. ITS OPENING SHOT WAS GROUNDBREAKING.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.

Tony Todd stars in 'Candyman'
PolyGram Filmed Entertainment

Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. THERE WAS AN ACTUAL CANDYMAN KILLER.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios