The goat-hair sporran was replaced by the small white purse worn by all ranks. This was an unpopular item that lasted a decade or so and has since been put aside in favour of the old type. The Tam o'Shanter bonnet was taken into wear but in dark blue with diced band in red, white and green.

The Gordon Highlanders was a line infantry regiment of the British Army that existed for 113 years, from 1881 until 1994, when it was amalgamated with The Queen's Own Highlanders (Seaforth and Camerons) to form The Highlanders (Seaforth, Gordons and Camerons). Although the 'Gordon Highlanders' had existed as the 92nd (Gordon Highlanders) Regiment of Foot since 1794, the actual 'Gordon Highlanders Regiment' was formed in 1881 by amalgamation of the 75th (Stirlingshire) Regiment of Foot and 92nd (Gordon Highlanders) Regiment of Foot.

The regiment was formed on 1 July 1881 instigated under the Childers Reforms as the county regiment of: Aberdeenshire, Banffshire, and Shetland.^[2] Although the regiment was formed by two regular regiments, it in fact controlled other units which were of the former Militia and Volunteer Force, including:^[3][4]

• Regimental Headquarters & Regimental Depot at Castlehill Barracks
• 1st Battalion (Regular, former 75th (Stirlingshire) Regiment of Foot)
• 2nd Battalion (Regular, former 92nd (Gordon Highlanders) Regiment of Foot)
• 3rd (Royal Aberdeenshire Highland Militia) Battalion (Militia) based at the King Street Barracks in Aberdeen
• 1st Volunteer Battalion (Volunteers, former 1st Aberdeenshire Rifle Volunteer Corps, became 1st VB in 1884), later became 4th (City of Aberdeen) Btn
• 2nd Volunteer Battalion (Volunteers, former 2nd Aberdeenshire Rifle Volunteer Corps, became 2nd VB in 1884), later became 5th (Buchan and Formartin) Btn
• 3rd (The Buchan) Volunteer Battalion (Volunteers, former 3rd Aberdeenshire Rifle Volunteer Corps)
• 4th Volunteer Battalion (Volunteers, former 4th Aberdeenshire Rifle Volunteer Corps), later became 6th (The Banff and Donside) Btn
• 5th (Deeside Highland) Volunteer Battalion (Volunteers, former 1st (Deeside Highland) Kincardineshire and Aberdeenshire Rifle Volunteer Corps), later became 7th (Deeside Highland) Btn

The 1st Battalion fought at the Battle of Tel el-Kebir in September 1882 during the Anglo-Egyptian War, and then took part in the Nile Expedition in an attempt to relieve Major-General Charles Gordon during the Mahdist War.^[5]

The 1st Battalion then took part in the Chitral Expedition and then the Tirah Campaign; it was during operations on the North West Frontier in October 1897, during the storming of the Dargai Heights, that one of the regiment's most famous Victoria Crosses was earned. Piper George Findlater, despite being wounded in both legs, continued to play the bagpipes during the assault. Another of the heroes involved in the charge of the Gordon Highlanders at Dargai Heights was Piper John Kidd. Piper Kidd was with Piper Findlater when, half-way up the heights, both pipers were shot down. Unmindful of his injuries, Piper Kidd sat up and continued to play "The Cock o' the North" as the troops advanced up the heights.^[6][7]

Both battalions were sent to South Africa following the outbreak of the Second Boer War in 1899. The 2nd Battalion fought at the Battle of Elandslaagte in October 1899 and was part of force to relieve the Siege of Ladysmith in November 1899.^[8] Meanwhile, the 1st Battalion, which arrived a little later, saw action at the Battle of Magersfontein in December 1899 and was again in action at Doornkop, where they suffered severe losses, in May 1900.^[8] The battalion stayed in South Africa throughout the war, which ended with the Peace of Vereeniging in June 1902. Four months later 475 officers and men of the 1st battalion left Cape Town on the SS Salamis in late September 1902, arriving at Southampton in late October, when the battalion was posted to Glasgow.^[9]

In 1908 the Volunteers and Militia were reorganised nationally, with the former becoming the Territorial Force and the latter the Special Reserve;^[10] the regiment now had one Reserve and four Territorial battalions.^[11][12]

ILLUSTRATOR/ARTIST:

Constantin Alajálov (also Alajalov) (18 November 1900 — 23 October 1987) was an Armenian-American painter and illustrator. He was born in Rostov-on-Don, Russia, and immigrated to New York City in 1923, becoming a US citizen in 1928. Many of his illustrations were covers for such magazines as The New Yorker, The Saturday Evening Post, and Fortune. He also illustrated many books, including the first edition of George Gershwin's Song Book. His works are in New York's Museum of Modern Art and the Brooklyn Museum. He died in Amenia, New York.

Constantin Alajálov was born in Rostov-on-Don, Russia, in 1900 to an Armenian family. In 1917, the Red Revolution broke out, interrupting Alajálov's time at the University of Petrograd. Unable to stay, Alajálov joined a government organized group of artists. Traveling the countryside, they painted large propaganda murals and posters for the revolution. After this, Alajálov emigrated to Persia and again started painting for a revolution until no longer safe.

After his stay in Persia, Alajálov headed to Constantinople, his last stop before he emigrated to America at age 23. Getting a job was hard, but he finally landed one, painting wall murals at a restaurant about to be opened by Russian Countess Anna Zarnekau. Within three years, Alajálov was selling his paintings to The New Yorker magazine, where his first cover appeared on September 25, 1926. He went on to create more than 70 covers for the magazine. He also designed rugs for New York artist and entrepreneur Ralph Pearson.

Alajálov's first cover for the Saturday Evening Post appeared on October 6, 1945; this was unusual in that he was also doing covers for The New Yorker at the time, and both publications ordinarily required exclusivity of their artists. His final cover was for the December 1, 1962, issue. That final cover portrayed an accomplished bridge player awakened from a dream, still analyzing her bridge hand. Many of his Saturday Evening Post cover paintings can be viewed at the American Illustrators Hall of Fame in Indianapolis.

Alajalov died in New York in 1987. His papers are at Syracuse University, and the Archives of American Art. He bequeathed funding for a scholarship in his name to Boston University, which also maintains a collection of his photographs and scrapbooks. The Boston University holdings include a painting of Alajálov by George Gershwin.

It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."

Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue.

The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy.

The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay, and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year.

Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998.

Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine, before it was published as a book.

Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' bylines were added to their "Talk of the Town" pieces.

Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker's cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released.  In 2014, The New Yorker opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.”

The magazine's editorial staff unionized in 2018 and The New Yorker Union signed its first collective bargaining agreement in 2021.

The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris's The Boulevardier (1927 to 1932).

Cartoons - COMIC ART

The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017.

The New Yorker's stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and Gahan Wilson.

Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk.

Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin's song "I Say It's Spinach (And the Hell with It)". The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."

The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.

Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoff edited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings as "just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes." The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode "The Cartoon", as well as a playful jab in The Simpsons episode "The Sweetest Apu".