The Bismarck Tribune Newspaper, June 20, 1929, Page 16

TRIBUNE’S PAGE OF COMIC STRIPS AN By RODNEY DUTCHER (NEA Service Writer) ‘Washington, June 20—Final pas-| sage of the administration's farm relief bill may be said to hold an clement of victory for everyone, with the pos- sible exception of the farmers. President Hoover wins because he adopted the measure and said it must stand as was, without any debenture Plan or other fixtures. ‘The house of representatives wins because it sees the bill enacted as it passed it, without the debenture pro- vision demanded by the senate. The senate wins because it held firm and forced the house to take a vote on the debenture. The Republicans win along with Mr ‘Hoover, for the farm bill was a party) measure. The Democrats come out of the farm bill fight in excellent shape be- cause they presented a virtually solid front for the debenture in Congress —which, for the Democrats, is a moral vietory any day in the week. Jardine’s Triumph, Too And, undoubtedly the greatest per- retary of Agriculture William Marion Jardine, who is the undisputed father of the “Hoover farm relief program The administration farm bill is iden- tically what was known in the last previous congress or two “Jardine plan.” Everybody laughed at! s | it then and it was kicked around m Gisrespectfully. for both hou Ww ‘tent on passing the McNary-Haw bill. Farm state members of congre then regarded the Jardine scheme as totally inadequate and the complaint was made that it only offered the farmers a chance to cet further into debt. When cne considers that Jardine was not retained in the cabinet by President Hoover and will be no more than an interested spectator when the child of his brain is put to work to serve the farmer, it does almost secm that there ain't no justice. ‘The most significant, and to many the most gratifying, thing that has happened in Washington lately, is the complete success of the senate in pull- ing the hard-boiled, high-hatting -Tilson-Snell triumvirate of the house off the high horse this trio had mounted when the senate voted for the debenture scheme. ‘The effect is to demonstrate that "| roller tat as the} while the house is more than ever a legislative body gagged and bound, |the senate remains free and inde- pendent. As long as the senate con- tinues to refuse to be bossed either by Ithe president or the house, the ef- |forts of Speaker Longworth and his |licutenants to establish the suprem~ ‘acy of the house over the senate will {continue to fail as miserably as this ‘latest attempt | Few persons are going to shed any }tears over that. Regardless of the | merits of the debenture plan or of any | other specific measure and despite the |fact that some of the world’s most | distinguished nitwits occupy senate the intellectual superiority of the senate over the house is never ser- lously challenged. The facts concerning tie senate’s defeat of the house are these: ‘The house passed the farm bill without ebentures and the senate voted by a Ww margin to put debentures in. |The two bills then went into confer- lence and the house conferees ar- antly refused even to discuss the ‘iil until the debentures provision was thrown out. Longworth, Tilson and Snell had decided that the house | wouldn't be allowed to vote on de- |bentures—an exhibition of steam ics. only matched by the way they railroaded the tariff bill through, forcing more than 400 mem- ne house into the position of robots. Calling a Big Bluff House leaders were serenely confi- nt that the senate wouldn't dare |hold up passage of the farm bill President Hoover himself shared this |confidence. ‘The general assumption was that when the ten conferees. among whom only two senators had voted for the debentures, knocked the debentures out of the bill the senate would meckly surrender. The arrogance of the house, how- ever, defeated its own purpose. The senate promptly smashed its bluff by refusing to accept the conference re- port. ‘The alacrity with which the house leaders—under guidance of President Hoover—gulped their large platter of crow and promised a house vote on debentures was nothing short of funny. They had to, of course. Otherwise they would have been in the position of obstructing passage of the farm bill —a position in which they: thought they had the senate. TH Look! Axpy — HOW DO YOu LIKE THE CHAIR | PAINTED? 1T WAS AN OLD Wow DARE YOU? AFTER ALL MY WORK— "1 WAS TRYING TO You Ss Tring |} FOUND IN B SOME MONEY THE ATTIC Freckles and His Friends GEE--AOW I WONDER WHAT'S (00K, FRECKLES, AT THE UPZ I KNOW THIS MUCH = WHEN UNCLE HARRY GETS TELEGRAMS TAERE'S USUALLY SOMETHING IN THE AIR AND THIS OME CANE FROM Pop !! WARRY GANE To Me /! MOWM’N POP NOw APOLIG/IZE FOR WHAT YOu JU ST SAID BAT AA’ BANDANA UNCLE D FEATURES NOT LOQK WORSE A) : e¢. U. $_ Par OF : C bby The Chieago MOM, t THINK WE OUGHT TO BUILD A HOME. JOE SKANK SAYS. HELL BUILD ONE GREAT GUNS! NOT A CRAZY HIGH CEILING LIKE | THE BENDERS HAVE IN THAT WELL, AT LAST! TVve) DREAMED ALL MY LIFE OF THE DAY WHEN TD HAVE MY OWN HOME. WE'LL “OU CAN PLAY THE WHOLE HOUSE. EXCEPT ONE SPOT. T WANT A LIVING ROOM WITH A WHOPPIN' BIG GOOD HEAVENS, NO! THAT'S ALL RIGHT FOR A WEEK-END PLACE: BUT XO LIVE WITH IT DAY IN AND DAY OUT. WHY IT'S 1 MIGHT HAVE KNOWN IT. WW VD SUGGESTED A LOW CEILI WANTED A HIGH ONE. Both Tony and Crystal felt that it was indecent to stand there staring down upon Callie Barrett, but it seemed equally wrong to wake her to @. new realization of her grief and desperation. She was a little, thin thing, so pitifully naked now of all the grtifices by which she had made herself attractive to Dick Talbot. The pale blonde hair, dry and scant and short, had once had a_ permanent wave, but it must have been a long time since she had been able to af- ford the luxury of a water wave to “set” it. was so pale that it looked almost Green. “Should we wake her?” Tony whis- pered huskily. “It seems such a Pity—" “Just a minute,” Crystal answered in a low voice. There's something else first—” And she turned toward the scarred golden-oak dresser. ‘There, propped against the speckled H misror, and making the pitiful “toilet articles” more pitiful by contrast, was & magnificent portrait of Diek Talbot. On it was written: “From Dick to Callie.” On Tony's dresser was an exact duplicate of the picture, except that it was inscribed: “For my darling, from her Dick.” Crystal heard Tony draw a deep, sharp breath. It was the last gasp of pain for Dick Talbot that would ever Yasp Tony's throat. Later she would feel overpowering relief that she had , and contempt for herself as ie What do you The two girls whirled from the Gresser. Callie Barrett, awakened by the drama taking place her mean little bedroom, rather than by any noise that the girls had Her pinched. narrow face} { made, was sitting up in bed, a lace- trimmed, faded pink voile nightgown falling away loosely from her hollow chest. Her pale blue eyes were blared { wide with fright and anger. ; As rapidly and as conciliatingly as \she could, Crystal explained how {Colin Grant had sent her, because of his sympathy for her in her trouble. The girl lay back on her grayish pillows, the breath coming gaspingly through her bluish lips. When Crys- tal had finished her embarrassed ex- | planation, Callie said, her eyes closed: “Mr. Grant's a good scout to bother about me, but you go back and tell him it's none of his business, see? 'm not asking charity, Guess I can take care of myself.” | Crystal was nonpulssed, but ‘Tony understood better. She sat down on the edge of the mussed bed and bent. to lay her cool, firm young cheek against, the greenish-white one on the pillow, “Don't snub us, please, Callie, We know we're butting in, but we just want to help-—want you to know you have friends.” “And—who are you?” Callie de- manded jerkily, but she did not turn her head away. “I'm Tony Tarver, Callie.” “Tony Tarver!” Callie sat up then purthing Tony violently away. “You're the rich girl Dick's goin’ to marry. | ain't you? Well—" she laughed harshly. ‘I reckon you and me oughts be friends. We got a lot in common! Maybe we'll have more in common some day. because I'm going ;to be mother of Dick's child. Laugh | that off!” I | Ni rejects, (Copyright, 1929, NEA Service, Inc.) KT: Tony proposes and Callie ¢ [IN NEW YORK New York, June 20.—When everyone gay white way groans loudest times in the theater, Pat Cain smiles most broadly. is always his gain. hho prospers in the » For Cain's, as 1 had occasion to mention before, where all bad little plays when they die—and some good 1 Cain's is the warehouse for failures. ese * Pat Cain is known on Broadway as t .” He's never yet at- tended a night performance, but has he missed a last night. For “ on that last night, Cain “gets the t}show!” That is to say, he gets the scenery and the stage adornments. Sunday is the busiest day in the show warehouse business, since most: failures “fold up” on Saturday night after battling for life through the week, Pat is one of the closest followers | of theater reviews, Not only does he get critical tips on what he may an- ticipate, but he gets a kick out of the mention of his name. He doesn't con- sider himself a Broadwayite, yet he is one of .Broadway's famous characters. The drama reviewers for the metro- Politan dailies invariably use hig name when referring to plays that are likely to fail. They have made Cain syn- onymous with failure in the show bus- iness. There was, for instance, an oft- quoted one-line criticism printed a few seasons back. The name of the as LN “Steve.” And the criticism read: “A voice from Cain’: i pale 's—I gotcha. This eriticism has become almost a Broadway classic. * * ‘The warehouse wherein rest the corpses of hundreds of dramatic dreams is a five-story building with a FIREPLACE AND A HIGH CEILING AND — HAVE LOADS OF FUN PLANNING I(T A AFTER OUR OWN (DEAS. WERE SO DUSTY FROM Tramein’ “TH - ROADS, I'LL BET AS SOON AS WE HIT TH’ WATER WE'LL TURN INTA @ UD! m- PLACE UP IN THE COUNTRY, 1HoPe! A REGULAR BARN vex! WHAT. ARE Ya OoIN’ “stan. 2, WHY, (MAN ARTIST “ =A CRAWING Ct ae SOR Hp THAT'S TRE WAY WITH - EVERYTHING. YOURE 2 SUST CONTRARY. ALL, THE METCALFS ART wtih. \ Jatt te jes