The Daily Worker Newspaper, October 18, 1933, Page 5

WHAT WORLD! By Michael Gold Weak Knees and a Strong Voice BOUT ten years ago I once debated Floyd Dell to raise money for the \ “Liberator.” That night I suffered from the worst case of stage fright | known ‘to medical history. To be brief, I discovered to my horror that I could not stand up; my knees kept buckling under me. Of’ course, in a debate or lecture you can’t stop for such trifles. That's the worst part of public speaking; you can’t yawn, or sniff at a rose, or take a walk, or read a newspaper, the way the lucky audience does when it is bored. I had to go on talking. And I did gp on, being very witty and pro- found, as.1 remember, on the subject of the debate, which was Matrimony. All I did was to crumple a cigar in my pocket, and stuff it in my mouth and chew it vigorously. A face full of plug tobacco isc a great bracer in a tight spot, as any baseball pitcher can tell you. There was a piano onthe platform. With great presence of mind I walked over to it nonchalantly and leaned against it. All through that terrible night I chewed and leaned and got by somehow. But there were no spittoons handy. * * * How to Be a Bore DAY it has become easier. It is increditable what persistence will do. I can: at last talk fluently and easily, that is, present a plausible initi- | ative of-a:fluent and easy person. Speaking is really one of the fine arts, | though:'“It should be studied, as too few of our busiest speakers will take | the time to do. Writers should not be expected to become good orators; | one art is more than enough for any lifetime, But organizers who speak | @ great deal should study this art. Many of our speakers have not yet learned the fundamental esthetic law of variety. They bore their audiences for any of a number of reasons. One of the most common offenses is that of long-windedness, It is a psychological fact that the human mind stops listening after a certain time. It goes dead after something like forty-five minutes. Any speech longer than that is ® failure. The speaker may have said many important things, but they have been wiped out by the wave of brain-fag that came over the audi- ence-at the end of 45 minutes. The best length for a speech, I should judge, would be even less than DAILY WORKER, NEW YORK, WEDNESDAY, OCTOBER 18, 19338 The World of the Theatre By HAROLD EDGAR NOTHING AND LESS The period of Eugene O'Neill's “Ah, | Wilderness!” is 1800; the period of | “One Sunday Afternoon” and the) musical show “Hold Your Horses” is about 1900; the period of Clare Kummer’s “Amourette” at the Henry Miller Theatre is 1840; and ‘The | Pursuit of Happiness” at the Avon | Theatre take us back to 1777, Mae West's movie “She Done Him| Wrong” turned to the Nineties, the operetta “Music in the Air” harked back to a Tyrolese past, and an- nouncements are made of an adapta- tion of Moliere’s “School for Hus- bands” and Johann Strauss’ “Fleder- maus.”—“Anywhere out of this world!” cried the French poet Bau- delaire, and here we have the the- atre train to forgetfulness, the $2.50 road to nowhere. No matter how strenuously an ar-| tist resists his times, no matter how} fervently he wraps himself in mists of the past, he always remains strictly contemporary. His quest of a bygone day must be interpreted as either an effort to understand his own time—in which case his use of history is valid—or as an attempt to run away from it—in which case he is merely drowning his sorrows. In the instance of our present plays, however, we have nothing as serious as either of these processes. It is largely a case of exhaustion. The entertainers—playwrights and pro- ducers—have taken up almost every conceivable subject, and the number of possible novelties seems to be dwindling. Of course this does not As Men Having a Job to Do By HENRY GEORGE WEISS Not in anger do we say this, nor in blind hatred; but thoughtfully, as men who having a job to do would do it and be done. | You arc rotten to the core; there is no good in you. Like wolves you rend each other for the préy; and the prey for which you are ravenous is the milk and bread of children, the homes of toilers, the dreams of boys and girls. We have seen the bones of your kill on a thousand battlefields, the half-devoured bodies of your feasts in a million hospitals. And the victims you devour by inches go ragged and hungry thru the streets, begging, thieving, selling, are evicted out of lousy shacks, killed in the coalfields, raped, defrauded, tortured, that you may grow fatter and add to your millions. Not in anger (though we feel anger), not in hatred (though we know hatred), | do we say this; but thoughtfully, as men who having a job to do would do it and be done. from “THE ANVIL” mean that any of the subjects that have been used have actually been given artistic treatment, but there prize-fights, night-clubs, radio, rack- ets, politics, movies, doctors, lawyers, Indians, thieves, marriage, divorce, homosexuality and what not. Broad- Noted Writers Discuss| have been plays about journaiism, | Drama mm Sy: mposium in Theatre Magazine Sidney Howard, Anita Block, Al- that—perhaps 35 minutes. Brevity is, and always will be, the safe foundation of good style in both speaking and writing. If you are brief, your mistakes are more easily forgiven than are the mistakes of a windy bore. Brevity also forces anyone to define his thought more clearly and vivid: Brevity is the first means of attaining variety. * * * are taboo. There seems so little le! to be cynical about; tainly nothing to be enthusiast: Booms and Whispers WIANY speakers have not learned to vary the inflections of the voice. ih They will start on one note and maintain it. It drills in the ears of the eudience, finally, like the rasp of katydids or crickets, and makes people wen* to escape this torture. Every voice has a range of different notes. As in singing, one’s full scale should he used in a speech, both for effect and to keep the audience stimu- lated. «Ts there anything more dramatic than the trick used by some Jers native with many, unstudied speakers, I mean the booming climax that is followed by a whisper? business, So the newest novelty | the past. The past, moreover, | safe; whether one is cynical or senti thing—it need not affect what one of colorful void, capitalism's ais It Easy T IS fatal, also, to start on a high note, at the top of your voice, and then slide down and-down in volume and intensity, The audience feels weakness and lack of plan. Start on a low and sober key, and work i up the scale. other warning; don’t talk too fast, or give the appearance of being ‘cus about crowding in all you want to say. An audience has an ayy ‘sensitivity, and it detects you the exact minute you begin to fret, hurry. | of them composed e, viscom and poise of its leaders. pseudo-Greek, pseudo-Romantic pseudo, and way shuns labor plays, and the more direct aspects of the class struggle there is cer- about, and to be profound or thor- ough about anything takes time and hard work, which is very doubtful mental about it comes to the same doing or thinking today. It is a kind So our costume plays are really | 1933 after all, a delicate symptom of arrested development. Only “The Pursuit of Happiness,” the | newest pleasantry to please the boys | uptown, derives its inspiration a little from the heyday of Greenwich Vil- !lage. Time was, when the refugees from middle-western drabness, New England Methodism and Ethical Cul- ture or Riverside Drive Judaism, congregated below Fourteenth St. and wrote skits, playlets and even dramas to rout American puritanism. Some | semi-Freudian ous | tragedies of sex repression, but most, An audience doesn’t like this; it wants to believe in the | of them dabbled in antique motifs: | pseudo-Renaissance, generally fred Kreymberg, Rose McClendon, | Albert Maltz, Barrett H. Clark, Frank tt Gillmore, Paul Peters, and Michael Gold discuss “Prospects for the American Theatre” in the Septem- ber-October issue of “New Theatre” (formerly “Workers Theatre”), | “New Theatre” is on sale at work-| ie ers’ bookshops, workers’ dramatic js| 8Toups, and at the office of “New 4 dati 42 E. 12th St. New York City, Theatre Collective Needs Manager and Promotion Advisor | NEW YORK. — Formulating its plans for the present season at a recent meeting, the Production Council of the Theatre Collective an- nounces that ft has officially decided to conduct its organization on as professional a basis as possible. For this purpose it plans to enlist the services of a business manager and promotion advisor. “It is essential for the Collective to have for this position an exper- jenced and expert workers’ theatre,” @ member of the Production Coun- cil said yesterday, “as well as one thoroughly acquainted with the revo- ic is | in the European studios. in-while human being, a worker with a determination to build a better world, you are sure to be interesting to your fellow workers. You represent something they will understand and respect, so get over all inferiority feel- ings that make you stammer or hurry. Take your time. Think it all out befcrs ow speak, and then take your time (45 minutes). * * * | j - Tf you are troubled by anxiety, speak with deliberation. If you are a | | | | i wee what you are saying moves you, a natural warming-up process ] sets in, and you will surprise yourself by speaking easily, fluently and pessionately. This is where the inspiration enters, an element that cannot be studied or created at will. It comes from the depths of what is some- times called the “soul.” It is something every real Communist has some- where inside, trying hard to get out into action or art. * * * Plan Your Speeches UT the great thing, of course, is to plan every speech you make. you are sure to get variety, interest, and all the rest. Planning is really quite simple. The most effective technique I have stumbled on has been to divide my allotted time for speaking into five- minute intervals. ‘Then The point .of these plays was that their authors were “free,” that the audiences that applauded them were “free,” and ain’t we got fun! Some of these pranks were not without talent, they brought a new tone into the American theatre, and the shrewder and more energetic of these talents moved uptown andj established formidable institutions. Their chief artistic characteristic was their eclecticism. These plays had a cute minimum of everything: a touch of history, a bit of Shaw, a} whiff of continentalism, a dose of naughtiness. It was all very sweet really and quite harmless as the sub- sequent development of this tendency proved. What didn’t become the Theatre Guild became the Little Theatre. At heart, it was a spoiled child, given to unorganized reading lutionary theatre. The Collective in- tends to pay as much as it can af- ford for these services. Any reader Stage and Screen “The Red-Head” (“Poil de| Carotte”) Opens At Acme Theatre Thursday The Acme Theatre, beginning to-| morrow, will present the Continental film. “The Red-Head” (“Poil de Carotte”), for a limited engagement. “The Red-Head” is one of the few European films to reach America which can be classed with such noted films as “Sous Les Toits de Paris,”| “Maedchen in Uniform,” etc. The| picture is screened from the well known French novel by Jules Renard and is directed by Julien Duvivier, who has an exceptional reputation In_ this story, a beautiful and tender tale of adolescence, Duvivier-has managed, by his forceful direction, to bring before us the story°of a young boy, Francois, nicknamed Oarotte (Red Head), and present a picture of this sensitive child in all ifs magnificence. The cast is headed by the noted French star, Harry Baur, Catherine Fonteney, of the Comedie Francaise, and young Robert Lynen. English Yonge make the film easy to fol- low. . of the Daily Worker ‘who is inter- ested and who feels capable of meet- ing the requirements ts asked to write in detail to the Production Council of the Theatre Collective, 42 East 12th Street. TONIGHT’S PROGRAMS WEAF—660 Ke. 7:00 P.M. — Charlle Male Quartet. 7:15—Billy Bachelor, Sketch. Leland, Comedian; I jot down, for each five-minutes, one of the main points I wish to ruake.. Thus, if I have decided to speak for forty minutes, I will note down briefly, eight points. Then I speak on each point. I time myself by a watch or by a kind of unconscious timing one learns after much speak- ing. and an independent income. and travels abroad. advance of years it fits in perfectl: Moving from point to point this way, one isn’t stuck at one issue to 2 Pursuit of Happiness” the neglect of the rest. You audience feels you have planned your speech, tickled audiences. ‘The child goes to many literary parties But despite the with the Broadway Theatre of 1933. Even in the diluted form of “The it has its ‘They do not no- 7:30—Lum and Abner. 1:45—The Goldberes—Sketch. 8:00—Alsen Orch.; Bert Lahr, Comedian. 8:30—Lyman Orch.; Frank Munn, Tenor, 9:00—Troubadours Orch.; Irene | Dunne, y Songs. 9:30—Phil Duey, Baritone; Reisman Orch.| 10:00—Corn Cob’ Pipe Club. | 10:30—Labor and Capital Under the NRA —Senator Robert F. Wagner of New York. and have covered all your ground. And you feel better, too, and don’t lie awake that night regretting all the things you really wanted to say, but somehow never managed to find time for. ° * * NE last. point.I should like to make as to content. Our speeches should always be as simple as possible. Long words and complicated phrases are not adapted to mass-speaking. Oratory is really one of the branches of poetry, it is a primitive art, and therefore images and anecdotes are its true material; not the ab- stract logic of the study. Use metaphors. Paint pictures. Be congerete. Strive for the variety of laughter and tears. Every Communist is a teacher, but he is also a comrade, Lenin is the best model I know, both for speaking and writing. He never vulgarized his material, or talked down to the masses. Yet he took the most difficult political and economic questions, and gave them tice that the laugh lines are bor- rowed from everywhere including old A. H. Woods bedroom farces, they do do not mind that the production is acted like a prep-school show, they do not think that the old bugaboo of Puritanism in its Greenwich Vil- lage form has long been forgotten. What they like is the novel—that is the 1777—setting, the suggestton of sex so quaint and innocent that it might be the Three Little Pigs, the feeling that though it is quite up-to- date it is all as trifling as any mu- sical comedy plot. They like it be- cause one can hardly remember what it is all about even while it is hap- 8:15—Billie Jones and Ernie Hare, 8:30—New Deal on Main Street—Sketch. 9:00—Jack Arthur, songs; den, piano duo. 9:15—Macy and Smalle. 9:30—Variety Musicale. 11;00—Davis Orch. 11:15—Jesters Trio. 11:30—Bestor Orch. 12:00—Ralph Kirbery, Songs. 12:05 A.M.—Rogers Orch. 12:30—Sosniek Orch. WOR—710 Ke. 7:00 P.M.—Sports—Ford Frick. 7:15—News—Gabriel Heatter. :30—Terry and Ted—Sketch. ‘:45—Talk—Harry Hershfield. 8:00-—Detectives Black and Blue—mystery songs. Ohman and Ar- a crystal clarity; so that everyone understood. He illuminated, he did not. cheapen.~ , He wasn't merely a compiler or statistician. What passion burns in every line of that great and good man, Lenin; the scholar who knew how to lead an army. of peasants and workers! ness of these N. R. A. days. like it because it is nothing. The; * . * : Tast Words E ate just a few words of advice from one who has made at Jeast {it illustrates what the. Broadwa: \ Hive hundred or more speeches in the past ten years. I have learned eee. a rae in reducin; what I know from hard and awful experience, And to tell the truth, though | ;2 Easeatiiac pea pear ese we this adyice may help some of our younger speakers, my knees still buckle q often when I rise to speak, and I long yet for a blessed chew of tobacco | was a better than average exampl or something even stronger. of European political pening, because it does not inter- fere with the light-headed cheeri- If this is nothing, “Her Man of ey t Wax” at the Shubert Theatre is less. > It would hardly be worth mention-: ing at all were it not for the fact that “Napoleon Greifft Ein” (Napoleon Takes Hold), vaudeville, 4 slightly reactionary in effect, but with certain theatrical possibilities. y | Broadway turns it into a vehicle for a hot-cha artist, Miss Lenore Ulric. In this transformation, an actress once full of promise and genuinely attractive as well as gifted, mas- querades vulgarly like an empty- y | headed Bronx stenographer imitating 1g; Miss Lenore Ulric, Everything is |- | cheapened, degraded, robbed of every last vestige of intelligence, invention, humor or charm. It is a fair ex- le|ample of Broadway commodity-pro- JIM MARTIN LOT OF MAIL FoR HIS HOMOR,, SLOAN USUAL PRIVATE THERES AN AVALANCHE J OF LETTERS AND TELEGRAMS - SHALL T OPEN THEM AS duction. ry Congratulations Mv Eye! MOST LIKELY CONGRAT- ULATIONS OW MY SOLUTION TO THE TLL TAKE THE BANKERS PROBLEM 7OH,00! A crisis / 10:00—-De Marco Sisters; tenor. y 10:30—Market and Halsey St. Playhouse. | 11:00—Weather Report, Frank Sherry, 11:02—Moonbeams Trio,. 11:30—Scotti Orch, 12:00—Holst. Orch. Fale aa WJZ—760 Ke. 7:00 P.M.—Amos 'n’ Andy. 7:15—John Herrick, —pafitone; Orch, 7:30—Cyrena Van Gordon, contralto; Wal- ter Golde, piano. 7:45—Talk—Irene Rich. 8:00—Ghost with s Mask—Sketch. 8:30—Potash and Perlmutter—Sketch. 8:45—Red Davis—Sketch. 9:00—Warden Lewis E, Lawes in 20,000 Years in Sing Sing—Sketch. | 9:30—John McCormack, tenor; Daily Orch. | 10:00—Pedro Via Orch. 10:30—-Ruth Lyon, soprano; Edward Da- vies, baritone; Shield Orch. 11:00—Davis Orch. 11:15—The Poet Prince. 11:30—Denny Orch. 12:00—Spitainy Orch, 12:30 A.M.—King Orch, oe tae WABC—860 Ke. 7:00 P.M.—Myrt and Marge. 7:15—Just Plain Bill—Sketch. 71:30—Travelers Ensemble. 7:45—News-—Boake Carter. 8:00—-Green Orch.; Men About Town Trio; Harriet Lee, contralto, 8:15—-News—Edwin C. Hill. 8:30—-Albert Spalding, violin; Conrad ‘Thibault, baritone; Voorhees Orch. 9:00—Irvin 8. Cobb, stories; Goodman ~ Oreh, Sanford 9:15—Kate Smith, songs. . 9:30—Lombardo Oreh.; comedy. ty 10:00—Waring Orch.; “Harry Richman, songs; Milton Berle, comedian. 10:30—Alexander Woclleott—Town Crier. 19:45—Concert Oreh.; Evap Evans, bari- tone. 11:15—News Bulletin, 11:30—Nelson Orch. 00—Rapp Orch. A.M.—-Pancho Oreh. 00—Light Orch. Burns and Allen, pee OF PLANT Z2 | Labor Movement, HESTERN UNIO . © WE, 5000 WORK. ag 7 The October Labor Defender By CYRIL BRIGGS No one can read the October issue of the Labor Defender without be- ing impressed with its graphic rec- ord of the growing drive to fascism in this country, and the heroic re- sistance of the working class as shown in the increasing wave of strikes against the N. R. A. starva- tion codes. One is also greatly im- pressed with the splendid make-up of this pictorial record of Labor’s struggles, and amazed that such an excellent magazine, loaded with vital, informative articles and pictures, can be sold at so low a price as five cents. Despite the reduction in price, the magazine is today more attractive than ever. , There are articies and pictures of the revolutionary struggles of the tolling Cuban masses and the armed attacks by U. S. imperialism and its Cuban puppets seeking to crush the resistance of the Cuban toilers, The N. R. A. codes and the Nazi anti- labor laws are shown to be signifi- cantly similar in an article by Isi- dor Schneider. Sasha Small con- tributes a smashing exposure of the Reichstag frame-up With irrefutable proof of Nazi responsibility for the Reichstag arson for which four Com- |munist leaders are now facing death | in the most infamous trial in history. Comrade Small points out that the Nazi methods are well-known in this country, and are regularly used against the oppressed Negro People and Asiatic workers on the West Coast. The familiar Red Bogey is also dragged out upon occasion by American capitalism. Therber Niel in “Daily Life In Fas- cist Germany” gives a vivid picture of the murderous excesses of the Brown Terror, which “assumes a mul- titude of forms and creeps into the daily life of one and all.” In “Prison Labor in the U. S. A.,” J. B. Thompson contrasts the brutal treatment and exploitation of pris- oners in the United States, with the methods of the Soviet Union, whose primary aim is not to penalize and punish offenders, but “to remake criminal elements into useful citi- zens of the Soviet Union.” “Ameri- can jails are places of punishment (and bitter exploitation of prison labor). Soviet prisons are educa~ tional institutions.” Other articles deal with the New Mexico miners’ strike, the lynch ter- ror in the United States, the recent U. §. Congress Against War, the Great Steel Strike of 1919. The Life Stories of Ruby Bates and Lester Carter, the two star defense wit- nesses in the world-famous Scotts- boro Case, are continued with grip- ping installments which not only de- pict the individual experiences and struggles of thése two Southern workers, but expose the whole sys- tem of national oppression of the Negro masses, jim-crow isolation of the Negroes, and terrific exploitation of both the Negro and white tollers, WHAT’S ON ALL THEATRE GROUPS are to meet | Thursday evening, 8 p.m. in the Workers Center, 50 BE. 13th Bt. to prepare skits for the election campaign. * * . JOHN REED CLUB School of Art Fall Term starts October 23. Day and evening Classes in life drawing, painting, fresco, seulp' poster, political cartooning, lith- ography, under Minor, Gellert, Lozowick, Refregie:, Dibner and other prominent artists. Office open for registration this week from 2 to 4 p.m. Address, 430 6th Avenue, New York City. cies Wednesday SCOTTSBORO Br. LL.D. meeting at 261 Schenectady Avenue, Brooklyn. All work- ers are invited a ee j REGULAR REHEARSAL of the Daily Worker Chorus under the leaderr'iip of Lahn Adohmyan at 106 E. 14th St., top floor, at 8 p.m. Friday FILM SHOWING of “Little Church Around the Corner,” early American film concern- ing labor struggles in the coal fields, on Friday, October 20 at 8 and 10 p.m. at Film and Photo League, 220 E. 14th 8t. Adm, 25c. Benefit of Daily Worker. i ee (Detroit, Mich.) REGISTRATION now going on for Work- ers School, 323 Erskine St. at Brush. Night classes in Fundamentals of Commun! Political Economy, History of Am Shop Problems, Leninism, Problems Russian, English n Negro of Youth and other Problems, Movement, courses, Philadelphia, Pa. MASS MEETING Against War and Fas- eism will be held cn ‘sday, October. 19, at 8 p.m. at Union Hall, ‘3 Arch Strect Report cf Youth Delegates. Adm. 15¢, Aus- pices: Youth Anti-War Committee. DANCE and Exhibition of Proletarian Art by members of the John Reed Club will be given at Srawberry Mansion Workers Club on Gaturdey October 22 at 8 p.m. at 2014/ N. 3and Street. Adm. 25c, Against Tammany lynch terror on Negroes—Vote Communist! by QUIPT Page Five Three Class-War Veterans of Three Different Lands: By HELEN KAY I heard two hundred and nine| years speak. The years were embodied in three | Persons. They represented three na- | tions, | The youngest was Henri Barbusse, |of France, aged 61, Tall, eagle like, j speaking in a husky tone of voice,| | with prophetic forwardness, long, lean, sensitive to his audience's reaction, a writer, an intellectual, and above | all a Communist. Our own Mother Bloor is Tl. is the second of this trio, Small, vibrant, speaking emotionally of} | what she saw, with burning coals in} | a creased face for eyes, an organizer, | | the oldest member of the Central Committee of the Communist Party of the United States, and proud of it. And he who brought the total of | years up from a mere 132 to 209 is |Tom Mann of Great Britain, aged |'¥7. Stockily built, speaking passion- | j ately, his voice carrying through the} |Sreat hall without aid of a micro-| |Phone, speaking with nineteenth century floweriness and twentieth | century ideas, an organizer of labor | for nearly sixty years, a Communist. | He expects to live to see the revolu- | tion in his own country, and he’s do- ing his best to make it come. | They put us, young in years, to| shame. Such energy, such enthusi- | asm, such daring, permeates from these aged—not “aged,” for that speaks of something old, unalive; these men and woman are vibrant with fight and filled with knowledge | derived from their long experience | Birth of Harlem| She | Raises New Needs By SIDNEY BLOOMFIELD The Workers School in Harlem is no longer a wish. Hard work on the part of the friends of the Workers School made it possible. Every night at 200 W. 135th St., in Harlem, class~ es are in session. Some of the classes are over-crowded, and this is but the birth of the Harlem Workers School. Negro workers and intellectuals and Latin-American workers pre- dominate, which proves that the most exploited and militant section of the proletariat forms the basis of the Workers School student body, and the revolutionary movement in Har- lem is in this way training its best forces, So poor are the students that the acquirement of revolutionary is accomplished in spite of insur- mountable obstacles. Books and | | Mann, Barbusse, and Bloor | Workers’ School pamphlets that are so necessary for study are luxuries because of lack of money with which to buy the cheap- est literature. A little reading Ubrary is now being established at the school in effort to solve this problem. Funds are being raised for the purpose of establishing a scholarship fund to pay the tuition for the most active workers and to stock up the library. The Workers Schpol and the Friends of the Workers School are arranging a grand concert and dance Saturday night, Oct. 21, at the New Harlem Casino, 116th St. and Lenox Ave, This is in celebration of the opening of the Workers School in Harlem and to raise the sorely need- ed funds. An elaborate program is arranged for this affair. Besides dancing till morning to the seven piece Liberator Orchestra, there will be the New Dance Group, the Liberator Chorus, the Theatre of the Workers School and other features. Tickets are on sale now at the Workers School, 35 E. 12th St.; the | Harlem Workers School, 200 W. 135th | St. and at the Workers Book Shop, 50 E. 13th St. Has your unit, club, union, ¥.W.0. Branch, your organization held a collection for the Daily Worker? | Help save our “Daily,” in life. Certainly veteran would be the better word. Henri Barbusse, the revolutior writer, speaking from a body that sick, but a spirit that is tir , ex tends his long arms befor he talks. His voice rises and then he comes low in cadence, rhythmical harmonious with his ideas. His gray tousled hair falls over his forehead, his long, lean body, long, lean hands and extended fingers give him that prophet-like air. He helped control the various elements in the Anti-War Congress. He cemented the relation- ship of the variegated shades of opin- ions into a solid substance, the united fight against WAR. Ella Reeve Bloor, organizer, speak- ing from her field of vast strike ex- perience, proudly responds to “Mother.” Everyone below 60 is a “young fellow” to her. She's had husky miners in Pennsylvania and Colorado during bitter strike struggle turn to her for advice, “Mother.” The staunch steel workers call her “Mother.” The farmers fighting in the West know “Mother” Bloor, The packing house workers, the textile workers, the marine workers, toilers of all industries know “Mother” Bloor, and her words. She's a fighter. She tells of how she stood on the grave of one of the steel workers killed only a few weeks ago, and hurled her words of militant labor into the very ears of the steel bosses while a company thug at her side levelled his gun at her. Her voice is loud and ringing. She bends low as she speaks and flings her arms ont vehemently for emphasis. Tom Mann’s voice booms forth like rs Sega ei aarges = His voice rops to a whisper, a w! that is distinctly heard Sa ors ihe hall, He tells the story of capitalism, a lesson im simple economics through the emotions of this unemployed worker. “No job, well why? Natural resources—there’s plenty!” uplifting. different shook hands. A trinity of . Three fighters — internax with their men against steel thugs; against government troops and depu-.oiy ties; against the bosses, for a living: « wage. “The women are important fighters. We must win them to our side and they'll make better fighters out of the men.” home country. “I speak of land,” he says, but what he tells fie, tit America, can fit all the countries of the world, where capitalism has its iron heel over industty and workers, His voice and thought are a cre~ scendo. “We are all fighting for fewer. hours per day, for fewer days per week, for fewer weeks per month, for fewer months per year, for fewet years per life-time.” AMUSE MENTS Dialogue in French, BEGINNING TOMORROW (Thursday) Every Parent, Every Teacher, Every Guardian, Should See This Picture! “THE PASSION OF JOAN OF ARC” English Subtitles ACME THEATRE 18,08 | 15c=" Sun, and Hol. 9 a.m, to 1 p.m. exe. | RKO lith St. & | Jefferson ith st. & | Now GEORGE ARLISS in “VOLTATRE” with DORIS KENYON also “LIFE IN THE RAW” with | GEORGE O'BRIEN and CLAIRE TREVOR | Sold Out! 1500 SEATS FOR THE “Vote Communist” BANQUET NEW STAR CASINO 101 East 107th Street | WED, OCT. 18-8 PA. FOR SALE NOW! | 500 Balcony Seats (not including meal) 50c Nygard, Minor, Browder, Burroughs, Gold . Communist Election Campaign Committee 799 Broadway—Gramercy 5-8780 RADIO CITY MUSIC HALL SHOW PLACE of the NATION Direction “Roxy” Opens 11:30 A.M. “The PRIVATE LIFE of HENRY the 8th” JOE COOK in HOLD. YOUR HORSES A Musical ween in Lathingytd * : & th St. Winter Garden “ev! S20. sain Thursday and Saturday at 2:30. ‘THE THEATRE GUILD _ present: EUGENE O'NEILL’s COMEDY AH, WILDERNESS! EO! ve . wea GUILD gs seat 8:20 MOLIERE’S COMEDY WITH MUSIC THE SCHOOL FOR HUSBANDS. }. Adapted in rhyme by ‘ Arthur Guiterman & Lawrence Langner EMPIRE 23ers ists Mat. Thar.,Sat. MASS RECEPTION for EMIL NYGARD, first Communist Mayor q THURSDAY, OCT. 19, at 8:15 p.m. WEBSTER HALL, 119 E. 11th St. Other Speakers BEN GOLD, CARL WINTER, LOUIS WEINSTOCK, Chairman + Doors Open at Seven. Auspices, Unemployed Couneils of © Greater New York with Charles Laughton and a great cast} Admission ae: f) ©