The Daily Worker Newspaper, November 15, 1933, Page 5

\} WwW H AT WORLD! By Joseph Freeman ‘This summer I happened to be in California, There were a series of fruit strikes in the Santa Clara valley. One evening I-picked up a local paper In Oxenard which carried in heavytype a sensational headline. It seems that the California strikes werecsubsidized»anmd directed by Moscow. «(When a dog:bites a man that is not news. But when starving workers fight: for a living wage it is always news—in the capitalist press—that they-are subsidized and directed by Moscow. From the-beginning of the socialist movement that has been the stock accusation of ‘the capitalists. Why do workers organize, strike for economic improvements, battle for political rights? Because they are exploited, underpaid, underfed, op- pressed? Heavens, no! “Our” workers would be perfectly happy except for thé;mach{nations of foreign governments. Everybody knows that. Who subsidized Marx to “agitate” the German workers? The French. What enabled. Lenin. to. lead the October Revolution? German gold. What fi- nances strike movements in America? Moscow gold. WhyMen Strike .Yet_the fact remains that the vast majority of the Santa Clara workers know. little about Moscow and have no contact with it. These Mexican, Filipino, Italian and native American fruit-pickers have been so. ground down by the crisis that they struck. It is not necessary for German gold to subsidize a revolution in Rus- sia or for Russian gold to subsidize strikes in America. You cannot “make” revolutions or strikes. These can only be the result of conditions created by capitalist-exploitation and oppression, But do niot‘imagine for a moment that these silly has about “Mos- cow gold” aré tonfined to Oxenard. Do not think it is only stupid or un- serupulous capifalists who spread such lies. ‘This oldést of'counter-revolutionary slanders can now be found in the intellectital world, ‘Tt is being spread by “thinkers” who make it their pro- fession to libel’thé Communist movement. ‘TMotisands. of Writers, scientists, teachers, architects and other intel- lectuals-have in the past few years “swung to the left,” as the phrase goes. In ong:degree-or-another, they support the Communist movement, In one degreg,or another, they are attempting to adapt their literary, artistic and seientific talents to the services of the Tevolutionary movement. * Why Artists Go Lett “Why: do they'do this? Is it because the crisis has shattered their eco- nomic: base? Is it because the decline of capitalism and the rise of Soviet economy has profdtndly altered their views of society? Is it because the values of capitalist culture have lost all meaning for them and they have beste t6 grdép the meaning of Communist culture? ye no! “Our” poets and painters and novelists and critics would hap) except for the machinations of Moscow. They would still be welttae sve lyrics in the style of the nineties but for Moscow gold, They wou’ “still be preoccupied with their own petty sensations except for “atalin’s literary inquisition.” So, at any rate, say the professional ene- mies of the Communist beter a the field ot arts and letters. A Lesson of the World Fair Dpring the month of August I visited the World Fair in Chicago. It is a fitting monument to capitalist culture in America. One or two of the buildings reflect. the high technical development of American economy— its magnificent machines, its extraordinary industrial processes. The bulk of the exhibit is a glorified Luna Park, garish, tawdry, vul- gar. It is plastered with sales slogans. You are asked to buy Coca Cola, ” Chrys}e¥ automobiles, Camel cigarettes, and the other million and one products of privately owned American industry. poet E, E, Cummings, after a brief and confused ten day visit ‘f Moscow, desctibed the Soviet Union as a vicariously infantile land of slogan. A renegade Communist critic who has not been to the U.S.S.R. for ten_years applauded him in the pages of an anti-Communist magazine. Both these gentlemen are blind to their American environment. No country. is as slogan-ridden as the U. 8. A. But there. is a profound difference between Soviet and American vo slogensy a Koreas inherent in the basic difference between the two “ otvilizations. " Inthe U.S:Ar private capital urges you to BUY Pepsodent so that it ‘may make profits for the shareholders of the Pepsodent company. In the USSR. ‘collectively owned economy urges the workers and peasants to USE todth-paste: because it will preserve their health, Apart from the vicariously infantile commercial ballyhoo, the fair was filled with vicariously infantile pornography, There were over a dozen Shows."of hula-hula girls and fan dancers. The Fair and the American brett Geated a‘néwW “heroine’—Sally Rand, who dances nude behind huge fans.-1-have heard no complaints about this from E. E, Cummings or the a Monthly.That is ake nator, Artists and the Crisis Otitside the Fair grounds I saw a striking scene which explained why © American artists, like American workers, do not need to be directed or * subsidized by- Moscow in order to, protest against capitalist culture. On the sidewalk just outside the Fair, ironically enough near the Chicago Art Institute, 300 artists were peddling paintings and drawings. They varied “in talent. Some were amateurs; some were extremely Cap- able painters, who before the crisis were very successful. There were men who.thtee yearsyago got $1,000 a canvas from the plutocrats on the Gold Coast.” ” ae Now the artists were unemployed. They were broke. The bourgeoisie, which always pretends to love art, and which claims that art dies under . Communism, was permitting these painters to starve. ‘Three hundred ‘artists were standing outside the costly monument to pepe culture crying their wares like peddlers. They begged passers-by #0 purchases patting or a drawing tor anything, trom. 2 éesits up, An Artist Explains One of them, a famous artist in Chicago, said to me: “I am no bolshevik, but this is worse than hell. I had money, I had reputation. Now t am down and out. I do not know where my next meal will come from. Worse than that, I have no audience. “For whom am I to paint? Nobody wants my stuff. And there is something stilJ worse. I no longer believe in my stuff. Nearly all my friends are out 6fwork. They are broke. They are starving. I see the un- ecw sleeping in rags and newspapers in the public parks. I see ee for crumbs in the Chicago garbage cans. flowers, and moonlight, and pretty society ladies in aie It doesn’t mean anything. It’s a foul joke. I don’t at to, believe. But I know that I can no longer believe in the old = stuff.” = Pel ard eeeed the views of most of the 300 whom T saw ped- dling their art. It was this mood of theirs which made the John Reed Club aha Ard most popular group in the open. ate exhibit. achievements have won them the respect of all the Chicago artists. Gilbert Rocke;-Mitchel-Siporin, and Jan Wittenber are acknowledged even by the bourgeois critics to be very capable artists. But these young people have something more than technical equip- mhetit.. They haye,.something to say. They have found a way out of the i “chaos: into whith-the decay of capitalist culture has plunged all honest "Writers and axtiste.: don tices aor side of the revolutionary working class. They draw : themes from its daily life and its political struggles. pide Peas ie wtipade palttings and drawings portraying strikes, hunger marches, political demonstrations, battles with the police—stood out with “uch striking power among the feeble flowers and nudes of the artists 2 rerog tg flagpoles ig me eee ‘police and the park commissioner evicted the John «Reed et group. Buf noe before numberof the 30 artis ha ea ined it, As. for the police,-it is well known in Chicago that the head of the +-Squad is a blackguard, who some 30 years ago “vas a member of the yy Clalist Revolutionary Party in Russia, He reads the anti-Communist press "avidly. His animus against the John Reed Club artists is possi theo . He must have read about the “artists in uniform” and “Stalin’s literary * inquisition.” ey 4 His cope parseoitle in the flesh the writers and artista whom the anti | hacks slander in theory. - "Phe John Reed: Group 2 Hbmig"ot the John Reed group are excellent painters. Their technical i DAILY WORKER, NEW YORK, WEDNESDAY, NOVEMBER 15, 1933 BLAST, No. 2, Noy. and Dec., 1933. ait: Skee. By GRANVILLE HICKS Such magazines as “Blast,” “The Anvil,” “Left Front” and “Dynamo” are, whatever their shortcomings, the hope of proletarian literature at the | present moment. The new generation of revolutionary writers have had, unlike the :)-called fellow-travelers, neither the advantages nor the dis- advantages of a literary. apprentice- ship spent under bourgeois guidance. They are expressing literary impulses that from the first have been nur- tured by revolutionary convictions. Though they have not completely es- | caped bourgeois influences, they have avoided most of the conflicts and) confusions to which the typical fel- low-traveler is subject. Now the ques- tion is whether they will receive a training comparable to that the bour- geois writer gets. Will their poorer work be weeded out and their better work given a chance to reach the public and the critics? The responsi- bility is largely on the shoulders of the editors of the proletarian maga- zines, who not only have the power to determine what work shall reach the public but also have uncommon op- portunities to exert a sympathetic and intelligent influence. The second issue of “Blast” is, like | the first, filled with stories of misery and despair. Three of its stories end with a man murdering starving mem- | bers of his family; three are sketches of men who have been hopelessly beaten by the depression; one is a study of a small business man crack- ing under the strain of the crisis. Only a single story, “No Work, No Rent,” by the editor, Fred R. Miller, introduces a militant note, and even here the militancy seems almost ac- cidental. Now it can be said in defense of the contributors to “Blast” that the short story is necessarily fragmen- tary, and an author can seldom indi- cate all the implications of his theme. The writers in “Blast,” almost over- whelmed by the misery about them, try to render the poignancy and downright horror of that suffering. ‘They feel, and quite rightly, that it is better to bring home to the reader a stunning realization of the bru- tality of contemporary civilization than it is to feed him slogans. But, even if we grant that the short story must be fragmentary, the question remains why we are given only fragments of this particular kind. No one wants Comrade Miller to print stooge fiction, as Mike Gold calls it, in “Blast”; but can he not find somewhere writers who can put into short stories the real militancy of real workers. From Japan, China, and Germany have come short sto- ties of the workers’ struggles, just as fragmentary as the stories in “Blast,” but revealing other elements in the contemporary scene and supplement- ing the kind of fragments we find in “Blast.” These anecdotes—they are often little more—do suggest the character and strength of the revolu- tionary movement. And it is safe to say that the talents which lie be- hind such stories of action, when they are well done, are essential to the full development of proletarian literature. Bearing this in mind, we may go on and ask how well the contributors of “Blast” have done the sort of thing they set out to do. And the answer is that some of them have done very well indeed. C. H. Schillinger’s “American Scene,” though its cli- max is too abrupt to be wholly con- vincing, exhibits extraordinary pow- ers of characterization, especially in the portrayal of the elder Donavan. In Bruno Fischer's “Another Eve- ning,” the Marxian point of view. ef- fectively reveals tragedy where a Sin- clair Lewis would find only ridicu- lJousness, Alfred Morang in “The Eviction,” even more sharply than in his story in the first issue of “Blast,” evokes a scene of squalor that, mere- ly in itself, is almost adequate as an indictment of the kind of civilization in which we live. And such talents are by no means to be disregarded. After all, proletarian literature must be based not only on an understand- ing of militant revolutionaries, but. also on an understanding of the masses of tn-class-conscious workers. “Blast” gives us only half a loaf, but it is & great deal better than none. Kollwitz Exhibition at Chicago Workers’ School CHICAGO — An exhibition of drawings and etchings by Kathe Kollwitz, German revolutionary artist, has been ‘a the by the John Reed sh oe the Chicago Workers School, ith: Mich- igan Ave. This is the ret in a series of similar exhibitions to be presented by the John Reed Club as features in the survey of re- volutionary art and literature, a]; lecture and dicussion course, of- fered by the School. The galleries ate open every evening from 7 to ll pm joked with the supers, nor was he en too friendly with the chief clerks. Italian criminal act. For he knew that | He would face hu their few pennies of graft often | ; took the milk out of a baby’s | mouth, He frowned on the intimacies of the other investigators with their superiors. Their friendly chats, and | foul jokes, sickened him. For he | knew that this friendship was based | on “little presents” on flattery, and on & mutual agreement to mock and scare away needy clients. ly he was called His to the face wag THE PRIZEF! LADY, a Me’ ta di; and conse- as a weapon le. This supposi- happens to be con- We have 1 no contr ract w owe you none,” they to! The supe: ftencd en't been vise wing Loy, He was a timid soul. He did his ce staff. But there’s | - "Prim work, and tried to keep to himself. | nothing we can do for you now.” Huston, and One week, the hatchet was placed He turned His family’s i 1 ir 1 | Over his head. At one of the meet- | future graphically portrayed by the | in every sense than the ings called by the supervisors, it eee Ae was explained that there was a shortage. of nina and that im- | Joe Cook experience of his work. With * . “The Deserter.”) | an 1 But beyond this the argument over “type ca: g.” Here again Buckwald | falls into the buttomless pit of his | a bes y-school theorizing. The Daily | le, On that | Worker re of the out-| only Jew § and|geois ac more | people (Tomorrow: ail| Stage and Screen m that only workers ca: The Moscow Kamerne: “Growing Pains” Coming To ting produ O'Neill's pla the Kame: over ten ye! ns of several of | s, but then they were y Theatre—a group with 's of the finest profes. he-man sex po (in the perso! sional training behind them. More. Max Baer) and there you have it:|over, these productions were non- | “The Prizefighter and the Lady.” |Tealistic, and finally they were done | are other things about this | |for Russian audiences, not for Amer- | will mak it “sure fire en- | ican. | me consid-| The Artef actors have remarkable | nting | on the part of Max! natural qualities and have progressed the casting director. In one| by virtue of training, but they are and dance} not yet 1 advanced. that they can inging) act. Metro is ba altogether real in a docu-| Baer as the Ameri “y “tealistfo play before an au-| ‘alent in America which immedi- y ae nizes the obvious differ- betw een the real thing and the unterpart. Aside from ic or revolutionary. is an instance is almost as “Growing Pains,” by Aurania Rou- verol, is annourited to open at the Ambassador on‘ Noy. 24, presented by the Shuberts, “The cast includes Junior Durkin, Edith King, Grace Durkin, Jean Rouverol and Charles | Eaton. Lynn Starling's play, “The First | Apple,” which was announced for | next weck, will continue its road tour for another week; coming to Broad- way the week of Nov. Conrad Nagle and Irene Purcell play feed roles in the production. This is the final week of “One Sun- day Afternoon,’ atthe Forty-eight Street Theatre.” The James Hagan drama, which has -been playing on | Broadway sincé Feb. 15, will open a road engagem@rt “at the Boulevard, 1, . KEK Jackson Heights, on Nov. 20, Vn aaa “She Loves Me Not,” a comedy with | °°? Some songs, wil!’ dpen next Monday | night at the Forty-sixth ®treet The- atre. The play was dramatized by Howard Lindsay from the novel by | Edward Hope. | jer to turn out part of the torch. Who plays the principal. role in “Hold Your Horses,” the musical show now in its second month at the Winter Garden. e Bonus Marchers, and whole | y of protests will not make us believe they are. Buchwald’s most pertiicious erro: is the one he appears most cocksure about. He alludes to leaders of the | work theatre the world over who | b pug W ho | | hold that actors of a proletarian the- i gangster who is a bit of a sad ey runs the fight rack surprise. But with all the so-called une |the fi is ly boring. It i George Banerott In “Blood | 28° ™ HR kot sl Litninoff Speaks to Americans From the Embassy Screen |ness. 1 atre’s cism or mu exalted publicity. | will also introduce to New York Davi | day evening at Carnegie Hall. to the United States from the work- ers and farmers of Soviet Union, is now the most popular diplomat of the day. The eyes of the whole world are pinned on the small-statured, smiling and amiable representative of Maxim Litvinoff, the first envoy | Money” At Rivoli Tonight George Banoroft will play principal role 4n-Blood Mone; new Twenticth.Osntury picture which opens at the. Rivoli Theatre ¢ evening. The picbure was directed by the | ° become proficient in the udy the,technique nal theatre. When ic says this he refers the Stanisla | to the gteat Soviet republic. The Fox Movietone News has made remarkable shots from this great man of the hour while the latter was in Washington. Workers can see him | and hear his address to the Amer’can public at the Embassy Theatre, 46th Sreet and Broadway, this week. Rowland Brovm from the play by|. Brown and Hat’ Long. “White Woman; « new Paramount film, will have its premiere on Thu day at the Rialt#Theatre. Chat Laughton and-Caftle Lombard play | the chief roles"in this drama, was directed by Stuart Walke ¢ Buch- | nera. Jack Dt e formula, he has only | I must s| lows is bet S At least it which | 0 ich | ¢ movie bouts. | e fights | ¢ surface human | form without concrete ex- | ne _ | when (t ~ ~ bill | | {Spite of You is no real technique of | him fig ht cting, and adway act- ‘om the native talent they AMUSE TONIGHT’S PROGRAMS | WEAF—660 Ke Haste 7:15—John Herrit i 7:80-Potash ané te ac ee 7:43—Holiywood—vene Rich 5—-Billy Bachelor—Sketch 8:00—Crime Cluss—Hot ‘Ice O—Lum and Abner bad Ny 5—The Goldbergs'— Sketch 00—Bert Lahr, Comedian; Olsen Orch 30—Frank Munn, Tenor; Lyman Oroh. }0—Troubadours ‘Orch. 0-—Phil Duey, Baritone; Reisman Orch. 00—Corn Cob Pipe Club 30—Concert Ore 'Pierre. Degeyter Club To Form Professional English Cherus Soon NEW YORK chorus of pre “the Moscow Art Ti of Sholom Alsichem’ ACME m. Lawes in 20,000 | Years in aig Bing—Sketch 9:30—John MeOommack, Tenor; Dely Oren. 10:00—Black Orch, 11:00—Henri Dee! 11:15—Talk—J. Piano nedy THEATRE Page Fiv | f Production, “Thira ” THAPPENS EVERY DA Y | eee eRe: ; : Parade’’-A Reply to Buchwald ™ Short Stories from the Experiences of"a Home ara iY y Relief Bureau Investigator bai anaae ; nie a Poe ete fa By HAROL! G. may possess, learn what they know as told to HELEN KAY is ayer of indis- | {fom knocking from one stoc EATH the thick layer of indis~| Or any to. a: ©, till theysdaye 3 minate adjectives heaped bY/| hecome hardenc the tricks 6f the The following series of short stories are actual experi el Jd on the Dally|trede, Buchwald apparently shares ent Home Relief Bureau Inyestigators in New York City. They are tin: ci about the Artef there| the illusion of the miserably in; ) bits of sordid reality showing the degradation, the poverty, the hotto es, we must me, a desire op-| formed journalists of the bourgeoijy , and misery of life among the unemployed workers, y show the ty on certain fundamental prob-| press that Br way acting is goo 5 y orkers. TE ow th : to the rev onary | acting, Whereas most of it isn’t act bankruptcy of charity, the falseness of metropolitan’ relicf, and the eee it. We shall take| ing at all and a good deal of it is need to strengthen the fight for Unempioyment Insurance. these up one without indulging | distortion of the actor's. natural’ ea in the lite tactics with which | Pacities A ne ae artif! > ’ Buchwald mpts to fortify his|Cial, stupid commodities for ac r’ ; eas | tantly duped audience. Is this whd Grim-- But No Fairy Tale ws se Buchwald wants the actors of the pa ae ete ald wastes at least half his} Artet to become proficient in? The HE was one of those rare things, | mi economy nece: a stand that was| Artef would do well to begin teach an honest investigator. He neither | Spec ‘ de in Daily Worker | } yers the technique of Stans Vachtangov-Meyerhold; and id could improve himself | He would shtink with hotror at | rs’ theatre produc- | crit if he attended their class | the mere thought that some of the of invest | which see “Jewish | aot thing More domaine to Be a | investigators didn’t even trouble | we be “released from thei rayed, 8 ‘i riyes 0 | themselves about visiting the homes | duties e uee of the part ‘chiefly from 4 of their clients. He knew that | Our investigator had a wife and ts of a mother-animal pro many of them left their tickets at | four children. And terrified lest her brood. Such a state in @& the grocers and didn’t even bother | he lose his , he worked even I ful to the to deliver the goods themselves. | harder and indre fai ent than He also knew that many of the in- | knew that should he | w of one of | vestigators got a rake-off on the | tion would find hi Yevertheless, one food tickets. He considered this a | ideni 1ation of e about: that is, as ed in the Daily Work- that its readers should f production of “The They can then judge vhe r Buchwald’s itute intelligent criti- be defined simply a8 Josef Lhevinne, Soloist With Philharmonic Orchestra Sat. Bruno Walter will offer the rarely played suite, “The Birthday of oe Infante,” by Schreker, this eve: and Friday afternoon at Carne; | Hall. The Philharmonic Orchest Stanley Smith’s “1929—A Satire,” ar present Beethoven’s Seventh Sy hony on the same program. Josef Lhevinne, pianist, will be ti soloist with the orchestra on Satu Tr program includes Tchaikovsky's | phony No. 6, in B minor (“Pathetic the Piano Concerto No. 2 in F minot, by Chopin, and “1920—A Satire.” The program for Sunday will include Beethoven Seventh Symphony, the | Piano Concerto, by Chopin, with Lhevinne as soloist, and Toccata in C major, by Bach-Weiner. WHAT'S ON NOTS: THERE IS A MINIMUM CHARC OF 25¢ FOR 3 LINES FOR AN INSERTI IN THE “WHAT'S ON” COLUMN, NOTIO? MUST BE IN THE OFFICE BY 11 A: M. 0 THE PREVIOUS DAY, Wednesday NATIONAL Photographie Exhibition ¢ over 200 picture on the last four years ot the erisis opens today at 8 p.m. at and Photo League, 116 Lexington Ave., th St. LECTURE on “How Workers Live ap” Think in the Soviet Union,” by M. Werns | at Labor Temple, 243 E. 84th St, Auspic Yorkville Br. F.5.U. Admission free, . ee WASHINGTON Heights Workers © membership meeting at 8:30 ptt 161st 0 discuss the question of arters. REHEARSAL of the Daily Worker horus, 35 8. 12th St., 5th floor, at 8 p.m. AIP ine | vitea ATTENTION, work: of the Fordham Sse- A_new workers club is being formed ¢ Fordham section of the Bronx. Al Interested please attend our initial ¢ at 56 E. 184th St. Apt. 2, Wefnes- . 15, at 8 p.m. STELTON LL.D. RAISES $20 STELTON, N. J—The local branch of the International Labor Defense held an affair for the Daily Worker , at which $20 was raised for the $40,- 000 fund. MENTS we AMERICAN PREMIERE OF NEW SOVIET FILM FIRST PICTURE of the YIDDISH om /SHOLOM AL “LAUGHTER THROUGH TEARS” Yiddish Dinlogue—English Titles EICHEM’S comEDY heatre actors cautht tho esseni ‘S representations.” — Daily W Mth STREET and UNION SQUARE 11:30—Whiteman_ 12:00—-Same as he - cies 00—What Isa Radio Birthday?—John Pay oe | W. of Bway ts, Thurs. &8at.2.20 Erskine RE chorus, which will be un- S Pres £ DY | 11:15—Variety Musicale | ion of Jacob Scha TES 12:00—The Theatre Presents—Casts of Let | W. ABC “860 Ke ie Ww ALD) RNESS! fm Eat Cake and as Thousands | } Cheer, with William Gaxton, Marilyn | Miller and Others. 7:00 P. M.—Myrt, and graces Sait WOR—710 Ke 1:00 P. #i--Sports—Ford Frick | sions of the “Pl |Pl are beli {formance of o About Town Trio i5—News—Gabriel Heatter ; Violin; Conrad the Cor * Collectiv he y Terry and ‘Ted—Sketch Thibault, Baritone; Voorhees Orch. | wth the use of the ive of th EMP 5—Talk—Harry Hershfeld . Cobis, Stories; Goodman li erin ae" wall ‘00—Deterctives Black and Blue—Mystery New Soviet works 25 well a: | Motand YOUNG ‘Drama 9:15—Morton Downey, Sones; Renerd Orch. | important choral works are to be 5—Billy Jones and Ernie Hare, Songs 9:30—Lombardo Oreh.; Burns and Allen, enko| “Her Master’s aif 0! jee” 30—A New Deal on Main Street—Sketch | Comedy | " Thea, Ye 5. 8.40 OO—Jack Arthur, Songs; Ohman and | 10:00—Warinw Ofbluy Moran and Mack P lyme puth si den, Piano | Comedians | i 10:30—News. Reports. | i} Current Events—Harlan Bu Read | 10:45—Warnow Oreh.; Gertrude Niesen, avtap | no Mth St. & ys Demarco ‘Trio; Prank Sherry, Tenor Bonds; Clubmen Quartet | Seyter Club. | Jefferson} Hes * [Now 10:45—Pauline Alpert, Piano U1S—NRA Talk All singers Who can tread mus: €|" MADGE EVANS and OTTO KRUGER in 11:00-—Wetther Teport etenashea aes. nvited to join the el “BE AUTY FOR SALF’ Some Orch, 12:30 A. M,—Banp. Oreh | lub Chorus, which is to mect at 5| ADLINE SHOOTER” with 12:00—Childs Crch, 1;00—Light Orel, » 4, 19th. St. WILLIAN GARGAN and FRANCES D! JOE COOK in |HOLD. YOUR HORSES A Musical Runaway in 24 Beene: | Winter Garden * Thursday and Satards MEN MINUTE ALIBI i A New Melodrama “Ts herewith recommended highest terms.""—Sun. PrHnL Eves. BARRYMORE THE, 9.40. Mats. Tues. RADIO CITY MUSIC asl SHOW PLACE of the NATION Direction “Roxy Opeas 11:30 A.M. “ONLY YESTERDAY” Margaret Sullayan—John Boles and a colorful “Ro: W. 47th 91 Sat., 2:4 cA Wed. RKO Greater Bhow Season ——— The Other Side of the Story by QUIRT SETTLEGENT ANS WE OI HIN , WAGHER, THE MAY KO ‘OT UERS— THEN MESHOOT COMES ALONG WITH A ROUE CIARTIN AWAY FROM OUR MEETING — THEN Cle SxOOT READ THE SETTLEMENT ARRANGED BY INVITED TIM MARTIN To WORK WITH US (IY WINMING THE STRIKE * OFFERING US @ BOSSES’ AGREEQEAT —— ann oR, SOUNSoN J