The Daily Worker Newspaper, January 17, 1934, Page 5

D. AILY WORKER, NEW YORK, WEDNESDAY, JANUARY 17, 1934 WHAT SS oe WORLD! By Michael Gold A New Magazine: FIGHT © of the best edited magazines that has recently appeared on the revolutionary scene is the one named FIGHT Against War and Fas- cism. It sells for a nickel, and contains many striking photographs. The style of its articles is strong, earnest,#¥ell-written, and humanly interesting. ‘We have had too many left-witig“publications that were thrown to- gether by some routineer in the ustial hack manner. How can people have so little genuine feeling for tfi¢ important work they are doing? But it is done all the thme—this careless, unimaginative hack work, Joseph Pass is the editor of FIGHT.. It is the organ of the newly- formed American League Against..War and Fascism, a united front | organization affiliated with ‘the international league headed by Henn Barbusse, Thomas Mann, Romain Rolland, Maxim Gorky and other great spirits. ow In the first issue an article on the tactics to be pursued by objectors in the next war appeared from the.pen of Roger Baldwin. It was strange to find Roger Baldwin, wha.defends the right of free speech for Nazis and Ku Klux lynchers because he believes free speech to be above the class struggle, state in this article: that the fight against war could be led only by the working class. “Ofily those who fight capitalism and imperialism are capable of fighting’ war,” he says. Jessie Wallace Hughan, who believes in the same-individualistic action | as conscientious objectors carried on during the last war, answers the strange and fluctuating Mr, Baldwin, It is a good debate, and clarifies a few matters. It is a debate that was ‘carried in the midst of the last war, and that ought be cleared up before the next one bursts upon us, * rm . | | | | | | | Where To Be in the Next War_:. Ree BALDWIN takes the Communist position that workers opposed to war should not again go to jaif’as conscientious objectors, but enter the army and there organize a revolutionary opposition. The great lesson that revolutiorlists haye learned from the success of the Russian Bolsheviks is never to-put a wall between themselves and the masses. Wherever the masses are, there the Communists must enter and do their work. In the last war many brave révolutionists died rather than put- on the imperialist uniform, The ‘young’ brother of Hugo Gellert, a talented and beautiful character, took this stand and was found shot dead in his cell as a result. They will be willing to find themselves planted solidly among the millions of young <victims-of imperialist war, to whom they can explain what it is all about, and whom they can organize in a big strike against the butchers of humanity. Hitler, Mussolini and every other despot knows this fact and fears it. It is a gamble these days to arm the working class of any country. The workers of the world have begun to THINK. nf The Bloody Twins r is quite fitting that this new Organization has chosen the name: League Against War and Fascisni., The two horrors of modern life-are-twins jetted from the same cor- rupt womb, Fascism has no othet‘pregram than war; war against the workers at home, and war against ‘aif other nations. in Italy little children are tatight to believe that their “race” ig supreme, and that all other “races” are to be fought and conqureed, In Germany, dumpy, hysterical, pervert Hitler teaches the little children to revere his divine self, and the supremacy of the Teuton “race.” In every other capitalist-fascist land ali'the lies and irfsanities of nationalism have been whipped up to the most morbid fever, and the youth is being propagandized into another war. e Only in the Soviet Union are children taught to be internationalists. They are told the fine things created by all the races that make up humanity, and they learn the equality.of mankind, regardless of race or color, The Soviet children, furthermore, are taught that peace is in- finitely more desirable than war, that life is better than death. They are taught the Communist credo, which says that man was born on this earth not to kill and destroy, but to build and create. Man is a worker, not a murderer. He bas a sptrit meant for joy of heart and mind, for the sciences and_arts.....,,.,- Fascism is a desperately frenzied program. One has only to read some of the insane gibberings of the American Ku Klux Klan-Fascists to realize that this is nothing but capitalism gone mad. Fascism cannot succeed in saving capitalism, not even in saving the ruined middle class which places so much confidence in these mad Hitlers and Mussolinis, But apes and madmen can make war, and that is the sole gift Fascism will bring to this tortured world of, ours when all the accounts are balanced. wait We cannot fight war without fighting fascism. We can defeat both in America tf we can find the couragé and honesty and intellect to stand shoulder to shoulder in a real unitéd ‘front that acts. The magazine FIGHT is breaking a new path toward this goal. 1,500 in Detroit Hail Daily Worker Birthday DETROIT.—More than 1,500 work. ers packed Finnish Hall, 5969 14th |” ‘iebcel, S¥iates./ rae, St, Sunday in celebration of the} Zev, classes still open, 200 W. 135th St: tenth anniversary of the Daily seid session of each cla: Worker, The crowd was so large that} workers orogens wanted to sell Daily store and streets. Please apply many were compelled to stand. 4 at City Daily Worker Office, 35 E. 12th 8t., The celebration started with a lec-| LECTURE by, Comarede P. Star on “ ture in the afternoon by A. Markoff, auagre sete fate the “Comune dere national director of the Workers’ ¢ Dn. Alico Geen Bema Schools. In She evening a ati oe el a ree held, follow yy & program of | =~ -VANZETTI Br. LL.D., 792 E. Tre pind oe ‘The celebration ae Bronx, meeting. Discussion on Al th to ker.”” cluded with a dance, WORKER Choruy vehearssl, 38 , ‘ath St. 5th floor, at 8 p.m. Old and new members are asked to come and bring their friends. LECTURE by Paul Miller on “Life and Work of Lenin” at Tom Mooney Br. IL.D., 328°. 18th Bt, at 8:15 p.m. Adm. free. MEETING of the Fordham \Prog, Club, 305 E. Fordham Rd. at 8 p.m. Sharp. Very important meeting. ®-The John Reed Club School of Art, 430 GANNES TO SPEAK ON CUBA NEW YORK.—Harry Gannes; of the Daily Worker staff, will speak on the struggles against imperialism in Cuba at the Village Forum, 224 W, Fourth St, (opposite Sheridan Sq.) on Sunday at 2:30 p.m. Sixth Ave., announces a lecture by Louis el Aozowick on “Nineteenth Century Art” at RADAMSKY TO SING IN PITTS- | 2:15 p.m. This {s one of 4 series of illustra- BURGH ON FRIDAY. ‘ted lecture on “A Marxian History of Art.” PITTSBURGH,—Sergei and Radamsky will 286, RICHARD 3B. MOORE will speak on Marleytisinorities inthe Soviet Union’ at the of Russian, Armenian Soviet Songs at the: Car- negie Lecture Hall, Schenley Park,} on Friday, Jan. 19 at 8:30 pm. Eng- 4s “politcial Aisne? istics cate 4 lish, Scotch and Irish Ho,at the Friends of the Chinese Peop! | Detroit. |nism, Political Economy, Marxism- | munist Organization, Problems of. the } and an additional $1 for the course. Call Conference To Build Detroit Workers School DETROIT.—A conference to or- ganize mass support for the second | term of the Detroit Workers’ School | will be held Saturday, Jan. 20, at 2/ pm. in the Finnish Hall, 5969 14th St., near McGraw. All workers’ and sympathetic organizations are urged to send delegates in order to build up a powerful Workers’ School in On Saturday evening, Jan. 20, at 7 pm., @ banquet and dance will be held in the Workers’ School build- ing, 322 Erskine St., at Brush. A, Markoff, national director of the Workers’ Schools, will be the guest of honor, Admission is 20 cents. The second term of the Detroit Workers’ School will open Monday, Jan, 22, Evening classes will be given in Pundamentals of Commu- Leninism, Problems of Shop Organ- ization, Social and Political Forces in American History, Problems of Com- Youth Movement, Revolutionary Journalism, Russian, English, Tlus- trating and Cartooning, Sign Paint- ing and Stencilling, Industrial and Sex Hygiene and First Aid, and Ne- gro Problems. The tuition fee for each course of | 12 weeks is 50 cents for registration Registration is now going on at the school building. An Intimate Picture of By SAM WAS deep in the Daghestan Mountains, deep, deep in. One had to float down the Volga six days, |cross the ink-blue Caspian, jolt over | |sandy and barren shorelands, sway | | up rock-peaked mountains, hang over | treacherous cliff roads, tumble into | |deep and winding valleys, till one got | there. | WAS lean, his hair the steel-| gray of a man who had worked | |hard and shouldered responsibility. | | His eyes were clear—a keen, practical | | man, one thought immediately—the with but the faintest suggestion of | the lurking shadow of an ancient | ghetto. ‘The slight stoop of his shoul- | | ders only seemed to add dignity some- | |how, as did,his rather sparse mous- tache. Even his cutting of fruét into a big pan had a quiet air about it and the aromatic, new straw hut, i doorway of which framed him, did not detract from the pleasant sight he made. | ot I approached him. “Do you speak | | Russian?” This in my own wretched | Russien. (A necessary question, for | in that locality many of the dialects | | noways resemble Russian.) “Yes, certainly. And you?” This was encouraging. “You speak German, perhaps?” | The Working Woman By S.A. The United States has only one fighting magazine for women pub- lished in English. That magazine is “The Working Woman,” which will be a year old in March. Before that time if was published in newspaper form. Month after month, support {s growing to make our militant wom- an’s magazine the hammer to help women organize to shatter the chains of the exploiters. It 1s full of inter- est, readable and attractive for work- ing class and farm women. Feature articles from such leading authors as Henri Barbusse, Grace Hutchins, Alice W. Field, and Myra Page, deal with the fundamental problems of health, child care, un- employment, evictions, the lyneh ter- ror and Jim Crowism. Sections from noted new books are published. For example, the December issue carries a chapter from Grace Lumpkin’s fa- mous story of the lives of the South- ern textile workers, “To Make My Bread.” Prominent field workers and strike leaders, Mother Bloor, Ann Burlak, Rose Wortis and others, cover the in- dustrial front in every issue. These stories and special articles appear side by side with letters and short state- ments from Negro and white worker correspondents from every part of the United States. The December number is particu- larly attractive. It carries 27 photo- graphs besides six original sketches of unusual power. In this December number alone photos of unemployed women, and William Patterson, Na- tional Secretary of the International Labor Defense, the nine Scottsboro boys, Ruby Bates, and Mrs. Ada Wright, are found along with Dimit- roff, Torgler, Taneff and Popoff, vic- tims of Fascist Germany. Working women of America are among the most exploited of all class~ es and groups. “The Working Woman” among them will be 8 powerful weapon in the struggle against im- Derialist war, against the N.R.A., for higher wages and shorter hours, un- employment insurance, and free pub- lic health service. We call on every woman's paper as a means of reach- ing the masses of women. OSample copies will be sent free upon request. Write to: “The Working Woman,” P O. Box 87, Station D, New York, N, ¥. STAND GUARD, THE SOVIETS ARE CALLING (Mass Song) L From Atlantic to Pacific Sounds the warning, Workers beware! Guns are trained on the Soviet Union, Proletarians, prepare! Chorus: Close ranks, American workers, Stand guard, slaves black and white, Close ranks! The Soviets are calling! Raise guns for the workers’ land. iL. .| Stal leaves waved golden in the long, “Surely.” | This was still further encourage- | ment, and knowing from past experi- jence what this usually meant, I went on: “And perhaps you speak Jewish?” “Of course. I’m Jewish myself. | Won't you please sit down. Thés is my | wife and son.” . 2 14 sun was still bright on the edge of & mountain tip, and the corn- | late afternoon rays, Above me, near one of the dormitories, was sprawled jour group. About them were many |of the workers who were taking the cures, all telling our students how the | trade union had sent them to this “kurot”—where the mineral springs did so much for one’s gout and an- other’s rheumatism; other workers were going with the doctor to take some of the Americans to the baths. — The translators and the few of the Americans that knew Russian seemed to be working overtime to ask and answer all the questions on both aldon.§.. My Jewish friend had already got- ten two boxes out of his leafy hut. He gave me one and offered the other to our advisor, a professor from Maine. He himself chose a little keg to sit on. “Why do you live in this straw hut?” I began. “Living in this hut, you mean— why, I’m just living here tempo- rarily,” he smiled. “The sanitarium is under construction”—he pointed a bony finger upwards at the new un- painted timbers on the roof of one of the dormitories—“and not all of us who come here can find room in one of the completed sleeping houses. The meanwhile we take the baths every day, get the same medical attention from the nurses and doctors that the others do, take the other cures—and live in our straw huts. There's nothing the matter with them. They're neat and clean. We all like them.” And all about me the inhabi- tants of the huts who followed his thought, if not his words, nodded in agreement. mine for almost the entire month that I’ve been sent here.” Here I took out my notebook. He feigned not to notice my reportorial brusqueness, He continued: “My trade union sent TONIGHT’S PROGRAMS ch 7;30—Shirley Howard, Songs; Jesters ‘Trio 1:45—The Goldbergs—Bketch ‘00—Jack Pearl, Comedian; Van Steeden Orch, }o—Wayne King Orch. 9:00—Troubadours Orch.; Dolores Dei Rio, Actress 9:30—Fred Allen, Comedian; Grote Orch. 10:00—Hillbilly Music 10:30—Liquor and Income Taxes—Senator Pat Harrison of Mississippi 11:00—Elkins Orch. 11:18—Anthony Frome, Tenor 11:30—Madriguera Orch, 12:00—Harris Orch. WOR—710 Ke 00 P. M,—Sports—Ford Prick 1:15—News—Gabriel Heatter 7:30—Osborne Oreh.; Jack Arthur Audrey Marsh, Songs 8:00—Detectives Black and Blue—Mystery Drame 8:15—Billy Jones and Ernie Ware, Songs 8:30—String Orch.; William Hargrave, Bari- tone 8:45—To Be Announced 9:00—Magazine of the Air %:30—Dorothy Miller and Garfeid Swift, Songs; Shackley Orch, 10:00—De Marco Girls; Frank Sherry, Tenor 10:15—Current Events—Harlan Eugene Read| and A Soviet Jew Speaks of a National Minority in the U.S.S.R. starlight of a glorious vision there, | « “Why, I've lived in this house of | . the Present Condition GOULD me here—I belong to the Soviet Em- ployees Union—to cure my rheuma- ism. All the rest here are sent here by their trade unions. For outside patients the ‘baths cost ten kopecks a day.” “But tell me,” I asked, “what's the condition of the Jew under the So- viets?” I tried to make my question casual. “What's the condition of the Jew under the Soviets?” He seemed to grin with an inward joy. “But that’s | } just what I'd like to tell you about.” | ‘OU know what it was, I guess, in the old days . . . suppression. One had to renounce one’s Jewish ances- try, one had to practice chicanery, deception—all for bread. The land was closed to us, working conditions were wreiched—we simply were reed into the position of the hated nd cheating little tradesman. But i equal. We're all alike—Russian, Tar- tar, Jewish, Cossack, Chuvashi, Mor- dovians—all equal. We can work at whatever we like. And now we Jews because of the mente! ining that many of us acquire .e holding |Many government positions today. I, for instance, am working in the Bu- reau of Rivers in the Denartment of the| Interior. Another Jew is the Party secretary in this locality. And So on it goes. “But the best thing of all these days are the colonies. Rich, black loam. The most fertile parts, the heart of the Ukraine, we get. What a difference from the old days... . Then when we would come together in @ colony, we would be scattered to the tune of # snapping nagaika (cat- o-nine tails). Now we're given send- offs by brass bands. . .. Yes, life is different under the Sovets—for all of ta” He mused. “Of cource we're still poor. But we're all poor together, and that makes @ difference. There are no landlords in furs while we're in tags. But still we're immensely rich- er than we used to be, culturally, spi there’s so much hone and vigor. The yoke’s been lifted.” His eyes shone. Elysium. “Very little. If there is any, it’s directed against the skinflint Jewish merchant who clings as if for dear life to the old order, cursing the government stores and’ co-opera- tives that are ever so surely forcing him out of business. But anti-Semi- tism towards the Jewish ‘yorker or farmer—no, tovarish, it doesn’t ex- ist.” . To whine of a starting motor and a hail of “Dosvidenia’s” struck my ears. I started off, with jusi. the briefest of! handshakes with _ those nearest me. My host walked with me to the bus. “I know,” he concluded, “that we've been lied about in the foreign press, Eyen our own Jews have Med about us. They've said that the Jews are | oppressed now, in the Soviet Union, That's not so. Tell them all about it when you get home, Write about it, Speak about it.” (We were shaking hands, I leaning out of the already moying bus.) “Don’t forget to tell them all about the Jews. here—tell them that we're all the same in the fiviet venta them that we're all ritually, and surely materially. And | “Only let there be no war. against | 4 | “Anti-Semitism?” He came out of FLASHES and CLOSE-UPS Another issue of Experimental Cin- ema has come to town, this time the result of a little business agreement between the Gotham Book Mart and the Manhattan Press, Inc. (Vanished have the angels of yore, and with them the hundred-dollar checks for the cause of “creative cinema”!) Somewhere in the more exclusive bookshops of New York's more ex- clusive part you will discover, per- haps sandwiched between more popu- |lar 50-centers like Vogue and Har- per’s Bazaar, this swanky magazine. We can still remember the time | when Experimental Cinema sold for | 20 cents and gave clear indications of @ publication that might even- tually have become the first printed | | mouthpiece of revolutionary cinema in America, But with number four it struek out in a new direction, | changed its format, nearly tripled its price, and became a cinematic cross |between Creative Art and Modern | Monthly, This was an expected con- sequence of the shift in editorial con- 0 drizzle. In the Col Plant h brok eight thousand of celebrate the tenth ar ersary of their Daily Worker, sat wrapped in their coats in the chilly auditori In such an atmosphere the Dai Worker Chorus, the first English singing aggregation of its kind to be organized in New York and perhaps in the entire country, stepped on the platform to present its first full- length recital, to test its worth as a cultural weapon in .the workers’ struggles. It is a tribute to both chorus and audience that neither allowed the dis- comforting chilliness in the audito- tium to affect its revolutionary zest. The harmonious and vigorous per- formance by the chorus drew re- peated waves of mass applause from the workers. The chorus was called Singing for Trades Compose New { liseum ting do kers Workers of Different Races, Nationalities and By ROBERT KENT UTSIDE the Bronx Coliseum a falling snow had turned into cold the heat the “Dail v Daily Worker Chorus gets its instruction in this manner. Through frequent repetition the chorus the whole melody. | Because of this unflagging pr | ration, the Daily Worker C {forms with such ease a | harmony on the platform who hear it natural: the singers had undergor in music schools. in HE establishment of | 4 Worker Chorus not only | rich musical talent among n: foreign-born workers, but effect on composers as w proletarian composers br revolutionary music with gre: |once they knew that an English |ing chorus would expres to the masses | There has been no i | composers world. The bourgeo the er ease sing - less effect on in the | upon for an encore and it gladly com- | that will lull the masses. Take the trol from the founders of the maga- | plied. When the workers joined it in | so-called People’s Chorus whose lead- |zine in Philadelphia and New York | mass singing of a specially composed er said that in it bankers side by side |to a group in California that made | |E. C. what it ts today. Significantly | |enough the name of comrade Dave | Platt no longer appears on the Pages | of the present number (5), so that | the only one among the editors who | might have been relied upon to hold | down the magazine to a revolutionary , proletarian approach is now dis- pensed with. The March issue of New Theatre| will carry a long and detailed analy-| sis of Experimental Cinema and its | four-year history, with particular reference to the contents of the cur- | rent number. We wish here only to comment briefly on a few of the| features of number five, which beg immediate attention. In an editorial introduction there appears the slanderous assertion that |“the editors of Experimental Cinema | were privately backed to produce a/ film dealing with the exploitation of | labor, and in particular with the! tragedy of Mexican workers, in agri- | |cultural sections of Southern -Cali-| in Imperial Valley and adjacent territory. The prepara~ tion for this production consumed a great deal of time, but the produc- tion itself was foredoomed to the fate of many an independent film: viz. to a fatal conflict between producers and production-manager, In this instance the conflict arose over the insistent demand of the Experimental Cinema staff that the film be an ar- tistie achievement as well as a piece of agitative propaganda. The produc- tion-manager, however, adhered to |the same policy that was adopted by |the production-manager of Fisen- stein’s Mexican film, to whom Eisen- stein has referred as ‘the evil genius of “Que Viva Mexico!”’ and relent- lessly opposed making the film a creative effort, in which the formal qualities of cinema would share |honors with the agitative drive of jthe film. The film, unfortunately, has been scrapped.” What, briefly, are the facts? “The | evil genius” referred to, comrade readers, is none other than the Work- jens International Relief, which had |entrusted the “editors” of Experi- | | fornia, notably | | @ film on conditions in Imperial Val- \ley. The “editors” in question squan- dered @ smali fortune belonging to this organization. In order to carry I got the “free” on the wings of | out the editors’ idea of what an “ar- the evening breeze. He was still standing there, smiling, calling, “Dos- vidania,” as the bus roared around a Preeipitous curve. TUNING IN 7:30—Potash and Perlmutter 1:45—Hollywood—Irene Rich 8:00—The Assassin's Chorus—Sketch 8:30—Dangerous Peradise—Sketch 8:45—Red Davis—Sketch 9:00—Warden Lewis B. Lawes in 20,000 Years in Sing Sing—Sketch 9:30—John MeCormack, Tenor; Daly Orch. | 10:00—Lopes Orch.; Jesters “Trio; Starr, Gongs; Tony Cabooch, Ci 10:30—National Committee on ‘the Cause and Oure of War Dinner, Washington, D. ©; Speakers, Mrs. Carrie Chapman Catt, Feminist; Mrs, Corbett Ashby of London; Ruth Morgan, Administrative Chairman of Committee 11:00—Egon Petri, Pisno 11:15—Robert Royce, Tenor 11:30—Stein Oren, 11:45—Freeman Orch. 0--Molina Orch, :30 A. M.—Stern Orch. WABC—860 Ke. 7:00 ®. M.—Myrt and Marge S—Just Plain Bill—Sketch 0—Travelers Ensemble Adele Vivien Ruth, 8:15—News—Edwin C. Hill 8:30—Albert Spalding, Violin; Conrad Thi- bault, Baritone; Voorhees Orch. )0—Philadelphia Orch. ‘5—Stoopnagle and Budd, Comedians; Vera Van, Contralto; Renard Orch. 9:30—Lombardo Orch.; Burns and Allen, Comedy 10;00-—Waring Orch. tistic achievement” should be, they shot 18,000 feet of film, most of which consisted of canteloupes taken from | various angles (“Canteloupes at sun- |set,” was the characterization by Sidney Howard, an eyewitness to the carnage). Our “editors” jealously concesled this part treasure in ther private vaults and surrendered it to the W.LR. only after terrific strug- gle. Only about 1,000 feet of the film exposed proved to be barely usable, And now, to add insult to injury, the “staff” is using the pages of its mag- azine to present itself as a martyr in the cause of “creativeness” and as the chamrfon of “art” versus “propa- ganda.” The attempts on the part of the “staff” to compare its position in this case to that of Eisenstein in the famous Lesser-Sinclair scandal is omedian | so self-evidently the demagogy of a |charlatan as not to deserve even the concession of our reply. (To Be Continued) ON THE PICKET LINE On the line, on the line, Come and picket on the picket line. We will shout and yell and fight like hell Come and picket on the picket line, If you never spent a night in jail Come and picket on the picket line, You will be invited without fall Come and picket on the picket line. | If you don’t like scabs and socialists and thugs Come and picket on the picket line. With the TUUL we will send them all to hell | mental Cinema with the making of | Revolutionary Ch "A section of the Daily W: director is seated at the piano. orker Chorus shown at rehearsal. orus in Rehearsal The As the camera snapped, the chorus was singing the newly-composed Daily Worker song. In the background to the right is the red chorus banner, bearing the symbol of a harp with a Soviet Star above it, and the Class Struggle.” reading, “D. W, Chorus, Weapon in Daily Worker song, the Daily Worker Chorus knew that, like the organ whose name it bears, it had found a revolutionary working class. . E the only element in the workers’ response. Because 60 little was known of this new chorus and its prepara- tory work, and because it ds the first English singing organization, many in the audience wondered as to what sort of individuals were in the cho- Tus, and to what extent the artistic performance by this group was in- debted to previous musical training of its members. The Daily Worker Chorus consists of office workers, radio workers, food workers, shoe workers, printers, car- penters, needle trades workers, Vari- ous races and nationalities are repre- sented: Negro and white, American, Scotch, Italian, Russian and others. All of them come from trade unions, revolutionary mass organizations, and while class conscious, a majority are ee members of the Communist |, Although a professional musician, | having played on the Roxy Orchestra, on the Beethoven and Conductorless symphonies, the director of the Daily Worker Chorus, Lahn Adomyan, is primarily 3 revolutionary worker. He | learned to play the violin while work- ing a8 a rubber-turner, elevator boy and shipping worker. A scholarship in the Philadelphia Curtis Institute of Music gave him an opportunity to study composition. Four years ago he cut his connections with profes- stonal orchestras to devote his time to musical work in the revolutionary movement, He directed the Needle Trades Workers’ band, which led the narades of the striking silk workers in Paterson in 1931, He was also di- rector of the Workers International Relief Band, About a year ago the Workers Music League, of which he ‘Ss a member, assigned him to help or- ganize the first English singing cho- tus which proudly bears the name of the Daily Worker. ° | | afdecst iad to the Wednesday eve- ning rehearsals of the Daily Worker Chorus in its room on the fifth floor of the Workers Center, 35 E. 12th St., one gets an interesting highlight on the handicaps under which such 9 group has to master its art. None of the chorus members could afford to study music. A majority cannot read music notes, which would automati- cally disqualify one from joining a dourgeois chorus. The members of the chorus listen to the director as he plays a melody on the plano or sings it phrase by phrase. The chorus repeats the mu- sical phrases after him. Each section of the chorus, sopranos, basses, etc., definite place in the hearts of the | INTHUSIASTIC approval was not} jwith workers try to sing aw | depression blue: y | Chorus on the c try to sing ay does it sing sid | Through fine high degree by tries to make the » consaious of ihe conditior and to hearten t struggle for a composers know Worker Chorus cal expression, sor ing for it as a reaction i mands for “goody-goody” mu: of them in bourgeois mu: AS a result, et he 3 etter day that be nattve proleta: | Songs which did not exist as little @ year ago when the Daily Worker | Chorus had recourse almost entire! | to translations of workers’ songs from abroad, |_ The program which the Daily Worker Chorus presented at the tenth anniversary celebration of the “Daily” included songs by Swift, composer of the Scottsboro Song; by Shaefer of the Fretheit Gesangs Ferein; 8 poss by the late Rose Pastor Stokes set to music by Adohmyan; Negro folk songs specially adapted for the Daily Worker Chorus, and revolutionary songs from the Soviet Union and other countries. Ai present the chorus is at work jadapting earlier American workers’ songs for {ts use, one of them the famous song about Casey Jones who Scabbed on the S. P, Line. Though called upon to give much time to rehearsals, the members of the chorus are active in their unions and mass organizations. The chorus gives as many as two and three per- formances on week ends before work- ers’ organizations. The members of the chorus took 300 copies of the 28- page, tenth anniversary edition of the Daily Worker and canvassed with them workers’ homes in New York’s downtown area, When organized about a year ago, the Daily Worker Chorus had less than e dozen members. It now con- sists of 45 workers, and aims to in- crease its membership to 100. Any worker who can carry a tune is in~ vited to join the chorus. Plans are also in progress for the formation of ® second Daily Worker Chorus in an outlying borough of Greater New York. The chorus hopes that its ex- periences and success will encourage the formation of similar choruses throughout the country. The chorus is one of the most pop- ular mediums for reaching «the masses. The capitalist c’ass, through the churches and so-ca:led People's choruses use this medium for lulléng the workers. The revolutionary movement uses it for rousing the workers against the oppressors. AMUSE eetatnebaeeaeel 'S NEWEST TALE SOVIET’! !2ND BIG WEEK —————w, portant chapter of living his- “an without a xingle moment of dullness.” folk songs will: le,| Sit ists | 10: 10:30-—News Report: Come and picket on the pi ine. aye orkers, farme! 11:00—Moonbeams ‘Trio | to; Evan Evans, Baritone; Mixed ‘ Los Angeles Workers, farmers, 11:30—Nelson Ore! | On the line, on the line, | ge aialie ‘The hammer and sickle 12:00—Dance Orch. 14 15 Nearo Gutntet ee aus Picket on the picket line, | of Pp RR 9 G R E s § nual concert _ gig] We will raise it high. Z—760 Ke HET Yom Co ina s And the energetic scab BASED ON THE STORY “THE LAST ATAMAN” Dm. at Tura Verda sian) sie. “waine 200 P.M. SRE ale j Bie GAN cen, We will use him as a rag PRODUCED IN SOVIET RUSSIA-CHINA. (ENGLISH ) n St close ranks, etc. | 1:00—Light Orch. :1$—John Herrick, Songs Come and picket on the picket line. ith STRERE AND ‘ ACME THEATRE ‘txon sauane THE THEATRE GUILD presents—,| Roland YOUNG and Laura HOPE CREWS > A WADERS. ||“Hler “Master's” Voice” with GEORGE M, COHAN Plymouth ™:2. W. 46 8t. fvs. a0 GUIL Enid Wot twey Ff) te A ee scintg UF. SSA. 252 i RKO Jefferson 4th Bt & | Now ! MAXWELL ANDERSON’S New Play 3rd Ave. | MARY OF SCOTLAND “Before “Midnight” with HELEN PHILIP HELEN |} also:—“RAFTER ROMANCE" HAYES MERIVALE MENKEN || with GINGER ROGERS & NORMAN FOSTER ALVIN 33: Ev.8: EUGENE O'NEILL'S New Play DAYS WITHOUT END Henry Miller’s ™:;,!*4 5+ E, of Broadway Evenings $:40, Mat. Thurs. & Sat, 2:40 ZXEGFELD FOLLIES | with FANNIE BRICE | Willie & Eugene HOWARD, Everett MAR- |SHALL, Jane FROMA! ricia BOWMAN. [Matin GARDEN, B’ id 50th. Evs. 2.80 Out of the Race? By QUIRT ‘TH AVE. PLAYHOUSE, near 13th St Sergei Eisenstein’s ‘ThunderOverMexico’ Also: JEAN COCTEAU'S “The Blood of a Poet” | Cont. from 1 p.m.—Matinees 0c, Evgs. 460 THE ANTI-WAR PLAY 7TH BIG WEEK |PEACE ON EARTH | ALFRED KREYMBORG says: “The ono play in town not to miss.” CIVIC REPERTORY WA, 9-7450, Eves. Mats. Wed. & Sat., | | | | | | ea, Lith 8. & 6th Ay. Matinees Wednesda: Saturday 2.30