The Daily Worker Newspaper, March 5, 1934, Page 7

CHANGE ——THE — WORLD! ——_———_By SENDER GARLIN J STRIKING contrast between the fighting poetry of Revo- “* lution and the amiable versification of reformism is illustrated by a poem on Vienna in the current issue of the “New Leader,” official organ of the Socialist Party, and the oem, “There Is a Lesson,” which appears elsewhere on this page today. “For you always win and we always lose in the death-duels of the the Socialist rhymester, Max Press, tells the bloody fascists in his ledicated” to “The Victors of the Austrian Revolution.” * More on the Scottsbore Play Dear Garlin: y In your interesting column of February 28th on the bourgeois critics nd their reactions to John Wexley’s “They Shall Not Die,” the Theater Guild show now playing at the Royale, you might with profit have quoted further from Robert Garland of the New York World-Telegram, who declared on February 22 that the frame-up of the Negroes in the play had no motivation, and that this fact weakened the entire production. The point is worth commenting on if only because a number of other critics have also attacked the play from this angle. “I am glad to find,” wrote Mr. Garland, “that a number of reviewers are a little sceptical where Mr. Wexley’s fundamental frame-up is concerned...It has no actual motivation. As Richard Lockridge puts it, ‘the first act is... hardly believable.” And Burns Mantle, no mean authority on credi- bility, agrees. Once you admit that nine Negro boys are framed for no reason save that they are Negroes...the remainder of Mr. Wexley’s play understandable. But, along with Brooks Atkinson, I find much of the drama’s groundwork open to dispute.” In other words, Mr. Garland and his bourgeois colleagues fail to understand why Negroes are continuously lynched, legally and illegally, in the South today. They evidently believe that when a lynching does occur, it is simply because one individual (who may or may not be a Negro) has committed a crime and thereby aroused the wrath of other individuals. If the nine Negroes in the play had committed no crime, then, in the light of this naive explanation, no one would have dreamt of raising a hand against them. Now one would think that even the bourgeois critics would have heard by this time that no literate person today dreams any longer of attempt- ting to explain events in past history or in modern society in terms of individual reactions. A little home-work on economic interpretations, such as the class-struggle; evidently wouldn’t do our critics any harm, They would learn in-the first place that frame-ups which are unprovoked by any crime committed by the victims occur constantly, the most famous recent examples being perhaps the Billings and Mooney case, the Sacco and Vanzetti case, the case against Dimitroff, ‘Torgler, Thaelmann, Taneff and Popoff, and the Scottsboro case, with which the play in question deals, Such frame-ups, commonplaces in the history of the working class, are explicable only in terms of the economic class-struggle, With an apology for being so elementary to the readers of the Daily Workor, who as active, informed and conscious participants in the class- struggle know their economic A B C’s, may I explain to the puzzled of the capitalist press why Negroes guiltless of any crime are con- ly lynched in the South? The wealth and power of the small ruling capitelist-bourgeois class, both in fhe North and in the South, resis on the exploitation of the proletarian masses. The class struggle as defined by Karl Marx is the struggle for power between these economic classes. (In the U.S.S.R. the proletarian class has achieved victory in this struggle over the dapitalist class, which it is liquidating in order to form a. class-less society. Elsewhere in the world the capitalist class still rules over the proletariat.) In the South, where Negroes form a large Portion of the proletariat, the lynchings perpetrated by the courts and by less formal (and some- times unwitting) agents of the capitalist class are fostered by the bour-. seoisie with two specific objects: they are designed, in the first ‘place, to keep the Negro “in his proper place,” to terrorize and intimidate him, ‘to discourage him from organizing into unions wherewith to wrest from the capitalist class higher wages, decent housing, better’ schooling and higher standards of living generally; and, in the second Place, to divide the white and Negro workers by creating and maintaining race-hatred. “Divide and conquer!” Only by attempting to prevent white and Negro workers from joining hands in a common struggle against their common masters, as they are already beginning to do under the leadership of the Communist Party, can the bosses hope to maintain their domina- tion This explains why Negroes are so frequently seized in the South by agents of the bosses on the slightest provocation, or on no Provocation at all, and railroaded to the electric chair or to the nearest telegraph pele, It is an explanation that the bourgeois critics may well bear in mind, as it may prove useful to them when they go to see “Stevedore,” the play by Paul Peters, which is soon to succeed “Peace on Earth” at the Civic Repertory. Franklin Newman TOMORROW: HOW SOCIALISTS “UNDERMINE” BANKS A British Esthete Burns Bourgeois Incense Before Marxism THE NECESSITY FOR COMMUN- ISM, by John Middleton Murry, New York: Thomas Seltzer. Price $1.50. s+ 8 Reviewed by GEORGE LEWIS (OHN Middleton Murry, esthete, poet and critic, worshipper at the shrines of Socrates, Jesus, Shake- speare and John Keats, has finally, impelled by the long crisis, arrived to the point where, with deep delight and a sigh of “At last” he hails his latest ‘great man,” Karl Marx. In the troubled, esthetic, unhappy mind of Mr. Murry has grown a theory com- bining the “best features” of the “Republic,” the Bible, and “Capital,” which Mr. Murry now introduces to the world as “English Communism.” It is a pathetic attempt, this little book. Pathetic because there is in its cessary, Mr. Murry, the future is with the proletariat, or the dead past with the ie, and you have chosen, but you have brought too much of the old baggage and furniture with you, and you are uncomfortable in your new quar- ters. | You want to “annihilate your ego” so you can be of service to the work- ing class. So you say in your book. But is it of service to the working class to tell them that the triumph of the proletariat in the Soviet Union has no Jessons for the workers of England? Is it of service to say that bour- geoisie? Ask the workers of Ireland, of India, of England. Is it of service to the proletariat to say that Mr. MacDonald, in cutting unemployment relief, has the courage of his convictions? Czar Nicholas had “courage of his convictions” on Bloody Sunday in. 1905, U conclude, Mr. Murry, with an immediate program which is a de- mand for unemployment insurance, real unemployment insurance, a liv- wage for all unemployed. Is there in England, outside En ef zge8 Ag 3 2 x g ae fy aa i PEELE f ans Ea : of errr ryy BRERGE SG HERES ASSES GEES. 5 i; a i ig | ae re L mi be sincerely offered, but present position, Mr. Murry, makes it a dan- gerous hand to grasp, dangerous for still larger measure upon the middle | the working class, who may be drawn by that hand into the waiting terror gangs of fascism. i the big bo t you rocognive the choice ia me- |For Revolutionary DAILY WORKER EW YORK, MONDA Music Criticism In Our Press By CARL SANDS music criticism of the revolu- tionary press must be a revolution- ary criticism. It must revolt against the music-critical system that is now supported by the capitalist press. It must not only seek to destroy but also} to supplant this system, for it will in itself constitute an opposed system, different in many ways, with a dif- ferent task to perform—a task which must of necessity involve a different method, viewpoint, scope and aim. This task will be two-fold: first, to re-valie the music of the past with a view to determining what of it may further and what retard the revolu- tionary movement; second, to aid in the gtowth of a new musical style that will express and further the rev- olutionary movement. First of all, as to method—a thing that bourgeois musical criticism never had, rarely sought and usually fied from: it will employ the method of dialectic materialism. Since this is the method of the other art criticisms in the revolutionary movement and of the revolutionary movement itself, @ revolutionary music criticism will be an integral part of the movement as a whole. As is the case in these other criticisms, there will be some problems peculiar to the music-crit- ical field. It will be the task of the music critic, however, to link up the problems of his fleld with the prob- Jems of the other special fields and with those of the whole collection of fields. These units will not be re- garded as static things—as has been the tendency in bourgeois musical criticism—but as regions in which movement occurs—through which movement, in fact, the region as such is defined. Music criticism, and hence music too, will be regarded primarily in their aspect as moving, changing, evolving things. Both will be regarded | primarily as social functions, and hence as integral parts of social de- velopment as a whole. The funda- mental characteristics of both will be regarded as determined by the same means as those that determine social development as a whole. Bourgeois musical criticism has sometimes given lip-service to this formulation but has invariably and promptly forgotten it and lost itself in biographical detail, thus giving undue importance to the “great man” theory of history and to the “inspiration” theory of musical work. A Marxian presentation of mus- ical history will deal less in person- alities than in the larger processes of art development and in the inter- |Telation of these with history as a whole. A Marxian presentation of the nature of musical work will rely upon | mystical short-cuts such as “inspira- tion” and “genius” and more upon the study of physiological dispositions, training, class origins and class-con- sciousness. Tt viewpoint of a Teyolutionary | * music-criticism will be that of the versant With the various geographical, patriotic and chauvinistic conflicts, | | struggle and its economic and polit- | ical basis, in spite of a vague and con- | tradictory idealization of the folk and its music. It will be necessary to show clearly the economic background and class motivation of the lives and works of the great composers of the past, and of musical styles and prac- tices generally—not only as they are Presented to us by history bus also as they are manifest in our own day. Here again will be a marked diver- gence from conventional practices. The bourgeois musical critic has not, in our day, ever been able to live in the present. To him, the present musical situation is “chaos.” So he seeks a refuge in history where, it appears, absolute, pure, transcendent beauty was produced by god-given geniuses. Musical values become static things: they existed in the past. But he finds himself living in a tine when musical values are evidently chang- ing. So he finds the time chaotic and |proletariat in the class struggle. | * Bourgeois musical criticism was con- | 5°° but steadfastly ignored the class | © There Is under a government decree, issued streets.” There is a lesson thundered by colla’ In the streets, the hazardous streets The deadly gas of revolution might In a week, in a month, let them out It will be safe then . . . (SAFE, Dol be hidden, There is a message, inescapable, Long live our Keep them off the streets, Dolfuss, NO DEFEAT flaming into a deathless banner Comrades, yours was no defeat it was a victory, it was a prelude, it was a ragged banner showing We will never forget. of "71, of 1905, of 1918. © Austrian Comrades, We build you a tomb flowering with By JOHN L. SPIVAK BROOKHAVEN, Miss. — In Lincoln County here, there are about 2,500 individually owned farms. The county’s population is around 26,000 and of these, some 20,000 live on the farms. Brookhaven’s population makes up the difference. The num- ber of families is a little over 6,000. One out of every five farms is worked on a share cropper basis, that is the landowner advances (or rather, used to advance, before the depres- SLM) SUPP Ciera 500 farms in thejj whole county are the small farme: and His. fami, JOHN L. SPIVAK Most of these landowners are white. ‘There are fewer than 100 farms own- ed by Negroes, yet the Negro makes = 35 per cent of the total popula- ion, But, though only 20 per cent of all farms here are worked by crop- pers, those who work on this basis make almost half of the total popu- lation. In other words almost every other person farming in this area works on land that is not his. For the privilege of working this land he is supposed to get half the value of the crop—if it is worth anything— not so nice as the old times surely must-have been. . . . To music-criticism there is no chaos. A crisis, yes: a crisis developing ever more intensely as an integral element in the general crisis of capitalist so- ciety. But the musical path is clear: @ new musical style is in the mak- ing. History shows it is forming: rev- olutionary practice demands it. It is the music of the proletariat. Mar ae ea z TOMORROW: “The Scope of Rev- olutionary Music-Criticism.” | Stage and Screen | Sherman Play Opens Tonight ; “Yellow Jack” Tuesday Night Sherman’s comedy, ‘Too Much cludes Janet McLeay, Viola Swayne, Philip ‘Truex and George Alison. “Yellow Jack,” Sidney Howard's new play, based on a chapter of Paul de Kruif’s book, ‘Microbe Hunters,” will have tts delayed opening tomorrow night at the Martin Beck “Four Saints in Three Acts," the Stein- Thomson opera, originally scheduled for two weeks, will continue st the Forty- fourth Street Theatre indefinitely. Palestine Film in Second Week at Acme Theatre “The Dream of My People,” a pictorial trip through Palestine continues at the Acme ‘Theatre for ® second week. The film shows the life of the natives—Arabs and Jews in} Palestine, Jerusalem, Haifa, Tel-Aviv, etc. oy same program also ineludes “Lot lom."* First “Goetterdaemmer At Metropolitan on Friday “Ald night with Rethberg and Del Corso; “Tri tan and Isolde," Wednesday Lelder and Melchior; ‘Thursday evening with gon; “Linda di Cham and Lorenz, “Travi- ata,” Saturday night with Bor! and Martini. Anna Sten in “Yellow Pass” at 5th Ave. Theatre. Anne Sten, Boviet film actress is now appearing at the Fifth Avenue Theatre, Broadway and 28th St., in what critics agree is her greatest picture—“The Yellow Pass.” deducted. The average size farm which a cropper and his family tills is about 20 or 25 acres. To work one this size it is necessary that not only the cropper work, but his wife and children. In return he always got a bare existence. Since the depression, he managed to get exactly nothing. In some few cases the landlord, him- self on the verge of bankruptcy, man- aged to allow him anywhere from $1.50 to $3 a month. This sum was supposed to be sufficient for the crop- per and his family to buy food and clothes. Most of the croppers are Negroes. White croppers in this county are in the minority. Since the depression, the inability of the farmer to meet his taxes re- sulted in one out of every five pri- vately owned fartns being sold for non-payment of taxes. Charles R. Ash- ford, the government’s Lincoln County farm agent who makes contracts for restricted plowing, deals only with the farmer who still owns his own land. The government does not see any sense in contracting to pay for uncultivated land with a share crop- per or “half-hand or half-tenant” as he is called. The result is that the cropper( and half the farmers in this county are croppers) get no benefit whatever from this restricted plow- ing scheme, A In fact, croppers are worse off than. they were before for now a landowner does not need so much work done in| because he is not plowing. Failure to include the cropper in the govern- ments relief aid scheme simply threw many of them upon the charities— the Red Cross and the Federal Emer- When farmers — landowners and croppers—heard that the government to,| Was going to help they flocked to the county land agent for contracts. They were desperate and in a bad mood. “Their spirit is much better now,” said Ashford. He was referring to those farmers who had contracts with. the government for curtailed produc- tion. In considering farming condi- tions the land agent completely ig- nored the reactions of those who owned nothing. “Before federal re- lief, the farmer who was unable to pay taxes just threw his hands up in the air and quit; some tried to keep fighting with their chins up By T, LERNER and then only after the advances are | A Lesson “All Austrian schools, meanwhile, were closed for an indefinite period to keep children off the hazardous Keep the children off the streets, Dolifuss There is an alphabet written in blood for them to | psed books, of bodies They might be riddled by the bullets of knowledge, enter their lungs. of their corners, fuss? Safe, Bauer and Seitz? There is a volume written with three thousand bodies that can never There is a sentence spelled by the grim faces of bereaved women. that vibrates the air with voices of heroes who shouted it to the last: ss “Down with Fascism! Down with Social Democracy! Soviets!”) It will quiver your fat heart with terror The alphabet written in blood out there that children are learning. © Austrian Comrades, your blood that made red flags in the streets is held high forever. the way the mighty wind is biowing. You march forever in the shock-brigades of the past, with our comrades We write your epitaph in every leaflet, in the smoke of our fiercer struggles. red roses—THE REVOLUTION! ‘Share - Croppers Ignored By U.S. “Farm Aid” Plans but it was pretty helpless.” That percentage of farmers who deal with the land agent, according to him, now feel less resentful. They say, “Roosevelt is trying, any way, where under Hoover things just slid downhill.” The rise in the price of cotton is-the chief thing that perked up the landowner. He no longer feels that he is the underdog made to be walked on by the wealthy. The chief thing that mars the sat- isfaction of even this type of farmer is the strong suspicion that some- where in this new and comparatively improved scheme of things, he is not really getting the full advantages he thought he was. The Production Credit Association, formed allegedly to help the farmer, is actually help- ing only the big landowners and the | | Corporation owned plantations in the | Delta country. “That there government credit as- sociation is supposed to help us but all it’s doing is making it impossible ‘for us small farmers to get any help,” a number of independent farmers have told me. | And it is rousing unrest again, not so strong as before federal aid, but * | Strong enough to express itself openly and angrily. Lincoln County is one of the nine that the credit association takes in, in this area. The association is a branch of the production credit bank in New Orleans. This bank includes for its area Louisiana, Mississippi and Alabama. Other banks operate for other states. During the past year only about 2,000 of the individually owned farms actually plowed under as agreed to with the government. Some 500 farms refused to plow under, grew as much as possible, and cashed in on the rise in price. Others agreed to piov under, collected government money for it but baled their full crop just the same, hiding the bales against a rise in price. This tendency to “work” the gov- ernment as much as possible is ap- parent everywhere, here, in the in- dustrial south and in industrial New England. I haven't tried to find out why but I imagine I would not be wrong if I guessed that they want to do what the “millionaires do.” They see it done on every side, by the rich, by the politician and they want to get in on the old custom. Last year, when the government made contracts with the farmers, “half-hands” as the croppers are called, the neediest class.of all, got something. This year, having realized that the cropper cannot even pay the poll tax which entitled him to vote and is therefor a complete loss as @ political factor, the government completely eliminated the “half- hand” in contracts—and it must be rememlcred that “half-hands” con- sist of approximately half the popu- lation. The neediest of all farmners here are receiving no benefit whatever from the government splurge in millions and billions. Contracts are made only with the landowners, eash tenants and managing share tenants. Crop- pers are not only no better off but, due to restricted plowing, actually much worse off. This average of two out of every five farm workers and their families, have been driven deeper into the depths of despair. Their only source of food is the sack of flour they get from the Red Cross or the Federal Emergency Relief. These conditions with some variations, of course, exist not only here, but according to the officials in this county, throughout the whole cotton area in the south. For the coming season the living supplies of those farmers who, by the grace of being able to pay the poll tax can vote, is secured by pledg- ing the rental benefits to the local banks. Rental benefits work this way: A farmer is supposed to get $50, let us say, from the it for not plowing a certain number of acres. He goes to the banker and pledges this $50 for a loan. The banker ad- vances it and charges the reguluar interest. The idea is that the land which the farmer would ordinarily plow is rented by the government, which prevents the plowing. This is done By Gropper He'd like to publish “fine literary works,” if he can be convinced they'd be “best-sellers.” Travelling Scottsboro NEW YORK —The John Reed Club, 430 Sixth Ave., is arranging a series of travelling art exhibitions, dealing with the everyday struggles of the working class, to be shown in workers’ clubs and workers’ cen- ters. In conjunction with this, the John Reed Club offers for sale black and white prints dealing with the Scotts- boro case. This exhibition is to be loaned to workers’ organizations requesting it for a period of one week. All that is necessary is that a responsible com- rade call or write to the John Reed Club for the pictures, supervise the exhibition and the safe return of the drawings. The Scottsboro branch of the LL.D. was the first to ask for the exhibition. TUNING IN TONIGHT’S PROGRAMS WEAF-—660 Ke. 7:00 P. M.—Horse Sense Philosophy—An- drew Kelly 1:15—Billy Batchelor—Sketeh. 1:30—Shirley Howard, Songs; Jesters Trio 7:45—The Goldbergs—Sketch 8:00—Dramatic Sketch 8:30—Richard Crooks, Metropolitan Opera Tenor; Concert Orch. 9:00—Gypsies Orch.; Frank Parker, Tenor 9:30—Ship of Joy, With Captain’Hugh Bas rett Dobbs 10:00—Eastman Orch.; Lullaby Lady; Gene Arnold 10:30—Subsidies — Secretary of Commerce Daniel ©. Roper 11:00—John Fogarty, Tenor 11:15—News; Lopes Orch 11:30—Lueas Orch. 12:00—Olsen Orch. 7:00 P. M.—Sports—Stan Lomax 7:16—To Be Announced 7:30—Maverlek Jim—Sketch 8:00—To Be Announced 9:00-—Musical Revue 8:15—Jones and Haye, Songs 8:30—Renard Orch.; Olga Albani, Soprano; 9:30—Muscial Program Edward Nell, Baritone 9:45—Alfred Wallenstein’s Sinfonietta 10:18—Current Evants—Harlan Eugene Read 10:30—Mr. Pixit—Sketenh 10:43—Sports—Borke Carter 11:00—Moonbeams Trio 11:30—Whiteman Orch 12:05 A. M— i WJZ—760 Ke. . M.—Amos ‘n’ Andy 5—Baby Rose Marie, Songs :30—George Gershwin’ Piano; Orch. 1:45—How's Your Vocabulary?—Bketch 8:00—Morin Sisters, Songs; King's Jesters; Stokes Orch.; Cliff Soubler Concert 8:30-—-Michael Bartlett, Tenor; Concert Orch, 8:45—Red Davis—Sketch 9:00—Minstrel Show 9:30-——Pasternack Orch.; Oliver Smith, ‘Tenor 10:00--Carlos Gardel, Baritone; Mariant Orch. 10:30—Henri Deering, Piano 10:45—Ozark Mountaineers 11:00-—-Ramona, Songs 11:15—News Reports 11:20—Anthony Frome, Tenor 11:30—To Be Announced 12:00—Pollock Orch, 12:30 A. M.—Stern Orch WABC—3860 Ke. ; Jimmy Kemper, 7:43—News—Boake Carter 8:00—Green Orch.; Men About Town Trio; Vivien Ruth, Songs 8:15—News—Edwin C. Hill 8:30—Bing Crosby, Songs; Lofner Orch.; ‘Mills Brothers, Songs 9:00—Philadelphia Orch. 9:15—Emery Deutsch, Violin 9:30—Gertrude Nelsen, Songs; Jones Orch.: June Walker, Actress; Toscha Seidel, Violin 10:00—Wayne King Orch. 10:30-—Connie Gates, Songs; Songs 11:00—Charles Carlile, Tenor 11:15—News; Davis Orch. 12:00—Belasco Orch. 12:30 A. M.—Pancho Orch. 1:00—Light Orch. Eton Boys, to keep too much being grown and thus lowering the price of cotton. By raising the price of cotton, goods manufactured with it will cost more. This having been accomplished, the poor people are supposed to pay higher prices for the cotton commodi- ties, which in turn is supposed to raise the poor people’s wages. So far, in a typical New England industrial center and in a typical southern industrial center I found that the poor people have not bene- fitted at all from all this juggling. The only result has been to raise the prices of essential commodities like cotton products and place them out of the poor people’s reach more than they were before. Instead of helping them get things it has made it harder for them to get them. And this is called government “aid to the poor people.” (To Be Continued.) Art Exhibit Planned) Poe bee Me Highlights During Revolutionary ‘This is the second and conciud- Ernst Thaelmann, leader of the German Communist Party, the first part of which appeared in Satur- day’s Daily Worker. The publica- tion of this brief biography assumes special significance at present in connection with the yb pal campsign bei mobilized for Com~- rade Thad eed ’s release from the dungeons of the Nazi Germany. At ite foundation, Ernst Theel- mann became a member of the US.D.P. (Independent Socialist Party of Germany), although from the first moment on he was disgusted with the leaders’ policy of compromise. He set himself the task—and also ful- filled it—to bring the masses of the workers in the Independent Socialist Party organization in Hamburg over to the Communist Party. Here he passed the first great test of his Bol- shevik energy and political courage. After the Party Congress in Halle in 1920, more than 90 per cent of the membership of the Independent So- cialist Party in the Hamburg-Was- serkante district went over with ‘Thaelmann to the Communist Party. During the actual revolutionary period of 1918-19, he was at the head of the elements that were pressing forward and took a leading part in all the activities which aimed at providing the revolutionary working | class with arms. In the years that followed he was always chairman of the Communist Party organization in Hamburg; at the same time, he was a member of the District Committee of Wasser- Kante, and was visibly in the fore- ground of all the economic and po- litical struggles of the workers of Hamburg. In 1919, the workers of Hamburg elected Ernst Thaelmann to the Lower House, of which he re- mained a member from then on. At the head of the organization of the C.P.G, in Hamburg, Ernst Thael- mann, during all the phases of fur- ther development, has been the un- tiring champion of a real revolution- ary mass policy. In the course of the everyday struggle he schooled him- self in the works of Marx, Engels and Lenin. With increasing clarity he carried on the struggle against all those who were hindering the Party in carrying on a rea) Bojshevik mass policy. He waged a struggle against the opportunist policy of the then Central Committee of the C.P.G. and against the district chairman of the Hamburg-Wasserkante Party or- ganization. In the summer of 1923, when the energy of the masses was breaking through into action, he was fully aware, as leader of the Ham- burg Transport Organization, of the great task which was assigned to the Hamburg proletariat in the stra- tegical plan of the German prole- tarian revolution. The heroic strug- gle of the workers of Hamburg in October 1923, shows the inner force and strength of their organization, but they had to giye up the fight be- cause the wrong strategy of the en- tire leadership made a victory im- possible. The Party, which was forced underground, turbulently demanded the replacement of the opportunist Party leadership, and from that mo- ment onwards Ernst Thaelmann has stood at the head of the Communist Party. With ever-increasing clarity he has exerted all his efforts towards carrying out the guiding Bolshevist principles in the policy of Communist mass work in Germany. In his strug- gles against the anti-Leninist trends, he more and more had the support of the overwhelming majority of the Party membership. Under his leader- ship the Party progressed from year to year. He prominently cooperated in the leadership of the Communist International, and since the Fifth World Congress there has not been an international session of the Com- intern at which Ernst Thaelmann did not deal with the questions of the ing installment of the article on | c Class struggle in Germany and the! in the Life Of Ernst Thaelmann | Period of 1918-19, ke | | Led Campaign to Arm Working Class problems of the ’ movement e! r one of the di all his political stantly being persecut class justice, and |casions he was treason. his earliest political activiiy onwards, Ernst Thaelmann has been the voice of the masses. His strength lies in his direct, deep con- nection and unity with the life of the workers. He is the flesh and blood of the workers. He is extremely sen- sitive to any sort of stir among the masses, and his political instinct has given him the ability to give the cor- rect repiy, tested by the masses, to a)! the pressing questions of the workers. This close alliance with the masses, the understanding of the problems of the life of the workers, as well as the incorruptibility, undaunted, and cour- ageous character of his revolutionary struggle, has made Ernst Thaelmann the undisputed leader of the revoli- tionary workers. After Hitler came to power in Ger- many, after the development of the most bestial terror agains; the work- ing class, Ernst Thaelmann remained among the working class, and led the struggle of the Communist Party with & correct and clear revolutionary policy. Unfortunately, the fascist bands succeeded in throwing the leader of the German workers andi of the German Party behind pri walls. The German working class not forget Ernst Thaelmann, it not forget that, despite the a porarily, he remained at his fight post in the midst of the working clas in this difficult situation, and it wil untiringly mobilize the revolutionar forces of the proletariat to cont Thaelmann’s policy with munist Party overthrow the fascist dictatorshin in Germa: Ernst. Thae) and for the liberation o: mann, its leader. (From “International of Youth Cleveland to See Noted German Anti-Nazi Film CLEVELAND, Ohio. — “Kut Wampe.” famous German anti- cist picture, will be shown for ai tire week here. The film is s: uled for the following places: Thursday and Friday, Mar. 8 anc 9: Eclair Theatre, St. Clair and 76tt Street. Saturday, Mar 10: Moreland Thea- tre, E. 119th and Buckeye Road: Thursday and Friday, Mar. 14 and 18: Royal Theatre, 12222 Madison Ave. . An added feature is a symposium against fascism in which Clarence Hathaway, editor of the Daily Worker, will be seen and heard. Ed- ward Dahlberg, Ella Winter and others also take part in this sympo- sium. WHAT’S ON CLASS HISTORY of Soviet Russie (The revolutionary period) by Theodore Bayer 947 Willoughby Ave., Brooklyn, at 8:30 p.m. Admission free. MASS MEETING at the Neighbothoot ‘Workers Center, 1400 Boston Road. _Johr Adams on the Truth About the Madison Square Gerden Meeting and the United Front. Admission free. at 8:30 pm, 12 EB. 17th a, LECTURE by G. Blacker on “Ths Negro Question,” 1163 Lenox Rd., Brooklyn, 3:3. Auspices: Women's Counell, MASS MEETING on ets 7 Wes ner-Costigan Anti-Lyneh — 4s Tt» ‘Smoke-Screen?” Prominent Allen Memorial Church, 2608 ‘Tilden Ave.» Nes: Rogers Aye., Brooklyn, Auspices, Crispus Attucks, L.S.N.R. moete tonigh) MARY OF with HELEN HAYES ALVIN THEATRE Z\EGFELD FOLLIES with PANNIE BRICE Willje & Eugene HOWARD, Bartlett SIM MONS, Jane FROMAN, Patricia BOWMAN. WINTER GARDEN, B'way and 50th. Evs. 8.30 Matinees Thursday and Saturday 2:30 Theatre Union's Stirring Play LAST WEEKS THE ANTI-WAR HIT! PEACE ON EARTH CIVIC REPERTORY Thea,. Lith 8. & 6th Ay, WA. 9-7450. Evgs. 30° to Ld Sa ‘NO Mats, Wed, & Sat. TAX Arrange Theatre Parties for your organiza- tion by telephoning WAtkins 9-2451 PALESTINE The Natives Jew and Arab Sing; Dance; Demonstrate; Work in “THE DREAM OF MY PEOPLE” with Cantor Rosenblatt —SPECIAL ADDED FEATURE— “LOT IN SODOM” Featurette Extraordinary ACME THEATREthicnse: inion Sq. or TopaYy PHO MERIVALE MENKEN Sand St., West of Broadway. Evenings #:20 JOHN WEXLEY’S NEW PLAY THEY SHALL NOT D ROYALE THEATRE AMUSEMENTS THE THEATRE GUILD Presents EUGENE O'NEILL'S COMEDY AH, WILDERNESS! with GEORGE M. COHAN GUILD THEATRE "\iz.0 tar an eee ee MAXWELL ANDERSON’S new play SCOTLAND HELEN Matinees Thursday and Saturday 2:20 45th St. W. Eves, 8 Matinees SIC HA) 50 St. & 6 Ave.—Show Place of the Nation ‘Opens 11:30 A, M. WILL ROGERS in “DAVID HARUM”. And a great MUSIC HALL STAGE SHO. oe o Lith st. & | AY, : | ®X° Jefferson um st @ | Now | BORIS KARLOFF in “THE GHOUL” also:—“JIMMY AND SALLY” “with JAMES DUNN and CLAIRE TREVOR 5th Ave. Theatre “msi Today to Sat., Daily 9:30 AM, till Pat Cxep's Realistic Soviet Film in E . ANNA STEN "Sa" Reduced Prices to U; Members “Her Master’s Voice” Plymouth ‘Thea,, W. 45th St. Evs. $¢* Mats, Mon,, Thurs. & Set. No MORE LADIES MELVIN DOUGLAS LUCILE WATSON A New Comedy by A. H. Thomas vith MOROSCO Thea.. 45th, W. of Bwa: Mats. Wednesday and Saturday 5