The Daily Worker Newspaper, March 8, 1934, Page 7

* Page Seven “We Were Just About Ready for a Revolution!” By JOHN L. SPIVAK DAILY WORKER, NEW YORK, THURSDAY, MARCH 8, 193 The Function of| Sym Total of “4 Saints in|“ Marching Feet” the Revolutionary' | Is A Confused Music Critic |3 Acts” Equals Zero)” Liberal Play CARL SANDS F | bs By HAROLD EDGAR | (which here means certain objects | CHANGE —THE—— By BILL ANDREWS of this little town and on their WORLD! By SENDER GARLIN GENTLEMAN by the name of A. B. Campbell, who’s working with those N. R. A. people, sent a letter to the Workers’ Bookshop, 50 East 13th Street, New York, a few days ago. It was a rather sharp letter, for it con- tained a complaint and a threat. Mr. Campbell, who is in charge of a department called the “Loss Limitation Department of the Retail Code Authority of the City New York” told the comrades in the Workers’ Bookshop that he had been informed “that you are selling Browns Book of Hitler Terror below net cost at your store.” The title is Campbeil’s version, The N. R. A. man went on to say that “under the provisions of the Retail Code you cannot sell an item below net invoice costa. In order that we may ascertain whether you are complying with the provisions of the Code, will you kindly bring to this office your invoices showing the cost price of the article.” (Emphasis is Mr. Campbell's.) Now of all the books that the so-called National Recovery Admin- istration could find to single out as a basis for petty persecution, they chose the “Brown Book of. the Hitler Terror,” a volume prepared by & group of distinguished bourgeois jurists, exposing the murderous Nazi regime in Germany! Too Busy Exposing N. R. A. to “Co-operate” ATURALLY, the comrades in charge of the Workers’ Bookshop did not rush to Mr. Campbell's ‘office at 45 East 17th Street, New York, “to kindly bring invoices showing the cost price of this article,” since they were too busy selling Earl Browder's pamphlet, “What Every Worker Should Know About the N. R. A.” (2c), exposing the N. R. A., so Mr. Campbell sent down one of his lieutenants to follow up the matter. It seems that the N. R. A. (despite the assurances of the Socialist Party leaders that Roosevelt is paving the way for “Socialism”) is in- sistent that book dealers make a minimum of ten per cent profit on all books they handle. When Mr. Campbell’s emissary came down to see Comrade Franklin at the Workers’ Bookshop, Franklin suggested that it was “rather remarkable” that of all the books that are being sold at lees than list price, the “Brown Book” should be singled out as a special target. Mr. Campbell’s man smiled s rather sickly smile and said, “Well, you gee, our office never acts on this kind of s thing unless, don’t you see, we get a complaint from one of the bookdealers.” After poring over the invoices for a few minutes, however, Mr. Gampbell’s man was satisfied that the Workers’ Bookshop does make the 10 per cent profit required by the N. R. A. (which profit, incidentaily, in used to further the fight against the N. R. A.). Guees Who Complained! painted! revealed that the bookselier who complaint against the Work- ers’ Bookshop making it possible for workers to read the “Brown Book of the Hitler Terror,” was none other than the R. H. Macy Company, which several months ago—in huge ads in the metropolitan press—tried to “explain” why it would not join the boycott against Nazi goods. Now it 90 happens that the R. H. Macy Co. (which also owns the big Bamberger store and its radio station in Newark), is owned by the wealthy Jewish Straus family. Macy's, it is important to note, is one of the most notorious price-cutters, when it comes to selling publishers’ Interestingly enough—following complaints to the N. R. A. some time ago regarding “bad advertising practices” of the R. H. Macy Co— the N. R. A.-Division of Research and Planning. brought in a report . t eompletely whitewashing the company. P. S—One of the leading members of the whitewash committee of the N. R. A. was at the same time a director of the R. H. Macy Co. His name, gentle readers, is Mr. Oswald Knauth! ° . Hitler at a Discount—at Macy’s At this point in the column I picked up the receiver and ealled “Ackawanna 4-6000 and I learned from R. H. Macy’s book department that they have a large number of books that they gladly sell at discount. ¥ was especially interested, for the moment, in the price of one or two books which had been recently published. Q—Do you sell “The Tragedy of Russia,” by Will Durant? A—Why, Fes! Q—Do you have any books on Roosevelt and the New Deal? A—Cer- gainiy! We have a number of very excellent books. There is “The- Roosevelt Revolution,” for example, by Ernest K. Lindley, and... Q—Do you have “My Struggle,” by Adolf Hitler? A—Why, we don’t have a copy on hand at the moment, but we'll be delighted to order one for you if you wish. Q—Do these books sell at list, or at a discount? A—Oh, of course, a discount. The book on Russia, for example, etc., etc. * . ° * “Dangerous Thoughts” in the Schools Wi employed teachers are struggling to maintain their salary levels and unemployed teachers are fighting for relief, the Legislature of the State of New York is now considering passage of a Teachers’ Oath Bill, sponsored by the Empire State Society, Sons of the Amer- ican Revolution, which would officially make » complete joke of “academic freedom.” If this amendment to the Education Law is adopted, “every pro- fessor, instructor or teacher who is now licensed by the provisions of this article, or who shall hereafter apply for a license, shall subscribe to the following oath or affirmation: ‘I solemnly swear (or affirm) that I will support the Constitution of the United States of America, the Constitution of the State of New York, and the laws of the United States of America and the State of New York, and that I will faith- fully, impartially and justly perform all the duties of any position to which I am now assigned or may hereafter be assigned.” * ° . > Things Are Different Now FOCH SS 8 Dat reese Of crtsts, with. hunary. senchers battling cope in the Loop in Chicago; teachers’ strikes in many ¢ities of the country; thousands of schools shut down and many on part-time— at such a time a seemingly innocuous “patriotic” pledge becomes a weapon against the struggling teachers. Another word: What we could use right now is a good Marxist ve-writing of Upton Sinclair's “Goose Step,” the study of capitalist control of education, written about ten years ago. The capitalists and the'r lackey boards of education are bent on keeping the class struggle out of the class-rooms, but they're going to nave @ hell of a time! TOMORROW: “The Marine Workers, for Example.” —————— POSITIVELY LAST TWO WEEKS PEACE ON EARTH ROBERT MINOR says: “Let the ‘Timid Souls’ of the capitalist press hide under the bed. Let them shout that it changes life into a soap box. But ‘Peace on Earth’ is a magnificent work of art. It breaks down the dull tradi- tions of a theatre-afraid-of-itself and lets in—yes, it lets creative art in. Its technique is too far ahead of anything on Broadway for comparison... Its content so vital that it almost cracks your bones to see it.” Ci i R t th Ave Hrs. 96, wa ATH BIG H UIVIC REDETTONY wee & es 52% + MONTIT §o ‘T about the revolutionary music critic himself? Hitherto, musical critics have been, on the whole, literary men who knew some- customed us to a special type of lay criticism constituting a view of mu- | sic from the outside. Their increas- ing efforts at inside, technical eriti- cism have been conspicuously fu- tile. In the revolutionary movement we do not have to waste man-powt |in perpetuating « special class of lay | critics of music. As everyone knows |who has dore musical work with | mass organizations, the proletariat |is capable of excellent lay criticism. | Lay criticism of music will also be given by revolutionary writers | generally, though they most of them | will need to spend more than a lit- tle time deepening their knowledge of the subject. What we need for & revolutionary musi¢-critical pro- fession is not men who are primarily |adept at something else and only secondarily at music, but men who are primarily musicians who know something about writing. Such men will not only recognize and appraise new values in revolutionary music, but they will, as living workers in that music, be able to fudge which of the values in the old music are best to preserve. But their | greatest strength will be where their | bourgeois prototype was weakest. The bourgeois critic is always quick to call attention to defects. It is easy. But beyond that he can usu- ally do nothing. This also is easy. He never could prove his adverse judgments in the crucial test of showing how the defect could be remedied. The revolutionary critic, on the other hand, must attempt this: he must be required to attempt it, He must be as adept at construc- tive es at destructive criticism. In other words, like the old Negro preacner, he cannot get by if he only “argufy and sputify”—he must also “show wherein.” jae eens Music lovers and musicigns in the revolutionary movement or sympa- thetic to it! Help us to get away from the overclouding of music- critical issues now going on in the endless and unprofitable hair-split- ting over personalities and triviali- ties of bourgeois musical life. De- mand in the revolutionary press, in- stead of the irresponsible impres- stonism of personal opinion with which we are now surfeited, four things: (1) A Marxist interpretation of. all musical activity, whether bourgeois or proletarian; (2) A proletarian viewpoint, giv- ing at least as much space to the emerging proletarian art as to the decaying bourgeois; (3) A breadth of view that sees something more than the careerists on the stage of Carnegie Hall; (4) Good, sound, revolutionary music-critical propaganda. Demand, it the critic give destructive criti- ¢eism of proletarian art, that he give also constructive criticism: that he get down to brass tacks and neither give, in language, minute prescrip- tion for the remedy of the defects, or else show in a concrete musical way what he can do. Demand that he live in the present, a worker for music as a weapon in the class struggle, with his eyes directed, not always backward, but forward! (THE END) TUNING IN Paul Kaminsky will discuss John Middleton Murry’s “The Necessity of Communism” at 3:15 pm, today over WARD, a ae. | TONIGHT’S PROGRAMS WEAF—660 Ke, 7:00 P.M.—Mary Small, Songs T:15—Billy Batehelor—sketch 10—Sirley Howard, Songs; Jesters Trio 45—The Goldbergs—Sketch 8:00—Vallee Orch.; Soloists 9:00—Capt, Henry Show Boat Concert 10:00—Whiteman Orch.; Al Jolson ,Songs 11:00—Viola Philo, Soprano Luneeford Orch. AM—Rollywood om the Air . WOR—T10 Ke. 00—Little Symphony Orch.; Philip James, Conductor; Herma Menth, Piano 30—De Marco Girls, Prank Sherry, ‘Tenor ‘45—The Witch's Tale :15—Current Events—Marlan Read 10:30—The Jolly Russians -45—Spor! Bugene 11:30—Coleman Orch. ee WJZ—760 Ke. P.M.—Amos 'n’ Andy Don Quixote—Sketch 7:30—Sagerquist Orch.; Don Ameche and Sally Ward in Dramatice Sketch 8:00—Cape Diamond Lights 0—Adventures in Health—Dr, Herman Bundesen : at New York Trade Dinner, Waldorf-Astoria H-‘°l 10:30—Merle Alcock, Songs; Archer Gtb- son, Orzan 11:00—Cavallers Quartet 11:15—News Reports 11:20—Anthony Frome, Tenor 11:30—_Madriguera Orch. 12:00—Olsen Orch. {12:30 AM.—Dance Orch. gph WABC—860 Ke. Teig-—ush Plein Bile_Sketeh TR —Just 7:38—Serenaders Orch. 1:45—News—Boake Carter 8:00—Rich Orch. 15—News—Edwin ©, Hill 8:30—Concert Orch.; Alexander Gray, Baritone; Mary Eastman, Soprano 9:00—Philadeiphia Orch. 15—Fray and Bragiott!, Piano Duo 9:30—Waring Orch. 10:00—Gray Orch.; Stoopnagle and Budd, Comedians; Connie Boswell, Songs 10:30—Evan Evans, Baritone; Concert Orch . 11:00—Vera Van, Songs 15—News Reports 20-—-Jones Ore! thing about music. They have ac-/ | } 18 doubtful whether the Ger-| trude Stein Virgil Thompson | opera “4 Saints in 3 Acts” heralded by the bourgeois press should be dignified by discussion of any kind. True, since so many people in high Places have piped its praises it be- comes, whatever one’s personal fe- action to it, a social. phenomenon of some significance. and thus a fit |} subject for investigation. Yet one | eels almost as ashamed to com- ment on this particular piece as| one would to call general attention to the private vices of a political enemy. That certain Nazis are af- flicted with sexual peculiarities is not what makes us fight them. And |if a great many notable and per- | | haps talented people are pleased ta | play around with colored blocks | and spout mumbo-jumbo gibberish while they roll over on their backs is it not a trifle coarse to shame them for it? Would it not be more tactful to turn our heads and ap- Pear not to notice? The only reason for taking the matter up, therefore, is first the fact that this little weakness of “our intellectual friends” has been given public exhibition and second, the fact that though wholly un- important in itself, it makes their More serious behavior a little clearer, 46> 8 may sound harsh when we Temember that Mr. Thompson has a faculty for putting English words to music, that Miss Florine Stettheimer who designed the sets and costumes certainly succeeds in translating her experience happily into forms and materials, that Gertrude Stein has a sense of humor as well as a capacity at times to string banal speech into graceful sequences of words that express something of what people in their inability to express them- Selves nevertheless do express, and that some of the Negro singers in the cast have pleasing qualities and good. voices. Yet all this only serves to remind us of Groucho Marx's classic gag “Starting from the bottom, I have worked my way up to a state of extreme poverty.” Perhaps “4 Saints in 3 Acts” is. an | unusual combination of theatrical | elements, but the sum total of these | elements amounts to zero. | The reviewers are correct, how- | ever, when they say that despite its laughable aspects the opera somehow creates emotion. Aside} from the fact that most of the| words are inaudible (as well as! deliberately unintelligible) that the | music though negatively agreeable | hasn't an original note in it, that | the action and dancing might have been made far more engaging even as nonsense, and that these things | by themselves are boring especially when they last more than twenty minutes, a certain tangible feeling does spread itself from the stage. What is important for us is to, de- fine this feeling, for in doing so/ we shall not only be able to diagnose the present circumstance, but we shall be able to understand the state of mind of those who enjoy it, ‘ . e ¢ re emotion of “4 Saints in 3 Acts” is a feeling of removal such as an invalid child of very wealthy parents might have as she dreamed in her luxurious retreat of colorful people and places she had never really seen or had any ac- tive connection with. The opera, is about saints but there is no “re- ligion” in it—only cute decorations of religious images; there is no Plot—only’ remembered gestures of vaguely impressive but meaningless figures; there is “imagination” but based on no further experience than that furnished by a lot of picture-books—and all around and above all the dainty things that money can buy. Here, in short, is & very light tissue of quaint tmages suggesting no pain, demanding no effort. Those who suppose “4 Saints” {s a difficult, sophisticated | work are mistaken: its success with the “art bourgeoisie” is largely to be explained by the relief they ex- | perience in its sheer emptiness, in | its lack of strain of any kind. Here there is no idea, no thought, no problem, no passion—no anything! This is not “escapism”, because in “escapism” there is always a sense of the thing one wishes to escape from, and a twinge of regret for the necessity of escape, but here we have a “world” so utterly re- moved from everything but “art” War Paint No. 4 | But as so many people have seen | | th of refined pastime) t beyond the humanly able impulse of the escapist. It is so far beyond everything indeed, that it achieves a certain type of “purity” — pure removal or pure vacuity. People in this state need | nothing, want nothing (except) money) and whatever passes through their mind is accidental movement. So, while it is all just “fun”, it is also q sed. . seed we repeat, might not be re- garded as anything more con- siderable than the games of a wealthy idiot, and since it takes on an essentially unpretentious form we might have put it out of our minds with a smile and # shrug. }* fit to let it represent their taste either for true art or for pleasur- able diversion, it is necessary for us to point out that because some talent may have gone into {ts mak- ing does not mean that the result is valuable in any respect, and be- cause it succeeds in distilling a few drops of faint emotion it does not follow that any normal human be- ing should be interested in it to the slightest degree. On the con- trary, although we may “condone” it as a plaything, we feel certain | thet neonle who are really en-| raptured by it are incapable in| regular pursuits of any| genuinely creative work. | When Olin Downes, music critic | of the New York Times, Henry | McBride, art critic of the New York | Sun, Carl Van Vechten, “popular” novelist, and their like, “rave” | about “4 Saints’ we may consider | it sufficient evidence that they have nothing whatever to contribute to the growth of true cultural expres- sion in this country. They and the public they stand for, even when they hold forth on artists of greater stature than those in- volved in the present opera, are, underneath it all, the kind of} people who try to derive the con- solation from art which is the equivalent of a baby sucking its toe. Organ of West Coast | John Reed Club Has | Stories, Poems, Articles | Reviewed by ALAN CALMER | The Partisan is a “journal of art, literature, and opinion,” published | by the John Reed Clubs on the Pacific Coast. Designed for mass circulation, it is printed in the; form of a newspaper and sells for | a nickel. The current number con- | tains a timely article on Upton) Sinclair, by Harry Carlisle, novelist | and political writer on the West coast. Michael Quin, author of “We Are Millions,” a pamphlet dealing with the homeless youth of | America, continues his vivid report~ | ing of labor struggles in Southern California. Lincoln Steffens, whose article, “The Boy from Oregon,” in the first issue of The Partisan was an | outstanding contribution to the/| literature on John Reed, continues | his reminiscent reporting. Quinn, adds a note stressing the import- | ance of Reed as a literary as well as a political symbol to the revolu- | tionary movement. | Mollie Prager, a California poet- | ess, contributes another story to the | growing body of fiction dealing with | the white collar worker in the | crisis. “Clean Fields,” a long poem | by H. H. Lewis; “A Patriarch Earns | His Wings,” an indictment of Edwin | Markham, by Walker Winslow; and a competent review of “The Great} Tradition” by Douglas Hammer, as well as news of film and ama, | work on the Pacific Coast, help to) Children’s picture as the cast !s com-| Almost everywhere one hears Huey make a well-balanced issue. ‘Red Pen’ as New Phila. John Reed Club Organ! RED PE mq | Jan, 1934. 15 cents | cane “Red Pen” is the organ of the | Philadelphia John Reed Club. The | first number contains stories by | Vincent Norman Hall and E. Clay, | a translation of a Russian poem M. Spiegel, book reviews by A. Ale: ander and N. Hall, an article on} “War Danger,” by Maxwell White- | man, and a manifesto, “Towards a/ New Theatre,” written by Lester | Glass of the John Reed Theatre Group in Philadelphia, } By Limbach H | acquired by Max Gordon and will be pro- | “Treasure Island” To Be CHICAGO.—The chief Heutenant | of American imperialism, the right | hand man of American Sugar in-| |farms—the same question every- BROOKHAVEN, Miss.—A terests in Cuba, suddenly sees the) @4@dual realization that errro of his ways and decides t organize the workers against wi This is the “ ry” messagi of the. play, “S Chester Horne. | The Chicago Workers Theatre} must; have chosen this play in desperation. Only a complete lack of available revolutionary plays can explain the choice of this piay by a workers’ theatre. Though ,the program calls “Marching Feet” an anti-imperial- ist play, it is a typical example of liberal, confusion. Its sympathies ‘e directed, not toward the Cuban masses. who are the chief victims of American imperialism, but to- ward the servants of American finance capital who have the job of directly oppressing the colonial workers. It sheds tears over the fact that occassionally the big capi- talists sacrifice the small fry, fore- men, etc., in order to strengthen the position of finance capitalism. But when the play, in an obvious effort to sound revolutionary, ends on the conversion of the hench- man of the chief exploiter, and his decision to throw up a chance to he a director on one of the most powerful corporations and instead to | lead the workers in the struggle against. war, it becomes not. only | ‘weak, but ludicrous. AE “HE play does expose, to a limited extent, the rule of big corpora- tions over the government. It at- tempts to debunk the glory of war idea. Its failure to consider the Cuban workers, however, leads it to open white chauvinism in one or two places. For instance, one of the more sympathetic characters makes this observation about the Cuban general who is organizing a revolution financed by the Amers ican Sugar Refinery Co. “No white) woman would speak to him except at the point of a gun.” No effort | is made to show the viciousness of vealthy men were becoming| wealthier at the farmer’s ex. by|pense while he was getting | retier poorer transferred a long suppressed undercurrent of dissatisfaction into open talk of rebellion. It is} the sort of talk which could very } easily become action with the| slightest leadership. } The small landowner, the tenant | farmer, renting farmer and share | cropper have about reached the end of ‘tolerance. Many farmers} say “what we need Js a revo! tion,” | but not all have a very definite idea of what a revolution is. But | the years of misery. especially since the depression. |© has left in them}? a strong feeling |% that by some kind of change | they could} | escape i | domination of ai the the the the landdwner, storekeeper. banker and politician— , they don't ae ae “ eare JOHN L. SPIVAK | whether that change is brought} about +by the ballot or the shot- un. af One Lincoln County share crop-} per, who had come to town for a) sack of flour from the Red Cross, was standing on the sidewalk at the foot of the stairs leading up to the relief office. He was talk- ing with several other farmers when I came by. All had that same lean, worried, yet determined look. Their shoes were caked with the red dust of Mississippi roads. The blue denim overalls which they | had was all the clothes they had. | “Them Bolsheviks was right,” he was saying. “They had the right this. remark. This production, which played at | the Hull House Theatre here,| }shows some improvement in the capability of the Chicago Workers ‘Theatre. Compared to the produc- | tion of “Precedent” by the same| group last year, this production is} many degrees higher in technique. | During the first act the make-up | Seemed to be overdone, with a| change’ for the better in the| latter part of the play. | pret ee | 'HIE;Chicago Workers Theatre has | preved that it has possibilities | of becoming a very competent | group. It is making progress which | must be continued. If it can only | find some means, either by a more | extensive. search for revolutionary | plays,.or by establishing its own play. writing group to obtain real) proletarian drama it can, in the| near future, become a very im- portant factor in the workers’ cul- tural movement. Chadron Star In “Broken Shoes,’ New Soviet Film Due Soon | | | | | Nezi Germany is the locale for | “Broken Shoes,” the new Soviet | film to be released in this coun- try early in March. Following closely the recent struggle in Austria, France and| Spain, this film gives a stirring pic- | ture of the social forces behind) those movements, stressing for the first) time the role played by chil- ren. “Broken Shoes” might be called a posed mostly of children from eight to fourteen years’ old. But it is more than that. It is a human document showing how the strug- gles of their fathers affect the chil- dren ‘and how through the children} these struggles have heen carried} inside the school rooms, out on the | playgrotmds and on the streets. It is a timely epic of children in po- litically-torn Europe. Margarita Barskaya directed “Broken Shoes,” her first film. But her ‘Skill and experience as director | of the famous Moscow Childrens’ | Theatre, with which she was asso- | ciated for many years, is revealed | in the smooth and natural perform- | ance of the children players in this | | ‘film. Stage. and Screen | Group Theatre To Present | | Lawson’s New Drama Mar. 14| John “Howard Lawson's new drama, | “Gentlewoman,” will be presented by the| Group Theatre as its second offering of| the season, opening at the Cort. Theatre | on Monday, Merch 19, Stella Adler, Lloyd | ‘Nolan’ end Claudia Morgan head the cast. | “Another Love,” Jacques Deval's comedy ls announced for March 19, at the Van- Theatre. George Oppenheimer Leading players in- , Suzanne Caubaye, and Romaine Callender. ie,” the Group Theatre pro- fon at the Broadhurst Theatre, will ® special matinee performance on Priday afternoon for the benefit of the Actors Pund of America. "The Rats of Norway,” by Keith Win- trent at the Booth Theatre, hi Tuted here next season. Screened By M.G.M. | Wallace Beery and Jackie Cooper will! be featured in “Treasure Island,” « film version of Robert Louis Stevenson's famous story which Metro-Goldwyn will produce. Frank Buck is preparing his new film, “Wild \Cargo,” for release Here on March 15, scoording to an announcement from KKO-Radio, Buck photograpNed — some 00,000 feet on his jungle trip, which he is now cutting to some 8,009. Norma Shearer and Charles Laughton will play tho principal roles in “The Bar- tetts of Wimpole Street,” screened from she stage play in which Katherine Cornell Ras Seen here in 1931, Sidney Franklin will direct the picture, Universal is planning to prodiice ‘The Black Cat,” based on a story by Edgar Allan’ Poe.” Boris Karloff and Bela Lu- gost are scheduled for the leading roles. The Wheeler-Woolsey film, “Hips, Hips, ffooray,” w ilieb shown at the Albee Thep- | Fe, “Brookiyn, beginning tomorrow. The Mage-show includes the Shubert revue | ‘Artists and Models,” with Jimmy Savo. | vein. idea. Why, do you know what they | do over there? Everything that’s| made or grown is put in a govern- | ment warehouse and if you need} something you just go and get ft. If I got two children I get one) sack of flour. If you got four chil- | dren and need more you get two sacks of fiour. The government owns everything and gives it to} them that needs it. There ain't no millionaires there. If you got) a lot of money the government | takes it away from you and gives | it to the poor.” His knowledge of | the workings of Soviet economy was of course, a little vague, but his militant sentiments were re- vealing. “Hell, we're living under a Soci- alist government now,” another | farmer said, cutting a wide swath | with a mouthful of tobacco juice. “Ain’t the government telling us how much we can plant and what} we can sell it for? The only trouble is that the government is still be- ing run for the millionaires.” The conversation went on in this There was no doubting the deep bitterness they had against “the millionaires”—vague figures in the East and North who pulled strings and made the farmers dance like puppets, “You know what Huey P. Long says? The wealth of this country is in the hands of about a dozen | men. Now that ain’t right—that they should have all them millions and we ain't got a sack of flour.” Huey Long’s demagogic advocacy of a redistribution of wealth, tax- ing of the very rich and so on has reached into the Kingfish’s neigh- boring state and left a profound effect upon the Mississippi farmer. Long or Will Rogers quoted, the Kingfish by the farmer in the field and Rogers by upper class, “What would have happened if the government had not given you the a | He the middle and | 5 men relief?” YT asked this ¢ i other individuals or groups, outside | the land agent’s office, the charity organizations’ offices, in the streets | | Pla: where I got about the same answer “We'd a-done something. We was just about ready for a revoltu- tion.” “Mister,” one farmer asked me the government goin’ to stop work?” “IT don't know. W. A. money will stop Spring.” They looked at each other shak- ing their heads: “That's what we done heard,” one said slowly. “What’il the poor farmer do then?” “I don’t know. That's what Td lfke to find out. What will you do?” “We'll get food — and clothes,” one said grimly. He stared down he street thoughtfully. ‘Them millionaires up Bast~ they're stopping this” one said quietly. There was an ominous note in his voice. “Everything’s goin’ to them. The banks is bustin’ with money and we're starving here. Them fellers like Rockfeller and Ford and—and—what’s that feller’s name somebody sald was the real President of the United States. Not loover—” “Mellon Andrew Miéfion,” s farmer helped him out. “Yes, sir. Andrew Mellon. He's a big millionsire, ain't he? Be just about controls everything.” ‘You fellows are talking about » revolution,” I said. “Suppose you had one down here tomorrow—like the Bolsheviks What would you do?” They looked at each other; sev- eral smiled, the sort of smile a kid gives when he’s caught in the Pantry jam. They were at a loss “We ain’t smart enough to know what to do,” one finally said. “You got to have # leader to tell you. Trouble with us is we ain’t got no leader.” The others nodded their heads in agreement. “Well, suppose you yourselves suddenly started a revolution. What do you want? What would be the first thing you would do?” (To Be Continued) I understand C in the Nazis Castrate 3 by Secret Court Order BERLIN, March 7.—Three per- sons were castrated by orders of the Nazi courts under the sterilization laws yesterday. The proceedings of the court secret, and no information was given as to who the victims were. WHAT’S ON Thursday EDITH BEREMAN Br. LL.D. Open Meet ng, Educational Program, Borough Park Workers Club, Ave., Brooklyn. HARRY SIMMS Br. LL.D. meets at 5602 (8th Ave., Brocklyn. Symposium “Europe m_the Barricades.” Admiasion free. MAX BEDACHT speaks on “Pascization 4704 18th of the U.S." at Open Forum of Pen & Hammer, 114 W. 21st St, at 8:30 P.M. CLARA ZETKIN Br. LL.D. holding # Yhaelmann Protest Meeting at N. Y. La- bor Temple, 247 B. ath St, 8 p.m. Eng. 4sh and German speakers, MARCEL SCHERER speaks on “The Austrian Revolution” st the Prog. Com- munity Center, 653 &. 93rd 8t., Brooklyn TOM LEWIS speaks on “An American Looks at Soviet Russia” at Paradise Manor, 11 W. Mt. Eden Ave., Bronx, 8:30 p.m. Adm. 10, Auspices, Mt. Eden Br. THEIT Mandolin Orchestre rehearse! Town Hall Concert. All except con- ertinas must come, The wind instruments rill participate, PACKAGE Party Social at Sparts Youth 0., 1418 Boston Rd, 9 p.m. Ad- one package. BAZAAR in Middle Bronz Work- b, 432 Cla s of Daily Worker Volunteers, 35 ¥. St., fifth floor, 8 p.m. New members RL BROWDER speaks on “Two The- of Working Class Unity” at Irving 17 Irving Place. Benefit National ing School. Auspiees of the Workers 00) orie 1 St AMUSE MENTS THE THEATRE GUILD presents— JOHN WEXLEY’S New Piay THEY SHALL NOT DIE || EUGENE O’NEILL's Comedy AH, WILDERNESS! with GEORGE M. COHAN GUILD 28" 24 5. Wot Bway Ey.8.20Mats, Thor. &Sat.2.30 MAXWELL ANDERSON’S New Play || “MARY OF SCOTLAND” with HELEN PHILIP HELEN HAYES MERIVALE MENKEN ALVIN Thea., 52d St., W. of B'way Ev. ats. Thur, &Sat.2.20 TEGFELD FOLLIES with FANNIE BRICE Willie & Eugene HOWARD, Bartlett SIM- MONS, Jane FROMAN, Patricia BOWMAN. WINTER GARDEN, B'way & 50th. Evs, 8.30 Matinees Thursday and Saturday 2:30 Last American Appearance SERGEI AND MARIE RADAMSKY assisted by Negro Vocal Quartette SUNDAY, MARCH 11, 3 P. M. Benefit Scottshoro Defense ROYAL THEATRE 45th Street, W. of Broadway Tickets 50c, 75c, $1 and $1.50 at Theatre; LL.D., 799 Broad- way and Workers’ Book Shop, 50 East 13th Street Send us names of those you know who are not readers of the | Daily Worker but who would be interested in reading it. Address: Daily Worker, 50 E. 13th St, New RADIO CITY MUSIC 50 St & 6 Ave—Show Place of the Nation Opens 11:30 A. M. Katharine Hepburn in “SPITFIRE” And = great Music Hall STAGE SHOW 2X0 Jefferson Wi 8.8) Now | v ADOLPH MENJOU & GENEVIEVE TOBIN in “EASY to LOVE” Also: “HELL AND HIGH WATER” wit RICKARD ARLEN & JUDITH ALLEN : PALESTINE The Natives Jew and Arab Sing; ; Demonstrate; Work “THE DREAM OF MY PEOPLE” with Cantor Rosenblatt —SPECIAL ADDED FEATURE— “LOT IN SODOM” Featurette Extraordinary ACME THEATREG2 352 Broadway & Onion Sq. TH AVE. Theatre wnt’, 3 Today—2né Week—9 AM. to 11 P.M. orate fenaailen of the Cinema: “NANA”. MASTERUIECE ‘Her Master’s Voice” Roland YOUNG and Laura Hope CREWS in Plymouth ih@'neccs tees a ast, O MORE LADIES A New Comedy by A. H. Thomas with MELVIN DOUGLAS, LUCILE WATSON MOROSCO Thes., 45th, W. of B’way. Evs. 8:50, Mats. Wed., Thurs, and Sat. at 2:45 NATIONAL THEATRE| FESTIVAL New York Pinals 5 “Theatre of Action” Groups In Competition Saturday, March 10, at 4 8:20 PM. 5th Ave, Theatre iby or TODAY