The Daily Worker Newspaper, July 6, 1934, Page 5

DAILY WORKER, NEW YORK, FRIDAY, JULY 6, 1984 Page Fit CHANGE a ~ WORLD! | ———_—_———— By ALAN CALMER ——__———— VERY day our cultural movement runs up against new experiences. Some of them are trivial. Others are really important. Many of them would give anybody a headache. But all of them are signs of growth. Our dra- matic, dance, film, music, painting, and writing groups are stepping out. Every day they run up against problems that are pretty tough nuts to crack. Of course, a lot of trouble is due to the fact that it isn’t simple or easy to become a revolutionary cultural worker. Not only do you have to master your craft; you have to take part in mass struggles if you really want to understand your subject-matter. Not only do you have to know something about the basic principles of Marxism as they apply to all of life. Not only dp you have to find time to create works of art; you have to use your talents in everyday work like reporting, agit-proping, chalk-talking. If you become so involved in organiza- tional routine that you have no time to study or paint, you'll never become a good proletarian artist. If you spend all your time writing, and ignore organizational and practical work, then you're neglecting your duties on the cultural front. If any of these things are missing, then something is bound to be wrong. Many cultural workers commit all sorts of blunders because they don’t understand the complex character of their job. Not only do we find art-for-art-sakers who try to shut themselves off from society; we find talented writers who shut themselves off from literature! They consider art to be mere trifling, mere child’s play. While it is true that writing a revolutionary novel is usually less important than organizing a shop unit, writers from the middle class usually make lousy organ- izers and crackerjack novelists. ee * . Are Cultural Groups Necessary? MUCH larger number of revolutionary writers do not look down on literature, but are opposed to the existence of cultural groups. They don’t recognize the necessity for an organization in which writers and other cultural workers may co-operate in ventures that can only be carried out collectively—like magazines, art exhibitions, plays. Even if they recognize such functions, they are opposed to discussing their “sacred” craft problems with other writers. Some individuals of this type take the very opposite road of the middle class author who studies Marxian theory, but does not partici- pate in working class struggles; they take part in such struggles with- out bothering to investigate the peculiar theoretical problems of prole- tarian art. Such writers may blunder along wrong paths for a long time, until they learn by some trial and error method to correct their faults. Some never do. For example, some talented writers who attempt to compose proletarian literature, frequently commit the mistake of trying to write a political slogan in prose and verse form; they labor under the impression that it is more important to use political mot- toes in their work than to drive home the intrinsic meaning of labor struggles through an integrated aesthetic form. Group discussions on such themes can be exceedingly helpful to the creative artist. However, it must be admitted that this dislike for cultural groups is, as a rule, not based upon principle; it represents simply a dislike for dull organizational meetings. In this sense, cultural groups are not unlike other mass organizations, which concern themselves exclusively with practical questions. For obviously there is nothing wrong with cultural workers func- tioning in some collective manner; nor is there anything in collective effort and discussion that is essentially alien to the American “temper.” ‘The literary schools that formed around many of the little magazines of the twenties are a clear enough indication of this. Moreover, it is well known that literally thousands of cultural groups spread through the country—particularly in smaller cities throughout the Midwest— during the years before the great economic crisis, cae Not Mere Discussion Groups F COURSE, these groups differed fundamentally from our new American revolutionary cultural units. These new organizations are not mere discussion groups. Many of the members participate ac- tively in the struggles of the working class—in demonstrations, in hun- ger marches, at red anniversary meetings, in delegations protesting against attacks upon the masses. While taints of bourgeois bohemian- ism still run through individuals in these groups, the membership is composed to a large extent of a young generation who are throwing off the remnants of bourgeois decadence and are training themselves to become artists of the class struggle, “storm-birds” of the coming revo- lution. These groups have proved their value as groups by winning over white-collar elements who have been drawn into revolutionary activity. These cultural organizations have also demonstrated their great value .as organizations, by political campaigns of various sorts. The Milwaukee John Reed Club, for instance, was very successful recently in preventing the State Teachers College “Band from going to Nazi Germany. They organized a state-wide protest, enlisting the support of many outstanding intellectuals and professionals. According to Dr. C. M. Purin, director of the University of Wisconsin extension division and one of the sponsors of the tour, “the trip was called off because of the objections raised by various radical organizations, such as the John Reed Club.” In the current Thaelmann campaign, the cultural groups are beginning to play an important role in this new offensive against fascism. ye * * Breaking Down the Workers’ Distrust for Intellectuals iia the revolutionary cultural movement in this country has failed to entirely overcome the ingrained suspicion of the work- ing class for intellectuals; this distrust is based upon the incontestable fact that American intellectuals in the past have generally wielded the capitalist instruments of culture against the workers’ movement. In addition, there still exists in the American labor movement a deep- seated underestimation of the importance of culture as a weapon in the class struggle, particularly in the struggle against fascist and social- fascist propaganda. The cultural movement faces the task of breaking down this attitude—by participation in mass work and by increasing the effectiveness of their cultural work. In larger cities, this attitude within the Communist movement has already been broken down—by the aid of Communist Party leaders who are equipped with a thorough Marxist-Leninist understanding of the role of culture. In other cities, this attitude is being broken down by leading members of the cultural groups who have joined the Communist Party and are doing leading work, especially in agit-prop departments. In some instances, members of cultural groups have stepped out to oe take leading parts in basic struggles. One instance is that of Bill Sent- ner, of the St. Louis John Reed Club, who was one of the leaders of the famous Nut-Pickers’ strike in that city. mi ce * * Chicago Artist Faces Lynch Terror A RECENT case is that of Jan Wittenber, a prominent artist and one of the founders of the Chicago John Reed Club. He is held in southern Illinois on charges of inciting to riot and conspiracy to over- throw the U. S. Government. Together with John Adams of the New Masses, and a number of others, he is held under the Illinois Crimi- nal Syndicalist Law, which has been on the statute books since the early red raids in 1920. Jan was beaten up in the open court, and was dragged out of the court by drunken American Legion deputies. Scores of protests have been sent to Sheriff Saathoff at Hillsboro, Il., and funds to the Jan Wittenber Defense Committee (care of John Reed ciup, 401 W. North Ave., Chicago, Ill.), but unless more pressure is brought to bear they will spend the summer in a small town hoosegow, waiting for the November Circuit Court. ENS 5 Regarding the Steamhammersong IMRADE MacMURROUGH wants to express sincere thanks to Com- rades Berkowitz, Stilling and Halapy for the scores they sent in via Mike Gold for the Steamhammersong, recently published in the Daily Worker. Unable to read music himself, he asks for time in whi¢n to consult comrades learned in the, art of transforming written notes into cadenced sound. He will report results as-soon as possible there- after. eer aa JRC Art Students’) ‘Spring Exhibition S hows Progress By JACK KAINEN 'TUDENTS of the New York John | Reed Club School of Art are showing their work of the spring term at J.R.C. headquarters, 430 | Sixth Ave. This marks the fourth | | year of the school’s existence. De- | spite the hasty hanging of exhibits, | from this exhibition as a permanent | | institution for the instruction and | development of young revolutionary | | artists. First in importance is probably | | the work of the political cartoon |elass. This class most consciously | | develops the political perception of the students and prepares them for | active work for revolutionary pub- | lications. Unfortunately, in too | many cases, it would have been | more fruitful had the students at- tended the life class first. Some work, notably that of Johnson and Serrano, is quite mature. This class should be attended by John Reed Club, who, while tech- nically proficient, cannot translate political events into graphic terms. | Anton Refregier teaches this class. Guest instructors include Robert Minor, Jacob Burck, Phil Bard and | other revolutionary cartoonists. The classes in oil painting are conducted by Raphael Soyer and Nicolai Cikovsky. While Comrades | Soyer and Cikovsky are able artists, | and students develop rapidly under | their guidance, we feel that it is not enough for a revolutionary art school to develop students tech- nically. Home work in composition | should be introduced on themes of the class struggle and regular pe- riods set aside to criticize the com- Positions technically and ideologi- cally. In this way the student’s technical development as a painter will be linked closely to his ideo- logical and compositional improve- ment. H. Glintenkamp and Louis Ribak keep the students’ life drawings simple and vigorous. However, it would aid the student in under- standing the human figure if a class or two a month were devoted to lectures on specific anatomical parts. The children’s class conducted by Marya Morrow and Paul Curtis has produced some of the most note- worthy work in the show. A large collective mural in pastel, showing the conditions of existence of work- ers’ children under capitalism, has a refreshing directness of vision and color. Some of our mature artists should cast more than a sidelong glance at it. The lithograph class should be attended by J.R.C. artists. Knowl- edge of reproductive processes is essential to all revolutionary art- ists. This knowledge is ably given by Jacob Friedland and Louis Lo- zowick. It is unfortunate that the work of the fresco class is not on exhibition. Many fine fresco pieces have been produced under the guidance of Hideo Noda, Alfredo Crimi and guest instructor Reginald Marsh. For the summer term, classes in painting, drawing, fresco, political cartoon and composition will be continued. Classes will take place Tuesday and Thursday evenings and week-ends. For specific in- formation call at or write to: Ex- ecutive Secretary, John Reed School of Art, 430 Sixth Ave., N. Y. C. TUNING IN By S. W. R. C. of A. For the last month the Moscow Short Wave Radio Station, RV-59, was experimenting on 25 meters for U.S.A. So far we have not had a report of reception. For July, the broadcast will be as follows on 50-meter band. Broad- casts in English on Sundays, Mon- days, Wednesdays, and Fridays from 5-6 p.m., E. . Also on Sun- days, 11-12 a.m., on 25-meter band. From the 7th to the 18th of July they will give a test broadcast on the 15-meter band. e(he oO « NOTICE—The Short Wave Radio Club of Chicago will have their meetings on Tuesdays at 7 p.m. at 209 North Ave. Code and construc- tion lessons will be given by expert comrades. All comrades interested in radio are asked to join the club. 1:00-WEAF—Baseball Resume WOR—Sports Resume—Ford Frick WJZ—To. Be Announced WABC—Theodore Ernwood, Baritone 1:15-WEAF—Gene and Glenn—Sketch WOR—Front Page Drama WJZ—To Be Announced WABOC—Just Plain Bill—Skétch 1:30-WEAF—Three X Sisters, Songs WOR—The O'Neilis—Sketch W5Z—Actors Dinner Club WABC—Armbruster Orch. 1:45-WEAF—The Goldbergs—Sketch WOR—Jack Arthur—Baritone WJZ—Amos 'n' Andy—Sketch WABC—Boake Carter, Commentator 8:00-WEAF—Bourdon Orch.: Olga Albani, Soprano; Revelers Quartet; Speaker: Colonel Louis McHenry Howe, Secretary to the President WOR—Selvin Orch. WJZ—Walter O'Keefe, Comedian; Ethel Shutta, Songs; Dolan Orch. ‘WABC—Mary Eastman, Soprano &:15-WABC—Easy Aces—Sketch 8:30-WOR—Novelty Oreh.; Slim Timblin, Comedian; Cavaliers Quartet WJZ—Paying the Piper—V. A. Leslie, ropieaene urt of Human Relations 45-) Wat Baseball Comment-Babe, Ruth 9:00-WEAF—Lyman Orch.; Prank Munn, Tenor; Vivienne Seas bic cebaany WOR—Italics—H. i aah Ray, Songs WJZ—Harris Onn 9:15-WABC—To Be Announced =. 9:30-WEAF—Bonime Orch.; Pic and Pat, Comedians WOR—Dance Orch. ‘WJZ—Phil Baker, Comedian ‘WABC—Green Orch. 10:00-WEAF—Crime Conscious—Sketch WOR—Dave Vine, Comedian ‘WJZ—Stories That Should Be Told— Pulton Oursler, Author WABC—Young Orch.; Everett Mar- shall, Baritone; Frank Crumit, Songs; Stoopnagle and Budd 10:15-WOR—Current Events—H. E. Read WJZ—Mario Cozzi, Baritone 10:30-WEAF—Jack Benny, Comedian: Grier Orch.: Frank Parker, Tenor WOR—Robison Orch. WJZ—Chicago Symphony Orch. 10:45-WABC—Carlile and London, Piano; ‘Warwick Ssiters, Songs 11:00-WEAF—George B. Holmes. Chief Washington Bureau, I. N. S. WOR—Weather; Irwin Orch. WJZ—Kahn Orch. WASe—Edith Murray, Songe the J.R.C. School of Art emerges | some of the first-rate artists of the | SCOTTSBORO- RUTH FITCH 1934 | By BOYD Nine living men—already turned into Dark symbols of man’s darkest avenue; But prisons are real, God knows, as lice, And courthouses with other things are packed Than abstract justice. A trial’s a sweating tact | To men whose life blood freezes when the ice Clicks in a jury’s January eyes, Narrowed y hate, and walled and crossed by lies. Nine living men! Protest because their death Will let oppression draw a deeper breath With its asthmatic lungs, its brutal toe Trampling the pyramids we built by inches | To ant-hills. Decry a system that wars and lynches! Call this one dire example—I know—I know— Yet nine live and if these nine should die Who holds the rope, my friends, but you and I? We Visit Caine Heies of Steel Workers i in Pittsburgh ‘By M. VETCH , Sweater was like an awkward, HE looks handsome enough—almost | wrinkled envelope around him. romantic—or he would be in a| When we asked if any of the new suit of clothes. Tall, dark eyes,| children were given milk in the wavy black hair and a face full of | Schools, the mother burst into tears. bitterness. We hardly believe him |Not even the two youngest, one a when he tells us that he is behind | Year and a half old, the other two | in his rent to the extent of $200 and | @nd @ half years old, were drinking | \has been threatened with eviction. | ™ The youngest had had milk | Rent of $16 per month for this ugly | jin the hospital when there with little hut of three rooms whose|Pneumonia, but not since. The | | doors can’t close, whose cracked | poldest girl, aged 8, broke. in was sick and I was coughing and windows have sunk into the rotting | wood. I asked my teacher for milk, but | shi i | Why, it’s impossible to heat Pa bese Bee NO, Fon weigh shouen, you can’t have milk.’ | Place like this, because the floor |” What was the use of asking them and walls are so full of cracks and jit they ever had any recreation, if holes. The plaster is off the ceil-|they read newspapers or saw ing and when the people upstairs| movies, when the mother wore no wash their floor the water leaks| stockings and therefore rarely left into the middle of the bea below. | the house in jhe sub-zero cold spell. (We visited the home in February.) | As a matter of fact, they don’t try to heat the three rooms, but | ‘HE spanish, woman’s husband worked in a steel mill for 10 have moved all their belongings | years—he now aed three days’ work “Home Sweet Home” for a miner’s family into one room and concentrated | in two weeks and although the few their bit of coal on making that/| dolllars he gets is insufficient salary room habitable. We shivered as we| to keep them fed, no relief organ- talked even. in that one heated | ization is supplementing their in- room. The door and windows were |Come. They take their misery very lined with rags hung everywhere to/ patiently. They see by kerosene keep out. arifie of Pay a lamps, cook by coal fires, and warm “Zt themselves at the kitchen stove, This Porto Rican worker with his|though there are gas jets in the sick wife are ready enough to tell their tale of misery, indeed it comes | out with a rush of anger. He had been working nine years in a steel mill—it was a good job once, he comments. Now he works two or three days every two weeks, just enough to keep him off the relief list. But the wages for these days of work never comes to him in cash —every bit of it is deducted to pay} his long overdue bill at the com- | pany general store. Prices are high at this store and | workers purchase’ food there only | because their pay is too small toj| enable them to buy sufficient for) their needs elsewhere, and the com- pany store is the only place where they can get credit. So each week sees them deeper in debt, with no money in their hands as a result | of their days’ labor. Still, he had no children and was thus better off than the Spanish family which} lived nearby. * 'HE first thing that struck us when we saw the four children was that none of them was wearing children’s clothes. The girls were wearing old dresses of their mother, looped up two or three times with a rope to keep them from dragging ete |house which they can’t afford to use because of the high cost of gas. Although all six persons live, eat and sleep in the one room, they still manage to pay the rent for three rooms (two of which are un- inhabited and uninhabitable). s “8 We go into the home of another worker in the same plant. He has worked for the steel company for 28 years, but for the last four years he has received no cash for his work. He, too, can never pay off his ever-increasing debt to the company store. Some of the chil- dren get shoes and clothes from the relief agencies; others are barefoot. |'The floors of the two rooms are bare, as are the walls. The gas has been turned off for nonpayment of the bills, and here, too, the only light comes from a smoky kerosene lamp. A salesman in a general store told us that they can never keep a stock of kerosene lamps on hand sufficient to satisfy the ever grow- ing demand for them. The wife here has a thyroid goiter, one of the children has some glandular trouble that makes his enormous head look queer on his week, puny body, a son is in the hospital with lung trouble, a daughter at home is so sick that she can hardly drag herself around. The children who are in school occasionally get milk, but all of them and the adults too are hungry. Pitisburgh—the steel center! on the floor, The baby sat on the bed in his father’s torn sweater (his father wore no sweater though the room was icy), unable to get up and run around because the Daily Worker Film Guide Worth Seeing LAND OF SOVIETS—Excellent news reel of sport, play and adventure in Soviet Union. MEN IN WHITE—From Group Theatre play of medical profession. Well made. THE THIN MAN—Dashiel Hammet mystery with Wm. Powell. Way above average thriller. BEYOND BENGAL—Independent. Better than most jungle shockers. OF HUMAN BONDAGE-—Leslie Howard commendable in Somerset Maugham’s novel. JIMMY THE GENT—Featuring James Cagney, inimitable and lively as ever. OLD FASHIONED WAY—W. ©. Fields, assisted by Baby LeRoy in a hilarious performance. STRICTLY DYNAMITE—Starring Dynamitin’ Jimmy Durante and his Lupe Velez. CIRCUS CLOWN—With Joe E. Brown out-roaring lions. FOG OVER ’FRISCO—Mystery melodrama of San Franciseo. Un- usually tolerable. Stay Away DOWN TO THEIR LAST YACHT—Pathetic tripe about impoverished millionaires. HALF A SINNER—Don't even look at the stills outside the theatre. Awful stuff. BACKSTAGE MYSTERY—Let us save you a quarter on this. It’s terrible. WINE, WOMEN AND SONG—No adjective strong enough for this one. A MODERN HERO—Woeful miscarriage by director of Kammerad- schaft (G. W. Pabst). NOW VLL TELL—By Mrs. Arnold Rothstein. Mostly fiction. Badly told. NO GREATER GLORY—Insidious war propaganda. Tell others to stay away, too. LET’S TALK IT OVER—Absolutely no! HIPS HIPS HOORAY—The two biggest flops in films. Wheeler and Woolsey. BEDSIDE—You have to pinch yourself to keep awake. D. P. ‘FLASHES and How the Radio Marine CLOSE-UPS By LENS OBS Mr. Roger Baldwin still think that “No Greater Glory” is an anti-war film? ... And by| direct inference that the Wall Street-owned R-K-O circuit is re- leasing an anti-war ribbon on the Fourth of July? . . . Come, come NOW: 25 | And now (since we complained) little Shirley Temple’s salary has been raised from $150 to $1,000 a week! ... While an army of extras is be- ing reduced to prostitution and starvation in the streets of our glamorous Hollywood! .. . (Shir- | ley's father is a Los Angeles | banker!) | The constant stream of American | working boys and girls who trek to | Hollywood in search of fame and| | fortune has ended. . Less than 100 a month now reach Hollywood | for that purpose. . The peak was | | reached in 1928 when 1,100 arrived | | in one month. And so ends an- | | other great ‘American illusion, shat- | | tered on the rocks of unemploy- | ment and hunger. ree | | @OME of the films that Frank | | Roosevelt has taken along on his | four-week cruise: “Personality Kid,” “Return of the Terror,” “Murder on | the Blackboard,” “Crime Doctor,” | “Mystery of Mr. X,” “Affairs of Cel- lini,” “Bulldog Drummond Strikes | Baok” . 3. \« And here's an unusual item: | Charles Boyer tore up a contract with Fox which had several months to go rather than be cast in a part | which he thought too infantile to/| 1 DIGFs is 0:0 I like the one about a Hollywood | producer who urged one of his as- sociates on during a debate over story material with, “Little mind, what now?” ... * =| prs aAestrd takes everything out of you. Creative ambition has little or no opportunity in Hol- lywood.”—Robert Montgomery. Franchot Tone has subscribed to the Dafly Worker... . | rye eae 'WEDEN will have a postage | stamp to “immortalize Greta | Garbo’s likeness.” The good mugs like Jimmy Durante, Mickey Mouse and Groucho Marx are com- pletely neglected, of course. . . W. C. Fields says he will con- | tribute his treatise on the subject of beds to literature some day. . . .| “Tf I can get out of bed long} enough,” he adds. . . . “I consider myself an even greater authority than Groucho Marx, that author | of note, who, im my _ opinion,| bounced only slightly on the sub- ject. Groucho wanted my advice at the time he wrote ‘Beds,’ but I was | asleep.” | 'HE “Russian” film Ben Hecht in- tends to produce soon, is now officially characterized by the Para- mount releases as “ a modern Mid- summer Night’s Dream with a Rus- sian revolution background.” .. . pen eer URNING news flashes from Hol- lywood (please reprint, copy, broadcast and post conspicuously!) : Edward Everett Horton collects old trees. . . . Helen Mack says New York and Hollywood are two dif- ferent worlds. .. . Leon Errol says his 24-year-old Congress gaiters have kept him in luck and made him a success. . . . Ida Lupino has lost 11 pounds in two weeks. She promises to lose seven mi in a few days... . Baby LeRoy is wearing his first real pair of pants. . Gary Cooper is very democratic and treats the members of his cast to beer every afternoon at two. Little Shirley Temple recently held a public funeral for her pet turtle. . Adolph Menjou says American men are learning how to dress. . . . $100,000 worth of dia- monds were used in Mae West's “It Ain't No Sin.” ... And if all this “dope” (inside and outside) doesn’t convince you that Hollywood is a great center of art and culture, what ever will? pee pee [ARICA MONTGOMERY, of 207 Kelvin Pl, Ithaca, N. Y., writes the following letter in the August issue of Screen Book Magazine: “A group of us have organized a ‘Society for the Prevention of Cruelty to Audiences.’ Whenever one of us is stung with a poor fea- tare film, he notifies all the rest and we make it a point to stay away. Try it in your city and make the box-office receipts speak for us!” . Film Attendance During the Past Six Weeks Has Fallen Off Over Fifteen Million Paid Admis- sions Weekly! . . . We repeat: “Fifteen million paid admis- sions! ... . PPARENTLY Hollywood is not giving movie-goers exactly what they want. ... And when the weary and nauseated film fan strikes back, he strikes hard! “On the Chain “Gang” Fine Weapon in Free | Herndon Campaign NEW YORK.—If mass pressure is to force the release of Angelo Hern- don from *he horrors of Georgia's Futon Towers prison, every phase of prison torture to which Hern- don is subjected must be re- vealed to the widest sections of the population. John L. Spivak’s “On the Chain Gang” can be a Patiable weapon in this campaign because it is a startling description of the merciless chain gang labor to which Herndon, who was sentenced to 20 years to this form of torture ‘for or- ganizing the unemployed, can be compelled to work any moment. International Pamphlets are pre- paring a revised edition of Spivak’s fine reporting. It proved such a sweeping success on publication that it sold out two editions almost as soon as they were off the press. Spi- | vak obtained the facts and the pic- | tures which supplemented them in| many cases at the risk of his life. | “On the Chain Gang,” No. 32, in | International Pamphlets series, can | be ordered from Workers Library Publishers, Box 148, Station D, New _ Operators Held Their Picket Line Intact (Editorial Note:—Although the following incident in the strike of the Radio Marine Operators against the American Merchant Line occurred some months ago, we think i is still interesting in view of the present longshore strike.) By WELLARD BLISS HE slogging feet of 25 pairs of men beat up ae? down on the slush outside the piers. ently they walked their beat of the piers to the other, Doggedly they hunched inside the collars of their coats, fighting off cold. They were warmed by the in- ner heat of their resolve: Keep the | picket line going. “Strike on the American Mer- chant Line.” “Do not scab on your fellow sailors.” Longshoremen and seamen, rally to our support.” The red-emblazoned word “STRIKE” bound the 50 men into one whole. Strikers and sympa- thizers, all were bent on getting their message to the longshoremen streaming out through the pier's gates. The organizers, quietly passing out their leaflets, were saying. ‘Read this and see what the bosses are doing. You'll be the next to be cut.” Here and there, longshoremen stood in groups, watching the line, talking over the strike. “You're |god-damn right; we'll be the next ones cut. Look what they're trying to do now with this decasualiza- tion.” T THE end of the pier-frontage, the line bent back on itself, marched down the length of the! piers. Their heads held high; their determination flowed over the long- shoremen. Here and there new- comers joined the line; the rear- guard captain adjusted his partner and himself to the increasing size of the line. It steadily grew. Up and down, up and down, in- penning and increasing went the ine. “Communist” — July A Special Enlarged Issue No worker should be without the July issue of the “Commu- nist”’—an enlarged edition de- voted to a survey of the great strike struggles and containing a critical analysis of the S. P. Convention. Contents: = The Darrow Report, Editorial. The Socialist Party Convention —A Communist Estimate, by Vv. J. Jerome. The Lessons of the Toledo Strike, by John Williamson. Unify the Forces of All Steel Workers for Aggressive Union- ism, Statement of the Central Committee of the C.P.U.S. A. The Great West Coast Mari- time Strike, by Sam Darcy. The Communist Party in the Birmingham Strikes, by Nat Ross. For Improving the Work of the Party Among the Foreign- Born Workers, by F. Brown. Check-Up on Control Tasks in the Chicago District, by Bill Gebert. The I. L. D. Faces the Future, by William L. Patterson. Figures on the American Eco- nomic Crisis, as of May, 1934. by John Irving and Phil Mayer (Labor Research Asso- ciation). Book Review. WHAT’S ON Friday PARTY AND DANCE at Vanguard Cen- ter, 235 W. 135th St., 8:90 p.m. to 1 am. Auspices Harlem Women's Anti-War Com- | mittee. Adm. 10c. PEN & HAMMER MEMBERS and their friends are to meet at 6:30 p.m. sharp m one end|~ the zero); on his ug 1 right. But this to be broken up,” ve. you a right, and a left too! “IT suppose you will, if you can,” replied the captain as he ran after the end of his marching line. When the captain reached the end of the line, he said to the men in front, “Pass the word along. Keep your mouths shut. March Peacefully. Hold this li HE word rippled to its head. The men’s chins went high They were in the right> they have a right to march. The new feeling of the marching men was caught up by the bystanders, o sensed the new determination, The line reaching its southern point, bent on itself and started north. Midway of the march, the men were met by the cop, who had Stamped down to meet them. “I'll show ‘em who's boss,” he growled. The head of the line halted in front of the policeman, who snarled, “If you bastards don’t break up this line, Ill knock your god-damned brains out!” down the lina The leader quietly spoke, “You're invading our civil rights. We have @ right to march. “Tl show you your rights, you son of a bitch! You gonna get out of here?” “No!” | Up and down the line ran the cry, “Hold the line.” The cop plunged into the front ranks of the line, punching at the faces nearest to him. The men held their positions determined not to be provoked. He pulled out his black- jack, swung at the men. There was @ wild melee. A surge of men flowed over him. Down on the ground, the cop lost his fighting ardor, tried to cover up, to protect himself. Res- cuing police charged into the churn- jing mass. Laying about with black- jacks and night-sticks they dis- ‘ | persed the men. A SMALL group of the picket line ices up and down, holding that ‘ine. _The police, bent on securing a victim, arrested an innocent by- | stander who had been nowhere near |the fracas. They corralled two |more men, and pulled them inside | the pier shed, but they let the picket line alone. They well knew the de- |termination of that line and the sympathy of the longshoremen. | The line held, marched up and ~ | down, carried their placards, “Strike jon the American Merchant Line.” Stage and Screen | Radio City’s Center Theatre | To House Strauss’ “Waltzes From Vienna” The Center Theatre, the smaller of the two Radio City playhouses, will be discontinued as a moving ~~ | picture theatre on July 8. Arrange- | ments have been made between R.K.O. and Max Gordon, whereby | the house, which seats some 3,700, will be devoted to legitimate musi- cal productions beginning in Sep- tember. The initial production will | be the Strauss operetta “Waltzes . From Vienna,” which had a long... | Tun in London. The operetta is | adapted from the German and | deals with the lives of the two | Johann Strausses, father and son. | The music is composed of Strauss numbers. Hassard Short is staging the show. Lynn Fontanne and Alfred Lunt | returned yesterday from London, where they appeared in “Reunion anon | waterfront, on S.W. corner 8th Ave. & 52nd St., to) attend the Madison Square Garden meet-| in Vienna.” T ing en masse. | in November in DR. 8. LEROY speaks on “Soviet eae new play by Noel Coward. The two Unions vs. N.R.A. Codes,” at 1401 Jerome + Ave. cor i70th Bt., 8:90" pm. Very cool,| artists, while in Europe, made an free lemonade. Adm. 10c. Auspices Mt.| extended trip to Russia to study the Eden Br. F.S.U. Soviet theatre. They are highly Saturday enthusiastic about the work carried on in the Russian playhouses, MOONLIGHT DANCE and Entertainment | at Manhattan Beach Hotel Garden, 156 Sed Jules Bledsoe To Sing In “The Emperor Jones” West End Ave., 8:30 p.m, Auspices Ocean | Side Br. F.§.U. Fine program will be| presented including Workers Lab. Theatre | id J Phillip, Paramount Theatre = brea wae “The Emperor Jones,” the Amer- ican opera based on Eugene O'Neill's play, which was produced at the | Metropolitan Opera House, will be wat ecu oer ome tert Gane | sung on July 10, 11 and 12 at the Special bus leaves St.| Mecca Auditorium on 55th Street, George Ferry 11 am. and 2 p.m. Come| with Jules Bledsoe, noted Negro Donation | naritone, in the leading role. Mr, Discount | Bale | 50 E,| They will be seen here ee 8h STATEN ISLAND SECTION LL.D. Picnic} Sunday, July 8th, at Scandinavian Work- ing, swimming. early and bring your friends. 5c. LAST CALL for the 20-50% Sale at the Workers Book Shops. ends July 7th, Saturday, 7 p.m. 13th 8t., N.Y.C. Philadelphia, Pa. PUBLIC TRIAL of German Fascist ter-| ror, Friday, July 6th, 8:15 p.m. at Garrick ‘Theatre, Chestnut near Broad. Kurt| the Mecca will consist of forty mu- Rosenfeld, Mrs. Amabel, Wm. Ellis, Arun- | sicians of the Metropolitan Ta del Bearon, principal witnseses. Arno R. | ie Ope Mowitz, German consul, invited to defend | COMPany. Hitler regime. FREE ERNST THAELMANN! the O’Neill play, but this was before it was set to music by Louis Gruen- berg. Last February he was heard in the American opera in Amster- dam, Holland. The orchestra at | will have an all-Negro cast. . mn ND BIG WEEK York, or from workers’ book shops and branches, “Don't Fail to See This Film.”—DAILY WORKE! 6é MOSCOW MAY DAY In the Land (FIRST COMPLETE SHOWING) of the KOLKHOZ (Life on Cooperatives); CHELYUSKIN EXPEDITION; MOSCOW 99 me 193 1984; SLALINGHKAD and GURKI plants; Soviets SNOW and ICE CARNIVAL, etc., eto. 14th STREET and 4 ACME THEATRE union square JAMES W. FORD Says: | EYTADIUM CONCERTS. “By all means Negro and white | Lewisohn Stadium, Amst.Ave.&138 St. workers should see PHILHARMONIC-SYMPHONY Symphonic Programs stevedore Sunday through Thursday Nights, 8:30 | Conducted by ITURBI Opera Performances with Star Casts CIVIC REPERTORY THEA. 105 W 14 St. Friday and Saturday Nights at 830 Eves. 8:45. Mats. Sat. & Tues. 2:45. Conducted by SMALLENS 300-400-O0c-750-$1.00 & $1.50, No Tax | \ LP-PRICES: 25¢-50c-$1.00—(CIrcle ie “Point Valaine,” a-- Bledsoe has already appeared in.. “The Emperor Jones”