The Daily Worker Newspaper, December 12, 1934, Page 5

|] lost millions in no time, | CHANGE i — lw WORLD! By MICHAEL GOLD ——————_—_—_ “QET a thief to catch a thief” is one of the favorite maxims of Scotland Yard. But the American courts seem to have a maxim all their own, “Set a thief to pardon a thief” is what the Chicago courts seem to swear by. Nobody knows or probably will ever know exactly how much money it was Sam Insull defrauded the American people Out of. The loot of his financial trickeries would undoubtedly total millions of dollars. Thousands of small investors had their pockets cleaned by the talented stock swindles of the Insull gang. Millions of Chicago workers had to pay annual tribute in utility rates to this financial pirate. The case was an open and shut one. Insull stood accused of having used the Government mails to defraud. Worthless stocks were advertised as profit-bearing securities through the United States mails, This constitutes a Federal crime. It carries. with it a heavy jail sentence. But Sam Insull went scot free in the courts of Chicago. The fugitive and swindler, weeping crocodile tears in the dock, was granted a complete acquittal. And with him, his son and his accomplices were pardoned. = . . A Manual for Swindlers H Bea whole tale of the financial manipulations of Sam Insull reads like the manual of all business practice. In the trickeries, the sleight of hand, the juggling and acrobatics with fake corporations, holding companies, and watered securities, one can see, in miniature, the whole art of capitalist finance laid bare. What Insull attempted to do to keep the market price of his stocks up, and how he contrived to evade the so-called legal rate of six per cent profit alloted to public utility corporations, is the common practice of all the public utilities monopolies everywhere in America. It holds good for the traction companies, the telephone and telegraph corporations, the light, heat and water monopolies which have preyed upon the public with little or no interference by the government for decades. In order to show the legal requirements that they are not earn- ing in excess of six per cent profit, the utility magnates begin to divide their corporations like amoebas. They separate into innumber- able dummy outfits, with fake board of directors, with a fake in- dependence, whose earnings in reality are part of the single treasury of the biggest stockholders, Each dummy company’s books show no more than the Jegal six per cent. In that way, the legal rulings are dodged, and the bank books of the millionaires accumulate huge balances, It is a common practice. It is an outgrowth of the days when the huge monopolies set out to overcome the obstacles placed in their path by the anti-trust and anti-monopoly laws. The tremendous in- dignation aroused among the people by the unscrupulous exploita- tion of these giant firms forced the hand of the government. giant monopolies were ordered broken up. But their destruction was just a fable to deceive and waylay the popular anger. In reality, the trusts and the giant corporations have grown huger and more powerful since the passage of the anti-trust bills. The same method of setting up dummy corporations and holding companies which were tools of the Rockefellers or Morgans or Mellons was used by Sam Insull in Chicago. Profits and Tears UT in spite of their huge profits, in spite of the fact that the public utilities have earned millions of dollars profit through the worst years of the depression, it is always their voice which is loudest when questions of relief come up. With a hypocrisy typical of brigands and buccaneers they point to non-existent losses on their books. They wail their loot is not sufficient to permit them to continue to operate their public services: They employ high-power publicity agents whose one task it is to create public sympathy and to build up the myth of the profiteers as servants of the people. In their hands are concentrated all the natural resources which are indispensable to the life of a big city: They own and control the tight to give a city its light, its communication, and in some places its water supply. In actual fact, they hold the cities at their mercy. Their rates are price-fixed monopoly rates. They are exorbitant tributes, unhampered by the vissitudes of competition. And they have the blessings of government officials. * * * Pardons for Profiteers HEN the Insull structure collapsed, and the whole huge swindle scheme came out into the open, it was part of the necessity of taking some action against the money changers in order to appease the impoverished American masses, that the government decided to prosecute Sam Insull, Tipped off by secret code messages, Insull fled from Canada to Greece. For two years, the government men pursued him. Finally, he was forcibly extradited from Greece and brought back to Chicago and clapped into the county jail, Yet at all times the ardor of the government was half-hearted. Sam was to be used as @ scanegoat for all the misdeeds of his capitalist colleagues. When he stood up in court, weeping, a pathetic picture of a per- secuted old man, and his son Martin, extolled the generous and noble character of his father, the heart of the jury softened with pity. And when General Dawes, and bishops and college presfdents, and bankers and other notable men of our governing class stood up as character witnesses for Sam, and told how fine, how generous, how no¥ie a | man this pirate was, the jury was captivated. Their hearts melted like sealing wax. They gave Sam Insull his freedom, and the right to start his pyramids all over again. But the boards of directors of the Insull companies were moved by more practical sympathies. In memory of the valuable services Sam had performed for the Insull family and their friends, they granted him a combined pensicn of eighteen thousand dollars. Which is nothing to sneer at. By careful invest- ments, with alittle inside information, Sam can start retrieving his All it takes is a little gall and the right connections. So Sam got his freedom back, and the penitentiary is minus a distinguished criminal. But there’s the old saying: “The rich don't have to steal; they employ people.” Sam, in his idleness, should vonder that bit of wisdom. TURN OF EVENTS Mike Gold is at the bottom of the contribution list today. This would be not so serious ordinarily, but Little Lefty getting $53 today is running neck and neck with Mike in quoat percentage. John Marcy Joe Maciuke Previously Rec . Total ++ $895.92 To the highest contributor each day, Mike Gold will pre: copy of his novel, “Jews Without Money,” or an original autogr his “Change the World” column. nt an autographed hed manuscript of An Epic of Anti-Fascist Struggle By STELLA D. BLAGOYEVA The Nazis could not gag Georgi Dimitrov, though their noose was slung around his neck, Blagoyevya, Dimitrov’s friend and comrade for 35 years, has packed into her fighting biography all the drama in the life of the hero of the Leipzig trial. CLOTH .75 INTERNATIONAL PUBLISHERS So. “TURTH AVENUE @ NEW YORK. N.Y International Publishers 381 Fourth Aveaue, Nev York I am interested in your pub- Ueations and would like to re- ceive your extalegue and book | news. Gentlemen: Name .... Address... The | | | | i | | capitalism, DAILY WORKER, NEW YORK, WEDNESDAY. DECEMBER 12, 1934 MOVIES Chinese Revolutionary Writer WORLD of the In Memory of a Talented WORLD of ART Victim of Capitalist Society Brutally Killed at His Post A Significant Art Show CRAINQUEBILLE, a French talkie with English dialogue titles, di- rected by Jacques De Baroncelli, featuring the French actor, Tramel. Based on a story by Anatole France. Playing at Acme Theatre, Reviewed by DAVID PLATT | IS unfortunate that Anatole France was always more of a so- eial-democrat in his thinking than | a Marxist. Otherwise he might have | given us a less liberal and sardonic | and more of a serious workingclass | interpretation of the life of the old proletarian Crainquebille, the street-vendor, whose rapid descent | from comparative poverty to com-| plete destitution as a result of the! devious processes of bourgeois law | 3 and order, can be seen in the pic- ture by the same name, now play- ing at the Acme. As it is, the author and the pro- ducers of the picture have chosen | the character, splendidly played by | the French actor Tramel, to act out| his part entirely isolated from any | relationship to the workingolass. Crainquebille seems to have been set | up as a sort of target for all sides to shoot at, a sorry and ineffec- | tive symbol of social innocence at | | hopeless war with social guilt. True, | there is some fine satirization of | upper class society. The court-room scenes contain some of the BULBOES | best barbs against class justice. But | as a whole, the real class forces | are nicely hidden deep in the back-' ground. One receives powerfully an im- pression of a man going to wreck land ruin, but more because of the! First of this yeaz. The dispatch told stupidity and ignorance of indivi- duals in society, rather than society itself, as a well regulated tem of repression. The result the whole burden of social helplessness | is concentrated in the lone Crai! quebille, who naturally cracks heavily under the strain, although his last days are made much easier by the sympathy of a few children who happen to be fond of him. But the feeling that there is nothing that can be done about the case of the old man is strongly prev throughout the picture. And this undertone of the helplessness and hopelessness of individuals of all classes that weakens what would otherwise have been an admirable study of the life of a worker under Amusing Satire THE CZAR WANTS TO SLEEP. Di- | rected by Alexander Feinzimmer. Music by Sergei Prokofieff. Pro- duced by the Leningrad Studios | of Belgoskino. Distribution by Amkino. At the Cameo Theatre. + ee “WHE CZAR Wants To Sleep” is a mad, satiric little comedy that should amuse everyone. The music by Prokofieff is very witty and alone worth hearing. In this scenario, slightly reminiscent of Rene Clair, we see the cou:t of Mad Paul com- pletely upset over a ceriain non- existent Lieutenant Kijhe. Crazy! Paul, on being awakened from his sleep by someone's scream, must pun- ish the culprit. Through a clerk’s error, a soldier who doesn’t exist is | selected for punishment, The plot; Tuns merrily along, showing fizst the rise to Major General and wealthy landowner, and then demotion to common private, of this “etherized | presence.” The fantasy of this little plot is well sustained throughout. The chief merit of the picture are the laughs built around the adven- tures of this mythical lieutenant. It would gzeatly spoil one’s enjoyment to know the situations in advance. The actors are well up to the high Soviet standard. But technically the film fell down considerably. The photography is only fair, and the direction spotty. Here was a picture that needed a strong and imagin- ative hand to heighten its satire. It neded the touch of a Pudovkin, Kis- | enstein, Protazanov or Alexandrov. | The direction was uninspired, but | still the story is so strong that it is able to carry the picture. | “The Czar Wants To Sleep” is, well worth seeing, and is as good as | any Hollywood comedy. The high mark the Soviet cinema has reached, however, often causes us, wrongly, to be disappointed when it isn't always maintained. EDWARD KENNEDY. | A LITTLE CHILD LEADS THEM » Little Lefty is celebrating for) three reasons:: he collected by far} the highest contributions for the| day—$53; he leads Ramsey in quota | by 3 per cent, and almost tics Mike Gold (88 vs. 89.5 per cent). Section 15... 2.66... 66 + ee 8 45.00 Nature Friends Scouts, Thaelmann Troop 2.01 Theatre Collective + 6.00 Previcusly received ........... 386.47 Total sas - $439.48 Del will present a beautiful colored portrait of his cartoon characters every day to the highest contributor, | | | | xox omen’ 7A POLECATSII 1/ y) MR. Goss Y) WANTS 10 SEE. Yy You, Par GEE WAZ | \— | HOPE WE DION'T A GETCHA INTO A t | Shirts in the autumn of 1933. Noth- ‘to win him over to write for “Na- {even started anti-Japanese agitation | |get rid of him. Yes, it is indeed | By C. H. “Why should I be afraid of death? After I am gone, there are others. Our comrades can be found in every corner of the earth. Their number and strength are increasing daily. Some of them have to die, but never betray others!” OU SHIH I, the author of the above quotation, taken from his story “The Old Jailer,” was one of the most talented revolutionary writers of the younger generation in China. He was kidnapped by the butcher Chiang Kai-shek’s Blue monopolistic salt merchants, at- tempting to boost up the price by cutting down the supply, had re- fused to buy any more of their salt. The local officialdom, working hand in glove with the salt company, per- secuted the workers who tried to sell the salt themselves, In desperation, the salt workers staged a revolt. But, thanks to the betrayal of their official “comrades,” those Kuomin- tang members who pretended to be fighting for the interests of the works during the early part of the struggle, their fight for their very | existence was bzutally suppressed. “One day, years later, Chen Ho, a salt worker who ¢scaped perse- cution and was then working on a ing was heard of him. But accord~- Z Chiang Kai-shek’s butchers killing a worker, ing to the latest news received from Moscow, he was executed on May street repairing job in the city, saw ore of his former official ‘comrades’ walk by in the company of a gorgeously dressed lady. Chen was delighted to see him. Grasp- ing his shoulder with his power- ful and soiled hand, he asked him eagerly: “What is the latest news from our salt colony? When shall we go back together to continue our work? aaa “Chen Ho’s ‘comrade’ was ter- ribly embarrassed when thus ad- dressed by a plain worker in the presence of his charming com- panicn. He frowned, muttered us further that at first the Nanking government tried all possible means | tional. Literature,” a Fascist brand manufactured by the government in their desperate effozt to offset the influence of the ever spreading left- wing literature. Failing this, they subjected him to the most inhuman tortures, in an attempt to force him to talk. Com- rade Lou not only withstood the torture as a true revolutionist, he in ja This so maddened the butcher gove:nment that they chore May First as the particular day to | and hurried away, dusting the soil from his brand new suit with his delicate fingers. “A fellow worker standing be- side Chen Ho nudged his stunned comrade and said: “You fool! What have you got to do with a running dog like him? Now is the time for us and us alone to carry on our struggle.’ “Silently they raised their shov- els high in the air...” * 8 HHUS ended the story of “The This world we exchanged for our Salt Revolt.” Besides. ‘a book of bake blood: (From “The” Old | short stories, the most significant Jailer.”) | writing left by Comrade Lou, so far as I can find out, is an article con- tributed by him to a forum: “My Experience as a Creative Writer.” It was written in May of 1933, three fitting that he laid down his life | or the very day when the toilers of all lands were marching, as if assur- ing their martyred comrade that his | struggle will be carzied on to its final victory. | “A totally different world, a world of amity and brotherhood, will soon appear on th’> ess'h EW Hise IOMRADE LOU was born of a smal] merchant family. Upon finishing high school, he had to go something—nobody knew what— | to work. He wrote his first story while employed as a clerk “behind the shining brass bars” of a Shang- hai bank. To his great surprise and “shame,” using his own expression, it was accepted and printed. He came over to the revolution during the Shanghai Massacre in 1925, and participated in, the struggle till his last day. With the appearance, at the end) “The Salt | of 1929, of his story Revolt,” Lou’s position as a revolu- tionary writer was definitely estab- lished. It attracted so much atten- tion and praise at the time that a bourgeois motion picture company | with the following ringing appeal to} adapted it to the screen. months before he fell into the hands of the hangman, Chiang Kai-shek. This article, an all-round discussion of writers’ problems. reveals him not jonly as a writer of talent but also |as a thorough Marxist, Hard work and methodology, ac- | cording to him, are sure roads to | literary success, He defined “meth- |odolegy” as “the way of looking at life, the point of view in selecting materials.” By these, of coucse, he | meant that proletarian writers must | write from the point of view of their | class, | Comrade Lou concluded his article | his fellow writers: WHO'S RERRIO OF “HAT BIG, 7 BAP WIND- The story told of the deprivations | “Master the fundamentals of and struggles of a colony of salt; M. L, (Marx and Lenin). Plunge workers, with a deserted beach and| into the reality of daily struggle. raging sea as background. These| The literary child born of this workers were facing a winter of cold; union is art that possesses real and starvation, because the big! value,” Stalin’s ‘Foundations of Leninism’ Warmly Greeted by Chicago Workers HE workers of Chicago greeted with tremendous enthusiasm the popularly priced edition of Feundatiens of Leninism by Stalin. ‘The book stores are selling hundreds daily at mass mectings and to in- dividual workers. Seven hundred were scld at the 17th Anniversary of the Russian Revolution in Chicago alone. Hundreds more were sold in the many mestings held all over the District. Our quota of 10,000 will be. easily exceeded. The workers look to Foundations of Leninism by Stalin as a text- book and a monument to the triumph of Leninism. In it can be found the answers to the numerous problems facing us every day in our struggle against capitalism. It is a guide, based on the inter- national experiences of the entire working class. The theory of the working class movement is brilliantly condensed in the simplest and most direct manner by Cemrade Stalin. To spread thousands, nay, hundreds of thousands of this book to the masses of workers, means to ensure a clearer understanding of the international meaning of the Russian Revolution and its lessons for America; it means to help combat the wrong and misleading theories of Social-Democracy; and to destroy the bourgeois demagogy and quack theories produced during the crisis to keep the masses from a revolutionary out. Feundations of Leninism is not merely a book brilliantly written but it is our guide to action against capitalism! DISTRICT COMMITTEE, COMMUNIST PARTY, DISTRICT 8 (CHICAGO). The Untouchable! aH! A T HOW aRE Nou PaTEY|_| MY CHILO- | WANT “TO “TALIA TO. You ASOUT YouR FREE-Foop - cies RS 2UCK, PaTey! HE BUuLLONEY'S Reviewed by DEL HE ART SHOW at the Daily Worker Chorus rooms, at 47 East 12th Street, New York City, is a surprisingly good one. It was gotten together by members of the Artists Union, with practically no advance | notice, and presented with a lack of | fanfare and ballyhoo. It is a collection of drawings ana paintings on social themes which | have a wide range of conception and | execution. Some of the presenta- tions are examples of clearly thought } out, mature proletarian art, whi others are rather badly confu: Some of the paintings reach a high standard and others evidence the need of development and expe-ience. However, in general, and taking into consideration the fact that most of the artists represented are new to the movement, the general impres- sion is a most favorable one. There are also some familiar names. Phil Bard shows a sketch which was later worked up into a finished mural. There is a Hugo Gellert. Tamotzu, who has done and can do better, presents “Visions of the Daily Worker in Class War.” There is a painting by Joseph Vogel which has a somewhat weird history. It was originally hung in the Office Workers Union but was removed for some strange reason, at the insis- tence of the Wall Street section. It is called “America in Revolt,” and is a splendidly organized and exe- cuted panorama of the American scene. The sequence flows logically | and naturally from the beginnings of class struggle into higher forms, sweeping past an ironic Statue of Liberty to the building of a new | society. | There is also an excellent paint- ing by Sarah Berman, The symbol- ism is clear-cut, the characters are |remarkably well-drawn, and it has jall the necessary attributes of revo- | lutionary art. The color is somewhat. | uncertain, but this is a minor defect, ® | JACK KAINEN’S dzawing, entitled | tices of the ruling class into a gen-| |uine science and an effective de-| |¥ “Right To Organize,” shows a | worker holding another. bleeding from wounds evidently inflicted by company police. to arouse the fighting spirit of the | onlooker. There is an abstraction by Ben Zion, on which is pasted the mast- | head of the Daily Worker, evidently | based on the assumption that the |mere mechanical inclusion of the | central organ of the Communist | Party makes for revolutionary art. There is a delightful satiric sketch | by Ben Shahn of two relief officials. | Raphael Soyer has a splendid paint- | ing entitled “Waiting for the De- | pression To End.” Phil Sawyer's | “Stevedore Police Line-Up” is highly commendable both from the polit- | ical and artistic point of view. So | are the contributions of Marantz and Ferrugio. Joseph Meert’s “No Work Today” and Joseph Solman’s “N. R. A. Leisure” accomplish their | objective, A pencil plan for a mural by Mischa Richter is excellently donc, as is a linoleum print by Ralph Fox called “Mother.” There is a sketch | by E. Tribach, “Demonstration,” | which indicates splendid possibilities | in the artist. “Day In and Day Out,” by Jack Reynolds, is an epic | of the drabness and colorless exis- ; tence of workers exploited under this system. This painting alone is| worth a visit to the show. “Riot,” by Georgio Cavalla, is a painting that is attractive in color and well | composed. Also a landscape by | | Lorenzo Santillo and an abstraction | by Orozco Gasparo called “Evening.” | | Don’t miss Isadore Margolies’| | “Enforcing 7a,” a painting that is both solid in composition, good in| ‘color and in which the characters | are delineated with authenticity and | familiarity, The show, in sum, is a splendid | example of the pzesent trends of | thought in those artists who are sensitive to the social forces around us. JRC School Offers Low | Rates For YCL Members | Members of the Y. C. L, may take any of the courses in the Writers School of the John Reed Club at a reduced price of $3 instead of $4, Numerous requests from Y. C. L. members indicate that many of them would like to avail themselves of this reduction. The four courses are: nesday evenings, 9 to 10:30, begin- | ning January 2; Reportage, Monday evenings, 7:30 to 9, beginning Jan- uary 7; Poetry, Saturday afternoons, | 2:30 to 4, beginning January 5. Some of the leading instructors and guest lecturers are: Granville | Hicks, Michael Gold, John Spivak, | Joseph North, Sender Garlin, Leon Edward Newhouse and many other prominent revolutionary writers. Registration can be made daily | between 2 and 5:30 p. m., or by mail with accompanying fee. Tf -sow i've Alwans Y LIKED You AND I'LL LEY You 6& MONITOR, AND GIVE You EVERY! THING You NEED IF You GIVE UP “THIS SILLY CLUB. LISTEN, TQ \' YouR FRIEND — AND 1 Page 5 | LABORATORY and SHOP SOVIET ANTHROPOLOGY In a recent book on the methodol- egy and theories of anthropology. Professor Paul Radin described a large school of bourgeois anthropol- ogists who based their work on the premise that primitive and colonial peoples were inferior to their white ruling classes. This premise, of co! , is used as an ideological de- fe of imperialist capitalism and its exploitation of colonial peoples. Marx: have pointed out that anthropology and its related fi have from their inception been u: to prove the “inherent’ biolog’ and social superiority of the various Tuling classes. Today we find the Nazis erecting numerous pseudo: sciences that preach the inf of the non-Aryans, and anthropol- egy and other “race-sciences” have e the open political tools of German imperialism. In other capitalist countries an- thropology plays the same role. The functionalist school in England, for example, is an ideological extension of the British colonial office. Their studies of the culture and social or- ganization of backward peoples boil down, in the final anaiysis, to crude statements about the innate superi- ority of the imperialists and the best methods of expl ig their col- onial subjects. Anthropology in the Soviet Union in | It does not support any of the false | concepts of racial or national su- | periority. The Soviet scientists study |man’s biological and cultural heri. tage, and are playing a large role }in preserving the records of the cultural backgrounds of the minor | Nationalities in the U.S.S.R. A recent article in the Moscow | Daily News contains interesting in- {formation on the status of Soviet | anthropology. It describes the change that transformed the dis- | cipline from an apologia of the prac- | partment of human knowledge. | Before the October Revolution an- This painting is| thropological research in Russia was | sentimental and hardly calculated | done entirely by small scientific so- | cities and wealthy amateurs. The | field never attained the level of a | highly . systematized science. To | remedy this state of affairs the Mos- | cow Institute of Anthropology was | established in 1921, During the next | decade 39 éxpeditions were organized | and sent to the various remote re- |gions of the U.S.S.R. More than 30,000 people were examined in the course of these studies, and val- uable social, cultural and physical | data was accumulated. Physical an- | thropology was not neglected, al- | though the Soviet scientists attack | the prevailing bourgeois custom of acteristic of a primitive people (such @s unusually long arms or smaller | brain development) to prove their | thesis that the ruling class rules by virtue of its biological superior- ity. has been freed of these shackles. | picking out some anatomical char- | In addition there have been many | By David Ramsey sition period between the Pale: and Neolithic well as tombs and a new light on the y of the Volga region, ected with Insti« tate Museum of An- The latter has a large interesting collection of skeletal ethnological m: There two permaner the ori demons‘ g his common origin in ‘alized ape-type. itself has three mas jalizing in the and anthro- of the field. The cts are studied in the problem of standards ion ing out upa- years this de« d out standards id other p of the body for differer al groups of the populat has enabled the standar of ind 1 equipme: h as rubber shoes and the like. In their racial studies the Soviet Y done much the racial constitu- ents of the U.S.8.R. Studies have been made of the general physical pment of regional groups and lal attention has been paid to racial peculiarities, There has also been considerable progress in de- | veloping sound racial theories, The department of anthropogene- Sis has studied the problems of the evolution of different sections of the brain, the paleontological remnants of fossil man and similar questions, ARTIFICIAL CHLOROPHYLL At the recent meeting of the Na- tional Academy of Sciences, Dr, Paul Rothemunt! of Antioch College | reported that the artificial creation of chlorophyll would soon be an ac- complished fact. Chlorophyll is the basis of plant life. It is the sub- stance that acts as a go-between in the transformation of solar energy into the starches and sugars that nourish animal life. It was believed to be a single substance, but recent | research indicates that there are two kinds of chlorophyll, and in addition the green coloring sub- Stance that gives the vegetable world its characteristic hue, Dr. Rothemund grew corn in an underground vault which never saw any light. From its leaves he ob- | tained a substance that would have | been chlorophyll had the corn been grown in sunlight. It was colorless | and strongly resembled the chemical | Structure of chlorophyll. The color- less product is called proto-chloro- Phyll. This demonstrates that plants can produce cholophyll without the aid of light. He then precipitated rom the proto-chlorophyll, in a | carbon dioxide atmosphere, green and red coloring matter #nd inter- mediate hues, thus duplicating the | color displays of nature. CAUSE FOR CONCERN contributions to the fields of ethnog- | raphy and archaeology. Because of | the Institute's close connections with industry, it is able to profit from finds that are made during indus- trial construction and excavation. Skeletal and other materials are immediately turned over to the In- | stitute for investigation. | During the construction of the Volga-Moscow Canal, twelve pre- historic memorials were discovered | along the line of work, The sites| of dwellings dating from the tran- A good showing after the past week's let-down, But Lab and Shop, which was so near being the second to reach its quota, is now below Little Lefty by three points. Is the boy going to put ‘t_over on Science? Madison, Wis. . oS 7.00 2.10 1.00 » 204,14 - $214.24 Stevedor | Fiction, | Wednesday evenings, 7:30 to 9, be-| ginning January 2; Criticism, Wed- | | Donnen, Alfred Hayes, Orrick Johns, | SELFISH ano STINGY / SAN IF YOU THINK I'M f DOUBLE - CROSSER You'RE SROLY MISTAKEN / | CHICAGO, Ill. —“Stevedore,” the Theatre Union’s play about Negro dockworkers in New Orleans, written by Paul Peters and George Sklar, | will open at the Selwyn Theatre on | December 24 for a month’s showing, jt closed last week in New York | after a 20 weeks run, and is showing | in Philadelphia now. The Drama Union of Chicago, co- | operating with the Theatre Union |in bringing the play here, announced teday that 25 Chicago organizations |have pledged their support by having theatre parties. Over half of the tickets for the first three weeks have already been taken by these organi- zations, thus guaranteeing an au- dience in advance. Labor organiza- tions, numerous groups and associa- -WEAF—The American Beauty —James Montgomery Flagg, Ar! WOR—Sports Resume—Ford Frick WJZ—Amos 'n’ Andy—Sketch WABC—Myrt and Marge—Sketch 7:15-WEAF-—To Be Announced WOR—Marion Chase, Songs WJZ—Plantation Echoes, Mildred Bailey, Songs; Robison Orchestra WABC—Just Plain Bill—Sketch 7:30-WEAF—Gould and Shefter, Piano WOR—Levitow Ensemble WIZ—Red Davis—Sketch WABC—The O'Neills—Sketch 7:48-WEAF—Uncle Ezra—Sketch WOR—Dance Music ‘WJZ—Dangerous Paradise—Sketch WABO—Boake Carter, Commentator by del MORE TUNING t | | e Opens in Chicago Bee 24 tions of colored people, and groups | of social workers, professional peo- ple, fraternal societies, etc., are in- | cluded in the organizations cooper- | ating with the Drama Union. The | National Association for the Ad- | Yancement of Colored People, the | Urban League, the League of Strug- | gle for Negro Rights, the Chicago | Federation of Labor and the Inter- | church Association have endorsed | “Stevedore.” Plans to establish a permanent | non-commercial theatre in Chicago | to produce a series of plays like | “Stevedore,” “Peace on Earth” and | Other dramatic productions dealing | with significant social themes, are | being formulated by the Drama Union. IN 8:00-WEAF—Mrs. Moonlight—Play, With Mary Pickford, Actress WOR—Lone Ranger—Sketch WJZ—Dean Level—Sketch WABC—Easy Aces—Sketch | 8:15-WABC—Edwin C. Hill, Commentator | 8:30-WEAF—Wayne King Orchestra WOR—Variety Musicale WJZ—Lanny Ross, Tenor; Salter Orchestra WABC—Everett Marshall, Baritone; Elizabeth Lennox, Contralto 9:00-WEAF—Fred Allen, Comedian; James Melton, Teno: Hayton Orchestra taste rs in Bing Sing— Sketch, With Warden Lawes WABC—Nino Martini, Tenor 9:30-WOR—Lum and Abner—Sketch WJ2—John Charles Thomas, Barle | tone; Coacert Orchestra ‘ WABC—George Burns and Gracie Allen, Comedians | 9:48-WOR—Garber Orchestra | 10:00-WEAF—Lombardo Orchestra | WOR-Literary Justice—Sketch WJZ—Purity ef News—Elisha Han- son, Attorney for American News« paper Publishers Association WABC—Breadeast To and From Byrd Expedition 10:15-WOR—Current Events—H. E. Read WJZ—Beauty--Mme. Sylvia; Fashions —Selly Milgrim 10:30-WEAF—One Man's Family—Sketch WOR—Goldkette Orchestra ‘WJZ—Denny Orchestra; Harry Riche man. Songs WABC—Mary Eastmen, Soprano; Evan Evans, Baritone 11:00-WEAF—Berger Orchestra WOR—News WdZ—Coleman Orchestra WABC—Belasco Orchestra | 1:15-WEAF—Robert Royce, Tenor WOR—Moonbeams Trio 11:30-WEAF—Dance Musis (Also WOR WJZ, WABO)