The Daily Worker Newspaper, February 20, 1935, Page 5

DAILY WORKER, NEW YORK, WEDNESDAY, FEBRUARY 20, 1935 “By MICHAEL GOLD ADAME FLUTTERBYE, who does a day to day column on the life of upper class society for the Hearst press, has just brought to light a neglected incident of the trial at Flemington. Although the Madame does not make the tale as clear as it could be, it appears that the facts are these. On a bright morning, but cold, very cold, when thousands of sightseers, jaywalkers, rubber-neckers and souvenir-hunters were out thronging Hunter- don County, Park Avenue also decided to roll out to the backwoods and get a thrill from the big show. ‘The boys and the girls and the old ladies from the penthouse places dressed themselves warmly in a couple of mink coais, got into their Rolls Royces and started out for the Holland Tunnel. And that’s what started all the trouble. mink coats and the Rolls Royces. For the population of New Jersey is a notori- ously poor one. Times haven’t been good out in Jersey any more than any place else in America. The debbies and the playboys came roifing into Flemington, dismounted and went into the court. Madame Flutterbye then informs us that in the crowded courtroom those mink coats stood out like “pillars of light” among the old raccoon coats and the rest of the spectators wore. And among the old Model-T’s and the Chevrolets, the Rolls Royces, I guess, stood out like “columns of fire.” Well, the courtroom was crowded. They were sitting on the window sills. They were standing in the aisles. Whether or not Park Avenue sat on the window sills or stood in the aisles, we don’t know. But they were there, partaking in the great national event. And there were those mink coats and there were those Rolls Royces. They had gotten up early in the morning for a change, and it was cold. Maybe they were proud of that. Life was so adventurous. At what moment it happened, nobody knows. Madame Flutterbye who knows all, sees all and tells all for the Hearst press about Mayfair and the Avenue, keeps us in the dark about it. But it was either in the court or outside in the street that a couple of the townspeople gave the mink coats and the Roils Royces a good round of old fashioned, home-brewed Jersey razzberries, Madame Filutterbye describes the sound issuing that cold morning in lemington as a “paean of hate.” The In Defense of Park Avenue f bated Madame was much distressed by the demo- cratic behavior of the people of Flemington It seems as though the people had neglected to appreciate what those mink coats had gone through that morning, what with the early hour, the cold weather, the stuffy courtroom and all. After all, argues the Madame, “society is often, too often censored for its trivial existence. But when a number of society people take an interest in one of the most vital and absorbing dramas of the day, they shouldn't be given a black eye.” Which, when you come to think of it, is not a bad idea—I mean the razzberries are all right, but think of what a hit a black eye would have made. She feels pretiy badly, as you can see, even about just razzberries. After all, those mink coats you know, they were only so attractive because the rest of the population wore nothing but sweat- ers, mackinaws, and old racoon coats. But what did the Madame expect? ‘That the boys who came rumbling into town in their old Model-T’s or Chevrolets that needed a spare tire and a new brake would give three rousing cheers when they saw those gilded hearses, the Rolls, come rolling down Main Street? Or that the farmers’ wives who have been living on potatoes and the county relief would sigh with delight when a trunkfull of mink coats came breezing into the courtroom? I, also, remain unmoved by what Madame notes to be a new wave of social interest on the part of the playboys and girls as evidenced by their trip to Flemington. Somehow I can’t get the idea out of my head, despite all the earnestness of the Madame, that the life which that set leads up on Park Avenue and in Mayfair is not precisely the kind of hfe which you can call useful to any society or very important to the health and progress of humanity. It seems to me that that trip to Flemington was only another cocktail, a new highball, to keep up the excitement of doing nothing. And as I think of it, I fail to be convinced that, since that crowd reaps without sowing, and eats without working, humanity would be the loser if they were firmly amputated forever from the body social. This goes, cold morning or no cold morning, Flemington or no Flemington, Democracy for the Rich es back upon her textbooks, Madame Flut- terbye makes a last stand for her clientele by arguing, “Every trial in America is open to the public.” It is very true that every trial in America is open to the public, and we would be the last to deny such an elementary democratic right. In fact, I find it a little confusing to think that the poor people of Flemington were trying to deny the rich their constitutional rights. Of course, I real- ize the disadvantages to the rich of a democracy. But I do not think these disadvantages are very serious. They do not seem to have interfered much with the process of accumulating wealth, exploit- ing the poor, or robbing the public treasuries— all social interests of the rich. On the other hand, I can realize that now and then a plutocrat or a multi-millionaire might have a twinge of desire for the old days of feudalism, There, to take the case of Flemington, he could convict a man in his bedroom, sentence him in mis narjor, and have him executed in his court- yard. And all without leaving the house on a cold morning in deep winter. But comparing the disadvantages to the rich and the poor under democracy, I don’t think the rich have much to complain of. It gave them those mink coats and the Rolls Royces. All it ever gave the poor was a circus like the Hauptmann trial and the broken-down Model-T’s, * Note The weekly Workers’ School News Column, which is omitted today, will appear next week as usual. i WELL | GOTTA OUT A WAY “To SCUTTLE THAT NEWS - ) BOYS UNION / | | | FIGURE (© 1 HRERTEN 1 FIREEM FoR W JOINING “ThA ILL ONLY ENCOURAGE! THEM “1 FIND OT —~) Competition! Wea! 1 KNOW!! OW BOY / WHAY AN by del WHAT_A SCHEME / OF THE VLL Ger IT GOING |i) RIGHT AWAY “it rf "THE FIRST MEETING STAR’ BROTHERHOOD WILL TAKE PLACE HERE TOMORROW - ALL OUR NEWSIES ARE INVITED “To ATTEND," { HEN FeLLeRs/ C'MERE / LOOK \ WHAT MR. SNOOPY | (5 DOIN! FOR US/ = EVENING wierts is ? WILL MR. SHOOPYS| BOSS UNION MEAN THE END OF LEFTY's | HONEST-"To - | SCODNE SS NON 22 Holy "" { SMOKE} WORLD of the DANCE Outstanding Program by Dance League By ELIZABETH SKRIP PENING the series of events celebrating International The- atre Week, and closing its own Eastern Council, the Workers Dance |League presented a program of its outstanding group and solo dances \for the benefit of the Daily Worker. \first time in the history of Radio City, and, what seemed to this re- viewer one of the most encourag- ing manifestations of cultural ac- tivity in the revolutionary move- ment, received the most encourag- ing support from its audience. | Viewed as a cross-section of the revolutionary dance, the recital was significant in more than one re- spect. The League presented under its sponsorship various approaches jto the problem of the proletarian dance, and the separate performers jgave increasing evidence of sin- cerity and professionalism, display- ing, at the same time, a diversity of |style and subject matter. No at- tempt at regimentation by the League was seen; no one style nor |form of dancing was labelled the \revolutionary form, and in view of the youth of the dance movement at large, such a policy is wise for the time being. This was evident also; that the infusion of revolutionary ideology in the dance has of necessity led to valuable experimentation in form, ‘The earliest type of experi- ment, the agit-prop dance, repre- made way for the stylized dance satire Charity, (New Dance Group), | which in its revised version received an ovation; the poster dance Para- site, and the dances to word accom- paniment, Van der Lubbe’s Head, Time Is Money—experiments which should be carried to still higher | points of artistry. The Dance League, jin supporting these, as well as the more generally accepted forms, es- |tablishes a broad base for further experiments in the dance, The variety of subject matter |presented at the recital gave the jevening an interesting panoramic aspect. Black and White, the beau- tiful folk quality in Themes from |a Slavic People, the condemnation jof war in the Anti-War Cycle, or jof Fascism in Van der Lubbe’s Head, the conflict of bourgeois and \proletarian women in Conflict, or jet organized activity vs. disorgani- ization in Forces in Opposition, the |joy of workers in Socialist coun- instrumental in varying and en- riching the program. We ee |THE presentation of these dances | was not always a happy one, however. Van der Lubbe’s Head (vastly improved by the effective reading of the poem by Tony Ross), Forces in Opposition (not the best of the Dance Unit's work), and | Parasite suffered from bad light- | ing. The changes in the two dances by Tamiris’ Group was not well- jadvised; the play section in Work |and Play has become too acrobatic, and there was an unnecessary sacri- fice of sublety for humor in the part of the bourgeois women in Conflict. The work of the soloists, on the jother hand, seemed uniformly good. Sophie Maslow’s quiet strength and power grow more effective with each successive appearance, Nadia Chilkovsky’s sarcasm, Miriam |Blecher’s lyricism, Anna Sokolow’s wit, Jane Dudley's dynamic inten- sity, and Lily Mehlman’s fiery vio- lence, invariably electrify the au- dience to lusty applause. It is to be hoped that they will soon add new dances to their still limited repertoire. This recital should serve not only | as a survey of past work, but a prophecy of future activity. New groups and soloists need to be de- veloped, and new works should be presented by already established groups. The repertoire of the Work- | ers Dance League, although it in- cludes a wide range of subject mat- ter, still has a comparatively small number of dances to present to au- diences, No. 2 of Communist « International Out No. 2 of “The Communist Inter- national” magazine is now on sale at all bookshops. The full contents of this issue are as follows: Sergei Mironovich Kirov, by D. Z. Manuilsky. The C. P. S. U. Gains a New Splendid Victery (The decisions of the November Plenum of the C. C. of the C. P. S. U.). The United Front—Next Steps, by Harry Pollitt. The i935 Conference and the Naval Armaments Race, by Ivanov. Discussion for the Seventh Con- gress of the C. I. How to Prepare for the Seventh Congress of the Communist International by A. Berg. The C. P. of Germany on the Discussion for the Seventh World Congress. The C. P. of Czechoslovakia on the Discussion for the Seventh World Congress. The “Frankness” of Calvo Sotello, jat the Center Theatre last Sunday | | QIXTY years at rebellion is some- | Standing room was sold out for the | sented by Black and White, has | tries in Work and Play, all were | and Spirit of a Young Girl By Jean Doolittle thing to be proud of. And Mother Bloor has achieved it. Yes, for almost sixty years, Ella Reeve |Bloor has been rebelling against untruths and injustices. She be- gan at fourteen by telling the eld- ers of a Presbyterian church where they stood in her estimation—and it wasn’t very high. Now, at seven- ty-three, as International Women’s Day (March 8) approaches, she is even better at telling people where to head in. She can give the mu- nitions makers as hot a verbal scorching as they ever got. And at the head of a picket line she is a human dynamo. The story of the almost sixty years between the day when she walked out of the little Bridgeton, New Jersey, church until the day a month ago when she stepped to the platform of the National Con- gress for Unemployment and Social Insurance, has been told by Ann Barton, in a pamphlet called “Mother Bloor,” just issued by Workers Library Publishers (3 cents), It’s a thrilling tale, because Mother Bloor’s has been a thrilling life, It had a placid enough beginning, according to Ann Barton’s account, A small Jersey town, solid Presby- terian parents, and good old “Amer- ican stock,” formed her background. But she had some forebears who fought in the American Revlution- ary War, which may have given her a revolutionary turn of mind. And she had an uncle who read Ingersoll. Shocked the Town It may have been Ingersoll that | made her leave the church at four- | teen, But it was her own lively |mind that made her look beyond |her kitchen sink when she was | twenty-four. By then she had a | husband and children, but she felt | that the cards were stacked against |a woman, and she wrote a fiery | article for the local papers on wo- ;man’s suffrage one day. The town | was shocked. | It didn’t take Ella long to dis- cover that neither feminism nor | academic learning were going to save society. She met the weavers in Kensington, Philadelphia, who were on @ lockout. She discovered that the women were being paid $6.00 a week for the same work for which ‘men were being paid $25.00. She knew then that the only way |for women to get justice was to or- ganize. So she joined her first | union, and started to organize the {women weavers of Kensington. Soon after this she joined the So- \cialists, because they talked of “workers’ ownership of the ma- chine.” And that, Ella Reeve felt, |was the answer to the thing that |she had been groping for. As the Socialist Party went through its various phases she always moved along with the group that was far- jthest Left. Often she was the only woman in her local party organiza- tion. She belonged to the group of Yailroad workers organized under > At 73 Has the Energy, Mother Bloor: Dynamic F ighte In the Front Ranks of Labor r Eugene Debs, as their only non- railroad worker. Another time she was the only woman in a group of German Socialists. The men were skeptical. “What can a woman do | for Socialism?” they asked. But they soon found out that this wo- man could do a lot. A Stormy Life The rest is a stormy story of picket lines and organizing, Mother Bloor worked in the stockyards at Chicago, in order to get a series of articles following Upton Sin- clair’s expose in “The Jungle.” She worked in the “spotted meat” de- partment, Ann Barton writ “called that because the tins con- taining the meat were so old that they were spotted with rust. Girls | inspected the tins, and woe to them if they marked too many unfit for use.” Mother Bloor organized among the coal miners. “In order to get to meetings,” Ann Barton says, ‘“‘she had many times to face company gunmen,” She had to clamber through the coal mines, ride on handcars, take donkeys between camps. At this time she was near- ing fifty, but no one ever thought it strange that she ‘could stand so much physical strain. Mother Bloor always seemed to have the energy of a young girl—because she had the enthusiasm. Two Frightful Episodes She lived through two heartrend- ing episodes of the killing of strik- ‘ , Michigan, when the miners’ chil- | dren were suffocated in a narrow hallway after a false cry of “Fire” had been given by an unknown per- | Colorado, when the tent colony of striking miners was set ablaze with kerosene poured over the ground by militiamen, Mother Bloor was pres- ent both times, working her fingers to the bone for the strikers. During the war Mother Bloor | worked with strikers in arms fac- tories, and in anti-war meetings. But it was during this period that she began to feel that the Socialist Party was falling down. She was »|heartsick at the lack of organiza- tion against war. She grew more Left, and she grew more determined | that the workers should be organ- ized to fight against war. When the Communist Party was formed in 1919, Mother Bloor be- came one of its first members. And |her work of organizing continued. | Still Going Strong She hasn't stopped her battle against the capitalist system yet. At Seventy-three, she is still going strong. Right now she is working | against war, in the united front movement of the American League Against War and Fascism, Mother Bloor has two great de- sires, Ann Barton says in this ex- citing story of a life. One is to has- ten the revolution for the sake of the youth. The other is to hasten it for her own sake, for she says, “I want to attend that First Con- ers’ children. One was in Calumet, | gress of American Soviets.” Depicts With Bitter Truth the Eberts and MacDonalds | as the great historic fight which the workers of the world are waging against their class enemy, the fact which looms higher than any other today is the division in the ranks of the working class which brings them face to face with the enemy with their forces disunited and scattered. Socialist and Communist workers —class brothers in whose veins flows the blood of the proletariat, the rev- ‘olutionary class whose whose his- toric mission it is to break the chains of “class exploitation and usher in a new society—surely these belong side by side. And today this task of welding our class forces into one united front against war and fascism—this is our major task. Does not the yoke of capitalist wage slavery, does not the terrorism and brutality of the exploiters fall upon Socialist and Communist workers and their children with equal force? Every instinct of our class demands that nothing must stand in the way of our class unity. In his drawings, Jacob Burck has singled out with true class feeling and keenness the high points in the whole question of Social-Democracy and its relation to the proletarian revolution. Two emotions dominate these drawings, hatred for the policies of the Social-Democratic leadership by Arvikto, b which -have cost the working class Cladsuie Hathaway Ca Powerful Cartoons ‘Sharp Weapons’ e CLARENCE HATHAWAY such bitter penalties, and a deeply felt class need for solidarity with the workers in the ranks of the So- cialist Party. Cues ee IAN there be any denial of the bit- ter truth which Burck has drawn for us in the depiction of Ebert and MacDonald? Can there be any doubt as to the emotion which emerges from the May Day drawing where the great red banner of May Day is cut in two, an actual descrip- tion of what happened in New York this year when the Socialist leader- ship turned down the united front. offer of the Communist Party?. Ils Hureles | Drawings * Show Deep Need for Class Solidarity And can one miss the revolution- ary exultation which leaps out at us from the drawing where the united ranks of the Spanish, Ger- man and Austrian working class fling high the banner of solidarity behind the barricades of class battle? In some of his drawings, Burck misses his mark, where he aims at the policies of the leadership and fails to discriminate clearly enough between these policies and the So- cialist Party workers. But this is more the weakness which has hindered the work of the whole Communist Party than it is the weakness of Burck the artist. We recognize this ake and we are striving to correct it. Today we are rapidly closing the gap which has so long divided us. Today, on the barricades of Spain, in the illegal shop work in Ger- many, in the streets of Paris, in the working class quatters of Vienna, and above all in the fight against the Wall Street offensive against our class unity. And when this happens the ruling class has cause to tremble. In this struggle, Comrade Burck’s drawings are our siarp weapons. C. A. HATHAWAY. (From “Hunger and Revolt; Car- toons by Burck.") son. And the other was in Ludlow, | us here at home, we are building | WORLD of the | THEATRE | | Drama in the Bronx | AWAKE AND SENG, a folk play in| three acts, by Clifford Odets. Production directed by Harold Clurman. Settings by Boris Aron- son. Acted by the Group Theatre | Acting Company at the Belasco Theatre. | Reviewed by NATHANIEL BUCHWALD Ee it be noted at the outset that “Awake and Sing” which was opened last night at the Belasco had been written some two years before Odets overwhelmed us with his| “Waiting for Lefty.” Perhaps it is the startling success of the latter that prompted the Group Theatre to put on Odets’ earlier and less im- portant play. On its own merits “Awake and Sing” does not measure up to the calibre of the Group The- atre. It lacks distinction both in sub- ject mater and manner of presenta- tion. The domestic ‘squabbles and woes of the Berger family (proleta- | |rian with petty bourgeois upshots) | are real enough and the characters | are well drawn, but the play lacks a guiding idea to make the whole | thing significant. To be sure, there is the general idea of the disintegration of a family under the destructive influ- \ence of poverty and prevarious exist- ence, but neither in plot nor inj character portrayal is the play fo-| cused upon this idea. | | There is also a mood of resent-| }ment and faint revolt against the | jexisting order of things, and the| chief carrier of this mood is the| grandpa of the family, a home-| grown revolutionist whose fight | against capitalism never went be- yond reading books and annoying his children with his “crazy” ideas. The old man realizes his failure and exhorts his grandson to “do some- thing,” to “go out and change the world.” His grandson, however, is for the time being too busy loving a girl he cannot marry and too unhappy about it to bother about | remaking the world. The old philosopher commits sui- cide that his grandson may inherit | his insurance and marry on it. To | him life has become empty and un- | bearable after his daughter, in a | fit of tantrums, broke his favorite | phonograph records. Only then the | young man begins to see the light and solemnly resolves to read grand- | pa’s books and see what could be done about changing the world. ee aa | | “{ WAKE AND SING” Is not a rev- | | olutionary play, yet its social “blues” are affecting. A deep-going | | dissatisfaction pervades the lives jof most of the characters, | | “Something big ought to be done to abolish the blues, something like | | an amendment to the constitution,” | says the young woman who married | |a man she did not love. If you give | these words a “higher” meaning you | just about have Odets’ basic idea. In “Awake and Sing” this idea is | diffuse and incoherently expressed, | but it has ripened and found its| | bhrningly eloquent expression two years later in “Waiting for Lefty.” | In the matter of live, flavorsomé | dialogue and unhackneyed three-| dimensional character-portrayal this | Play is even richer than the racy drama of the taxi strike. Here and} there the “clever lines” come peril- | ously near wise-cracking but most | of the humor and happy phrases proceed from character and situa- tion. In the direction the play is de-| cidely inferior. It is cluttered up with messy naturalism, sinking to the low level of actually pouring | out soup and things like that. Aron- son’s set, while routine in style is| dexterously designed and affords a| good frame for this domestic drama, | but it is used badly for the purpose of giving the play theatrical form. | Clurman’s direction is routine, literal | and all around shabby. It is not of | the Group Theatre stamp. | Stella Adler's compelling perform- | ance as the harrassed mother of | | the Berger family is marred by aj |cheap Jewish tone typical of the | | worst acting of Second Avenue. It} jis really a pity that Miss Adler's| | brilliant work in this part should) have such an unlovely smear on it. | Where were the director's ears? | Morris Carnovsky again establishes his title to a place in the front row | of the acting profession. His old Philosopher is a memorable per- formance. Phoebe Brand and Jules | | Gazfield bring to the play something | ; Of the same “low brow” pathos of | the two youths in “Waiting for | Lefty” who find themselves “up against it.” Luther Adler does ex- ceedingly well in the part of the somewhat romanticized racketeer, | while J. Edward Bromberg acts the part of the manufacturer with gusto and humor. Art Smith, Roman Bohnen and Sanford Meisner round out a cast that has hardly a weak spot in it. | But all told, “Awake and Sing” is | a come-down for the Group Thea- | tre. They can and should do more significant things. For all its sin- cerity and social implications, this domestic drama is an unimportant play, whichever way you look at it. | Questions | 7:00-WEAF--Economic Secur- and Answers This department appears daily on the feature page. All questions should be addressed to “Ques- tions and Answers,” c/o Daily Worker, 50 East 13th Street, New York City. Work Relief and Slums Question: Will the new $4,800,000,000 work lief program now being passed by Congress really be used to clear the slums?—S. T., Chicago. Answer: The promises of Roosevelt and Ickes to clear the slums are only made to cover up the real purposes of the so-c: d work relief program— reducing the costs of relief, war preparations, and the set of low work relief wages which can be used to lower all wages. It should be remembered that in the public works program of 1933 the Roosevelt administra- tion also promised to clear the slums. But out of the $3,700,000,000 that were appropriated, less than $20,000,000 or about one per cent of the total, was actually spent for housing. And even this pitiful sum was used for housing that is far out of the reach of the poor worker who is forced to live in slum firetraps. In the present program, most of the money, dire and ctly, will go for war prepara- tions and government construction of the pork barrel variety. The workers be given sub- existence wages; the capitalists will make fat prof- re- out of the contracts the government will make with them But the slums will not be cleared. A few tenements which are on the verge of collapsing will be taken off the hands of rich land- lords like the Astors. In these cases model apa ments will be built which only middle class peopl will be able to afford. The slums as a whole, however, will remain untouched, and will con- tinue to take their toll of lives through disease, fire, etc, February Working Woman Presents Lively Features THE WORKING WOMAN, February issue, 5 cents per copy. Reviewed by JUNE CROLL ne ONE who is seriously interested in reaching the great masses of working class and farm women can afford to miss reading and distribut- ing the February issue of the Working Woman, Written in the simple everyday language of the average worker its fifteen pages are cram full of stories and features dealing with the most basis as well as immediate problems of working clase women. “The Heart of Milwaukee,” a stirring story about the Boston Store strike in that much publicized Socialist City, Milwaukee, where the shoppers threw themselves into the battle on the side of the strik- ers despite all the attempts of the stcre owners, the City administration and the union misleaders to prevent it, is a thrilling example of a united front between women, “The Jobless Organize,” dealing with the re~ cently held National Congress for Unemployment Insurance, stressing the special features of the bili H. R. 2827 which provide for the protection of women workers, as well as the article on women in the American Federation of Labor, could not and would not appear in any of the numerous popular women’s magazines. These are published for the specific purpose of leading the women to believe that their special problems can be solved without struggling against the employing class. The Working Woman, however, while acknowledging these special problems, analyzing them in an easy understandable manner, inspires its readers to struggle side-by-side with the menfoik for im- mediate improvements. The “You're Telling Me” column by Grace Hutchins on world affairs is particularly good this month. And so is the Fashion Letter and House- hold corner. It is really refreshing to find one- self reading these features which provide useful information without, as other magazines do, de- grading the woman reader with the slush that pours out of the typical, capitalist woman’s maga- zine. . PEAKING from experience in organizing women workers the writer feel that The Working Woman is rapidly becoming an indispensable instrument in the hands of every class conscious worker with which to win over their fellow workers, neighbors and acquaintances. Only a few words of criticism in this connection. Such headlines as “Beware of Illusions” over the article on the Tom Mooney and Scottsboro cases do not exvress the best that is in the magazine Certainly these two examples of class justice have a particular appeal to women. The role of Mother Mooney and that of the Scotts- boro mothers it seems to the writer should have been placed in the forefront. Somewhat the same criticism can be made of the story on Hearst's Red baiting. But these slight shortcomings are entirely over- shadowed by the good points and most especially in the proletarian love story “tSockyard Stella,” the second installment of which appears in this month’s magazine. IN TUNING Baritone; Elizabeth Len- ity Legislation—Senator nox, Contralto; Mixed Jesse H. Metcalfe of Rhode Chorus; Arden Orchestra Island 9:00-WEAF — Fred Allen, WOR—Sports Resume—Stan Comedian; Hayton Orch.} Lomax Amateur Revue WJZ—Amos 'n’ Andy— WOR—Hillbilly Music Sketch WJZ—20,000 Years in Sing WABC—Myrt and Marge— Sing—Sketch, with Ware Sketch den Lawes 7:15-WEAF—Stories of the | WABC—Lily Pons, Soprano; Black Chamber Kostelanetz. Orch.; Mixed WOR—Lum and Abner— Chorus WJz—Plantation _Eehoes; | 9:30-wOR—To Be Announced Robison Orch.; South- WJZ—John Charles Thomas, ernaires Quartet Baritone; Concert Oreh. WABC—Just Plain Bill— WABC—George Burns and 1:80-WEAP — Easy Aces— Gracie Allen, Comedians ‘Sketch 9:45-WOR—Berrens Orch. WOR—Variety Musicale 10:00-WEAF—Lombardo Orch.3 Ricardo Cortez. Narrator WOR — Literary Justice— WABC—The O'Neills—Siketch 7:45-WEAF — Uncle Esra— WJZ—Hollywood— Jimmy Pidler WABC — Peter Pfeiffer— WABC—Boake Carter, Com- mentator 8:00-WEAF—Play, Spitfire, with Mary Picke ford, Actress Sketch, with Jack Pearls Rich Orch.; Patt! Chapin, 10:15-WOR—Owrent Events— H. EB. Reai WiZ—Beauty—Mme. Sylvia, the Little WOR—Lone Ranger—Sketch | 10:30- Ray Nodle Orch. WSZ — Penthouse Party; WOR—Variety Musicale Mark Hellinger, Gladys WJZ—Egon Petri, Piano Glad; Peggy Flynn, Come- WABC—Symphony — Orch, dienne; Travelers’ Quartet; Howard Barlow, Conducs Coleman Orch.; Prank tor: Toscha Seidel, Violin Parker, Tenor 11:00-WRAP—Talk — J. By WABC—Diane -- Musical Kennedy Comedy WOR—News, 8:15-WABC—Edwin ©. Hill, WJZ—Kemp Orchestra Commentator WABC—Belase> Orchestra 8:30-WEAF — Wayne King | 11:15-WEAP—Robert Rores, Orchestra ‘Tenor WOR—Variety Musicale WJZ—Lanny Ross, Tenor WABC—Eyerett Marshall, WOR—Moonbeams Trio 11:30-WEAF — Dance Musie (Also WOR, WJZ, WABO) ——