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McCORMICK MESSENGER, McCORMICK, S. THURSDAY, OCTOBER 27, 1938 Communism, 1938 Variety American Commu nism of 1938 is less red-bearded than a decade ago, more over is a far less threat to national se curity than popularly supposed. But this does not minimize its importance in the American scene, as shown currently by the Dies congres sional committee* s investigation. To visit the stronghold of this party, one goes through the door at the left, seeing first a portrait of Lenin. Communism 9 s headquarters are in an unimposing New York building on Union square, where the peaty’s ranking officers preside, where communistic literature is published, where one may buy buttons and emblems. In the same neighborhood is the national Socialist party, bitter rived of the “hammer and sickle? 9 fraternity. Above: files in Communism 9 s headquarters where are stored pam phlets on peaty, labor, peace, tear and other subjects. “Mother 99 of American Communism is Ella Reeve Bloor (left), who was the daughter of “a rich old Republican, 99 who began her ceaeer as a follower of Eugene Debs. Since then she has known picket lines from cocut to coeut, has been through some of industry’s bitterest strikes. General secretary of Communism is Earl Browder (right), who not only maintains his organization, but strives to win new members. When not out of New York, he lives in Yonkers with his Russian wife and their three children. Mgr m&M mm sniaui uw* m Communists make much fun of the Dies investigation, which attempted to show America was undermined by this menace. When the committee moved from Washington to New York, pretty girl communists chided congress men for believing a charge that Shirley Temple was innocently supporting Communism. When their pictures are taken, ardent Communists give the salute, as did Benjamin Sobel (left) when he told the Dies committee about his service with Spain’s loyalist army. Bette Davis Star Dust ★ Hard Road of Fame ★ Buck Doffs Sombrero ★ Mature Movies By Virginia Vale H oward hughes must get awfully tired of hear ing that he’s going to marry first one limelighted young woman and then another. Un less he’s grown so accustomed to it that he just doesn’t pay any attention any more. The gossip linking his name to Katharine Hepburn’s had barely died down before the rumor-mongers were insisting that Bette Davis would become his wife as soon as she had di vorced her husband. He made no com ment. Bette denied that she and “Ham" were going to get a divorce, as long as she could; she in sisted that she was merely spending a vacation in Nevada, instead of estab lishing a residence for legal reasons. The odds have been against that marriage for a long time, ever since she began her speedy climb up the ladder to fame. She has done every thing that she possibly could to make it a success; it’s not her fault that it failed. But Hollywood has a way of being awfully hard on mar riages in which one person is far more successful than the other. “Nobody outside this town knows how tough such a marriage can be, here,** a star once told me. “Stars associate with stars, big people with other big ones. Ton have to do it! I was a star and my husband was a not very successful leading man, and in spite of everything we could do, we almost had to separate, be fore he got a lucky break and was on top too.** *— It’s going to seem awfully funny to have Buck Jones turning into a straight dramatic star. But that’s what he is going to do. He has finished “Law of the Texan,’’ which he says is his final western, and after a short vaca tion he will begin work in Paramount’s “Vice Squad.’’ We take this opportunity of showing Buck in a ten-gallon top- piece for perhaps the last time. Buck Jones If you believe—along with a lot of other people—that the movies are still in their infancy, pause and con sider the fact that recently, in New York, a plaque was unveiled on the wall of the building now standing on the site where the first thea trical motion picture was screened. The machine that made that show ing possible was Thomas Edison’s Vitascope, and his daughter, Mrs. Joen E. Sloan, unveiled the plaque. * Another fact that brings home the realization that the movies have been in existence for quite some time is the presence, in the cast of RKO’s “Gunga Din,’’ of a young woman named Fay McKenzie. She has had experience in stock—with her parents’ troupe—and has ap peared with various Los Angeles theatrical companies, but has yet to make her name in pictures. But she made her screen debut when she was ten months old—in the role of Gloria Swansonfe daughter! —*— If you are interested in writing for the radio you’d better make a list of the things that just musn’t be done in the script of the average serial. Only the older men can smoke—preferably a pipe or a ci gar; no women can smoke. No one, not even the villain, can touch liquor. * As a radio veteran Lanny Ross is true to the air waves, but his sum mer as a theatrical star almost made him wish that he’d gone on the stage long ago instead of be coming a singer. He appeared in a number of summer theaters, and at the one in Ogonquit, Maine, a farmer was so pleased with Lanny’s work in “Petticoat Fever’’ that he came backstage afterward and promised Lanny free milk for a year. Have you heard the new singer with Horace Heidt’s band, Jean Far- ney? When the band was playing in Cedar Rapids, Iowa, she walked into town from the farm where she worked and asked for an audition. Heidt was skeptical, but let her sing. And so she got the job. * ODDS AND ENDS . . . After his im promptu appearance on “Vox Pop,” when he revealed the fact that he has a delightful singing voice. Governor Chandler of Kentucky could easily have become a radio star if he’d wanted to . . . u Drums” is a swell picture—it jus tifies that claim that "Motion pictures are your best entertainment” . . . Mau rice Costello, father of Dolores Costello Barrymore and screen star in the earli est days of the movies, is working again before the cameras, as a bit player . . . Tommy Lane, who’s just eleven, won out over all competition for that ting ing spot on Joe Fenner’s programs. <D Western Newspaper Union. Culture on the Payroll C ONTRARY to the impression among many scholars, culture in this world is absolutely depend ent upon economic prosperity. It was no accident that the Peri- clean age came at a time when ancient Greece was very prosper ous and had established a thou sand trading posts in all parts of the civilized world. When her commercial prosperity died out, the culture of Greece was at an end too. The great Augustan period of Roman literature flowered when the Roman Empire enjoyed its peak of commercial prosperity and collapsed when the economic system collapsed. The same was true with the Italian Renaissance, that golden period of art and cul ture. At every age in history it was the material wealth of industry that stimulated and supported cul tural pursuits. As a result, cul ture today is most widespread in those lands where industry is most productive. In the United States we have had 150 years of unparalleled pro ductivity. With only 7 per cent of the world’s population living here, we have produced one-half of all the wealth on this globe. That is why, in these same 150 years, we have been able to build more schools and colleges than all the rest of the world combined. Among the greatest media for disseminating culture in this coun try are newspapers, magazines, and radio, in all of which we lead the world. The combined circu lation of the 13,000 periodicals and newspapers included in the cen sus is over 300,000,000—nearly 10 for every family. There are 700 broadcasting stations in the Unit ed States and 80 per cent of all families own radios. These great instruments of edu cation and culture in our country are supported chiefly by revenue from the advertising of merchants and manufacturers. The amount readers pay for most newspapers and magazines represents only a small portion of their actual cost. Thus the very finest in literature, art, and music is provided for the people without cost, as a by-prod uct of the efficient working of our commercial system. Advertising does much more for culture besides supporting the bulk of our printed publications and radio broadcasts. Our entire economic prosperity is linked up with advertising, which is an in dispensable part of the important process of large-scale selling on the part of our merchants without which our modern industries could not operate and could not support present-day cultural activities. Advertising helps to bring down the cost of the things necessary to a civilized existence and popular izes culture itself. The merchant who advertises can sell for less than the merchant who does not advertise. In many ways, advertising Sub sidizes education for the masses and stimulates people with the necessary desire to attajn a higher level of culture. Copyright, 1938. OF COURSE! 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