THE MICHICAN DAILY ,. __ _ _ _ _ w . P ubhl ish 9dc every morning except Monday during the University year by the Board in Conti of of Student Publications. Member of Western Conference Editorial Association. The Associated Press is exclusively entitled to the use for republication of all news dis- ratches credited to it or not otherwise credited n this paper and the local news published herein. many passages well calculated to shock censors hidebound in Puri- tanism. If there hadbeen English and American censors for centuries, what would we know of Aristo- phanes, Rabelais; Swift, Byron, Boccaccio, Voltaire, Balzac, Juven-? al, Petronius, or Ben Jonson? Censors handed a cup of bem- . . .. I I I Music and Drama The Chicago Exhibit A REVIEW BV JEAN PAUL SLUSSER. The present exhibition of paintings in Alumni Memorial Hall enables one to pick up heart again after the icy standardized dullness of its predecessor. Here, to be sure, are selected pictures from one of the large i OPTICAL' DEPARTMENT Lenses aad Frames Made to Order Optical Prescriptions Filled HALLERS STATE STREET JEWELERS L LANE HALL TAVERN I _ I The Choicest of Entered at the postoffice at Aan Arbor, lock to Socrates, the wisest man a Michigan, as second class matter. Special rate his age. because they feared he was of postage grauted by Third Assistant porst. heyuh fAhesi maserGeneral. by carrier, $4. by I, corrupting the youth of Athens in $4. or. his attempt to replace the totter- Offices: Ann Arbor Press.Building, May- ing authority of Greek polytheism aard Street.? n auhrtofGekplhis :Phones:Editorial, 4925; Business, a2a4. by a rational code of ethics. EDITORIAL STAFF o Telephone 4925 MANAGING EDITOR THE FUTILITY OF COALITIONS. ELLIS B. MERRY Coalition government is unstable Ct Editor.a an........iere C.seTierg and temporary wherever it exists, News Editor.............Donald J. Kline but when it is forced to assume re-j Sports Editor....... Edward L. Warner, Jr. Women's Editor..........Marjorie Follmer Sponsibility in a country tradition- Telegraph Editor.......Cassam A. Wilson it Music and Drama......William J. Gorman ally of the two party nature, like Literary Editor........Lawrence R. Kleinal Assistant City Editor.... Robert J. Feldman the United States, its impotencyl Night Editors-Editorial Board Members I r t I Wholesome Foods r 1 , it Frank E. Cooper Henry J. Merry William C. Gentry Robert L. Sloss Charles R. Kauffman Walter W. Wilds Gurney Williams Reporters Morris Alexander. Bruce J. Manley Bertram Askwith Lester May Helen Barc Mt,.rgaret Mix Maxwell Bauer David M. Nichol Mary L. Behymer William Page Allan H. Berkman Howard H. Peckham Arthur I. Bernstein . lugh Pierce S. Beach Conger John co D. ReRindeit Thomas M. Cooley Jeannie Roberts Helen. Domine Joseph A. Russell Margaret Eckels Joseph Ruwitch Catherine Ferrin Ralph R. Sachs ('arl F. Forsythe Cecelia Shriver Sheldon C.Fullerton Charles R. Sprowl Ruth Gallmeyer Adsit Stewart Ruth Geddes S. Cad well Swanson Ginevra Ginn Jane Thayer tack Goldsmith Margaret Thompson Emily Grimes Richard L. Tobin Morris Crove-mal Robert Townsend Margaret Harris Elizabeth Valentine Cul en Kennedy Harold 0. Warren, Jr. ean Levy G. Lionel Willens Russell E. McCracken Barbara Wright Dorothy Magee Vivian Zimi BUSINESS STAFF Telephone 21214, BUSINESS MANAGER A. J. JORDAN, JR. Assistant Manager ALEX K. SCHERER Department Managers Advertising.. .....I..Hfollister Mabley Advertising.....Kasper I.t1lalverson Advertising.........Sherwood A. Upton Service..... ........George A. Spater Circulation.. ... ........J. Vey-nor Davis Accounts........... .John R. Rose Publications.......:Ger .R.Hamilton Business Secretary-Mary Chase Assistants Byrne M. Badenoch Marvin Kobacker L ames E. Cartwright Lawrence Lucey Robert Crawford Thomas Muir Marry B. Culver George R. Patterson Thomas M. Davis Charles Sanford Norman Eliezer Lee Slay ton fames Hoffer Joseph Van Riper ! Norris 3Johnson Robert Williamson # Charles Kline Wiliam R. Worboy Dorothy Bloomgardner Alice McCilly Laura Codling Sylvia Miller Agnes ,Davis Helen E. Musselwhite Bernice' Glaser Eleanor Walkinshaw f ortense Gooding Dorothea Waterman FRIDAY, MARCH 21, 1930 Night Editor, CHAS. R. KAUFMAN DRAFTS OF HEMLOCK. Senator Smoot smokes his cigar with calmer puffs this week than last, because the Senate has voted into the tariff bill a modified form of his pet measure-censorship ofj foreign books. Perhaps the Senator, in the more confidential of his Puritanical moods, would confess slight cha- grin that the task of censorship has been delegated to a federal district court. He may have hoped that he would himself become of- ficial American censor. But of course, selection of the courts to act as censor is the most sane aspect of the regrettable piece of legislation. It is so because the court will probably appoint a board or commission, selected as intelli- gently as the contingencies of the situation permit, to decide on and to effect the mechanics of censor- ship. The difficulty inherent in any form of censorship lies in the deli- cate discrimination which must be shown between books which aim at liberal discussion of social or po- litical problems, and books written by perverts which are frankly and unintelligently disgusting. While no harm is attached to keeping out of the country books of the latter description (which probably would never sell, even if they were stock- ed in a few stores) it is essential to the intellectual vitality of the present generation that it have ac- cess to all books which contain vital discussions of current prob- lems. John Stewart Mill stated the case well when he said: 'The peculiarl evil of silencingthe expression of opinion is that it is robbing the human race, posterity as well as the existing generation; those who dissent from the opinion, still more than those who hold it. If the opinion is right, they are deprived of the opportunity of exchanging error for truth; if wrong they lose, what is also a great benefit, the clearer perception and livelier im- pression of truth produced by its collision with error."I runs into futility. Never in the' history of the country has this. principle been so completely and; pointedly illustrated as in the rec- ord of the Senate during the past six months. When the tariff bill emerged from the Finance committee last September the Progressive Repub- licans and Democrats, bound to- gether by common enemies (Hoov- er anddhigh-tariff)dominated the tariff debates. Recently, however, when the more perplexing matters of the measure were encountered, the coalition broke down, its mem- bers switching to sundry other It was on the wool schedule that the combine first split, some of the Progressives bolting to vote with the high-protectionists. Since that occasion several of the schedules have been rewritten under the in- fluence of the Old Guard and Hooverite Republicans. The breakdown was expected, but its cause is still beyong the cer- tain knowledge of even the most astute diagnosticians of the politi- cal situation in Washington. Many have hunches they consider quite near the truth. There is the lead- ership effected by Joe Grundy, the ' refusal of the Democrats to coop- erate further when they found they were not achieving their prime objective, namely a good po- litical issue for. 1932, and, above all, the general ineffectiveness of a coalition held together by com- mon enemies and not a common goal, when it is forced to assume responsibility. Whatever the cause, the coali- tion's work has been mostly in vain because of its inherent unfitness hi our government. The United States naturally took to the two party system, progressed under it with remarkable speed, and must con- tinue to operate on the same sys- tem, if it is td achieve its aims in the direct and efficient manner } characteristic of the country. Coalitons are the result of petty squabbling over political issues. The American party cleavage is logical and expedient resulting in a political system composed of a strong majority party and a strong minority party, with no place for small insurgent minorities holding the balance of power. With the in- ception of the latter, there results a government too ineffective and uncertain to harmonize with the American tradition of efficiency. Despite Coach Yost's contention that the Michigan collegian drinks less now than in the pre-Volstead era, it has been quite noisily ru- mored that the influx of lamp- posts on the campus has resulted from the University's desire to meet the student half-way. With Professors Reeves and Reed and Brown away, perhaps we should call it the political silence department. - 0o Campus Opinion Contributo a ke to be hbief, confinimg tesevs o les thn 300 worAs of poss be. Anonymous com. municationswi e i rded The namres of co m ncnt ill, hoee, be regarded as confiden il, upon re- quest Le ters published should not he onstrued as exressng the editorial opinion of Tbhe Daily. OSSIP GABRILOWITSCH IN NEW YORK. To the Editor A copy of the March 11, 1930, Daily has just fallen into my hands, and tends to arouse indig- nation at the obviously unfair dis- missal of Gabrilowitsch by your critic. I believe he will find, on careful reading of the scores of concert reviews of Mr. Gabrilo- witsch's present New York season, both as the impeccable conductor, and as a concert pianist, that tre- mendously enthusiastic receptions and loud acclaim were his with hisI and fairly representative national shows, the annual American Artists' Exhibition at the Chicago Art Institute, and there we had the fairly commercialized offerings of a closed New York selling group displaying their wares on the provincial gallery circuit. None of the first names in American art are represented here. But it stands out among the exhibitions of its kind the Ann Arbor Art Association has been able to bring here because of a certain freshness and variety of viewpoint, an unhackneyed and agreeably liberal quality. It is the younger element who give this showing .the interest and variety that it has. The penalty for success in this country in the arts seems to be a high one, and its name is standardization. With all the museums in America-and that means several score-not to speak at all of private collectors bent on having a typical example of their work, men of lesser stature, though of a certain degree of eminence, easily fall into the trick of repeating their first successes, and so gradually develop a rubber-stamp type of exhibition picture. John F. Carlson with his over-decorated wood-interior and Robert Spencer with his gray lace backyard are two of the regular offenders in this respect who appear in this exhibition. Both were tolerably interesting painters in the beginning, but gave themselves over long since to the dull business of repeating and varying the one or two pictorial formulae that have spelled for them commercial success. How far the dry rot goes can be easily ascertained by examining either picture. Carlson's bulgy and overcrowded trees, tagged and garnished in highly baroque fashion, have no longer even the merit of faithfulness to nature, and nothing but a thin estheticism lurks behind the dry web of Spencer's pastel toned brushstrokes. In refreshing contrast to such empty best-sellerdom is an unpre- tentionus and enthusiastic little canvas like George Picken's green "Summer Landscape," full of fresh observation and personal idiosyn- cracy. Georgina Klitgaard's silvery and sensitive winter landscape has the note of youth and unspoiled eagerness, as has Saul Berman's sincere and intense little "Tearing Down." Harry Gottlieb's "Roundhouse" is an earnest and thorough-going piece of painting, good both as observation and as design; Davenport Griffen's moody wood-interior has a strong design idea and a good deal of emotional charge. Glenn Coleman's low-spirited city street has its being in a realm far removed from the world of noisy crowds, but its success comes from a kind of absorption in reality rather than in an escape from it. Samuel Halpert offers in his "Kitchen" another of his unpretentious but charmingly designed and richly harmonized patterns of color based on honest observation, and Paul Rohland abstracts the qualities of his sensitively seen bouquet of flowers into a design all blond and gray, the color that flowers might be in some happier world of their own. Edward Bruce's Italian landscape is a cool and grave but refreshing thing, literal and yet exceeding the literal because of its sound com- posing. John Grabach's "October" is a riot of high-keyed color and I makes good though somewhat conventional use of the pattern possi- bilities of its subject. Todros Geller extracts a spirited if somewhat dry linear pattern out of his "Dancers," and Nura weaves her girls, flowers, cats and other accessories in "When Summer Comes" into a vigorous and pleasantly colored arabesque, frankly decoration and nothing more. Molly Luce and Morris Belknap essay the highly personal approach to their material with only partial success. Jonas Lie's pictorial idea seems too small for the size of his canvas, and Eugene Higgins, leaning as usual heavily upon the masters of the past, makes out of his prize- winning canvas a sort of bad Courbet landscape, with figures in his own style not very well related to it. Anne Goldthwaite gets linear design and some mellow color out of a little study of the nude, and William Meyerowitz has a portrait study of very unusual handling. State Street A REVIEW BY PROF. CLARENCE D. THORPE When Henry insists, in the competitive State Street Serenade, that "We are singing in the pure amateur spirit," he expresses the whole tone of this year's Junior Girls' Play in its lovely Lydia Mendelssohn setting. Not that it is amateurish. Indeed, no. But that it has just that desirable effect of spontaneity and inartificiality which the professionals are always trying for but so seldom attain. It is true that there are some dull moments-the first scene, in case; there is likewise occasional fumbling, as in Jimmy's failure to synchronize in the otherwise delight- ful "Feature Waltz"; and I am quite sure we have all seen more per- fectly trained choruses and heard better singing than characterizes thi; play-but I am equally certain I have never seen a better all-around college show. The book itself is of a good brand, gratefully free from decaying quips and quillets of last year's favorite musical comedy. "Look into thy heart and write," once said a wise man to aspiring youngsters. This play demonstrates the soundness of such advice. Art is sometimes explained as springing out of an inner reality which transcends outer reality-desires dreamed into a transformed world where the prosaic and unlovely fall away and imagined beauty finds its home. State Street ought to be interpreted in terms of this theory. And what ravishing dreams these co-eds have! But at that, they are wide-awake dreams, with plenty of reality in them. We don't see every day so delicious a spectacle as "Girl in Pink," but we do meet at parties and in classes the splendidly vital girls who dreamed and created that beauty. We are also continually hearing bits of the quick, crackling, intelligent college humor, which so seldom finds its way into print, but of which this play is full (the kind in that jolly scene between Jimmy and Dorothy before the sorority house, or in Henry's insurance proposition, or in Beppo's "Apple-sauce, but all good lovers use it.") There are even tears in this imaginary State Street, but these are real too: how else could Kathleen Badger and Helen Carrm have sung those melancholy love songs so fetchingly? Incidentally, the "What Am I Waitng For?" by Helen Carrm was to me the artistic high spot of the performance-it was not so much the singing as the perfect, unaffected sincerity of it, the rightness of facial and bodily response, of the hands in particular. And while we are speaking of stars, we must not neglect Jane Robinson, as Henry, cer- tainly about the "cutest man" ever seen hereabouts; nor Jeannette Dale, a young lady of such talent and contagious vivacity that one could not imagine this play without her; nor Joselyn McLean and Ruth Bishop in their delectable "Sweet and Low-Brow." In a show where so much is good it is hardly gracious for a reviewer to single out special features. The choruses were almost uniformly acceptable, but there was a reason for the insistent recall of the Gibson Girls: even more than individuality and amusing grotesquerie it was the spirit of hilarity bursting through and infecting the audience. The mechanized perfection of the Mask chorus was less popular, but more artistic. The Country Girls were called back because of their vigorous abandon. Vigor, it should be remarked, is a characteristic of this show. Miss Loomis has succeeded in creating in her charges a spirit of almost electrical vitality rarely seen in amateur work. The play is alive; there is impact in it. Sometimes, it is true, this energy goes a little beyond bounds, as when Barbara Stratton, as Alice, the romantic man- hunter, effective enough in her role of insouciance, overplays her vigor- ous scenes; but usually it is under admirable control. YOU can forget UM EVERYTHING but the MUSIC? hear VICTOR RADIO in your home F REE Want Ads Pay ' i 0 Ask Us Convenient Terms I t University Music House Devoted to Music Hinshaw & Son Cor. Maynard & William Phone 7515 I t Mrs. Anna Kalmbach