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March 29, 1934 - Image 4

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The Michigan Daily, 1934-03-29

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RMW .+- -
Published every morning except Monday during the
University year and Summer Session by the Board in
Control of Student Publications.
Vember of the Western Conference Editorial Association
Rnd tthe Big Ten News Service.
Asociated 0011cginte Tress
-~1933 (A'Of ,am', l ?: t 193
The Associated Press is enclusively entitled to the use
for republication of all news dispathces credited to it or
not otherwise credited in thi paper and the local news
published herein. All rights of republication of special
dispatches are reserved.
Entered at the Post Office at Ann Arbor, Michigan, as
second class matter. Special ralie of postage granted by
Tir A;-sstant Postmaster-General.
Sibscriytion during summer by carrier, $1.00; by mail,
$1.50. During regular school year by carrier, $3.75; by
mall, $4.25.
Offices: Student Pubicaticns Building, Maynard Street,
Ann Arbor, Michigan. Phone: 2-1214.
Representatives : College 'Publications Representatives,
Inc., 4G East Thirty-Fourth Street, New York City; 80
Boylson Street, Boston; 612 North Michigan Avenue,
Telephone 4925
CITY EDITOR....................BRACKLEY SHAW
WOMEN'S EDITOR.................. CAROL J. IIANAN
NIGHT EDITORS: A. Ellis Ball, Ralph G. Coulter, William
0. Ferris, John C. Healey, George Van Vleck, Guy M.
Whipple, Jr.
SPORTS ASSISTANTS: Charles A. Baird, Arthur W. Car-
stens, Roland L. Martin, Marjorie Westerri.
WOMEN'S ASSISTANTS: Marjorie Beck, Eleanor Blum,
Lois Jotter, Marie Murphy, Margaret D. Phalan.
REPORTERS: C. Bradford Carpenter, Paul J. Elliott,
Courtney A. Evans, John J. Flaherty. Thomas A. Groehn,
John Kerr, Thomas H. Kleene, Bernard B. Levick, David
G. MacDonald, Joel P. Newman, John M. O'Connell,
Kenneth Parker, William R. Reed, Robert* S. Ruwitch,
Arthur S. Settle, Marshall D. Silverman, Arthur M.
Dorothy Gies, Jean Hanmer, Florence Harper, Eleanor
Johnson, Ruth Loebs, Josephine McLean, Marjorie Mor-
rison, Sally Place, Rosalie Resnick, Jane Schneider. j
Telephone 2-1214j
........................... CATHARINE MC HENRYE
DEPARTMENT MANAGERS: Local Advertising, Noel Tur-
ner; Classified Advertising, Russell Read; Advertising
Service, Robert Ward; Accounts, Allen Knuusi; Circula-
tion and 'Contracts, Jack Efroymson.
ASSISTANTS: Milton Kramer, John Ogden, Bernard Ros-
enthal, Joe Rothbard, George Atherton.
Jane Bassett, Virginia Bell, Mary Bursley, Peggy Cady,
Virginia Cluff, Patricia Daly, Genevieve Field, Louisel
Florez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet
Jackson, Louise Krause, Barbara Morgan, Margaret
Mustard, Betty Simoands.1

word is often used to mean devotion to an in-
stitution without an examination of its policies
Again, there might be a quibble on the word
"primary." The feeling of most fraternity men
towards both the University and their chapter is
similar to the sentiments which most citizens of
this country hold towards the United States and
towards their home town or locality. Underlying
is the loyalty to one's country, which may lie dor-
mant throughout one's whole lifetime; often ex-
pressed is the particularist love of one's locality
". ..that the association of any group of
students as a chapter of a fraternity involves
the definite responsibility of the group for the
conduct of the individual."
We believe that the fraternity should be re-
sponsible for the conduct of its members only
in the question of matters which can be said
to reflect on the house collectively, not on the
members individually. That is to say, we be-
lieve that the house ought to enforce on its
members compliance with University regulations
concerning hell week, social events, and collective
scholarship of the freshman class, while such
matters as plagiarism, automobile regulations, and
individual scholarship should be left to the per-
sonal relations between the student and the ad-
"3. That the fraternity should promote con-
duct consistent with good morals and good
By whose standards? - is the question which
almost automatically springs to the mind of the
person who reads this. Nothing has had a wider
swing during the past few years than the defini-
tions of good morals and of good taste. If the
college authorities are to be responsible to the
parents of the students, and if their morals stan-
dard very from mid-Victorian to mid-fourth dec-
ade, Twentieth Century, they will find themselves
in a dilemma out of which leads only one road-
that of laissez faire.
"4. That the fraternity should create an
atmosphere which will stimulate substantial
intellectual progress and superior intellectual
Fraternities here tend in this direction to an
extent far less than they should. Only sporadi-
cally is there a flash of the possibilities of in-
tellectual influence which the houses might have.
When the bull session drifts from the usual dis-
cussion of sex matters and tackles the monetary
question or the fundamental matter of atheism
versus agnosticism the fraternity proves a really
stimulating force. When any member of the
three upper classes is willing to stop and give
valuable help to a freshman, help which really
helps instead of making him ever more dependent,
the fraternity is doing its bit to justify its exist-
The question of intellectual stimulus is the one
on which the fraternity system may rise or fall.
Despite its evils, if it can be shown to be a force
in the direction of achieving a purpose so synono-
mous with the purpose of scholars and parents
alike, the fraternity will continue to exist. If it
proves defintitely a deterrent force to those ob-
jectives- and scholarship is the chief of them-
it may cease to exist. And all this is said im-
partially, without admitting that the fraternity
does not have something to offer besides this in-
tellectual stimulus.
"5. That the fraternity should maintain
sanitary, safe, and wholesome physical con-
ditions in the chapter house."
On this point we are in entire agreement with
the National Interfraternity Conference, and here
alone do we find Michigan fraternities entirely
"6. That the fraternity should inculcate
principles of sound business practice both in
the chapter finances and in the business re-
lations of its members."
The tax survey published recently by The Daily,
which revealed that fraternity houses are more
than 50 per cent delinquent in their 1933 general
property taxes shows up fraternities in a bad
light in connection with this point. While blame
for this condition may be shifted somewhat to
the alumni corporations which own the houses,
there is no dodging the fact that a large allow-
ance for bad debts must be carried by any Ann
Arbor merchant doing business with fraternities
and that seniors regularly leave the campus ow-
ing bills to their houses to such an extent that a
special committee of the Interfraternity Council
was once appointed to consider withholding credits
of men who are thus delinquent.

Music and Drama
T WAS STRESSED by the directors of "The
Gondoliers," in advance publicity, that the
production was to be regarded chiefly as an ex-
periment in the co-ordination of various units of
theatrical art -music, drama, dancing, and cos-
tume design, the most prominent elements being,
of course, the first two listed. The chief value of
this experiment, whose results were first put on
display last night, lies in the fact that it dem-
onstrates conclusively its own necessity. It is a
good beginning, but only a beginning. By that
we mean that the co-ordination at most points
was not good; that it needs to be worked on,
hammered upon, until it reaches anything like a
convincing unity. As entertainment "The Gondo-
liers" must be dissected in order that isolated por-
tions may show up to advantage. These portions
were many - they were chiefly musical -but the
impression of the reviewers after leaving the the-
atre was that they had seenand heard a spotty
production, out of which had emerged patches
of definite beauty and, moments of clear-cut
No one can question the importance of this
attempt at unifying the theatre arts. No one can
dispute the fact that the collaborators have in-
augurated a practice of high worth. The per-
formance last night was weak, but it was a be-
ginning. Much of the loss of stage value resulted
from the insufficiency of time which could be ex-
pended in rehearsal, and in the ambitious nature
of the opera itself, which possesses a scopesome-
what too great for a primary venture.
Messrs. Gilbert and Sullivan did a rather lavish
piece of light opera writing in "The Gondoliers,"
which has not all the sparkle but does possess
all the glamor of their more famous compositions.
It concerns the difficulties of two gondoliers who
are torn from their brides to become joint kings
of Barataria - partners because there is ambigu-
ity as to which is the real heir.
In an attempt to leave the Gilbert and Sullivan
technical traditions weltering in a sea of mech-
anized oblivion, the directors accomplished a dis-
concerting combination of stylism and music-hall
technique. At one moment a chorus will be danc-
ing and singing in approved stylized manner; two
minutes later the chorus will have developed into
a whirl of kaleidoscopic color; at last a few solo-
ists will come to the front and sing to the aud-
ience, as though they were on a concert stage.
Yet these soloists, in their spoken lines, are oblivi-
ous of the audience.
Nevertheless there is high amusement and beau-
ty in certain portions - the Cachuca dancers
standing out in high relief in this respect. The
opening of Act II is beautifully stylized. And at
all times the choral work is something which must
be granted high praise.
The first act should have been set at a more
normal tempo, and the power of the orchestra
should not have been loosed upon the women's
chorus. The tempo might have slackened, too, for
the chorus of Gondolieri, which headed by a
competent Antonio in Melzer Porter dashed
through the dance in breathless speed. The wom-
en's bits were completely lost in the orchestra.
The finale of the first act was led a merry pace,
too, in following the the orchestra's tempo. In
accompanying the soloists the orchestra proved
reliable and flexible.
In individual instances, the co-ordination of
singing and acting was outstanding. Virginia
Wards' voice showed up to better advantage than
Margaret Burke's, whose singing seemed hurried
and not in keeping with her voice's potentialities.
In John Silberman, the epitome of what is being
worked at was found. Mr. Silberman does not
have a "gorgeous voice" but his excellent enun-
ciation and stage manner created the desirable
effect of a finished performance.
Mention of the wood work of Henry Austin and
Maynard Klein the Gondolieri, both of whose
voices sounded to better advantage than Emmet
Leib's (the King of Barataria), and of the com-
plete let down in James V. Doll's "nusical read-
ing," of Jean Seeley's developing voice and of
the well-intentioned choruses which supported the
cast, must be made. From the musical end there

could be more co-ordination, but for a first at-
tempt, we reiterate, on the part of the musicall
element, it has its potentialities.
We would recapitulate, in summary, the neces-
sity for this experiment, and what it has shown.
The highly finished departments, each trained]
toward an individual goal, have become so self-
centeredly excellent that they cannot easily reach
a lowest common denominator. "The Gondoliers"
is very timely: the co-ordination must be accom-
plished some time, and the sooner it is done, the
better. The current presentation is rough-cast,
and juts out at odd places, but it indicates future
Voice over phone at the University of
Mississippi: "is Mr. Rockefeller there?"
"Tsk! Tsk! and you told us rushees he was
a member of your fraternity."







Make Second and Third
Payments at the Student
Publications Bldg. NOW!

,. ..

FRESHMAN TRYOUTS: William Jackson, Louis Gold-
smith, David Schiffer, William Barndt, Jack Richardson,
Charles Parker, Robert Owen, Ted Wohlgemuth, Jerome
Grossman, Avner, Kronenberger, Jim Horiskey, Tom
Clarke, Scott, Samuel Beckman, Homer Lathrop, Hall,
Ross Levin, Willy Tomlinson, Dean Asselin, Lyman
Littman, John Park, Don Hutton, Allen Ulpson, Richard
IHardenzbrook, Gordon Cohn.
Michigan Fraternities
And National Criteria. .
T HE National Interfraternity Con-
ference, in "a concerted effort to
prove to colleges, educators, and the public that
American fraternities are a constructive force in
academic life," has had sent out to chapters of
70 fraternities on 170 campuses including Michi-
gan's a set of criteria, inviting the members to
apply them to their own chapters.
Without venturing to question whether frater-
nities are, want to be, should, or need be proved
"a constructive force in American academic life,"
let us examine both these criteria and the fra-
ternities here, to see how far from the arbitrary
"standard of performance" the houses find them-
selves, and in how many respects they are ap-
proved by the conference's criteria.
The introductory paragraph to the criteria.
reads as follows:
"We consider the fraternity responsible for
a positive contribution to the primary func-
tions of the colleges and universities, and
therefore under an obligation to encourage the
most complete personal development of its
.Members, intellectual, physical, and social. .."
Although they are bold in assuming that the
"primary function of the college or university" is
the "personal development" of the students along
lines "intellectual, physical, and social," we find
that those who set up the criteria are funda-
mentally correct in pointing out the responsibility
of the fraternity towards its members. They con-
tinue with the criteria:
"1. That the objctlves and the activities
of the fr-ternIty should be in entire accord
witjthe, aiims and purposes of the institutions
at wich it has chapters."
This paragraph is rather meaningless, since the
,purpose of a large university, such as Michigan,
is subject to a good deal of latitude of definition.
The head of the botany department wants to turn
out botanists, the football coach winning teams,
and so on. To e,pect the fraternity to make its
purpose conform to that of the administration of
the college is to send them out to find black
moonbeams. Every student, every member of the
faculty, every administrative officer, every Regent
has a different conception of the purposes of the
Then even granting that the administration of
the University has an essential purpose which it
can express in words, why should the fraternities
be expected to conform to it? Every student comes
to college seeking a different thing. The ob-


MAY 9-10-11-12,







Earl V. Moore, Musical Director
Frederick Stock, Orchestra Conductor

Eric DeLamarter, Associate Conductor

Juv'a Higbee, Young


_----- -- 6a

Screen Reflcton
Porter ............ Robert Montgomery
Lettie ................. .Madge Evans
Legs .................. Nat Pendelton
Ted Healy and his Stooges;
If you like suspense and excitement of the
best type, don't miss "Fugitive Lovers," because
it is full of thrills that are unusually well pre-
sented, and it has a stimulating new setting. It
will be at the Michigan only Thursday, and this
is regrettable, because it is decidedly more worth
while' than some of the pictures that have a
longer run.
Heretofore only one movie has been made out of
a long-distance bus trip; now we have it in "Fugi-
tive Lovers." The title indicates almost anything
but this, and with some good reason, because the
heroine is trying to escape a gangster who thinks
she is a very delicious little morsel, and the hero
breaks out of prison just as the bus, which is
carrying the girl and the impertinent gangster,
is passing Eton penitentiary. The escaper hops
on the bus at an opportune moment, changes his
clothes amongst the baggage on the top, and
becomes one of the regular passengers at the next
stop. The police are searching for him, the gang-
ster is annoying her, and the result is mutual
aid that involves a great deal of excitement and
Laurels go to the producers, the writers, the
photographers, and the actors for the excellent

L UCR EZIA BOR I ... . . . . . . . . . . . . . . . . . . . . . . . . . .
Metropolitan Opera Association
ROSA PONSELLE..........................
Metropolitan Opera Association
JEANETTE VREELAND ....................... .
American Concert and Oratorio Singer
COE GLADE........................ . ....
Chicago Civic and other Operas

le's Conductor

PAUL ALT HOUSE-...................-- -
Metropolitan Opera Association
ARTHUR H ACKETT ........... ........ .
American Opera and Concert Singer
THEODORE WEBB ..........-.-.-- .......
American Oratorio Singer

... ...Tenor


. . . . . .

CHASE BAROMEO .......................
Chicago, LaScala, and South American Operas
GUILABUSTABO.-..... .............
Young American Virtuoso

... . Bass

'Tis better, says an A E Phi at Illinois,
remain silent and be thought a fool than
open your mouth and remove all doubt.



. . . .

nary termination has been employed. To cover
it up, dialogue of the type that some would call
"smart" has been employed, but it does not retain
the level of the rest of the picture. ,
Robert Montgomery does well as the escaping
convict; Madge Evans has been well cast, and
gives a good performance, although she has no
opportunity to show her versatility since her role
is of the unprepossessing type that she unusually
gets; Nat Pendelton has a part larger than in
most of his pictures, ahd this is as it should be,
because not only is he entertaining, but he gives

MISCHA LEVITZKI .. .............. .
Distinguished Russian Player
MABEL ROSS RHEA D .................
Choral Union Accompanist
PALMER CHRISTIAN . - ' ...............
University of Michigan Organist

......... Pianist
.- Organist

The University Choral Union .. 300 Voices The Stanley Chorus. . . 40 Voices
Chicago Symphony Orchestra. .70 players Ninth Symphony .....Beethoven
Young People's Festival Chorus 400 Voices The Seasons .. ... Haydn
American Premiere (specially translated The Ugly Duckling English
into English) of "Song of Peace" (Ein The Waters of Babylon Loeffler



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