THE MICHIGAN-DAILY
HE MICHIGAN DALY
licial Publication of the Summer Session
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Publisned every morning except Monday during the
University year and Summer Session by the Board in
Coantrol of Student Publications.
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Assocatd ollegiate i ezsz
-1934 1935~'
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MADSO w1sCOtNSR
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Magel.
'Magna Charta'
Of Labor?. . .
WILLIAM W. GREEN, head of the
American Federation of Labor, re-
ferring to the latest brain child of Senator Wagner
of New York, the Wagner Labor Bill, called it the
"Magna Charta" of labor, in spite of the protests
and cries of unconstitutionality resounding from
large manufacturers.
This act provides for the setting up of a new
Labor Relations Board, condemns all intermeddling
by manufacturers as unfair competition, and re-
quires the manufacturers to recognize as bar-
gainers only the representatives of the majority
of their employees. Although it is applicable only
to companies whose bargaining practices injure
interstate commerce it will most certainly have
to run the gauntlet of Supreme Court approval.
Already large companies have made known their
intentions of taking it speedily before the high
tribunal.
Constitutionally it will undoubtedly be attacked
as going beyond the power of the government's
control over interstate commerce, as well as a vio-
lation of the "due process" clause of the fifth
amendment. While the government's argument
that labor practices conducive to strikes in key
industries are an interference with interstate com-
merce and thus within Federal control may prove
less vulnerable thgn their arguments in the NRA
case, they' will be hard pressed to convince the
court that the majority rule clause does not vio-
late "due process," in view of the court's decision
in throwing out the Railway Pension Act.
Granted that the act may be found to hold
water, it seems very doubtful whether Mr. Green's
idealistic statement will prove true and that the
hoped-for indusrial peace will be attained through
the majority rule clause. When viewed in con-
junction with the provision of the Norris Act of
1932 which practically ties the hands of the Federal
courts in issuing strike injunctions this is all the
more apparent.
In fact, the Wagner bill may have the effect
of putting the employers on the horns of a nasty
dilemma, with a probably prolonged strike at either
horn. They may comply with the provisions and
refuse to recognize minorities, in which case, the
minorities may strike; they may violate the act
and recognize minorities, with the result that the
majority will strike until such a practice is en-
joined.
While the act denies minorities the right to
bargain it does not deny them the right to strike,
and the strikes pursuant to the race for recognition
under the old practice will continue and may-be
prolonged.
And while the Wagner Bill will not necessarily
result in, an opening wedge for the A.F. of L., as
some have said, in view of that organization's small
representation in some of the key industries, it will
certainly lead to renewed internal strife between
unions, and it will leave workmen open to de-
mands of would-be majority unions more vigilant
than ever in their recruiting, because of the power
given the majorities by this act.
Arbitration and perseverance will still be re-
quired, if the act is to prove workable and industrial
strife alleviated.
Sense Of
Humor.
T HE ONE THING we can't forgive a
noisy radical is his lack of a sense
of humor. We could get used to a bristly chin and
a loud voice. We could put up with all the threats
to take our property and kill our grandmother, or
achieve the 'rule of the proletariat and pervade
the universe with harmony. We might even be
the best friend of a radical - or anyone else - if he
only had a sense of humor.
It isn't merely that the average radical misses
the point when he reads a joke in the New' Yorker
or hears a good story from a fellow agitator. In
their own lives and those of others by shouting at
us until we give in to them merely to restore
tranquility are doing us a distinct service. But
we don't want them for friends of ours, and, what's
more, we won't have them.
A sense of humor, as we arethinking of it, is the
balance wheel that makes for a satisfactory adjust-
ment between the competing forces of life. A sense
of humor is the saving grace, because it enables
one to check up on himself periodically to see
whether he is fulfilling his own and other persons
expectations. A sense of humor is valuable because
it enables one to withstand shocks that are only
temporary and of minor importance, though at the
time they seem all-engrossing.
An intelligent sense of humor should be a matter
of culture, because culture should bring balance,
if it accomplishes nothing else. In college, as
nowhere else, one'is brought face to face with con-
flicting values and forces to choose among them
if he is to achieve satisfaction. The learning of
the ages teaches, if nothing else, the importance
of tolerance and skepticism. He who learns to
laugh at enemies, instead of pitching them into
the river, has made an important step toward
tolerance; he who is willing to laugh at his own
foibles is healthily skeptical.
On this score there is no need to worry about
most Americans. Though their sense of humor is
probably more a matter of temperament than of
culture, it stands out so boldly at times as to ob-
scure every other trait, except dollar-worship. We
have come to believe that most of our legislators
are either clowns or weaklings, and we think it is a
good joke on us.
A sense of humor, like everything else, has to be
developed, or -if you prefer to look at it that way
- curbed. It shouldn't mean that nothing is worth
fighting for in life. It should means that we could
quit quibbling over many meaningless matters,
saving our breath for those we are sure must count.
The problem we are working on is to keep from
being feinted out of position by some minor matter,
so that we shall be of no use in the struggle where
we may be best fitted to serve. It means knowing
ourselves, which is no easy job, but it will be all
right as long as we get a good laugh once in a
while.
STAG E
Because George S. Kaufman has a finished ca-
pacity for both collaboration and anticipation of
public taste in the theater, his "Merrily We Roll
Along," which he wrote with Moss Hart, was one
of the year's outstanding successes on New York's
stage. Its presentation last night at the Lydia
Mendelssohn Theater by the Repertory Players
was all that could be asked for even by the most
finically scrupulous of critics.
Technically speaking, "Merrily We Roll Along" is
far and above the most difficult of the three plays
enconutered thus far during the current summer
season. This is especially significant because the
action of the piece moves backward, with the first
scene set in 1934 and the final curtain descending
in the year 1916. Each of six scenes depicts a sep-
arate year. Despite the fact that James Doll plays
on the piano such current ballads as "Lullaby of
Broadway" and "Isle of Capri" one year before they
were written, staging and properties are admirable.
What takes place in the life of Richard Niles,
commencing with his graduation from college
when he is an idealistic, impotent dramatist until
he is finally the hypocritical purveyor of strictly-
popular farces, is the connecting link of the play.
Whether or not this is the rumored autobiography
of Mr. Kaufman is of small consequence. Suffice
it to say that "Merrily We Roll Along" is a pleas-
ant admixture of melodrama and comedy, with
particular stress upon Mr. Kaufman's celebrated
"lines."
As Richard Niles, Frank Funk gives the best per-
formance of his career. It is evident that Mr.
Funk not only is able to "speak his part" but also
to feel it. Charles Harrell, as the Bahentian
artist, Jonathan Crale, accounts himself most cred-
itably. So does Sarah Pierce, in the 'role of Julia
Glenn, who gets off the majority of the play's best
witticisms. Lillian Holmes, in a bit part, is par-
ticularly effective and scores well with the au-
dience. -R.S.R.
SCRE=EN
Fourstars - mustn't miss;three stars -very good;
two stars - an average picture; one star - poor; no
star - don't go.
Louis Hayward are good,
Within" much of its life.
though he has nothing to
tion.
and give "The Flame
Henry Stephenson, al-
do, is a pleasant addi-
Several of the characters are devotees of the
creed that emotion is best portrayed by shouting
hysterically, with shrill screams representing the
greatest emotion.
"The Flame Within" is interesting enough to
keep one from thinking how hard the seats are,
and that's something.
-R.A.C.
KEEP
* * *
*
*
"MURDER ON A HONEYMOON"
An RKO picture with Edna May Oliver, James
Gleason, Lola Lane, and Sleep 'n' Eat (ugh!).
"Murder on a Honeymoon" is pretty much
spoiled because one can guess the murderer right
at the beginning.
Edna May Oliver and James Gleason, as the
two detectives, are amusing, but the laughs dwindle
when they start repeating their gags.
In naming a Stepin Fetchit imitator "Sleep 'n'
Eat," Hollywood really plumbs the depths
R.A.C.
As Others Seek
A Toothless Pact
THE PACT OF PARIS, otherwise known as the
Kellogg-Briand Treaty, renounces war as an
instrument of national policy. It goes no farther.
If one of the signatories sees fit to violate its pledge,
the pact has no machinery by which such signatory
can be brought to book. It is this document that
Ethiopia has asked the United States to invoke to
prevent the threatened Italian invasion.
There are precedents for such an action. Former
Secretary of State Stimson in 1929, at the time of
hostilities between Russia and China on the Man-
churian border, took it upon himself to remind
both these nations of their obligations under the
Pact of Paris. It was a fruitless incident and
one chiefly memorable for the scorching reply of
the Soviet Government, whose general tenor was
for the United States to mind her own business.
As American citizens, we may deplore Italy's
plans for war in Ethiopia. This newspaper has re-
peatedly denounced it as a piece of brutal imperial-
ism. But the American government should keep
its hands off. Our country is not the guardian
of the world's conscience and it cannot assume
that role without also assuming the consequences.
The consequences might easily be the shedding of
the blood of Americans in a dispute immeasurably
remote from anything that concerns them.
-St. Louis Post-Dispatch.
The SOAP BOX
Letters published in this column should not be
construed as expressing the editorial opinion of The
Daily. Anonymous contributions will be disregarded.
The names of communicants will, however, besregarded
as confidential upon request. Contributors are asked
to be brief, the editor reserving the right to condense
all letters of over 300 words and to accept or reject
letters upon the criteria of general editorial importance
and interest to the campus.
Music In Relief
To the Editor
The editorial of Tuesday morning, entitled "Sup-
porting Mr. Tibbett" could more aptly have been
headed "An Apology for Music." The writer con-
siders a time of depression and starvation and
broken morale an unfortunate time to consider
music and concludes his plea for a national or-
chestra w!±=,'"if we must have boon-doggling to-
day," why not let it be music. Obviously he is out
of touch with the current place of music among
Federal projects as well as unaware of its sociolog-
ical value.
The importance of music, whether it be pure
rhythm or music drama, in the lives of all peoples
throughout all time needs no apology. Other coun-
tries have, for centuries, recognized the need of
arts in everyday life. We in America have been
so busy perfecting and producing labor-saving
machines; so occupied with making fewer jobs
for our people, that only after five years of de-
pression are we beginning to readjust our values
and know that spiritual resource is essential to
survival. The man who has his family and his
radio and his automobile can indeed get along with-
out music. But the man who is no longer able
to keep his family together, the man who walks
and walks with no place to go, who is broken
physically from years of hunger, needs something,
some force within himself, to make him hold on
for a few more days or a few more years until
the upward swing.
All over' the country this man walks the streets
by the million. Fortunately the Emergency Relief
is aware that among the millions are many thou-
sands of artists, painteds, actors, musicians. Some
of them are mature with reputation and achieve-
ment back of them. Those who are young, in these
five years have never been able to earn a liveli-
hood. Their talent, their years of expensive train-
ing, their creative energy is seeping away.
For more than a year there have been music
projects under Federal relief. In some cities they
have been successful. Go into an industrial center
and hear a relief orchestra play Beethoven or
Bach for audiences of unemployed miners or mill
workers. To you, surrounded by economic security
music is not important. Don't listen. But see
the faces of the men around you. See these
men chajige and escape from the emptiness of their
existen(e. Watch the thin, unhappy children
grow quiet. Yes, in times of prosperity, we Amer-
icans will devote ourselves to Mendelssohn or Wag-
ner for pastime. But those of us who are starving
want music now.
The Emergency Relief Administration recognizes
the value of music and knows the need of musi-
cians. But in many places the projects have not
succeeded. In incompetent hands they have be-
come just another ditch to be dug and filled up
again. The problem now is to find the most con-
structive means of giving music government sub-
0I
ON
When the Mercury hovers around 85 or
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AT THE MAJESTIC
Double Featuie
"THE FLAME WITHIN"
**
A Metro-Goldwyn-Mayer picture starring Ann
Harding and Herbert Marshall, with Maureen
O'Sullivan, Louis Hayward, and Henry Stephenson.
Also a Hearst newsreel.
"The Flame Within" is heavy drama, a bit soggy
at times, but not at all painful.
Both prevues of it were rather frightening (it
was to have been shown at the Michigan some
time ago but was called off) but, despite Ann Hard-
ing's recent efforts, it isn't and couldn't be as
bad as they would indicate.
With the blood of "The Fountain," "Biography
of a Bachelor Girl," and "Enchanted April" on her
hands, Miss Harding here finds a more congenial
role. As a woman doctor, specializing in psychi-
atry, she can stare blankly into space and talk
like Chandu the Magician with less trepidation
than before.
Dr. Mary White (Ann Harding) is loved by a col-
league (Herbert Marshall) but she cannot give
up her career for marriage. A rich young girl
(Maureen O'Sullivan) becomes a patient of Mar-
shall's after attempting suicide. Wildly in love,
it is because the young man (Louis Hayward) is
going to pieces (with strong drink, etc.) that she
t.
iiSaele
od'ayl
/
5
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