Indianapolis Times, Volume 45, Number 244, Indianapolis, Marion County, 20 February 1934 — Page 9

Second Section

It Seems to Me By Heywood Broun DRAMATIC critics have oted many times that the particular period of stress and strain under which we live jtets very ’nfrequent mention in our theaters. People read in newspapers of breadlines, riots civil war and bloodshed and then amble off contentedly to see a farce about a Princeton undergraduate who hides a night club dancer m his rooms. Im not the one to complain about this. “She

Loves Me Not” is one of the most amusing light comedies ever written as far as I'm concerned. In fact, I fear that very often I belong among the many who prefer a good song ringing clear and a chorus of twenty-four tap dancers to the serious-minded play about the coming of the revolution. I don't want to appear as an advocate for the shiftless and the indifferent. I would r;.ve no man or woman gnoiant and insensitive to the whirling tides which leap about on every side. And. even so. I can not see why it .should be compulsory for every man to walk all day with his particular kind of political

Heywood Broun

eronomv and have it at his elbow for dinner and sit side by side with it at the playhouse. a a a .Vo t of the Best IN fact, also, it may be advanced that with very few exceptions, recent propaganda plays have not been particularly good drama. Many years ago I left 'he camp of those who said. “If it is propaganda it can't be art.” I am completely on the other side. Any first rate piece of art must come out of profound emotion. And there are few things that stir the emotions so deeply as even the hint of economic change. Yet it well may be that the superb propaganda play never will be written until after the event. I think it is true in the rase of the great war that practically everything which was written while the guns were still booming had very little merit. It was necessary to wait, a year or so to jet a “What Price Glory?” and that need not be the final word. Fifty years after somebody may write with the fine flood of emotion tempered by the saving grace of perspective. If it is true that the serious-minded drama is not yet largely represented along the stages of Broad wav it may be that the American artist is still m a stage so transitional that he doesn't know which wav to jump. Both playwrights and the public are seeking a thing called escape. Because life puzzles them they seek the old verities of musical comedy story or farce plot. And there is one other variation of this same movement. Eugene s “Days Without End represents to me a crude, but powerful gioping on the part of the author to get back to the God of his fathers. When a man becomes insecure about the life which is lived around him he is very likely to try to make somo peace with a promised certainty of the days to come. a a a Another Escaping Playwright ANOTHER famous American playwright followed the course of O'Neill. His play did not catch on in New York and closed last week after a very short run But it seemed to me that “The Joyous Season ” by Barry, was an interesting part of the movement led by O Neill Phil Barry has always been known as a devout Catholic, but for the most part his plays have concerned the sophisticated doings of the wealthy Manhattan and Long Island sets. Sometimes Westchester has been thrown in for good measure. These pieces have not been particularly cynical. Mr. Barry has been tormented by the conflict which may go on in the heart of a man who would like to make a lot of money easily and who feels, nevertheless, that it might interfere with the happy life of the artist. Now, in “The Joyous Season.” he has restated this a little to declare that man must choose ertween God and Mammon, and God becomes not iust the deity of good painting, good poetry or novel writing, but the God of the established church. It would not be quite fair to say that “The Joyous Season" is an argument for a return to Catholicism. While the dominating figure in the play happens to be a nun, she stands as a symbol for a somewhat less denominational thesis. The play, indeed, is roughly built around the pattern ol “The Servant in the House” and "The Passing of the Third Floor Back." tt a tt The Figure in drag INTO a quarrelsome, avaricious and worldly family there returns the Irish sister who entered a convent as a gill, and she becomes appealing because she is the most joyous one of all the lot. She laughs more readily. There is nothing in her devotion which is stern or forbidding. In effect the gospel she preaches is that the good life is also the easiest, pleasantest and the most satisfying. Barry is so expert a craftsman that his sermon did not come out in terms of long sneeches. but in character, and he was fortunate enough to find a superb actress to play the part of the nun. To give her an exact ti’le she was a Mother Superior. Lillian Gish played with enormous animation and with a distinct spiritual lift. (Copvrieht. 1004. bv The Timesi

Your Health BY DK .MORRIS EISHBEIN

A HUMAN bring at work suddenly falls as though struck down and finds himself thereafter unable to move certain muscles of his face, his arms, or his legs. In another case a man goes to sleep. During the night he awakens with a sharp cry and is found to be partially paralyzed. In most instances this is due to a sudden hemorrhage in the brain, scientifically called apoplexy, from the Greek word meaning disabled by a stroke. All sorts of superstitions and notions exist about a stroke—one of them beuig that the third stroke always is fatal. There is no basis for this notion except that a person who has had repeated strokes is more apt to die after the second or third than after the first, since by that time his resistance is worn down. Apoplexy is due to a sudden breaking of an artery in the brain. It also may be due to a sudden stopping of an artery m the brain by a clot carried to the brain from eisewhere n the body, or to a sudden coagulation or clotting of the blood in one of the vessels in the brain. a a a STROKES occur most often in men more than 50 years old who have high blood pressure. When a stroke occurs in a young person, it is more often due to a small clot coming from elsewhere in the body, or sometimes due to materials which get into the blood stream from growths on heart valves. When a person has a stroke the first thing to do is to put him absolutely at rest on his back, w.th the tipper part of the body slightly elevated. A certain kind of relief seems to oe afforded by an ice bag put on the side of the head, on the side opposite to the pa ralj sis. Persons who become unconscious usually are deprived of fluids. They are unable to drink or swallow. It is. therefore, absolutely necessary to see that fluids are put into the bodies of these persons, either by injection with a tube or by injection under the skm. n a a IN a good many cases there is a tendency after the passing of some time for the blood supply to onen its way through the clot which forms when the ves'cl is broken, and in such cases there may develop later a return of motion into the parts that have been paralyzed. It is always well in these cases to remember a proverb which is among the most important in the field of medicine, namely, -Where there’s life, there’s hope.’*

bull Leaned VVlra Service of she ( nifed I'reaa Association

‘INDIANA’S GIFTS TO GOVERNMENT’

James E. Watson —*Lovable Old Humbug’ and New Deal Victim

Thix, the xixth of The Times’ popular *erie* on Hoosier Statesmen, concerns Senator James E. Watson, victim of the “ new deal.’’ a a a BY DANIEL M. KIDNEY Times Staff Writer WHEN the new deal eliminated James Eli Watson from the national political scene, it closed, at least temporarily, for that well known Hoosier some thirty-five years of public office holding. As congressman, senator and one-time lobbyist, “Jim” Watson did make a name for himself at the national capital. In Indiana, he long had been conceded the crow'n of being “consumate politician.” No one would be more prompt that the former senator in saying that he did “play politics.” But when his country faced a genuine crisis, as during the World war, Senator Watson was man enough to put his country before his party and his own personal aggrandizement. In the present crisis, the senator's one-time colleague seems to have taken a different view’. Therefore, despite objections, Senator Watson rates a listing in this Hoosier Statesmen series.

At the finish of his regime in the senate, Senator Watson was indeed a power. He was leader of his party on the senate floor and ■'lid his best to arouse enthusiasm and senatorial support for President Hoover's policies. That he often was unsuccessful was rather the fault of Mr. Hoover. it generally was admitted. It is related that at one time he sat down after a long senate harangue for a Hoover measure and while mopping his brow, was informed that the President had changed front. “How are you going to stand behind a man who has St. Vitus dance?” the G. O. P. floor leader is said to have said, thus coining a true Hoosierism of “mother wit.” a a a GENATOR WATSON, who lor at least two decades was at the bottom of most any scheme afoot in Washington when Republicans were in power, never was “hot for Hoover.” Even when he was helping him as President, he often, in lax moments and among friends, would drop the mask and refer to Mr. Hoover as “the wonder boy.” Senator Watson saw what President Hoover couldn’t see—that he

Booth Tarkington Directs Cast in Rehearsal for His Own Great ‘Seventeen’ Which Will Be Presented Friday Night at Murat

MORE than twenty years ago, Booth Tarkington created in story form tne character of Willie Baxter in "Seventeen.” Last night at the Ci c Theater, Mr. Tarkington acted as director of his own play which will be presented Friday night at the Murat theater. Just before Hale Mac Keen, director of the Civic Theater, started rehearsals, he told the cast that Mr. Tarkington would be director for the night. In the dimly lighted auditorium, Mr. Tarkington sat three rows from the front center, while Mrs. Tarkington occupied a seat in the next row’ back. Memories of the days when Stuart Walker had in rehearsal “Seventeen" with the late Gregory Kelly as Willie, came back to the great author as he again saw his own characters come to life. Time and again as Booth Tarkington Jameson, who was the original of the character, brought Willie to life, Mr. Tarkington smiled and nodded his head in approval. a a a IN the famous serenade scene where Willie and Jolinnie Watson sing to Lola Pratt, the "Baby Talk Girl,” Mr. Tarkington chuckled and rested his chin on his hand. After the scene was over, he made a few suggestions to the cast. When Lola threw a kiss to the moon when she told the small town boys good night. Mr. Tarkington smiled and chuckled to himself as he said. “Its all line, beautiful." It was during this scene. Mr. Tarkington recalled the several things that Mr. Walker did to the scene to make it effective, such as selecting the tune that the boys play. ' ‘.Sweet Genevieve" was always a favorite of Mr. Tarkington even in his college days. “Let Me Call You Sweetheart." as put over in the serenade, took on a mighty sweet meaning last night. Several times Mr. Tarxington left his seat to make suggestions to the cast, things that he remembered while Mr. Walker was producing the play. During the fourth act Mr. Tarkington moved down to the second row and with a muffler around his throat as he smoked a cicaret. the great author watched his characters say their last lines. Then when it was all over. Mr. Mac Keen called the entire cast on the stage and Mr. Tarkington said. “You are all fine. You are getting the effects. Just get a little easier in your parts. That is just a minor suggestion. The play is as well done as when Mr. Walker produced it." a a a AS he left the theater, Mr. Tarkington told Mr. Mac Keen that it was remarkable what had been accomplished. He recalled several things that Gregory Kelly did in the original production. “These are just trifling suggestions." he said. "I remember some things from the original production. It comes back to me clearly.” As he was leaving the theater, Mr. Tarkington told me: • You can see that the play is dated. They don't use programs at dances now. Imagine dancers talking about the twenty-second dance and the thirty-second extra if there will be any. Yes, it's dated." And then a discussion followed

The Indianapolis Times

was unpopular and doomed to defeat. It was Senator Watson's turn to run for re-election so the best he could do was sink with the ship. The long-time senator looks the part. Well over six feet tall and with a resonant voice given to both serious oratory and jocularity, he w T as an impressive figure both in the senate and on the stump. Scarcely any Indiana community is so small that it has not had “Jim” make a speech there some time during his long political career. He knew his crowds and could thump his pant leg and make persons laugh who but a few' moments before w'ere frow'ning and declaring that he had “doublecrossed me for the postmastership.” a a a WATSON was born at Winchester, Ind.. Nov. 2, 1864, the son of a prominent Randolph county attorney. He was educated at De Pauw university, alma mater of the famed Senator Beveridge. He joined his father in law practice at Winchester and moved to Rushville and his own office in 1893. Here he returned each time he closed a campaign for

of the time he started to write “Seventeen.” "Twenty years?” he mused. “Yes, the time goes fast and I don't seem to get enough done in a year's time.” It w’as a happy and fine evening for the cast and one they will never forget. The splendid humor, sincerity and graciousness of the great author was present always. “I thank you for asking us to come,” he said to Mr. Mac Keen. a a a THE following is the cast which Mr. Tarkington directed last night and which will play ‘’Seventeen” Friday night at the Murat: Mrs. Baxter ....Elizabeth Bogert Schofield Mr. Baxter Horace F. Hill 111 William Sylvanus Baxter Booth Tarkington Jameson Johnnie Watson Robert Hanika Jane Baxter . ...Fanchon Fattig May Parcher Jane Roemler Lola Pratt Henrietta Orr Genesis R. Blavne McCurry Joe Bullitt Myles Sweeney Mr. Parcher Waiter P. Pfaff George Crooper Eugene McManamon Ethel Boke Frances Westcott Wallie Banks Lionel Wiggam Mary Brooks Mary Florence Fletcher Walter Pfaff, a member of the cast, told me that he remembered many years ago when Mr. Tarkington directed the Indianapolis Dramatic Club. "He would just stand in front of the footlights,” Mr. Pfaff said, “and he would direct by just moving his hands.” ‘Seventeen” may be slightly dated, but it still reflects youth as youth—a lad dreaming of owning a dress suit so he could outshine every other before his sweetie. a a a Movie Stars Coming STARS well known in the movie world will spend an afternoon and night in Indianapolis. Next Friday afternoon about 3, fifteen motor vehicles carrying close to fifty people will be met just east of the city by motorcycle police and will be escorted to Mayor Sullivan's office in city hall where they will be formally welcomed to the city. The stars are coming to the city in connection with the opening of the movie. “Moulin Rouge.” starring Constance Bennett, which opens‘Friday at Loews Palace. The stars making the pilgrimage over the country in big busses includes Anna Q. Nilsson, Mary Carlisle, Nancy Welford. Dorothy Dunbar, Ben Turpin. Jack Mulhall. Antonio Moreno. Creighton Hale. Roscoe Ates and Johnny Hundley. Also there will be twelve Starlets who sing and dance. The rest of the passenger list is made up of business representatives of 20th Century Pictures, wardrobe mistresses, maids and valets of the visiting stars. After leaving the mayor's office, the stars will be taken to the Columbia Club where they will be guests while in the city. At 6:15, they will be the honored guests at a dinner at the club. About 8:15 the stars will appear in a parade through the principal streets in the business section and will be taken to Loews Palace at 9 p. m. Each star will be introduced as he or she leaves the bus. At 9:30 p. m. to 10:15, the stars will make personal appearances on the stage at the Palace. After that they will return for a dance at the Columbia Club. They leave Indianapolis early for St. Louis which is the next step. Os the fifteen cars in the cavalcade, thirteen are limousines, one a luxuriously outfitted draw-ing-room-car installed on the chassis of a Greyhound bus. The

INDIANAPOLIS, TUESDAY, FEBRUARY 20, 1934

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James E. Watson his final speech and to cast his i In 1894 he was elected to repreballot. I sent the o!fi Sixth district in

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last car in line is a truck carrying the baggage. All of the cars are a part of the Moulin Rouge Caravan, which is visiting the chief cities of the country. *a a • Concerning Maennerchor ELSA ALSEN. soprano of the Chicago Opera Company, revealed herself as an artist with tremendous powers when she appeared last night in the Academy of Music. Madame Alsen shared program honors with the Maen--nerchor under the direction of Karl Reckzeh. Perhaps it is to be regretted that Madame Alsen confined her efforts last night upon so many works of unheroic stature. Only infrequently during the early part of her program did she give an intimation of her fuller emotional and dramatic proclivities which she ultimately revealed in her final encore—“ The Battle Cry,” from “Die Walkurie.” That Madame Alsen, who finally showed the tremendous scope of her histrionic ability, her glorious volume and range, should sing so little of Wagner, is altogether regrettable. It is to be hoped that she may some day return to Indianapolis to remedy what seemed an error of omission. Opening with the aria, “Dich, teure Halle" from “Tannhaeuser,” which, in retrospect was dwarfed by “The Battle Cry,” Madame Alsen proceeded to a German group including “Widmug,” by Schumann, “Die Forelle,’ by Schubert

The Theatrical World

BY W ALTER D. HICKMAN

Booth Tarkington

Movie Time Schedule Lyric—Vaudeville headed by Ross and Ayres, 1:10, 3:54, 6:48 and 9:25 p. m. Movie: *’l Like It That Way," 11:53 a. m.; 2:37. 5:31, 8:08 and 10:30 p. m. Indiana —Stage show, "The Student Prince,” with George Hassell. 12:56, 3:39, 6:42 and 9:25 p. m. Movie, ‘‘Hi. Nellie,” with Paul Muni, 11:25 a. m.; 2:08. 4:51, 7:54 and 10:37 p. m. Circle—“ Fashion Follies of 1934,” with William Powell. 11 a. m.; 12:53. 2:46. 4:29, 6:22, 8:15 and 10:08 p. m. Palace —"Queen Christiana,” with Greta Garbo. 11:05 a. m.; 1:15. 3:25, 5:35, 7:45 and 9:55 p. m. Apollo—“ Alice in Wonderland ” with Charlotte Henry, 11:43 a. m.; 1:43, 3:43, 5:41, 7:41 and 9:41.

and “Vergebliches Staendchen” and the familiar “Wiegenlied’’ by Brahms, in the latter. Madame Alsen sang with a lyric quality that was superb, her purity of tone magnificent. In her French group, Lenormand's “Quelle Souffrance” gave Madame Alsen an opportunity to sing from emotional depth, which substantiated the impression of genuine sincerity which she at all times gives, whether the song be gay or sad, Madame Alsen sings for the joy of singing, certainly. Therein lies her charm. Director Reckzeh may well be proud of the performance turned

Minister’s Puppy Wins Honors in Terrier Show

The Rev. M. D. Wilson’s .Entry Selected; City Man’s Dog Places. Judges in the first annual puppy show of the Wire Haired Fox Terrier Club of Indiana, held at the Antlers Saturday night, selected Arlington Beauty, owned by the Rev. M. D. Wilson of Arlington for first prize. Other awards were made to Aristocratic’s Little Joe, owned by Joseph W. Viner of Lagrange, 111., as best male puppy; and Aristocrat's Showman, also owned by Mr. Viner, as reserve winner. Gallant Lady of Walridge. owned by G. A. Borchick. Indianapolis, was chosen as female reserve winner. Arlington Big Ike, owned by Mr.

SIDE GLANCES

BEG U. S. P*T. OfT.

‘"Nowjoujyd? jus* tell me if you object tag. - * gipgjilopg.”.''

congress and fror.i that time on he served througn the Fortysixth to Sixtieth congresses, being re-elected from the district every two years. While still in congress, he ran for the governorship in 1908. but was defeated by Thomas R. Marshall. In 1916. Mr. Watson was elected United States senator for the unexpired term of Benjamin F. Shively. This term expired in 1921 but Senator Watson w’as re-elected in the campaign of 1920 and again in 1926. His final term expired in March, 1933. No end of anecdotes grew out of the senator's efforts to retain his seat during the turbulent postwar period when Indiana's political life became a public scandal. a a a FOR instance there' is the story of the Washington correspondent who met ••Jim” on a train ‘and inquired: “I .understand that you were out addressing a meeting of the Ku-Klux Klan last night, senator. Is that so?” The reported reply was: “You’re dog-gone right and tomorrow' night I have a date to talk to the Knights of Columbus.” The episode was illustrative of the senator’s character as sized up by Hoosiers generally. They laughed at It and were not much offended. Perhaps they would say that such a stand excludes him from statesmanship. But they knew that Senator Watson, whether he joined or not, was never a Kluxer at heart. He was and is too big, both physically and mentally, to be mean enough to harbor bigotry. Frank Kent, noted political editor of the Baltimore Sun papers, once termed him: “A lovable old humbug.” Many Hoosiers for many years have found Senator Watson merely "lovable.”

in last night by the Maennerchor. There was consistently a finished touch to their part of the program. Fullness of tone, decisiveness of phrasing and interpretation there was. From the spirit of joy and abandon in “Morgen in Wald” in the opening group, to “Slavonisches Staendchen” with its fine restraint and delicacy of pattern, the chorus appeared to fine advantage. Madame Alsen appeared following the cancellation of the booking of Dusolina Giannini because of illness. (By the observer.)

Wilson, was first in the 4 to 6 months male class, and received a special prize for being the best groomed and conditioned puppy in the show. BETHLEHEM CHURCH SETS LENTEN SERVICE Rev. Allen K. Trout to Preach in Lutheran Series. Second of a series of Lenten services will be conducted at the Bethlehem Lutheran church at 7:45 tomorrow night. The Rev. Allen K. Trout will speak on “The Cross, the Chief Challenge Against Sin.” Wayne Swope, soloist, and the robed choir directed by Miss Elizabeth E. Johnson, will provide a musical offering.

By George Clark

Second Section

Entered a* Second-Class Matter at Postoffioe. IndlsnipelU

Fair Enough By Westbrook Pegler ' 1 ''HE mayor of St. Paul. Mr. Mahoney, has taken -*■ considerable umbrage at the remark of Homer S. Cummings, the United States attorney-general, that if there are any two cities which need cleaning up at this time, they are St. Paul and Minneapolis. Mr Cummings was alluding to the Bohn, Hamm and Bremer kidnaping cases which occurred in St. Paul. His words had hardly been repeated to Mr. Mahoney before the mayor sank his pick into one of the greatest umbrage deposits on the North American

continent and began to fling pure umbrage over a wide area. This is the natural response of a local politician to criticism of his city except in New York or Chicago. These cities have been called sink-holes of sin for many years and they have learned to take it. and even like it. It is too bad for St. Paul and Mr. Mahoney, though, that John O'Connor could not live forever. Because in the time of Mr. O'Connor, w'ho was chief of detectives there for many years, St. Paul W'as host to more crooks of various kinds and to less professional crime than any other city in the United States. Mr. O'Connor ran St. Paul as a sort

of prisoner's base, which is a w r ay of saying that as long as a lewless character, in from elsewhere, led a blameless life in St. Paul, he was free to stay there and spend his money, and was more or less immune to extradition. Mr. O'Connor was not the Governor of Minnesota, and could not. personally, refuse to honor extradition papers from other states. But very often, if another Governor sent to St. Paul for a fugitive who was behaving himself in St. Paul. Mr. O’Connor would hide the subject, or provide him with hair dye and false whiskers. a a a A Thorough System CHIEF O’CONNORS system was excellent for the citizens of St. Paul and, though it tended to encourage lawlessness in other cities, especially in Minneapolis, he was working for St. Paul. Under Chief O'Connor, the house-breakers, safeblowers. horse-thieves, porch-climbers, and goldbrick men who comprised the criminal element of that naive day before the invention of the pineapple and Thompson gun, and the adoption of the match and the one-way ride, were required to report to him at headquarters as soon as they arrived in town. Chief O'Connor was a tough cop about five feet ten. with athletic strength, no fear and a highly developed sense of honor. Upon receiving a visiting burglar in his office he laid down the conditions of asylum in St. Paul and assured the guest that he would be free to enjoy life and liberty and to pursue happiness there as long as he refrained from any and all professional operations within the city. In a few memorable cases, degraded parties violated their word of honor and were picked up by Chief O’Connor s detectives and taken to headquarters. There Mr. O'Connor would make a physical remonstrance with the subject in the privacy of his office, with the door locked. He did not use a rubber hose or other blunt instrument, but operated strictly with his fists, but he was very thorough. When the commotion had subsided and John unlocked his door to throw the ingrate into the street with a warning to get out of town and never come back to St. Paul, the subject would be pretty badly ground up. a a a All Work Done by Hand CHIEF O'CQNNOR would knock out their teeth and break their noses and ribs, and he took great pride in the fact that all this police work of his was done by hand. Even in such cases he preferred not to resort to the courts. It was his belief that once he had personally ostracized a dishonorable party and thrown him into the street with instructions to go away, such party would never return to St. Paul while John O'Connor lived. Moreover, such was the honor among persons of lawless character in St. Paul around the turn of the century that the trustworthy members of the craft, proud of the chief’s confidence in them and resentful against any one who would have given them a bad name, to the peril of their cozy security, sometimes reported violations of the code to Chief O'Connor. The social headquarters of the talent in St. Paul was a place called Griffin’s, where they whiled away their time drinking nutritious whisky and talking shop. They also held dummy scrimmage, as you might say, at Griffin’s beverage parlor. The pickpockets worked on one another and the gold-brick men gilded their bricks and furnished their sales talk with new ideas suggested back and forth, between them. Griffin’s was the criminal’s Kiwanis and Chief O’Connor kept on duty there a detective named Tommy Horn to act as monitor. Griffin’s, under these conditions, was as nice and wholesome a saloon as you could find anywhere. One very cold night in Griffin's, Detective Tommy Horn recognized in the mirror the countenance of a pickpocket who had been away several months on business. “Have you been down to see John?” Detective Horn inquired. "No,” the pickpocket said. “I just go off the train and it was so cold I stopped for a drink on the way. Will you join me in a,drink?” "Yes,” said Detective Horn, “but I will give you just five minutes.” a a a Jewelry Traded AT the door, the visiting pickpocket turned and said mischievously, “I am on my way, Tommy, and I seem to have your stickpin.” “Yes,” said Detective Horn, “I saw you. And you can keep it, because it is a phoney. And, anyway, I have got your watch.” They had a different system in Minneapolis during part of John O'Connor’s time in St. Paui. The pledge did not forbid the boys to operate in Minneapolis, and, finally, in Minneapolis there came a regime which despaired of suppressing crime but sought to regulate it by a licensing and percentage system. A pickpocket paid so much, a porch-climber so much and unlicensed operators working out of St. Paul were severely dealt with when caught. The purposes of this system were misconstrued by destructive critics of Minneapolis administiation, however. They called it graft in the high places and a police official was sent to the prison at Stillwater to make little rocks of convenient size out of big, unwieldy rocks for a term of years, although he always claimed he was only trying to minimize the activities of John O’Connor’s St. Paul fireside boys. John O'Connor never would have permitted the kidnaping of St. Paul citizens. Minneapolis citizens might be kidnaped if he were on the job in St. Paul today. But then he didn't work for Minneapolis. He worked for St. Paul, and he ran a nice, quiet city with the largest and most accomplished criminal element, per capita, in the entire United States. (Convrleht. 1934. bv Unite and Feature Syndicate. IncJ

Questions and Answers

Q—Where is the University of Nebraska? A —At Lincoln. Q —Give the address of the headquarters of the International Optomist Association. A—2195 Railway Exchange building. St. Louis, Mo. Q —What is the derivation of the word salmon? A—From the Latin “salmo” which means to leap. Q—Give the nationality and meaning of the name Kollborg. A—Swedish derived from the Teutonic, meaning “rounded mountain.” f .

. A

Westbrook Pegler