Indianapolis Times, Indianapolis, Marion County, 17 February 1938 — Page 13

oo,

1's )

Me eR » .i,

- fore,” 1 complained.

| and she said:

n Indiana = Ernie Pyle

Emie Is Assured Ther Will Be No: Charts of Steers or Cans of Prize’ Peaches at California Exposition.’ SAN FRANCISCO, Feb. 17.—To tell the

truth, I was fairly bored when the ‘exposition man drove me out to “Treasure Is-/

land,” where the big Golden Gate Interna--|:

ona Exposition is to be held next year. “But I've written about expositions bes|

"ready. Is yours going to be any different?” ‘The exposition man was scornful. “Is ours going to be any-different? Say, I've got :a speech I make now and then in . private. Wait till we get hack to the hotel and I'll make you my" speech. Is ours going to he any different? Bah!” ” So the exposition man made his speech, :and it was a honey. If I didn’t misunderstand (and I listened very closely), the 1939 Golden Gate Exposition will be the greatest event since the Battle of Water-

: 100. . ia 3 And: different? Say, did. you Mr, Pyle -ever hear of an exposition where * records for the past 45 years prove the wind blows 7.8 miles an hour in summertime? Or an exposition ‘where ‘theyll’ let you. in free if you: swim to it? Or’an exposition where the hotelkeepers have promised not to hike prices? : It is different!

Past expositions have been theme-songed. by the.

machinery motif. “Timmense futuristic-looking cog“wheels, assembly lines, new steel trains, marvels of science, modernistic buildings. But the theme of the San Francisco Exposition is to be “travel, entertainment, leisure.” No cut-and-dried stuff, like a chart of a beef steer or a can of prize peaches. No sir. It'll be real live stuff, genuine Western stuff, designed to make you check out of the hotel tonight and’ just wander till you've covered every road west of Denver. For example: The Oregon exhibit will’ have real:Indians herding real deer on :ah “Oregon” : mountainside. And real salmon jumping in real water over a Miniature Bonneville dam: - Washington will have Jakes and sailboats and trout streams. And Nevada will likely show a complete silver or. gold mine, with “muckers aciually. working. with. lights on their hats;

[Expects Some Rattlesnakes

Southern California will have a whole orange grove. Hollywood will set up two sound stages and make real movies right before your eyes. And in the Arizona building, I -suppose, you'll wander knee-deep ‘in rattlesnakes. Of course I've made some of those up, because all the states haven't decided for sure yet. But it ‘won’t be far from that, and you get the idea; things are to natural ‘and enticing, rather than regi‘mented mechanical displays. ‘And even the industrial exhibitors will swing into line on the happyland idea. The railroads won't show a new coach. Theyll show something you can see from a coach window, such as the Royal Gorge. The. whole idea, as best I can make it out, is based on the assumption that invention and mechanical progress have brought us a lot of leisure, and if you'll come West we’ll show you what to do with your leisure, and after you get here we’ll tell you the thing to do with it is to come West. It didn’t sound like such. a circle when the man was telling

. me, but that’s all I can make out of it now.

My Diary . By Mrs. Eleanor Roosevelt

First Lady Believes Good Manners Needed in International Relations.

Dimeric N.Y, Wednesday —Yesterday I visited the American Artists School in New York City. This is art school which pays its own way with unbea ably low fees paid by the students. There are some for children, but the majority of students are SE , who must work in order to obtain their art education. I tried to discover how a school is run on what I - calculated is a rather lean budget. The answer is that the instructors give their time. Two classes in life painting were working while I was there, but. the school’s biggest classes are at night and over the week-end. They teath painting, lithography, photography and scuipture. They did have a class in fresco painting, but that proved too expensive for their slender means. I lectured yesterday afternoon under the auspices of the Affiliated School for Workers at Mrs. J. Caesar Guggenheimer’s apartment. As I went up in the ele- . vator, a little old lady spoke to me in a low, almost - apologetic voice. I bent over and finally succeeded “in hearing her say, “I would like to hear you. speak, * Mrs. Roosevelt, but I am on a widow's pension and I - ean’t afford a ticket. Do you think I could get in?”

Obtains Front Row Seat I had no idea whether there would be room, or

. ‘whether I had any right to try to get her in, but

another lady with a very ‘lovely voice overheard her “I'll find out what can be done.” When I got up to speak, the little old lady on the

. widow's pension was in a front row seat on my right.

As I read the paper last night, it. dawned on me tha what we need in the world is manners. I feel * the nations of the world would not be half so warlike °

if they would just preserve the principles of good man-

ners in their attitudes toward each other. This im- | pression may have been gathered from the way the headlines were written. I may be entirely wrong, but I think that if, instead of preaching brotherly love, re preached good' manters, we might get a little urther:

{

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“They’ve been’ too many al-

. Hall,

- radio . advertisersy

_ fessional prestige.

. But ‘hé pays the bill .

vision for rest and recreation for workers; |

3 By Paul Kennedy

: . Times: Special Writer

JOLLYWOOD, Feb: 17.—In- Hollywood Fi can ‘argue’

(Last of a Series)

mapy things with comparative calm and sanity, but “‘there’s one argument which: invariably leads to asort of hysteria. That’s the ‘question ‘of New: York vs. Hollywood

-in radio supremacy.

Before we get into the argument, let's: take a: took at The magazine Variety in its Janu-

the statistical record.

ary anniversary edition, estimated that 52 per cent of all radio shows originated in New York; Hollywood originated 21 per cent; Chicago originated 20 per. cént and ‘the re-

Detroit, ete.

Some of the leading shows from New York at this :

writing include: March of

Time, Lucille Manners,

Tommy, Dorsey, “Gang Busters,” “Johnny Presents,” “Cavalcade “of America,” Andre Kostelanetz, Major. Bowes, Kate Smith, Hammerstein Music ‘Horace Heidt, -Fred Allen and Death Valley Days. The leading shows from Hollywood include: Radio Theater, Jack Benny, BergenAmeche, ‘Hollywood Mardi Gras, Tyrone Power, Bing Crosby, Jack Oakie, Hollywood Hotel, Burns

and Allen, Amos ‘n’ Andy, Lum n’ Abner, Eddie Cantor and

Jeanette ‘MacDonald. Rudy Vallee

is broadcasting : from the West Coast just now, but that’s tem-

porary. ls 2 » 8 . OW that we have a rough idea. of which .coast has which radio programs, we can jump into the argument with both feet. Stanch Californians: claim that Hollywood is the logical headquarters for this nation’s radio. That claimi is more substantial than mere words. They’ve backed the claim with $4,000,000. Now radio people have made mistakes, many and big ones. But in the history. of the industry there has not been, thus far, a $4,000,000 mistake. The National Broadcasting Co. and thé Columbia Broadcasting’ System have, at this write ing, buildings under construction on the West Coast totaling the above-mentioned $4,000,000. That's a pretty concrete answer to New York’s:“put up or shut up” challenge. .

The iNew Yorkers admit that ; Hollywood has .done zsome amaz-

ing things in radio, but they pin high hopes in the future of bringing back radio to its former home,. the East. Radio originally went West, ‘they. say, to get ‘brilliant names for guest appearances. Now,

- in less: than three years, the pub-

lic no longer gets dizzy at the mere sound of Clark Gable’s voice® in a guest star appearance. = ” »

HAT guest star polity is a constant thorn in the side o The movie stars themselves have an indifferent ‘attitude toward appearing on radio as guests. The big names such as Myrna Loy, Claudette Colbert, etc.,, command a fee of $5000 and upward for ‘a single performance on the: air} By the way, it’s interesting to note how these guest appearance fees are arrived at. Say, for example;: Carole Lombard and Sonja Henie, who are in the same popularity - bracket, are scheduled for guest “appearances. Miss Henie has "agreed on a fee of $5000. If this were so, then Miss

Lombard couldn’t afford to: work -

for less without injury to her. proThe sponsor might. grumble that he is more interested in her performance on his program than in her prestige. « . Or else. Back to the original theme. A most powerful argument in favor of Hollywood retaining a high spot in thé nation’s broadcasting lies with the radio stars themselves. # ” ®’ PONSORS writhe when they pay off on dozens of transcontirental telephone calls necessary. to whip one week's program:

"if Jack Benny,

- has - been - terrific. :

- mainder were’ distributed among Cincinnati, Philadelphia,

’

into shape. The branch which costs thousands of dollars monthly and which is maintained solely to, produce two or three programs. clean-cut case: ‘of. ‘where the mountains won’t come to Mohammed. : : If a sponsor. wants Bing Crosby on a program, he has to go where Bing Crosby lives and Bing is firmly rooted in the land of film and flora. Thousands of radio fans would throw away their sets

Gracie Allen, Don . Ameche, Joe Penner, Tyrone Power and others suddenly ‘went off the air. There isn’t much likelihood they will suddenly go off the: air, but .to keep them on, the sponsor in New York is forced to put ‘a 3000-mile

" extension on his microphone. The reason behind this is, of.

course, obvious. Motion picture

‘contracts and radio’ contracts

nowadays go hand in hand. One

‘form of amusement promotes the =

other so far as. the star, is, concerned.

ADIO and ion pictures are blood kin. The cinema never admitted the relationship'until radio, uninvited, ‘moved into the Hollywood - home of the movies. Since then the: internecine war The: movies,’ senior. member, calls names. and radio, the junior, kicks and: ‘chews its way to.the hearth. Motion picture exhibitors yell. loudly that constant appearance of movie stars on radio programs

‘is .destroying the stars’ popularity.

Citizens who can hear ‘a motion picture star in their. living: rooms

will not come ‘out to see one on the -

Side Glances—By Clark

; foi

advertising “agencies moan quite a lot" when. _ the bills roll in for a West Coast

But this is'a

Edgar ‘Bergen,’

3 i 2 : ha-Class + ER

class Majter

By: Anton Scherrer

Capt. English's. Suggestions Made . The War Drama 'Shenandesh' So Realistic That His Wife Fainted.

I GUESS it was just about 40; years ago "when I saw a woman faint in English’s Opera House. The occasion was a presentation of the hair-raising g War drama, “Shenan_doah,’ ? with a superb cast headed by Mau‘rice Barrymore and Mary Hampton. At any. rate, I believe they headed the ‘cast, but the way my’ memory has been slipping lately, I wouldn't be sure: of even that today. Of one. thing I'm dead-certain,

“however. The woman who fainted . was Mrs. William E. English. : 'I-know it. was Mrs. English be--cause. I always .made it .a point

: .:| to watch her before the curtain

Cecil B. DeMille: believes radio appearances are a benefit to movie stars’ and that the appearance of movie stars on radio is a benefit to the cinenfa’ industry, but qualifies each belief with a big “if.” Gail Patrick is one of the several hundred screen luminaries who have Supplemented their serden work with one or more appearances

on the air. Stars like Claudette Colbert, ‘Clark

Gable and others are ‘limited to two ‘or ‘two and a-half pictures a -

year. We've found after years:of

.experience that this is about: the proper number. Obviously the big .

name stars can’t afford: to appear on radio more often.” - HE rising: young’ screen isy er can get ‘inestimable ‘good

complain the picture.

Witlizthis argument in “Hind, we went directly to one man

. whose : family ties are deeply im- | bedded: in both camps, radio and

movies. Cecil E, DeMille has been directing and producing . movies since a publicity man, thumbing. through a dictionary,onto the word “stupendous.” Two years back Mr. DeMille climbed aboard the radio bandwagon as nominal producer of the program, “Radio ' Theater.” This program ‘and “Hollywood Hotel” (of which Mr. DeMille had something to say) handles: more movie names than all the rest of radio combined. : 2 8 = aie T any rate, to Mr. DeMille we: went with these two ques-

tions: “Does radio benefit or harm

. & motion picture star?” and “Does’

the appearance of a motion picture star on radio benefit or harm picture exhibitors?” This. is his answer to the first question: “Motion: picture stars, if handled intelligently, . are decidedly ‘not harmed ‘by appearances on the air. Asa matter of Jaey, they are benefited: quite a ot.” It might be interesting to note, in ‘passing, that the reservation, “if handled intelligently,” is one which ~motion picture ‘ executives: reserve the right: to interpret. , Every ‘show in which a star appears, ‘first must be approved by the star’s studio. - “A very valuable piece of property can be destroyed in a few. minutes by radio,” ‘explains Mr. DeMille. © “This applies to the quality of the script. The matter of quantity - enters into it, too.

A WOMAN'S VIEW

By Mrs. ‘Walter Ferguson Fama is ‘a great handicap

in a public garage. It's one place where a woman feels éntirely brain- |

less and where you simply have to

* ‘answer. «

stumbled

: own,

weren't actually mentioned.

Mille thinks. The afternoon we interviewed: him he had - just finished rehearsals on Radio Theater’s production of “Clarence,” starring Gail Patrick ‘and Bob Burns with young Johnny Downs.

“Take this boy Downs,” com-

mented - DeMille, “his - name ‘on that program will do him a ‘world of good.” - Now for the second question and

appearing on radio programs won't hurt : the picture industry,” Mr. DeMille said. But to this emphatic statement he appended a Tew reservations. “The practice of programs. giving abbreviated versions of a film

- story is harmful. to the picture,”

he explained. “I won't allow a picture of mine to be used on the air in that way.” | This reservation narrows his selection of programs on which he’d allow his plays to one ., ., his

2 x 8 bo HIS thing of giving the dramatic highlights ‘of a movie

and then telling .the radio audi-:

ence if they'd. like to see the show with some of the lesser ‘dramatic. highlights filled might go to their: theaters, is not so good,” he said. For the sake of the record,

Radio Theater is the only radio

show devoting its ‘entire program to one play. DeMille’s ‘remarks therefore - obviously. .apply, - £0 “Hollywood Hotel,” “Your 1ly-

wood Parade” and “Good of

'1938,” although - these pro

" When Director DeMille went into radio, the quarrel between

the two branches of amusement - was at its hottest. There were

vague rumblings that exhibitors would take retaliatory measures on DeMille for joining up with

' what was then, and oftén now is’ . termed-“the enemy.” i

“There. was quite a bit of argument over it one way or another,”

“Motion picture players .

in [they = ‘at night.

DeMille related, “but finally I got all my partners into a conference room and asked for a showdown vote. I didn’t want any more discussion or argument. I asked them to vote either for -or against my going into radio. They voted yes. There wasn’t a dissenting vote in the group.”

Thus far we've covered the

movie versus radio controversy as it stands just: now. But the big point of battle isn’t actually with

us at this writing. Its shadow.

has fallen over the entire show world and an ominous shadow it: is, too. ”» » ® ; ENTION the word “television” in Hollywood and a peculiar sort: of silence falls ‘over - the meeting. ,.. much or | sort of silence . that: falls on a

Kansas farm: group when some- - one notices a" funnel shape. de-.:

veloping in a dark cloud. We bring in this point here because Mr. DeMille himself brought it into our interview. “Mr. De= Mille,” we said, “you often hear

* criticism « of radio because it. . broadcasts shows after a few: days

of rehearsal whereas legitimate: stage shows .are presented, only:

after weeks of rehearsal and pic=.

tures take months in the making.’ What is your answer - to - that, criticism?” . “Who knows whether this is the best method of producing radio shows?” he counter-questioned: “When I began making pictures*I :made as high as 12 a year. Sometimes I worked on two at a times one during ‘the day and another Now 4 only make one or two a year.’ But those early pictures were good pictures: for

the industry.as it was: then.

* “The plays being produced for

‘radio now are good plays for the

radio industry as it now exists. Developments which will occur in ‘future will force whatever changes there are to be made in radio production.. No-one knows what will

* happen in radio. I wish I knew.

~Radio producers have made greater strides in months than we of the early pictures made in years. But things are happening so fast we can’t keep up with them. There is, for instance, television. Television, well . , .” ‘ ‘With that a shrug of the shoulders, a far-away look, and tlie interview was ended. . . in a peculiar sort of silence.

Jasper—By Frank Owen

trust the men and take the conse- ;

| quences—along ‘with the: bill.

~The sad program. seldom varies Something goes wrong with the in-

' |sides of the family bus and -after

@ certain period of groans and wheezes and DP alterings we take her to the doctor. As usual the doctor is about his first’ diagnosis.

vague | - It's almost a foregone conclusion | | too ‘that the trouble is more serious thing to

than you think. The only

‘| be done ‘is to turn her over to the |.}. :

master . mechanics, praying heaven

: they will affect a cure instead of a |

nics and no wile relative fo'8d- | {vise he her,

she ‘leaves - her’ only

‘Now : you

Fad ; would: think, oda HIER I : | | vou, that such sublime. trust, such | REC

spend. Whatever you.do don’t fi

“weit up. Sometimes I. even watched -her- during the : performance, because when all is said and done, Mrs. English very. often was better to'look at than the show on the stage. Indeed, I always made it a point to get to the theater in time to see her enter her box. She did it magnificently, and I can’t -remember anys thing more regal around here unless, perchance, it. was the way Mrs. Ovid Jameson made her entrance. Mrs. English, however, had the advantage of Mrs. Jameson because she always sat in the same box which, curiously enough, was in the same corner of the theater as that occupied by Mr. Sprengfeil, the geftleman who handled-the tympani department of the orchestra. I often wondered how much Mr, Sprengfeil and his drums had to do with Capita, English’s picking that particular. box.

Barrymore Stopped at. Nothing od

As a rule, Capt. English sat in the box with hig ‘wife, but on this particular: occasion he was absent, Legend has it that he was’ back-stage at the time. As a matter of fact, he was there by invitation of Mr. Barrymore. Seems that Mr. Barrymore had heard that Capt. English| had just returned from the Spanish-American War, and he wasn’t going to muff the opportunity of getting first-hand advice concerning the conduct of a war from a soldier who had just participated in the Battle of Santiago. Well, it turned out that Mr. Barrymore profited so much by Capt. English’s suggestions that the. Shenandoah battle scene that night was the most realistic thing Indianapolis ever saw.{ So much so that Mrs. English fainted! It was generally agreed

Mr. Scherrer

. at the time that Mr. Barrymore’s portrayal of the

part was so realistic that Mrs. English got all confused and thought that her husband was fighting the Battle of Santiago again. Anyway, Mr. Barrymore's portrayal was so vivid and personal that it was more than Mrs. English’s nerves could stand. It ended all right, though, because the next day I saw Mrs. English riding up N.-Meridian St. behind a team of black horses. This time Capt. English. was

‘at her side. ; i %| Jane Jordan : Use Grandmother's Hints to Win

' Grandfather's Favor, Girl Is Told.

EAR JANE JORDAN—I am 3 girl nearly 17 years old. I live with my grandpafents. Since my 16th birthday my grandfather has given up and let me go with boys. I am now going with a boy of 19 whom I like very much. I used to sit with him in the show before I was 16. He is of a nice family and doesn’t drink or like to go to dances. My grandfather deesn’t like him. He thinks he should pick my friends. My grandmother likes the boy very much and sticks up for me.. My grandfather thinks I should get home about: 10 o'clock. I don’t go out very often, only on ‘Saturday nights, and never stay out after 11 o’clock, but when I do my grandfather and I always have ‘words when I come in. Do you think parents ‘or grSnUpaIenis should pick the ones their Shildon go with? 4 . . A.

Answer—1I believe that young people have the right to choose their own friends but that they should not disregard the advice of their elders completely. Your grandfather cannot forget the way things were when "he was a boy and children had less freedom. You can't expect him to see everything the way you do. Instead of fussing with him why don’t you use strategy? Assure him you aren’t in love with the boy "but only want company. Win ‘your grandfather's favor by thoughtful little acts and kid him along with ‘small pleasantries instead of rebellion. If you're a smart girl you can learn how to get.your own way without seeming to do so. I imagine your grande mother ive give 'you plenty of hints, » » ®

EAR JANE JORDAN—I am .a 17-year-old high school girl in love with a young man 20 years old,

~My father objects to my going steady for he thinks I - am too young. He tells me to go out with other boys

and that I should think more of my education than -the boy. I would not enjoy going with. other boys after going steady with. this one for three months. The only troublé is that he lives on the other side of town and it is hard for him to come over. Sometimes "he comes with a friend and other times he drives an old truck. What is your advice? A FRIEND.

Answer—If your father were wiser he wouldn't say anything against your boy friend for opposition only increases your interest. He is right when he says ‘that a 17-year-old girl should have many frie ‘stead of just one, but you aren’t the only girl who hates to admit that parents ever can be right. In your father’s place I should rely on distanc and transportation difficulties te-prevent your seein each other too often and Save my own breath. the ‘lonely stretches I should take more interest in

your entertainment and pretty soon you'd be seeing

other boys and liking it. Very likely you'll come to this viewpoint yourself in time.

” 8"

EAR JANE JORDAN—I am a young man of 13 and know a nice girl of 17. She is going steady with another young man. She is moving away from this city in a few days. As my parents are divorced I have a difficult job making ends meet. For this reason I hate to break with this girl as I could not show her a good time such as several other young men (could. I see her frequently and she always asks why I haven't been over to see her. Should I see her some ‘evening before she leaves? A FRIEND,

Answer—By all means go to see her. Hasn't she ‘asked 'you to come? Don’t let your lack of funds dis. courage you so much. The girl has shown you that she likes you for yoursélf and not for what you can into the habit of thinking you're no good because you have no money. Find ways to earn money and’ Font underestimate your own attractiveness. Br JANE JORDAN.

Put your problems In a iefer fo Jane Jordsz, who will Stawet Jour questions fa this column daily. 4

W Walter Oo 'Keefe—

JOLLYWOOD; Cal, Feb. 17.~Senator Bulkley of : _ Whip the recession by building ( , America. The idea =e 5