February 14.1931 4k Price 15 Cents e CWCAGOAN Illinois Central R.R. Chicago and Eastern Illinois R.R. Pennsylvania R.R. Big Four Route PAN AMERICAN AIRWAYS, INC. 176 NORTH MICHIGAN AVE., CHICAGO, ILL. THE WORLD'S GREATEST AIR TRANSPORTATION SYSTEM THECUICAGOAN FEBRUARY FAVOURS ANTIQUES Old furniture is likely to be the finest, and during the February sale the best values in antiques are procurable from a collection which is large and varied to include every type and period. Furniture from the Ninth Floor of Marshall Field & Company is authen tic. If it is marked antique, it is truly a genuine old piece. If it is a repro duction, it is made by hand, frequently of old wood, accurate in every detail. There is no 1931 home . . . modern or of a period ... to which the patine of I old wood and the grace of old masterpieces will not add glamour and charm. i ^MARSHALL FIELD & COMPANY 2 TWE CHICAGOAN THEATRE Musical MTHREE LITTLE GIRLS— Great North ern, 26 W. Jackson. Central 8240. Musical romance of old Vienna, with Charles Hedley and Natalie Hall and a lot of nice tunes. Curtain, 8:20 and 2:20. Evenings, $3.85; Saturday, $4.40. Wednesday mat., $2.50; Saturday, $3 00 RIPPLES— Illinois, 65 E. Jackson. Harri son 6510. Fred, Dorothy and Paula and the old Stone gags and dancing. Curtain, 8:15 and 2:15. Evenings, $4.40. Mati nees, $3.00. *EARL CARROLL'S SKETCH BOOK— Grand Opera House, 119 N. Clark. Cen tral 8240. Will Mahoney, William De- marest, The Three Sailors and ever so many girls in the best Earl Carroll revue yet. Curtain, 8:30 and 2:30. Evenings, $3.85; Saturday, $4.40. Saturday mat., $3.00. Reviewed in this issue. Drama MTHE OLD RASCAL— Garrick, 64 W. Randolph. Central 8240. William Hodge, in the title role, is not the Wil liam Hodge we used to know. And that's all right isn't it? Curtain, 8:30 and 2:30. Evenings, $3.00. Matinees, $2.00. -K/ONEST— Playhouse, 416 S. Michigan. Harrison 2300. One of those clean do mestic comedies, with Thomas W. Ross and Percy Helton. Curtain, 8:30 and 2:30. Evenings, $2.50; Saturday, $3.00. Matinees, $2.00. +LADIES OF THE JURY— Blackstone, 60 E. 7th St. Harrison 6609. Mrs. Fiske being very sparkling in a none too spark ling play. The first offering of the new management of the theatre. Curtain 8:30 and 2:30. Evenings, $3.00. Matinees, $2.00. No Sunday performance. Bec\y Sharp will be presented February 15. MSCARLET SISTER MARY— Harris, 170 N. Dearborn. Central 3404. Ethel Barry- more in blackface. Daughter Ethel Barry- more Colt is with her. Curtain, 8:30 and 2:30. Evenings, $3.00. Wednesday and Saturday mat., $2.50. Reviewed in this issue -KSOUR GRAPES— Adelphi, 11 N. Clark. Randolph 4466. Edna Hibbard and Eu gene O'Brien, the latter of cinema fame, in a comedy by Vincent Lawrence. Cur tain, 8:30 and 2:30. Evenings, $3.00. Matinees, $2.00. -KREBOUND — Goodman Memorial. Lake- front at Monroe. Central 4030. Donald Ogden Stewart's comedy about a young woman who has quite a time of it getting, and staying, married. Very amusing food for reflection, too. Curtain, 8:30 and 2:30. Evenings and Friday mat., $2.00. Reviewed in this issue. MTHE MAN IN POSSESSION— Selwyn, 180 N. Dearborn. Central 3404. Isabel "THE CHICAGOAN" PRESENTS— Valentine, by Sandor Cover Current Entertainment Page 2 Sport Dial 3 Dine and Dance. 4 Editorial 7 Why Blame the Debutante? by Courtney Borden 9 Distinguished Chicagoans, by /. H. E. C!ar\ 10 A Jew Who Hates, by James Weber Linn 1 1 Photographs, by Victor Haveman 12 Watch Them Drivers Roll, by Lucia Lewis 13 When "Whoopee" Was a War Cry, by Wallace Rice 15 In Quotes 16 Town Talk, by Richard Atwater 17 Situation, by Irma Selz 18 Ennui, by Sam Van Dyne 19 Pinocchio, by Philip Jiesbitt 20-21 Inspiration, by Sandor 22 How Do You Like Chicago? 23 The Stage, by William C Boyden 24 Breeding, by Sam Van Dyne 25 The Cinema, by William R. Weaver.... 26 Music, by Robert Polla\ 28 Books, by Susan Wilbur 30 March of the Hours, by Alion Hartley 32 The Dance, by Mar\ Turbyfill 34 Artists 38 THE CHICAGOAN S Theatre Ticket Service Stars opposite theatres listed above indicate plays to which tickets may be purchased in advance at box office prices by readers of The Chicagoan. A convenient form for use in fil ing application is provided on page 39. Jeans and Leslie Banks in an English farce about an officer of the law who likes to do his duty. Curtain, 8:30 and 2:30. Evenings, $3.00. Thursday and Saturday, mat., $2.00. Reviewed in this issue. CHERRIES ARE RIPE— Erlanger, 178 N. Clark. State 2460. Vilma Banky and Rod La Rocque, both of film fame, in a comedy by John Emerson and Anita Loos. Curtain, 8:20 and 2:20. Evenings, $2.50; Saturday, $3.00. -KTORCH SONG— Blackstone, 60 E. 7th St. Harrison 6609. About a cabaret torch singer who goes Salvation Army and is sorry about it all. Opening, February 22. PIKOCCHIO— Selwyn, 180 N. Dearborn. Central 3400. Third of the Junior League's plays for children, through Feb. 28. Better stop in with the family one Saturday morning at 10:30. Ticket prices, $1.50, $1.00, $0.50. MASTER SKYLARK— Goodman Memo rial, Lakefront at Monroe. Central 4030. Second of the Goodman matinees for children. The story of a little boy with a beautiful voice who sang before Queen Elizabeth. Ticket prices, $1.00, $0.75, $0.25. Saturdays at 2:30. LATCHKETS— Goodman Memorial, Lake- front at Monroe. The Playwrights The atre of Chicago offers an original long play by Alice Gerstenberg, Monday, Feb ruary 23, 8:20. For reservations tele phone Delaware 3254. MAGIC— Studebaker, 418 S. Michigan. Harrison 2792. The Great Nicola, magician and illusionist and a troupe of entertainers. Curtain, 8:30 and 2:30. Evenings, $1.50. Matinees, $1.00. THE PLATS THE THING— Civic Arts Theatre, 1358 N. Clark. Diversey 10150. The Gold Coast Players offer Ferenec Molnar's comedy. The Constant Wi/e, by W. Somerset Maugham, is in prepara tion. Curtain, 8:30. Saturday and Sunday evenings. CINEMA INSPIRATION —A Gene Markey im provement upon Alphonse Daudet's Sappho with Greta Garbo and distin guished associates. (See it.) THE BLUE ANGEL— A not at all clinical study of Marlene Dietrich's upper limbs in the best German photography. (If vou thin\ nature's grand.) THE ROYAL BED— The Queen's Hus band as conceived by Lowell Sherman. (Attend.) THE GANG BUSTER— Jack Oakie in tip top form. (Certainly.) ILLICIT — Barbara Stanwyck and James Rennie at their best in comedy drama of the better sort. (I would.) RESURRECTION— Lupe Velez and John [continued on page four] The Chicagoan — Martin J. Quigley, Publisher and Editor: W. R. Weaver, Managing Editor: published fortnightly by the Chicagoan Publish ing Co., 407 South Dearborn St., Chicago, 111. New York Office: 565 Fifth Ave. Los Angeles Office: 1605 North Cahuenga St. Pacific Coast Office: Simpson-Reilly, Union Oil Building, Los Angeles; Russ Building, San Francisco. Subscription $3.00 annually; single copy 15c. Vol. X, No. II — Feb. 14, 1931. Copyright 1930. Entered as second class matter March 25, 1927, at the Post Office at Chicago, 111., under the act of March 3 1879. THE CHICAGOAN 3 ft m BASEBALL Chicago Cubs First squad, pitchers and catchers, leaves for Catalina Feb. 14. Second squad, infieldcrs and outfielders, leaves for Catalina Feb. 21. Chicago White Sox — First squad, pitchers and catchers, leaves for San Antonio Feb. 21. Second squad, infieldcrs and outfielders, assembles at San Antonio Mar. 1. BASKETBALL Chicago — Bartlctt Gymnasium — against Northwestern, Feb. 14. Indiana, Feb. 28; Illinois, March 2; Ohio, March 7. Northwestern -- Patten Gymnasium — against Chicago, Feb. 7; Minnesota, Feb. 9; Illinois, Feb. 16; Iowa, March 2. FENCING Chicago, Wisconsin and Michigan, triangu'ar meet, at Bartlett Gymnasium, February 28. GOLF South Florida Championship at Palm Beach, February 9-13. Intercollegiate Tournament at Pebble Beach, California, February 12-14. Women's Championship of Florida at Palm Beach, February 16-20. GYMNASTIC Chicago, Wisconsin and Michigan, triangular meet, at Bartlett Gymnasium, February 27. HOCKEY Blackhawks— Chicago Stadium— against New York Rangers, Feb. 15; Detroit, Feb. 19; Ottawa, March 1; New York Americans, March 5; Boston, March 12; Toronto, March 15. HORSE RACING Racing Association, Miami, Florida, through March 7. Havana-American Jockey Club, Havana, Cuba, through March 31. MOTOR BOAT SHOW National Motor Boat Show, Motor Boat Mart, Navy Pier, April 24-May 3. SKATING Annual Lincoln Day Derby of the Illinois-Western Skating Association at Portage Park, February 12. TRACK Chicago, Wisconsin, Ohio State and Northwestern at Patten Gymnasium, TENNIS Women's Championship of Florida at the Tennis Club, Palm Beach, February ^3-28 Championship of Florida at the Tennis Club, Palm Beach, March 2-7. 4 THE CHICAGOAN [listings begin on page two] Boles do it as well as anyone has. (If you care.) OH FOR A MAN — Jeanette MacDonald and Reginald Denny in something better than the title but not so good as the stars. (I wouldn't.) THE BAT WHISPERS— The Bat of course. (If you've missed all the pre vious versions.) EX-FLAME — Ex-East Lynne and the most incredibly stupid picture of the year. ("No indeed.) MUSIC CHICAGO STMPHONT ORCHESTRA — Orchestra Hall, 216 S. Michigan. Harrison 0363. Regular subscription program. Friday afternoons, Saturday evenings. Twelve Tuesday afternoon concerts, two series of Young People's concerts and the Popular concerts on sec ond and fourth Thursday evenings. The fortieth season. Frederick Stock, conduc tor. Telephone for program information. WOMAN'S STMPHONT ORCHESTRA OF CHICAGO— Goodman Memorial, Lakefront at Monroe. Central 4030. Regular subscription program. Six monthly concerts on third Monday eve nings at 8.T5. The remaining concert dates are Feb. 16, March 16, April 20. The fifth season. Ebba Sundstrom, con ductor. Telephone for program informa tion. TABLES Luncheon — Dinner — Later ST. HUBERT'S OLD EHGLISH GRILL— 316 Federal. Webster 0770. God save our gracious St. Hubert's! GRAYLING'S— 410 N. Michigan. White hall 7600. Where the masculine as well as the feminine taste can be satisfied. KAU'S— 127 S. Wells. Dearborn 4028. If you have an extensive appetite look over that kind of menu here. MAILLARD'S— 308 S. Michigan. Harrison 1060. One of the Town's institutions, and you can check your dog with the manager. ROCOCO HOUSE— 161 E. Ohio. Dela ware 3688. Swedish catering and their smorgasbord is very swell. HUYLER'S— 20 S. Michigan, 3 10 N.Mich igan, Palmolive Bldg. For luncheon, tea and dinner, and you're usually near one of them. PICCADILLY— 410 S. Michigan. Harrison 1975. The fourth floor, easy to find and a grand view of the lake. CIRO'S— 18 W. Walton. Delaware 2592. Catering to the epicure, whether it be luncheon, tea or dinner. HARDIJiG'S COLOHIAL ROOM— 21 S. Wabash. State 0841. Famous for its foods and the home cooked meals you hear about. TIP TOP INN— 206 S. Michigan. Wabash 1088. Lofty, both in atmosphere and al titude with unrivalled cuisine. L'AIGLON— 22 E. Ontario. Delaware 1909. As fine New Orleans-Parisian cook ing as you can find around Town, and music, too. RICKETT'S — 2727 N. Clark. Diversey 8922. Here you can stuff yourself with big steaks in the small hours. VASSAR HOUSE— Diana Court, 540 N. Michigan. Superior 6508. For breakfast, luncheon, tea and dinner. Tea dancing Saturday afternoons. MAISOHETTE RUSSE — 2800 Sheridan Road. Lakeview 10554. A concert string trio during dinner hours and superb Rus sian European dishes. NINE HUNDRED — 900 N. Michigan. Delaware 1761. Notable menu, alert service and able cooking, and atmosphere. HENRICI'S— 71 W. Randolph. Dearborn 1800. When better coffee is made Hen- rici's will still be without dinner music. CASA DE ALEX— 58 E. Delaware. Supe rior 9697. Exquisite cuisine and that old Spanish atmosphere. RED STAR INN— 1528 N. Clark. Dela ware 3942. Abundant with Teutonic dishes and old world quiet. /ULIEN'S— 1009 Rush. Delaware 4341. A bounteous board and Mama Julien's broad smile and you'd better 'phone for reservations. JACQUES— 540 Briar Place. Lakeview 1223. Offering the sweet amenities of French cooking and service. EITEL'S — Northwestern Station. In a neighborhood where good eating estab lishments are few and far apart. LE PETIT GOURMET— 619 N. Michigan. Superior 1184. Exclusive with deft serv ice and fine cuisine. ^Corning — Noon — Nigh t BLACKSTOHE HOTEL— 656 S. Michi gan. Harrison 4300. The traditional Blackstone cuisine and service. Margraff directs the String Quinette and Otto Staack presides. HOTEL LA SALLE— La Salle at Madison. Franklin 0770. Husk O'Hare and his orchestra play in the Blue Fountain Room for nice young people. Dinner, $1.50. Supper, $1.00. No cover charge. DRAKE HOTEL— Lake Shore Drive at Michigan. Superior 2200. One of the sparkling spots. Verne Buck and his band play. Peter Ferris directs the a la carte service. Weekly cover charge, $1.25; Saturday, $2.50. In the Italian Room, table d'hote dinner, $2.00. HOTEL SHERMAN— Clark at Randolph. Franklin 2100. Ben Bernie and his or chestra at College Inn. Thursday is The atrical Night. Maurie Sherman plays for tea dancers and Gene Fosdick is at the Bal Taberin Saturday evenings. COHGRESS HOTEL— Michigan at Con gress. Harrison 3800. Johnny Hamp and his outfit are playing in the Balloon Room again. A la carte service; no cover charge. 'Phone Ray Barrete for reser vations. STEVEHS HOTEL — 730 S. Michigan. Wabash 4400. Harry Kelley and his band in the main dining room, and there are three acts. Dinner, $2.00; no cover charge. In the Colchester Grill, dinner, $1.50 and a trio plays. EDGE WATER BEACH HOTEL— 5349 Sheridan Road. Longbeach 6000. In the Marine Dining Room you'll hear Phil Spitalny and his orchestra. Cover charge during the week, $1.00; Saturday, formal, $2.00. Dinners, $2.00 and $2.50. SENECA HOTEL— 200 E. Chestnut. Su perior 2380. The unostentatious but smart Cafe offers an appetizing menu. Table d'hote dinner, $1.50. PALMER HOUSE— State at Monroe. Ran dolph 7500. In the Empire Room there is the Palmer House orchestra; dinner, $2.50. Mutschler is maitre. Victorian Room, dinner, $2.00. Gartmann in charge. Chicago Room, $1.50. Horrmann oversees. CHICAGO BEACH HOTEL— 1660 Hyde Park Blvd. Hyde Park 4000. Particularly for southsiders. Notable cuisine and serv ice. Dinners, $2.00 and $1.50. Gifford is maitre. BELMONT HOTEL— 3156 Sheridan Road. Bittersweet 2100. Convenient for the mid-north-diners-out and worth the trip from anywhere. No dancing. Dinner $2 00 ' SHORELAHD HOTEL— 5454 South Shore Drive. Plaza 1000. The inimitable Shore- land menu and an atmosphere of charm and beauty. Dinner, $2.00. KNICKERBOCKER HOTEL— 161 E. Wal ton. Superior 4264. A smart rendezvous, especially for private parties in the Ori ental Room, Silver Room and Town Club. Dinner in the main dining room, $1.50; in the Coffee Shop, $1.00. BREVOORT HOTEL— 120 W. Madison. Franklin 2363. Here you will find some of the gastronomic delights of real Ameri can cooking. Sandrock oversees. LAKE SHORE DRIVE HOTEL— 181 Lake Shore Drive. Superior 8500. Ren dezvous of Town notables with equally notable cuisine, service and atmosphere. Dinner, $2.50. No dancing. Langsdor is maitre. BISMARCK— 171 W. Randolph. Central 0123. German menu that presents a tempting change and service that is a duty. Grubel presides. Victor Young and his orchestra play. 'Dusk Till Dawn FROLICS 18 E. 22nd St. Victory 7011. Charley Straight and his band make you step right up and dance and there's a good floor show. Weekly cover charge, $1.00; Saturday, $1.50. PETRUSHKA CLUB— 165 N. Michigan. Dearborn 4388. Eddie Varzo and his orchestra, Claude Avery and the very Russian atmosphere. Dinner, $2.00. No cover charge. TERRACE GARDENS— Morrison Hotel. 79 W. Madison. Franklin 8600. The notable Morrison catering and Clyde McCoy and his band. Dinners, $2.00 and $1.50. No cover charge. Shaefer pre sides. CASA GRANADA— 6800 Cottage Grove. Dorchester 0074. Tom Gerun and his Californians play and there are specialty offerings. Cover charge during the week, $1.00; Saturday, $1.50 MACK'S CLUB— 12 E. Pearson. White hall 6667. Jules Novit and his orchestra, Harry Glyn and Trudy Davidson are fea tured. Cover charge, $1.00. COLOSIMO'S— 2126 S. Wabash. Calumet 1127. Keith Chambers and his orchestra and other entertainment. Cover charge, 50 cents. A la carte service. Before seven, dinner, $1.50; no cover charge. CLUB ALABAM— 747 Rush. Delaware 3 260. Gigi Rene and her Continental Revue and Willie Newberger and his band. Chinese-Southern catering. Cover charge, $1.50. BLACKHAWK 139 N. Wabash. Dear born 6262. Coon-Sanders, old settlers here, and their orchestra and additional entertainment. Dinner, $2.00. CLUB AMBASSADEUR— 226 E. Ontario. Delaware 0930. Jimmie Noone and his band, a good floor show and a popular after-theatre menu and Evelyn Nesbit. GRAND TERRACE— 3955 South Park way. Douglas 3600. Earl Hines and his band, with Earl at the piano, and a fast floor show. Cover charge, 50 cents dur ing the week; Saturday, $1.00. COTTON CLUB— 5342 W. 22nd St. Lawndale 4140. Lucius Millinder and his orchestra play, and the floor show is bet ter than ordinary. No cover charge. THE RITZ— 343 E. Garfield. Englewood 10420. Dorncll Howard and his Jungle Band and a floor show. Weekly cover charge, 50 cents; Saturday, $1.00. TUE CHICAGOAN Your first Link in a Travel Chain that Girdles the Earth The sun never sets on the American Express travel service. Its chain of offices reaches around the world — from Chicago south to Argentina, from New York to Bombay and from San Francisco west to Singapore. Your first link in this great chain of travel service is the nearest Ameri can Express office. The moment you decide on a trip you need only to telephone to this local office. A staff of trained travel men — trained to smooth your route to the outposts of the next link — will begin to plan the entire trip. All the troublesome de tails, such as tickets, hotel room s, side trips, steamship, railroad and aeroplane reservations, they will arrange for yon . . . saving valuable time. All this will be done to your own specifications and according to your own ideas as to costs, whether you wish to travel to Bermuda, Europe, or the Orient. Outline your trip — in your mind or on paper — turn the details, the worry and shopping over to the American Express office and a pathway of ser vice will be carved across countries, over seas, and through frontiers. Near you — wherever you travel — will be dependable American Express travel offices— all backed by the finan cial strength and travel experience of a great international institution. Phone, write, call, the near est American Express office or American Express Co., 70 E. Randolph St., Chicago. American Express Company WORLD SERVICE FOR TRAVELERS THE CHICAGOAN Social Solecisms Posed for Eugene Hutchison by ladies oj the Carson Pirie Scott & Co. window chorus. The case of Pamela Pitts (not, my dear, of the Astor Street Pitts) is particularly heart-rending. The poor girl has appeared socially with a fuss and feathers bonnet in a trim and tailored ensemble, which, if you know your sartorial onions, is poison. Her best friends have just told her. ^ What Pamela needs is to be tipped off about Lucy Park and the Fashion Co-ordinator every day in The Daily News. Here the What's What of the smart ensemble is entertainingly told, artfully graphed in sketches from the style front. And every dress, boot, bonnet and accessory is purchasable in Chicago shops, A right and readable Baedeker to good taste no bright modern should think of being without. f[ And for Pamela's - , . . j b It s smart to read three cents there's an extra dividend in Provines, np tt -p T^\ A T T V T\T T? XK7 ^ O'Brien, Lewis and a host of others on the lively arts. Chicago's home newspaper CI4ICAG0AN Dissertation Political TO a large number of persons, including ourselves, local politics is more a matter of annoyance than a subject of interest. This, obviously, should not be so, but the meaningless maelstrom that is Chicago politics decrees it just that way. But with Primary Elections pressing hard upon us The CHICAGOAN, with some violence to its established practice, goes political for this brief moment. The approaching conflict with the ballot presents a dreary and disturbing prospect. The issues are neither more interesting nor less interesting than the usual grist atten dant upon municipal elections. The personalities who would have the chief executiveship of the City thrust upon them are not, however, lacking in interest — whatever else may be their shortcomings. IARGELY through the sponsorship of The Tribune, L^ Judge John H. Lyle is occupying a conspicuous posi tion in the public eye — so conspicuous and penetrating is his position at this time that he is leaving many people with the feeling that he is a cinder in the public eye. Judge Lyle has been conducting his business in the news papers for a number of years. He has very zealously pur sued the ways and means of a small-time reformer, kicking up considerable dust but apparently not travelling very far or in any particular direction. His little crusades went on without meaning much either in plan or in execution. Then came his elevation to the judiciary. At this point his existence took on some significance — if only to point with arresting emphasis to the disturbing possibilities of the judicial system. It seems to be a reasonable plan of getting information about a man to enquire about him among his fellows. We have yet to enquire about Judge Lyle among qualified law yers at the Chicago Bar without encountering a definite and uncompromising reaction. Seemingly, Judge Lyle's practice of twisting law and legal procedure to suit his ideas of just how law and legal procedure should be arranged at that particular moment for the purposes in mind does not meet with approval or even tolerance on the part of his fellows. If one is to be guided by the opinions of the Bar, Judge Lyle is an absurdity upon the Bench. While we have no qualified opinion to venture, it does seem reasonable to us that when a judge ignores the law and established procedure to gain the objective in view he is performing, in principle, a criminal act. If this is the path to valid reformation, it is a brand new road which has never been successfully trod before. The prospect, proximate or remote, of four years of vapid mutterings issued from City Hall under a Lyle ad ministration, with the city government an absurd merry- go->ound to the envious delight of the outside world and with The Tribune, until its patience wears thin, seeking manfully to breathe life and intelligence into its strawman, is disheartening indeed. Again, note should be made of The Tribunes unerring ability to pick the wrong time, the wrong side or the wrong man. AND now, something must be said about the present in- l cumbent, His Honor William Hale Thompson, who again presents, or rather precipitates, himself as a candidate for reelection. "Big Bill" — with the horse laugh, the horse play, but, unfortunately, with but very little, if any, horsesense. The American Tragedy of Politics. The chief executive of a great city who thinks that because he is financially honest his record is impregnable. The Chicago mayor who has given the world a laugh — at Chicago. Bill Thompson, the clubman, sportsman and good fellow who was drafted to politics for a career but decided that success in politics meant a knife to all old friendships, a dropping overboard of all good taste as a person and as a public official and the adoption of a code of political quackery gaited to a small town of the Nineties and intelligences not to exceed the normal for grammar school children. Mr. Thompson as the next mayor of Chicago is an absurdity. Further discussion of the point would be pain ful and should not be necessary. AND now Mr. Anton Cermak, an old faithful of the i local Democracy. Mr. Cermak has so long looked to the public funds as a source of his keep that any disloca tion of this basic arrangement would probably come to him as a new and shocking affirmation of the Ingratitude of Republics. Local governments having so long accustomed Mr. Cermak to the style in which he lives, the case becomes one upon which the electorate should look with some sym pathy and understanding. Mr. Cermak is a practical politician. His long record of public office-holding enables the voters to know just about what they are likely to get for their ballots — and their taxes. There would be very few surprises, pleasant or un pleasant, in Mr. Cermak's administration. It would be no case of awaiting the realization of glowing promise and hidden possibilities; there would be no amateurish eventu alities. Indeed, no! It would be a professional job from start to finish; an exemplification of the American theory in politics that when a politician is out of office he does the worrying. When he is in office the burden shifts to the public. Mr. Cermak is good to his folks. And here endeth our dissertation political. 8 THE CHICAGOAN SAKS.FIFTH AVENUE CHICAGO baks- tilth /{venue Suggests . . . Douclette ? ? . sportswear of unmistakable chic for winter cruising . . . Casino luncheons . . . Hot Springs . . . Catalina . . . Tucson . . . Knit ensembles in pastels and darker shades . . . delightful two^tone combinations . . . belted jackets . . . dainty eyelet^knit blouses . . . exquisitely styled in line and detail . . . the perfect ensemble for country club and informal town wear . . . For your further enjoyment these ore price J tit 39-75 and 49.75 THIRD FLOOR jNorth JM_ichigan at Chestnut THE CHICAGOAN 9 WHY BLAME THE DEBUTANTE? An Understanding Defense of the Girl in the Case ONE more winter has added it? own bright and special cluster of debutantes. One more winter season is nearly over. Ere this is printed the proverbial ground hog shall have emerged from his underground lair, sought his shadow and announced to an expectant world the precise date of young spring's coming to Town. When this does occur— the arrival of spring — -a fresh new bevy of buds, next years crop still within the guardian portals of a finishing school, will be come conscious of their own dawning importance. They, and their mothers, will begin their solemn and intricate preparations for a debut six months hence, and so it goes — year after year. But this should not be depressing. School days — dear old Golden Rule days — are over for these girls. And who really liked school days? These children have achieved freedom at last. A long thrilling life now looms ahead. For each a different future. For each there will be a special way of planning for this future. And this, now, in the 1930's, does not necessarily mean marriage. Perhaps business, per haps a career? We are, thankfully, in debt to the changing times for this particular blessing. And yet, on New Year's day we happened to read a column written by a New York society editor. And she made the following ironic, stupid and old-fashioned statement in so many words: "The debutantes will soon be second-year girls. Some of them will move on to greater things, reach more darling pinnacles by means of St. Bartholomew's, St. Thomas', or the Little Church Around the Corner. While others will sink hopelessly back into oblivion. They have all had their great moment. Many may never be heard from again." If they are to tally devoid of brains, perhaps this prophecy might come true! But this person inferred that if they could not make a brilliant marriage, and that within a year or two, they are lost! E are going ahead too fast. We have written this paper merely to defend the fragile young creature who is called debutante and By COURTNEY BORDEN of whom it is nearly always said : "Yes, she is pretty! But she doesn't seem to be endowed with any brains." And, strangely enough, it is not the older men and women who make these disparaging remarks. They are too envious of starry-eyed youth, eager ness, and a certain fresh young beauty. It is the boys with whom debutantes dance, the boys they attend the movies with, who dare talk thus. If these boys were so darn smart themselves they wouldn't be dancing every night until dawn. They would be resting their brains for work in the morning. Then why, when one listens to the description, "She is beautiful but dumb," blame the poor debutante? Blame the stag-line boys with whom she wishes to be popular. She must be popular! This is the first requisite of "coming out." Blame the miser able American pattern in which she has been cut, stamped and catalogued. Young English girls do not know that specter of the necessity of being "popular" at dances. They have no conception of the gayety which pre dominates over here from the time an American girl is fourteen. They are more high-brow (odious word!) dur ing those impressionable years between fourteen and twenty. But watch most of them at a dance. They would be awkward, un-chic, and quite at a loss. Whereas if our American debutante did attempt to discuss real culture, if she did have a certain amount of "booky" knowledge, her conversation would be entirely wasted on the danc ing boys who seek but beauty, dress, and a pretty ankle. She would be, in fact, about as popular, about as much misunderstood, as a sensitive young poet in a room filled with bond- salesmen. As for the miserable, de plorable pattern, this girl has certainly had no time to develop many concrete thoughts. She has not had a quiet moment to observe and analyze life in FAME They will soon name a candhi Bar for Mahatma Gandhi. —STOOGE. any respect. She has been too busy, too completely engrossed, in the fine art of learning how to dance (per haps both ball room and aesthetic), how to play golf and tennis, ride to hounds, and the necessary acquirement of a "good" game of contract bridge. Besides all these vital and engrossing occupations she has had to cut her hair just so, manicure her nails, and dress well — better than her friends if possible — and this all burns up Time. As a final result she is, needless to say, an exquisite effect and just what the American boys ask for. SINCE the future of the 1930 debutante need not mean imme diate marriage with the first eligible bachelor who proposes, there is plenty of time for her to enjoy to the utmost this one darling year. There is plenty of time for this exhausting and be wildering winter when dressmakers, photographers and newspapers pursue her like blood hounds on a chase. It only occurs once — the debut. It will probably always be a gorgeous jewel in the bright scepter of her youth. There is plenty of time, then, — all her life ahead — to discover Gertrude Stein and her rhythmic monotonous repetitions, Degas and his muscular wash-women, or the modern concep tion of music and architecture. Or even the difference between the Vic torian and Modern in decorative art. A finishing school, and possibly a winter in travel, has whetted her young appetite along these lines. There is plenty of time, too, for charity work and committee meetings. These things will come sandwiched in between Irish "generals," or Swedish "second maids," and the daily wranglings with grocer and dust. The lighted candle of these care-free days will snuff out soon enough. In the meantime let her smile and dance and be so very beautiful to look upon. It won't be long before she will far outshine most of the boys who are now wondering why "debutantes seem so brainless!" NOTE: A second article by Mrs. Bnrden, "Debutante— Then What?" -ceil! appear in an early issue. 10 TME CHICAGOAN RUDOLPH GANZ: Pianist and conduc tor of international fame who is now permanently identified with active Chicago musical life. He is the director of the Chi cago Musical College, and at the Goodman Memorial Theatre, on February 8th and 9th, he will conduct the highly interesting program presented by the International Society for Contemporary Music. ROBERT LEE ESKRIDGE: Artist, mural decorator, and explorer who has ventured into a new field as the author of Manga Reva: The Forgotten Islands, which will be published February 18. He studied at the Art Institute and with Lhote in Paris, ex hibited at the Paris Salon in 1925, received an award at the Show of American Paint ers in 1928 and did the Marco Polo murals at the Palmer House. DISTINGUISHED CHICAGOANS A Sequence of Portraits By J. H. E. CLARK LIBBY CHASE: Big game hunter, world traveler, writer and one of the best equestriennes of the middle west who has appeared in many show rings and has taken many blue ribbons in jumping events; who has taught horsemanship in Lake Forest and brought down elephants in Africa; who has been a circus rider and written about it and who, now, has for saken the North Shore lor the South Seas and six months of vagabonding. LAWRENCE A. DOWNS: Who started at the bottom as rodman and rose to the presidency of the Illinois Central Sys tem. Charter member and onetime presi dent of the American Railway Engineers Association, American delegate to the Inter national Railway Congress in Rome, 1922, member of the American Society of Engi neers and of many clubs, he has recently been created a Knight of Malta. novelist, American and mid-western, friend of Gene Tunney and Texas Guinan, who teaches school because he wants to and writes because he has always written. T/ie Cabala. The Bridge of San Luis Rey and The Woman of Andres are his, as you probably know. He has just been made an assistant professor in the department of English at the University of Chicago. TI4ECMICAG0AN n A JEW WHO HATES An Inspection of "A Jew In Love" NOT to take Ben fiecht seriously, as a human being, is impossible. Occasionally, as in A Thousand and One Afternoons and The Front Page, it is impossible not to take his work seriously as well. There may be those who will take seriously his lat est novel, A Jew in Love. (Covici, Friede, Inc., $2.50.) Most of those who take it seriously will be, I think, of his own race. Gentiles will only laugh. But not at the race. At Ben, and this clumsy dream of the amours that might have been his, if only life had been more complaisant. They used to say of Maggie Tul- liver, in The Mill on the Floss, "She is the girl George Eliot would have wished to be." Jo Boshere (born Abe Nussbaum) is the man Ben Hecht might have been had he wished to, among the women. The book is all about Jo and his women. Ben's talk of women would, if I may borrow a phrase from one of his characteristic descriptions, abash a gynecologist. Yet even so his vo cabulary is curiously narrow for an eroticist. He has only half a dozen epithets for their definition, all un quotable, but fortunately all so fa miliar as not to require quotation. I had thought better of Ben's range of phrase. Any uneducated pimp knows ten times as many. THE scenes between Jo and his amazingly unattractive females make up nine-tenths of the book. Many conversations between them re occur in substance and practically in phrase four or five times; many acts forty or fifty times. Whenever I lost my place in the book and fell asleep, as I did often, I re-opened it anywhere and read on without losing any sense of continuity. So to con struct a book is a feat. Indeed I should say this extraordinarily coherent preservation of tone is Ben's only literary accomplishment in this vol ume. One conversation, that between Tillie and Hillstrum, with Jo as an eavesdropper, is interesting for its own sake. It might be a short story. It occurs almost at the close of the novel, and I think Hecht included it both to By JAMES WEBER LINN revive the reader's jaded spirits and to show what he could do when he chose to permit entertainment as a function of art. The other tenth of the book is a discussion of current events among Jews — Sovietism and Zionism chiefly. Boshere's vocabulary in these discus sions varies only slightly from that which he employs in his endearments, but his philosophy is more highly col ored and amusing. Boshere's social small talk, to quote Ben for once, "was like a breath from some vaginal sewer." His philosophical small talk, and it is unquestionably small, is simi larly tainted, but it has the richer smell of garbage. Its wind seems to have swept to you rather from the stockyards than from the outhouse. For instance: "If I'd had charge of executing Christ, I'd have handled it differently. You see, what I would have done was had him shipped to Rome and fed to the lions. They could never have made a savior out of mince meat." THROUGHOUT the book Ben's bitter hatred of his own Jewish- ness is stressed. Because he hates his own Jewishness, he hates all Jews. Every character in the book, except one, is a Jew or a Jewess, and Ben hates them all, indifferently. His ob session would of course be a matter of no importance to anyone, if it did not completely defeat his powers of analysis. It is not a co-incidence that the only interesting conversation in the book should involve a Gentile, Hill- strum. Because Hillstrum is a Gen tile, though intellectually he is as des- PATCHES Bright patches for my gay days And for the dull ones black; This is the tattered Joseph's coat Life hangs upon my back. And only yesterday I found When grief bowed low my head, Even the drabest gray-day patch Is stitched with brightest red. — BETTY BARRINGER. picable as Ben's Jews, he is allowed the possession of genuine emotions. It is the presence of this obsession that makes A Jew in Love interesting, if it is interesting. It offers a prob lem. And Hecht offers a solution of the problem. He makes Boshere say to his sister Esther: "When you accused me of being ashamed of being a Jew I laughed. Why? Because you might as well have accused me of being a kangaroo. I'm no more Jew than kangaroo. I'm Boshere. Being born a Jew means no more than being born with a Jewish consciousness." ELL, you see? The whole book was written to prove to Ben Hecht, a Jew, that he was not born with a Jewish consciousness. At times he believes himself that he was not. Then he does not mind being a Jew by race; he can even share the pride the ordinary Jew knows so well. At other times Hecht is bitterly con scious of his own Jewish consciousness. Then he raves. He crawls through the lowest drain of his experiences for buckets of filth to pour over himself, to baptize himself into non- Jewishness. He writes books. He becomes an em bodied, antic hatred. All to prove to himself that though he is a mammal he has in him no monkey-conscious ness, that though he is a Jew he is unselfconscious. Poor Ben, for he not only does not convince himself but turns the awe the Gentile feels in con templation of the Jewish race, an awe not unmixed with fright, into pity for Hecht. It is for this reason one feels the impulse to explain Hecht at such length. As Hecht, he is worth analy sis. As a book, A Jew in Love is not worth even a wisecrack. It lacks even the point of the reminiscences the hired man tells the minister's son behind the barn. Once I walked twenty miles through the woods with a fifty-pound pack, guided by a lum berjack. He told me all the snappy stories in Ben's book three times over before we reached the place where we were to fish. TWtCWICAGOAN W^jfjjm^^^^f'-r^'' ~\ 1 \\ *\\ ^ifM kwOh A ^* ^1 V'1 s*"iMl ¦ ,1 ¦'• MIIIBl^M 1 JL ^ WHEELS! Rolling the to tun into wealth and power as the railroad heart of the world. Producing a new and startling beauty of delicate steam, ethereal against the powerful sweep of a great Twentieth Centurv locomotive. A giant in action at the local A[eu> Tor\ Central yards, caught by the agile lens of Victor Haveman. TI4E CHICAGOAN 13 WATCH THEM DRIVERS ROLL Hail to the Rails of the Town! Casey Jones! Mounted to the cabin, Casey Jones! With his orders in his hand. ITH an easy swing the engi neer pulled himself up the narrow rungs which pretend to be steps. The fireman swung himself up after. Both looked down at me ex pectantly from the heights, and I won dered; did they think I could climb up the side of this snorting monster as lightly as all that? But already my guides were trundling a baggage wagon towards us and easing it against the locomotive. The engineer reached down and grasped my hands. He pulled, two pairs of hands pushed. Thus ignominiously was a curious woman hoisted and shoved to the bag gage wagon and up into the cab of the Twentieth Century. As I dropped the door flap behind me a blast of infernal heat darted out from the open doors of the boiler. The blaze blazed, coal clinked, and the doors shot to again; all in a second while I gaped at the motionless fire man. Well, practically motionless. All he did was pull a lever and the whole thing was done. Coal is fed into the boiler from the tender by an automatic worm feed system and I'll be goldurned if there was a shovel in that cab. Pretty soon the engineer began do ing things over my head, pulling levers, winding gadgets, touching a dial here and there, nonchalantly. We shot out a cloud of steam and backed up with a roar. The Century was going home to Englewood for the daily grooming after its run. It is a far cry from the dinky little trains which puffed to Albany in 1831 to the new Hudson-type locomotives which roar down the Mohawk Valley a hundred years later. And yet there is the same old glamour about pound ing the rails, the same thrilling quiver at the sound of the long-drawn blast of a train at night, the same glint of triumph in the engineer's eye as he leans out the cab window to watch some four thousand horsepower roll forth at his command. The glint was in my eye as I sat in the engineer's seat and poked head out the window By LUCIA LEWIS to watch the signal lights wink and shift their commands when we thun dered towards them. There's a red light on the trac\ for Bolsum Brown, For Bolsum Brown, And it'll be there when he comes bac\, For Bolsum Brown. TO hear the calm-eyed engineer who reached over my head now and then for a pull at a bar or a twist of a wheel, it's all so simple these days. Switches, signals, emer gency equipment, everything auto matic. But it takes as much strength, as ever, as much endurance and steady nerves to handle each of the stretches on a run like Century's, or on a pull through the Rockies, or in a battle with a Dakota blizzard. And it takes con siderably more technical knowledge to understand these new-fangled devices than was required to handle one of the old "big eight-wheelers of mighty fame." Anyway, in spite of the kindly ex planations of my mentor on this little run of mine I could make nor head nor tail out of the array of dials, gauges, and levers grouped about me. Vaguely I remember figures — millions of dol lars for these new locomotives, 37 per cent increase in pulling power, a shift in weight to increase speed and reduce wear on tracks and bridges, 4,075 horsepower while the engines they are replacing developed a mere 2,000 horsepower. To a lay mind they are but figures. But I'll never again snug gle into my cushioned berth at night without a vision of those delicate indi cators registering things on dials, of those changing lights registering stories down the tracks, of those big muscled hands heaving and pulling to get us through, come rain, come fog, come snow. The wind it blew up the railroad trac\, It blew, it blew, ft blew way up and half way bac\, Holy Jiminy! how it blew! IF there are startling contrasts in locomotives there are just as:: star tling changes in the passenger cars that trail them. It's a far cry, too, from the private bedrooms with real beds now offered on many lines back to the old Number 9 which Lincoln used to ride between Springfield and Chicago when he was a young lawyer. Berths at that time cost a dollar for one per son, fifty cents apiece for two. Shrewd Lincoln always boarded the train early, paid fifty cents and went to bed. His great length had to be disposed di agonally across the berth and when later passengers glanced in at him they quickly chose other and shorter part ners. He nearly always traveled in dollar state for just four bits. Things have been changing in the workshops out south from that day to this. Steel cars came in, anti-telescop- ing ends were developed, roomy vesti bules were added, to permit comfort able passages between cars. Heating and ventilating systems, lights, springs, sanitation improvements, spread by way of the Pullmans from Chicago all over the world. Railroad travel be fore the war was comfortable; since 1920 it has gone through a process of refinement that makes it luxurious be yond the dreams of sybarites. I like the way one can ride to New York, to Washington, to the Twin Cities, to St. Louis, almost anywhere, in a regular bed, with no dressing room jam to bother about, with breakfast served right in one's own little bed room, and privacy all the way. I like the soft beige walls, the shaded lights, the mirrors and cabinets and sense of space in the compartments and drawing-rooms of the new ten- section cars. I like the deep, deep springs, in the new berths, and am cuh-razy about the section-for-one idea that was introduced last summer. At a slight increase over the cost of a lower this plan gives one a whole section by one's only — no one to share seats with during the day, no upper folded down over one's head at night, two mattresses piled up to make a softer bed, a fresh sheet across the window to sift dust and cinders, and stacks of space to stand up in with out smacking into the upper. MOST of the really flossy ideas appear in the observation and 14 TUEO-IICAGOAN club cars. Maybe you get tired of radios when they screech on all sides in the city, but they are a comfort on the long miles when your eyes get tired and you pant for news of the outside world. Then there are little bridge nooks and soda fountains and refresh ment tables, white-coated waiters clinking about, tea served in the after noon, all bright and merry. Decoratively, these cars have trav eled as well. On New York Central they are richly paneled and carved, on Burlington's Blac\haw\ they are a re freshing pale green, on Northern Pa cific a warm beige, and so on through the range of colors that cheer. Some trains even get gay on the outside. Southern Pacific's Daylight, between San Francisco and Los Angeles, is a flash of silver through the country side. The cars are a pearl grey and the lounge cars covered with aluminum lacquer to deflect the sun rays and keep the car cool in summer. In these, too, the windows are of a new heat resist ing glass which does its share to as sure a comfortable temperature and to soften the glare of western suns. Last summer the Pullman company experimented with mechanically cooled cars. Aside from the pleasant tem perature, these cars were quieter and cleaner because the windows could be shut. When the system is perfected that cross-country stretch through the desert will be as refreshing as a jaunt through the mountain peaks. Other luxuries are familiarities now. Tele phone service between cars, valets and maids, barbers and tailors, stenog raphers, or what will you. Invalids bound for the Mayo clinic in Roch ester go in special hospital cars with side doors, through which stretchers and wheel chairs are rolled, large rooms, stationary beds, spring-hung diaphragms to reduce the rattle, and rubber insets to absorb shock and noise. If all these measures for the public do not suffice, you can always rent or buy your own private car. Out at Pullman recently they finished a mag nificent six-car private train for the President of Mexico and you, too, can have your own built and decorated just as you wish. (Our President, inci dentally, does not own a private car.) Across the rolling prairies By steam we're bound to go, The railroad cars are coming, humming, Through ?<[ew Mexico. AND as they came have you ever L wondered where in thunder they found those names? Great big steel cars baptized Celeste and Magnolia, roaring coaches clashing along as Beethoven or Mozart.' There is a per sistent legend that Mrs. Lowden named the cars but she laughs at the story. The truth is, it takes whole groups of people to do it, and sometimes they get a little weary of the job. There was that time when Pullman took over the six hundred cars of the Wagner Company, and since many of these duplicated Pullman names, they had to be re-baptized overnight, while the cars were in transit. The Chair man of the Nomenclature Committee racked his brains but he couldn't pop out with six hundred new names just like that. So special permission was secured to keep the Chicago Public Library open all night, and the com mittee delved into history. Towards morning they emerged with an aston ishing group of Greeks and Romans. A few company officials grinned but when they were challenged to improve upon the names, by a sleepless and sensitive committee, they held their tongues; and away rolled Greek gods, Roman emperors, and even a Cleo- patra to liven up the rails. Cleopatra got under the wire, but the Empress Theodosia had harder sledding. There has been an unwritten rule that only highly moral women should have their names emblazoned on the sides of Pullmans. Some busybody wrote in about Theodosia and when they looked her up in Gibbon they were pretty horrified. Quite a discus sion raged but someone pointed out that some dubious gentlemen's names had crept in, and was the double standard fair? Theodosia stuck. They have found it best to avoid naming cars after living personages. Human nature being what it is, today's hero may be tomorrow's pest. But they let down the bars for Colonel Lindbergh and since then a handful of very moral cminents, still living, has crept in. They better be careful, though. Actually, there arc reasons for names. Trains, freights, and locomotives are numbered, and parallel numbering systems would be confusing. A lot of the Pullman names mean things, to the initiate. The Point series — Point Alex ander, Point Bonita, and the like — are ten section cars with three drawing rooms; the La\e, Camp, and Fort cars all contain ten sections, one drawing room, two compartments, and so on. Observation cars are Mounts or Mountains — gazing afar from moun tain peaks, sec? Parlor cars are for the gracious, leisurely moments, so they carry feminine, floral or bird names. Many lines run cars that carry the tang of their history or are named after cities, mountains, and rivers along their route. The Empire Builder has its cars christened after the great railroad men of the past, the Klprth Coast Limited recalls the famous In dian chiefs of the west, the Congres sional Limited rolling down to Wash ington goes back to the signers of the Declaration of Independence and leaders of the Continental Congress. And then there are the purely fanci' ful Star Drift, T^ight Harbor, 'Night Haven, which should stop your toss ing about that bunk, once and for all. And if I die a railroad man, Go bury me under the tie, So I can hear old ?S[o. 4 As she goes rolling by. TI4E CHICAGOAN 15 WHEN "WHOOPEE" WAS A WAR CRY Moody Reflections on a Gaudy Era PUBLICITY does not always pay. For instance, one reads in the re port of the Chicago Vice Commission that "A Dearborn Street resort dis tributes a very elaborate booklet which describes in glowing terms the com forts to be found within the walls of that 'sumptuous' house. In fact no one need 'feel the chill of winter nor the heat of summer' in this place." Henry Justin Smith records the sequel in his part of Chicago: A History of its Reputation, thus: "Mr. (Mayor) Harrison's attention was called to a pamphlet blazoning Chicago's fame in terms that enraged him; declaring, in effect, 'Two things you must not miss: the stockyards and the Everlcigh Club.' Exploding, the mayor ordered the resort closed, over protests from the police officials." Yet there was some truth in the statement; the Vice Commission's re port notes, "This is probably the most famous and luxurious house in the country." The word "famous" is used here in no sense known in litera ture, yet it will serve to point out that there was then and long had been a house more infamous. BEFORE the great fire of 1871 the institution that then led the van in notoriety of the better sort — if there is any better sort — stood at No. 219 Monroe Street, and attained con- spicuity by making itself as incon spicuous as possible. Where its com petitors had curtains of more than Babylonian scarlet at their windows and house numerals a foot high in gold, with the front red light that was to name the species, all this had to convey to the world was the name in small, neat letters, "Miss Lou Har per." And it was in this caravanserai dedicated to Aphrodite Pandemos that Carrie Watson lived and moved and had her being when she came to Chi cago from Buffalo in the '60's — a long time ago. She must have been an at tractive young person with much more character than the average, tall and slender and blond — gamblers prefer blondes — for Al Smith, one of the leading exponents of gaming in the Chicago of those days, set his eyes upon her, and before they became un- By WALLACE RICE set she had acquired enough of his ill gotten gains to set up, eventually, her establishment at 44 1 South Clark Street, and start after ill gotten gains of her own. Lloyd Lewis, setting down these feats in his share of the work already named, adds that it "was famous clear up to the World's Fair in '93." As a matter of obvious fact it lasted as long as any of such es tablishments did on the South Side Levee, which was until Mayor Harrison lost his temper over the literary efforts of Ada Everleigh, as noted. Now in Victorian days there was a degree of reticence, amounting upon occa sion to taciturnity, in regard to such places, and they were often mentioned, when mentioned at all, in whispers. But in regard to Carrie Watson's exceedingly notorious place there was really an element of infamy in the whispering — Chicago in regard to such matters had hardly reached either metropolitan or cosmopolitan status, an ancient tradi tion had been dislocated. But it and its keeper were the most notorious, the most infamous, of all the known resorts in this budding city as long as they lasted. Henry Justin Smith, getting his adjective right as usual, speaks of "the Everleigh Club, most elegant and infa mous bawdy-house of Twenty- Second Street and probably of the whole world as well. Visiting European gentlemen said that it eclipsed anything of the sort in Paris. Transcontinental trav elers marveled at its seductive distinc tion, its cultivated gentility, its six par lors each named for a different flower and scented by a fountain that gave off the faint perfume of the chosen bloom." And so on to the end of the "No one nor the need feel the chill of lointcr^ heat of summer in this place" paragraph, which is inspired by its subject to positive lyricism. Never theless, there was something else again, not necessarily lyrical, about Carrie Watson's. YET the Cyprian afflatus descend ed upon Edna Ferber when she came to the last third of Show Boat, and she introduced Carrie Watson to her readers under the nom de guerre of Hetty Chilson in the following well chosen sentences: "You said Darby Day, very English. You pretended not to mind when your husband went down to speak to Hetty Chilson and her girls in their box. For that mat ter, you pretended not to see Hetty Chilson and her girls at all, though they had driven out in a sort of priv ate procession of victorias, landaus, broughams, and were by far the best dressed women at the races (at the Washington Park Club). They actu ally set the styles. . . . Hetty Chil son 's girls wore rich, quiet, almost 16 TI4E CHICAGOAN ' — and after me giving her three yards of Reseda Swiss Voile for a new Spring frock. sedate clothes; and no paint on their faces. . . . Came the startling knowl edge that these ladies played an im portant part in the social and political life of this huge sprawling Mid-West ern city. This stout, blonde, rather handsome woman who carried herself with an air of prosperous assurance, whose shrewd keen glance and hearty laugh rather attracted you; this one was Hetty Chilson. . . . She was ac tually a power in her way. When strangers were shown places of inter est in Chicago . . . Hetty Chilson' s place, too, was pointed out (with a lowering of the voice of course, and a little leer, and perhaps an elbow dug into the ribs). A substantial brick house on Clark Street, near Polk, with two lions carved in stone absurdly guarding its profane portals." There are further particulars on later pages; but probably enough has been told, however dead Queen Victoria may be. And speaking of their being well dressed and setting the styles, a story is told about one of our mammoth em- poria of trade, in which the dress making department is divided by par titions that do not reach the ceiling and permit voices to be heard from one division to another. Carrie Wat son and part of her entourage were buying habiliments, and the prices paid warranted the best attention the saleswomen could give. A lady of Chicago's first fashion was thereby forced to wait, with growing impa tience. At last she said what is now described as a mouthful, about the oc cupants of the adjoining room. And there came back over the partition Carrie's clear tones, "We're spending your husband's money." For one, I do not think the remark was ethical. Besides, publicity does not always pay. NOTE: The fourth article in this series zvill appear in an early issue. IN QUOTES Bruce Barton: This year our newspapers, through their truly won derful news gathering forces, have brought us all the bad tidings from everywhere. Myrtle T. Blacklidge: It was a dirty trick that was played on me. \SA W. H. Thompson: We are having a small parade. \m Dr. Royal S. Copeland: Certain ly we should not dodge health knowl edge any more than we should turn aside from knowledge of the automo bile or the radio. \/A Glenna Collett: But some girls have no aversion to rowing or worms, cither. Hack Wilson: I probably have had more lemons thrown at me than anyone else, either in or out of baseball. FoujlTA: I think Whistler had a great admiration for Japanese art, but did not actually copy Japanese com position. Margaret E. Sangster: A vaca tion that fits too tightly in some spots and too loosely in others isn't a vaca tion you'll enjoy wearing. Gene Sarazen: The left hand should control in the golf shot, the right hand simply riding along as a passenger. Gail Borden : The Dramatic League's special bill, The Man in Pos session, may well be likened to a very special dessert by some light-handed chef who knows how delicious and palatable a tasty fluff may be after a long, heavy meal. \/A Ashton Stevens: It is — as a vir tually faultless London company serves it at the Selwyn by way of an extra course for the Dramatic League — caviar for the worldly. Charles W. Paddock: The track and field strength of the United States each year is primarily gauged by what occurs in the indoor meets at Madison Square Garden and in the armories in New York, Boston, Chicago, Philadeb phia, Baltimore and Buffalo. THE CHICAGOAN 17 TOWN TALK A Fortnightly Garland of Timely Frivolities By RICHARD A T W A T E R Wicker shamwocky Last night, ah, yesternight, between cup's lip and mine There fell thy shadow, Wic\ersham! thy breath was yet Upon my wic\er champagne and the wine And 1 was wickershameless, filled with an old passion To be a wic\erchameleon, both dry and wet: I have been wic\ersham to thee, Com mission, in my fashion. I cried for a wic\ershampoo and for stronger wine, But the report was finished, the com mission expired: Four, five, and two 'n wet in\ did drily sign, And I am wic\er shameless, filled with an old passion To leap li\e a wic\er chamois, moun tain- dewly fired: I have been wic\ersham to thee, Com mission, in thy fashion. Old Chicago Customs RIDING south on the outer drive to inspect the impending Fair exhibits, it struck us that something was wrong with the Old Fort Dear born exhibit. Something was missing. Finally we figured out what it was. There should be dummies in Foreign Legion costumes, with dummy guns at the firing places, desolately staring at you as in that classic opening scene of Beau Geste. Either that, or the place should be used as a hotel for Mayoralty candidates. Our 1931 copy of the calendar of the Travel Association of Great Britain and Ireland has arrived, with a list of many delightful sounding Old English Cus toms. Chicago, of course, has a few Old Customs of its own, notably the Campaign for Mayor Old Custom, which doubtless corresponds to the Uphellya Festival held at Lerwick (Shetland Isles). And while wc do not have a Mop Fair, including Roast ing an Ox Whole at Stratford-on- Avon, we do have the Going to Spring field, 111., with $50,000 Old Custom. Still, as we gaze at the British calendar, it does seem as if Mr. Thompson is letting King George have a lot of civic tun for which Chicago ought to have a village equivalent, especially as we hear Big Bill enjoys being called a Circus Mayor. Where, we want to know, is our Old Horse Fair, as held at Barnet (near London) ; our Pancake Day, or "Tossing the Pancake"; our Presenta tion of Oranges and Lemons by Chil dren of Danish descent; our Biddenden Dole and Peace Egging; our Goose Fair and Day of Popular Merrymaking as of Nottingham; our 400 Year Old Dance of the Deer Men (Horn Dance) as of Abbots Bromley, Staffs? Where, Mr. Thompson, is our Hock- tide, as of Hungerford (Wilts) ; our Hobby Horse Parade as of Minehead; our Folk Dance Festival and ceremony of the Flitch of Bacon as of Little Dunmow, Essex; our Dressing the Vil lage Wells with Flowers as of Tissing- ton (Derbyshire) ; our Riding of the Marches, with a Mounted Procession going around the Borders of the Parish as in Hawick, Scotland; or even our Furry Dance (Dancing through the Houses in the Village — In at the Front Door, Out at the Back) as of Helston, Cornwall? It is these Old Customs that bring the tourists and their trade to a Town. It is high time, say we. that Chicago should have its Dance of the Deer Men, its Furry Dance, its Old Horse Fair. A quadrennial Mayor's Derby isn't enough, for all its admittedly amusing aspects. zAs One Old Custom to Another' COME to think of it, your Town Talk is perhaps a combination of Dressing the Village Wells with Flow ers and Dancing In at the Front Door and Out at the Back. Our other best Old Custom is Ashton Stevens, about whom we are getting worried. His surprising endorsement one day of that nutritious and easy-to-carve dish, the stew, was at first assumed to be a compositor's error, or something of the sort; but later developments proved this was a real symptom. For Stevens then broke down and confessed to a growing fascination for the bright sayings of children. This, added to his more and more frequent descents to the south side to visit his nephew, Ashton Stevens ("Column or Less") Krug, made the diagnosis unescapable. The beau ideal of gentlemen-about-Town is in danger of going domestic. As one who has himself rather notoriously written much in the past ten years about children, cats, coopera tive apartments and other topics for shut-ins, we warn our colleague anxiously against this insidious prac tice. O Mr. Stevens, remember that your column has brought a touch of romance into the lives of countless citi zens who, barricaded by battalions of prattling children eating stew, have thus been able at least to read about the delights of living in a palatial hotel with a beautiful actress. Have a heart, Ashton, cries the alarmed soul of your helpless public. Qodiva Dares the Lake Breezes WHAT with a young friend of ours held by the police because a girl was shot on his front porch; other disturbed acquaintances being uncertain whether to send in their in come tax reports this year or just play faro's horses with strangers, and with people still springing a new gag a day about the Wickersham report, it does seem silly of us at this point to dis cover another Old Chicago Custom being renewed, and that a mild literary one; that of publishing limited editions, with a slight sex interest, by local writers. However, they're off again, and here's James Renshaw under the slight disguise of The Bodleian Press with his first costly publication. The True Tale of Lady Godiva, by Dr. Charles B. Reed, in its flaming covers is quite in 18 TUE CHICAGOAN the Chicago book tradition established by the lamented Pascal Covici; by this time Mr. Renshaw must have quite a satisfying heap of manuscripts by local litterateurs eager to offer their pages to our latest plate-and-type destroyers. Why, by the way, do publishers of limited editions destroy the plates after printing? We've always thought such a set of plates would make a splendid frieze around the author's study wall. Dr. Reed's rewriting of the Godiva myth preserves the essential picture of the nude lady on the white horse; he does not, as we would do, have the citizens of Coventry admiringly shower her dainty limbs with ticker tape from their upper windows. Ho, hum. A perennially charming figure, Lady Godiva, but it was just a little hard to get excited about her at just the time when Clara Bow was back in the head lines. And when we were wondering what might have transpired, had Daisy DeBoe been, instead, confidential secre tary to the Wickersham battalion. \/A 'The Admiring Compiler DAISY'S extended remarks in the local Times may or may not make her eligible to the Society of Midland Authors; anyway, even without her, this admirable group did a lot of work during 1930. So much so that the Society got out a proud four-page book let listing members' publications for this period, from Addams, Jane to You- mans, Eleanor. In odd poetic mood, the compiler of this notable list added a couplet at its beginning and one at its end as a sort of appreciative com ment. The sympathetic overture was Byron's : '•Tis pleasant, sure, to see one's name in print; A boo\'s a boo\ although there's noth ing int. The thoughtful finale was Willis's: What he has written seems to me no more Than I have thought a thousand times before. hA £ivic Something FOUND, by our friend the marine reporter : the Town bootlegger who, with each purchase of liquid contra band, gives dollar for dollar equivalent in Mayor Thompson's merchandise coupons. hA <lA Breath-Taking Came POKER for twelve players, as dis covered by a medical friend while lecturing in Oklahoma: The initial buy is a fingerf ul of chips, mostly yellow, valued at two hundred dollars. Two cards are dealt, face down, to each of the twelve players. Five are then dealt, face up, one after another, in the center of the table, the lowest of these five being wild. Five dollars is taken from each pot for charity, the average minimum contribution to the poor of an evening being eight hun dred. A nice, quiet game for a visiting lecturer, though apparently preferable to Springfield Backgammon. Another, if it is another, medical 'But there's such a sameness in Peter Amo's situations' friend who does quite a bit of lecturing away from Town, confesses he's in creased his number of words per min ute while lecturing by twenty, during the past year or so. This would be about equal to George Vincent's nor mal speaking speed, and passed only by Dr. Floyd Gibbons, who however can't be counted as he reads from manu script. At the conclusion of his ad dresses, Dr. Morris Fishbein has the custom of throwing the meeting open to discussion. The first question asked him is usually "How do you get your breath'.'" \7A Explaining Her Absence ANTON1A, that delightful corre- l spondent whose letters we had missed for several weeks, returns with a clipping from the Steamboat Pilot (which we lost in our excitement) , and the disarming apology: "I spent a month in the Rabbit Ears this fall, and am sorry to report that my favorite dude ranch is beginning to show signs of prospering. And then a hectic month in the east, trying to set up a bond issue secured by faith, hope and charity. Since my return I've fallen in love, and I find it consumes a great deal of time." \/A The Free Doctors A TOUCHING tableau, that of L WMAQ's Three Doctors throw ing off the manacles of chain-program slavery and stepping out of the net work because as the Three Bakers they were no longer allowed to "ad lib." We would hardly know whether to title the picture "The Three Bears Run Away from Goldilocks" or "Chain Radio Takes a Pratt, Sherman and Rudolph Fall." And there is much to this idea of crying, "Give me ad libitum or give me death." On the other hand, there is the point that the spontaneous lunacies of this delightful trio are, occasionally, spon taneous lunacies that they have used several times before. If this is like criticising Amos and Andy for con tinuing to say "I'se regusted" and "Oh, Oh," we will stand back of that, too. It may be too much to ask, even of the Doctors, that every mad word they utter must be one never before used. Still, that's what we do demand of them, chained or unchained. Either that, or let them talk in Chinese, which might fool us. TI4E CHICAGOAN 19 r/ "I'm getting frightfully weary of you and backgammon'' On Reading Another Lady's Poems A sorry runner, 1, spurring my flagging strength in vain, Fingers outstretched to dutch her winged steed's flying mane. So, 1 am spent. Pelted with rock ^id fly ing spar\, One chee\ all bloodied where a glancing hoof has set its crimson marl{, I am so wingless; my feet so bound to earth, while she Sets her bright steed at fences of infinity'. But this I boast, that I have raced her flying steed, Have raced, and bear its hoof -print as my highest meed. B. F. O. hA *Add Educated Horses ADVERTISING works its miracles, i too, not less renowned than song. Did you notice that lengthy testimonial to help the sale of Wings cigarettes, as dictated by the talented racehorse, Gal lant Fox? The "author's" picture next to his extended remarks had only one defect. We should have enjoyed see ing his left forefoot held pensively to his literary brow. hA Compromise AS the old battle between factory *» equipment and employees' salaries probably continues, this anecdote, dug up by Don Plant from goodness knows what cornerstone, could probably be modernized quite nicely by changing the names to President Hutchins and any young instructor at the Midway. But we thought it rather cute and Old Customish to let it stand. A professor named H. Gideon Wells, the story goes, used to ask President Harper for a raise every time he met him on the University of Chi cago campus. Finally Harper sug gested that Wells drop into his office and talk it over with him, saying he thought something could be arranged. So Wells stopped in, a few days later, and Harper announced that he was sorry, but city fire officials had been around that morning and had told Harper that three new fire escapes were needed in Cobb Hall. These would have to be taken care of first, and what with the budget and everything, Wells' raise would have to be postponed. The professor plaintively admitted he would have to wait. But he did think that the President ought to name one of the escapes "The H. Gideon Wells Memorial Fire Escape." Contemporary Music Dept. UNLIKE our Mr. Pollak, your Mr. Riq liked Maurice Martenot's in vention for extracting musical sunshine from electrical tube cucumbers. After hearing the Theremin, we hadn't ex pected too much from this improvement on that somewhat wavering device, and so were doubly amazed at the new devil-box. Always a credulous soul, we even thought for a moment it was a dummy apparatus, with Heifetz, Galli-Curci and Rudy Vallee concealed in the next room. Gone was the hesi tant search of the Theremin operator for the desired pitch; in its place was a sure, quick technic with an astound ing (to us) variety of timbre. If an instrument that can be made to sound at will like Melba whistling, a Hawaiian guitar, a maestro's violin, any four of Dr. Stock's band, Dr. Vallee's saxophone or a bullfrog can be said to have limitations, we still think one of these contraptions would be a lot of fun at a party. It is apparently a melodic affair and can't accompany itself, but if Prof. Martenot wants to trade a copy for our reed organ, we're willing. Much as we would miss the pleasure of pumping its aging bellows with our adept feet. The piquant program of a Good man concert by the International So ciety for Contemporary Music (Chi cago Chapter) also interested us. What with this new French band-box, we would have thought contemporary music would at least abandon the human voice this year. Instead, we found the Gruenberg Creation scored for tenor, piano and eight instruments; Stravinsky's Story of a Soldier for a narrator, three dancers and eight-piece orchestra; De Fall's Master Peters Puppet Show for marionettes, three singers and "a chamber orchestra of about thirty pieces accompanied by a harpsichord, entrusted to Rudolph Reuter." The idea of a thirty-piece orchestra being accompanied by a harpsichord is [turn to page 22] 20 TME CHICAGOAN THE JUNIOR LEAGUERS PLAY PINOCCHIO The Third of the Saturday Morning Plays for Children By PHILIP NESB1TT ' V- Jane Shutler as one of the Boys Edith Fairbank as the Fire Eater and Jean Wegener as a Boy Peggy H amble ton as the Donkey Dorothy Schmidt as the Cat THE CHICAGOAN 21 Emily Pope as a Lampwick and Barbara Bond as a Falcon Mrs. Mitchell Follansbie as the Tuna Fish Elizabeth Reed as a Band Player Letitia Channon as a Coachman 22 TWE CHICAGOAN TOWN TALK [begin on page 17] somehow pleasing, almost as good as watching a covey of thirty cats being pursued by a mouse. For this, as for its gallantry in "entrusting" a harpsi chord to Mr. Reuter, however cau tiously they may watch him while he is near it, we rise to move a vote of con fidence both in Mr. Reuter and in the International Society for Contemporary Music (Chicago Chapter). ISA Sarful LADY to poet (we hope not one of -• ours), as overheard by a startled Francis Coughlin at an apparently pretty esoteric tea: "You paint in abstracts, do you not? Ah. How I would love to write a fugue to your theme!" \jA This All-Too-Human Race THERE may be an idea in this for Mayor Thompson, or American business in general, or maybe it's just another Old Custom. It's called the Mexican Donkey Race Puzzle. It is decided to hold a donkey race: with the prize going to the owner of the donkey that finishes the course in the slowest time. There is only one difficulty. The judges do not want to be sitting around all day waiting for'' the donkey race to be over. What to do about it? The solution, as given by our psy chology department (Dr. Boder, chair man) is simplicity itself. Each owner of a donkey in the race rides somebody else's donkey. hA The Perfect Month THE present month, we hear, is what the calendar reformers call a "perfect month"; exactly 28 days, with the first falling on Sunday, the first day. of the week, and the last ending on Saturday, the last day of the week; so that if you know your tables of sevens up to four times seven, you won't need a calendar at all. Such "perfect Februaries" come, un der the present arrangement, three times every 28 years. If the calendar reformers have their way, this sort of thing will happen not only thrice in a quarter century, but every month. Printed calendars, now distributed at New Year's by your thoughtful grocer, will be unnecessary and calendar mak ing will go out of business. This happened once, in Arabia. Re member the pitiful plight of the cal endars of that country? They lost an eye, didn't they? This obviously re fers to the Sun, that glorious orb of day. With the calendars out of busi ness, the Arabian days atrophied, leav ing only the Arabian Nights. And pretty soon even those were only on the bookshelf. There's a lesson in that, friends. Do not tamper with the American cal endar. February may be short, but don't sell the other months. Not that you're likely to. It's fiscally impossible. \#\ Of Course SHORT story on a noted newspaper publisher, and vouched for by one of his pleased employes. The trouble, 'tseems, had been that half the time when his lovely imported limousine tried to draw up in front of his building, there wasn't room for it on account of other cars being parked there. Word was passed down the staff that the old maestro was vexed, and finally a reporter saw somebody at Sando/s conception of Greta Garbo in "Inspiration" Gene Markey's conception of Daudet's "Sappho," rcznc-Mcd on hage 26. police headquarters. The next day there was a copper in front of the building with full powers to prevent plebeian parking. You guessed it. The publisher's chauffeur got the first police ticket. Titters and Jitters RUSSIA got a startling break in the Tribune the other day when the latest soviet story referred to "a guard of 100 cheka gents" . . . James Weber Linn always insisted he was not a columnist, but his Round About Chi cago seems to have met with the usual fate of journalism's jesters. At this rate the Ex-Columnists' Club will have to seek larger quarters . . . Circulation of the Daily J^ews apparently doubled the day Eugene Stinson ran that opera broadside. Rumors immediately started that Mary Garden wouldn't sing next year, and this, perhaps naturally, started another that there wouldn't be any opera at all. Which would lighten Stinson's labors considerably . . . I. K. Pond was terribly impressed with Muzio's operatic death in The Love of Three Kings. You could hear, he said, the coughin' all over the house. We said, "terribly" . . . Herbert Hyde has an idea to aid the pipe organ busi ness. Take out the smaller pipes and sell them for fountain pens . . . We'd rather Judge Lyle would run for gov ernor. So somebody could sing "We're Lyle to You, Illinois" . . . Litsinger sang . . . "All Faro's Children Got Wings" . . . "Literati group has moved from Schlogl's," says Variety, "to a Saturday afterruxm session at the Bismarck.' Your recorder, as the only member of the Bismarck table who is also a Schlogl author, mildly protests this gross exag geration. Call him a "group" if you will, but the charge "literati" seems unfair . . . That "torchestra" for a love tune band is Winchcll's word, says P. H. M. We'll return it if Winchell stops using Kurt Stein's and our "repenthouse" . . . John Mason Brown's chapter on Alexander Woollcott in Upstage is a pensive blackout . . . The Elizabeth ans, whose members have a way of being called to New York and Holly wood, will reconvene for wassail Feb. 28 to admit Gail Borden and other new babies . . . Your Riq is to be Queen Elizabeth for the occasion, a quaint Old Elizabethan Custom . . . THE CHICAGOAN 23 HOW DO YOU LIKE CHICAGO? The Town's Official Guests Answer the Inevitable Query NOTE: This is, as you must have guessed, another of those Chicagoan symposiums. In it the Town's official guests make patient reply to the question that dominates their social life, punctuates every chance introduction, and no doubt haunts their dreams. If this presen tation of their collected impressions serves to reduce ever so slightly the mean annual exposure to this query, whilst affording the civic-minded reader an unique closeup of world sentiment toward Chicago, we shall feel we've done our bit for universal peace. — Ed. By GODFREY HAGGARD British Consulate General I regard Chicago as the one city which advertises America. Europeans do not think of other cities in America as often as they do of Chicago. The potentialities of the city are very great. Chicago is, in a sense, the vortex of all America. By CHAKLES FONTNOUVELLE Consulate General of France Eh bien, je suis ici depuis cinq annees! By DR. KOLIANG YIH Consul General for China I was here twenty-five years ago. There was no outer drive in those days. Michigan Avenue was lined with small office buildings. There was little of the present grandeur of the city. The increase in population dur ing the last ten years points directly to the very obvious desirability of the city as a place to live. The summers and winters are en durable. I like that. They are not nearly so bad as they are said to be. I think the next two years will reveal to all the extraordinary possibilities of the city of Chicago. I am highly interested in the Gulf Waterway. It means an increase in international trade. Chicago needs this. It provides a form of inexpen sive transportation. It will be a draw ing card for the world tourist trade, which will of course include China and the East. It will be a unique experience to travel two thousand in land miles by water, from New Orleans to Lake Michigan! By GEORGES SIKVEN Consul Suppleant Au Consulate de France The tall buildings amaze me. They belong to the near at hand city of the future. Here from my office I look down upon the black crowded surface of Michigan Avenue. There is a fine sense of space in this broad way. It means there is human activity on the large scale. It means that the engi neers of the city are providing for the increased greatness of the future Chicago. Chicago's front view is splendid. It is stupendous as a sight. It is like an abstract architectural rendering of a visionary city and strangely enough it is real ... I like the people. They are not oppressed with formality, like Europeans. There is freedom and case here. By MALCOLM HENDERSON British Vice-consul My most violent impression of Chi cago was when I first arrived on the Century. The train passed through a shabby district which had all the ap pearances of wartime Ypres. The sense of space in Chicago is impressive. One does not feel that the buildings are tumbling down upon one's head. I sleep better here. There is a meas ure of urban tranquillity which makes this possible. By ANTANAS KALVAITIS Consul of Lithuania To me, living in America is a dif ferent life than in Europe. All of this is a new culture. My first impressions of Chicago were very bad. Very! The train which brought me here came through shabby old streets which looked like pure desolation, but later I saw the city at night, from the outer drive, and I changed my ideas. Mich igan Avenue is the most beautiful street in the world. I thought that Americans only cared for business, and the dollar, but I was taken to the Field Museum. I have visited it every Sunday. It teaches one a great deal. Even in the El Prado in Madrid there are not such rich collec tions, nor in the Louvre in Paris. And the amazing part of it all is that they are free . . . the Field Museum and the Aquarium and the Planetarium and the parks. In Europe one would have to pay every time one wanted to attend. In the parks one may lie on the grass and look at the sky and be warm in the sunlight without having a ferocious official come and tell one to get away. The formalities of Euro pean city life forbid this simple pleasure. By JAROSLAV SMETANKA Czechoslovak Consul I like the boulevards of Chicago. I like the "new freedom" which this great city offers to my people. Also, I am glad that so many of them, the Czechoslovaks and Bohemians, have found their homes here. I miss hills around Chicago. You see, I love the mountains. But this flatness of Chicago simply means that there is space to grow in, space to build an even greater city. We are proud to be here. It is no small matter, leaving one's own coun try where one grew from childhood to [turn to page 40] 24 TWECWICAGOAN THE STAGE Her Royal Duskiness — Ethel the First TO assume that the Divine Right of Queens carries the prerogative of boring her subjects to death is dangerously reactionary in these icono clastic days. Ethel the First has reigned a long time, and it has been a beneficent reign. But about one more royal edict that we sit through anything as dull as Scarlet Sister Mary at the Harris, and there is likely to be a revolution. The monarchistic idea is based on the premise that the sovereign amuse and entertain the populace. Look at the Prince of Wales and King Alphonso — grand actors and very popular with their audiences. Once they become stupid and pompous, their thrones totter. Consider Wilhelm II. He is playing to empty benches. A lot of critical wisdom has been exuded on the question of why Miss Barrymore thought this undramatic genre play of life among the Gullah negroes would attract audiences who have seen Porgy and The Green Pastures. Let me hazard my guess. She wants to prove that a good actor can play any part, regardless of per sonal adaptability. For instance, Hope Emerson, the Spartan Queen in Lysistrata, could play little Eva if she were sufficiently the artist. Roscoe Arbuckle might don the habiliments of Hamlet, given the spark of his trionic genius. Or Clifton Webb perchance portray the Sea Wolf. As not one in a hundred of any given audience knows the difference between a Gullah negro and a Grand Boulevard negro, who can say that Miss Barrymore is not a perfect Gullah? For all we know, Gullah negresses may look exactly like Ethel Barrymore and talk just as indistinctly as Estelle Winwood. That the drama failed to hold our two most prominent art-patrons in their seats for longer than two acts can not be blamed on one superb actor. I refer to Master Albert Ridge, the best behaved stage-infant who ever stuck a dark toe in his mouth. Gullah or not, this little pick aninny made all the chocolate-sundae Broadwayites look like Chicago's So cial Register dressed up for the By WILLIAM C. BOYDEN Twelfth Night Ball. Ethel Barrymore has been a star too long not to know the danger of having another great actor in the cast. It is a mistake to let the two year old Ridge lad run away with the play. Be it lese-majestc, contempt of court, regicide, Bolshevism, high treason or bad manners, I am compelled to raise the sans-culotte cry that Scarlet Sister Mary will not do. "Bailiff's Bounty THE gentlemen who serve the writs out of our County Building are rarely graduates of Harvard or Yale. In the main they are plain, blunt men who love their friends — a friend being any one with five dollars concealed in outstretched palm. But England is an older civilization. There a Man in Possession may turn out to resemble Leslie Banks, to have a Cam bridge degree in his jeans and to be very competent to perform light household duties. This gentleman- down-on-his-luck theme has given us several boat loads of very smooth British farce. By no means the least entertaining is the Dramatic League's second opening of the week at the Selwyn theatre. By similar comparison, we have not yet achieved a class of women im mortalized by Lonsdale, Coward, Arlen and others — the clever, fringey butterflies living, and charmingly, in the no-man's land between society and "seduced circumstances." Our demi-s are too apt to be also condemned. The English take a more tolerant atti tude towards such a lovely and per suasive creature as Isabel Jeans makes of the widow who is saddled with a handsome bum-bailiff at a moment when she is entertaining a stuffy fiance and his stuffier family. Enough of the plot to know that the writ- server serves as butler and otherwise, and the fiance turns out to be his brother. A frivolous trifle, The Man in Possession, considerably padded but easy and ingratiating — a cool bit of fresh air after the sultry clouds of Gullahs next. door. Miss Jeans and Monsieur Banks handle a good deal of witty dialogue with that worldliness which makes British thespians so much in demand over here. Banks plays the facile knave in a key far removed from the dour somberness of his Scotchman in The Infinite Shoehlac\. His charm jauntily carries several scenes of such light texture that an unwieldly touch would push them off into utter noth ingness. The lady, a newcomer to the local boards, is a luscious individual, suavely insouciant and warmly appeal ing. The rest of the cast afford a perfectly balanced background for the featured pair. That overly wise magazine, Time, once remarked that the Messrs. Shu- bert "know their grosseries." A welt turned phrase, but a superficial com mentary in light of the series of adult and intelligent dramas these abused producers have given us this season. Of its kind —light, polished comedy — The Man in Possession deserves its place in the well ordered ranks under the banner of The Dramatic League. To speak bluntly, the Shuberts have out-highbrowed the dilatory Guild and on this year's showing seem likely to take some of the subscription play away from their rarified rival. Xylophones and Xylphes THE guy who says there is noth ing in revues has not seen Will Mahoney tap dance Sousa Marches on a xylophone in Earl Carroll's Sketch Boo\, following Ed Wynn at the Grand. There is an act. We hear a lot about "stopping the show," especially from actors in autobio graphical mood, but the phenomenon in its literal sense rarely happens. This time it docs. After Mahoney's nimble tcx>tsies have made the musical wood positively sing, the next sketch is lost in an uproar. And that is not all this Cohancsquc Irishman does. He sings I Cant Give Ton Anything But Love in Scotch (language, not liquid), imitates Winchell, brightens a lot of skits and taps better than any white man I know. A. goodly share of the Couthoui extortion is repaid in his work. The xylphes are easily up to the standard which has made Maestro TI4E CHICAGOAN 25 Carroll famous from Broadway to Atlanta. These well upholstered gals offer all the favors for the men (apologies to P. Arno) that the boys , deserve for five dollars. But by com parison with other recent peep-shows, the nudities are tasteful and restrained. They might not care for the skits at the Woman's Club in Evanston, but Clark Street will find them goad. Mr. Mahoney, William Demarest, a cute minx named Gracie Worth and The Three Sailors fade out in most of the black-outs. Their direct and hard hitting methods give the vulgarity a bath of laughter. Which brings us to A Morning at the Cranes, as wet a sketch as has ever flooded a stage. Why not? Its locale is a bath-tub and more fun than most of us have had in such a place since mother ap plied the castile soap and Mennen's talc. Messrs. Robson, Blue and Jason, the aforesaid three gobs, register by their unexpected moves in gymnastics and hoofing. They rate next to Mr. Ma honey in the final score. A lot of connoisseurs found Dorothy Carroll very easy to observe. Her take-off on negro spirituals, Crashing the Golden Gates, is an excellent production num ber. Grace Du Faye does some mar velously balanced contortionism. Limb- twisting usually makes me feel queasy, but this girl is different. By and large, The S\etch Boo\ is the best revue of the season. Boola Boola IN those dear dead days beyond recall, when Woodrow Wilson was still keeping us out of war, Donald Ogden Stewart was the parlour riot at Yale fraternity dances and even Vassar proms. His impromptu ban ters and topical burlesques used to convulse girls who are now mothers of three. He made a literary killing out of the same material, while his more sombre college mate, Phillip Barry, was using much of his kidding for dra matic purposes. Now Stewart has himself turned to the stage and gives us more of the persiflage concealing aching hearts. The Goodman has dis played the old Yale spirit and offered benighted Harvard men and others in terested a chance to become well acquainted with the home life of the Eli. Last year it was Holiday (a good play in spite of its excessive whim sicality) : this season Hotel Universe (psycho-analysis plus some of the old jollity) and now Rebound. Mr. Stewart is not so expert a dramatist as Mr. Barry. One is con scious of the wheels going around. His ideas arc more conventional and made to order. But he tosses off Yale and Williams, weddings at St. Timo thy's, scrambled eggs after the dance at the country club, week-ends on Long Island and all the other high tonery of the nicest people with the same nonchalance. The trouble is that there is little of basic interest in the problem which underlies the banter- -just the stale question of be haviorism among young marrieds and a solution which makes no great con tribution to the mooted subject. One scene, however, packs a sin- ^^-^""" cere wallop. Ellen Root and Carl Kroenke, as daughter and father, valiantly chatter on indifferent sub jects while waiting for the young husband who, both know, is detained for no good purpose. There is tense ness here. Miss Root has the power to suggest poignant feeling under the cloak of mirth. She is consistently honest and sympathetic throughout the play. I can not recall ever seeing Kroenke do better work. He brings the character of the father over to us as a distinct personality — -and one you would be glad to know. The two leading men's roles are not well taken. William Brenton seems to lack the maturity. He is too much the little boy. Earl McDonald plays without finish as the errant husband. Rebound does not quite click. 26 TI4ECUICAG0AN <bow geraniums Gffid hmp orchids Geranium Cream is Madame Nina's con tribution toward holding the line for last year's blossom against this year's bud — but even the wise little deb who is no clock watcher after midnight thinks an ounce of prevention worth a ton of cure. When going to bed, she dips a slim finger in the fat glass jar and rubs contents across the map of Chicago in the mirror, paying particular attention to the bright lights that so easily run to dark circles on the morning after. Incipient crosstown lines are refused police protection. General traffic conditions are improved. And the entire Loop gets a gentle bleach all over. In the morning, she uses the same specific as a foundation for make-up that looks more natural than little sister's first blush. Rouge — if she follows the revived vogue for it — can never be mistaken for a stop signal. Powder doesn't skid. And the first aid work begun for the entire facial countryside goes on all day. Geranium Cream costs three-fifty. A jar lasts 6 months — unless said user marries a man of judgment who knows that what's gloss for the goose will also gild the gander. Madame Nina's whole five preparations, the modern arsenal — Geranium Cream, White Rose Cleansing Cream, Rouge, Pow der and your choice of Tonic Lotion (for young s\insj or Astringent Lotion (for s\ins that have slipped a bit) — in a smart red box — fifteen dollars. YOUR PET CHICAGO DEPARTMENT STORE \eeps Nina Geranium Cream and other Nina Prepara tions. Tou may also order direct from Produits Jiina, Inc., 580 Fifth Ave., Hew York- If you want advice about complexion problems, £>age Miss Trivia fester, with a 2-ccnt stamp at the same address. Vn.TTl.CL J CINEMA The Markey Manner By WILLIAM R. WEAVER SOMEHOW, and justly withal, any piece written about a motion pic ture written by Gene Markey turns out to be a piece about Gene Markey and the Markey manner. The Markey manner is a definite, subtly construc tive and indubitably powerful influ ence in Hollywood. Each picture in which he unleashes the forces of his ineffably casual typewriter is followed by a sequence of pictures in which lesser artisans attempt to duplicate his style, his dialogue devices, even the debonair demeanor of his mimes. If their success be ever so slight, as it usually is, the Markey example is no less the kind of thing required by the splendid spenders who finance the films of a Hooverized civilization if they are to accomplish anything that will be remembered the day after tomorrow. What I'm getting at is that Inspiration as dialogued by Gene Markey (with or without Greta Garbo) is an im mensely more entertaining Sappho than the one Alphonse Daudet wrote between book covers. I say this without slandering Miss Garbo, who is as good in the role as Clara Kimball Young or any of the silent ladies who portrayed it under its own billing, and without unkind- ness toward Robert Montgomery, Lewis Stone and a lot of other good actors who utter the lines Gene gave them. I give whole credit to Mr. Markey because it is his dialogue that succeeds in so completely modernising the story that almost no one identifies it until told and no one, being in formed, resents the modernisation. You should see Inspiration of course. Pay no attention to misleading local billing, nor to the vast patronage that so often indicates mediocrity, but get in at the start and enjoy the excellent four-fifths that precedes an unavoid able lapse into lachrymal melodramatics for sake of commerce ... it isn't a fatal lapse at that. THE fortnight's second picture of note, and a quite different kind of note, is The Blue Angel. This is the one that you'll hear about most often when Marlene Dietrich is men tioned. It is supposed to feature Emil Jannings, who portrays in it the char acter disintegration he portrayed in Variety, in The Sins of the Fathers and in other pictures, but actually in vites attention to no one or nothing save Miss Dietrich and principally to that portion of Miss Dietrich separat ing stocking and waist lines. All the cunning of German photography is brought into play on this subject mat ter and who am I to say whether this be art? In matters of this kind I bow to the taste of the individual, recording only the inexpert opinion that if you care for anatomy studies Miss Dietrich's anatomy is much less clinical than most. Lowell Sherman is both star and director of the third picture, which is The Royal Bed and was The Queen's Husband before being retitled for no reason I can fathom. By either title it is a grand play, grandly played by Mr. Sherman, Mary Astor, Nance O'Neill and a splendid cast. There is no bed in it, of course, but there is a great deal of pleasant amusement. Jack Oakie's The Gang Buster is next in my list of nine, placed above Illicit merely because it's time we talked of something comic. Oakie's gawky humor is better applied than in any picture I recall and that makes it pretty good pastime. If you don't feel equal to quite that much merriment, see Illicit instead, wherein. Barbara Stanwyck and James Rcnnie are better than g(X)d at highly sophisticated com edy drama in the better sense. Neither have done so well in anything for the camera. THE remaining four are nothing about which to write friends in the provinces. Resurrection is a care ful observance of Tolstoy with John Boles not so good and Lupe Velez bet ter than expected, establishing a level that is high enough if you care to see still another Resurrection. Nothing is particularly wrong with Oh For a Man, either, although Jeanette Mac- Donald and Reginald Denny are capable of more worthwhile things, certainly more faithful titles. Time spent on either of these pictures is neither wasted nor especially well invested. The Bat Whispers is of course The Bat, worth seeing if you've missed all the earlier presentations, which seems incredible. And Ex-Flame is the prize error of 1931 to February 1, a modern ization, an adaptation and an amaz ingly ludicrous desecration of poor old East Lynne. If you insist on going, don't blame me. TI4E CHICAGOAN 27 TheG 1 1 Ivj VJ b e vjreenoner and Cottages White Sulphur Springs, W.Va. y?e~opensMarch Second Greatly (jtilarged America s fyeyiiierJIiyearffesort^ i. t I (n»> hi in* -^-- • «¦••¦»*- «.-in«j iM»dl*iii?*S ji i . .iufuniiiMMiaif inm »riili . ! d ;. -X Since r/Y(> 3 Golf Courses — 45 Holes; Stables of Thoroughbred Horses; 250 Miles of Bridle Trails; 5 Championship Tennis Courts; 7200- Acre Alleghany Park. On Main Line of Chesapeake 6? Ohio Railway. Through Pullman Sleepers Leave Chicago 1 p. m. Daily, Arrive White Sulphur 7:33 a. m. The Greenbrier Is Fireproof Throughout Attractive Literature on Request L.R.JOHNSTON QeneyalManager TI4E CHICAGOAN MUSIC Remains the Fashion Between zipping steel and soft whispered nothings, came sweet strains from the energetic brass band playing the Blue Danube to help you forget nipped noses ea iy MUSIC Northern Lights — Stock Keturns-^ Sanson's Slingshot A Quartet from Budapest By KOBERT POLL A K A COUPLE of Tuesdays ago Henri Verbrugghen, looking as much as ever like a composite picture of Menjou and the Kaiser, brought his Minneapolis Symphony Orchestra into town for its regular annual concert. The customers sat down to a robust program which Verbrugghen con ducted with his usual dash and large effectiveness. He opened with his own arrangement of the C sharp minor Prelude and Fugue from The Well Tempered Clavichord and a sturdy version it was, with the horns laid on thick, perhaps a little too thick. But if you believe in arrang ing Bach for modern orchestra why quibble about the technique applied? It seems to me that conductors like Stokowski and Verbrugghen who are not afraid to lay tasteful hands on the Master of Leipsic, are doing more good than harm. It is largely through them that the gentleman in the street no longer shuns Bach as something too esoteric for his understanding. Only music critics are afraid of fugues any more. Verbrugghen followed with the Reger Variations and' Fugue on a Theme by Mozart, that tender, simple little theme, that gets itself turned and twisted by a master of orchestration and emerges (chorale in the brass) during the final moments of the piece, transformed into something huge and majestic. The first half closed with part of Prokofieff's Suite from The Love for Three Oranges. From these excerpts the conductor extracted every drop of juice. He projected the Russian's bit ing wit through the medium of the band and found much joy in the final burlesque march. Verbrugghen finished with the Brahms D major, a masterpiece which brought out some of the maestro's most patent deficiencies. He gives you no large canvas here, no mellow portrait, as our Stock does. The epi sodes of the symphony seem set apart, one from the other. His loud and his soft was soft with little between; and he barged brutally into the mag nificent closing; pases as if he were leading the 1812 Overture. Never theless so much sound and fury could only lead to an ovation. The visitor made a little speech in behalf of his orchestra, a much improved one by the way, and the clients, contented with a splendid program and some big moments, went home. BY the Friday and Saturday pair of January 23 and 24 Mr. Stock had returned from his regular vaca tion. The symphony was Bruckner's Ninth (the Unfinished), a work he pulls out into the light almost every year and examines with loving care. It is music singularly appropriate to Stock's gifts. He revels in the stately periods of the opening movement; has at the scherzo, that section alter nately peasant and sylph, with dash and firmness; and roams in leisurely fashion through the Wagnerian twi light of the adagio. It is in music of this type that he approaches greatness as a conductor. After the lobby powwow Josef Hofmann played the first Chopin piano concerto. As I may have here tofore remarked I can never really understand this marvellous pianist's lack of curiosity. For almost a quar ter of a century, while he has matured steadily as an interpreter, he has per sisted, just as steadily, in sticking to the worst pot-boilers in the repertoire. He is, in every sense, a modern vir tuoso. No long hair, no keyboard monkey business, no false sentiment, a glittering technique and a consummate intelligence. Why then is he so in curably old-fashioned as a musician? Is it because he long ago became weary over the fact that there were no more pianistic worlds to conquer? Does this lassitude arise from a hideous boredom and is he as tired of such music as we are? Or is his modern approach to the keyboard coupled with a desire to live only with the standard works he has played over and over again? The singular charm of a Gieseking lies in his eclecticism; but Hofmann must bring the talents of a demi-god to the first Chopin Concerto. THE opera season closed as Mr. Stinson threw a large rock at Samuel Insull. The new critic of the K[ews helped end the season by play- "STYLE YOUR FACE TWE CHICAGOAN ing David with a formidable Goliath. Stinson has had lots of fun sowing his critical wild oats for the benefit of the largest audience in his career. Is it any wonder, then, that he has been occasionally inconsistent and, like your own correspondent, quite irritating at times. I, for one, would get more excited about his indictment of the Opera if he hadn't shouted so lustily for Camille all season, and if he hadn't been so condescending about one of the most brilliant German wings in the world. I have a hunch that the opera management is as fed up with Camille and its sponsors as gentlemen of busi ness and the arts can very well be. And I believe they think, and they arc right, that, in their productions of The Mastersingers and The Bartered Bride, they have earned the highest, most spontaneous praise. SUNDAY, January 25, the Buda pest String Quartet played Ravel, Schubert and Smetana to a large and vociferous house, proving again that this is a season for quartets as well as for Wigmans. The Hungarian foursome executes the most difficult passages with an aplomb born of long intimacies (with music and each other). Possibly they are not as characteristically electric and vivacious as some organizations we have learned to know. They proceed gently but firmly as if they had spent many thou sand evenings playing together for their own pleasure and amusement. Noticeable, but never too noticeable, was the divine viola of M. Stephan Ipolyi. A COMING event which casts an interesting shadow. Three stage works to be given under the auspices of the local chapter of The Interna tional Society for Contemporary Music. The Sunday afternoon of February 8 and the Monday evening following. The works: Louis Gruen- berg's Creation, Stravinski's L'Histoire du Soldat and Falla's Master Peter's Puppet Show. Ruth Page and Jacques Carrier will appear in the Stravinski. The chamber orchestra will be drawn from the ranks of the Symphony and Rudolph Ganz will direct. RECITAL You seldom see a flatform Upon a concert platform. — D. c. P. • "A pretty face is not nearly enough. Even a clear skin and bright eyes gain extra distinction if they are treated to harmonize with the prevailing mode. • "We are so careful about our acces sories. Our gloves and hand bags must be just the right shade to set off our costumes to best advantage, and yet our poor faces may still be wearing their 1928 color schemes! It is time we styled them too. • "Take the matter of becoming shades . . . you probably have two or three fa vorites you feel you must stick to, what ever the fashion. Such limitations are unnecessary . . . and uninteresting, es pecially in a season when unusual colors are in vogue. • "Don't be dismayed. By skilful varia tions in your make-up you can come to delightfully friendly terms with all the new blues and greens and soft spring like beige and gray tones. You may even find that you like your new self better than the familiar self that has weathered a dozen years in brown, and navy blue and rose. • "Just now we are hearing that rich blues will be in favor this spring . . . and gray . . . and beige. Blue is kind to the majority of skins, but it has a natural tendency to bring out blue shadows . . . under the eyes, around the mouth. The correct rouge and powder will offset this, and you must select your lipstick with special cunning. •> "Gray and beige drain the face of color, and must be combatted by a make up which givesa certain delicate liveliness to the skin. Eye make-up is particularly 29 important with these dove-like shades. • "The day when one rouge and one lipstick were enough is gone. Every wo man should have at least three tones of rouge and four or five assorted lipsticks to assure successful make-up with every costume. • "The off-the-face hats this season have taught us the importance of eye values. A smooth brow and interesting eyes have been essential and care and make-up have made them possible. • "Then, too, the evening dress that has slipped farther and farther down the back has brought about an acute situa tion. Spines must not be too evident, shoulder blades must be well covered, skin must be satiny. Unless you are gifted by nature with exceptional shoulders, please, please do not wear the backless evening frocks without doing something about it! Exercise .. lessons in posture . . . plenty of rich cream and a good evening make-up are for you. • "And elbows! Beware! There is to be an open season on elbows and you must be prepared. Not only on the beach and under the kindly shaded lights of evening, but right out on the street, in daytime cos tumes, elbows are to be exposed. You may not have a dimpled elbow, but see to it that you have a smooth, white one. • "Remember that the basis of all beauty is harmony and that you reach perfec tion only when every part of you fits into the picture!" In Miss Arden's Salon, you may acquaint your self with the latest make-up information. An ex pert analysis of your own skin coloring is part of every treatment. To reserve the hour you pre fer, please telephone Superior 6952. ELIZABETH ARDEN Chicago: 70 East Walton Place NEW YORK • PARIS • LONDON • BERLIN • ROME • MADRID © Elizabeth Arden, 1931 30 TMECUICAGOAN BOOKS Treasure Hunt Murder By SUSAN WILBUR THERE is said to be a local pedia trician who is what he is because an elderly relative advised him to be gin at the bottom of the ladder. In literature, though, just where is the bottom of the ladder? Percy Lubbock, the disciple of Henry James, began by writing a book that was pure back ground. Then came one with a trace of character. Then one with a trace of plot. But maybe the pediatric way is really the thing. Provided you don't get stuck. And apparently Dorothy Aldis isn't going to. From' successful juvenile poetry and prose she has now stepped up to a mildly adult book which bears equally the earmarks of being a success in its own genre. Murder in a Haystac\ does, however, make one wonder if Mrs. Aldis might not have trusted herself to skip a rung. It is a good mystery. The background is novel: a suburban treasure hunt. The atmosphere is right. The possible perpetrators are cleverly eliminated, with guilt finally resting where you least expected it to, ¦ — in spite of that clue in the first chapter. But at the same time you can't help feeling that it's a case of set ting and psychological material as good or better than The Crystal Icicle being wasted on a mere mystery. Incidentally, I heard the other eve ning — as no doubt you did too at 745 on 670 — that several persons out in a remote suburb are thinking that they recognize themselves. Opie Read Remembers LIKE Hamlin Garland's Roadside mt Meetings, Opie Read's I Remem ber is, as Chicagoana, a disappoint ment. The books are alike in other ways as well. Both authors had lunch with Theodore Roosevelt and recall every word of it. And with William Dean Howells: except that Mr. Read remembers what Howells said as well as what he said himself. Being a dis- 'Something hot, please, Bcntly. It's for an expedition.'' appointment, however, Mr. Read's book is more of a disappointment than Mr. Garland's. For while the one went in chiefly for the polite side of literature and art, the other played a part in events that have become legend. Mr. Read was already hanging out at the Press Club back in the '80's, the days of glamorous Frank Wilkie, and continued there in World's Fair times, when Grover Cleveland had a way of dropping in and perchance surprising an Egyptian ballet in action. In other words he knew it when it was still a club that newspapermen be longed to. He was a member also of the Whitechapel Club, present at the cremation, and on that evening when, by arrangement, the police patrol drove up, to the confusion of Chauncey Depew and his fellow guest, a New York editor. And though presumably not a member of that third so-called organization of those days, can at least speak of the Everleigh Club as though able to visualize the front parlor. Things of this sort are, however, always getting overshadowed by presi dents — of the Press Club and other wise. President Taft taught him golf. He chautaquaed with Harding pre- presidentially. And he might have known still another occupant of the White House if Bryan had ever been elected. Though he has known plenty of literary men too: Edgar Lee Masters for instance in the days when he was partner to Clarence Darrow and not yet author of Spoon River. Yes, Opie Read ought certainly to have kept a dairy. Or a Boswell. That's the Hecht of It UP to date, Ben Hecht has pro duced only two works that have been real units from the art point of view. Namely The Front Page where he had a collaborator. And Fantazius Mallaire where he had an ulterior motive. However there are those who regard the Thousand and One After' noons in Chicago as his high water mark. Here no question of unity arises. Nor is Mr. Hecht compelled to draw upon the circle of his more intimate friends for characters. His present novel, A Jew in Love, is the anatomy of fantastic love agonies in flicted and suffered by a given New York publisher. Personally I had re membered that particular publisher as better looking than Mr. Hecht's de scription. However, this may be be cause I did not offer him a radical manuscript at a moment when he was TUQCMICAGOAN 31 not in the mood for radical manu scripts. <LM~axwellys 'Brays IT had been my intention to review alongside Mr. Hecht's book a new one by a collaborator from his Chicago period, Maxwell Bodenheim. Re puted donor of the chief character in Count Bruga. Llewellyn Jones assures me however that the only proper juxtaposition in which to review ?^a\ed on Roller S\ates is with Maurice Dekobra's Venus on Wheels. Which, unfortunately, I haven't re;id. Separately, then, Mr. Bodenheim's is a quick-paced story written staccato in an argot which is only partly cleared up by the glossary of Harlem words at the back. Zola didn't know as much about all Paris as Maxwell crams into these 277 pages about the under world of little old New York as seen by two young people who set out to investigate it, cost what may. Qrand Hotel: the cBook THERE were those who complained of Arnold Bennett's Imperial Palace that it concentrated too much on the personnel. In other words that it gave an elaborate idea of the over head without making equally plain the business that was covering it. Now arrives Vicki Baum's Grand Hotel to show what you can fall into when you take a hotel guest side up. Grusin- skaya, the Russian dancer, is staying there. At the outset she is still wear ing the pearls a Russian grand duke gave her. The hall porter thinks that her next door neighbor Baron Gaigern is too light hearted to be quite honest. The room clerk, himself a baron, as sures him however that Gaigern was at school with his brother. And Gaigern does indeed take burglary as more or less a form of outdoor sport. On the same corridor dwell Preysing, head of a provincial cloth works — in Berlin on ticklish business — and Kringelein, once a junior clerk in his works, but now, having only a week to live, determined to spend that week, and his savings, seeing life. Without Dr. Otternschlag, however, Kringe lein might never have got that room, or any room, at the Grand: to the management his clothes, his suitcase, and his accent were all wrong. Among these guests — with the help of a pretty stenographer brought in by Preysing — a much livelier plot works itself up than would ever have been permitted to get that far at the Imperial Palace. W, HATEVER the occasion White Rock is always a welcome addition. Its sparkle and bubbling vigor make good times a certainty. Guarantee the success of your party with White Rock . . . For ginger ale— you can best please your guests with White Rock Ginger Ale— the only ginger ale made with White Rock. ^Irii iWliiMj JVliiwa! Wafer 32 TUE CHICAGOAN si mne 8500 ^RAIL and Jti WATER ROUND TRIP IN ONLY THREE LEISURELY WEEKS TO OR FROM CALIFORNIA THRU PANAMA CANAL VIA HAVANA Enjoy the trip of a lifetime— an 8500 mile circle tour starting at Chicago and ending there .... with a coast-to-coast trip by a pa latial electric liner, and home across the continent by rail — choice of routes. Thousands call this Panama Pacific journey Around and Across America the grandest they have ever taken. The sea voyage begins at New York or San Francisco and offers you 5500 miles of ocean sailing on a steamer more than 33,000 tons in size. You sighlsee in Havana and the Canal Zone— pass through the Panama Canal — visit San Diego, Los Angeles, and San Francisco. Stop-overs perm itted en route on trans-continental rail journeys, to and from Chicago. The round trip by rail and water. home town back to home town again, can be made in as few as three weeks, at rates that are sur prisingly moderate. Ask for booklet — "Tours Around and Across America" — with list of suggested itineraries. Or applv for full information to authorize)! steamship or railroad agents. 180 No. Michigan Ave, Chicago, III. a noma pacific UC SZTZE JSZM EZR1S INTERNATIONAL MERCANTILE MARCH OF THE HOURS The Radio Guild Offers Plays By ALION HARTLEY POST-HASTE, the other day, ar rived a dispatch from the press Relations Department of the National Broadcasting Company, nor is this mere bragging. It related, journal istically, the fact of establishment of what is known as the "Radio Guild, " a series of plays to be presented on Friday afternoons over the network. The plays were chosen (and this in all seriousness) from a list of readings compiled by secondary schools and col leges. The purpose was purely educa tional, aside from the entertainment value, and it was hoped that the series would attract as much attention as did the Music Appreciation programs, which drew an estimated 5,000,000 listeners, the largest and most tractable audience, no doubt, that Papa Dam- rosch ever had. The natural thing for your assid uous critic to do, of course, was to rush to his set, tune in the Chicago outlet for the Guild plays (it hap pens to be KYW), and to sit there stoically from one Friday to the next awaiting the broadcasts. This he did, with the result that he heard The Green Goddess and The Melting Pot, but missed The Doll's House, which was presented surreptitiously while he was out to lunch. Consequently The Doll's House doesn't figure in these calculations, and having once per petrated some sort of thesis on "The Influence of Ibsen on English drama," I need not bring out too strongly that here is an omission I shall enjoy. The Green Goddess was produced without George Arliss, but with some one who did a rather . good piece of work understudying him. And if you didn't mind the fact that he made no attempt to change Arliss's interpreta tion of the lines, you found him the most satisfying member of the cast. All the male parts, indeed, were filled quite well, and I only wish (so as to make a break in my own prejudices against women's voices on Radio) that as much could be said for the lone woman's part. But it can't be done. The scene in which the woman pleads distraughtly with the Rajah for her life and those of her companions gave you the kind of nervousness you get when your best friend is playing in an amateur theatrical, and is on the verge of forgetting his lines. Unfortunately, I have forgotten the names in the cast, so that if this woman turns out to be Katherine Cornell, or another of that calibre, I shall receive a nasty letter telling me this and that. To him who would write it, I say, the crack still goes. i AS Radio drama goes, however, i when it does, The Green Goddess was exceptionally good. The Melting Pot dropped a trifle from the standard. Nowhere did it have the sophistication and persuasiveness of The Green Goddess. One could feel, too often, that the lines were being read; they went not at all trippingly off the tongue. Then there was what was intended to be the East Side ac cent of the immigrant uncle, an item I feel qualified to criticise because of a recent dose of Mendel, Inc. The gentleman who played the part had apparently not rehearsed the dialect sufficiently, and it had an irritatingly artificial quality. Another considera tion, however, is the one that this play must be treated gently, so as to avoid racial offensiveness. This may excuse the uncle, or, for that matter, the whole production, which was very delicately handled. Mechanically, too, The Melting Pot was inferior to The Green Goddess. The sound effects in the latter play were excellent. During the hectic scene when the three plane-wrecked Britishers signal for aid, the click of the wireless key, the continuous buw ing of the electricity, the Rajah's per emptory knocking at the door, and the clamor of the people outside, were car ried out to perfection. It feels rather silly to sit alone before your set and get excited, but there was no helping it then. Little realistic touches here and there, like the sound of aero planes hovering overhead and the slamming of a door, enhanced the effectiveness. In The Melting Pot one noticed, first of all, an unhappy telescoping of the scenes. Whenever there was a radical change in time or place in TI4E CHICAGOAN 33 A few of our regular guests having left for their winter homes in Florida and Califor nia, have authorized us to sub let their apartments. We are able to offer a very interesting arrangement on a few choice apartments, of two and three rooms. Our spacious and elegantly fur nished apartments, along with our desirable location, makes the Park Lane an excellent choice for your winter home. Ownership Management Direction of Frederic C. Skillman Sheridan Road at Surf Street '"Bittersweet 3800 either play, the announcer let you know, and the orchestra filled in. The scenes of The Melting Pot occasion ally fused into one another indistinct ly. So far as the sound effects were concerned, Zangwill's play furnishes less opportunity for their use than The Green Goddess; the bustle of traffic and the soughing of the wind were the most exciting things you heard. Nevertheless the formation of the Radio Guild is auspicious. It is dis encumbered of the necessity for "pop ular appeal" because it is a sustaining program, and no advertiser is at hand with something to sell. It can produce what plays it pleases, and should they prove "popular" in the advertiser's sense, it is only natural that we can expect a better brand of Radio drama even on commercial programs. The ultimate result may be that Radio will foster a new group of artists who will write for Radio alone, in the same artistic idiom that is used on the stage, and with the same sense that they are creating something distinctly worth while. A final observation on the work of the Guild: listening to their plays is quite like reading a book. One forms his own image of the characters. There is a certain satisfaction in doing so, another reason for listening in on Friday afternoons. Literary Critic ALEXANDER WOOLLCOTT, lit- l erary critic and adviser to newly- hatched college boys, is now a mem ber of the illustrious family of those who call themselves "Radio artists." So is James Weber Linn, for all that, but Mr. Woollcott performs on a na tion-wide hook-up. Radio, apparently, is going in for culture; at any rate, heaven knows it needed the dignity that a gentleman whose work appears amidst the decor of the l^[ew Yor\ Times literary pages can give it. Let me say blankly, and so be done with it, that I don't care for Mr. Woollcott's voice. It is gruff and muf fled, and if it weren't for what he says, and the way he says it, his lis teners might be few and far between. As it is, however, he may be on his way toward forming a kind of John sonian circle on a grand scale, gather ing every Tuesday evening to absorb the effulgent wisdom of his words. over WMAQ at six forty-five. Nerves and handkerchiefs T/f7^^ TRY, in our hostelry, ' ' to keep your nerves and handkerchiefs from fraying. We believe our rooms have an at mosphere of quiet restfulness, so that even in the busy center — 45th Street — of this busy city — New York — your nerves may be soothed and relaxed at the end of the day. And we launder your handkerchiefs carefully by hand, and try to return them to you not ragged and frayed at the edges. Conveniently located as we are, delicious as our meals may be, efficient as we consider our service to be — still, without our constant attention to little extra courtesies such as these, we could not pos sibly justify the loyalty which our friends continue to show us. Won't you come and visit us? The ROOSEVELT MADISON AVENUE AT 45TH STREET Edward Clinton Fogg, Managing Director 0$3j|gD 34 TWECMICAGOAN ¦ST.I9UIS jrinqe of the theatre, shoppinq and business districts, uet in a distinctly residential neiqlv borhood. l]ou will find the Coronado a place for a daq, a week or a month. Moderate Tariff. Four restaurants. Coffee Qrlll. Itlammq Shop. ISHAM JOllES and his Band. GSfeHoteL )ronado SAINT LOUIS. MISSOURI For thirty years the gathering place of particular folk. The noted center of German cook ery and good cheer. WA &eb &tar Jnn C. Gallauer, Proprietor 1528 N. Clark Street Delaware 0440-3942 The Result of "Yes" and "No" . . . Our patrons have voted and thus decided the question whether the Cinema Art Theatre shall re main the house of shadow silence, or include in its program of cinema classics the outstanding master pieces of sound and talking motion pictures. The votes on the side of "Yes" as well as on the side of "No" were well balanced and therefore it was not easy for the management of the Ijittle Cinema in Towertown to find a clear result. But those of our discriminating patrons who like a little of sound pictures now and a little of silent films then came to our aid to solve the difficult problem, and their votes were just enough to give the power of balance to the sound and talking cinemas. According to this result of "Yes" and "No", which is of paramount importance to us, the Cine ma. Art Theatre wil! present both silent and sound pictures to its patrons. Thus everybody's taste will be suited. The sound equipment will be installed very soon, and we hope sincerely that it will please our patrons as well as the silent art did so far. We beg our patrons to rest assured that only the classics of the talking motion pictures will enter the Cinema Art Theatre. The standard of the Little Cinema, set bv the silent film creations, remains as it was: SOUND OK, SILENT, MOTION PIC TURES—THE ART! Cinema Art Theatre Chicago Ave. at Michigan THE DANCE Mary Wigman Can Dance By MARK TUKBYFILL THE dance of Mary Wigman is certainly not caviar to the gen eral public. Chicago, "hog-butcher for the world,1'' finds it strong meat. Since Miss Wigman's first recital here (January 16, at Orchestra Hall) everybody has had an eye on the hori zon, eager for a sign that would ex plain her latest flight (for some, indeed, fright). Dove-like or like the buzzard, a peck at a time, conversa tion circles above the feast she has spread, and darts down to serve its ends. One whom I encountered insisted upon "going the whole hog, including the postage." He was a young broker. He clutched my arm and said, "Give her a fine write-up, or I'll have you canned.1' I inquired of a broad- minded ballet dancer how she liked Miss Wigman's performance, and got the reply: "Much. That is, as much as I could surrounded by Russian dancers." Other young ladies said, "She isn't feminine enough — like La Argentina." A well-known painter remarked that he got no kick out of Miss Wigman's work. I was asked by a mystic, "Did she tire you out?" During Miss Wigman's Pastorale, a dance more lyrical and seductive than was expected of this hard-hitting Ger man art, a gifted young woman of one of our best families volunteered, "If I felt that way, I wouldn't do it that long." Finally I heard one man exclaim, "For God's sake, define the dance." Having received my degree of D.D. (Doctor of the Dance) from William C. Boyden, D.D. (Doctor of the Drama), I cannot pass up an oppor tunity of defining anything. I follow the example of Count Herman Keyser- ling, and quote myself. (See my essay on The Dance, Man and His World, vol. 10.) "The dance implies a degree of free will . . . and begins with a creative- like grouping together of selected ideas, positions, and movements to ex press conscious meanings ... A dance requires at least one spectator, that of the consciousness which devised it." With the aid of our definition, any body who was in doubt may now be fairly certain that Miss Wigman danced. The question has been, what kind of groupings and movements did she make, and what were the conscious meanings that she expressed? IT has been pointed out with an air of triumph that Miss Wigman em ploys no pirouettes, no arabesques, no fouettes; and that she is even beyond the need of any alphabet of gestures or steps. But it is a mistake to think so. She has a very definite alphabet of steps, and a brief examination of her method should enable anybody to recognize them. There are the exercises of "tension" and "relaxation" — known to students of Dalcroze and calisthenics. The German technique utilizes the positions of the feet known to ballet dancers as "first position" and "fourth position." There are the ronds de jambes, in ballet style exe' cuted with the knees turned out, but in the German school with the knees turned in. In addition to these there are skips, hops, and twirls which have become as conventional as the ballet pirouette. Thus it will be seen that the con temporary German dance embraces an arbitrary code of gestures. Many of the movements given as class exercises appear in Miss Wigman's dance com positions. It has been stated that the manner in which Miss Wigman moves reveals a new sense or understanding of space, and that she fills her stage to a degree of completeness and satis faction startling and superb. How ever, the draughtsmanship of her dances, as performed by herself in this country, has been markedly two- dimensional: she covers the plane sur^ face of the floor with familiar dance patterns of circles and diagonal lines. She fills space in the sense in which a map fills it, but never in the sense of a relief map. There is no elevation, no altitude. The space above the ground, it may be supposed, she leaves to be explored and conquered by the muscles of her pupils. They may yet prove to be the Graf Zeppelins of the dance. But what are the "conscious mean' ings" expressed in the dance of Mary TI4E CHICAGOAN 35 Wigman? She has been quoted as saying that her dance expresses the life of a woman, or of all women. Her Dance Cycle, "Shifting Landscape," with its "Face of the Night," "Storm Song," "Summer Dance," and others, appears to be a kind of heroic land scape of the body and soul. Lean in the landscape of your body To the blue prism of the sea." (Again, consult your doctor's, "A Marriage With Space.") In at least one popular school of thought, soul, when used outside the meaning of God, means material sense. In the rites of her dance, Miss Wigman shows us a mystery: the oneness of soul and body. In other words, her body and her feelings and emotions are so extraordinarily coordinated that to see the one is in a very real sense to see and know the other. MISS WIGMAN'S body and soul, this single instrument, sel dom occupies the center of the stage with the projection of pure visual beauty of plastique and design. Is it ever solely the "significant form" of her dance, as it was with Pavlowa's, which commands the whole attention? Or is it that she has had the power to stir thousands of others to dance? Is it the touching spectacle of a "soul at work" which fixes the gaze? Is it that problem of greatest concern in the Western world — a personality on the make, which spurs and excites her peers? Since hers is the dance of "inner necessity," since "everybody can dance," does she offer a panacea? Are the by-products running away with the business? Is the art of the German dance lost in that "forest one cannot see for the trees?" In the world of the dance Mary Wigman should be known not only as a performer, but as an emancipator, for probably her greatest service is in freeing the dance from the tyranny of music. Never, in the future, as in modern times, can the dance be held in complete subjection to the arbitrary dictates of composer or conductor. More and more, as in ancient times, music will follow the dance itself. Sometimes it will be its own music, as Wigman has sought to demonstrate. Diaghileff and other directors have already insisted on the dance's right to stand on its own creative integrity, the right to define its own form, free from the obligation of having its form; de fined by another art. But this was usually done secretly, and the public EUROPE Book Now ! x < V OUR choice of accommodations jr your next summer's trip abroad, now available. The St. Lawrence seaway affords less ocean — more pleasure. Frequent, luxurious service by the regal white Empresses, the fast cabin Duchesses and the great "Mont" ileet from picturesque Montreal and Quebec. Ask particularly about the new fast Empress of Britain in service this summer. Full information also avail able on service to Hawaii and the Orient. A»k about weekly Bermuda service. Write or phone E. A. KENNEY, Steamship General Agent, 71 E. Jackson Blvd., Chicago, III. Telephone Wabash 1904 Canadian World's Greatest Travel System Carry Canadian Pacific Express Travellers Cheques — Qood the World Over Pacific PURE WATER *99.99+% Odorless Colorless Tasteless and Soft This Explains Why CHIPPEWA Natural Spring Water "The Purest and Softest Natural Spring Water in the World" Is So Satisfactory Distributed by Chippewa Spring Water Company of Chicago 1318 S. Canal St. Roosevelt 2920 ^CHICAGOAN The Chicagoan 407 So. Dearborn street Chicago, Illinois Please enter a subscription for The Chicagoan as follows: ? 1 Year— $3.00 G 2 Years— $5.00 (Address) - DIANA COURT SHOPS Michigan Square 540 North Michigan Avenue IjUbrfiCto /44V, due*. CUSTOM MADE LINGERIE F' and Lounging Pajamas 3 Diana Court 540 Michigan Ave., No. DISTINCTIVE GIFTS ANTIQUES 8 DIANA COURT Open in the Evening 544 NORTH MICH. AVE. i COOKIES i TEMPTING IN THEIR Rich, Crispy Variety ALSO CAKES AND ROLLS studio gallery increase robin son announces Diana Court Salon available for Musicales, Lectures, Club Programs and Meetings 540 MICHIGAN AVE. NORTH COUTHOUI FOR TICKETS saw the dance presented as a kind of foot-note to the work of some com poser. Now, however, due chiefly to the energies of Mary Wigman, the order is being reversed. The dance stands out frankly and boldly, an entity with which to be reckoned, its every modulation reverently followed by the musical accompaniment — if in deed it even considers an accompani ment necessary. Such is the power of Mary Wigman. zAn American Evening THE night of January 16 was one of the few times in its history that the Arts Club of Chicago went completely American. This it did under the expert guidance of Ruth Page and her husband, Mr. Thomas H. Fisher, who set out to show Miss Mary Wigman an "American Evening.11 So it was that Miss Wigman, after her performance, ate ice cream cones and baked Virginia ham, and saw and heard a number of things American. Carl Sandburg, a Chicago poet, and the only poet known to admit it, "un tied his songbag." Georgette Walker, of Black and Tan tradition, strutted her stuff. And two dance partners of Ruth Page gave widely differing im pressions of America. They were Jacques Cartier and Frank Parker. Through his interpretations, Mr. Cartier placed Miss Wigman on intimate terms with the Hopi Indians. Mr. Parker, singing about Broadway, gave her something to look back on, something with which to compare her own notes; and in telling the truth about Hollywood he gave her some thing to look forward to and to confirm. The evening was reputed German when Miss Wigman began it at Or chestra Hall about 8:30. From 11 to 2:30 Miss Wigman's admirers, headed by Miss Page, made it Amer ican at the Arts Club. After that it was nobody's affair. Ted Shawn and His Dancers THE Denishawns are by far the most important group of dancers of which the United States- can boast. Ruth St. Denis and Ted Shawn, as dancers and teachers, have exerted much influence on the tastes and methods of younger American dancers. Their Oriental interpretations and reproductions have long been a source of delight and invaluable education to thousands who seek inspiration in the TI4E CHICAGOAN dance. While the Denishawns1 pres entation of the dance has never lacked on the side of theatrical flare and showmanship, it has, in addition, always carried with it something more: a philosophical content, a profound regard for beauty of whatever race, and a kind of religious fervor. Two aspects of Ted Shawn's latest recital in Chicago (January 18 at Orchestra Hall) are especially inter esting: his continued search for what is typically American in the dance; and his frank adaptations, and even literal copies of the contemporary Ger- man dance. The results again call attention to the fact that movement itself is a concomitant of life, and that only bodies and forms have na- tionality. Aside from the folk char acter of the music (J\[obody Knows de Trouble I've Seen, Battle Hymn of the Republic, and others) Mr. Shawn's dances were scarcely more American than Mary Wigman's were German. It is a highly commendable search, nevertheless. The value, supposedly, lies in the effort put forth, and its effect on consciousness. Someday a dancer may find a plastique as essen tially American as a skyscraper. Such criticism is exasperating, if anybody believes it, because it makes the search seem futile. The beauty of it is that no discoverer will need to believe it. MR. SHAWN and Ernestine Day were indeed picturesque in their American Indian dances. The Indian use of percussion was an eloquent and timely salute to the modern German exhibitions of percussion on the same program, and on the same stage, but not the same program, a couple of nights earlier. "The Divine Idiot," an excursion into the "mystic" tonalities of Scria- bine, bore the subtitles, In the Earth, The Breaking, In the Light, The Return, and subjoined a few comments concerning the soul by Plato. It was Mr. Shawn's most ambitious experi ment, and in it he achieved a moment or two of visual beauty deserving of the term "significant form." In the Germanesque movements, however, Mr. Shawn docs not show us that one ness of body and soul which is demon strated by their high priestess, Mary Wigman. The Misses Beck, Tinker, and Hin- man provided a cool and linear pleas antness in their Piece Froide. with music by Erik Satie. In the Manna Zucca waltz arrangement Campbell TI4CCWICAG0AN 37 SMART SHOP DIRECTORY KATHARINE WALKER SMITH Hats — gowns — dresses. Smart seasonable clothes reasonably priced for most exclusive selection. 704 Church Street Kvanston 270 East Deerpath Lake Forest Prances R- 1660 East 55th STREET AT HYDE PARK BOULEVARD i.cV ^ s* Hale >v GRACIOUS DIGNITY FOR THE MATRON AND THE CHARM OF YOUTH FOR THE YOUNCFR SLT c He 9 FURS 108 N. State St. 220 Stewart Bldy. Hats of distinction Suite 201 Pittsfield Building FLANUL FELT HATS For the smartly dressed man tV'Sta.rr. Best J < Randolph W W«bo.h •••CHICAGO FINE CLOTHES for MEN „„rf BOYS In Next Issue ROBERT MORSS LOVETT A Distinguished Pen Portrait of a Distinguished Chicagoan By JAMES WEBER LINN Griggs, and Jack Cole made thrilling use of their remarkable elevation. Mr. Shawn closed his program with a num ber of brilliant Spanish dances in which he proved his mastery of this idiom. There appears to be a new spirit of simplicity and clarity of purpose at work among the Dcnishawn dancers. This was one of the most forceful pro grams that they have presented in Chicago. The Outer Man Spring Fever WHETHER you believe it or not, Spring — like prosperity — is just around the corner. And Spring means two things to every woman. New clothes — and more new clothes . . . for her husband. While the snow may still be on the ground (and the coal dust is still upon the snow) it's not too early to begin thinking about that new wardrobe. With Easter scheduled to make its an nual appearance April 5, there really isn't any too much time to assemble everything your wardrobe ought to have for the warmer months to come. Suits this year — if they are custom- tailored — will be of fabrics unlike the more or less drab affairs we've been looking at for the past few seasons. Self-patterns are making rapid strides and even pronounced designs will have an unusual number of backers this Spring. The colors vary but the trend is toward middle shades of tan and gray with several lighter blues pushing themselves into public notice as the bolts are thrown out upon the table. Greens, which had quite a strong inning last autumn will be shown again and will undoubtedly re ceive some support. Inasmuch as a good custom tailor demands from two to four weeks to create one of his masterpieces it behooves the fastidious to away to their tailors this week. READY-FOR-SERVICE clothing probably will be amazed at its own popularity this season but when one stops to realize that seventy-five dollars buys an excellent suit the man with an average figure immediately de cides upon a plan of economy. Re sult : one more enrolled for the season at least in the "off'the-hook" army. However, the advance showing of new spring suits this year is more attrac- I. m I LLER INSTITUTION INTER NATIONAL! V ou can't \ be blue with \ ipfe. SHOES FOR SPRING ]. Miller, creator of beautiful footwear, proves this para dox with scores of charming new shoes in "Ensemble" blue ... a blue so true it harmonizes with every costume blue of Spring! Custom G) hoe C/alon 137 South State Street 38 TI4E CHICAGOAN Shoreland originates a unique party service! . . . . Shoreland now offers an original catering and party service. Now we provide original suggestions — a pro gram from start to finish— the idea of the party — every thing to make your party in dividual, outsrand ing, original — unique from very start to successful conclusion. Whatever the occasion — let us show you how Shore- land can give your party brilliant novelty never an ticipated before. HOTEL SHORELAND 55th Street at the Lake Telephone Plaza 1000 FLORIDA HOTELS and RESORTS Free, Complete Information on Florida's Winter Playgrounds Transportation, resorts, hotels, rates, accommodations, high ways — where to golf, bathe, fish or hunt — whether you're going for a few days or the whole season — Write FLORIDA INFORMATION 220 West 42nd St., New York City tive than it's been for a long time. The styles are particularly smart, with a gray-green fabric predominating that should be outstanding because of its newness and originality. Tans, too, seem to be mounting in favor and last year's color, stonegray, still is in the race. For the man who can slip into a 38 or a 40 and have the coat look like it was built for him, ready-tailored suits fill the bill and help keep the bank ac count at a sane level. The man of substantial stature who feels that his figure needs the custom lines of hand work to help his appearance deserves plenty of compliments for there's nothing that can touch a bench-made garment when it comes to style. With these few hints on the most important part of your wardrobe we'll leave you with nothing else to wear until the next issue. Then we'll sug gest accessories that will harmonize particularly well with the new Suit shades for Spring. Incidentally, there's the new top coat to be considered. How about a neat gray covert cloth? Or perhaps you prefer it in tan? Anyway, it's going to be a "covert season" with men who set the styles. — H. I. M. Write II. I. M. if there's any question yon have as to correct dress or concerning the colors you should wear and should not xcear. ARTISTS STEPHEN MORGAN ETNIER: PROVIDES the next worth while exhibit at the Walden Bookshop Gallery. Stephen Etnier is an inquisi tive young man. He has taken him self to the South Seas, to Central and South America in order to paint. He has "sailed" before the mast. He has applied his intellect to his work. De liberation is manifested in his artistic accomplishment. He paints unhur riedly and honestly. He paints with promise of a pleasantly proportioned future. He might paint very excellent murals . . . Though he studied art at the conservative "Yale School of Fine Arts," he is himself — not the academy product. His first exhibit — the prime presen tation of himself to the world — oc curred at the Dudensing Gallery in New York. Critics and patrons gath ered enthusiastically about him. He received many distinctly gratifying words of praise. (It's a delicate mat ter — "praising" an artist.) At pres ent, his paintings are on view to the interested Chicagoans, at the Walden Bookshop Gallery, on Michigan Ave nue. They should be seen and en joyed. Go. SYLVIA JUDSON: A SCULPTRESS who is of Chicago. She has a particular manner in clay. She has a splendid aspect of feminine feeling which goes into her work. She is the maker of charming garden pieces and fountain figures, and at present is engaged in the form ing of a monument for some northeast ern city. Chicagoans in great numbers, know her work. She is the daughter of the celebrated architect, Howard Van Doren Shaw. This may account for her talent, which is unlimited. STUDIO GALLERY: CLEVER Increase Robinson puts forth an exhibit of paintings and lithographs. Paintings by Kathleen Blackshear and Mervin Gilbert. I. Ivor Rose is the lithographer. Mr. A. R. KaU is showing brush drawings for the first time. OLIN DOWS: MURAL PAINTER. A young man who possesses an extraordi nary fancy and creativencss in paint ing. Dows spent ten years painting the countryside about Rhinebeck, on the Hudson. His interests have car ried him to Italy where he indulges in the making of modern Majollica. His mural-screens are sought eagerly in the city of New York. His murals decorate the halls and swimming pools of a dozen eastern estates. Surely there is nothing to equal originality and effort in the name of decorative environment! FOUJITA: TH E "enterprising-in-a-modern- way" Arts Club presents two ex hibits eloquent in skill of design, colour and decorative values. Not necessarily comprehended by the eager-eyed public. In quotation from the Arts Club catalogue: Foujita, the Japanese artist, known internationally for his canvases of women and ani mals, was born in Tokio in 1886, but like many other foreign artists, felt the irresistible attraction of Paris, and at the age of twenty-seven came to Paris TUE CHICAGOAN 39 where his unique appearance and his Oriental interpretation of "Modern ism" soon made him an outstanding figure of the Montparnasse Quarter. He is known in Paris today as the master craftsman, for he brings to art in Paris the traditions of centuries of Japanese craftsmanship. Night and day he can be found either seated at a table in front of the Cafe du Dome, where the artistic and pseudo-artistic pulse of Paris beats, or crouched on a low stool bending over a drawing board in his studio in a neat little house in the Square Montsouris. To Parisians and visiting art students who clustered on the left bank after the war he was a real Japanese with his heavy mat of black hair, his earrings, his exotic face, his horn-rimmed glasses and his poise. Now, however, he has become a Parisian — keen-eyed, nerv ous, watched and sought after. Animals and women attract him most and one sees a series of exquisite ly drawn women and sensitively sketched cats, dogs and horses parade across his canvases. However, it is for the delineation of cats that the artist is best known in America. His drawings and paintings of cats are to be found in many important collections here, but he has made an even wider circle of admirers through his Boo\s of Cats, recently published in English by Covici-Friede, in which drawings of felines named for famous courtesans of history, Messalina, Sappho, Ahinoam and Chrysothemis, are accompanied by individual prose poems by Michael Joseph. JOAN MIRO: WHO is the artist of the second exhibit at the Arts Club. Paintings which are thoroughly baffling in their whimsy — and in which one may trace vague resemblances of famil iar objects (if one insists). But the color is superbly decorative and since the last has an infinite amount to do with the attitude of the modernist, they may be called "successful paint ings." Joan Miro is Spanish. Catalonia in 1900. The year 1921 saw the first of Miro's paintings in Paris. This exhibit immediately marked Miro for a leader of the Surrealists, but the painter re mained outside the group, as most great painters do. Foujita and Miro justify attendance. — PHILIP NESBITT. SMART THEATRE The chef really extending himself. The demi-tasse and Golden Fla\es. The departure for the theatre. The ever'halting traffic lanes. The chauffeur doing the impossible. The arrival on time at the theatre. The foyer crowded with playgoers. The wait in line at the box office. The presentation of the certificate. The tickets for the seats you'd wanted. The thought that youVe had many times: That the coupon below is a pretty grand idea. THE CHICAGOAN, Theater Ticket Service Th, ^ft)£L£l4ICAGOAN 407 So. Dtarborn Street Kindly enter mv order for theater tickets as follows: (Play)..'.. ' - - - (Second Choice) _ — (Number of seats) _ __ _.... (Date) (Second choice of date) (Name) _.. - _ _ „ (Address) _ _ _ „ (Tel. No.) (Enclosed) 40 TUE CHICAGOAN By JAROSLAV SMETANKA [begin on page 23] come to such a huge city as Chicago, but we find a welcome here and it fills us with pride to think that we chose Chicago as our home in America. Also, we are very proud of Cermak. He has done well. By CORNELIUS D1MITRIU Roumanian Consul This Chicago is a big and little city at the same time. The people are natural and simple in their friendli ness. Here there is space. There are vast green parks, trees, paths and lagoons. I like the climate. It is much like that of Roumania. The winters are cold, yes, with deep snow, and the summers hot. The drives and open civic areas of the city are the most beautiful in the world. By EKIC FISHER Danish Legation I am impressed with the extraordi nary hospitality of the people of Chi cago. They go to great lengths to express their generosity to the stran gers who come here. They are loyal friends. Chicago is a beautiful and flourishing city. Its future is un limited. Some day it will be the first city in the world; it is inevitable. By H. F. SIMON German Consulate General Ah, we all love Chicago! And America! By SAMUEL LAWRENCE Former British Consul Chicago has a more peaceful form of theatrical life. There is not the pell-mell rush and crowds of New York. Here one may actually enjoy, in a quiet manner, the best plays. By RAFAEL AVELEYKA Consul de Los E. E. U. U. Mexicanos Most striking do I find the hospital ity of Chicagoans. There is a frank ness and a candor here which is found nowhere else. The cities to the East are conservative and close. There is less individual selfishness here. The cultural interests are freely expressed. A gentleman of Mexico has an oppor tunity here to mingle with the people he enjoys. It is a spiritual necessity. I find here a distinct quality of friendliness for the country of Mexico. The people are broad in their tolerance of other countries. In Chicago the people are politically and intellectually aware of Mexico. I do not recall any instance of conflict, within my juris diction, between Mexicans and Amer- cans. This is amity of an enduring nature. By OLAF BERNTS Consul of Norway I have seen Chicago grow. I remem ber the passing of the cable cars and the horse cars. They were bumpy, very bumpy; that I remember very well. Chicago gives me inspiration. It is a vital city. It believes in itself. It trusts in its assured future. Nothing can prevent this growth. I have found that if a person cannot make a living here, he cannot make it anywhere else. This is a city made up of migratory people, at least in the beginning. They were people willing to fight for homes in a strange country. Even the pioneer knew the possibilities of this place. There is freedom here. Any indi vidual may enjoy the privilege of going to the great Field museum. Chicago is my home. By LIEF BUCH Norwegian Vice' Consul I have just arrived in Chicago. I feel the provincial note of life here. I think it is better than the highly narrow, if more metropolitan, way of living. The potentialities of this city are incredible. By GEORG SHALER German Vice'Consul On arriving in America, I spent two days in New York, yet my impressions of America did not begin until I came to Chicago! I found here that Chi cago reminded me of my own city, Berlin. Berlin is very much like an American city. The hard-working vitality of Chi cago is very evident. The buildings are higher than in Berlin, but it is not difficult to become adjusted to the difference. I feel very much at home here. There is a "special" atmosphere about Chicago; it is as if one could feel all the forces and resources of Amer ica pressing in from the vast continent. I enjoy the sense of order in the streets, the cautiously regulated traffic; it shows that the people are sympa thetic to their own laws for the order of the city. I enjoy the hospitality of Chicago. Surely America is the most generous country the world knows. Any American, high or low, may find wealth and position if he makes the effort. This is difficult to do in Europe. By LASZLO MEDGYESY Royal Hungarian Consul First, I want to speak of your maga zine, The Chicagoan. It is the live liest exponent of the life in Chicago. It is of great interest to foreigners. It presents the best aspects of local inter ests. It handles intelligently the the atre and musical events. It has humor. It is distinctly of Chicago. Now about Chicago as a city. I have always been told that this is a more American city than New York. I think first of the future that is here. One cannot live without a hope for the future and Chicago gives one assurance in that hope. Look at the Planetarium! And the Field Museum! They indicate a cultural and intel lectual activity found nowhere else. The only institute comparable to the Field Museum is the Smithsonian in Washington. It is with the greatest pride that I escort visiting countrymen to this Museum. By OCTAVIO BARRIOS S. Consul General De Guatemala Chicago should advertise in Guate mala. The people there would like to know more of this great city. Their interest is very keen. They do not know how many great Universities are here. Chicago is a leader-city of America. It will be the greatest city in this country when the Gulf Water ways has become a fact. It will facili tate trade between my country and Chicago. By NILS-ERIC EKBLAD Acting Counsel for Sweden As the Swedish population of Chi cago exceeds that of the second largest Swedish city, it is quite natural that a Swede should feel more at home here than in most other places. However, I am sure that even without my coun trymen I would have the same feeling, as I have learned during my stay here that the people of Chicago are among the most generous and hospitable in the world. ones IF you were bent on seeing the best of Florida's playland, you could do no better than to make the Florida-Collier Coast Hotel chain your headquarters. These delightful modern hotels are lo cated like stepping-stones right across the heart of Florida's resort and recre ation centers.When you move from one Florida-Collier Coast Hotel to another, you will find that all it is necessary for you to do is, notify us of your intention. We will take care of all the details incident to the change and you will find in every hotel of this chain,, the same thoughtful provisions for your comfort, and the same alert attention to your every need so characteristic of Florida- Collier Coast Hotel service. HOTEL LAKELAND TERRACE - - - Lakeland, Florida HOTEL FLORIDAN Tampa. Florida HOTEL TAMPA TERRACE Tampa, Florida HOTEL MANATEE RIVER .... Bradenfon, Florida HOTEL SARASOTA TERRACE - - - Sarasota, Florida HOTEL ROYAL WORTH - - West Palm Beach, Florida HOTEL DIXIE COURT - - . 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