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© The Associated Newspapers
“KEEPING UP WITH THE JONESES”It Sound* That Way!
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© The A nod* ted Stwwpattn
“KEEPING UP WITH THE JONESES”_ The King Was Crowned
V=S, MR. M^GiNlS, I NOW, FOR EXAMPLE, I WILL RING '
AM CONVINCED YOU FOR MY MAD - WHEN! SHE APPEARS
POSSESS HYPNOTIC FIX HER WITH A PIERCING GLANCE,
POWER, AND MOWTHAT MAKE A FEW PASSES, AND
WE ARE IN MY STUDIO COMMAND HER TO DO SOMETHING -
I SHALL BE WATCHING FROM
THE NEXT ROOM
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IW i 'rtie^Asiociated Newspapers J
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B © The Associated Newspapers
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“KEEPING UP WITH THE JONESES” Yes, Mr. Spumoni, Hov/ About It?
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WHATA YOU TRYING BUT; MY DEAR MR. MtGlNlS l! > - 1
TO DO, KIO Me ABOUT YOU ALLOWED YOUR EYES w(jatII CERTAINLY !’. I SAW IT ALL U WELL ,YOU DUMB i'
HAVING HYPNOTIC To WANDSR AND LOST vvnAA •• IT'S VERY SIMPLE, MR. MS. GINiS~ ISAAC-WHAT WERE
POWER, MR. SPUMONI ? CONTROL OF YOUR SUSPECT YOU SAW A GOOD HYPNOTIST CAN POSITIVELY you DOIN'WITH YOUR
LOOK HERE-/OUR t WAS WATCHING THE WHOLE CONTROL THE ACTIONS OF THE EYES WHEN SHE ---
MAID DID THIS TO MS YOU — /) TFUNG^? AVERAGE PERSON | IF YOU HAD STARTED TO SOCK
WHEN I TRIED TO * USED YOUR EYES YOU COULD ME WITH THAT
HYPNOTIZE HER (i HAVE PREVENTED HER
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Green restores at
Heme
NEW YORK CITY, November 7_
(CNS)-It was with doubt and many
misgivings that Howland Stebbins,
producer of “The: Green Pastures,"
Marc Monnelly’s; great dramatic
vehicle, upon wuch Richard B.
Harr,son rode to lame, contemplated
the prospects of a Southern jaunt.
• ™me<^a!eIy aftdr that memorable
mghc, February 26, 1930, at the
Mansfield Theatre when the piece
rocketed to sudden fame, the Times
Square oracle dinned in his ears the
information that it could never be
displayed in the South. In fact, they
pointed out, the very idea of a tour
in Dixie spelled disaster. The South
erners those seers added, would not
relish the spectacle of a Negro god
and dark skinned angels.
It was originally intended by Mr.
Stebbins to inaugurate the Suthem
tour in Richmond, Virginia. Certain
interests controlling the theatres of
that city, prevented the showing of
the play in the erstwhile capital of
the Confederacy. Thwarted again
when an effort was made to book
I the show in Norfolk, it was finally
arranged to open the tour in Roa
noke, Virginia.
following three sold out perform
ances there the play moved on to
Greensboro, North Carolina, where
Richard B. Harrison, “de Lawd,” re
ceived a token of appreciation from
the city. The presentation was made
b£ Mayor Roger N. Harrison and the
token signed by city officials and
prominent educators of the city. The
citation read: “Appreciation to Rich
ard B. Harrison for his outstanding
contribution to the, cause of educa
tion for his understanding inter
pretation of Negro life and char
acter on the stage and lecture plat
form, for his constructive influence
in inspiring and preserving harmon
ious racial relationships, for his un
failing loyalty to his home city and
the dignity which has always char
acterized his representations of
Greensboro abroad, for his kindly
personality and enduring friendship.”
Mr. Harrison, by way of explanation,
was a faculty member at the Agri
cultural and Technical College in
Greensboro for many years prior to
undetaking the impersonation of the
Deity in “The Green Pastures.” Ev
en that fact, however, in the opinion
of certain transplanted Southerners,
can hardly account for the warmth
of the reception accorded him, a Ne
gro, by the executives of a Carolina
community.
In the South, the newspaper re
views reveal, “The Green Pastures”
is treated with more reverence by
theatre audiences than was the case
in the East and North, where the
play has been considered primarily a
comedy. The critic of “The Greens
boro Daily News, for instance, had
this to say of the presentation:
“Southern audiences, if members of
the cast do not already know it, take
their religion, the religion of their
Negroes, seriously, reverently. There
was in the theatre last night what
one might term a holy atmosphere;
a tribute of silence far more effect
ve than thunderous applause. South
erners do not applaud in church, and
‘The Green Pastures’ seemed
strangely like church.”
“The Green Pastures,” aside from
re-opening theatres many of which
have been dark for a decade, is tak
ing the spoken drama to the remot
est sections of the territory it is
playing. Cities like Durham, North
Carolina; Macon, Georgia; Lafay
ette, Louisiana; and Beaumont, Tex
as, likely have not had a road show
since “Ben Hur” tarried in their
precincts years ago.
NEGROES SLUGGED BY
POLICE AT ELECTION
RALLY
N. E. Whitehead, Negro worker,
was mercilessly beaten up and half
killed for attending a Communist
Party election rally, at 138th Street,
and 7th Avenue, on the night of
October 12th, Betty Patterson, young
Negro woman, was knocked uncon
scious by the club of Police Officer
8627 and several other workers were
beaten in an orgy of terror indulged
in by a dozen white and Negro cops.
The police rushed up and down the
sidewalk in their cars, an officer on
the running board swinging his club
viciously right and left, Whitehead,
who did not move fast enough to
suit the “protectors of law and or
der” after being knocked senseless
to the ground, was stamped on,
kicked in the face and brutally slug
ged by the rubber hose and clubs of
the police. Even his shirt was lifted
up, so his bare back could be exposed
to their vicous blows. A white wom
an who rushed to his defense was
told to “get out and damn quick” by
a cop who pulled his gun on her.
It is interesting to note that as the
bleeding body of the, Negro worker
Whitehead, his clothes torn off his
back, was being dragged off to the
135th Street Police Station, Mr. Mc
Neill well-dressed, gray haired Ne
gro was in a high-class restaurant
across the street with a party of
friends, to whom he several times
boasted: “Yes it was I, John R. Mc
Neill the Democratic leader of this
district, who called the police—and
I’ll do it again.”
