Th [liberty song 86 By THAYER WALDO By McClnre Newspaper Syndicate. WNU 8ervlce. THE man In the officer's chair lit a fresh cigar and angrily flung the match aside. "Cockeyed, idiotic business I" he snarled. MA whole production tied up while we sit here wafting for some wop burn to be dragged In off the streets. It's the damnedest thing I ever heard of!" Stuart Booth eyed him contemptu; ously and said nothing. Fiberg made a gesture of conciliation. "Now listen. Nick," he begged; "be reasonable a little, couldn't you? Ain't ? the only chance we got worth anyhow ? a try?" "Yes; I should think, Hormell," Booth put in coldly, "that after all the fuming you've done over this part, you might see how my suggestion works | out before you start crabbing." The director twisted swiftly around in the chair to face him, snapping: "Look here, Stuart; I never agreed to this wild notion of yours, and I won't pretend to now. Here we have a scene that needs an oneratlc star, and you talk 'em Into going after a dago banana peddler you've heard yodeling behind his pushcart. If I'm expected to enthuse over that?well, t It's a laugh, that's all." j "All right; now we'll Just add the rest of It: you want an Italian tenor, yet i can't afford anjone big for sue. a small role. There's no foreign language singer available on the lot, i so where are you? Stuck. And then when I offer the one idea that may solve your problem, you beef!" ?? ' i. j i* 11 mcr11 ?i uiuuiru, it simply doesn't sound sensible. If he was {joins into a chorus. . . . Hut the man's pot to do a solo, and?" "Hey, look!" Fiberg had turned toward the sound stage entrance. "Is that him?" The others swung around. Just inside the door stood a little round man in baggy trousers and a gay lavender shirt. IIis great mop of black curls was uncovered and the olive inoon face beneath showed gentle perplexity. Stuart Booth went forward, calling: "Hello, Pietrol Come right over here.'' The Latin's teeth gleamed In a wide slow smile. "Ali, Signor Boot'! You send for me. si? Dey no tell me?Joost say. 'You I'letro Pasquale? Come to da studio.' I don't know what ees, but here I am." HoriuelL had approached and was Btariug critically at the Italian. Before Booth could speak again, he said curtly: "All right, Tony?let's hear you sing." The small dark man gazed up with polite incomprehension and replied: "Excuse, plees; da name she's Pietro, an' I don't know joost what you talk. Maybe you Joke, si?" "Keep still a minute," Booth said sharply to the director; "give me a chance to explain to him. , . . Listen nld , vaia ?a*u?.A | nc tc IU a UA UHC I you can help us out and, incidentally, make yourself fifty dollars for a couple of hours* work.?just singing." The fellow made a quick little bow and said: "Sure, sure; she's made me very happy to do somet'eengs for you." The set across the stage, however, had caught his eye and he started to wander ofT toward it. The actor grasped his arm as Hormell let out a snort of exasperation and demanded: "Well, are we going through with the farce, or is this gentleman Just a sightseer?' "That's what I'm saying," Flberg agreed. "He acts like he was doing us a favor. What's the big idea?' Pietro met the producer's scowl with grave dignity. "Excuse, pleas," he corrected.; "she's only for Signor Boot* I do eet" Flberg gaped Incredulously a moment; then: 'Say, what's the matter from you?' he yelped. "Nobody's asking you should do anything gratis. Fifty smackers you get for Just one song?even if you don't 8lnK very good, maybeV* Again that broad calm smile spread ?*er the swart features. "That ees all right, signor. Tm *>ve to seeng, anyhows." Once more he commenced to stroll way. Stua.t Booth cried: "But, Pietro! It has to be done this fternoon?right now 1" The Italian halted*at once, a mildly hocked surprise entering his expression. . si? Excuse, plees; I'm not un ?rstan\? A savage groan from Hormell. "Eisten, Booth," he bawled; "either JJ? Ket that spaghetti gobbler war?l|ng in the next two minutes, or I vm. Savvy r le Cherokee Scout, Murph; The actor glared sourly at him and turned again to Pletro. explaining: MYou see, there's an Italian sequence in the picture we're making. Several of us are traveling along a mountain road and we come to a small inn. The proprietor's sitting on the piazza, carrying wood and singing some air from an opera. Now that's what we want you for! Can you do it?" I'ietro laughed?a full and carefree I sound with no hint of scorn in It. j "Why, sure!" he exclaimed buoyantly. I "You mean like dees?" Back went his head, a breath was taken, and suddenly there poured forth a rich torrent of golden melody as he j began an aria from "1 PagliaccL" It rose and swelled and filled the j great room with glorious music. In a moment people from all over the stage had gathered round. I Not a note in all that song was less than perfection. Long before he had finished, Fiberg and the director were huddled together, whispering excitedly. Even Stuart Boo'h was astonished. At last It ended and the little Italian gazed about him, a trifie startled, t Then Hormell and the producer were rushing forward in a dual fever of ingratiation. "Say, that's the finest thing I ever J gave a listen to!" Fiberg chattered. And the director: j "Marvelous! Where have you been hiding all these years?" t In a quick aside to Booth, he breathed: "My (J?d, man?why didn't n you tell me about this sooner? lie's the greatest find I've ever run across!" p Fiberg, an arm about the singer's p shoulders, was talking rapidly: p "Now, Mr. I'asquale, here's the way 1'jn figuring it. You'll want to do a y couple of small parts and then we n star you. How about a six months' s contract with options, at?well, say a two hundred and fifty a week?" u The three studio men waited, their r eyes upon the Latin's face. n For an instant bewilderment was (. there; then slowly he looked from one a to the other with something very like v disbelief ""mY~IT 11 Joost a meenute," he said finally: n "Maybe I'm don't understate again. You want that I come here every day Q and seeng for da peectures, si?" They nodded. Pietro I'asquale made a queer small p noise in his throat and stepped back. 11 shaking free of the producer's em- " brace. h "Excuse, pices!" He spoke with a ringing firmness. "She's very kind of 1 you?but, no!" "You?you mean you're refusing the contract?" 1 "Si. slgnor." " Palpably he was in dead earnest. "Listen, plees: When I am a boy 11 een Milano, always I seeng, joost for happiness. Den one day somebody she's hear me an* say. You mus' study A for da career! I am young fool, so tr I do eet. Five, six year I keep on, s< at las' get een La Scala opera an' pret' soon have da name een lights. Bravo, ?' bravo! But all da Joy she's gone when cs each night I have to seeng so much, ct so long. So now I have geeve all dat ! up an' come here where I can poosh "1 da cart to make enough for Itosita si an' da bamblnos an' me. Seeng? tl Signer, 1 do eet for gladness, but she's not enough money een all da world to buy from Pietro a song ever again P' h. II Nevada Marsh Yields Rich Sodium Sulphate Sodium sulphate, once a plentiful by jp product of nitric and hydrochloric acid tl; manufacture, has become relatively nl scarce In this country because of re- hi cent changes In the manufacturing t| processes of those acids, writes P. C. ,,, Itich in Chemical und Metallurgical si Engineering. Just when It begnn to s, appear that the United States would ?s have to depend on imports for Its so- p| diuni sulphate, an isolated desert mnrsh began to yield this chemical In at practically pure form. This strange p; deposit, where sodium sulphate, or a in "glaubers salt" ran be scooped up by Ti steam' shovel Is known as Rhodes Marsh, and Is located In Mineral coun- or ty, Nevada. ch A few years ago, P. s. Williams, a to chemical engineer at one time assocl- *h ated with a concern producing sodium M sulphate from Carrizo lake, California, hi came across nn old report of Prof. I.v Joseph LeCoute, geology professor at *1 the University of California, In which ar mention was made of an enormous de- "I posit of glaubers salt at Rhodes. In 1928 he was able to Interest a group th of San Franeisco men who spent con- a slderable time prospecting the deposit, surveying the markets, and Inve^Igat- ,n lng processes for recovery of the sulphate. The first plant was erected In 1930. With the experience thus gained h" as a basis, a program of Improvement was initiated late In 1932. sl' Rhodes Marsh Is roughly circular In shape. The mineralized section Is p" about 200 acres In area and covered with 6 Inches to 2 feet of sflt On the south half of the deposit, a 15-foot layer of glaubers salt Is found Immedlately under the overburden; In places It has been found to be present at a <( depth of 80 feet. r, N. C., Friday, August GiiacUu Public Letter Writ* prepared tiy National Gootrrstphic Society. Washington. I?. C.-WSU Service. A T DAWN comes tlie clang anil /\ peal of countless hells. The ( V, cliri Is startling In its unexpectedness. It sounds like a mule call?or nu alarm thai Gundalaara Is burning. Hurriedly you get up and go out on he hotel balcony. "All these churches." says n voice t your elbow, "and every Ml with different tone." It is the man from lie room next to yours, a Spanish riend from the sugar plantations, in njatnas and straw sandals. "I first came here more than 40 ears ago. from Spain." he adds. "We aide the last stretch in n tour-mile tagecoacli on leather springs, after night hattle with bandits. We got i just at dawn, with these same hells inging. Nothing here has changed ,11*1. ? ?Ko 'ummrnf ...V.. audit- pi*opie, ll.'lhirs, hurches, and bolls. Kv the bats re still bore. Read at night. and our light draws the moths; turn out le light, and the h&ts IIy In to eat tin? lot lis. But they don't oat their wings -next morning moth wings are all vor your tloor!" In t lie street below now blacknrbed women, their beads covered, re walking quietly to mass?women f nil classes, peon and aristocrat, but nrdly any men. Rattling heavily, n ater carl turns the corner, sprinkng the streets and raising that nmlonln smell of old adobe towns where iimans and beast have long crowded le absorbent soil too closely. You ieet that same smell, mixed with the ent of roasting coffee, when at early lornlng men wet the dusty streets of den or Baghdad. "Ice!" "Bread!** "Morning paper!" 11 voices of the awakening city as uly as cackles, crows, grunts, and lueals are the alarm clocks of the inner. Before the doorway halts an Id man on a mule, carrying two big ins. A sleepy girl, with s clay Jar. ;>mes out and buys some milk. And le man rides on. calling his singsong Leche, ieche," milk, milk, tn a dewiring wall, more like a cry of pain tan an invitation to buy. Turkeys for Sale. Now a country boy in a ragged straw it conies driving a flock of turkeys, e carries a long stick, with a whipke piece of string on one end. for icking nny errant turkey en the neck, e urges them on by hissing sounds, s tongue against his upper teeth, in le familiar Indian warning. They arket thousands of turkeys on foot *re, as In parts of Texas, the inquisire, shapely birds marching with lick, graceful strides, necks jerking tarply with each step. One strutting >bbler, with pendent red wattles long : a prophet's beard, ruffled his bronze uroage and dragged his wings. By the time you dress, clap your inds for coffee, and read a Mexican iper still damp and smelling of fresh k. all Guadalajara is swarming, rnmrars are crowded; so are busses. Bobbed-haired senoritas, in bright gnndie, silk hose, and high heels, mtter and giggle their cheerful way work in stores, beauty and curio ops, at switchboard* or typewriters, nny are pure Andalusian types with lie eyes and hlond hair, small, shapehands and feet. The ease and Joy ith which man may look upon wornikind in Guadalajara are nroverbial. 11 all Mexico, no others are so fair." "Surely St. Peter must have opened e gates of heaven to let down such beautiful damsel,** Mexicans say lien a maid of pulchritude is passAlong with the crowd, ogling the rls, come sleek young hank clerks, N?kkeepers in the brewery, the faeries, motorcar and other agencies, ick and span In flannels of HollyK>d cut. carrying sticks, smoking ingeut ontlve cigarettes. The sidewalks of Guadalajara! aik them at this hour and you see e city eye-high and close up. Workmen idly dig up the pavements, always; trnflic police in while [%-re the colossal prison to get in at visiting hours. "They built the Jail big enough to hold everybody in town as a warning," is a local saying. Workers In Clay. Through the suburbs you meet more groups coming to work. In a flower garden a sandal-footed man Is setting out young plants to make a fancy | pattern of birds and Hags. From the tail of his big black dog, .asleep beside him. an old Indian artist plucks a few hairs, twists them deftly into his tiny, frayed brush, and resumes painting eyebrows on a clay lieaJ of I*anclio Villa, master outlaw. I'ose for jour * own bust. If you like, nnd watch jour nose and ears fortn swiftly from the mud. In half nn hour old I'andura (Ilnrd Bread), famed Indian sculptor, makes a fair likeness. "This Guadalajara clay art Is fragile and hard to ship," says a buyer 9 from the States. "But It sells well Not the busts so much, hut these urns, vases, and water bottles, in old Aztec pal terns. These dancing girls are good. too. In their wide skirts and big sombreros.** Around Tonala village and the suburb of San Pedro Tlaquepuque, Indians have worked In clay from time immemorial. The Spaniards found them at at it, making dishes for domestic uses, making Idols, Images, and flgurines of men and beasts. Untaught, and working far from the patter of studios and talks on art, these Indians produce excellent sculpture. Tiny pack mules, street hawkers, market women with chickens and baskets of fruit, vaqueros on rearing horses?all are formed and painted with fidelity to life. Sophisticated and erotic pieces also appear, with miniatures, ornaments, and vessels carrying a raised fretwork of deer, rabbits, ferns or palms. A fat clay j pig, hollow, with a slit in his back I through which coins can pass, is much \ sold as a child's savings bank, nap- | pily for the child, these figures break easily; all you have to do is drop them. San Pedro Tlaquepaque, once the retreat of Spanish wealth and fashion. Is linked with the city proper by tram, through an old customs gateway. Country people taking things into town to sell hnd to pay a tax Id the old days to pass this gate. A tiny, bright-eyed nurse girl, certanly not more than ten, comes by, carrying a big fat baby. You feel the baby should get down, for a change, and carry the tired little girl. Gambling Is Prevalent. On the curb's edge, three soldiers are playing cards with a greasy deck. One man deals, calling "Ocho de espndas," eight of spades, and ether faces as they turn up. Oumbling is not thought a vice. Men accost you. holding up yard-long strips of colored lottery tickets. You can buy a whole or part ticket Such peddlers work on a commission for the official lottery, which holds regular drawings, is run in a strictly business manner, and devotes net profits to charities. Police appear dragging two disorderly men, one badly cut In a street fight. Certain knives here are made to fight with. Any battle-scarred mining or cow-ranch veteran will tell you he'd rather face a gun fighter than a Mexican trained with the knife. This business of knife fighting is full ef fancy tricks. One is to throw the knife; another la suddenly to hit your opponent In the face with your hat. and then stick him while he's ofT guard. Defense work is equally skillful. The trained fighter wraps his serape around his left arm, or even grasps his big hat by the inside of the crown, using serape or hct as a shield, while thrusting with the knife. In "Old Mother Mexico," Harry Carr tells of a Mexican knife battle, fought to a draw, in which the heavy wool sera pes were cut to shreds, but neither man hurt I Page Three Animals "Made Up" for Motion Picture Work There are beauty hints for unimaJs ns well ns human beings, and a score of make-up devices as well. To the motion-picture camera all the members of the animal kingdom are alike; the only difference is In the personnel of the respective make-up departments and the dressing rooms, observes a writer in the St. Louis Globe-l>emocrat. The dressing rooms for the jungle beasts on the film lot of one company are a hundred closely guarded cages. The make-up man is as different from the manicured attendants to the human players as are his charges. A thick heard hides his bronzed skin. His beauty equipment consists of huge files, fantastic shears, combs with yard-long handles?the sort of tools a beautician might see in a nightmare. He moves from rage to cage, his hands deftly wielding the Instruments. For heaven forbid that a cinema cat or a "movie" monkey should hear the call to "cumera I" without first being primped and curried to the pink of pulchritude. There are more than 500 beasts of all descriptions in the "movie" menagerie. Ilefore the lens is directed toward any group of them they are carefully groomed. Nails are clipped chiefly for the protection of those working in the picture with them. Fur is combed and brushed; everything Is done to make thorn nt_ trnrfivHv forrvlnus or nHrortivPly amiable. 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