Life, 1925-04-30 · page 15 of 42
Life — April 30, 1925 — page 15: what you’re looking at
What you’re looking at
This page contains three satirical pieces about American social attitudes circa early 20th century. **"Our Theatrical Evolution"** mocks how theatrical audiences have become increasingly crude and bold—progressing from "nearly swore" to openly cursing. The satire suggests theater reflects society's moral decline, with the uncle's comment about theater being "demoralizing" capturing conservative disapproval. **"Labor-Saving"** presents a dialogue between working-class characters (Sambo and Mesbe) about avoiding labor, satirizing attitudes toward Black workers and labor-saving excuses. **"The New Idealism"** depicts a waiter declining a tip, claiming gratuities degrade his dignity as an Englishman. The satire targets both affected European pretension and changing American service-industry norms regarding tipping. The sketches collectively satirize evolving American manners and class anxieties.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
Our Theatrical Evolution A TOR: To —_— with him! Avupience: He nearly swore. Actor: To h— with him! Auptence: He might as well say it. Actor: To hell with him! Avupience: They're getting bold. Actor: To hell with the ——ed fool! Aupience: They're getting bolder. Actor: To hell with the damphool! Avptexce: We don’t wonder the theatre is called demoralizing. Acror: To hell with the goddam- phool ! Ox. Cixcte: Art! At last! Gattery: Put the cover on that gar- bage can! Veopucer: It goes! What next? \nv. Mor.: Good advertisers. Critic: The season's biggest hit! fue Pusuic: A good substitute for the prohibited barroom. H.C. Groth. Labor-Saving “CQAMBO, Ah reckon we ought to git ‘dat las’ bale o’ cotton on dis boat "fo" sundown.” “Shuh! Wait a while, big boy. Mebbe de boss be ‘long an’ git mad an’ frow it atus.” “TELL him we don't want a radical block,” Mrs. Coolidge is under- xl to have said to the boy who called for the President’s old hat to take it to the cleaner’s, PREDICAMENT OF THE MAN IN THE ONE- ARM LUNCH WHOSE GOOD ARM WAS ON THE WRONG SIDF. Lady (to gentleman in front of Metropolitan Museum): You've JUST BEEN IN THERE, HAVEN'T You? PERHAPS YOU'D BF ABLE TO TELL ME WHETHER IT'S WORTH WHILE, The New Idealism “AJO, thanks,” said the waiter, return- ing the tip to the puzzled patron, “I can't accept it. I've been reading what that visiting English author said about the degrading American gratuity system and I agree with him.” “But you have a family, I suppose, said the patron, “and they must live. “You are right,” replied the waiter. “I have a family—a wife and nine chil- dren, to be exact.” “Well, how’'ll they manage to get along if you don’t accept tips?” “T haven't the faintest idea, sir; but I do know this: that Englishman is right. Gratuities are degrading and I have no desire to degrade myself. A word of approbation when I have dis- charged my duties well is all I expect. May I hope for that from you, sir?” “Yes, indeed!" said the kind-hearted patron, rising to go. “The dinner was excellent to-night and very well served.” “Thank you,” said the waiter, with no little emotion; “appreciation is what keeps me going.” “T understand,” said the patron. “You may depend on my future compliments, and I'll never tip you again in my life.” “You're the first gentleman I've ever met. Good evening, sir!” The waiter smiled benignly at his departing guest and hummed a happy tune as he cleared the table, Edward Anthony. Solo RN (as Eleanor concludes a picce on the piano): And Eleanor never had a lesson in her life! Mae: It's sweet of her not to put the blame on any one else! comicbooks.com