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The Itching Palm, A Study of the Habit of Tipping in America, a non-fiction book by William R. Scott |
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Chapter 9. Tipping And The Stage |
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_ CHAPTER IX. TIPPING AND THE STAGE An almost invariable laugh-producer on the stage or in moving pictures is a scene in which a bell-boy or other servitor executes the customary maneuvers for obtaining a tip. Play producers know that the laugh can be evoked and any hotel scene is certain to include this bit of business. In seeking the explanation of the humor in such a scene, the answer will be found to be cynicism and the peculiar glee that people feel in observing others in disagreeable situations.
The slap-stick variety of comedy is based upon this trait in human nature. If a man is kicked down three flights of stairs, the spectator howls with delight. And, particularly, if a policeman is worsted in an encounter, the merriment is frenzied. Our Sunday comic papers depend almost exclusively upon violence for their humor. It is the final spanking the Katzenjammer Kids receive that brings the laugh. The climax to many other comics--notably Mutt and Jeff--is violence. Hence, a tipping scene on the stage or in moving pictures creates a laugh because the public sees the tip-giver as a victim. He usually exaggerates his role by making the giving of the tip a painful act to himself, and the whole scene proves the contention in this discussion, namely, that tipping is wrong. If the spectators did not perceive the bell-boy as a bandit, and the hotel guest as a victim, no laugh would result. They have been in similar situations and know the feelings of the victim. Sometimes stage managers vary the incident so that the laugh is on the bell-boy, by having the guest refrain from tipping. Then the spectators laugh at the bell-boy's disappointment--again finding humor in misfortune.
With the development of moving pictures the utilization of this kind of humor has widened immeasurably. And the point to be considered here is the influence of such visualization of tipping upon the spread of the custom. Undoubtedly tipping is increased by moving pictures and by stage representation. The public is made to feel that, despite the inherent wrong in the custom, it must be followed, or they will experience the unpleasantness at which they have just laughed. Another example of the itching palm which may be depended upon to produce a laugh is a scene in which a policeman is handed a bill for neglecting his duty in some respect. A well-to-do man will cross the law in some manner and in the play he winks an eye, the policeman turns his back with his palm extended, a bill is slipped into it, and he departs to the sound of the spectators' laugh. The effect of these scenes upon the public is dual. It either confirms their impression that all servants or officers are "approachable," or it creates among the unsophisticated the idea that tipping or graft is the customary and proper method of dealing with such classes of citizens. The worldly wise gain the first impression, and the spread of the tipping custom is assured by the second impression. Moving pictures have extended this influence to every nook and corner of the country. The result is that persons who live in the smaller and more democratic communities are educated to the big city development of the itching palm. And the effect upon children and young people is pernicious in the extreme.
A boy who sees a tipping scene in a moving picture gains the impression that it is smart to exact such tribute. Or he gains the impression that he has been overlooking a rich vein of easy remuneration. The photo-play directors, either consciously or unconsciously, are doing great damage to democratic ideals by featuring such scenes. It will not be surprising if, among the other evils fostered by moving pictures, the next generation displays a marked increase in the grafting propensity. The young people are being educated to think it natural. Thus, aside from the human impulses of pride and avarice, it is apparent that literature and the stage are strengthening the custom of tipping by their representations of it as humorous. People will not combat anything at which they laugh. The itching palm has two doughty champions in the books on etiquette and the theaters. Actors, it would seem, have enough contact with the itching palm among stage hands to make them ardent advocates of reform, to say nothing of their contact with it in hotels. On the vaudeville stage especially the carpenter, the electrician, the property man and their co-workers must be "seen" with regular and generous donations to insure a smooth act. In many theaters the stage hands have a definite scale of tips for regular duties that they perform--and for which the management also pays them. _ |
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