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Page 41 text:
Faces I T IS interesting to study faces on a street car in the late afternoon. The faces are always hot and tired looking. Things may not have gone right at the office; if not, it can always be told by the expression on the face. If there is a young, happy, contented look on a face, it is evident that everything has gone all right. It is most interesting because there are so many different expressions, and so very many different faces. There are young, eager, and inexperienced faces; old, tired and careworn faces, and there are also middleaged, ex- perienced faces. Each face is just a little more interesting than the one before it. Audrey Murphy, ’41. IVhat do You See in a Picture f “When you look at a picture, what do you see?” You seem, to say as you look at me, “ This sets me thinking of my many friends Whose pictures I have almost without end. These images serve to make me gay When the load grows heavy and the days grow gray. I look behind the face to see The kind deeds they did for me. Thus, when I look at a picture I see not only the face But the person who bears it, the time and place That I knew him, too. This is what I see, but what do you?” Frances Leffew, ’37. 33
Page 40 text:
doorway and lightly toss the four of them into your seat. I cannot guarantee that they will land in a neat pile or without noise on the top of the desk, but that has nothing to do with the subject. It is just a matter of one’s choice. Next, button your coat securely, adjust your muffler, assume a dignified and important air, and w r alk loudly down the steps. I may suggest stopping and pondering thoughtfully at the bulletin board a bit and then walking out the front door. The advantage in this is that every one will think you don’t have a class, for if you did, you wouldn’t have nerve enough to use the front entrance. The only catch is, to be certain that one certain teacher doesn’t see you; otherwise this method is flawless. Once outside you can do as you please. There is no known cure for this mania of “cutting classes,” unless it is that little slip of paper issued every June 10. I think they call it a diploma or something. Of course, once you acquire that you have no use for this method of procedure. Speaking of my colleagues, I once knew a certain J M who was practically a “pro” in the business. Naturally there were some who hadn’t acquired the correct technique. Now, take me for example. I am considered one of the best, if not the best, “class cutter” in the school, and I am positive that if every reader will carefully study my method, in no less than ten days he will acquire “Why, yes, Mr. Eckman. Me? I had no intention of skipping English class whatsoever. I was just reading the bulletin board. Well, isn’t that odd? My watch must have stopped. You were going up to English class too?” Well .... I’ll be! Dawn Purvis Lyons, ’37. 32
Page 42 text:
Jazz Music H OW’M I doin’ Hey! Hey!” I daresay that there are not two people out of every ten who are not familiar with this quotation and who do not know from whom I am quoting. Can we say then that jazz has such a wide appeal that ninety-five per cent of the American people are very familiar with the more popular jazz compositions (if we may term them such)? Sometimes we hear people say, ‘‘I love jazz, it simply thrills me through and through.” On the other hand we sometimes hear this: “Jazz is the root of all evil, and it is leading the young people astray and wrecking their lives.” Well, what is jazz and why is there so much controversy about it? Nothing under the sun that man has made is really perfect, so if jazz has some qualities that are not admirable, it is no more than we can expect. One night as I was sitting in church trying to be interested and especially to keep from falling asleep, the preacher made this profound statement, “Jazz is a colossal travesty.” I could hardly control myself until I could get home to a dictionary to see what jazz really is. I found that jazz is a huge imitation. How could this be so? It seems to me so unique in form that it should be set apart from other forms of music. The main feature in jazz is the wonderful rhythm. This, together with the use of syncopa- tion, or the transferring of the strong accent to the weaker accent, and also harmony (although some people think that there is no harmony in jazz), make up the essential elements. In classical music the old masters insisted on accenting certain notes, but not even the choicest sonata can boast of the ihythm found in jazz. In jazz, however, those forces which nature has given us that make us want to pat our feet and sway our bodies give full swing to their inclinations. So, really, jazz in one sense is an improvement over classical music. When one is asked to play a classical number, and if one knows that he is not able to do justice to that piece, one does not usually try to play it. However, if that same person were asked to play a jazz piece, he would certainly try it. Now there are just as few people who can play jazz as there are who can play classical music. When one hears girls continually trying to play jazz, making the most terrible discords, haven’t you heard 34
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