Roosevelt High School - Rough Rider Yearbook (Washington, DC)

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Posing for an hour would make you hazy, tool retorts the model to her sketch class. rough talent gefs a polishing There is an egg, which, being fertilized and warmed, is hatched. lt now eats and eats and is a caterpillar. It still leads a restricted life, its mind can- not comprehend what lies out of the range of its feelers. After hardening into a chrysalis, its little haven bursts, it emerges, stretches its cramped wings, and flies. It now goes far beyond its former realm, munch- ing on many strange new delicacies. Now it is ready to make its contribution to the world. Just so, the pupil in iunior high is given a taste, but only a taste, of the sweets of life. He takes only what is in his immediate grasp, still restricted by his im- maturity, he paints with the bright reds so typical of the beginner, he is the originator of the slightly oft- chord blare of the trumpet at the semester concert. In his own Chrysalis, however, the student is gradu- I8 ally developing, and one day he breaks his immature bonds and emerges. ln high school his range of comprehension is greater. ln the art room he paints in many media, creates with lines, or in three dimension. ln music he joins the band, chorus, or orchestra, and there he becomes familiar with all types of music-pops, class- ical, folk, and spiritual. He now appreciates beautiful colors and harmonious sounds. Everything suddenly becomes vividly alive-the wonders of a Rembrandt, the rich tones of a Negro spiritual, the inspiring quality of a powerful symphony. Endeavor doesn't stop with attainment, there is always a higher goal. And toward this refinement and delicacy the student, the beginner, everyone, can con- tinually work. All together again now. Miss Thompson wonders whether she'll ever hear beautiful music again. IRVING l. SCHENKER EMMA LOUISE THOMPSON Cadet Band Chorus Orchestra Music Appreciation Concert Band fr s k,,..-nov

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EDGAR F. RUSSELL Mechanical Drawing This is the business office. We were working the lhird period shifl ou! of Roosevell. My parl- ners are Becky Konlaxis, Wilma Taylor, Louise Meyerovilch, and Elsa Sugarman. My ncme's McCorkle, l'm the wheel. f f-Q-W ,- ' - J , v lg. , ,. ,, ,, .L 5 ---4. --4 Xa ,Q Le 'vsru--...X par Q. if Arr Blueprints for ,he home of fomorrow are rolling out under the walchful eyes of Dick West, Buddy Algie, and Richard A Lee. 3 Nl q f ii 4 fr ,jf f , . ff, xl' ff 4 ' f ,I , .4 wt, V -X, ff ,V 1. , o 6 1 ,- .-uv' consfanf pradice furns precise skills

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CHORUS First row: Gloria Moore, Sarah West, Clementine Car- ter, Marcia Rendleman, Judy Allard, Accompanist Robert Holder, Paulette Leibowitz, Ann Davis, Sondra Jo Baker, Sandra Fagans, Elreta Edwards. Second row: Lillian Spigel, Nancy Hairston, Judye Canter, Shirley Twyman, Marthus Smith, Robert Albert, James Lan- caster, Hilton Clark, Edith Revetta, Sandra Brooks, Millie Page, Doris Joyner, Frances Fulcher. Third row: Bonnie Benson, Debbie Kasachkofl, Deloris Twitty, Lisa Brisker, Alonzo Perritt, Walter Sloane, William Scruggs, Luther Walker, John Garrison, Evelyn Jackson, Arnita Thurston, Barbara Wolozin, Patsy Martin. Fourth row: Judy Wilkinson, Margaret Spencer, Yvonne Wilkinson, Adri- enne DeSouza, Bert Brenner, Harry Johnson, Stephen Newman, Arthur Bauman, Aiia Celtnieks, Christine Strong, Dorilyn Merri- wether, Susan Jones. Fifth row: Marion Carter, Wanda Moore, Dzintra Spurins, Ruta Krivickas, Carol Rodefier, Richard Weiss- burg, Richard Merelman, Seymour Shuster, Judy Beck, Nona Wil- son, Jane Robinson, Barbara Sigel, Betty Adams. CONCERT BAND Clarinets: Paul Marenberg, Guido Monti, Aus- tin Harris, Burma-Jo Adams, Leslie Rose, Richard Merelman, trumpets: Vincent Taylor, John Garrison, Dan Tobin, Alan Camp- bell, pianists: Robert Holder, Aiia Celtnieks, trombones: Thomas Holland, George Simmons, horns: Daniel Ross, Joe Roberts, saxo- phones: Dennis Werber, Bela Nemeth-Baroth, Sidney Peoples, Curtis Berry, Ford Gibson, William Hinson, Mr. Schenker, Direc- tor, French horn: Wendy Stupka, percussion: Bill Scruggs, Paul Frank, John Wood, James Barnes, Dean Mantzuranis, Maurice Cliptel. K 5, t Art is not all originality. ln fact, Wing Eng shows that tracing can be as importa I1 t A as imagination