Central High School - Brecky Yearbook (Washington, DC)

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Reach in, an' git him by the tail. He inserted his hand. A vicious hiss sounded as he quickly withdrew his arm. He bit me, maw! But I'll git 'im. He tried again, with like consequences. Sit down for awhile, son, and whittle some more. He returned to his seat. Five minutes he carved. Maw, I feel bad. An' look how big my arm is! Suddenly the knife clattered to the floor. He slumped forward in his chair. Dead. His mother dragged him to a cot in the other room, where she covered him over. She took the map, went into the field, and dug up the treasure of twelve spiders. The chicken she noted with some surprise. She returned to the house and put the spiders and chicken into a box. There was a knock at the door. She closed the bedroom door, went into the kitchen, and hastily put the dishes into a kettle. Come in. The door opened. The sheriff and two men entered. Howdy, Miz Clemens. Where's Harold? Hello, sheriff. I'm jist cleanin' up. Harold ain't come in yet. Wal, drawled the sheriff with his thumbs tucked under his belt, jus' thought it'd relieve yuh if I dropped in and tole yuh we caught the fellow wot did the killin'. She started, dropping a dish from her hand. Smiling, the sheriff beckoned to his two com- panions, and they all withdrew. Immediately she burst into tears, then went to the bedroom, where she knelt beside her son and cried till exhausted. Dragging herself into the kitchen, she took down the box and opened the lid. The ugly features of a copperhead sprang forth. She uttered a stifled cry and thrust her hand amongst the coils of the serpent's body. aim BETTY BOND '40 Hove you ever thought, On a rainy day, What a diference there is in rains! S o1ne rains are dark and gloomy, Others are soft and gray. Cold autumn rains are saddeningg Warm April showers are gay. Can't you tell when a rain is friendly! I can, right away. Tun Rmvrxw l13l

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ive Denies gfe Grave PAUL MCGILL '40 IS slim, frail body shook with gasping con- vulsions, as a hacking cough erupted from his thin-lipped mouth. He spat violently, a horrible mixture of tobacco juice, saliva, and blood, and swore at the cough' even while he bit from a plug of tobacco. His foul clothes hung loosely from his gaunt body. From within, his tired mother called to him. Come and get your supper, son. All right, maw. Maw, what we havin' to- night ? Mush, son, good fried mush. Gosh, maw, we had mush yesterday, and mush the day before, and- I know, son., but when you ain't got no money-- Her voice trailed off to a whisper. And with a son twenty-eight years old with no sense, not even the brains of an eight-year-old, what else is there ? She sobbed. Wash up good, son. T here's soap and a towel at the pump stand. A few minutes later he came in. Where yuh been today, son ? Huh? Oh, I been out in the field. Did you have a good time? What'd yuh do ? I had a good time, maw. I was ketchin' spiders. You know, the big yellow and black ones? I got a whole bag full and buried 'em. Were yuh down by the road ? Only for a little while, maw. She waited, before she spoke again, until he had finished eating and was leaningeback com- fortably in his chair. VVhat happened down at the road, son P Nothin'. A lady an' man stopped and asked how to git to Castleville. Gee, maw, she was pretty ! Is that all P Yes, maw, The sheriff was here today, son. Said a woman had been attacked and knocked uncon- lcious, and a man stabbed to death. Gee, maw, that's too bad. She handed him a piece of wood. Carve something for me, son. Tx: RIYIIW 11121 ,A I . ,Q -5.1 , A 13,9 ' V 4' 3 bvib - , .1 'P Q-,1I.g,417':Q,y-F, ',: t . - 'ii ,JI 'H' '. Ik' .1- .,bl,?.,,.Jf5.. Us r . - .'-2 .- 4- . . ., .4 i Q 11, ',-5QIg?.31',..ue: ,all wg: :fig Y-5,51-.',f5g, in -. G 5' I .71 0 . ' ' 1 'up L. 1 1416. ',f uf. 3 x 2,3- fax. 1 . , vifkfhlil-, lrllgui-5, 1.ZJSP'S ,ill if 129.7 J f f4k'ft' if t' . fiifx jjf 453 - L' mcl. f L -.U J., 3 ,Y 252 'XL' 1--.r :lf-QA AI.-,5,,1' .3,HgX A.-H 1. .L .gig 1. gg.. ' , tu IFJ: ,gf L 5 ' - , - pf, Vg .:..s aw-Q.-Q. 1 :.4 -ft .- t at st' -V ti 1-. lf' ii-if P, ' -ff'1':' , rf? ' -1-::ii LiIy 'ef f e f.-'fi Y:w3fi'fi'f3:f lif7: ,graft ..'- 11' ' 11' -A i 'fi' s.- f., --W' - , 4 ' .,,,e is T 1 . it, Q., i,,,f.5:a5,,z rf 155 F - ?,,n..:. 2 t.. SQA ,. I I. . A, vw . V,1,,,3 .,, ,' K1 I fd3f3,5?.fzf3ff3! f 5' nf 3'.3ifi3'F Mil ' :dvr--,L-i,,4' Lag! H 5 K i.,,.vii'f5.ti,,,,1,fi,., . ' .57-fi? 5.3 Va' , ab! v ,, 1l15'T'Z11i 21: 5 12e5iiir51 ' i is a- wa: :hli!LgC!f,,?2th'5J .' : gg, Q74 3 V jq , ' if. ' pf - 5 kfliey' ' A ' W 5 4 ' 1- '- ,ef15t,f5' . slit ? .-t1sifa?'55'Tf. -iff, 2 ,g t 4' f...g 1-'Y' 'raft ef-642 .. -1 1- Je -W - A -, H ' 2 15? lg, 3 ,.',t5'1r ' fiylfi- ..-1- .1 414-5 , R-,fi A l4,'7,,f.w we 5.355 ' 574 ff, U. VL, X - Y . .. ' I-a'-'-'A-'M ,,.:a-fs...--i-f gf? - C ' - fi .rw-. 1 - 5,9 e,a1rbs..+.,1gi-z.53g,71- - . e f . N w- 'i' 1717 ff. ' 5 ' ii ' ' , fs -at-'Q f 'erran t . ,'.'Dxis.m-,X , Tl - iibik ' 4 ' ,f. 143 iw 5, .f auf., 5. ,Q A, 1 1,-t . ff 5' . prep' :ff f inf' if . .1- ,- L-Q ff' 9 W' Sa' f iiitif 4- sifaf- 1 e'5.E2,5f- 'iii5 ,..'- 1' 4 V Aw Ure t,: ' '. :'- 51 .Q .9 '. -ff .-f -: --- 1 -', ,,1 Egg. .Hifi mrs, gf' ' fit: A, , ff ' .jeff -fu, tx ' ' :I ., 'Q-,-. 19-yi fi ' 'I f - f g. 'f 'A i- ,' 1 ' e 11 --Q Pixy- f-ren' n '-at 4 . 1.1:--gg Q vt stwglttf Q' ff- Ma'-453. mme .45 ff . , 1' .1 1 -Y I f 11' ' sux - -f ' Z-fri if at ' r V- ' es 'i:s:a4.,f'.. sift. wrzr. fttthg-1? :aus t 'gifs-ea wi-' A Q . ',,g'i'Fff1:--.f, s f Qi-vs.t1:i:f2:f ' 4 ' . J ' 3.- ,S ,.. 1-L c,.' rl?'!'l4?N?fs ' 7-Q 'kfiil' ', '!l 'qlajqig .Q 'fi - ,-:Q M-'Erni e' .6531-bye'-. 'iff I'gY'2BffT'?' . .' f - aff -- 'aa wr .tw w :H KJQ if 3-V 4, -af' ,af 2: i, ' U, ,- X., 5 1,5 '-Huis?-, K in 4 KN f H Q J,'i'3l5'f 1.-.w A3 '- :c' , .' VTQIIZY u.,-fljf. N LW f elseif-Lane' this8Siifzi5.?ts'?.Qsea.34sEi2sa.'SistfZfEfafass?siLrat' He pulled forth his knife and began to Whittle Your father left that knife for yuh, many years ago, before he died. What's them stains on the blade, son ? Maw, yuh won't tell nobody, will yuh, maw? I didn't mean to do it. I caught one of Tishby's chickens, an' he pecked me, an' then I stuck him, rnaw. I didn't mean to do it. I buried him in the field. Look, maw, here's a map I drew. This is my treasure. When I die, will yuh bury my treasure with me? Huh, maw ? Yes, son. She went to the cupboard and withdrew a small box pierced with several small holes. Here, son, here's a. big rat for you. Ee sprang from his chair with a squeal of de- lig t.

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wing 's Khbzq Ed Solomon Jack Smith Robin Gould Jackie French WING is the music of today-the music of youth! Classical music was all right for the Eighteenth Century, as it reflected the emotion of its day, but it isn't typical of the Twentieth Century. The difference between classical music and the swing music is the differ- ence between such a gallant sailing vessel as The Flying Cloud and the modern, streamlined Queen Mary. They are as different as Anthony Adverse and S. S. Van Dine's fast-moving mystery stories. Swing, to be appreciated, should be carefully listened to, and studied. While it is primarily dance music, and excellent dance music at that, its wonderful variations and the technical prowess exhibited by the performers should not be lost while you recklessly throw a girl over your shoulder or lose all sense of time and place as you frantically clap your hands in time with the rhythm. Incidentally, when Glen Miller was on the stage of the Capitol Theater, a couple of months back, he was forced to stop playing his marvelous com- position, In The Mood, because the noise made by the cats in the audience disturbed the mem- bers of his band so much that they couldn't play. These show-offs didn't hear the phenomenal dynamics of Mr. Miller's arrangement and kept the people who appreciated the music from hear- ing it. These squares are the ones who should be made to suffer the monotony of a long sym- phony. There is, however, an increasing number of interested individuals who are striving to es- tablish real swing in its deserved position. On the other hand, swing brings to these people some of the better classical pieces done up in the way they like to hear them. My Reverie and Our Looe as classics were little known, but many people became acquainted with these works for THE Rnvnzw i141 the first time when they heard the swing version. The argument is advanced by some people that swing is monotonous, but by this statement they show their lack of knowledge and appreciation of this type of music. Compare Benny Goodman's record, I Let a Song Go Out of My Heart, with his Iurnpin' At The Woodside, or Charlie Barnet's record, Cherokee with his arrangement of Love Grows on a White Oak Tree. No similarity may be found in any of these. A study of the styles of different bands will also bring out this variety. Another advantage of swing is the fact that the artist has a chance to express his own emotions through improvisation. To be good in this Field the musician must have a thorough foundation in classical music as well as in swing. He must bc able to play classical music as well as his selected type. Swing music is difficult to play. With the new rhythm has developed a new type of beat. For years, the notes have been hit on the down-beatg now, the up-beat is used. The technical ability required is tremendous. An entirely different technique is imperative in order to give the ar- rangements the proper deliverance. Furthermore, swing has a great deal of variation. Keys are changed in the middle of a piece. Compositions are shorter, and there is more syncopation. Summing this all up, progress has created a desire to get across new ideas in music. Con- sequently, a new style of conveying these ideas has been developed. Swing has a place in the field of music just as the waltz has. It is the newest of all music, and so it isn't so well known to those who were brought up with classical music. It is our belief that, if these persons would listen to swing without prejudice, they would come to the conclusion that it is grand music.