Central Middle School - Ceejay Yearbook (Kansas City, MO)

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f-X liQIIE!lliiiliillISIiElQl5i!iii!iEElllEiE!li. ! kj Spoolcs GERALDINE GRIFFIN. '25 A chance passerby, upon stopping to drink, At a horrible cry from the next room did shrink, For out of the room came the sound of low moaning, And then very soon came the sound of pained groaning. He started in fear at a wild shriek of Fire , And there fell on his ear strange cries that rose higher. He listened again, Mad Dogl' was the shriek, This then was followed by the shudling of feet. The shufliing ceasedg then again sounds of woe, Then laughter aloud and a voice crying HO , Then came a girl's voice which was coaxing and sweet, Then gruff angry tones calling someone a cheat . Oh where can I be? Are these mad men I hear? His startled eyes glistened and widened in fear. His brow became wrinkled and worried and pale, To the office I must bear this terrible tale. He then heard the bellg the door opened wideg The class came forth laughing from those sounds inside, An Expression class, chuckling in great high glee Had been working on Tone Drills -don't you see? The Birds' Christmas Caroli' On Saturday night, Dec. 13, 1924, The Birds' Christmas Carol was presented as the Third Annual Fall Play of Central Junior High. The story, by Kate Douglas Wiggin, is perhaps the best known Christmas story ever written, and its charm was enhanced through the very able dramatic presentation by the Expression department. The role of Carol Bird, the child who came to earth trailing clouds of glory and who left everyone better for her sweet influence, was played by Mary L. Cook-and it would be impossible to imagine a lovelier Carol. Katherine Burnette, as Mrs. Ruggles, the hustling, bustling mother of the Ruggleses in the Rear, also won much applause as the character lead. The Ruggles children, from Sarah Maude, the oldest, and Peter, the tallest, down to Larry, the baby of the family, were fascinating character studies,- each one a star in his or her interpretation. And the mad rush in getting ready for Carol Bird's Christmas dinner party reminded us all of every-day movies in our own homes, when the rush for school or parties is at its height. The staging was very attractive, particularly the closing scene when down a moon- lit path the Angel of the Crutches bears away Carol's little wooden helper to the land where crutches are no longer needed. The beautiful basket of Bowers which were presented by the cast to Miss Abney and Miss Bisbee over the footlights expressed the appreciation of the entire audience to the directors for their splendid and artistic work. Iuweaauma::nszesgmrsacszweaiisz-lFs:sls::r:zara:I.2usa?1ls:mealr:2qi::1ll:s!i:ars::z::s!sa2!i::a!:sl1tii:islisrczzzsssiisialsiliizlz. Page Ninely

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...., , U ' ' ' we -- 2 vi . ---- .. . .. I IZ: a.llm.um.-mlmliisqldim lflliitallnallieal lisillxellliilllI:ll.SWIMlnE!i.SiHIlIai1lE2in-il KJ flhe eMusic Qf the Ages RUTH IGARRICR. '25 By tracing the line of ancestry it is found the beginning of the human race was near China in Asia. 2,300 years before the Christ, Music was an important feature in the Chinese Government. The Mandarines of Music ranked higher than those of any other Science. The Chinese had eight sound giving bodies, Stone, Metal, Silk, Bamboo, VVood, Skin, Gourd and Clay. Chinese instruments are on the same principle as ours, but the tone is shrill and piercing. A Chinese singer makes his voice as high and shrill as possible also, keeping the mouth nearly closed. Very similar to the Chinese are the Japanese instruments, so much so that they might be called Utwin nations . To the contrary, the Ilindoo Music has a character and rhythm all its own. The art of song was held in high esteem in their courts and religious ceremonies. Probably this was the reason why music did not develop more with the India men. It was held apart by the priests and surrounded with Holy Laws until to hear it was considered a sacrilege. However, one who managed to learn music, was at length admitted to the priestly Caste. The Archeologists digging in buried cities found many evidences of the progress of music, in Babylon especially. The instruments, chiefly harps of different tones and sizes, were played by plueking the strings. Music was held in such respect in those days that it is said that one ruler spared the lives of all his captives who were musicians. The Hebrews devoted their energies entirely to music and poetry, sculpture and art being closed to them. They were very religious and made Psalms and chants, which were probably accompanied on the lyre or harp. The Psalms of David and Solomon are preserved for use in the Bible, but other than that, no traces of the sacred Chants have ever been found. To the Greek, however, are attributed the scales and base of modern music. After the fall of Greece, these were passed on to the Romans, who by utilizing them soon bc- came the center of the universe. These in turn were passed on to the Gauls and then to the English, where wandering minstrels went around the country, singing of the brave deeds of men now gone. The Italians are the ones who brought music up to the present day. Perhaps it was because they made such a careful study of it. At one place where there is a famous echo, they would sing and criticize themselves. Music grew rapidly after that and the new methods spread through Germany and other countries until it reached us. The peasants had their music in the folk songs. These expressed in a form, their life. The gay, swirling happy songs of Spain: Italy with her quieter strains of moonlit romance. The Swiss songs happy in their outdoor freedom and yodeling as they herd their goats. The solemn dignified songs of the Polish nation. A minor strain, plaintive and subdued for the Russian people. Then the gay, lilting strains of the Irish and the more rugged Scotch songs. I suppose because we are such a new nation, we have no folk music, but there is the plaintive negro melody, the Indian music, with its weird ceremonial chants, floating up from the misty forest. Jazz is as near folk music as we have. The queer sounds of the saxophone to represent the queer things we Americans are said to do. The hurrying rhythm to represent our spirit, and the care free strains of the dance to represent the attitude some hold toward life. Then we have our patriotic marches, stirring us to be up and going. The republic spirit which makes us leaders in the world. With these, we have a fitting representative. rl I U ll 4 I I ,, A-I -- :-r''-1's'I -sr'''a--wis-:ssanE:Ira:ugens:IWe.aasnzaeeasu:smezzzsa::s.:::as.IisLanaszazsscasszzsaiaaezzaa R1 ai .....mn......4m .4 '- --- I --- ' nal .' 2 M- mgf High: .,.n if

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IiFEIIEI!HilliilliiiliiEl?5liE!iQ3!iHIllEIE!liiSi! I KJ The Charm School The Charm School, a fascinating comedy in three acts by Alice Duer Miller and Robert Milton, was presented on Thursday and Friday nights, April 16 and 17, as the Fifth Annual Play of the Central Junior High School. The story of The Charm School relates the adventures of a handsome young automobile salesman scarcely out of his 'teens who inherits a girls' boarding school from a maiden aunt. He insists on running it himself, according to his own ideas, chief of which is that the young girl of today should be taught charm. Cecil Rogers played the part of Austin Bevans, the young salesman with ideas, very effectively. Jeanette Metzger and Madelon Wallis shared honors in the role of Elise, the most charming of the school girls. Frances Rush and Belle Shanholtzer as Sally, won not only the hearts of the delightful twins, Jim and Tim, but the hearts of a large audience as well. Character roles were convincingly played by Robert Bohannon, Ora Mae McFarland and Stella Mae Hensen. The entire cast was well chosen, and it presented The Charm School in a most charming way, convincing everyone that Charm is the greatest thing in the world. Miss Abney and Miss Bisbee directed the play. Greek and Roman Art DOROTI-IEA HATFIELD, '25 V Painting never grew to the importance in Greece that sculpture attained, but it assumed two characteristic forms, besides the painting of pictures. These were the decoration of vases and the coloring of statues. Great numbers of vases have been found, mostly in tombs, and these give us a very clear idea of what the vase painting was. Some of the figures on the earliest, crudest vases are simply outlines of men and animals roughly drawn, showing little lifelikeness. Later the art grew, some vases which are decorated with pictures representing stories from mythology are exquisite. It is only comparatively recently that it has been known that the Greeks used to color their statues. From most of the recovered sculpture the coloring has worn offg this the finders have always taken for granted that white was the original color. It was not the common practice to use a flesh color on the statues, though rare examples have been found, but the hair, lips, and clothing were painted. Care was not always taken to make the colors lifelikeg horses were sometimes made blue and lions red. The Romans really had no art of painting that amounted to anything. They copied the Greeks' mural decorations, and produced some feeble efforts of their own, vivid in color, but with small artistic value. When the buried city of Pompeii was excavated many of these wall paintings were found, but they did not change the estimate already placed on Roman art. vi, --'mini'-3 ym u, . th Q t, ill' i ' I , Q lv .' , P . I ,az-.i wi mi Y f .N It f 5 ,f ilu ,ummld IVELI!!EHEZZIRZBLIEEE!!EiIiibfiilgllliiliiIl5lII?3IlElI?il!!iiESI!QiE!llES!iI2IEEIiHiSZEIIIHIISIWEEKSlSiII?Ell3iElCiEIii!!IIEI Page Ninctywne