Manual High School - Thunderbolt Yearbook (Denver, CO)

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MQW , f W i?f2S3f? Fifi? , lf . , ,, , ,zz 5 M-Www Na ,M ,Nw .wsfwv MW, ,M . - it f5Ei?12wH'FfP .fsfazciaiztwif i ' ii.: rr Wu:fZi?:?fQff, A ' W , ,, ,..A , .. 7, , X X. , Z ,Inst II lfvu' NI'!'UlI!l-X to .-lrld .HI l n11r t'nI1lm11.w.' MATHEMATICS THROUGH the open door of a mathematics room there is an all pervading silence broken only by the scratching of pencils, heavy breathing, or the restless shuffle of feet. Bright morning sunshine filters through drawn shades to fall upon puzzled faces, wrinkled brows, and worried looks. Triangles, cir- cles, rectangles and squares appear on the blackboard, to be solved by many different theorems of geometry. A distorted triangle gives evidence of trig- onometry. The poor little triangle is the most mistreated of all rectalenior figures, side A is torn from side D, B equals C, and angle 1 equals 2, but the triangle doesn't mind, its all in a day's work. Long rows of alphabetized figures standing for unknowns greet us in an- other room. Students involved in deep thought labor desperately toward the conclusion and the proof of algebraic equations. Shortcuts, shortcuts, and more shortcuts, The idea of the practical math class is to save time, energy and more time, to also have absolute accuracy, these are the words of the instructor as she goes on to explain the many ad- vantages that have been found in this system. Tired bending heads, drooping shoulders, show the intellectual strain of trying to figure those many strings of dancing figures. In another part of the room someone is groaning, 'Tm three cents off-Oh, why won't these books balancell' What? Commercial Arithmetic class, of course. be-xvlxh-N1 I.oul.'.s Ninlplw! You .lliylfl Bw Nnrprixw1I.'

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. . , . V , , , . , , ll lon Iinnu' l,11ll11 lilll fun Iwflllhu lnflwslvnlrl lullylllslv LANGUAGE A LANGUAGE room fairly breathes a foreign atmosphere with its many colorful fiags, maps, and charts. Students struggle with their Cuentos Contados, Romulus et Remus, and Petits Contes de France. However, their struggles will be rewarded, for with the study of many languages, the customs and geography of distant lands are learned and a line basis for international understanding and good will is formed. Along the wall, well filled book cases and loaded tables evidence added cultural wealth. Blackboards are covered with Latin, French, or Spanish sentences, derivations, or conjugations. Pupils furiously thumb vocabularies and rustle papers to prepare a lesson that should have been studied the night before. One rule of learning is prac- tice and the murmur of voices repeating vocabulary words, phrases, or cor- recting pronunciations floats through the doors. Alert expressions and hushed silence pervades much of the time, for the teachers, having traveled exten- sively, share with students their personal experiences, lending a realistic touch to the romantic posters on the bulletin board. Books are pushed aside in the last few minutes of a class period and a discussion about an enjoyable Roman banquet is started by the Latin students. We smell savory sausages and frying fish. Hard boiled eggs were hard boiled eggs to Romans. Fruit, olives, and cake were enjoyed then as now. Latin a dead language? Why students grow hungry listening to the menu of a feast of two thousand years ago! Sixln-1-11 llolll ul Ihr ,lnl1'ri1'1l.x' Np1'1ll.' NlNlHlNlI

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172. llnlrl Tllrlf .Ynl4', ' MUSIC HE dreamy melody of the Celtic Hymn floats harmoniously through the room as we slip unnoticed into a seat to listen attentively to the music of Tschaikowsky, Cain, Schumann, and other old or modern masters. Beneath the harmony the teacher suddenly detects a discord and smilingly raps the faulty tenor on the head. The pianist then plays the discordant part correctly. After weeks of hard work and correction, the group is ready to display their musical accomplishments in a program before the students or the P.-T. A. Students in this room find music to fit any mood, the stately processional of the Pilgrim's Chorus from Tannehauser, or the stirring tempo of Sousa's lil Capitan march, or again the lilt of The Blue Danube Waltz by Johann Strauss. Slow melodies for the easy going, or fast, lively tunes for the peppier songsters and instrumentalists. Classes change, a group carrying instruments enters. Then, above the din in the halls, most unharmonious sounds arise. The players are tuning up. First, the clarinets wail mournfully, then a sousaphone rumbles forth, while the trumpets blare, accompanied by the squeaking of violins and the tap of drums. The tai-dy bell rings, the conductor raps his baton upon a stand, all is silence until the number is announced. All eyes fasten upon the conductor. The baton descends and the instruments lift in unison to the strains of a slow waltz or a stirring march. l'llLClil:-vu liflrl: of lfrrr-ll Iluul' livfm :ln .lHllll'lIl'4' .iw illmlllf llolfrx uf 7'r4ll1li1ly1 I 5