North Quincy High School - Manet Yearbook (North Quincy, MA)

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MAN ET 9 aml your moral stamina is again at low ebb, try quoting excerpts fro1n famous poems. or quotations. This one is very good o11 occasion: l am the master of 1ny fate l a1n the captain of 1ny soulf' or here is another if the tirst does 11ot fulfill expectations : lf at first you don 't succeed, try, try again. If this doesn't create the response that you expected a11d you havent got a ride by this time you had better quit. You 're just nor built for a hitch-hiker. Try walking, it's so benc- ticial to the leg muscles. An all-around sport. Ihr Beautiful Qlaurrnz nf Blnrag No o11e has t1'aveled wisely who has not seen the Beautiful Caverns of Lurayf' One does 11ot fully realize how true this state111e11t is, until he has actually viewed the splendor of tl1e cav- crns. The Luray Caverns are formed under a large hill in Page Valley, Virginia. This hill is- about 1,200 feet above sea level and 200 feet above the surrounding valley. Since pioneer ti111es a s111all cave was known to be located in the hill. Finally, in the year 1878, Andrew Campbell and Benton Stebbins, of Luray, became convinced, after studying the structure of this cave, which was then known as iiRlli:f11E'1' 's Cave, that a larger cave might exist under the hill. After repeated investigations had been made, a small ope11i11g was found in the ground under so111e bushes where cool air 0211116 through the cracks in the rocks. This hole was 111ade larger until one of the me11 could be lowered i11to it. Mr. Andrew Campbell was the first 111311 to view the wondrous splendor of the eaves. In the following years, many explorations were carried on until it was discovered that the caverns covered more than three 111iles of underground territory. The caverns consist of many rooms, and in later years a system of lights has been installed to bring added beauty to tl1e calcite formations. As I made lily way through the web-like pathways, I saw unbelievable beauty all about me and, at every turn, a new shape presented itself. I could not help being impressed by the grandeur of the glittering stalactites a11d the grotesque stalagmites which make up the caverns. Superb, grand, fantastic, magnificent, daz- zling, weird, and exquisite are some of the words which rise to the lips of the person who views, with awe, the amazing formations. The Ballroom, the Dream Lake, the Sunken City, Flllfi the Silver Sea are only a few of the many scenes that are found in the caves. It has been said, Let the marvels of the eaves be painted on tl1e walls of memory, You can never forget them, nor would you if you could. The visitor to the eaverns will, always re111e111ber his glorious trip underground. I know that I always shall. Glnnrrrning the nrlifa Zllnrvmnat lhvairv Into view rose the elevator stage, and Erno Rapee. amid a brilliant glare of light, took baton in hand. As the brilliancy dimmed, the audience ot' the Radio Vity Music Hall became strangely silent, and, as it' by a magic touch, the orchestra struck a solitary melancholy 11ote. On this the volume increased, and the theme built. and then,-the magnifievnt hgolden con- tour' curtain bega11 to rise. From that mo- ment 011 l had but one secret desire, and that- to look from the stage to the audience. As there we1'e several llli'0l'lIl2lii0Il booths in Rockefeller Center, they became 1ny first ob- ject. From one information desk to another I went, asking if there was any possibility ol' u vis ting the backstage sections of the Music llall. I was disappointed by everyone except one encouraging man who suggested trying the Music Hall itself. Before l had passed through one door it was declared impossible. My last ray ot' hope by which to acquire lllj' purpose was by letter. Still reinaining in Rockefeller f'enter, I went to the post ottice in the R. V. A. Building and wrote, to the best of lllj' ability, a letter to the Music Hall, which, strange as it may seem, was but next door. To further my chance of ad- mittance il enclosed a self-addressed stamped envelope. Two weeks later, to my utmost delight, I

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8 MANET night before that he had slept soundly,till then. He stretched and walked forlornly away. His fur was plastered to his body and his long, curly ears were tangled and soaked. He held his tail low and it wasn't wagging as it usually was. After he had walked along for a while, an old man came along, carrying a large black umbrella and wearing an overcoat all buttoned up around his neck. He saw poor, wretched- looking Freckles and stopped to pat l1is head. As he did so he noticed the name on his collar. lt said: Free-kles, 95 Dover St.. NVeyn1outh, Katherine A. Burns. The old man looked up. NVeymouth was a good twelve miles from there. He took itlitrh 9' Freckles by the collar and led him to l1is home. The old man, Mr. Baker, was very kind and gave Freckles a bed by the stove and a good meal. That night the Lost and Found Column said: Lost-A Spaniel dog. Whit.e with chocolate patches. Answers to 11211119 of Freckles. Finder please call Vifey. 0432. Mr. Baker immediately called Mr. Burns and told him he had the dog. He put the phone down to Freckles' ear, who wagged his tail and barked. A litt.le while later a step on the stairs was heard and Freckles leaped at the door. ln came Katherine and her father. You can guess the rest. You may be sure Freckles never ran away again. itliking In the last few years hitch-hiking has at- tained the heights of the national institution. Advantageous spots on the highway are crowd- ed by prospective riders. It is possible to stand on the side of the road and by some beseeching indication obtain a ride-gratis. VVhen a beginner attempts to acquire trans- portation in this manner, it is indeed a spec- tacle to evoke the mirth and ridicule of one who is versed in the art of the hitch-hike. The awkward movement of the thumb for instance. Can it be that he really believes that he will be offered a ride in this blundering manner 'Z Does he not realize there is just the right angle to cocking the thumb, from which no competent hitch-hiker deviates? Does he not know a particular bodily position must be assumed? In view of this woeful lack of preparation, I feel that it is my duty to convey the technique necessary to develop one into an accomplished member of the fraternity. To begin with, every person is a potential hitch-hiker. It is not a difficult art. to acquireg even the person who cocks his thumb wrong is not necessarily a failure if he is willing and mentally able. Let us say at present he lacks that touch of finesse that denotes the accom- plished master. VVhen you are ready to present your petition for free transportation, the first step is to select an advantageous position on the side of the road. An air of calm insouciance should en- velop you as a cloak. You should' then assume a position that will contain just the right amount of psychological persuasion. Wlieii the car approaches, wiggle the thumb slightly and suggestively in the universally approved man- ner. .Never, never put the thumb behind the ear and Wave gaily. It just isn't done. Most hikers prefer to adopt the fatalistic attitude- either the car stops or it doesnt. But no, it 's all in the thumb. The first car is liable to pass you by Csome cars have a nasty habit of doing this, but you'll get used to itj, even the second may, and the third, and the fourth and so 011 ad infinitum. IVhen forty or fifty cars have passed you by. itfs time to stop tomfoolery. This means busi- ness. Now you've got to put your whole soul into the task. XVhen the next car comes into view, and you know it is going the Way of all the rest Cyou know it by your manly intuitionj, it 's the time to express yourself. Gaze at the operator, right in his eyes, sum- mon all your feeling to the fore, send a glance that will blast him to the very roots of his soul, inexpressible pathos mirrored in reproach- ful eyes, a. glance that will haunt. him into eternity, with a voice ever preying on his sub- conscious mind, oh why didn 't I pick him up, oh why, oh Why? This usually gets them. They don't like to be haunted you see, but you've got to be good. But if this method fails tit is not exactly infalliblej, you must have something in reserve to bolster your moral courage, so I suggest that you apply this method to regain elusive confi- dence. Ask yourself this question: Am I or am I not going to get a ride? And then answer emphatically: You bet you are! But this atti- tude must be adopted in a strong Way. Don't let a hidden voice butt in With: Sure you are, but When? Put your hidden voice away, tile it under the category, Not Wanted. For an- other example try this: Am I going to walk? Then reply, No! No! a thousand times no! I'd rather die than move a step. Don't for- get, plenty of gusto in the answer. lg Wheii forty or fifty more cars have gone by

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10 MAN ET received an answer. The impossible became possible! You can imagine, I lost little time in preparing to realize a great adventure. Several days later I was in the offices of the Music Hall. I brought the invaluable letter. which I had received. for identification. I am sure the woman who greeted me was disap- pointed. for the way in which I had stated 1ny reasons for wanting to visit this motion picture palace sounded as though I were a theatrical architect. I was looked upon as a fraud. and as I felt myself shrinking under her glare. I was suddenly reassured of my victory by the letter I remembered was in my pocket. Somehow. I seemed to collect myself. and before I knew it. I was being guided through the backstage sections. My first thrill was being able to look tfrom far below the stage properj up through the orchestra pit elevator shaft. NYhat a strange aspect! The picture screen was in sharp per- spective and the pit itself was so deep that it was more like a vertical tunnel. The fioor upon which I stood was partly covered with what seemed to be steel sheeting. I believe it. had something to do with acoustics. Hydraulic presses. I was told. worked the orchestra plat- form. Above me was the three-section elevator stage which both rises and sinks. From here the guide took me to a room in which the Music Hall generates its own elec- tricity. IVe found ourselves gazing upon an immense area lined with neat rows of genera- tors. All was immaculately clean. The elec- trical equipment alone was so extensive that more than one-eighth tfall the room backstage seemed taken up by it. A maze of corridors did not hinder our prog- ress. and if Aladdin's lamp were responsible we could not have reached the stage more quickly. Enveloped in a blue mist seemed the stage. I stumbled over trailing wires as I ven- tured on in a dream. So penetrating was the gloom, that everything above seemed to melt into nothingness. Properties appeared to be scattered about everywhere. Many of the cur- tains retired from their glory at the sides of the stage. One pair in particular was outstand- gy ing. It was made of black oilcloth with the shiny side facing the audience. Many of the master effects in the Music Hall are gained by this curtain. Such darkness there was, I noticed little more about tl1e stage itself. In one of the wing sections was a large open wardrobe where quick costume changes were made. The other side seemed to be used as a scene dock. The scenery itself was also painted there. The scenery was so large that it was quite necessary that this be so. My tour was so extensive that it is necessary for me merely to mention some of the other sections I visited. It was my good fortune to see the broadcasting studio from which the Sunday. and other concerts. come, the ballet practice room, the R-ockette's practice room, the hospital. the preview projection room, the cafeteria. and life being carried on in all these various spots. A fitting grand finale was my having the honor of being able to sign in a large guest- book. which I can truthfully say is the largest volume I have ever seen. It is in Roxy 's former apartment. which is the most beautiful suite one could possibly desire. The guest-book made a. strong impression on me as there were signa- tures of Ricardo Cortez, and other motion pic- ture stars. Also one saw titles such as baron. count. viscount. duke. and other rather i1n- portant tat. least soundingt. titles. You may be interested to know some of the facts about the foremost theater in the world. The seating capacity is six thousand two hun- dred. and the Grand Foyer will accommodate two thousand people. The stage is one hundred forty-four feet wide and the proscenium arch is sixty feet high. There is a three-section elevator stage with a revolving platform set. in the center section. besides a rising orchestra pit in front of the proscenium arch. The 'icon- tour curtain is driven by thirteen motors and may be made to form practically any desired size opening. Fifty seamstresses work contin- ually and the place is nothing short- of mar- velous. It is an experience that will never be erased from my memory. and that I hope some day to repeat again. wha Hflbglg Glarie lglagrra flnterviewecl by RUTH CHANNELL and AGNES WALKERJ Back stage of the Colonial Theater during the intermission of Gilbert and Sullivan's Pinafore. we shivered with tingling expec- tation for three slow-moving minutes. IVe tried chokingly to breathe a prayer-UO, Muses. grant that nothing may hinder our in- terview with the world-famous D'Oyly Carte Players. A minute later our muffled prayer had been answered. Genial Mr. Rooke, the publicity manager for the company and also our pleas- ant host. had ushered us into the dressing room of delightful Miss Marjorie Eyre. YVe were then ready to experience true English hospi- tality-and. indeed, in the persons of Miss Eyre and of Mr. Rooke we experienced a hos- pitality so vibrant that it moved us to etch in our imaginations a setting of an English