Page Two
COLUMNS
March 13, 1942
VOLUME I
NUMBER 6
Published tri-weekly during the collegiate year under
the direction and management of the journalism
class of Louishurg College
STAFF
Editor-in-Chiet Dorothy Watson
Associate Editor Clakence Bass
Managing Editor Wesley Gentry
Feature Editor Sabah Davis
Make-up Editor Lauba Swindei.l
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Frances Williamson Evei.yn Long
Sallib Frances Weaver Kate Davis
Grace Whitehuest John Maides
Edwabd Smith
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“I/Cl Brotherly Love Continue
Today, when all the world seems to be thinking
only of turmoil, young people need to direct their
thoughts into the opposite channel, that of love. We
are the future generation; and, if w'e let hate breed
in our hearts and minds, we shall have minds and
hearts little fitted to rid the world of its ills. We ask how
we can avoid having hate in our hearts when men, w^om-
en, and children are being bombed into bits?
How can I love while others hate ?
One who has watched the first stars prick their
silvery way through the blue dusk at evening, has
noticed that at first there were few. Continuing to
look, he has soon found the stars so numerous that the
sky seemed magically illumined.
Times like ours test our faith in the old beliefs
and virtues that have served us in less difficult times.
Like the stars that multiply in a darkened sky may be
the lives of those 'who can courageously reflect the light
of love in a dark world of hate.
“Let brotherly love continue”—^Yes, even in days of
warfare and destruction and hate. Only as such love
continues in the heart of youth, can we build for the
peace and brotlierliood of our tomorrow.
Moral Defense
Do we need to train and drill the boys of this nation
in army camps for defense ? Do we need to strengthen
our national resources of ships, planes, ammunition,
and supplies for the defense of the freedom of America ?
Do we need to train workers for Red Cross service?
We may succeed in all these things; but, though we
have all these and have not one other thing, “ti profiteth
(us) nothing.” Without a strength and reality in
our spiritual lives, our nation stands defenseless and
destitute of anything worth defending.
Not with a well-trained army and navy, not with a
full quota of ships and ammunition can a people meet
their obligations, but by keeping alive, vital and
fresh the spiritual vigor of the nation.
We recognize, do we not, that we need moral defense.
How^ can we obtain moral defense ?
The security in this hour is inner strength, spiritual,
reality, and moral redemption. This is the staff of
sane living and deep thinking. These alone can save
us from a futile reliance upon the implements of physi
cal warfare. What are we doing with our talents,
our energies, and our God-given opportunities ?
What is this war doing to us? Does it blind us to
even the w'orthy gifts that our enemies have con
tributed to the world? Does it embitter us and lead
us to say, “I hate those Japs,” and “I’d like a chance
at those Nazis”? Does it shrivel our human sympathies
and dwarf our capacity for love? War will do to us
what we let it do.
Shall we be victims of the moral destructiveness of
war or shall we be “more than conquerors”?
Auditorium Etiquette
An artist who once visited Louisburg College made
a statement, after performing in the auditorium, which
he did not wish to be published as his own. He said
that, though his back was turned to a portion of his
audience, he was aware of the inattention of some
persons present. He could feel them and even pick
them out, he said, though the audience in general was
indeed appreciative.
Doubtless a person possessing the stage presence of a
concert artist would hardly be seriously hampered
in his performance by even this feeling of not being
appreciated. But consider the plight of an amateur
in the same position—a fellow student whose poise
depends largely upon the response of his audience.
However, even if the artist were not disconcerted by
the lack of response of those two or three students,
there remains the fact that the several students who
gave the performer reason to feel their lack of interest
were being rude. The fundamentals of respect and
culture demand one’s attention to whatever program
he attends.
Another offense common in almost all audiences is
that of rattling programs. Even the most sophisti
cated audiences are guilty of this offense. One great
conductor habitually has his programs printed on silk
paper because the sound of programs in motion is
disturbing to him. A program, no matter how large,
can be handled quietly or, at least, let alone. This
consideration is but another point of respect to a
performer—and to one’s finer self.
Applause, as incongeuous as its sound may be with
that of the object of an instrumental program, is
the accepted way of expressing appreciation in this
part of the world. Wheti to applaud, however, is a
point of etiquette of which a knowledge is necessary.
Two errors in particular are common. First, one must
not applaud for a sacred selection of any kind. Ap
preciation of this type is letter shown by a hushed
silence. The second is one of the greatest faults of
student audiences. It is clapping between the move
ments of a single work. Many artists rather expect
this response from student audiences, though it is truly
a mark of a person untutored in auditorium etiquette
and unfamiliar with the form of musical works. To
prevent the interruption, some artists are careful to
remain in the position of performing, with hands
upon the instrument, to inform the out-of-place clapper
that he is not ready for his applause.
In these points of auditorium etiquette, care must
be taken. Being a good audience is an art, a means
of cultvired attainment, a mark of real refinement.
tVuditorium etiquette is important.
GLIMPSES OF
CONCERT PIANIST
LOUISBURG LULLABIES
The Spirit of Athletes at Louisburg
There is one trait at Louisburg that is worth every
thing else, without which all else is of doubtful worth—
a trait that the institution lacking it would give almost
anything to obtain and that the institution that pos
sesses it may justly regard as a point of pride and honor.
Louisburg players have the real spirit toward the
game.
In large colleges often sports cease to be a game;
they become business. Athletes are paid to play; this
bargaining takes from the players the real love of the
sport. The games are played for the profit; and the idea
of sportsmanship, clean playing, and relaxation are too
often forgotten. The men play not as human beings, but
as machines.
At Louisburg the players give to the crowd the real
value of sports. They give their very best simply for
the love of the game, not for the profit.
The athletes on this campus are indeed a clean,
hard-fighting, and hard-playing bunch. We can well
be proud to have them among us and to see them take
the court as our representatives.
We Want a Flag!
At the end of the brick walk on Louisburg campus
is what we call a “wishing well.” That “wishing well”
was made so that some day a flag pole could be placed
in it.
On every college campus worthy patriotism has sure
ly a place, and there is perhaps no better symbol we
could choose than Old Glory waving on our campus.
Though the beauty of the flag is not so significant as
the thought it symbolizes, a flag stands for liberty
and justice which we are blessed in having today and
would be an addition to the beauty of our grounds
among our beloved oaks.
If we contribute in buying our flag, we can always
say, “That is my flag; I am a part of it”; and we will
have a warm feeling in our heart every time w'e look
at it. Why not all cooperate now and soon have the
“Stars and Stripes” flying proudly at the entrance of
Louisburg College?
Dear Family
I’m attempting to write this letter in a state of sub-
consciousness due to the loss of sleep. Yes, it’s all
caused by the new time schedule some old sleepless owl
figures out. You see, he turned the clock up an hour,
but he forgot to move the sun; so here we are going
to sleep at midnight and getting up before dawn.
Well, this trying ordeal has some fine points as
well as a whole lot of bad ones. The best point we’ve
seen in it is that we get to see feminine beauty in a
natural state. Like faded forget-me-nots, there come
the girlies to breakfast with unpainted cheek, weather
beaten lip, stampeding wisps of stubborn hair, and in
the crumpled garment that is nearest their beloved
bed when the breakfast proctor prods them out at the
last bell. Eeally, these little things are very interest
ing to me in this unusual and uncouth fashion, though ;
and I really like them very much.
The time problem isn’t the only cause for worry at
this “mad house.” The blackout situation is nearly
as serious, and we boys would get a big kick out of
this, if the seating in the library were more socially
managed.
I am becoming bored with this letter, and I know
you are, too; so I’ll stop being so offensive.
Love,
“Willie.”
(Interview—Thomas Richard)
At the age of five, Thomas
Kichner took his first piano lesson.
On last February 3, he gave a morn
ing concert in the auditorium at
Louisburg College, while on his
fourth concert tour. The years be
tween these two incidents were filled
with a great number of increasing
successes in the young pianist’s
career.
Just before leaving the college to
continue his tour, Mr. Richner and
his mother, who accompanied him,
graciously gave a few moments of
their time for an interview. Seated
in Dr. Patten’s office, the pianist re
lated some of the high spots in his
career.
At the age of nine he made his
first public performance; and, by
the time he was twelve, he was
organist in his home church at
Point Marion, a “quiet little town
in Pennsylvania.” He continued to
reveal certain events in his life.
He attended the University of
West Virginia and Columbia Uni
versity and the first few years of
his college education were spent with
the intention of becoming an electri
cal engineer. When asked to explain
the radical change in his plans, his
mother answered that he had made
his own decisions on the matter of
his career. She explained that she
had not attempted to influence his
])lans at all.
“I did not even have to make
him practice,” she said.
He has won several contests and
awards : the Pennsylvania State con
test, the New York State contest and
scholarship, and the MacDowell i
award. He made his debut, he said,
in Town Hall in New York City.
He stressed the fact that the concert
he gave at Louisburg was of just
the same nature as one he would
have given in Town Hall.
In discussing his own thoughts
concerning music he said, “Music
has a message. It must speak with
meaning to be appreciated. It is a
way of forgetting, and I believe it
will be used as a means of recupera
tion after the war.”
In making the first statement he
included jazz, which, he says, is an
art, just as is classical music. There
is good jazz and poor jazz—and
there is a difference. It, too, has
to be appreciated.
“I like good jazz,” he said, as he
continued to explain the popularity
of “boogy-woogy.” “Any one can
get into and feed a rhythm like this
—” and he hummed a boogy-woogy
theme, keeping time by patting his
foot and beating his hand on his
knee. “Such a rhythm is elemen
tary, and anyone can feel it. That
is why popular music is popular.”
As for semi-classical music, Mr.
Richner said he valued it for most
people as a step toward appreciation
of the classical. Appreciation of
music, he said, takes these three
steps: jazz, semi-classical, and
classical.
In speaking of Louisburg College
he said, without mentioning any
particulars, that it had an old but
distinctive air. He would like to
see one thing added here, and in
other colleges as well—a course in
music appreciation.
“When I sent my program here
some time ago,” he said, “this class
could have studied the music on it
and thus could have appreciated and
enjoyed my playing of each number
much more. I want to see the day
when such courses in music ap
preciation will be in all colleges.”
He recommended highly the Ra
leigh Civic Music Association con
certs when he heard that Louisburg
students have an opportunity to at
tend them.
“Here,” he said, “you can hear
O whispering oaks,
Trees of my heart.
Give me thy beckon;
Then I will start
To dreamland.
Once I beheld thee
As summer’s queen,
Robed in thy glory.
Ruling supreme
In dreamland.
But now, as a slave.
Thou dost reach high
Cold slender arms
For a lullaby
From skyland.
Bring restful song
To sooth tired hearts.
Give thus the gift
That sky imparts
To our land.
“Reverie Rhymer.’
HISTORY REPEATS ITSELF
Times like these are not new in
history. There have been continued
wars which have involved the whole
world since the beginning of time.
Alexander the Great, was as power
ful in his time as Hitler is today,
and Alexander involved the known
world in as great a war. Caesar and
Napoleon both caused the world to
be plunged into world-wide wars.
Only yesterday, it seems, William II
caused to be started a war which en
gulfed the world. History is full of
“Caesars,” and those of today are not
very different from those of other
days.
P. C. i>E C. C.
WE BEGIN A NEW
SEMESTER
We’ll begin a new semester. Before
us rises a barrier of new facts and
secrets. We look forward to the
destruction of this barrier, but w^e
know that this can be accomplished
only by hours of study in the class
room under patient instructors and
hours of study over problems that
arise. We can see that the road will
be uphill and rough, but let us hope
that we will not be tempted to loaf
along the way and invite disaster.
We begin this semester by vowing
to tear down this barrier and re
build it into a storehouse of knowl
edge which may be our fortifica
tion as we enter further into the
life of the world.
J. E. Norris, Jr.
the greatest artists first hand.”
When asked if he ever catered to
the desires of the public in his choice
of concert music, he answered em
phatically, “No.”
“But,” he continued, “I do at
tempt to include in my program at
least one number which I think
everyone will enjoy. This morning
I believe everyone enjoyed the
‘Tacotta’ by Ravel, which, as I
said on the program, has more notes
j)er square inch than any other piece
1 know. Most of the girls, I think,
enjoyed Debussy’s ‘Clair de Lune’.”
His first number, the Bach choral
“Jesu, Joy of Man’s Desiring,” ar
ranged by Myra Hess, he includes
in each of his programs, he said,
as he told of the appeal the choral
holds for him.
As Mr. Richner and his mother
left, both warmly shook hands with
the interviewer and expressed their
enjoyment of their stay in Louis
burg. They left immediately for the
place of Mr. Richner’s next concert,
in Virginia.
Truly, few of the artists who come
to Louisburg College seem to take
such an interest in the town, the
people, and the school as did Thomas
Richner. And his impression of
Louisburg College he expressed in
three words—“old, but distinctive.”