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PAG! TWO THE DAILY TA HIEL W g . ; Vina icriv.o SUNDAY,MARCH 16. T5t J.Y.'S JAZZ Official Agreement Comes On Judicial System Apathy shows Musical "W&M Another Room Ready?" Erroll Garner Scxa.il d.ns .14(1 xveroni malted about non(irick ajuilix toward .student courts at I'M'.. Indica tions .since tli; t time li.ic pointed to otlici.il agreement on this pro blem. (ieore Ujxlale, Chairman of the Men's Honor ('ouncil. was the liist to leiteratc the need lor a broader panic ipatiou in l!ie jucli tial system on the pait ol non (ireek students. He wrote us this note: "1 am j;lad sou wrote what xou did this morning ahout the apathy of non-lratei nity men towaid the court. I aiee with you and Sonny (Student l.odv President Sonny 1.x am) that a predominance of Iraternitv nun is not a healthy si'n. "Howeer. I assiue ou that I could not h.ie asked lor greater serxice Iroiu all who have sered w i 1 1 1 mc- this c mi . The y have done an outstanding job under j;ivat strain." " Well, that's ahout what we said in this olumu l"i ida . It s assuriiJi; to know that the council chairman not ouh iccoLnies the non-p.uti-lipation piohlcm. hut that he also sees in it an "'unhealthy" s'vn lor linn (.leek mcinbcis. V know ol no other person within student '4x eminent whose sentiments about the court should be taken moie seriously and with stealer c onsideriitiou th.Di that if the Men's Honor Council chair man. In approaching ihis problem, the lact must be tealied that lour teen ol liltccli members ol the Men's Council are members ol Ira teiiiitics at I'M'.. Ten ol these aie lioni thice houses, which houses tiadition.dK hae sent men to the t ouiK i I. Win is this situation allowed to exist? What is responsible lor the unbalanced 1 epicseiiiaiion which ies mcmbcis of oiie lillh ol the unieis'n sot iet jmlit ial tontiol oxer the- other lour lilths? - This uubalaiued 1 epi esentat ion is in elicit now and has been ill past xe.us Im -use 11011 (.reek mom beis have dixoicccl theiuselxes of iuteic-st in lite utiuts and haxe al lowed the control thcrcol to slip unnoticccl lioni their hands. It is this lac t-thc lac t that non (iieeks oltin times expiess little (oiiccrn whh the allaiis ol student 'm eminent that contributes to the misconception that Irateinity men ale ledcralists who desiie t The Daily Tar Heel The official stuJent publication A th Publication Board of the University of North Carolina, where it is published daily except Monday and exam ination and vacation period? and sum mer terms. Entered as second class mat ter in the post office in Chapel klill, N. C, under the Act of March 8, 1870 Subscription rates: mailed, $4 per year. $2.50 1 semester; delivered, $8 a year. $3 50 a semester. Editor DOUG EISELE Managing Editor ALYS VOOIUIEES News Editor PAUL RULE Asst. News Editor ANN FRYE Coed Editor JOAN BROCIt Feature Editor MARY M. MASON BILL KTNQ Sports Editor Asst. Sports Editor DAVE W1BLE City Editor BILL KINCAID Husiness Manager JOHN WIITTAKER Advertising Manager FRED KATZJJl Fubscription M?r. AVERY THOMAS Librarian GLENDA FOWLER WIT STAFF Whit Whitfield, Curtis Cans. Jonathan Yardley, Barry Win ston. Gail Godwin. NEWS STAFF Davis Young, Pringle Pipkin, Sarah Adams, Dave Jones. Parker Maddrey, Charlie Sloan, Ed Rowland, Eddie Goodman. Westbrook Fowler. Stan Black, Virginia Sand ridge, Ruth Whitley, Ben Taylor. 1PORTS STAFF Rusty Hammond, Elli ott Cooper, Mac Mahaffy, Jim Purks, Jim Harper. BUSINESS STAFF Walker Blanton, John Minter, Lewis Rush. PHOTOGRAPHERS Norman Kantor, Buddy Spoon. Kifht Editor "pEELEY ARROW place jjovenmient in the hands of a select fexv for the control of the many. II exer there xverc a time to ral ly lor a cause, if exer non-Greek i members of the student body should join hands to a sure expres sion of their own interests, it is now in the problem of unbalanced representation on the student courts. It will be a dillicult task; per haps this year little could be done to place more members in the jud iciary Irotn non-Greek areas of the campus. And it will be iliffieult because the Irateinity men now as sociated with the court are out standing without exception, and haxe performed their duties coni mendably. As Rasdale said, "They haxe done an outstanding job under 1e.1t strain." lovs. you can't eriticie that cal iber of performance. It takes xotes, a lot of xotes from a unified inter est, to -a i 11 the riht to ecpial per formance on our sudent courts. And it will take a ood man to measure up to the tradition which those courts haxe produced in the past sex era I years. Is Suicide An Escape Of Dying? The Southern opponents of de segregation continue to dij- their own praxes. Virginia's Prince Kcl uarcl County, lorn; a center of op position, has been ordered by the Supreme Court (March -j) to make "a piompt and icasonable start" to end segregation. In anticipation of this decision, the local school authorities haxe xoteci to abandon public schools and haxe set up a prixate corporation, with pledges ol S'-'oo.ooo. to operate "prixate" xvhiie schools, l.xentually these pri xate sc-i elated sc hools will un doubtedly be struck clown hv the Supreme Court as a palpable eva sion of its mandate. Prince F.dwarcl white parents will then haxe to tutor their children or lei them run wild for the county will Ik xviihout a school sxsteiu public or pi ix ate. Already the seicationists are saxiii'4 tli.it this will be "the last session" ol Virginia's public sc hools. Iut Ailinton. which lies .1 most in the shadow ol the nation's Capitol, also has been ordeiecl to admit Ne Hro students with the fall term. Here sentiment is less xehement than in Prince I.dward County, xvhich is in the so-called "south side" portion of Virginia. It it xvere not for state law, Arlington would probably elect to integrate its schools. Hut this town, xvhich last year paid Sc million in taxes to the state, would haxe to forego Si.c million in state aid if it elec ted to comply xvith the court's order. For as part of its "massive resistance" to lacially mixed schools Virginia denies state aid to any county xvhich integrates its school under court order. And to tighten this prohibi tion the state senate has just passed a bill xvhich would permit the Goxernor to keep a school closed even if the governing body and lo cal school board requested him to reopen it in a xvorcl. a bill xvhich xvould make closure mandatory. At this point howexer a new opposi tion is heard. In a remarkable dis senting speech, State Senator Armi stead L. Hoot he of Arlington asked his colleagues how long they thought his constituents xvould per mit the public schools to remain closed. "Do you think" he asked, 'that its 2',.(hmi children are going to go unschooled? Do you think the schools those people built and paid for are going to stay closed, even xvith all the might of the Com nionxvealth of Virginia throxvn in to the battle?" Closing public schools, if only in a- lew communities, xvill trans form the integration issue into a battle for the preservation of public schools and. on this issue, the segre gationists xvill lose. Like the man who was so afraid of dying that he committed suicide, the grave-diggers of the South are driven by their fears to acts of self-destruction. The Nation. Individuality For about twenty years a man named Erroll Garner has been entertaining jazz and popular music audiences xvith one of the most delightful brands of piano playing on the contemporary scene. The sheer happiness that this man is able to exude on a bright number, or the moody romanticism he shows on a ballad have captured the fancy of all who have heard him. At the moment he is easily the most popular jazz pianist, having captured every major instrument axvard in his field, and has succeeded in reach ing the non-jazz market with two of his Columbia albums. Concert By the Sea and Other Voices. The personality, musical and otherwise, of Erroll Garner has long been of interest to students of jazz. He is not the stock perfor mer - he cannot read music and never speaks to the audience when playing. Despite these seemingly insurmountable obstacles. he is known not only as a first-rate musician but 3lso as a wonderful person. The most overwhelming aspect of Garner as a musician is his individuality. Jazz historians, at tempting to fit him into some rigid stylistic era in the evolution of jazz, are faced with an unbeat able problem. Ifc has not always boon this individualistic - the early Garner was a swing pianist, styled 1 to a great extent after Teddy Wil son, who employed the stock swing bass and a right that showed promise and ability if not great individuality. During the early tiflies Garner lapsed into a period of relative obscurity. He had never become renowned enough for this to make a great difference to the jazz pub lic, but it must have made all the difference to him. Around 1954 he began to re-emerge; jazz fans began to notice the sound of a lagging bass and a bright, incredi bly adroit right hand on the air waves and in record simps. He cut a record called simply "Erroll Garner" for the Columbia com pany which was to change his entire future. The disk never stopped selling. Record clubs, disk jockeys. jaz festivals, all contri buted to the sale of this wonderful record. And then oire day Erroll Garner woke up to find himself a famous man. Garner's individuality can be easily illustrated by one brief ques tion. Have you ever heard a piano player attempt to imitate him? Probably. The pianist may be able to work the imitation excellently, but it is always recognizable as Garner. And we all say "Oh, all that guy can do is imitate Garner." That we are so easily able to re cognize the style is in itself a tri bute to the individuality of this sprightly man who seems destined to stay at the top for a long, long time. i a$&9 GSSl ifi id I 1 tlM M', fiat Is1 I suites KiityLY CHECK Tommy tums at pesK all powes: MUST BE OMI OF ROWiS I a. HOC) A lnA LETTERS TO EDITOR Thoughts During Intermission .0 To the editor: With reference to Tuesday night's Memorial Hall concert of,, the Pittsburg Symphony ..Or chestra, I shall try to reproduce here my thoughts during inter mission. Most of the complaints I voice, however, are as appli cable to any function held wi$$ those hallowed walls. Now, there are many irritations which are almost an accepted part of concert-going, and Chap el Hill has always done its ut most to live up to this "tradi--.: tion." We have 1 those people who, in spite of three weeks' no tice that the concert begins at 8:00 p.m., will, stumble up the. balcony stairs in search of a seat at 8:30 p.m. We can easily sup ply several ambulatory flu cases whose incessant coughs disturb the audience, annoy the musi cians and xvorry nearby M.D.s. And we can furnish our share of enthusiasts who, never hax'ing seen Toscanini, compare fin distinctly audible voices) the present conductor to Toscanini. But, as 1 have said, these oc currences are to be expected and considered as part of the tradi tion. However, Memorial Hall pro vides its own unique atmosphere xvhich may make a concert a never-to-be-forgotten event Here we have a stage too small for the orchestra, making it neces sary for the conductor to look over his shoulder should he want to cue the first violins. We have a choice between uncomfortable benches, or straight-backed chairs whose creaking makes the noises of Grandma's old rocker seem quiet in comparison. We have a ventilation system (win dows) which, if used at all. re sults in shivering among the or chestra audience and stifling in the balcony. The comfort of the performers is regulated by pull ing the curtain behind them, gix--ing the stage the appearance of a school-yard handball court. And in certain sections of the hall one may undergo a unique auditory experience, hearing a combination of sound reflections which lead to the suspicion that the performance of the Brahms symphony was arranged by Stan Kenton. Xcw, it might have been worse. Had the weather been colder the radiators might have clanged; had there been a mi crophone used, the sound sys tem might have alternately func tioned too xvell or not at all. This has happened before, and perhaps we should consider the artists and the audience blessed that it did not occur this time. The evening provided one benefit beyond that supplied by Mr. Steinberg and his musici ans: it gave a measure of fame to G. GIORZ who, probably an ticipating just such an event, had the foresight to paint his name in large lavendar letters just below the naked light bulb on the brick wall behind tympanist. Maybe after xve get a basketball arena someone build an auditorium. the new will Lloyd Strickland OFFICE CAT Gerald and Harold were twins. As twins usually are they were inseparable. They shared and shared alike. Nothing was ever given to one without an exact duplicate being provided for the other. As they grew older they adopt ed the same hobbies. It was one of these hobbies that finally broke up the duplication form ula. Fcr xvhen they went fishing Gerald never seemed to be able to catch any fish while his bro ther had real "fisherman's luck." One night, after an exasperat ing day at the stream, Gerald stole out of the house with his brother's rod and headed for the brook. He chose the very rock from which his brother that x-ery afternoon had caught 12 fish. He fished and fished but didn't get even a nibble. Just as he was packing up to go back home a trout leaped out of the water in' a beautiful arc and called solicitously, "Your brother isn't ill, I hope?" The Durham Sun. I 3 Z A LITTLE SUP OF PAPER UWICM ENTITLES Ac TO AN ATOlOTiT WITH M HAGESTYi Z 23 inn. .xv I I Ami) t r,n y t r it I I Tu is A rfl.UPi.ETe OUTFIT... I DAD GAVE ME VlVOWN NEWSPAPER. J iN, TYPE, NEll'PRlNT. . 1 .... A TOY PRINTING r ST EVEfcYTHlN6...0H, AND MERES ... .... . - BATHE'S I ( Vv'HV, HE'S NO Ta BlTjN If IT'S A CRIME FO' HIGH- ll RIGHT, 1 Smt mammV-) YO'IS 7 ( OLD, DAISV ) I roUNGER'N J, OLDSK-4 SPERRITED GALS LIKE ) pAPPVp J HT MAMMV - I GONNA MAE .V- PAPPY.' R IF THEj ANf ME V WASTE OUR . ,3(1 MARRV - -LT . J TRUTHi LI FES ON BROKE-DOWN J S VO ISSO S J V( (E-j) STPONG-y CL CL m U 1 TWATTHEKE Me 0UCKO - ZIBAH. PATRICK O O O a. . , e5 cAPeeiN' IN THE 01O FARADS THIS 5RAVe PAY ybuNsee Y it takbg up 10 its mips in coupub : 1 J?frUAN PS- TO MAKE A PARAPE. ji e5CAPEeiN' isjfy wersn't for the si U y - tTn (aLA Mvy&crWf W)rxt$ X Yy 6? LamJ 'n a youe I ve heart's im it... v rA'ryjtA'' "' v m " w GO.rTl II HUP TWO, VIEW FROM THE BRIDGE' Critic Finds Millers Play Professionally Done By ANTHONY WOLFF "A View From The Bridge" is the most mature and the most powerful play the Carolina Playmak ers have attempted in more than a year. For just this reason that it is mature and powerful it is an extremely difficult play to produce effective ly. It is somewhat ironic, then, that the same Plax makers who often present merely competent produc tions of lesser plays should do such a convincingly sincere and skillful job with this one. The play itself is Arthur Miller's latest attempt to illuminate the human predicament the unsatis factory relationship of man to himself, to his en vironment, and to Man to God. In this latest exploration of these relationships. Miller has presented the downfall of one Eddie Carbone: Eddie is not a tragic figure in the strict sense of the word "tragic." Miller considers the limi tations of classical tragic forms as meaningless for our time. What he presents instead is what might be call ed "modern tragedy." The basic motivations, even the basic form of classical tragedy have remained; missing is the grandeur, the poetry and the sell knowledge of the hero which are the essence of the classical tragic hero. This, then, is tragedy of some lesser degree than classical or Renaissance tragedy. Eddie Carbone is a modern man, and modern men are no longer kings or poets. If we cannot see in Eddie a tragic fault which brings inhuman misery and death to a man of otherwise superhuman perfection, we must re member that our society no longer includes such men. Yet, in spite of the fact that progress has to some extent invalidated or emasculated the classical tragedy, the tragic vision is still pertinent to our time; perhaps it is evn more pertinent now, when tragedy seems to become increasingly more immin ent, though somewhat less sharply defined than in times past. Whatever its stature as a tragedy, "A View From The Bridge" is a supremely effective play, and it is excellently performed by the Playmakers. For the first time in recent productions there is something resembling a professional production of the Haymaker stage. To be sure, the quality of the performance is not always consistent, and there are a few serious lapses, but the overall impression is one of more-than-competent professionals at work. Page Williams, playing Beatrice, sets a standard for mature acting that is seldom exceeded any where. Beatrice is the heroine of the play, and in a sense she is more of a tragic figure than Eddie, her husband. It is Beatrice, not Eddie, who recog nizes Eddie's love fear his neiee and tries vainly ta ax'ert the disaster xvhich must naturally proceed from such an unnatural affection. Miss Williams conx'eys all the love and fear and dispair involved in her character with moving sincerity. By playing the hero, Ken Callendar has freod himself from the restrictions of comedy, with xvhich he has until now concerned himself, and in the pro cess he proves himself a dramatic actor of greet strength and sensitivity. On several occasions his reactions are delayed and his timing is off; occasion ally, too, he fails to convey the tension which per vades the action from the first moments of the play until his death; but his lapses only momentary, and throughout the performance he and his obses sion dominate the stage as the author intended them to do. Al Gordon, who plays the older brother, has for the past two years been one of the finest actors among the Playmakers. In the current production, given a role with more depth and character than any he has had recently, he turns in his finest per formance. The only major weakness in the production is in the two ingenue roles, Catherine and Rudolpho. Both players miss the essence of their characteriza tions. Rudolpho, the young immigrant in love with Catherine, must be effeminate enough to make Ed die's assumption that he is a homosexual plausible. Harvey Knox seems to miss this entirely, as he miss es the Italian accent which is caught so well by Al Gordon. As a stranger, he does not seem as ill at ease as he might be; as Catherine's lover, he is not particularly convincing. All in all, he seems more like Joe College than Rudolpho. As Catherine, Margaret Starnes is far too sophis ticated. Catherine is a nice, sweet girl; but, as a produet of the waterfront she is entirely without cfcass. Miss Starnes is altogether too "cute" she overacted, but nexrer with any convincing sincerity. Catherine's role in the play never becomes strong or clear, largely because Miss Starnes is never too strong herself. John Sneden is miscast as Alfieri, the lawyer. There are certain mature roles xvhich are beyond the physical range of a young actor, and Alfieri is one of them. Aside from certain mistakes in characterization, Sneden's major fault is that he is simply too young in voice and appearance (despite the make-up) to be convincingly wise. In place of wis dom is substituted a sort of dogmatic, stiffnecked attitude which is out of keeping xvith the character. The settings for the play, created by Tommy Rezzuto, are among the best that he has done re cently. The Playmaker stage is a designer's night mare: that anyone can design for it at all is a wonder, and that Mr. Rezzuto can create with such a fine sense of unity and proportion, and still leave a few square feet for the actors, is a major achieve ment. The lighting is also very effective, particularly in respect te the illumination of separate areas of the stage for the narration without breaking the continuity of the play. Needless to say, it is to be hoped that we xvill have more plays meeting this standard of writing, acting, and directing as this one. Once a year is not enough. J
Daily Tar Heel (Chapel Hill, N.C.)
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March 16, 1958, edition 1
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