Newspapers / The daily Tar Heel. / Feb. 13, 1959, edition 1 / Page 2
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mr.t tvo THE DAILY TAJ? HEEL FRIDAY, FEBRUARY 13, ItSt A Commentary In xeMud.ix moi nine's p.ipcr, a prominent I. , tiliv iik hiIk i eiitieied the Aelxisorv Hud U I ( ".oiimtission's icfotitmcndatinm lor the I'M'. bml;ct. .uitl jxiinud out I he fact that it the hi 1 1 1 1 1 hend continues, the Unixcisi I ) will .; down hill last. .Simiil i .tnt .is his eounnenls vvcic, the must itiili(; :it kamic of his commcntai y is his u his.il i u vt al hi identity. It is significant in the li-ht ol the almost total lack ol com iiirnt.ix l I'niveisity staff mcinhcis since apjnnximately two eus ago when W. C. (ieoi-e W'as Mpenly eMmiug a sc.; ug.it ionist ! n inc. h i si'nilicant in the lijiht ol the nliH.ifmu.il telex iion station WUNO I A' and its Deficit ol mm h a major issue of the I'icmiiI lime a ixil rights, when as the edu i ition d television station of ihe c itadel of a lice rdin aiion it should he broadcasting con lioxnsi.il pio;iams exeiy week. Obviously it' is possible that the faculty memhri is a iow.ikI and that he does not hae the coinage to pl.ie e his name Inside his wonK. Inn this possibility is highly donhlfnl in li-hi ol ihe history of muteness of the last lew- xcos. II it is not individual cowardice, then the issue of what has this University Income in sOjtiatclv lu loie the public. II;is the I'nixeisiix lecn so p' nfoundlv influenced hy tin- Mi ('.it thx ist jxiiodof ihe eatly fifties that thr In-liii", of vciiniix. so necessary io .M.nlrmii ficcdom. is l;vgcly gone? Is the I'niuisitx m tied up in administrative chan nels that a m n is alraid to voice an opinion until the man above him his cxpicsscd his? Is job sriinitx in this I'nixeisity dependent on the abilitx to tonToi in? ()bxioitsty .dsn a blanket )es answer to all o! these questions would be a fallacy, and yt. the questions luxe some truth, lor if the piool oi the pudding is in the eating, the icsiilis luxe shown a gic.it uluctance on the pail of the faculty to speak out on the issues that .;ie to them ol major concern. On the sin lace l lit i c is no jnilicy prohibiting open discussion of .my or all issues, but faculty pioblcms. eonttoxersi.il issues, and outspoken c ouiinc nt-it ics, exclusive of such issues as f.uull) salat icsjlo not seem to come to light. A I 'tiiv cisit) can die ol this tvpe ol stag nation. M il students ahei leaving a rather ptdcstiian education in the piimary and sec ond. tix le vels of this state. ;ive not .stimulated bx the intcic lunge ol xiewpoints and ideas, thc x will leave the I'niversity as a ineniber of the vast unthinking group that makes up the majoiity ol this country. It is hod Jo put one's linger on what is xvioii'4. what motivates the silence, ;.:id what causis the- stagnation, but it is clear that this has not been the case always, for educational institutions have long been looked upon as the hub ol ideas ;iud controversy. It is high lime that this I'nixeisity inspect this pioblem .mil icoiicnt itself so that it can truly have on this campus academic ftecdom. tEije Baity ar )tt r of r it m Atiiilrvi publiratiofi of the Pulhcat mrt H.'ril ! thr University of North Carolina, where H u juMi dud daily rirret Monday trnl nomination jxrioit.. n MimmiT terms Knlrred as second cIjms matter in the pc. offup in Chapel Hill. N. C. under the act of March 6 lirTU Sul'nt-riouon rir i: 5t ri p-r ttxrnrr. $nf0 pr TV P-idy Tar Ib-rl is printed ly tit" News Inc.. Carrloro, N. C Kmu - Mjna-iuj: IMitor n IT cuum CANS CHUCK FLINNIIII STAN FLSIIKK Newt I!dit'r ANN KRYF Ami itani .SporlsdTw KLL10TT COOPER AdVtbing" Manager FllKI) KATZIN Circulation Manager IUIB WALK Kit tTport 7 a I d nr It tTsi'Y II A MM ( ) NO thirf I h-tii;rjpln r Tdbb IIHINKHOUS YV:YA NICSS AM.)ciatTTlTtor . EU ROWLAND r.u.'i ncs7M4n3Ccr WVLKEIl BLANTON AMt. Adv. Manager JOHN MINT lilt ArtThditorTZTZZI Letters To the Ktlilor: I appreciate you prinling the article I wrote; however, I do not think you were fair in the way you printed it. The title on my article was: A Semi-rctty Article About A Petty One. You coin promised my iews by not usin this caption. I realize that you probably do not want outsiders telling you what captions to put en the articks you print; tut you should have included my title as I sent it to you, if not as a cap tion, at least in darker print at the beginning of the article. In regards to your eomment-s at the end of my article, which I enjoyed immensely, I would like to say: U 1 was not surprised that Mr. Wolff had not submitted any of his work to the Spectrum. I never staged he did. I merely .sug gested the possibility. e2) Your second .statement I find extreme ly ambigious and amusing. "Mr. Wolff never ha.s his work rejected by The Quarterly" you state. I worrier why? It couldn't be be cause he never submits, could it? This must be the reason for he has never had anything as of to day printed in The Quarterly. I am surprised tint he is and re mains on the poetry board of The Quarterly. I would think from the comments he made, which were highly tlerojjalury to The Quarter ly, that such a magazine would not be worthy cnaigh to be asso ciated with. I question the sincer ity or usefulness of anyone remain ing with a magazine which he thinks is valueless the high stand ards which A. Wolff cries for in art become ridiculous. But what is the jMiint of all this discussion of what Mr. Wolff has and has not written? Is it necessary for a critic to have written or published an original work of art in order to be a critic? Is it necessary for a ballet critic to have done a pirouette or 'arabesque? No. Cut. as 1 said in my article Tuesday, the criteria for judging what others have written become more valid and significant if one has at tempted an art form of his own. Net only that, but the critic us ually has a more sympathetic and understanding view if he has at tempted a work of his own, par ticularly Ihe type that he is criti cising. Above all. he is less like ly to adopt a "holier than thou" attitude which so characteristical ly describes the criticism of A. Wolff. '3' In reply to your third state ment that Mr. Woltf never audi tioned for a part in the "Cicktail Party," I have no more reliable iufermalion than the director of the play himself. Jack Jackson, vho stafes most emphatically that A. Wolff was not considered tal ented enough o be in the play. RICHARD PADGETT To clear up the contusion, Hi"! were no tryouts for "The Cocktail Party," the play was e:ist by director Jackson with out open tryouts. ami Anthony Wolff was not in the cast.) Coed Fditor JOAN BROCK Assistant News Editor N'ijht Editor ED RINER NANCY COMBES' l.'clitor: As I sit here at my desk to write this letter, I tan hear vulgar mouths shouting the most obscene profanity between the quads that I have over had the misfortune to hear anywhere at anytime. I have listened to drunk soldiers and sailors brawling, I have listened to the dirty patrons of tilthy lit tle dives where lye flavored boot leg was the best seller, and I have read the "cute" little poems scrib bled on the walk of restrooms, but the language was fit for Sun day school compared to that used by these loud" Carolina Gentle men", i flowers of sophistication and etiquette, upholders of the campus code). These profane re marks, which were Shouted from dorm to dorm across the quads, could not be ignored from four or five blocks away (and, Gentlemen, several of the women's dorms are not half that far away). I think it should be up to those students who are as appalled at this conduct as I am (and who wouldn't be?) to do something about these rotten communications. I'm sure that each of us wants to be proud of his school, but how can anyone be proud with this filthiness of mind being shouted openly and loudly in the streets and dormitories of our campus. . JAJ1ES N. ZACUAJIY . "If s Not The Principle It's The Money" it lliv i 9 V Not s in eviow Arthur Lcssing The New Orleans Philharmonic Symphony Orchestra under the leadership of Alexander Hilsberg showed itself to be an orchestra of definite musical capabilities and talent in its concert last Wednes day evening in Memorial Auditori um. The string section demon strated a firm and full tone. The brass section has a nice edge on its sound. And the woodwinds are both balanced and clearly indivi dual in their performance. In short, Mr. Ililsberg has an accom plished personnel to work with, a company of men and women who play together with professional care. Mr. Ililsberg, too, clearly knows what he wants musically, and, what's more, is able to get it from his people. We cannot, unfortunately, speak in such positive terms about the program that the orchestra played for us. For whoever was responsi ble for choosing it seemed to have had the idea that this concert was to be, in depth, in the neigh bor hood of the pops-and-beer var iety. The entire program without exception was made up of light music - music that pleased the ear but did little more than just that. The concert opened with a per formance of the Overture to "Colas Brcugnon" of Dimitri Ka balcvsky - an agile and slick piece of music entirely based on one snatch of a melody with some ef fective syncopation at the end of it. Next the major work of the eve ning, Tchaikovsky's Fourth Sym phony,, received an entirely sym pathetic reading which never the less, could not save it from medi ocrity. For let's face it, this is one of the composer's poorest sym phonic works. The first movement opens with an exciting brass fan fare which has no musical connec tion with the rest of the move ment; even in th development section or this movement, Tchai kovsky does not succeed in bring ing it into the compositional frame work. Hyth the first and second themes of this movement are awk ward in the sense that they neith er lend themselves to development, expressive possibility, or the kind of emotional sweep that Tchaikov sky is always trying for. The slow movement that follows is again in complete in its continuity of musi cal ideas. There are spots where the music comes to almost a full stop and we sense the inadequacy of the composer's skill to bridge these gaps. The Scherzo is inno cuous. Only in the final movement do we recognize Tchaikovsky's tremendous talent in building some sort of musical structure with so little in the way of melody and compositional skill. The musical structure then rests not on musi cal foundations but on almost pure ly emotional force. But, all in all. it remains a shallow work full of holes and awkward music that most of the time does not make sense expression-wise and is sim ply inadequate as musical" com position. After the intermission the orches tra played "Night Soliloquy" by the American composer Kent Kennan, a flute solo of little musical conse quence; Mr. Kenneth Scutt was the able flute soloist. Ravel's In terlude and Dance No. 1 from "La Vida Breve" and the "Daphnis and Chloe" Suite No. 2 closed the pro gram. Both of these works, espe cially the latter, present Havel's talent in making musical color (a vague but, I hope, still meaning ful concept) become mobile and moving as emotional and even in tellectual meanings in music. But again, for all its richness of color, Ravel does not impress us with any great depth of soul. With such a program, composed of adequate, pleasant, surface music for the greater part of the evening, we cannot help but be dissatisfied. Within a community of taste and musical sophistica tion, I frankly do not understand why we could not have had some works of definitely greater musi cal proportion and musical depth on this program of the New Orleans Symphony Orchestra. As it was, the final encore, The Stars and Stripes Forever, was perfect ly representative of the entire eve ning: lots of fun, but Sousa can hardly be put in the class with Beethoven, Brahms, and Mozart. Local Jazz The Budget Frank Crowther The first in a series of "culture It is truly wonderful to liear the hue and cry following the announcement of the new budget for the next biennium. For the past few years people have been accepting the sessions" at Antonio's turned out mandates of the governor with a equanimity to be quite a treat for some 150 lesemoi,jg or bettering the stillness at Ap- students last Monday. The event poinattox was significant for two reasons: ' . first it was free, and this in it- Apparently the bubble has burst, for m self was incentive enough to at- aJl quarters legislators and other officials are tend; second, there is no other liowling for the sailp of the Advisory Budget place in Chapel Hill where a non- Commission, and the only question that is left fraternity student can enjoy "liye to asj. js wiietilcr tj,c howl is large enough jazz. This is not to infer that fra- foj. the Gcncral Assembly, not an ordinarily ternity and sorority members are risk' changing it. barred from attending; to the con- , trary, Tony Mastrey, the amicable jf tj,e state js ro progress it will need in patron, assured me that the only clcase( taxation, and the failure to increase prerequisite is a reservation, since tjie fax rate QY CXporc otI,er avenues of tax so many people have shown an in- atjon can he cousl(ieTc nothing more or less tercst in the current presentations. than a effon Qf Another innovation was the fact voters by pleasing them rather than by tell that there were really no strings ing them the tnic state of affairs, attached to the "free" label. It . cost nothing to make the reserva- The new Hodges budget cannot do what it tion, catingdinncr on the premises has set out to do, namely maintain the status nnt rhiiftntnrv ana no ucv- viuu, iui uic uu uii luiiai v urji umi iiiia UVlr v V - A was was it was "Art for Art's sake bill of fare indicated. as the erages were forced upon anybody country is parsing through is going to make during the hour and a half per- the value of the appropriated dollar less and formancc. Actually, nothing at all css -j-j,e jxpulation growth rate is going to served during ttie snow anu mai-c tj,p 1ulo-er inadentiate to meet the needs of an ever expanding public. And in the field of education, exclusive for the time being of higher education, the promise con tinues for poorly paid teachers and inade quate facilities to meet the demand of an expanding state. In this latter area the net result wTill be that competent teachers will go elsewhere and the secondary schools which are quite poor will Harper s Bizarre H - Now you just can't tell about the Beat Generation. Fortunately, not many people are trying anymore. The Beat Generation has apparently been accepted. But as what? We first became interested in the Gcat Generation last Sprng when two columnists in this paper batted the subject about. One was trying to explain the movement, and the other on alternate days was insisting, "I am not!" We believe neither carried his point. But we were stimulated. We bought a book about Beat, and dis covered that one could be so cither poetically or prosaically. All in all, the "representative" writing was ridiculously simple. Not to say that that the reverse wasn't equally applicable. We assume that one may also be Beat in other artistic manners, but what of those aspirants who are tone-deaf and can't spell? We have to go further. A cosmopolitan friend told of a summer visit to San Francisco. That town, he said, was the nerve center, the very he&rt, of Bcatdom. He went on to explain that Beat people there are cool, and dig things. "There was one guy who was the coolest. He owned a book store and was never there. Everything was on the honor system" cold chills ran down our spine "you know, you may change yourself." Another friend, this one metropolitan, went to a Beat party during the semester break. He was greeted at the door: "Are you Beat?" Reflecting on the past week of exams, he replied, "I'll say. I've got bags under my eyes . . . I need a shave . . . I'm so tired I can't stand up . . . I'm scody as "OK. OK. But are you Bcatf ' "As I was saying, I had five finals in three days. I studied my "If you're Beat you don't have to study." Somehow our friend gained entrance, and joined in the revelry as much as his tired person would allow. Later, harkening to a call of Nature, he asked directions to the sanitary facilities. He was shown to the door with the explanation, ."We ain't got none. You don't do it inside if you're Beat." At which juncture our frienci fled the prern iscs. . ' - ; Which is as far as we've gotten, to date. But we can say this much: if you dig things; if you are honest, artistic, cool; or (which may imply the preeeeding qualification) urinate on the back steps; you're either Beat, or should be. J. Harpiir I dropped in at Antonio's before the show on Monday and had a little session of my own with Ihe boss, Harrison Register and the boys were already making with the sounds as we sat down to have a cup of coffee. Tony is a big, balding fellow with a friendly smile and whose soft-spoken voice rather surpised me. He was also very candid in his conversation. "I used to own a Pizza place in Minneapolis and laid everybody on their car when I had a jazz combo there. After all, whoever heard of jazz in a Pizza joint?" Well, he had me there, I hadn't. He readily admittcKl he was in business to make a living just as is everybody else in Chapel Hill, but that he "dug" ;jazz, actors, writers and the cai?vas crowd and was there fore planning to do as much as he could for them and for the students as well, giving them a return for their patronage ... or lack of patronage, for that matter. :ct worse. The hue and cry is currently coming from every coiner, but the need is. greatest in edu cation. It is a faint hope but a possible one that the current legislature will scrap the budget and start afresh. If it does , it will be a service to the people of this state. doing The Budget II The Advisory Budget Commission's recom mendations for the University and for higher education in the state in general are a marvel in oversight, for according to the Commiss ion's report it would seem that what they are asking is that the University pay more and As the flip side of the menu "'ore of its expenses from receipts, a thing says, "Artists are welcome to almost impossible in education, hang their works Antonio's is all . r, - . .. , ' V c galry. Actors are welcome to The Commission recommended a total of perform. Writers are invited to Wooo in increased expenditures on the A write for the Broadside-mail to budget or the budget of present costs plus ad Antonio's, 104 West Franklin. Musi- ditions for increasing population for the next cians are also welcome to play." year and another $200,000 for the year after I imagine that the artists can wards. This figure does not even cover prcs hang anything but themselves cut needs much less future expansion, since dead bodies don't mix well , r , ,t it win oe iiarci ior tne university to at tempt to give a quality education unless there are more funds available especially in the fields of faculty development and library additions, both of which areas were short changed by the Commissioners. with the fine pizza, pasta and oth er dclizioso delights. The Monday night show consisted of two types of music, not merely jazz: the first part featured folk music by Michael Mcrbaum and Gill Kushner (besides their musi- The future of this University in retaining cal talents, these two are working its flosifions as the "Harvard of the South is on Ph.D's in Psychology and An- exceedingiy blcakf if it has not ost that topology, respectively); the sec- tion alread Perhaps" the General Assembly ond phase was devoted to jazz . , ' r , ,.a , , . 1 and consisted of a group headed can look to the facts, the reality that education by guitarist Harrison Register with is of primary importance, and change the Kack Anthony handling the vocal University appropriation. The prospect of end. Gene rarons leu in smooth ly as the master of ceremonies. Rather than go into a verbose eulogy, I'll just say that all con cerned handled themselves in a professional manner and the warm reception given them by the audi ence attested to this fact. this is not bright. UP Apparently John Minter is attempting to set up the University Party meetings so that it can become a truly campus-wide conserva tive party. This is a sign to be hailed, but The overall program was spon sored by "The University Art League which has as its orimarv purpose the stimulation of interest a must "of be taken as an accomplished fact, in art among students on the cam- -n.., tt:. n 1 v 1111 unnti jiij 1 auj iiaa iuu lung uccu dominated by fraternity interests to right it self all at once. It it does it will take both time and effort. pus, and in Chapel Hill generally, lis program involves group shows such as occur at Antonio's, lec tures, movies and the annual Side walk Art Show in the spring. Oth er projects depend on the money available in the League's treasury. Membership is open to all stu dents." We do not have a list of the League's future presentations on campus, but do know of several upcoming events at Antonio's: Poetry and Jazz, Dramatic Read ings, Jazz in Concert, Flamenco Guitarists, etc. In addition, there is live music Monday through Friday beginning at 5:30 p.m. For further information, just drop by and put your name on An tonio's mailing list. If you're in terested in the Art League, see Chuck Hoskins (where you'll find him I don't know.) Now, you'll have to excuse me; I have a sud den urge for a pizza with sausage, pepperoni, olives, peppers, ancho vies and mushrooms with antipas to and possibly spumoni for a chaser. John Minter deserves a pat on the back for his efforts, but the prospects for success arc doubtful. Symposium It is with-great relief and some pleasure that the editor notei the appointment of the emminently capable Richard Robinson a-s chairman of the Carolina Symposium on Pub lic Affairs. The only regret along this line is that appointment did riot come sooner, for the prospect of difficulties to be encountered in procuring speakers has. not been dispelled. The experience of this year's symposium group will no doubt lead to recommenda tions for the future, a- future when in ail probability a chairman will be selected in October and real work begun in December. As it is, the promise of a good symposium is still there, and the right man has been chosen to head the group. ' " - .
Feb. 13, 1959, edition 1
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