^ 'ril 14, 1967
BELLES OF ST. MARY’S
Libba (’al ter and Lee Avery witli Sonny and Cher,
;»onny Cker Are
Visited By Fowr
Sf. Mary’s Fans
Velvet Cloak
Cissie Hobgood
little doubt that Sonny
famous singers, will be
) K - forget their recent trip to
o they were received by
. \ St. Mary’s gracious and hos-
f ^ young ladies. Julie Living-
ihK Avery, Kathy Frazer, and
L . wrter gladly relinquished
Pen\ b several Sundays ago and
he afternoon tracking down
couple in typical teenage style.
L? lobby of the Velvet Cloak,
’ oDa overheard Jackie (the drum-
Inr. Embers) confirming
IP Cher’s reservations. In
,1‘ltnown subtle way, Lihba
i.pr Utid out what time they
arriving.
■ back into the dining room,
.p O llitu tllC UIIIIII5
j]^lQ*^oned her friends. Our
h(
jng lot, following Jackies
'tl rlTcTth
, “a'd the “sneaking peanut” around
- parking lot, following Jackie's
tt Order to get the room number.
s soon as they received this infor-
,1^5^’ '^hey ran back to school,
itrl o cameras, raced to the
c itore to stock up on film, and
™rmed Frank and Frankie about
I, Back at the hotel, they set
^ ^Py team on the balconv across
the room.
1 ytlng the hour wait for the doom-
jj^^^atgers, Julie took pictures of the
t of their room and of the laun-
1 aoom, thinking that Sonny and
er Were being smuggled to the
'r.tn laundry bags.
Julie then spotted a likely look-
6 suspect and tackled Eliot Franks,
tiy and Cher’s drummer. The
. .Putnped him for thirty min-
, After they had exhausted him,
r tvas released and allowed to go to
room.
a short while, the elevator door
p and Sonny and Cher appear-
.hen they saw the “welcoming
IP ’ jumping around and pull-
heir hair, naturally they hesitat-
hibba shouted words of en-
I^Sement to them and beckoned
e married singers. Needless to
^”"uy and Cher ducked into the
“^'■est room.
*‘Good Morning, Miss
Dove** Is Chosen As
Commencement Play
“Good Morning, Miss Dove has
been selected as the Commencement
Play. It will be presented May 26th.
It is the story of a woman who has
devoted her entire life to teaching.
She is a strict disciplinarian, who was
defied by no one until the Bradleys
moved to town. As a result of Miss
Dove’s actions, she is called before
the School Board by the Bradleys.
Sue Owens plays the part of Miss
Dove. Lucerna, who narrates the
play, is irortrayed by Susan Hutalf.
Mrs’ Bradlev is Caroline Huggins.
Dr Wakefield, the psychiatrist, is
played bv Margaret Burgwyn. George
Christoph is Jincey Webb one of
Miss Dove’s former pupils. I'lrs- E>e
Grazia, a member of the School
Board, will be portrayed by Lynn
^BiUie Jean, the nurse w'hen Mip
Dove is in the hospital, is Mattie
^'s^rof Miss Dove’s students are
Harriet Collins, Harriet Day and
E^'an Aretakis. The Glee Club is
composed of Polly Cozar% Barbara
Wall, Lilibet Freeman, and Jan Wel-
lons.
Aacaleas Given By
Alumna
The beautiful blooming, pink azal
eas at the gate on front campus
were given to St- Marys by Mr.
and Mrs. L. Dow Pender, Jr. (Rhea
Flughes, 38).
The frantic girls, not knowing
what to do, ran down to Eliots rewm
and pounded on his door. After Lee
had made several threats on his life
he came to the door and finally
agreed to arrange a meeting.
A few minutes later, Sonny and
Cher emerged from their worn litok-
Sg “groovy” with their look-alike
hairdo^s and outfits. Thirty minutes
later their four new-found fans start-
Pd back to school with autographs
pictures signed “Bang Bang. You
Shot Me Down.
Roller Skating
Privileges? Hats And
Gloves Downtown?
Pkone Hours
Xlnckan^ed Since ’39?
By Jessica Gillespie
Think it’s bad now, ladies? Be
thankful. Contrary to popular belief,
St. Mary’s has become more liberal
since 1842.
A student of the 1870’s reminisced;
“I can remember going out once.”
Chances are she slipped off during
one of the daily morning watches
conducted by Dr. Smedes.
Things were looking better in
1926. With the turn of the century
came new, astounding, and free ideas.
Seniors were allowed to study in
their rooms. They were allowed to
study in the grove after spring vaca
tion. However, their privilege did
have certain stipulations: 1) They
had to sit alone, 2) they could not
communicate with anyone, 3) they
could carry no ink bottles. Seniors
were allowed one last and special
privilege: they could attend a Caro
lina football game on alternate years.
Rules became considerably more
lax in 1932. St. Mary’s seniors were
allowed to walk to the little store
once a week. A chaperone was not re
quired if at least two girls made the
venture. If healthy, they were per
mitted to sleep through breakfast on
Monday morning.
In 1936, if a girl was a Junior Hall
President or on the Junior Honor
Council, she was allowed to have
lunch and attend a movie once a
week. Seniors were gaining more
freedom also. They were allowed to
go to the little store three times a
week now. This was a real adventure!
With the telephone came a new
and exciting era. Girls could not re
ceive calls during school hours, closed
study, or after 10:00. (How interest
ing! That was 1939; now it’s 1967).
Dating rules were becoming more
reasonable. Young men could be en
tertained in the parlor from 8:00 to
10:00 p.m. on Saturdays and from
3:00 to 5:00 p.m. on Sundays.
In 1943, seniors were allowed to
date to a downtown movie from 7:15
to 10:00 p.m., only if they went on
the bus.
Of course, points were given for
failure to follow simple rules of eti
quette. Everyone knew that it was
unladylike to wear curlers anywhere
outside one’s own bedroom. Hat and
gloves had to be worn by each girl
going downtown.
Two big breakthroughs came in
1949. Girls were allowed to smoke on
campus. A girl was permitted to date
the same boy twice on either Satur
day or Sunday, provided that she did
not date him both days. However, a
date lasting more than five hours
counted as a weekend permission.
There’s one rule that sticks in the
mind. It was used in the 1920’s and
1930’s. “Girls are allowed to skate on
Hillsborough Street for one hour af
ter class.” It must have been nice!
“BLOW-UP” IS
REVIEWED
By Sally Cruikshank
Rarely does a movie appear which
can truly be termed artistic. Blow-Uf,
directed by Michelangelo Antonioni,
qualifies as one of the rare exceptions.
Blow-Up inolves a young mod
photographer in London who, while
walking through a park one day,
photographs two lovers. The girl he
has photographed follows him back
to his studio where she begs him (un
successfully) to give her the unde
veloped roll of film.
His interest is stirred by the des
peration in her attempts to retrieve
the film. After she leaves, he develops
and studies the roll in question, only
to discover that he has captured on
film what appears to be a murder.
The decision this information
forces him to make is whether he
should bother to involve himself in
the murder, or whether he should re
main the uninvolved individual he
was originally.
But Blow-Up goes much deeper
than a murder story, and consequent
ly cannot be expressed as a plot sum
mary. It offers limitless interpreta
tions, depending on the significance
one attaches to the details of the
movie. It raises many disputable ques
tions.
Is it a social commentary on the
dissipated aimlessness of the mod gen
eration? Is it questioning the ancient
doctrine of a man being his brother’s
keeper? Or does it reach deeper still
than this?
Is the movie trying to say that the
only satisfaction a person can find
today is in unreality (accomplished
through the “psychedelic” trips, the
imaginary tennis games, the masked
faces)? Or is it questioning the en
tire concept of reality?
Antonioni’s message is elusive and
entirely debatable.
Color movies usually concentrate
so intently on creating lavish, visual
splendors that they fail to make full
use of the fantastic color potential to
be found in the photography of ev
eryday life. In Blow-Up, however,
this potential has been realized, and
simple scenes such as a pair of lovers
in a verdant park are breathtakingly
beautiful.
But in addition to its visual beauty,
the photography manages to capture
subtly the essence of the prevailing
mood in each scene. The photog
raphy is very frank at times, but this
express frankness is a well integrated
expression of the theme.
David Hemmings, as the photog
rapher, is unforgettable. His face is
a peculiarly attractive combination of
sensitivity and brutality, if such can
be imagined. 'V’anessa Redgrave’s per
formance in the role of the girl in
volved in the murder is likewise bril
liant.
Blow-Up is not meant to entertain
the viewer in the ordinary sense, and
anyone who goes to see it merely to
be entertained will he disappointed.
It is a disturbing but very beautiful
movie which demands an intelligent
audience.
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