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SATURDAY, MARCH 12, 1753 FACE TWO THE DAILY TAR HEEL caught our if 1 : V"' a Editor Managing Editor Associate Editors Business Manager Sports Editor News Editor Advertising Manager Circulation Manager Subscription Manager Assistant Business Manager Assistant Spoils Editor Photographer' Society Editor The Cumulo-Nimbus Shape Of Reality The New Republic came to the office this week with an intriguing back page advertise ment. "Life subscription' runs the offer, "Sioo." And why should anyone want to subscribe to a magazine for life? Well, says the ad, "the shape of reality is changing faster than our ability to perceive it" and an hour or two per week with the New Republic will give insight into "the cascading rush of events and ideas." But the next paragraph is the one" that imagination. " lake the question of preventing atomic destruction," it says. "We thought we had a formula for security in the Baruch Plan for international control and inspection of fis sionable materials and atomic facilities. But today, as one scientist says, 'it seems that the possibility of the control of nuclear ev plosives and the bombs they make has passed." This, of course, puts the whole business in a new light. What looked like a tempting deal whereby a youth of 21 might save 214 on New Republics before he died at 0", be comes, after a perusal of the small type, nothing more than a gamble with the odds ir the side of New Republic, Inc. Possibility of control of nuclear explosives and the bombs they make has passed, and there is an Epicurean bunch of publishers trying to get your money while they "may. Our speculation along this line was con siderably heightened by the passing over, yesterday, of the long cloud the Atomic Ener gy Commission says wc shouldn't worry alxut, the colloidal fragment cut loose from the atomic mushroom in Nevada. There it was, for anybody who cared to look: a nuclear cloud right here in Chapel Hill. Any hopes the New Republican may have had of getting our hundred dollars "sailed east with that cumulo-nimbus mass. You can take the idealistic plunge if you like, but we're going to sit tight, keep a sharp eye on the shape of reality, and buy our New Republics down at Sutton's. Gracious Living XXVI Our Lenoir I lall operative tells us that Gracious Living in Chapel Hill is taking a beating from the cafeteria clocks. Daily, goes his tale of woe, hundreds of students are made late to class while try ing to sneak in an extra cup of breakfast coffee; the clocks arc five minutes slow. We have finally become accustomed to the University's bell system being two min utes behind the rest of the world, but there's no excuse for the microcosm that is Lenoir to operate five minutes slower that that. If Gracious Living is to move on apace, Lenoir must get the lead out. The official student publication of, the Publi cation! Board of the University of North Carolina, where it it published daily except Sunday, x ft Mondav and examina- n. ;: P rAq. and s 11 m m t r terms. Entcfed j second class matter at the post office in Chapel Hill, N. C, un der the Act of If arch 8, 1879v Subscription rates: mailed, $4 per fear, $2.50 a semester; delivered, $6 a year, $3.50 a semester. CHARLES KURALT FRED POWLEDGE LOUIS KRAAR, ED YODER TOM SHORES B ERNIE WEISS . Jackie Goodman- Dick Sirkin : Jim Kiley Jack Godley Bill Bob Peel Ray Linker . Boyden Henley Susan Andes EDITORIAL STAFF Bill O'Sullivan, Tom Spain, David Mundy, Paul Chase SPORTS STAFF - Al Korschun, Bob Colbert, Chuck Strong, Marshall Waldman BUSINESS STAFF Joan Mclz, Carolyn Nelson, Carolina Front, Old Initials Tell Three life Stories Louis Kra&r HAVE YOU ever wondered about the initials some people make in fresh cement? Usually, it'3 children who scrape their names or init ials for all of ?osterity or. I , 7at least, the I lieighborhood iMi ' -J to view. But when I noticed three clearly written initials on the side of Old West Dorm on campus recently, I wondered about them. The date conveniently placed beside the initials, was 1830. A search through old year books, Kemp P. Battle's "History of the University of North Caro lina, -and a half-dozen questions to helpful librarians in the North Carolina Historical Room in the Library brought to light the names of the initial carvers of over a century ago. The initials "J.L.H." belong to John L. Hederson, who "was graduated from the University in 1830, the same year he probably carved the initials. Henderson, despite his penchant for scrap ing initials in cement, became a member of the state legislature in later life. After representing Rowan County in the Genera? Assembly for some years, hy went on to become state comp troller. "G.H." probably stands for George W. Huffman, who at tended the University but didn't graduate. He later became a Baptist minister. The third set of initials "JJtf.S." helinged to John Madi son Stedman, who was graduated in 1830 and later became a phy sician. The- three initial scrapers probably found their opportuni ty to make their mark on the building during a minior repair session. Old West was built in 1822, so 1830 sounds like a rea sonable date for minor repair work. Thus, the sets of initials stand after over a century bearing silent witness to such events as Union General Smith B. Atkins moving horses into the building for two weeks while peace terms for surrender of Raleigh were being negotiated in 1865. EVEN IN texts one finds ab surd statements. Take this one from "Sociology," by Lundberg, Schrag,. and Larscn: "If enough of its incumbers are nonconformists, the community may split into factions or per haps disintegrate. Thus, survival of the group, like survival of the individual, depends upon the development of patterns of uniform and repetitive social acts to which people are expected to conform." "WHAT DID Norwood Bryan do?" the girl wanted to know. She pointed to this column of a couple days ago, in which the printer had dropped two lines. Thus, to satisfy curosity and straighten out the confusion, here's what I was trying to say (until the printer jinxed me): Norwood Bryan, who sat on both sides of the battle between Muntzing and Fowler at different times, still is entertaining vice presidential hopes. PERHAPS THE slang of today will pass like that of other gen erations, but I wonder if we'll ever work so hard to seem color ful and sophisticated as we're doing now. "How was the boy you were telling me about?" a coed asks her friend on campus. "Oh, him?" shg coos in a pseudo - Southern drawl. "He's strictly out to lunch." And our music has also taken on names that outnumber our, jazz forms. After the Brubeck concert, I heard that he was "strictly nowhere," from, one jazz exponent. Another hipster (that's a slang word itself) termed it "cool." And still another friend, some what less versed in the verna cular of the moment, remarked, "I didn't think it was too hot myself." SOUNDS New Don Shirley, Tom Spain "His virtuosity is Vorthy of Gods," is what Igor Stravinsky has to say about the jazz world's latest piano stylist. Donald Shirley, whose Debus syesque piano renditions of pop ular and semi-classical selec tions, has been something of a rage among the New York' society-jazz school in the supper clubs and cafe circles. Almost a strict adherent to classic forms, the renowned Shirley boasts a background of genious and the life of a child prodigy. Born in Kingston, Jamaica, he has studied theory at the Len ingrad Conservatory of Music and at the Catholic University of America in Washington. He is a composer of several formal works including, sym phonies for organ and a piano variation ror Ravel's BOLEftO. At the age of 28, he has com piled an impressive record as a concert pianist in addition to acquiring an enthusiastic jazz following. SUBTLE BUT GENTLE In his new record album which has just been released by Cadence records, Shirley presents several pop ballads out of Tin Pan Alley to which he has applied the teehnique of composers from Chopin to Gershwin, plus a mild spattering of some delicate mod ern jazz. Accompanied by Richard Davis on bass, Shirley takes a big step in drawing both jazz and classic forms of music into a delightful style which accent uates the similarities and con trasts of the forms which were once considered far removed from each oilier. . Relying on a subtle but gentle technique, the duo turns out wistfully beautiful versions of SECRET LOVE, ANSWER ME MY LOVE, MY FUNNY VALEN TINE, DANCING ON THE CEIL ING, and LOVE IS HERE TO STAY. The Shirley treatment of these sentimental ballads is not only different, but refreshing. Perhaps best of the new styles is the quiet blues rendition of I COVER THE WATERFRONT. YOU Editor: All hail the noble prophet, the patriarch and elected representa tive of the common, people, the zealous guardian of the campus coffer, the great authority on matters of human initiative, the champion of unlegislated thought our own Frank Warren Jr. Mr. Warren tells us in his letter of March 11 that he was advised by his father to fight windmills rather than newspapers. If the character of Mr. Warren's charges against The Daily Tar Heel and Latest Master Stroke On The Security The Don Shirley duo deserves a listen no matter what one's tastes might be. A concert pianist of great talent with an honest interest in jazz as an art form is an indication of coming events in American music. it The Benny Goodman band usually connotes a thing of the past, but Capitol Records will be the first to say the Goodman way of music has not died. A new album chocked full of big band sides is now on the shelves of the record shops, its cover, designed to lure the hi-fidelity fiends. JUMPIN', STOMPIN' BG IN HI-FI is no disappoint ment to the true Goodman fan, and to some, the group may sound no different than it did 15 or 20 years ago. Featuring many of the old-timers, Goodman brings back many of the all-time favorites of the early forties. Count Basie's JUMPIN' AT THE WOODSIDE is the opener, and brings back memories of the jitterbugger and jukebox of 1941. Quickly following is anoth er old-time great, STOMPIN' AT THE SAVOY, which, though it lacks . some of the drive and exuberance of the former ag gregations, does the Goodman reputation no harm. Mel Powell, Chris Griffin, Will Bradley, Steve Jordan, and Hy mic Shertzer are just a few of the big names which helped make the tradition of Goodman supremccy in the swing field, and topped by that royal clari net, they prove themselves far from has beens. SHAVERS' TRUMPET, POWELL'S PIANO One of the more exciting ele ments of the new album is the presence of the quintet and sex tet. More than adequately sup ported by Jo Jones, Charlie Shavers and Mel Powell, the small groups take off on GET HAPPY, YOU'RE A SWEET HEART, ROCK RLMMON, and AIR MAIL SPECIAL. The versatile Shavers supple ments the absence of the vibes Said It his father's advice. Mr. Warren tells us that the editor of The Daily Tar Heel is possibly lazy. If it were so, it were a grievous fault, but in any case how in the name of Brutus would Mr. Warren know? I think Mr. Warren is patently absurd. Mr. Warren tells us that we are lucky because we have students who pay good money to have a top-notch newspaper. I say that we are lucky because we have students who are willing to guard our money, investigate our news- Front Old BG with h i s supersonic trumpet runs. Powell's piano work sounds somewhat changed, but just as good as it ever did. Especially in the frantic AIR MAIL SPECIAL, the group proves its rapid-tempo ensemble ability with the tricky scale romping and complex end ings. But for the Goodman fan, per haps the biggest thrill comes from the two sides of LET'S DANCE, which open and close the album. Though both are from the same master recording and are nothing more than dup licates, the inviting sounds of LET'S DANCE imply only one thing. And the implication has n't changed since the 1940's. It's the heartwarming thought that a great and masterful king will not reckon with usurpation. POETRY AWARDS Stanford University Press is the publisher of the 19p4 Bore stone Mountain Poetry Awards, a compilation of ariginal poetry published in magiaines of the English - speaking world. The Boreshone collection is the only yearly anthology of verse to which nominations can be made by the editors of the publications in which the poems first appear ed. In attition. to three cash prizes and a "special award, the judges also award $1,250 an nually for an outstanding book length work of verse, the prize presented each year at the ban quet of the Poetry Society ' of ' America. A number of well-known poets appear in this year's choices, including Southern critics and author Allen Tate, well-known short story writer Elizabeth En right, Christopher Morley, Peter Viereck, etc. DANNIE ABSE Chapel Hill readers will be especially interested in a poem reprinted from "Poetry," by aDnnie Abse. Mr. Abse, a native of South Wales, is the brother of Dr. Wilfred Abse of the Depart ment of Psychiatry in the Uni versity Medical School. Dannie Abse is also the author of "Ash on a Young Man's Sleeve." pub lished in England by Hutchison and only recently by Criterion in the United States. The ADses are an extraordinary family. Miss Lily Tobias, an aunt who recent ly visited here in Chapel Hill, is also a well-known British novelist. PRIZES Top prizes in the Borestone awards went to Robert' P. Trist ram Coffin, Elizabeth Coatsworth, Laurie Lee, and Allen Tate. The current collection (128 pages, $3) is the sixth volume in the Aeries and offers a special stim ulus to undergraduate poets. Levin's Poems Refreshing 'Rebellion' Ed Yoder If rebellions make the planet spin (and there are those who believe they do), Ron Levin's new book of poetry entitled "Rebellion" should give the reader a fine whirl. The college campus can too often lapse into a slow-turning apathy; and all who have ever watched the laws of physics at work, on a spinning object know that the ' slow-turning becomes the wobbling and finally the stopping. INCOMPATIBILITY It is for just that reason that Ron Levin's ten poems, just brought out in the Old Well Publishers' new "Contemporary Poets" series, are full of lively and healthy meaning. These poems, whose abiding theme is perhaps caught up in, I should like to divorce myself from these days on grounds of incompatibility, will more than serve "those who feel the campus vehicle slowing down, will perhaps give the reader a troubled insight into whatever wobbling the planet may (or may not) be doing. After so much modern poetry of abstract insight, which, as W. H. Auden has said, only serves to "wake the hermit's sensual ecstasy," it is refreshing to find a new poet bringing new thought to paper about coffee drinking, about walking in a garden, about hi-fi sets that drown "a robin's magic treat," about rain and the changing tones of a woman's red hair, about the price of U. S. Steel, about drinking egg nog at a Christmas party. PULPY CRESCENDO The poet's rebellion is a re bellion back to the natural things, the leisurely, meaning ful, pleasant things that can flash on the attentive eye. In "Garden Concerto," for instance, Levin, tuning his esthetic strings to a more romantic, score, hears The counterpoint of ear and stalk in tangible melodic lines ... Polyphony of tangled vines their coda culminating in a pulpy crescendo called a fruit. Levin has developed a good bit of the skill which comes to the poet when he has trained his voice and thought to see the subtler shades of the things he writes about. "Reckoning in a Coffee Shop" typifies this. The poet's talking about the end of world. Could this be it? he won ders: I had dreamt of there being high screaming fissures steaming and unimaginable sights. I'm disappointed for all that I observe are faded voices neatly done grins and half-picked bones on plates. END OF THE WORLD This subtle blend of humor and gravity deserves comparison with one of the great treatments of the theme Archibald Mac Leish's wonderful poem, "The End of The World." Mr. Mac Leish sets his apocalyptic event in a carnival tent. Just as the clowns and tightrope walkers lead their audience into rapt attention, the big-top roof blows off and beyond there is black ness and ... "nothing nothing at all." "Rebellion," the reveiewcr suggests, deserves the attention of those who believe that the ultimate requirements of all poetry should be Jruth and beau ty, those qualities which, as Shelley indicated in an immortal code, can never be found sepa rated in a good work of art. , Meanwhile, with a few rebel lions of this sort, to point the way, the planet will continue to spin. Wal Cherry, Australia. EDITH SITWELL The collected poems of Edith Sitwell, published in a 442-page edition by Vanguprd Press at $6.50, prove -again as if such proof were needed that Dame Sitwell's position of excellence in English poetry is secure. The new book makes available early poems, that have never been published in America, and brings together "Green Song," "The ye Of The Horse Roger Will Coo (The Hore tees imperfecta, magnilyiy B. C) THE HORSE was marchalling his companion, MesNeckley and Wump of higr- and wr level vision on affairs respectively, on Ew Fran- lin. I wondered what was up. "Neckley's neck, for one thing, lne iiorse spe- c irffln- Hander. Indeed. cified, is up. so is mv amphibian associate is so depressed as to be ia a frame of impulse to commit seppuKU. Didn't The Horse meap frame of mind? And what, pray, was seppuku? "Now, Roger, things are not so desperate as U, require you to pray," The Horse shrugged. But, pray stop dramatizing yourself. Like many moderns, poor Wump has a collection of impulses rather than a mind, by which latter term I mean the some thing from which thought originates. And seppuku is a term used by us Japanese for what you-all call hara-kiri. In short, self-destruction." 17s Japanese? The Horse was now Japanese? "The Horse is universal," The Horse spoke most rep:c1!fully ci himself, using he third-person. "The Horse is many things to many people," And he was nothing to many people,, and I meant his colyum, as it was y-clept. "That figures," The Horse nodded equusably. "As Poor O'Richard says, 'He who tries to please everybody pleases not even himself.' And it also follows that the fantastic emolument I am paid for each blink of my Eye is such that it leaves me independent of the need to dot my Eyes and lace my Teas." Didn't The Horse mean, cross. his t's? "When brandy is used," The ilorse observed, "we call it lacing. I am seriously thinking of lacing Mr. Wump's branch water with some good distilla tion of the potato skin to coax him out of'his im pulse to commit seppuku. What gives me pause, is. he may turn up with other and more horrendous impulses." Such as? "Bathing in coffee, lurking in creamed soups, plumping for Educational TV, voting Republican," The Horse expressed some possibilities. "Or he might even become an Independent and uphold seg regation while deploring Chapel Hill's refusal to align the reading labels with the reading of kin dergarten a-b-c blocks.". This, I didn't follow? "Well, why howl to keep schools separated as to color, and then back our Educational system with the shtuff whose main color-symbol is blood shot eyes?" The Horse pointed out with a mani cured hoof. "Or if cheek-by-hogjowl with the Likker Trade is okay for school revenue, why not go who!o hog and start making the shtuff themselves at P.-T.A. meetings? Look at the profit could be made! Why give any of it away and merely rely on taxes?" I thought The Horse had something there. "You ain't kidding!" The Horse warmed up to his idea to found the foundling schools with a new found foundation. "It could be integrated with the work at school, too. That ought to please every body, because everywhere you hear folkses speak ing of integration, and thus it would be fashion able." The Horse meant, set up stills in the school houses? Nothing that crude," The Horse overruled me. "Besides, the kids might turn our raw shtuff you know how impatient children are. No, I mean wc could teach Arithmetic using the system: 2 pints equal one quart " I got it! Four quarts make one gallon! "Naw, naw, nawl" The Horse nawed me. "Twelve quarts make' one case. And so on. Heck, we might even break the text down into Fifths, so we-uns who buy the shtuff would know what we are get ' ting stuck under the Fifth system. Then, we could conduct our Agriculture & Resources classes simil arly." Would The Horse elucidate? "I never touch it before the sun is over the yard-arm," The Horse misunderstood me. "Instead of teaching Old North State childher to reckon farm-production in bushels of corn to the acre, we'd teach it in gallons to the acre; or, eases to the section. And they could get their Physical-Ed by samping out the corn-squeezings and the grap? juicc. Then Now I had it! Then, transship the shtuff I meant, stuff to P.-T.A. stills and have our own bottle factories make the bottles, labels, cases tax-stamps, everything! "Roger, me bhoy!" The Ilorse exulted. "I'm proud of you! How come youre not a leading mem ber., or at least among The Fifty-Four of I -T.A. now? No skulldugger, you, me lad, but a real ist! Taxes arc taxes, and forget where thy come from. Income is income. Why, Roger, in one simple stroke you have stated our entire American Phi losophy: don't worry where it comes from or what you must do to get it go after it. There's one small flaw, however." Quote, Unquote - Last week the United States postoff ice depart-" ment quit delivering Russian newspapers -to any American except a very restricted class, mostly officials. It meant nothing to me intellectually becausn I can't read Russian; but it meant a great deal to m politically, because it reminded me of the fran'k efforts of John C. Calhoun and his followers to pre vent the postoffiee from delivering Abolition news papers in the South before the Civil War The policy of trying to stifle hough led strait to rum then and all experience teaches that it e m never lead to anything else. I have a haunting fcar that it is leading to ruin now. There is no safety i" ignorance; it is precisely what you don't know that geTouf 5;hUebaTUSe " In this modern world it is more profoundly true han it ever was before that the mind that is free to inquire and to know is the only mind that h. a chance of devising means of LfZlJ
Daily Tar Heel (Chapel Hill, N.C.)
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March 12, 1955, edition 1
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