Oregon daily emerald. (Eugene, Or.) 1920-2012, February 09, 1950, Page 2, Image 2

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    “X wonder why tha 'Sigma Phi Nothings' don't laarn to use the >
telephone like other fraternities do?"
The Horse Laughs
Since parking was banned near campus business establish
ments—a concession to babbitry, but perhaps a necessary one
—the Emerald has been deluged with calls from inventors and
crackpots. (Three calls, that is. They were all from seniors in
journalism. All women. Rather similar sounding voices.)
One caller advocated that the 1950 car be collapsible, on the
order of a baby buggy. Then the brothers could stack their
cars in the yard every night. (Such an invention would also
mean a lower priced car, the caller pointed out.)
The next phone call was from a fervid patriot and nature
fiend. She pointed out that now is the time to advocate the
abolition of the automobile.
“Fewer cars could mean healthier people. No accidents,
more exercise, greater chastity,” she said.
“If only we could do away with the automobile, wq would be
better people. We would be strong, healthy and self-sufficient
like our pioneer fathers.” (We apologized and hung up after
15 minutes of this. Too dissipated to hold up the receiver that
We expected that if another call came in, it would be from
some alert shoe salesman. Instead it was from someone who
identified herself as the secretary of Koke-Chapman. She said
that establishment was entering its bid to fill up the Millrace
completely. This, of course, would provide a great stretch of
parking speace.
We said thanks. But the parking problem remains—B.H.
6n the At*
Watch the Platforms—
Television May Be Next
Qy Malty WeityHel
Battling through a raft of officialdom, and
a mass of red tape, “Webfoot Huddle Time”
has emerged with a permanent spot over
KOAC. The program will be broadcast via
recording from Corvallis at 5 :45 p.m. every
It isn’t the best time in the world, but as
soon as other stations pick up the show,
“Huddles” listenership should increase. Sta
tions throughout the state are sending jn re
quests for the show, and a Eugene network
could do no wrong by taking the program for
release at a more convenient hour than that
given it by KOAC. *
The Broadcaster’s Conference scheduled
for this weekend is not expected to arrive at
any decisions that will greatly affect the Uni
versity radio program. Membership in the
Broadcaster’s Association is limited to radio
stations only, and we ain’t got none.
On the station topic, we cribbed a bit of in
formation from the Syracuse Daily Orange,
which is the journalistic child of Syracuse
University of New York (not Greece). Seems
while we bat our heads against a budget and
the FCC for a little old AM or FM outlet,
Syracuse is going in for television. Within
(Please turn to page three)
tiltin' <U Random
South Pacific All Froth
fey fla QilUU
I! you have imagination and can read,
why spend your dough to see a musical show
—just read the play. But too, you must have
the tunes well in mind, for they are written
out in the book version. And just to read
these odds and ends of lyrios without hearing
a seventy-five man chorus in your mind—
brother, you’re lost!
With all this in mind, I read SOUTH PA
CIFIC (Random House, Inc.: $2.50) by
Hammerstein, No.-2 and Logan and came to
the conclusion that I’d rather spend the
money seeing the play. Maybe it’s a lack in
the reader of some necessary quality required
by such plays, but it’s all froth to me. Even
the heart-rendering scenes leave me without
a tear. As much as one can picture this play,
I can see why it would be a sellout on Broad
way Totally different in attitude from Mich
(from which it was adapted), still many of
the characters give forth with great comedy
possibilities both in book and play.
With that I am thinking of “Bloody Mary”
who learns through the courtesy of the Ma
rines a few well chosen American words. The
play puts her across nearly as well as the
book. And the love story of Joe Gable, Lt.,
USMC, and the native girl, Liat, is done well.
The lead is obviously, from only reading the
play, tailored for Mary Martin, the play’s
leading star on Broadway. And Pinza would
make a fine rather middle aged but “lead ma
terial” planter.
All in all, a good play to see, not too good to
read, and especially not if you’ve read
me? I’ll pay my money—if I get the chance.
Anyone going to New York?
fljau4t<f Stuf^
Versatile Kenton Directs, Plays 88 Keys;
Christy's Hubby Durable Sideman, Tenor
By tfn&d rlfou*Uf,
Always one to smile, I
wonder what happened to
the possibility that “Play
mates Magazine" would have
a spread "Weeping with Wil
lie” featuring the soup orga
nization and other pictures
of democratic truths. But,
that doesn’t manage our plug
for the coming “Innovations
in Modern Music For 1950
We’ve heard a good deal
from the South-way in ad
vance of this revolutionary
musical organization, and it
all sounds mighty fine.
That which has revolved
most diametrically is the ad
dition of a 16-piece string sec
tion (10 fiddles, three violas,
three cellos—still must con
sider the double bass as rhy
thm') and, in case you know
him, George Ivast is concert
Other additions include the
two French horns whose com
plementary sounds will be the
business of Johnny Graas,
f o r m e r Claude Thornhill
great, and Llovd Otto.
Two bright new faces in
the sterling trumpet section
will be Maynard Fergueson,
the ex-Barnett star who blew
very brilliantly at the Los
Angeles workshop preview,
January 30th, and Shorty
Rogers of Woody Herman
renown who handles his jazz
horn or composing pen with
equal facility. Three of the
outstanding Kenton regulars
will be back—Ray Wetzel,
Buddy Childers, and Chico
Alvarez. Man for man prob
ably the greatest section ever
The next row forward finds
three of the old Kenton trom
bones held by Harry Betts,
Milt Bernhart, and Bart Yar
salona. Bill Russo, who also
is listed among the arrangers,
will be the fourth. The name
of the other man to be in the
section has not been disclosed
as yet. Kai Winding is not a
good rumor. Though—
The same situation is ex
tant in the reed section where
advance reports list all but
one name. George Weilder
returns to lead the section
which includes the jazz of
Art Pepper’s alto and Bob
Cooper's tenor. Cooper, al
though being June Christy’s
(Please turn to page three)