v .
.
.5; FEBRUARY 9, 1923. .
1e EVening *Sentinel’s “ Daiu y"
SOUTH Nclwm~EVEmGSE - L
&
agaz-ine; and ‘ ‘
ome, Page *
Children ’3 Corner ~ '
Jack Daw in Toyland
lilmn
l lt‘
«cl
‘ l.
Story by Hal Cochran
: til ll élll sorts of
_. lzv‘ knoll down
.nrl {liikt‘d Jack
.4. tin u up to his knees so they could see better.
dolls had gathered around him to see
to rest. several of them started climb-
An
if he wanted a chair.
:ilV
' m-pliml Jack. and the uRher went running
.l ho roturnwi, loading a. toy horse.
,ll :‘ whim: chair which was hm g: pulled across the
2 l l» mel to get the chair ready to sit in.
And this
it down."
no rm your l‘ll‘."
ishuutml one of the little girl dolls.
“Then
And as Jack swulcd himsclt‘ there wan
:milv, uflr‘r so’vcrnl hurl nestled in his lap. Jack again
Then a funny uccidcnt happened.
(Continued)
w. is Too Clever
i' or Old ill
By Thornton; W. Burgess
,1 nimble wit will do for you
trim SLIP and strength could never do.
—Rcddy Fox.
.-
r=n desire to fight
M the first pla .
: tun big. H y
1 have no chance.
‘ “at lw would have
" iv. Hm saccond place,
‘ . “gluing anybody.
'w- mirr. and with
' ‘w r he couldn't very
ii if he wanted to.
‘l Mun Coyote W5!
-- wt he guessed the
L"il“'-"lf‘ll that Old
dull to rutch Peter
i‘rlrr nnd that be
“m failure. lie
2 “an Coyote was
1 “nil. he would just
:ox as on any one
In: he discovered
antr- was chasing
‘ r: nil“ as fast as his
- :1. He knew that
would run quite Ill
9
i rul that to at rid
win he woull have
umpiy run.
« fun? and as for all
limilly. "He can 80
, if” lu- really means
1 .ll» it unless I can
‘ way. I've noticed
. ‘v hoops away from
n rrmm' when there ll
l ~.» mwr-r known him
2‘ ‘lsrrn wur" any signs
‘ in In“. I gurus thut
"r v-w to go now. It.
wot. way to get rid
‘rncrl and headed
vr Brown’s. Look-
a‘. shoulder, he saw
' 3:40 wxm following
. zr to Ruddy lhnl Old
, ‘ n r hadn't notirud in
-. " “ ‘l‘rly worn going or
' v, Hl‘llily, would turn
. an very near Farmer
rd if Roddy hadn't
has he would have
., .ld be time for
' r M was rid of Old
‘ , f llulcly didn‘t. chuckle.
. m. r115 attention to run-
.‘ 4' 'J Mar Farmer Brown‘s
‘~""i<""4 in the harnyurd.
77?; r'
lvnmi folks were u .
r .c::y suited him. a
, .' I- 'n “1“ to come up behind
“My? Looking back our hi:
who"; saw that Old Mun Coy-
'21:: “5 ullowing. Roddy kept
bum Ln: reached the back a!
‘ than ll; an around “.9 mm
along mom’jggmd ll. ‘
v
So at a safe distance in the Old
Orchard he sat and grinned
burn, und finally right out! into the
barnyard. Former Brown and Former
Brown's Boy were both at. work 111
the horn 1rd. Roddy sped right put
them an over into the Old Orchard.
There he not down to see what would
happen.
Both Farmer Brown and Former
Brown’s Boy exclaimed right out
when they uw Raddy. Bowaer the.
Hound won in the house, and for this
lteddy wu thankful. He knew that
neither Former Bro‘wn not Former
Brown's Boy could hurt huh i1 they
wanted to. for the hnd nor’tortihlo
no. He doubted they mtod in
art him, for in 1nd come to, look
on Former Brown'l lloy u 1 friend.
So at n are distance in the Old Ore
chard he at and grinned while he
wuited for Old Man Coyote to Show
himself. _ .
But Old Hun Coyote didn’t chow
himself. He stopped jack of the y
burn. He heard the voices of Farmer
Brown sud Fume: Brown’s Boy. He
had no desire to be «In. Turning.
he swiftly trotted buck the way be
hld come. From where in “tin
Old Orchard Raddy For sow him trot-
tin. buck tow-rd the Group Forest
Then Redd chuckled. ' Yes indict-cl. ,
Ready chaired. no no mil chuckr.
ling when he finlll trotted 03 in .
soother direction. bod been ‘90 {g
claw: tor Oldilln .
lmmmfiun“
' blue—grass
l
n
Good Manners
Sometimes it happens that per-
..sona who are on bad term: with
one another meet socially at a
mutual acquaintance’s house. It
goes almost without saying that
they are bound by every rule or
good manacra to permituo sign
of ill-teeling between them to ap—
pear in their behavior. They
needn't "such" but they will make
at least a. pretense of ordinarily
civil relationship.
Veal Chops Stuffed
BY BERTHA E. SHAPLEIGH
0! Columbia University
For stuffed veal chops take: ’
Six extra. thick veal chops. cut
from ribs. two cups soft breadcrumbs.
two tablespoons finely chopped onion.
two tablespoons bacon fat, one-half
teaspoon salt. one~eighth teaspoon
thyme. one teaspoon paprika and
one-fourth cup tomato juice.
, .7 WWlpe thcchops and. lethiavaharp-
knife. cut through the» thick part to
the bone. Lay open, sprinkle with
salt, and stuff.
In making the stuffing cook the
onion in the bacon fat. add crumbs
and seasonings and cook five min-
utes. Add tomato juice and cook
until. smooth.
After the chops are stuffed place
them in a. hot frying pan. in two to.—
blespoons of bacon fat, oil or butter.
and cook until well browned on both
sides. Add to the pan one cup of
tomatoes. one cup water. a. little au-
gar. salt and pepper and cook, close-
ly covered, for an hour.
The veal will be thoroughly done
and well flavored. and there will be
a. small amount of gravy to serve
with the chops.
SAMBO’S SONGS.
A church hymn deallng with war is
awaeping into popularlty~in southern
negro churches. Maybe it's an old
one, born after the Civil War and now
resurrected after a. long sleep. Any-
way, it's timely. And negro congrega-
tions are singing (or chanting) it with
such vehemenco and enthusiasm that
it‘s obvioua there's one element of the
world's population that's "fed up” on
war, regardless of what Europe may
be thinking and doing”
The hymn sounds like this:
I‘m gonna. lay down mah wax tools,
down by dc ribher side,
Down by do ribbcr side, down by de
ribber side.
I'm gonna lay down mall war tools.
down by dc ribber side.
Ain’t a-gonna study war no more.
CHORUS:
Study war no mo‘,
1110';
Study war no mo,’ study war no mo',
study—study war no' 1110'.
Too bad, we cannot got Europe
singing this hymn.
study war no
Ntfll‘o music, with its seductive
rhythm and none-such melody, stands
out unique among all other music. It
rLtlccts the primeval spirit of the
Jungle. V
The white man, beginning shortly
before the war, sank to the jungle
state. Probably that is why the white
man has been almost deliriousiy ob-
sessed by jungle-jazz.
Some authorities .tell you that jazz
is a. comparatively new creation, ori-
ginated in Buenos Aires and New
Oflcans some 10 years ago. .zut for
100 per cent jazz, consider this old-
time negro slave song:
Old guinea. niggah. wid a. head full
0' knowledge,
Redder go to free school dan any
othah college:
Little chunk ash cake.
fat, an' ‘
De w'lte folks grudge 'im ef he
enough 0' dat.
little piece
git
Old Jonah, lak er fool. got stubborn
as a. mule,
So de who-ale made 'im disappeah;
Jonah swope 'is razor out, out de
whale in two,
An' he floated into shore on his ear.
Before it is too late. some one
should collect and publish for posterity
the best of the negro folk—lore songs.
And while we're on the subject, the
psychological condition or a. nation is
always reflected in the songs its people
are singing. Sobeting tip from the
war. we are getting away from 3. jun-
' gle state of mind, so jazz is fading: out
. of popularity.
While the future may be“ a sealed
' book, you can get advance information
on the “national drift” by watching
the kind or music that comes to re-
place jazz. We may be in for another
wave of religious revival. Watch the
whys. They'll tell you. ' . '
." THE FIDWEB BEDS
Use discretion in flying out your
‘ beds and in selecting the plants. Keep
the flowers along the borders. Don't
clutter up a beautiful expanaeof soft
lawn with pound or
square beds. , '
Select the flower seed up that you
will have blossoms throughout. the
summer. There are flowers that are
oomph bloomerut and , you” can select :
but one kind will 1.1301- '
t“. 7 that-3’
3%
this:
PAULINE GABON AND ELLIOTT
BY JAMES “E DEAN
The lights in the projection room
went out and the npcrator started
the projection of “Adam's Rib.“ The
battle of wits between Jeanie Mac-
I’hcrson and mysolf was on.
Miss Macl‘hcrson
of this latest Cocil DcMille film. She
dared to come to the projection room
while I reviewed it and to give an-
swer to every discrepancy which I
might point out.
For the first time I had come to
mental grips with an author in the
very shadow of the screen. as one
might say. For the first time. she
faced a critical boast in his den.
C t I
\Yoil' the picture unrcclod. 7t is a.
defense of the modern girl. on an-
swer to “llalis‘muuhlur.” The flapper
daughter savcs the moiher from ‘ a
silly affair with a dvlhroned king.
Sho horsell‘ falls in Iovw with a pro-
saic old anthropologist. In one se-
qumxce all the characters are st as
primitive Iwople. showing that sex
triangles have existed for centuries.
Our» dialogue never arose above
platitudes. “Clever subtitle thorn.
Miss Mm'l‘hr-rson.” “Glad you li‘wd
it; thouulat you wouldn't." "Mighty
fine sly-mu of humor in this
quonco." "Yes. And don't. you think
Milton Sills is very good?" "Yes. he's
(‘11..
good. .\7lll so'o Rosie“ and Dexter.
And Pauline Caron walks right
away with some scenes."
'i‘hnl's tho way it ran. Not a. Word
of acrimony \var uttered. Not a shot
was hoard and tho first thing we
know “it: picture was Cllllt‘l]. t‘iut
this Was to have been :1. debniw. a
battle. if you will. between fillllll‘ll‘
and critic. Obviously it was up to mo
to start liosillitior. .
“\Vhy do you have that flashvlnwk
to the. some in which the hint; is do-
thronoli'P" l demanded. "It has no
boating on the story and only makes
it difficult (or the spectator to follow
the main lhl‘mo. Later on you have
another lengthy flash-hack that real-
wrote the story:
NEWS AND .Nomor‘rumvms
1W0manam? the. Home
SPRING STYLE CHANGES MOSTLY IN DETAIL
\
(LEFT).
DEXTER THEODORE
Ix'OSLOFF (CENTER). BIILTON SILLS (LOVVER CENTER). ANNA NILS—
SON (UPPER RIGHT) AND JULIA FAYE AS THEY APPEAR 1N PRE-
msromc SCENES OF “ADAM’S RIB."
ly bears on the story. One flash-
.buck in a. picture seems sufficient to
me."
”We had to show that this‘man
really had been a. king,” Miss Mac-
Pherson answered. “We couldn't
just show him in evening clothes and
lag him 'King.‘ If there's a. king
in a story. Mary Jones who spends
her day in the kitchen wants to see
him as a king. In evening clothes
he appears no. more romantic than
any other man." .
“I noticed in the titles that some
words were capitalized. Thus YOUTH
and EXPERIENCE flow of! the
screen and hit me in the eye. Do
you think it's necessary to capitalize
words in titles?” I asked her.
"Yes. it is." Miss Macl’herson an-
swered. “0n the stage lines are
spoken and ambiguity of meaning is
obviated by emphasis on certain
Words. The onlywvnv we can obvi—
uto ambiguity in titles is to (mpha-
size words by capitalizing them or
underlining them. .I capitalize them.
but in this case I think the capitals
are too large."
For illustration of her point. Miss
Mncr’horson gave the sontcnce. "I!
you look around the room. you may
sue him." By capitalizing different
words vnrving shades of meaning re-
sult. Try it and see.
. i 0
Relaly, thore wasn't much basis for
a. wrnugh between Miss Mae‘MWrson
and myself. “Adam's Rib" is an un-
usual story given unique treatment. 1
think it as Cecil DeMiilc's has? pic-
ture. “Mclv and Female" is ll” My
picture he ever made in which a. liner
slraln of. humor was evident. That
picture was also notable for cvcellent
character dolineatious of every mem-
her in the cast. Elliott Dexter. Theo-
dore Koslom‘ Milton Sills. Pauline
Garon. Julia Favoi‘and Anna Q. Nils-
son in "Adam‘s Rib" present about as
capable and as wclLbaloncod a cast
as the screen has ever seen.
ADVENTURES ‘
Wiggelfin Valentines
By Olive Roberts Barton
OFTHETWINS
put codfisli in cans sometimes."
Mr. Stamps, the fairy postmaster‘of
the Fairyland Postofflce, sent Nancy
and Nick to start a postotfice in Wig-
glefln Land, under‘the sea.
It was at the Cross ROads where
Cap’n Pennywinkle sat all day long on
Curly, his sea-horse. directing traffic
in the right direction.
Cap’u Pennywinkle kept the big
flashes from bumping into the little
fishes. and he was very busy, I can tell»
you. '
Nancy and ‘Nlck were busy. too,
sorting out valentines the Wigglefinu
sent to each other... So busy that they
hadn't time to stop forvmeulcl Charley
Cod se’nt Shiny Shad a vulgutine like
"The ocean's {all of water.
And the land is full 0131101185,
The whale is gut: or blubher,
But the shad is lull. ot’boncs.” ,
That made Shiny $fiad mad And he
sent this one back'tu'cmu ' Corl-
0
“Oh, I don’t care.” declared Charley, whein he read it. ‘Mebbe they do
But his friends declare he bought him
At the grocer’s in a. tin.” _
"Oh, I don’t car-ell declined Char-
ley. when he; read-flit. :* "Mebbe th;y do
but codflah in can: sometimes. but. it’s
because_they're so good” I‘mcure no
one ever heard of canning a. shad any-
how." But. that. put a nation into
Charley's head amfhe wrote a. valen-
tine to MockMack'erel. This was'the
valentine. he moppé‘dt into the Wiggle-
‘Nancy handed (13“.; to
he pass ed by; * .
"Hack Mackerel. "lived in," the sea,
Audi'sof terribly realty“ turned he, _
That he curleduup hi1 tag.
Anefloruedlnwk pail.“ '
rye hunter. breakias‘t‘l all? ‘
fin postoffice' aéfittle later and which ;
Mr. Mackerel” 4'
Silhouette lines have shifted slight-
ly-wwaistllneu are more nearly LOP-
mal—ébut. in general. spring styles
show few changes.
’ This means that the changes are in
detail—new. trimmings. new finishing
touches.
Shown here .1: one spring gown
.4". R»
‘v
I. g 'A
1'
‘-
with wide sleeves. wrinkling down
into a. tight. wide end. The cape-
like blouse is ideal for spring wear
Without a. Wrap.
The other frock has a new cuff.
too. made or full ruffles, cmerlng
the hand. The wide-flounced skirt
and yoke are other spring features.
COLOR VALENTINE ’
From a Girl to Her Mother
fi
DRAWINGS BY BILL ROWAN
Say, mama. someone'a waiting at
“The entrance to your heart.
It’s just your little Valentine.
so throw the doors apart.
DRAWFUN N IES
VERSES BY EAL COCHRAN
Draw in the missing line- nnd then color the picture
. ‘ .This W uewufjhe pctches‘on
; . _ .r f “‘ your flattening-e they belong.
‘ g; , ”(Luke‘s thoone uwm makes
‘ Then mm: W as long.
"i _
«fl... -~.
“out: seed. .11 you .mg'gtit a.
, .9710? will. _ tint». ‘ ”d0'a;;br._m mans.
go‘fnfihe'gurter, "youcan support min
in! mm or towhlchlamlmu"
ed?" . . . . ~
7~ "Maybe pendant
You-know: pollute m alcoh- :.
my 680m! no , -'
You'tmnk.” asked the moth: _
at we...“ 1 m‘
ginéyouva-run‘ '10: 'firour moneye-
Norwalk Chronicler