Historical Newspapers of South Carolina

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THURSDAY, SEPTEMBER 23, 1965 THE NEWBERRY SUN, NEWBERRY, SOUTH CAROLINA PAGE SEVEN' CHOOSE SAFE INVESTMENT THE A Savings Account here! Save by the 10th, Earn from the 1st Building and Loan Association 1117 Boyce Street Newberry, S. C. Dial 276-5660 DIRECTORS: Ralph B. Baker J. Dave Caldwell Pinckney N. Abrams Louis C. Floyd Thomas H. Pope R. Aubrey Harley Mr. Businessman Money Available for Industrial & Commercial Use $100,000.00 And Up Immediate Reply To All Inquiries Peoples Discount Corporation Box 197 Newberry. S. C. NOTICE OF SECOND CITY DEMOCRATIC PRIMARY Notice is hereby given that sec ond or run-off Municipal primary will be held on Tuesday, Septem ber 28, 1965, for the purpose of nominating an Alderman for Ward 4 and Alderman Ward 5 to serve the City of Newberry for two years. The polls will open at 8:00 A.M. and remain open until 6:00 P.M. A County Registration Certifi cate is a requirement for voting. (Must be 30 days old.) The following have been select ed to act as managers of election in the various Wards: Voting is City Wide. Ward 1, No. 1—Mrs.! Otis Whit aker, Miss Sudie Dennis and Mrs. Johnnie Werts, Clerk. Voting at City Council Chambers, Boyee Ward 1, No. 2—W. E. Taylor, Marvin Bouknight and A. F. Coch- croft, Clerk. Voting at Colie Vaughn’s residence, 2603 Fair Avenue. Ward 2—Mrs. Roy Anderson, Mrs. Ruby Summer and Coke Dickert, Clerk. Voting at Smith Motor Company. Ward 3, No. 1—V. H. Wheeler, Mrs. Sue Hutchinson and C. B. Whittle, Clerk. Voting at Bound ary Street School. Ward 3, No. 2—Clyde S. Arthur, R. J. Willingham and Norman Beck, Clerk. Voting at STEP School, 107 Player Street. Ward 4, No. 1—T. P. Wicker, Miss Clara Bowers and Mrs. M. K. Wicker, Clerk. Voting at Old Court House. Ward 4, No. 2—Mrs. A H. Wicker, Mrs. H. Y. Hamm and Mrs. R. E. Schumpert, Clerk. Vot ing at Union Hall, Drayton Street. Ward 5—Mrs. Dewey Kinard, Miss Sula Smith and Joe Taylor, Clerk. Voting at Scout Cabin on Crosson Street. Ward 6—Mrs. E. L. Hart, Mrs. ’W. R. Reid and Mrs. Paul Whit aker, Clerk. Voting at Jack’s Used Car Building, formerly Kemper Chevrolet Co. Sam Cook, Chairman, Pete Parrott, Sec’t. THE MARINE CORPS BUILDS MEN! Sll YOUR LOCAL «!. f. MARINI RKRUITIR BRIGHTER LIGHTS ... Twin 600-foot towers of the George Washington Bridge are illuminated by new lighting with the opening of the New York World’s Fair. Direct Writer Independent Agent WHEN YOU BUY INSURANCE YOU HAVE A CHOICE * A direct writer sells for one company. In settling claims he represents you against the firm that employs him on a full time salary. An independent agent represents many compa nies but only on a commission basis. Your inter ests corno first and if a difference of opinion arises, the agent is for you. WHO CAN BEST REPRESENT YOUR INTERESTS? YOU DECIDEl "YOUR PRIVATE BANKERS’' 1418 Main Street Phone 276-1422 REV. ROBERT H. HARPER ELECTION AND BSE YOU were to ask me if I would vote Democratic in the coming national election, I would imitate a certain Englishman who was asked if he would vote for a certain candidate and he replied “I will.” Whereupon there was great applause from the candi date’s followers. But the speaker continued, “Not” Whereupon there was great applause from the other side. But the speaker was not yet done, “tell you,” he concluded. He thus won applause from both sides and told them nothing. So if yon were to ask me if I would vote Democratic in the coming national election, I would reply, I will not tell you. And now, that I have exercised the right of privacy in my voting, I would call your attention to a more important matter for your decision. It is the answer to a question asked a long time ago — Jesus asked, “What think ye of Christ?” Regardless of the circumstances under which the question was asked, here is a query that stands alone — “What think ye of Christ?” Unlike our usual elec* tions, the answer to this question does not decide the issue for the person whose name is up, but it decides the eternal destiny of the man who votes. BY LINDA NORRIS O NE OF Mozart’s most signifi cant church music composi tions is his Mass in C Minor, which he vowed to compose in tnanks when his fiancee Kon- stanze Weber recovered from an illness . . . Now Angel Records has recorded it in a new LP with the important first soprano part (which many feel Mozart com posed for his wife) is simg by the young German soprano Edith Mathis . • . Conductor Wolfgang Goennenwein previously recorded Handel’s Dettingen Te Deum with the choir used here, the South German Madrigal Choir. * Another Angel great is The Twelve Concert! Gross! by Handel featuring Yehudi Menuhin with the Bath Festival orchestra . . . Although Handel had long made use of the concertos as interludes for his oratories, he did not pub lish the 12 Concerti grossi which constitute his Opus 6 until 1740 . . . These cosmopolitan works display English, French, German and Italian elements . . . The 12 are each highly individual works but nearly all combine a solo group of two violins and ’cello against the string orchestra, with organ and harpsichord “continuo.” Yehudi Menuhin, artistic direc tor of England’s famed Bath Fes tival, has been closely associated with the music of Bach, both as ; violinist and conductor . . . Here 1 he turns his attention to Bach’s greatest contemporary . . . The soloists, besides Menuhin, are Ro bert Masters, violin; Derek Simp son, cello; George Malcolm and Kinloch Anderson, harpsichord and Roy Jesson, organ. Buck Owens whose Together Again and My Heart Skips a Beat occupied the No. 1 and 2 posi tions on Billboard's best selling country and western list this sum mer, combines the two songs with 10 others on his latest Capitol ’ album offering. Together Again, j County Permits C. M. Smith, addition to dwell ing, 1308 Crenshaw St. A. R. Cochcroft, repairs to dwelling, 918 Fair St. Wilhemina Ruff, repair to dwelling, 2529 Pike Circle. Bowers and Floyd, repairs to dwelling, 804 Coleman St. Daniel Hunter, erect dwelling, Bedenbaugh St. William A. Ballentine, altera tions to dwelling, 2703 Deloache Ave. Pauline Lester, repairs to dwelling, Caldwell St. Willie Miller, repairs to dwell ing, 98 Glenn St. Louise Brooks, repairs to dwell ing, 819 Bedenbaugh St. Robert Renwick, alterations to dwelling on Mower St. W. P. Jones, repairs to dwelling, 1806 Rivers St. Newberry College, erect build ing on College St. Total for the above permits, $728,223.00. Mrs. Sarah Renouf has moved to her new home, 12 Glenn St. Mr. and Mrs. Billy Ringer are making their home at 1600 Main St. Modem design in flower arranging By MRS. HOWARD LESTER In breaking- with tradition, the consideration of space has been an especially strong motivation in modern flower ar ranging as a result of the many “isms” of modern art of which the most popular are Cubism, Futurism and Non-ob jectivism. All of these three have had an effect on floral art of our time although they came into being about 1907. In Cubism, space was thought of as “time” expressed with multiplaned prospective. All objects are viewed from all sides as they move about in space. Dean Manion THE MANION FORUM CRIME: IS IT “EXCUSABLE”? The shocking outbreak of law lessness in the Nation has jolted even the most apathetic Amer icans to attention. Everybody is talking about it: Los Angeles, crime in the streets, and the meas ures one should take for self-pres ervation in case of an attack. “Time motion” in space was the concern of the Futurist movement. They overlapped planes in sequence to give an impression of movement in space as would be seen from a stationary point of view. Out of Cubism, it might be said, come the Stable and the Mobile. Out of Futurism, come the Free Style and Free Form; and out of Non-Objectivism, come the abstract. When speaking of space in flower arranging, it does not mean to refer in any way to a space shot such as a missile or other object that might be blasted off into space. Too of ten this has been the thought in recent years. It merely means that artistic design in flower arranging of the twen tieth century has become a three dimensional art. In achiev ing this position, flower arranging has moved from a vis ual art (realistic and decorative) to the transposing of an invisible idea or emotion into visible form (interpretative Most individuals this writer has queried across the country are in dignant—and scared. They are concerned about the safety of their children, their lives and their property. They see no reason why their rights are less important than the “rights” of criminals. But the message you get from the Nation’s press is very differ ent. A perusal of a week’s supply of news magazines, papers and editorials leaves one tritk the im pression that lawbreakers are jus tified in their acts of violence. It isn’t their fault. Society hasn’t given them a fair shake. It is all to be blamed upon their environ ment. What we must do is show er them with money, education, jobs, and upper-class housing. Then they will suddenly cease to or expressive). These two progressive steps have led up to i . riot and loot and kill and tie up traffic. One sociologist-professor from New York suggested that police stop carrying guns. (Except in very special cases, which he did not elaborate upon.) This, he ex plained, would improve the image of the police. He went on to say that police should give up ques tioning suspected criminals so as to “avoid the possibility of the accusation of police violence.” The professor seems to believe in the validity of the “police bru tality” charge. If the police stop carrying guns, and quit question ing criminals, the criminals will not be able to call them “brutal.” •But what adjective may one ap ply to the hoodlums and lawbreak ers who attacked one out of ten policemen last year-^-and murder ed 57 of them?. Let us face the fact that “po lice brutality” is a convenient ex cuse for criminals to commit crimes. What evidence supports the theory that lawbreakers will reform themselves when the sanc tions are removed? In New York City, crime on the subways has been reduced by 61.5 per cent since April, when additional po licemen were placed on duty to patrol both the trains and the stations. As the Chicago Tribune put it, “Since last April there has been little change in the en vironment, education, or frustra tions of New Yorkers. The only change in the subways has been additional policemen, who, by their presence, threatened punishment to criminals.” Befriending the enemies of so ciety by promising them they won’t be treated badly is not the answer to our -current dilemma. Offering them pretty houses and fatter welfare checks will not curb their lawless passions. Chief of Police of Los Angeles, William H. Parker, told the Manion Forum audience that “As we become a more materialistic Nation, we not only destroy our idealism, but we become tremendously tolerant of all sorts of bad behaviour. This, in a collective way ,is creating more crime and dulling society’s desire to do anything about it.” The “bad behaviour” Chief Parker is talking about cannot be excused by environment, in come. or social status. It is simply —bad. Until we lobk at it that way, and resolve to punish those who break the law, crime in Am erica will ’continue to increase. PRAYER FOR TODAY Forgive us Lord Jesus, for the things we have done that make ns feel uncomfortable in Thy presence. All the front that we polish so carefully for men to see does not deceive Thee. Help us to sin no more. In Thy name we pray. Amen. Mr. and Mrs. R. R. Bruner HI are now residing at 1721 John stone St. in Apartment 3. Mr. and Mrs. J. M. Livingston have moved to 2613 Alex Ave. to make their home. contemporary abstraction. Although artistic design of to day is a statement of individual creativity, the elements and principles of art remain the same. It is impossible to un derstand the “why and how” of modern flower arranging without having learned to execute the basic elements and principles of artistic design. The first element that concerns the design is SPACE, not “out in space”, but the three dimensional space in which an exhibit is to be placed. It could be called the frame. It could be bound on all sides by actual concrete lines as a niche, or it could be imaginary limits as a piece of furni ture or a pedestal. The frame establishes the design and the shape, size, and relationship of the exhibit to its Surrounding environs. If the frame is vertical, the space is vertical with in the frame; therefore, a vertical arrangement would be the proper design to fill the space, etc. All materials used in the composition are to be placed within the frame, and noth ing should protrude over the frame. There are four main types of contemporary artistic de sign. The “Traditional” includes the line arrangement, the masse dline arrangement ,and the mass arrangement. All of these are very familiar. The “Expressive” includes any arrangement that expresses a theme set in a flower show such as the title of a play or a book, etc. The “Free Style” is an arrangement of good design that does not conform to conventional design (a design created outside of the three basic geometric forms). The “Free Style” arrangement may have a center of interest, but all lines do not have to spring from one central area. (This is what makes it so difficult to execute, as it is hard to achieve good stability or balance in this manner.) The “Abstract” is an arrangement in which plant ma terial is used only as a unit of design. The elements are or ganized by plastic organization in order to get the greatest depth in design. Mrs. Cypress says in her book on “Modern Abstract Design” that there are three degrees of “Ab stract”. One degree is based on selection of ingredients such as natural plant material handled unconventionally (turning material upside down, etc.), or natural material distorted into a new image (skeletonized leaves, etc.), or man made materials such as wire, metal, plastic, etc. Another degree of “Abstract” is based on organization of ingredients including materials of any or all of three above used for nothing beyond line, shape, form, color and tex ture. In this way the design form is not confined to any pre conceived mold or silhouette. It has no center of interest as in the past. Still another degree of “Abstract” is based on selection and organization which is the purest form of “Abstract” using both the above, combined and united through ones own creativity to create out of feelings or emotions a mental pattern that can be transmitted to others through design. An “Assemblage” is a decree of “Abstract” created from a collection of objects usually of the non-art type which are put together in an aesthetic manner. It is the fitting to gether of parts and pieces so that the design evolves. Ar rangers should remember that there must be some fresh plant material used in all types of abstract in an accredited flower show unless the schedule states differently. A “Stable” is another degree which is always attached te an immobile base. It is “Static, Abstract Sculpture” in which movement of line and plane are bound to a base. “Mobiles” are forms in motion. They incorporate rhythm of shapes and lines that are balanced against each other forming a design moving in unbound space. The following are a few words of advice to the flower arranger who desires to try something new and up to date. To successfully make the middle twentieth century artis tic designs, you must be able to execute the basic princi ples of design conventionally. From this experience, you will get the ability to correctly break these set rules of the past and use your own creativity to create new artistic designs of your very own mind and experiences. When you can ex press what you see in nature with opened eyes, alert mind and an awakened heart, you will have reached the point where you can change fact into fantasy—objective reality into non-objective creativity. Through this you will gain peace of mind knowing that you are working hand in hand with your Creator. If it were not for Him and all the beauty He has placed at our fingertips, we would not have this pleasant retreat from the fast pace of life in this modem world 1 ^ .. _ . _ * Museum Offers Reward for Peanut Butter Relics The American Museum of Peanut Butter History has been established in Chicago. Although the project may seem a little nutty, the Peter Pan Co. plans to make the mu seum a mecca for people inter ested in peanut butter lore. The museum will house arti facts connected with peanut butter history from 1890 to 1925, including the various de vices used by women to make their own primitive form of peanut butter at the turn of the century. In those days, housewives had mills to grind the peanuts, small ovens to roast them, and blanch- ers to remove the red skins—all operated by hand cranking. The Peter Pan Co. will shell out a year’s free supply of pea nut butter to every family do nating an authentic relic. The average family eats about 50 pounds of peanut butter per year. Peanut butter was invented by a St. Louis physician in 1890 as a high protein health food for his patients. By 1896, it was being served regularly to pa tients at the Battle Creek, Mich., Sanitarium. About 1900, small devices be gan to appear on the market all over the country, enabling wom en to make peanut butter in their own kitchens. In the early years of this century, women made peanut butter in their own kitchens with erode devices such as stove-top ovens for roasting peanuts, blanchers for removing the red skins, and mills for grinding the nnts.. Fifteen years later, country store-keepers were making pea nut butter with somewhat larger equipment in much the same way, and selling it by the paddle-full from wooden tubs. These methods prevailed un til after World War I when the industrial manufacture of the product began. Patrons of the arts and pea nut butter buffs with antiquities of any kind connected with the making of peanut butter can write to the museum, Main Post Office Box 4474, Chicago. Pretty Clothes and Pretty 4-H Girls Go Together P RETTY clothes on pretty girls are a common sight in 4-H circles, particularly among the more than three- quarter million girls from 9 to 19 enrolled in the national 4-H Clothing program, observes Miss Mamie Hardy, head of educational field activities for Coats & Clark Inc., spon sor for 25 years of the clothing program. Sketched here are some of the fashions that 4-H girls are put ting into their fall and winter wardrobes. In their clothing projects they learn how to sew on and care for new fabrics, and to choose color, line and design. The “learning-by-doing” is guid ed by local volunteer clothing leaders and extension home economists. Miss Hardy conducts numer ous workshops for extension personnel Her newest is called “The Shape of Things” which teaches how to get different ./. for School shapes in garments by use of various interfacings, backings and linings. “Several generations ago,” said Miss Hardy, “stiffeners used in garment construction gave exaggerated shaping and made the garment uncomfortable. Today’s inner fabrics have changed to keep pace with the many new types of outer fabrics designed for contemporary living. “The secret of good lines is knowing which type to use to achieve a softer and more com fortable effect,” Miss Hardy added. Workshop techniques will in turn reach local 4-H leaders who will pass them on to the girls. Patience, persistence and pride in workmanship art three essential requisites for getting ahead in the dothing project, I according to the 4-H’ora. One member admitted: “I wanted to quit several times as junior clothing leader, espe cially when a girl came to club with a zipper in wrong for the thousandth time. But with a little more patience and one last explanation that finally hit home, we both scored a victory.** Something “extra” is offered the young seamstresses by Coats & Clark. Awards consisting of medals, educational trips to the National 4-K C 1 Jt> Congress and a dozen scholarships of $500 each will be claimed this fall by top-ranking 4-H Clothing pro gram members.