New-York tribune., 1902-01-06
THE STATTS OF HAIR.

What is the present status of hair on the
concert platform? For geneTations-ever since,
in fact, the concert platform has been n public
institution. which is not so very long, stu
dents of musical history knOw-there has been
q profound belief on the part of most public
performers that in some way other their
success in impressng their audiences has been
inextricably bound up with the length of their
hair. 1t is a familiar subject, and has often
aroused wonder on the part of spectators and
has furnished almost much inspiration to
the comic journals as the mother-nIaw. the
goat and the plumber. And, like these we
seem to have it still with us. 1t is difficult to
perceive any advance in the artistic view 10
the necessity of hair. Great artists without
shocks and shags OF hair there and have
been, who have appeared and have conquered
merely by force of their artistic power; the
others take no note of the true reason. but con-
tinue to cultivate their locks. Is there psy
Geological connection between artistic tempera
ment and the length of hair? There was a
time when painters and poets cultivated the
same popularity, in connection with others
chiefly relating to dress; and to judge from
such portraits reach us from time to time
from Continental sources it appears that hair
is still necessary to many French poets and
painters as well as musicians; and in the cases
where this has been outgrown there is still
strong tendency to extremely flowing cravats
and fur coats in climate where fur is not
supreme necessity. But poets and painters.
are constrained TO say. with proper apologies TO
the sister art of music, are, on the whole a
more intelligent and broadly cultivated folk
than the musicians. With still further apollo
gies, must note that they also more
generally seen in polite society, where eXag-
gerated peculiarities of person and dress are
less and less possible. We recognize that the
calling of the executive musician III these days
enforces demands upon his time and strength
in the way of practice that make much cult
vation of the amenities of social intercourse
impossible, and reflection is intended upon
his fitness for society.
But probably the main factor that has led the
musician to retain the obsolescent shagginess
of the artist is his position before the public
1t is imagined that hair that would reluctantly
be tolerated in the drawing room is all power
full on the concert platform with the very same
class of people who would spurn it in private
1t is a superstition that is shared by some of
those who manage the destinies of artists 1t
is not long since pianist of prominence about
to be exploited before the American public re-
ceived imperative word from his American
manager that he must let his hair grow to the
artistic length before he came TO these shores
Another who had made comparative failure
a basis of moderately clipped hair, returned
few years later with one of the greatest tri-
umphs in the shape of hair that have recently
been seen on the platform. But the former.
not proving an artist Of commanding genius,
made little success, to which little his hair
helped him not at all. The other still pursued
failure beneath his hirsute shade, and the public
would have naught of him
In reality the public cares absolutely nothing
for hair. 1t tolerates II in the case Of those