Daily capital journal. (Salem, Oregon) 1903-1919, 1904-11-26


How little foreign people appreciate
American methods and styles. They
feel that because we don t spend most
of our time counting uncles and aunts,
and trimming the ancestral tree, we
are poor genealogical gardeners. They
do say that we Americans are great on
the rush. Always in a hurry. Every.
where you see an American, you see a
rush. Every time you see a rush you
will see an American. They go hand
in hand.
A good many things are accomplished
by "rushin' EN-" that could not be
otherwise. If you want to borrow a
dollar, the safest and best way is to
"rush a fellow for it, That is, to get
it from him before he has chance to
get over his surprise, think twice and
refuse. Sometimes these crush" acts
don't go, as for instance, the crush "
act played on the unsophisticated vot-
ers by the Prohibition party, under the
guise of local option. Still with all the
pros and cons to the matter of Ameri-
can rush, the thing is entertaining.
Have you ever been to an American
theatre2 The morning the box sheet
opens hundreds swarm around the of
fee. Some come early to get the best
seatl Not much. They come to get
a cheap seat and early for fear they
might all be gone if they went at a
really seasonable hour. The selling of
the tickets is the same old story. The
back rows go first and usually to those
who could afford to sit in the front
ones Then the rest of the house goes
to those who can afford to sit in the
gallery, and those who have company.
Then the show comes on. After the
first act you see the people begin to
squirm. You wonder what it is. Well,
it only the American energy coming
TO the front. This energy grows upon
the audience and about the time the
last act is half over, all the women
have their hats-On and some are in the
aisles and others clear out in the street.
The rush to get out is even greater than
the rush to get in.
remember attending the theatre one
time. The oeasion was musical con
cert, The Italian band played Ameri-
can airs American style. The princi-
pal number on the program was the
Sextette from Lucia de LammermoOr.
Anybody with ears enough to distin-
guish the difference between Chinese
fiddle and a buzz-saw, couldn't help
but be transported out Of the common
throes of musical combustion, into the
serenity of perfectly executed har-
mony. AS the richly woven and intri-
cate measures were brought out with
a stirring precision of melodious modu-
htion. with its ever Varying crescendo
and aeeelerando, and as each subject
of the theme was produced in its or
der, 50 did the musical sensibility OF
the enraptured listeners, Except, pos
sibly, Que, who was up in the gallery
gradually take on the inspiration until
az the grand climax the audience arose
with a single impulse; sort of reach
ing up after the musical attitudes, as il
were. and when the music actually
stopped, when the piece was over, when
the piece was done, the audience was
a sight to behold. The applause was
aeafening, prolonged, sincere and from
the head, heart, hands and feet,
Gradually, however, tho stimulated
condition relaxed and several were re-
taking their seats. AS one thing leads
to another, 50 all the people finally got
seated again, except, Of course, those