davidaulloa/AmericanStories huggingface dataset:
The Raymer enterprise., 1915-09-23
NEED OF YEARLY INVENTORY
Young Farmer Should Keep Detailed
Record Of Farm investments to
Show Profit and Loss.

The young farmer who Is endeayor.
ing to build up a more efficient and
profitable business seldom retains
much cash. When money is received
he buys new implement, another
animal, improves building. or makes
payments on bills for things bouzhl ln
credit During the course OF the year
he may receive and pay out large sums
OF money, leaving almost no cash at
the end OF the year. The annual re-,
turns may seem to have been only a
fair living for himself and family.
whereas the farm business may have
turned good pofit. which was in
vested from month to month. Hence
1t is important for the farmers guild
ance and encouragement that he make
an annual inventory Of his farm In.
vestments. This inventory should be
detailed list. with values. of every
thing used in the farm business, in.
cluding land. buildings, live stock, ma
chinery and tools. produce for feed or
sale. supplies. bills receivable, and
cash; also a list of all accounts and
bills owing. The difference between
the total assets and debts shows the
net farm worth.
A study of two successive inven-
tories OF farm in New York state IL
Illustrates how one young farmer on
100 acres prospered regardless Of the
fact that he had almost no cash at the
end Of the year. The total assets at
the beginning OF the year amounted to
$4,000 and to $13.400 at the end Of
the same year. an increase Of 1910.
The increased investment in live
stock. machinery and tools, and more
produce held for sale amounted to
$l,073, but this was partially Offset by
the cash decrease of $763. The farm
indebtedness was also reduced by
1888. thus making total increase In
net worth to the farm business Of
1868. The inventory values covered
all depreciations and increases in
value. so that this 1868 was net in.
crease In the value of the farm invest
ment. 1t means that this sum was
saved from the years business after
all farm expenses had been paid. In
cluding interest on borrowed money
and all living expenses. The amount
of cash at the end Of the year. $l33,
proved to be no indication Of the sue
cess Of the years business.
The Raymer enterprise., 1915-09-23
NEED OF PUBLIC CONFIDENCE
Well-Working 6usinesslike orqani.
xation Necessary to Guarantee
Products Of the Farm.

By PROF. CHARLES W. HOLMAN.
There is one thing which goes to
the very heart of the business side Of
distributing farm products and is COM
mon to all crops. That Is the neces.
sity of standardizing the pack and
the package. Just as the manufactur.
er guarantees his product SO the
farmer must guarantee his. Just as
the trade-marked. advertised factory
article is familiar to the buying pub
lie. SO the trade-marked advertised
farm product is no dream of a dis.
tant future. II is the next step. The
keen. wide-awake associations OF the
West have taken advantage of II. The
live. energetic individual farmers are
putting 1t into practice. 1t is the first
thing necessary to establish conf.
dence on the part of the buying pub.
lie. To secure this final, finished prod.
net, we must have well.workine
businesslike organization.
The Raymer enterprise., 1915-09-23
SOUTH SUFFERS LARGE LOSS
Many War Orders Necessary to Make
Up $500, 100000 Lost on Last
Years Cotton Crop.

tBy A. L. MILLS Chicot. Ark.)
The loss on cotton alone will amount
to more than the profits on all the war
orders the United States can All in
two years II is not possible for this
loss to be made up later. as is the
case with the loss on lumber and tim.
Der. The cotton which has not been
used up last year will not be used
next year. The houses which have
not been built out Of wood this year
may be built next year or the next.
The loss on cotton last year was
about s30O,0O0O0O and it bids fair to
amount to another 5000. 600, 900 this
year How many war orders will
have to be filled to earn this?
What is loss to the South is even.
tually loss to the East and North.
So far no portion Of the country has
suffered as the South has suffered.
The Raymer enterprise., 1915-09-23
FARMERS IN GOOD POSITION
Most Secure Of All Glasses, as He Is
Sure Of Comfortable Living
Higher Prices Predicted.

The farmers of this country should
take courage. no matter how general
the effect of the great war. The posi-
tion of the American farmer is the
most secure Of all the classes. He Is
at least sure of living. with shelter
and plenty to eat. says American Cul-
tivator. No other large class can be
sure OF that much, but there is more
than merely security for the farmers.
While the rest OF the worlds pro-
ducers are fighting and consuming
food products, somebody must raise
more food, and nowhere else In the
world is there such a great area OF
the best of foodproducing land. under
intelligent management and worked
with modern machinery. Under the
spur Of high prices the soil Of our
farms could be made to produce far
more than at present The crop of
most farms could be doubled II the
price Of the product looked attractive.
1t seems quite certain that the
necessities of life will 60 higher In
price. not only for this year. but for
the next. The farmers of Europe who
are now In the armies will hardly be
able to do much with this years crop,
nor probably with the crop for next
year. There will surely be great
difficulty in maintaining the food sup
ply of the populous nations OF Europe.
There may be difficulty In securing
means Of shipment. and It may be
hard for the buyers to find the cash,
but these needs will have to be met
by the people of Europe. Both those
at war and those at peace must be
fed. Our exporters are not very like
ly to sell anything unless paid for in
advance. Several OF the nations that
are usually the chief customers In food
products will be likely to control the
sea early in the war. and thus allow
free shipment of food. at least to their
own ports II will be a time when
the demand will be for the necessities
rather than the luxuries. There will
be. perhaps. less money. both at home
and abroad. to spend for fruit and
garden truck, but the demand will be
enormous for such staples as grain,
-four. meats and potatoes. and even
for the less needful food articles like
butter. cheese and eggs.
The Raymer enterprise., 1915-09-23
ELABORATE EVASION,

Are the fish biting now" asked the stranger
Yes replied the boy. But you ANT allowed
to catch en-
DO you mean to say you don't nshy
I don't exactly fish. But II fish comes alon,
and bites at me do my best to defend myself !"
The Raymer enterprise., 1915-09-23
Experiment. wlth New rbi,o,

Don't be afraid OF what the neigh.
bors may say II you do something
new or different. Try new things.
Try them intelligently. cautiously and
keep trying them. Thousands OF
farmers laughed at the disk harrow.
the silo. alfalfa and the telephone.
The Raymer enterprise., 1915-09-23
D(D DIU1 y
I(WFRSSI
D1 MARTIN CONWAY

OLLAND In It's quaint way is land
OF romance. but OF a burgherish
solid sort. the very antipodes OF
the romance OF the sunny East,
Dutch romance is the child OF in
dustry. enterprise. dogged courage.
foes and waterways. and its great
days fell within the limits OF the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

After a number Of postponements'
Hands Up," the elaborate summer
revue, in which Lew Fields will appear
as the star, and in which Maurice and
Florence Walton will appear as fea-
tured players, will definitely open at
the Forty-fourth Street Theatre on Sat
urdav evening. So elaborate vas the
original conception for the production
that the producers, the Messrs. Shu-
.bert. found it necessary to make altera-
tions in the oder Of scenes, that they
might be accommodated TO the stage OF
the Forty-fourth Street Theatre. As
it remains, the piece is in two acts
and ten scenes. all of which are said
70 reveal novelty in scenic effect. The
dancing and the unusually large chorus
Of pretty girls will be one of the doml-
mating features of the piece. 1t has
been written b. Edgar Smith. One OF
the novel scenic effects of the piece
is an animated screen. in which a cross
section of q siX-room house IS SHOWN
in such a manner that it appears that
the action that takes place is being
done on a moving picture screen.
Lew Fields will be seen in the char
acter Of an amateur scientific detective,
which will give him an opportunity for
a travesty on the modern stage detec-
tive and movie melodramas. Maurice
and Florence Walton will appear for
the first time in speaking parts. They
will revive the Apache Dance and in
troduce the Polish Mazurka Polonalse.
Nine. Gamma Walska, the Russian
beauty, will sing the prima donna role.
Lauri De Frece and Fay Compton will
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
HAROLD
AT NEW HAVEN

Tennyson's Harold" will be presented
by the Yale Dramatic Association on
June 10, under the direction Of L. NJ.
Woolley. One novelty will be that
there will be no tedious intermission
between acts, due to the Gordon Craig
screen method of scenery. Fifteen
portable screens take the place Of the
usual wings, while the apron of the
stage extends out into the orchestra
far enough to allow the action to go on
there while the screens are being
moved No footlights will be employed,
all the light effects coming from over
head, and TO give the idea of distance
in off-stage noises the whole Yale
Campus will be utilized.
Miss Grace Clark, Of Pratt Institute.
New York, has designed the costumes
from a careful study Of the Bayeux
tapestry. Seats for the performance
may be secured through the Yale
Ticket Department, Durfee Hall New
Haven.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
GEORGE PARSONS
TURNS TO EPIGRAMS
Actor Wishes to Show Broad
way That II Has a La
Rochefoucauld.

George Parsons, OF "A Full House
company, is something of an epigram
matist himself. The next thing we
know he will be writing fsrces him
self Here are some of his most recent
contributions TO nutshell wisdom, as
gathered by his Boswell, Press Agent
Alfred Head. of the Frazee office:
Nothing fades like a condolences
popularity if it's overexposed.
There are a lot of bad actors besides
those on the stage.
Stage managers who say Just what
they think" never think of anything
pleasant.
The only way TO bluff small time
soubrette is to offer her a good part
Some farceurs seem TO get over any
thing except a witty curtain speech.
When a poet writes a play his Pega-
sns nsnAllv nrAvas a nightmare
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
GALSW0RTHY AGAIN
AS ATHANASIUS
THE Telegraph's" Critic Is Not
Impressed by His Latest,
"a Bit o. Love"

A new play by Mr.. Galsworthy is al
ready becoming an event From him
we always expect Something different"
He is not bound 20 the wheel of the
conventional; he thinks for himself and
expresses himself. With Shaw and
Maseheld and Barrie he is bringing the
English theatre back to the realm OF
literature, and if al times he fails as a
dramatist, and If his outlook is often
unnecessarily gloomy, his work invsri-
ably possesses both force and distinc-
ton. Apparently he is not at his best
in his latest play az the Kingsway, and
yet "a Bit o. Love" is certainly Gals
worthy. Says the critic of "The Lon
don Telegraph:
at is a bad, hard world that Mr.
Galsworthy lives in. The powers OF
darkness have dominion over most Of
the souls in it. The fools and the cal
lous are everywhere. If anybody is
good it is likely to be in some recon
dite, dogmatic fashion, and nobody else
will sympathize or understand. Heroes
and heroines OF Mr.. Galsworthy's must
learn to stand alone, unfriended, mel
ancholy,' every one Of them an Athana-
sius against the world. They can al
ways count upon general disapproval
and maltreatment. They are always
crucifed. In every play the villain is
the majority, the ordinary people. The
indictment lies against common, gem
eral ways of thinking and feeling. We
are all of us, if you would believe Mr..
Galsworthy, always huzzaing for Barab-
has.
"No doubt il is we'll that We should be
made uncomfortable No doubt il is
true now as it was true when Plato
wrote the Republic that the perfectly
good man is likely 10 be tortured by
wicked world. That type which Mr.
Galsworthy loves. che MAN or woman
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
Mime. Rejame Takes London
by Storm

Nine. Rejane has been recently APP
pearing in London, and in a character
istic interview in "The Telegraph she
speaks of the emotions experienced by
her in her recital of Emile Cammaerts's
patriotic poem, "Carillon,' set to Sir
Edward Cigars music. Says "The
Telegraph:
To witness Nine. R6jane playing in
Madame Sans Gene" is 10 be reckoned
among the delights Of a theatregoer's
lifetime But there is another pleasure
fit to take rank with it. That is to
meet the great actress off the stage
ana to have the opportunity of con-
"ersing with her about the art of which
she is so distinguished an ornament,
and about the impressions which her
visits to us have left upon her.
Such was the present writer's expert
ence yesterday afternoon. 1t was in
deed a pleasure, because Nine. Rejane
is more than a gifted Frenchwoman
and a brilliant actress; she is intensely
devoted to her art, and is an earnest
thinker in regard to everything that
concerns il. Yet. with the modesty Of
the really great artist, Nine. Rejane
was much more disposed TO talk about
her art than about herself. Bearing in
mind. however, the remarkable demon
stration of emotional enthusiasm
which she aroused in Queens Hall last
Thursday afternoon by her share in
the performance of Sir Edward Cigars
Carlton il was only natural that the
writer should recall that memorable
episode 10 her mind all the more nat
lral, perhaps, because at the second of
Mr. de Lara's concerts of British mu-
Sic to be held on Monday afternoon
next, the audience is promised the great
pleasure of hearing Nine. Rejane recite
Emile Cammaerts's noble poem once
again.
it was obvious that the great ovation
she evoked last week had left on her
profound impression. Remarking,
first OF all upon the pleasure she had
experienced in associating herself with
an enterprise so worthy as the encour-
agement of British music at this juno
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

! cure, she went on to say that in I'll
gar's Carlton" the work OF a great
contemporary English composer, allied
10 French words, she found just the
medium in which a French artist could
help the cause.
Nine. Rejane continued: 81 had al
ready heard the Carlton admirably
recited by Mr.. Ainley, so that | was
able TO appreciate its beauty, but it
was only at the rehearsal on Thursday
morning last, when found myself
surrounded by that magnificent orches-
ira, with Sir Henry Wood at its head,
that | understood what it was for a
dramatic artist to forget absolutely
her public and herself, and to sub
merge her personality entirely under
the influence of the music. 1t was a
feeling had never before experienced
in the whole course of my career.
"The sentiments of pride, of con-
tempt, Of hatred, OF triumph came to
me from the music, and | realized, at
the same time, how much can be done
with music, even without pronouncing
the words. Even during those inter
ludes when the music continued and
my voice was silent my soul, my
heart. was speaking all the time. The
music inspired me. You may say |
lived the music.
when / retired from the platform"
continued the great artist, II did so
mechanically, as one in a dream, hyp-
Noticed by the very work | had been
helping to interpret. 1t was only when
was recalled, and when | returned TO
the hall TO witness the extraordinary
ovation which had been evoked, that |
was brought back to my senses. Tears
came to my eyes. have an intense
dislike of exaggeration, or Of anything
inconsistent with the dignity of ones
art, but when the strains of La Mar
seillaise' greeted me, as played by the
orchestra, an irresistible impulse
seized me, and | positively shouted
Aux armes, mes citoyens' as an appeal
to all young men in the hall TO go out
and tight, even as my own son is now
fighting at the front"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
Columbia Theatre.

Not a sign of diminishing interest
is observable at the Columbia Theatre
where Lew Kelly and the Behman
Show will enter upon its sixth week
tomorrow afternoon. The performance
consists Of a diversity Of entertain
ment that lends itsel to frequent
chages without disturbing its main
features. New vaudeville specia!ties
and musical numbers are introduced
weekly as well as new Jokes and sa-
tire on current events OF the day.
Lew Kelly as prof. Done" is diligent
in providing fresh material for himself
80 thu athAr nrinninals - the ~sst
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

who is too fine and not fine enough.
too fine for compromise and rough and
ready living, not me enough for great
ness, is even more likely to fall upon
misfortune. We have nothing but ad-
miration for the sad nobility of Mr..
Galsworthy's ideals. But if we are 10
take him as a dramatist, it must be
said that this perpetual opposition Of
suffering virtue to the dull brutality
of the mob easily degenerates into
tedium We felt that in his last play,
The Mob; we feel the weakness yet
more in a Bit Of Love and as the art
fails we begin to doubt the hero and
the composite villain, we cavil at the
whole thesis. we cannot see life in
these narrowing scenes.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
ANNA PAVLOWA'S
NEW VENTURE

Anna Pavlowa and her Ballet Russo
in association with one Of the greatest
living prma donna sopranos, will In
troduce this coming season an art
new to America. The name of this
prima donna will shortly be made
known. Meanwhile negotiations are
already under way with other first
rate operate artists, and further ne
gotiations have just been concluded.
Among the artists already under
contract to appear in conjunction with
Mile. Pavlowa and her Ballet Russo
are Maggie Teyte, the lyric soprano,
formerly of the Chicago Opera Com
pany: Marie Nedlizova, lyric soprano
of the Imperial Opera, Petrograd, and
Ricardo Martin, the New York Met
ropolitan Opera House tenor.
dramatic and mimo-cnoreogra-
phic grand operas comprise this art
form with which the people of this
country are as yet unfamiliar They
may be called grand operas especially
designed to give to dancing and to
pantomine prominence equalling the
vocal and instrumental parts OF such
works.
In Europe, mimo-dramatic and
mimo photographic grand operas have
long had a wide vogue. Particularly
in Russia which has shown the way
in the combining of music, dancing
drama and painting these grand
operas risen to the highest position
POSSIBLE. And now this country is to
learn what they are like.
Although there is a similarity in the
operas Of the two classes, there IS
nevertheless a distinct difference be-
tween them. In the one type OF these
grand operas the dramatic portion Is
raised to the level of the music for
orchestra. principals and chorus; in
the other it is the terpslchorean eIe-
ment that is accorded this place. Max
Rabinoff, who has directed the four
American transcontinental tours OF
Mile. Pavlowa, will be in managerial
charge of this newest enterprise.
The company now being formed Will
include the Pavlowa Ballet Russo, con-
sisting of fifty-two members, operate
principals of established reputation;
the former orchestra and chorus OF the
Boston Opera House; lgnaz Cooper
first conductor of the Imperial Rus
sian Opera at Petrograd, and as stage
director. Ryszard Ordynski, long as
ISOLATED with Professor Max Rein
hardt as his chief colleague.
In every department this new or
eanization of more than 200 persons
will be Of the highest artistic char
acter. II will be able to give the
choreographic portions of the works
in an even more perfect manner than
the Pavlowa Ballet Russo has yet given
TO this branch OF the art, and the oper-
attic norton will be of the highest
standard TO which the American pub
lie is accustomed.
Each Of the novelties 20 be offered
has never beela presented in the
IIritsI StAfss
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
Current Attractions.

Gaiety- shes In Again
Longacre "A Full House
The Playhouse Sinners
Casino-"A Modern Eve
Globe "Chin-Chin." -.
George NJ. Cohan's 1T Pays 70
yertise."
Booth "Tho Bubble"
Cort Under Cover"
Gambler ION Trial"
Columbia Theatre Burlesqas. :,
Danse de Follics Ziegfeld N'aA
Frolic. s,.s
Winter Garden The PASSING
Of 1915"
Harris Twin Beds" A
Castles in the Ara Nl'N
Fantasy" -
Maxine Elliott Nobody hon',
Goth stree, -"Three Of Hearts,
18th Street Gilbert and
repegtory. ,<ss
.4.L c.---.--"uanSs U-"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

never won. Something like this, We
find ourselves thinking, may have hap
pened somewhere, but this is not the
truth Of il. We are not in touch with
facts. There is more TO be said for all
these people, saints and fools and
brutes, than Mr. Galsworthy has said.
As they come upon the stage they are
but hints, glimpses. We cannot see
them steadily and whole"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

stance. Il has long been notorious that
many Broadway productions are not
worth 81. The audiences have been
gradually making up their minds 10
this effect and passing over TO the
movies" SO something had 10 be
done The box Office discovered IT. II
was the cut rate ticket. Now, the box
Office understood psychology. 1t re-
allied that if Mr.. and Mrs Smith and
Mr.. and Mrs Brown 90 TO the theatre
they want 20 sit in the best seats in
other words, 10 be among those pres
emit" Likewise they DO not want to be
considered cheap, and they would
rather not go at all than not 90 to a
"S2 show But a 81 show being be-
yond their means, they did not go at
all, or su,reptitiously sneaked around
the corner 20 the nearest film theatre.
Now, the box Office knew that It's sal
walton did not lie in the reduction OF
the advertised admission price This
would labe! the play as Cheap and
Mr.. and Mrs. Brown would never be
seen by Mr. and Mrs Smith entering a
low priced show. So il evolved a fic-
titious system Of values, via the road
Of eut-rate tickets. and Mr. and Mrs.
Smith and Mr.. and Mrs. Brown may
now enjoy the luxury Of a 81 show
for the price Of 81. OF course. the
real So show still gets its 81 or more.
The public when it really wants 10
see something will pay for it. But
the plays II only half wants 70 see il
can now see with all the glory that
comes from having paid a full price.
OF course, y hasn't paid the full price.
bat then, perhaps its neighbor thinks
that 10 has. Il is all a grand game
bit IL works. Truly the box office pos
seSses the genius Of the American the
stre. Upon the stage we get little
knowledge Of the human heart it is
20 the box Office that We must turn 10
find iii
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13

A farce may be gigantieally uAi"
sonable, yet reasonably sntie.
An artist may be o barber, 0'ss
black. a Sargent or a Paderewsn
Stage lies have no legs-thats w
we all have TO stand for them.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-13
Plays and Players
Recent Critical Remarks ON Farce
The Game of the CuG-Rate Ticket.

theatrical recently
New York newspaper the cndro that farce the most
difficult writing Now the American playwright
assertion
character and the insight that
depths of human consciousness with the clash OF passions
and Of w-hese that the off
the works Shakespeare Ihe Tanning OF the
The Iben the dramas Dumas the
fiddle the George
Mugh Perhaps this particular chroncler
being intelligent the deny that he intended
dcum which simply show that few hours
shorta time for well considered judgments
The his Of "A Full House the
farce probably duly ae being told that
they were expert difficult branch of dramatic
brimful of fun
so are Baby Nine "A Pair of Skies
other them being the equal of the
being Europe 1t that
some
American the subway
In
out they according the above mentioned
what they set the difficult of all dramatic problems the
must be epoch-making