Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-09-21
THIS AND THAT
BY CHARLES E. TR4CEH ELL.

, when amusements we're looked upon as
| from the devil.
Amusements form a large part OF
modern life, even in the life of the
/ poor. Millions upon millions of dollars
are spent for amusement every day in
! the year. Sunday included and millions
are made by those busily engaged in
supplying this demand
| Those who prefer to get their amuse-
ment in the home, with the aid of mod
ern scientific devices. should keep well
that Of running the thing into the
ground"
This we'll known tendency of human
beings was eXemplified in thousands OF
idle monographs, which their owners
! played to DEATH" There was, and nc
doubt is, many good talking machine
standing in corner of a room. a vase
or other ornament sitting on its lid
| Radio is in danger OF suffering the
same fate, if people do not stop over
doing 1t. Music is in no sense an es-
ScnUal of living. We say this as one
who loves music from the bottom OF
his heart and has much trouble to pre-
vent himself from turning on his radio
set whenever possible.
What comes the indignant chorus
Refrain from turning on my radio
Set-Wi1y, TO turn it on is what l got
it fort"
All right, turn it on! Run it from 5
O'Clock until midnight! Sit up after
that and ieverlshly search for out-of-
town stations you won't have to wait
more than half an hour for the an
| nouncer to give his call letters.)
Do all of This, but some months later
don't wonder why you have grown tired
OF your radio. Overindulgence lead:
to safety in music as in life
| Let the experience of the centuries be
your guide
x x x
Too intensive listening to radio not
only tenoS TO disgust one with music
per sc, but especially does il XIII one!
enjoyment OF certain pieces. I'VE ike
the word piece for a musical com.
position. There is some disposition or
the part of the supercritical to stop its
use, but it is interesting to note tina,
many of the great living composers
prefer it. And who should know better
Than they?)
Radio stations. hearing each other:
broadcaStS. work up veritable manias
for certain pieces Some months age
| it was the old waltz, Let Me Call Yo,
Sweetheart" You couldn't tune in 6
station anywhere without hearing it
! The result was that after listening t
1t every evening in the week for severa
months, even the most ardent admirel
of Let Me Call You Sweetheart" hac
no desire ever to hear it again
Later the stations took up Beethoven:
| little 'Minuet." Now that is a nict
thing, in dainty delicate way. Ont
might stand to hear it every half year
or maybe once month, at a pinch
Two or three evenings week. however
| for three or four months. was much
too much. Every time we hear tina
| tune, now, we groan. We never wan
to hear 1t again.
All music is so. Musical pattern!
cannot be INDUCED in repeatedly by ont
and the same person any more than ont
can eat beefsteak every night for din
ner and not get tired of beefsteak
There is something in the human
constitution which requires constant
change in all matters of art
We demand new books. new paint.
ings, new musical compositions. Thu
new ever vies with the great old Tilt
position of the great old remains Sc.
cure only through the constant suppl,
of the new, great or otherwise The
old is the standard to which We &c
back for purposes of comparison II
| we compare too much, we run the risk
| OF being surfeited.