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G one?Ye Dime Novel
WHERE is the dime novel? It used to be right in the front row of all those stationery and news shops you find on Third and Sixth avenues. They even used to sell them for 5 cents. Rut enter one of these stores now in search of the weekly adventure of your favorite character, and you are ?!oomed to disappointment. Painful as it is to admit it, you are forced Lo the conclusion that the dime novel is almost extinct, even in the very kept more people awake in their' time than an armistice celebration,. are relegated to an upper shelf. They have not pone away for the summer, either. It has been a matter of years since they have been moving slowly out of town. They have gone, as one erstwhile librarian puts it, be? cause "no one wants 'em." All of which may be an encourag? ing sidelight on the increasing culture of the age, but there seems to be a sounder theory. The dime ? liddle of its old New York stamp? ing ground. Diamond Dick, King Rrady, Nick Carter, Frank Merriwell and *all the rest are mere shadows of what ihey once were. If any office boy knows anything about them to-day it is safe to say he has a turn for archaeology. If any book is for sale in a paper cover it is pretty sure to be a volume of Dumas or Tolstoy, but the old kings of fiction, who have novel has found a substitute. Pain? ful as it is to say it, the dime novel seems to have been included and absorbed by the galaxy of fiction magazines that have been flooding the market. .As a novelty they had : it over Diamond Dick, and you ! didn't have to read them behind the woodshed. Or perhaps the movies 1 did it. Anyway, if you want to read about Diamond Dick you have got to look a long way for him. Dachshund Passes A DACHSHUND? There ain't no such animal?-at least as far as the New York dog fancier is concerned. Other dogs have gone out of fashion, but a visit to any emporium where canine aristocracy is dispensed with is proof that the dachshund is just Rone. "They'll be having him put with the dinosaur and the other old ken I They're the boys who will have to answer for a breed that is fast dying out. Why, e'ven if you could '?et a dachshund, and I'd hate- to promise you I could gi't one'. New York would be just plain uncongenial for him. No dog likes sympathy more than the dachshund, and, believe me', he don't gel it here. "It's a funny thing, too," he went ?m, thoughtfully; "they use lot- <>f Hun stuff over here still. Take, this liberty cabbage, dust changing its nel stock up at the museum if he don't get, popular pretty soon," a facetious dog expert commented. "They just don't seem to want him around. That's all. It's too had, too. He's a good dog, gentle, intelli? gent, faithful, and the worst of if all is, it isn't his fault. It's those cartoonists who kept dragging him into the pictures with the Heinies. name eased up people's consciences, and they still eat it by the hogshead. But nobody's ever thought of calling that poor little dog a liberty hound and making him popular. "Why, even Paris is kinder to the dachshund than New York. They have a lot of captured ones there, and they're proud to lu> seen walk? ing down the1 boulevard with one. But just catch me taking; one through Central Park!" Bohemia Moves North *"?""UIE high price of garrets has X driven many sculptors, art? ists and writers from the dank old houses of Washington Square, Abingdon Square and other sections of Greenwich Village to the brighter lamped haunts of Newark, Pater son and Hoboken. To be a resident of Greenwich Village is no longer the metropoli? tan cachet of Bohemianism. Vul? gar people who work of mornings and are, in the village vernacular "in trade" have swarmed to Bohe? mia, and the unartistie landlords, with absolutely no erotic motifs have booste?! rents accordingly. Thus it is that New York has n new Bohemia. Sixty-seventh Street West?from Central Park to Co? lumbus Avenue?is becoming the artistic centre of New York. It is lapping over now to West Seventy second Street and Central Park I West, and the announcement is made that the Hotel Majestic is to ! have a row of skylight studios on ! its roof for the winter. The Majestic has many celebrated guests. Among those who winter i there ;'.r<> Edna Ferber, Arthur i Somers Roche, Verne Harden Pbr I ter, William McHarg and Edwin j Balmer, Fred C. Kelly, Burt L. : Standish, Jean Knott, Ride Dudley, 1 Miss Lillian Russell, Anna Fitziu, I . Morgan Kingston, Mme. Yvette j Guilbert, Henry Clive, Ethel Clay | ton, Pavlowa and Fritzi Scheff. In Sixty-seventh Street is the I Caf? des Artistes. Christy lives there, and so do many other cele? brated wielders of the pen ami brush. There are already three co j operative' studios for artists and writers in the block, and anothei is rearing its crest to the clouds On the street live James Mont? gomery Flagg, Graham Cootes, R M. Brinkerhoff, Le Roy Ripley Grant Renyard, Dean Cornwall, anc a hundred or more other celebrated artists. New York in Days Gone By A reminder of the good old days when 25 cents was not to be sneezed ft*5, showing Chester Bullock"s warehouse for fancy goods at 501 Broad way, back in 186') Taking the Movies to College at Columbia University UTf?"VYER Y man has two busi W ' liesses," remarked Abe Pot? ash in one of his most sapient mood;; "his own and the movie's." And you need not wonder greatly if ' some day you see announcements of screen productions sponsored by Colum? bia University Films. Inc., Nicholas ?Murray Butler, president. Columbia University has decided that movies arc omething mon than an agency to lure freshmen from afternoon ses I sions in philosophy. At Morningside i Height;-, the live-roe! feature stands with calculus, Horace, Shakespeare and introductory biology. Columbia is i- ling to teach the art, the manufacture and, by no means least, the business of the photoplay. In the official bulletin, between pho? netics and physical education, are listed six courses in photoplay mak? ing. The academic nomenclature or? ders things m this manner: "Photoplay Composition el Elemen? tary course. ?Three points. Winter ses? sion. Mrs. l-'rances Tayiur Patterson Sect inu I 3:10-4:25 p. m. Tuesuay Room 509 Hamilton. Section " 7:10 8:25 p. in. Wednesday, Room 509 Ham liten." There are intermediate and ail vanced courses in scenario making am a course in the actual screening of ? picture. At this time there are n? provisions in the curriculum for filn acting and press agent ry. Pcrhapi such courses are unnecessary, But i the demand arises you may expeel t? hear about Vamping el? am! Spaci Grabbing e42. "Columbia didn't institute thes , courses because we thought it expedi ' ont to uplift the photoplay or any thing like that," said Dr. Victor C Preeburg, who. with Mrs. Frances Tay? lor Patterson and <"arl Louis Gregory teaches photoplay composition an photoplay making. "There was a germ ine demand from the people at larg for courses in scenario writing and ii film production. The motion picture -, :i vital part of American life, and i great university cannot ignore It o look down on it as a subject unworth' of its traditions. Too many school and colleges behave like ostriches h the presence of the photoplay house They bury their heads in the academic siii,.is and try to pretend that the movie doesn't exist." Of course Dr. Freeburg is confronted almost daily with the argument that it is next to impossible to teach photo? play writ ing. , "You hoar that argument brought against almost every branch of college work," said Dr. Freeburg, "But Co ! lumbia has been fairly successful in teaching playwriting? consider such commercial playwrights as Sam Ship man and Edgar Allan Woolf, both Co? lumbia men and journalism, and j there is no reason why we should ? not achieve a similar degree of suc? cess in scenario making." However, Dr. Freeburg wishes it un? derstood that Columbia docs not in? tend to "uplift" the films. "I haven't any us.1 for this uplift stuff," he explained. "I'm not inter? ested in the movies as an educational factor but as an art form with a lan? guage and a technique wholly its own. We're trying to impress on our stu? dents?there are about fifty of them here this summer session that the mo tion picture is not intehded as a sup? plement to the novel or to the drama but th.?, it is a new art which present problems entirely new in the field oi ??rent ive endeavor. "We want our students to turn oui hotter pictures," he continued, "not foi 'any moral purpose, but because bettei pictures arc more interesting to the almost cosmic movie audience, and" here Dr, Freeburg interposed a most Linprofessorial grin "because they're more profitable commercially. We're trying to teach among other matters what the scholarly might call cine m at og ra p h i c eco no mies." Beginners in scenario writing fail to realize that a screen play is made in pictures and not in words. "Almost every one thinks in terms of words," said Dr. Freeburg, "and our greatest difficulty lies in inducing the student to think out his story in terms of pictures. A novelist derives a situa? tion from life and sets it down in prose, but the maker of scenarios must work out his problem as a sequence of pictures. Most of our elementary course of instruction is devoted to teaching the student t;: ! ? guage of the films - pictures. When the studenl has mas? tered the arl of expressing himself pictorially he is ready to pul in scenario form subjects drawn from life." Before students attempt original scenarios they are required to make adaptations of b ? ai . ?tage plays "'1 h is procedure is me rely ; p. givi them "', C . ?; : ; ?? '' i: ' ?! i 1 rig of ! he 11 met? ? um," i ? mai I cd 1 '? r Freebu rg 'Adaptai ions from cxl ran? ous sources aren't art. You can't rank the mar who translates a work from anothei language with the original author. Am adaptation is merely translating a bool or a play into film language. Thi system of asking young writers to sub mit their itleas in synopsis form oui; prevents the fullest expression of an; creative impulse that may have beei in the author's mind. It's like having a musician submit an outline of a sym? phony for production and having the harmonization and instrumentation dune by some routine musician. We're teaching scenario writing in every de? tail, so that the writer who has a film story in mind may express it in his own medium." The classroom work in the depart? ment of photoplay making differs from the old procedure in which the students wriggled in their seats until the uni? versity bell tolled the close of the hour. Practical lilm criticism is the order of every day. The instructor r -.ills to the class a scenario turned in by a student and the embryo cinema composers, as Dr. Freeburg likes to call them, compose hymns of hate about the technique and the ideas of the stu? dent-author. When the cinema com? posers have chanted their canticles of criticism, Dr. Freeburg or Mrs. Pat? terson performs the post-mortem on the script. Photoplay making classes are no places for the sennitive and tempera? mental. But the pupils of Dr. Freeburg and of Mrs. Patterson in the three years that they have been giving in? struction have made good and sce nnrio editors are eager to see the work of the advanced course in photoplay composition. Another feature of the class worl? i?; analytic exhibition. Such corpora? tions as Lasky, Universal and Fo> Films cooperate with Columbia by send ??ig to Morningside Heights many oi their pictures especially to be run of for the cinema composers. At fro quent intervals the projection machin? -tops and the cinema composers com pose little things about the reel jus shown. Still pictures also are used ti illustrate points of composition, light ing and emphasis. It is planned this summer to film on of the scenarios written by a cinemi composer with Mr. Gregory's grinder officiating at the "coffee machines. That's Mr. Gregory's academic descrip tion of the motion picture earners > ext fall an ambitious programme i scheduled, with five-reel dramas an tivo-reel comedies. i.'olumbia has ist receptive fountain for the film 7 ig of comic episodes. There won't b anything "high-browed" about Colurr a's riim factory. "Many good pictures are being mad , lay," said Dr. Freeburg, "but w ink that there's room for many mor? iVe're trying to teach folks to pre Lice better pictures. And if we sui ci ed the 'tone' of the movies may b raised, and all that, and perhaps won't. But at least folks will fin i more beauty in the movies?and they' ? have a great deal more iual" Pedestrians Hid a Chaner Then i ne oriage that used to carry foot passengers over Broad? way at Fulton Street Street of Restaurants F\ORTY-FOU RTII S T K E E T , from Vanderbilt Avenue ti Hudson, is ;i maddening r? a : to travel on an emptj stomach, w th empty pockets. It is no place for a man with only an appetite. ': has smells when the wind blows right which can make a gourmand a dyspeptic or a. dyspeptic oui of any gourmand. To be the champion eating street of New York means that you must have a lot of restaurants on both your sides, because the compet?* ?or, is keen. A person with money needn't go hungry on Forty-second or Forty third Street, ami some of the streets downtown are studded with as? sorted restaurants. But Forty-fourth Street is the dining-room of them all- Fourteen restaurants contribute to the atmo? sphere of the single block between Broadway and ?Sixth Avenue. The " " :'' "'' ''" ? " ?'? ere were hree ils were sei f wj ? ? -, ? ? win. lowed, ; St. 1: :-,... ? ?? -? up next, i | ace for ',:-' -' ' two or - -Joe's, No. :i of Hi , is for h '77 ??? day. The Hotel Astor is 01 E ?-%? fourth Street, an fi tcounts food is si rved tl 1 Blue Ribbon i )af< - - . ? ? -, feed peo . S trief er ' Brothers, the Hotel St. ... Hotel Gerard, Mr. ?.. Yet ?'.7 , Lou, the loi mem? ber; Lucca and the Alg nquin. Delmonico's is a fai ions gem of the Forty foui tion. Before Lou - way to a bank ir is a colorful fifi y feet : !' eat supper be establishments vary from five cents for a cup of coffee to 25 for a demi tasse. Some have regular dinners for 45 cents and are apologetic about it. Others have six Little Neck clams for 60 cents and seem proud of it. The street is the scene of a gas? tronomic democracy. The rich and poor eat together on it. If the pas? try in the windows of the popular priced restaurants there were placed end to end it would reach from indi? gestion to dyspepsia. If all the soup were poured into a single bowl it? it?would have to be a large bowl. On the right-hand side of the street looking from Broadway to the east, and thereby ignoring the sprinkling of backs of saloons and other eating places from Broadway to the Hudson, the Claridge is the first food depot disclosed. Up to fore theatre eat at the places with the pastry in the windows. Those who have supper after theatre dine at the establishments with nothing in the windows, but some kind of lace curtains with the name of the1 restaurant woven in. They tell of a man who started to eat his way west to the Hudson from Vanderbilt Avenue. It's a poor story, because the man didn't die or get so fat that he was the same height standing or lying. He found an attractive and reasonable ??dace in the middle of the block, gave up his mission and got a job as waiter in the place and lived happily ever after. They also say that if a man can't get satisfied in any of the restau? rants on Forty-fourth Street he should try Forty-third, or get mar? ried. Better Shots at Coney THE war has brought one lesson at least home to Coney Islam!. The boys have learned how to shoot. Since the last halcyon days of peace they have acquired the art of hitting things oilier than the steel that comprises the rear wall of the shooting galleries. All the things-they studied in the training camps about holding the rifle and squeezing it and tiring slowly have survived the signing of the armis? tice, survived to such an extent that dark rumors are whispered in the marches of Luna Park and Dream land that the shooting galleries are being driven out of business by the marksmanship of young America. "It ain't the money we have te I "There's one boy here who shoots 'em off regular every evening, and then he begins on the balls on the fountain?and il takes a good eye to hit them every tune, believe me." "Yes," said another further down the street, "they're shooting better now. You don't see any more boobs. They all know how to hold a gun. The' army's ra sed the aver? age all right, but the bothersome ones are the crack shots, the ones who pulled the expert medals on the ranges in the ca? p . They're ;li" ones vvlip. chew up the clay steamboats and the plaster pigeons, and they're th.- ones ?. ho like to shoot. You always see three o' four of 'em hanging around here i pay out," explained the proprietor ?of a gilded and glowing establish? ment, where you can shoot anything ?from an African carn?vora to a i bull's-eye. "It ain't the money, i Even the clay pipes and balls don't i break you nowadays, and you'd j have to tire a broadside to lay out one of these tin ducks, but it's the bother?that's what get's a fe'.lcr's goat." He paused and pointed dramati? cally to a wheel with clay pipes on its rim. "I'd hate to say how many times I have to put new pipes on that thing since we opened up this season with all the boys back from shooting the Huns. They just take naturally to those pipes?" be said. every night, and the crowd 'ikes to see 'em too. They sure are hard on the cilice furniture. "But listen," and he leaned for? ward confidentially; "just forget this stuff about them breaking up the shooting Nothing could have helped our business in a million years like the war has. The soldiers, the ones back in cits again. all like to shoot. Some of 'em will spend their last nickel here over the counter just to feel the grip of one of the.se guns, and father, and mother and sister come to see what they learned over in the trenches. Believe me, there's money in it? and what's a few pipes when trade's boomirig?" : w .__-?*'