Advocate Register_1950-12-15

ADVOCATE REGISTER (Designed to Read) Published by Oliver Smith News Agency (Established 1943 OLIVER E. SMITH, EDITOR Office 1453 N. Williams Ave.-Ej\1. 7266 ATwater 2551, 3411 S. W. First Avenue, Pordand I, Oregon Free from Services of Any Special Interests The News As We See It. The Editorials Are Our Opinions IN MY OPINION By Mrs. E. W. Smith, Retiring President of Pordand Branch NAACP My observation of the Portland Branch of the NAACP. The Portland Branch, as I see it, in the number of years that I have been working closely with it as a member, board member, and president, is like most other Portland organi– zations-it is on the conservative side. In everything the Association has attempted to do, it has been cautious and slow to take or go into whole heartedly everything that appeared to show discrimination to Negroes without careful planning and considerate thinking. These methods of pro– cedure have caused much criticism and comment from the progressive and aggressive people. We have been called "Moss-backs" and "a do-nothing organization," but whenever a major issue of race discrimination or problem has been evident, the NAACP has taken the lead or been in the fight; not always in a spectacular way, but got as much results in Portland as the trend, place purpose or circumstances could be expected. For 36 years, the Portland Branch has been up and down, but from the National Offices record, charter revocation has never been threatened nor has the National officers been called to Portland to get the Branch out of a difficulty. I feel that this slow, cautious manner of the organization in· not accepting everything presented to us as a probable dscriminatory issue to be attacked have proven an advantage to the stability of the organization. Although we have not been before the public constantly, some very worthwhile objectives relative to our program, which have probably been forgotten by the public, have been accomplished. Because of our democratic proceedure of membership and election of officers, we could have been swept into hazardous situations many times, but thanks to the few level-headed members who have worked in the organization for many years, this has not been the case. We have not had a spectacular growth in membership, but have kept pace with other organizations of the same age in Portland. According to the National and Regioal offices, our membership quota and other financial obligations have .been met in such and excellent way, we are considered the prize Branch on the West Coast notwithstanding San Francisco, Los Angeles, Seattle and other larger citiees on the coast. MRS. E. W. SMITH The Annual Meeting of the Past Exalted Ruler's Council, No. 29 I. B. P. 0. E. of W., will be held on Thursday, De– cember 14th, 1950, at 1474 21st Avenue, Seattle, Washnigton. This is a very important meeting, as the reports of your year's work / will be submitted, imparting the information to members in detail of all financial transactions from December 1, 1949 to December 1, 1950. All members are requested to send a card to one Brother F. D. Wright, 1722 22nd Ave., Seattle, Washington, who has been ill for a long time. Brother Wright was a faithful member of the Council and an untiring worker before his health failed. Please comply with this request. Arnett Cobb's Playing Again After Serious Illness The long missed but well-remembered tones from the saxo– phone of Arnett Cobb, "the Wild Man of the Sax" once again are ringing through the nite clubs, theatres and ballrooms, as the popular tenor saxman hit the comeback trail after a three– year fight against a fatal illness. Cobb, playing with four of the original five men with whom he skyrocketed to fame during World War I, recently played his initial 'come-back' engagement at Philadelphia's Club 421. KEPT FIGHTING Here's the story of a man who went down fighting to death's door. It's the story of a game guy who fought until he rose to his feet again. It's the story with a romantic touch as human as life itself. Yes, here's the true love story of a charming wife– Elizabeth Cobb-who stu-ck with her deloved husband in his fight to regain his health "A Man May Be Down, But He's Never Out," Elizabeth believed in God. She knew her hus– band would recover. This is the Arnett Cobb story .. it's the BIG story._. It begins back in Houston, Texas: At the Physllis Wheatley High School there's 14-year-old boy playing the violin in the school band_ He has just com– plained to the school bandmaster-"Nobody can hear my violin because all the other instruments drown out the chords from my fiddle." He is not sulking. He stands stern, up– right. He is sincere. What he said was true And the sympathetic bandmaster knew tha tthis boy, Arnett Cobb, was right. He took Arnett's saxophone that he had been holding "as a surprise" for Arnett from a nearby shelf and handed it to Cobb. The youth brightened up and lst out with a "Whoopee!" then :h.e settled back, amazed, "But how did you know-? Hok did you know, professor that I wanted a sexa– phone? How did you know I could play one? "For a long time I've watched you, Cobb. I'm interested in the welfare of air the students. I try to help them as best I can. It's wonderful to give-always remember 'that, Arnett. More wonderful than to receive.» Cobb was very grateful. He became an honor student, moreover he was bright, very bright in fact with his music. Several years passed. Arnett began to play long and loud. Before long a pro– fessional bandleader, Chester Doone, heard Cobb and signed him with his band. After a two year stint with Boone, Arnett joined Milton Larkins' orchestra It was with this musical aggregation that Cobb began to develop the style that was to make him famous. Inspired by he playing of tenor man Joe Thomas– who was then with Jimmy Lanceford's orchestra-Cobb began to put everything into his playing. Larkins gave him all the leeway he wanted. As the years rolled by Cobb began to develop what he now terms "a soulful style." It is best described, according to Arnett Cobb himself, that the musician "preaches" with his instrument-putting all his feelings into it . And "The Wild Man of the Sax" tothis day insists, "Brother if you haven't got rhythm-if your feet don't pat, and you can't feel it-take it from me, that its no good.