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by tenderness and bleeding who is the

FORMULA OF

Forhan. S.AS.

NEW YORK CITY

SPECIALIST IN DISEASES OF THE MOUTH

PREPARED FOR THE PRESCRIPTION OF THE DENTAL PROFESSION

Forhan's

FOR
THE
GUMS

NHEALTHY

UNHEA

soil kills the best
of wheat. Un-
healthy gumskill the
best of teeth. To
keep the teeth sound
keep the gums well.

Watch for tender and
bleeding gums. This
is a symptom of Pyor.
rhea, which afflicts
four out of five peo
ple over forty.

Pyorrhea menaces
the body as well as the
teeth. Not only do the
gumsrecede and cause
the teeth to decay.
loosen and fall out,
but the infecting Pyor-
rhea germs lower the
body's vitality and
cause many serious
ills.

To avoid Pyorrhea,
visit your dentist fre
quently for tooth and
gum inspection. And
use Forhan's For the
Gums.

Forhan's For the
Gums will prevent
Pyorrhea-or check
its progress-if used
in time and used con
sistently. Ordinary
dentifrices cannot do
this. Forhan's will
keep the gums firm
and healthy, the
teeth white and
clean. Start using it
today. Ifgum-shrink-
age has set in, use
Forhan's according
to directions, and
consult a dentist im-
mediately for spe
cial treatment.
35c and 60c tubes
in U. S. and Can.
Formula of
R.J. Forhan, D.D.S.

FORHAN CO.
New York
Forhan's, Ltd.
Montreal

GOING TO TRAVEL? Then by all means refer to the travel section of Harper's Magazine-Every month you will find many alluring suggestions and the announcements of a large number of Tourist Agencies, Railroads, Steamship Lines, Resorts and Hotels.

Sailing Dates in Every Issue

For the convenience of our readers we will publish each month the sailing dates for Europe and other countries together with the dates of special tours and cruises. Feel perfectly free to write us Our Travel Bureau will gladly furnish any information desired.

Harpers

MAGAZINE

49 EAST 33rd STREET, NEW YORK, N. Y.

fresh, turned-up soil of American life. Mrs. Peters, who has social ambition, hires a château and comes close to buying a marquis for a son-in-law. But the Fates intervene for Opal and her hundred per cent American future. Peters earns the thorough disgust of his wife at one juncture, but all is close harmony in the end. The book is, however, not the most felicitous of efforts. It lacks snap and originality; there are pages as long and dull as the lonely days in a Paris hotel were for the husband and father of this family from Oklahoma. But "he" is the saving grace.

ALL THE SAD YOUNG MEN. By F. Scott Fitzgerald. Charles Scribner's Sons, New York.

$2.

In these nine stories are the same easy sorcery in the manipulation of wordssometimes misapplied and misspelled, to be sure, but not as often as previouslythe same deft handling of dialogue, and the same insight into the psychology of the hard-drinking, casually loving young Americans whom the author has evidently decided to make his life study that one finds in all the collections of Mr. Fitzgerald's short stories. Most of his young men are sad either because they are in the married state or unable to attain it. The impatiences and frustrations of modern married life are set forth with a certainty of material and method in "Gretchen's Forty Winks" and "Hot and Cold Blood," which seems much more admirable than the effort apparent in such stories as the much-praised but "arty" and confused "Absolution."

Biography

LIFE AND LETTERS OF REAR-ADMIRAL STEPHEN B. LUCE, U. S. NAVY, FOUNDER OF THE NAVAL WAR COLLEGE. By RearAdmiral Albert Gleaves, U. S. N., LL.D. G. P. Putnam's Sons, New York. $4.

This is a seaman's story of the life of another seaman, simply told and covering a long period of active service on land and sea. Rear-Admiral Luce entered the Navy as a midshipman before the days of the Naval Academy, when hard knocks and rough living were the chief factors in educating officers. Despite this he became the chief advocate of scientific training, and the War College at Newport is his monument. The chapters of the book that will interest. most are those of the early days of cruising on the North Carolina, Columbus, and Congress. The Columbus, it may be remarked, visited the Bay of Yeddo in 1846, eight years ahead of Commodore Perry's call on the Mikado's Empire, but, being roundly snubbed, went away.

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Roger Wolfe Kahn

From Riches to Rags

By ERNEST W. MANDEVILLE

OU have read many a tale of the poor boy who advanced "from rags to riches." Here is the story of a rich boy who went from riches to rags, and at the same time established for himself a $2,500-a-week earning power at the age of eighteen.

It is the story of Roger Wolfe Kahn, son of Otto H. Kahn, international banker and the largest financial patron of the Metropolitan Opera Company in New York.

Two years ago, Roger, a scion of one of the wealthiest families in the country, against his father's wishes, determined to devote his life to furthering ragtime music through the medium of organizing and directing jazz orchestras. He waved aside a college course and all the advantages that would have been his through great wealth and "went it alone" in the jazz field. He plunged heavily, and accumulated debts of over $25,000. In two years he had paid back all that he

borrowed, and is now making over $100,000 a year. He is already spoken of by critics of syncopated music as ranking with Paul Whiteman and Vincent Lopez, the leading exponents of American jazz. Quite a record for a boy of eighteen!

The Kahns are musical family. Roger's father is the majority stockholder of the Metropolitan Opera Company, and it is under his direction that the new home of our best opera is to be built on Fifty-seventh Street, New York City. Roger's musical interests have always been in the popular jazz field.

At the age of eight he began taking violin lessons. When he was eleven, he was not satisfied with the playing of only one instrument, so he spent every afternoon in Ditson's music store, where, on account of his family, they allowed him to select one instrument after another to practice upon. He mastered all the various types of saxophones and all

the reed and string instruments. He is now acknowledged as being expert upon eighteen instruments, including the guitar, mandolin, banjo, oboe, clarinet, and drums. His ability to change from one instrument to another and to play every musical instrument used in a jazz ensemble has been one of the features of his success as an orchestra leader.

At fifteen years of age Roger struck up a friendship with the now famous Paul Whiteman, who at that time had an orchestra in the Palais Royal, New York City. Roger went there night after night, fascinated by the music of the present "jazz king." Whiteman made a place for him in the back of his band, where the boy could study his methods and join in the playing of the various instruments.

The following year Roger decided to have a jazz band of his own. He made an arrangement to take over Arthur Lange's orchestra in the Knickerbocker

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Grill in New York City, guaranteeing Lange the full amount which he was then receiving for his orchestra, $1,800 a week.

Roger went to his father and mother with his plan, expecting their financial support. Both were violently opposed to it. They thought it a passing boyish fancy, and they did not relish the family name being connected with a jazz orchestra. Roger said that he must go ahead, anyway, with his dream plan of being a famous jazz leader. Convinced of his sincerity, Mr. and Mrs. Kahn gave their permission, provided that he would not use the family name and he would not appear personally on the cabaret floor as the leader of the orchestra.

Roger determined to build around the nucleus of the Lange orchestra the finest jazz ensemble in New York City. He offered the highest prices of any orchestra in town. He paid his musicians from $150 a week up, with the accent on the up. In this way he attracted the star performers of the other noted bands. But with these large salaries he found himself losing $600 a week from his Knickerbocker Grill engagement. He was forced to borrow $25,000 from his father to keep up operations. Broadway thought this "rich kid" an easy mark, and every one who had a wildcat theatrical or musical scheme cultivated young Kahn with the hope of getting some of his money. He fooled them all. He kept his head and doggedly held to his purpose of creating a notable dance orchestra, even though it continued a weekly financial drain on his borrowed money. He refused to be swerved from his course by any of the schemers.

During this period of family restrictions from directing, playing, or using the Kahn name for his orchestra he called it "The Roger Wolfe Band." Every night he sat at a near-by table, crazy with desire to join in the playing himself. He devoted long hours to rehearsals, arranging the musical scores, dickering for new men, and once in a while he broke over the bounds in the excitement of his orchestra's success and picked up an instrument himself and joined in the playing.

The elder Kahns visited the "Grill room and found that their son was really in earnest and that he had assembled a musical orchestra of real merit. Thereupon they relented and allowed him to play and to use his full name.

Roger then arranged a deal with the Biltmore Hotel, where his orchestra re-. ceives $2,800 per week-the highest salary ever known for a steady hotel

orchestra attraction. His contract with the hotel requires him to appear personally only when he wants to. He so loves the work that he is on the floor directing the orchestra almost every afternoon and evening.

He then arranged to "double" his band into the leading vaudeville houses during the off hours at the hotel. By real showmanship ability he has made the orchestra one of the most popular features of New York's two largest vaudeville theaters, the Hippodrome and the Palace. He has had more "repeat engagements" at these theaters than any other orchestra in the country. Some weeks he plays both of the theaters together, getting a salary of $2,200 a week from each.

His next activity was to sign up for recording work with the Victor Phonograph Company. He now records for them the most popular dance numbers and receives $1,000 for each recording date. At each one of these dates he makes about four records, and he has an average of one recording engagement each week.

Not content with this prosperity and success, he opened a Broadway office for training and sending out sub-orchestras under his name, and he collects a personal royalty on each one. His orchestras are greatly in demand for social functions. Colleges now want the best New York orchestras for their proms, and they are willing to pay the prices necessary to get them. Yale, Georgetown, Fordham, and Cornell have had Roger's orchestra. I am told that he gets $1,000 from each engagement-apart from the orchestra's fee-for his personal appearance. Two of his orchestras play at the Miami-Biltmore in Florida and at the Seville-Biltmore in Havana, Cuba.

His father has become very proud of the boy's achievements. He subscribes to six clipping bureaus and glories in the flattering press notices accorded to Roger.

Roger has paid his debt in its entirety, and for a young man of eighteen has proved his worth as a financier on his own account. His personal banking account is now mounting rapidly. It was at first stated that his flash of success was on account of the Kahn name and consequent prosperity, but it is now admitted that he has won his place among the leaders of jazz orchestras on merit.

How has the financial and popular success affected this boy just out of a private school? I found him very modest and genuine. He seems a very simple and unaffected boy. In financial mat

ORIENT

by Canadian Pacific

WHEN you've been there

-you'll have a strange

little lantern-lit dream-world
inside your head-a world of
color, of queer haunting
scents, of songs that begin
where ours end, of queer
twisty streets that lead to
things you never will under-
stand...
a world of the rustle

of silk, and the soul of mys-
tery behind a door just

closed.

Japan-a gay little playhouse with all the dolls alive and smiling! China-oldest and wisest and hardest to read-endless rivers and hoary walls and gardens that say everything and nothing. Miles and miles of embroideries and carvings and paintings on silk unrolled for you in the most seductive shops... You'll find them at Shanghai and Hong Kong!

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the

Indian detour

A three days' personally conducted motor trip through oldest America, visiting ancient Indian pueblos and prehistoric cliff-dwellings in the New Mexico Rockies, between Las Vegas and Albuquerque, and forming a part of the transcontinental rail journey.

Only $45, with everything provided -meals, lodging and motor transportation-under expert Santa Fe-Fred Harvey management.

Service begins May 15, 1926. There will be optional side trips and "land cruises" in charge of specially trained, couriers for those who wish to extend their

travels off-the-beatenpath.

A

mail this

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ters, however, he has the mind of a banker of mature years.

He works hard and long. He goes to his office at ten every morning. There he arranges engagements for his eight orchestras and rehearses with them. There he hires the musicians and makes the musical arrangements of the new song hits and works on his own song compositions (he has written several popular successes) and on a musical comedy which he is preparing with Ir ving Caesar. He is also attempting to write a rhapsody based on the best of the Negro spirituals. He says that he wants to develop something typically American in music. His ultimate ambition is to conduct a symphonic orchestra and to go on a concert tour similar to the one now being made by Paul Whiteman.

All of these activities mean busy hours at the office until four in the afternoon, when he goes to the Biltmore to direct his orchestra for the tea dance. After dinner he returns to his office and works until late in the evening, when he goes again to the Biltmore to direct the

orchestra until two in the morning. Between times he wedges in his vaudeville appearances and assembles his musicians for their phonograph-recording engage

ments.

He is now an important figure of Broadway. Broadway has accepted him as one of its own. Broadway knows now that he is not a kid to be fooled, but a young man who has made his mark in his chosen profession. He has now reached that stage of popularity where one of the leading restaurants has named a sandwich after him. He told me in a very boyish way that he really does not like the ingredients of this sandwich, .but that every time he lunches in that restaurant he feels compelled to order his namesake and to eat it with an appearance of satisfaction.

In the career which he has chosen young Kahn has handled himself wisely and well. How many other sons of wealthy parents are there who at eighteen years of age, through their own efforts, are receiving more than double the salary of the President of the United States?

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Rolls and Discs By LAWRENCE JACOB ABBOTT

Phonograph Records

SYMPHONY NO. 5 "FROM THE NEW WORLD" (Dvorák). Played by the Philadelphia Symphony Orchestra, conducted by Leopold Stokowski. Electrically recorded; in ten parts, on five records. Victor.

This month brings in the most ambitious recording that has yet issued from America under what may be called the "new régime" of phonograph music. Recording by means of the microphone is still new enough to be spoken of as in a pioneering stage. And as such it should be expected to reach new goals frequently. It deserves applause, nevertheless, every time new territory is conquered. Until now, the largest piece of work to be recorded was the Chopin B Minor Sonata, played by Percy Grainger for Columbia. There was the complete version of the Berlioz "Symphonie Fantastique," of course, but that was "Made in England."

From the steady concert-goer's point of view, Dvorák's "New World" Symphony has been worn threadbare by its constant inclusion on orchestral programs. Conductors have chosen it as a means of showing off their own interpretations and the technical skill of their orchestras. Yet for those who have not heard it too often there is much in it of musical value. While not among the very greatest of orchestral compositions, the "New World" has a melodiousness,

a brilliance, and an emotional expressiveness that win for it instant favor. Stokowski's performance is dynamic. He stretches out the plaintive Negro themes langourously only to furnish vivid contrast in his brilliant climaxes. The actual recording is a remarkable piece of work. It is slightly less faithful, perhaps, than that of the "Danse Macabre" and "In

Springtime." But many passages are astonishingly accurate. The solemn brass chords that open the "Largo," for instance-and the climax of the last movement, in which the soaring violins are eclipsed by eloquent brass! If there is an outstanding fault in the recordingand what work of art has not its faults?

it is in the reproduction of the lower register. Although the bass is in excellent prominence to give the orchestra a firm foundation, its grandeur is at times solitary. The inner parts are not filled in well. Often the music is all top and

bottom-no middle. The breaks are for the most part well chosen.

LIEBESFREUD-OLD VIENNA WALTZ (Kreisler-Rachmaninoff). Played by Sergei Rachmaninoff. Electrically recorded; in two parts, on one record.

Victor.

Rachmaninoff's own arrangement, in which Kreisler's graceful violin solo is done over á la Balakirev's "Islamey." The material is surprisingly well adapted to such treatment. Viennese themes parade before us in grotesque pianistic passages.

In writing to the above advertiser please mention The Outlook

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We were greatly surprised and pleased with the reproduction of the piano; it is by far the best Victor piano record we have heard. The upper register has too bell-like a tone, but the bass is perfection.

QUARTET IN A MINOR, Opus 51, No. 2 (Brahms). Played by the Lener String Quartet, of Budapest. Mechanically recorded; in eight parts, on four records. Columbia.

This quartet could be safely chosen as 1 music for a desert isle. It will not dazzle, but it fades slowly. The Lener Quartet gives a highly musicianly performance, if a trifle dry. Brahms is not as irresistibly gay and fluent as he can be at times; but he achieves some memorable effects, such as the delicate, ethereal beauty of the upper register of strings in the third movement.

i

T

THE BELLS OF ST. MARY'S (Furber-AdamsLucas); JOHN PEEL (Arranged by Mark Andrews). Sung by the Associated Glee Clubs of America. Electrically recorded. Victor.

"The Bells of St. Mary's" furnishes excellent close harmony for glee club music. Its impressive volume and echoing chimes are somewhat marred by a noisy surface or is it static? Far better is "John Peel," the irresistibly melodious English hunting song, and far better recorded, too. There is little to choose between this and the Columbia "John Peel" record, recorded a year ago by the same organization.

CAVALLERIA RUSTICANA-Prelude-Intermezzo

(Mascagni). Played by the Metropolitan Opera House Orchestra, conducted by Gennaro Papi. Electrically recorded. Brunswick.

If this is saccharine in music, at least it is quite tasty. Mascagni keeps his violins fairly constantly in use, which allows the Metropolitan Opera House Orchestra opportunity to exhibit a pleasing string. tone. The volume seemed a trifle smothered in the climaxes.

charm. "Li'l Gal" is a quiet piece; "Water Boy," a lilting convict song, with a hauntingly beautiful close.

INDIAN LOVE CALL, FROM "ROSE-MARIE" (Friml); DEEP IN MY HEART, DEAR (Romberg). Played by Fritz Kreisler. Electrically recorded. Victor.

Two songs from operettas, arranged and played by Kreisler. "Indian Love Call" breaks from a passage of Oriental exoticism into a refrain unmercifully stolen from "Wildflower." Both numbers are pleasantly tuneful. It is a treat to have Kreisler play them. But is it not unfair that he should be monopolized for such work, instead of devoting some of his records to legitimate violin music?

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PRELUDE,

Piano Rolls

"LA DAMOISELLE ÉLUE" (Debussy). Played by Walter Gieseking for the Hupfeld Company of Leipzig, Germany. Ampico.

A quiet, poetic strain runs through this Debussy prelude. Gieseking exhibits a sensitive feeling for pianistic color and for Debussy's use of overtones. The result is delightful.

SHEHEREZADE, FANTASIA ARRANGEMENT (Rimsky-Korsakoff). Played by Serge Prokofleff. Duo-Art.

The "Sheherezade" lives not because of its form, but because of its content and orchestral color. Prokofieff's piano arrangement is only a "black and white" reproduction of the original, but his use of the fantasia causes no great loss in the architecture of the composition. The many solo passages in the orchestral version are well suited for the solo pianist. In other parts of the composition, however, the pianistic interpretation obtrudes.

PARSIFAL AND THE FLOWER MAIDENS

(Wagner). Played by Milton Suskind and Julius Buerger; conducted by Artur Bodanzky. Ampico.

SUITE NO. 6 FOR FULL ORCHESTRA (Bach- played!

Wood). Played by the New Queen's Hall
Orchestra, conducted by Sir Henry J. Wood.
Mechanically recorded; in four parts, on two
records. Columbia.

In reality, not a suite at all, but an Farrangement by Sir Henry Wood of various instrumental works of Bach.

Among other features are a dolorous lament and a scherzo with the jollity of a Grainger setting. Bach gains by orchestral transcription. His complex weaving of threads into a musical pattern is more easily followed when contrasting instrumental colors are used. Parts of the recording are feebler than they should be. The wood-wind sounds well, the

strings poorly.

WATER BOY (Avery Robinson); LI'L GAL (Dunbar-Johnson). Sung by Paul Robeson. Electrically recorded. Victor.

Paul Robeson's voice has a quality which makes it a most satisfying "musical instrument" to listen to. He sings these two Southern songs with genuine

Four-hand music as it should be played! Bodanzky's direction adds the magic touch which makes the performance sound truly orchestral.

Credit

SINCE the publication of George Mar

vin's article "Doorways," in The Outlook for March 17, we have learned accompanying the article were made by for the first time that the photographs members of the Geophoto Club of the University of Chicago and are prize photographs from last spring's competition. The view of the main quadrangle of the University, printed on the cover, and that of the entrance to Mitchell Tower, on page 411, were made by Prentiss D. Moore; the other two photographs, the entrance to Ida Noyes Hall and the entrance to Harper Library, on pages 409 and 412, respectively, were made by John Wesley Coulter.

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"-but I'd like to live in Tacoma!"

Who wouldn't enjoy life in a city that rises on green bluffs above Commencement Bay, Puget Sound?

Clad in towering forests of Douglas pine and fir, the mountains of the Čascade Range loom high above, with the glacial, flower-strewn beauties of Rainier National Park covering the Greatest Mountain of Them All, a short drive from Tacoma.

Tacoma has fine colleges, excellent
hotels, three inviting golf courses and
1200 acres of Public Parks.

Spend your 1926 vacation on the
Pacific Coast and visit Tacoma.

Go on "The Travel Triumph" "North Coast Limited"

Pullmans of latest design. New observationclub cars with ladies lounge, maid and shower bath; men's shower baths, barber, valet, library, smoking and card rooms, inviting club lounge and a sight-seeing platform with a searchlight to play on the scenery at night! Northern Pacific meals are famously good," too!

Northern Pacific Ry

"First of the Northern Transcontinentals" Mail this coupon to A. B. Smith, 845 Nor. Pac. Bldg. St. Paul, Minn.

MY VACATION TRIP

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