Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

 - Class of 1969

Page 24 of 412

 

Trinity College School - Record Yearbook (Port Hope, Ontario Canada) online yearbook collection, 1969 Edition, Page 24 of 412
Page 24 of 412



Trinity College School - Record Yearbook (Port Hope, Ontario Canada) online yearbook collection, 1969 Edition, Page 23
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Page 24 text:

I-NGN 'I looked around and amidst all the words of love, I saw a lot of sex, which has nothing to do with love and I saw something very different. I observed a hate cult, a cult nurtured on anarchlsmf' These words are from the mouth of Larry Kent, who not only says things, but also portrays them. The result is a movie called 'High . - What he portrayed is a young man around 20, a drop-out from McGill University, pacing the Montreal scene. He is cool, he is smooth. He smokes pot, enjoys his sex, and desires the good things in life. I-Ie is not a student, or a business- man, or a hippie. He is a new breed, a new cult, that does nothing and wants everything. The film portrays the life he leads. He steals from his sex partners. He sells his body. His girlfriend steals from her sex partners. She sells her body. Together they forge cheques, use false credit cards, and finally kill someone. Their motives: money for a good life. They sell out everyone and everything. In the end they sell out on themselves. Life is but a game, with no holds barred. The Elm is powerful and it is gutsy. The sex in it does not flash out and slap you in the face. It is secondary. It is the decrepancy and filth that comes through during the love scene in the one T003 C0-OP with two neglected babies, three dri -up males, and four bored women. It is the mercilessness that comes through when he leaves a fallen sex victim penniless. It is the contempt that comes through when the two stars playfully grovel in bed, contemplating their next theft. It is a hard movie to stomach, not because of its visual eEects, but because of the impact of its realism, and its arousement of the emotions. If you don't think this movie sounds realistic, and that such a cult exists, Larry Kent makes it very realistic and very believable - so much so, that it is frightening. It dares to be seen. - J L. MacKay Page I4 fx X X N . 5

Page 23 text:

The lncomporable .lomes Brown In the music world today, few performers survive for an extended period of time without having to change some of their routine to suit the public demand. On the other hand, ninety per cent of the recording artists today entertain for themselves, not for their audiences. Well, brother, turn down these powerless music men, and hitch on to that black wagon of soul: 'Get that feeling' and come up to that deep. deep sound of Brown. For those of you who do not know what James Brown is all about. don't feel bad -few people understand him. And for those who don't catch that equivocal word "soul', don't go using it in the wrong context. There is only one soul brother. Never before have Iseen an entertainer put so much effort into a single performance. Brown plays for his audience. Every movement can be felt throughout the auditorium and that great desire to twinkle as Brown twinkles, shake as Brown shakes, and kick as Brown kicks will come to you - white or black. Open yourselves up, Wasps, and experience Brown, for there is nothing else like it. And yet through all his colour, sparkle and power, there is a mystery behind him. I-le is considered the greatest number one "Motown" singer in the world and yet his fan club is small and predominatly black. He can't reach many white people because he has no compromise, no rock sound like Wilson Pickett. A whiteperson can only pick up his driving, beating, style when Brown is experienced live. For that is what Brown is all about - alive. He is never interviewed, never gets raging screams similar to those received by all the big-time long-haired British and Ameri- can singers ofthe rock world. But look out when this earthy, black brother hits the stage. One day he sang and danced for six yours in four shows. If you've heard him and are not attracted to him, go to a performance. I promise that you will never get a fresher, livelier, hour and a half of solid entertainment anywhere, from any popu- lar singer. Give him atry. You mightjust discover something that entertains you. - R. G. Keefer pqi



Page 25 text:

Tapestry As A Way of Life "All my life I considcrccl a pu1'nl1'ng, u rapt-slrjv, in fact the art, as a rnuuns of cornn1u111'cu!1'on with people, with our ft'HUll"l7lt'll, il Ls u 1111-yoj exchanging feelings and ideas. " "'Ihpestrjv is nuzinly a contribution to urclnlecturc . . . It 1:5 an object, and csscritirzlly a fabric, intended to cover cz piece Uf'll'fll1ll'hl,Cll, witlzout it, would lack something C.l'Cl'll'I1g.' in other words would lack charm. To charm, men willinglbv use song. In fact, everjvpoem is a song, and anyone who creates a poem and sings it, if hc sings in tune, touches and convinces his listencm. The main point Ls to conuinceg the poem is an action taking shape. " Jean Lurcat, 1960 The tapestries of the late Jean Lurcat do more than just convince their viewer - they grip, fascinate, and even haunt him. Brilliant colours, rich texture, and a choice of weird and mystical themes all contribute to the tremendous impact that Lurcat's tapestries have on anyone who looks at them. It was Lurcat who was largely responsible for reviving the almost forgotten art of tapestry weaving in the first place. He alone hadthe vision and imagination to see the vast possibilities weaving presented to contemporary art. He alone was able to see that tapestries need not be the placid, pretty and rather faded medium that it had been in the pastg but instead could become one of the most vibrant, exciting, and alive media that the artist could work through. Lurcat brought to his work not only a superb skill and understanding of weavingtechnique, but the compassionate sensitivity and knowledge of the nature of suffering which all great artists must possess in order to communicate with their public on a deep and sensitive plane. Lurcat fought in both World Wars, and was an active member of the French Underground during the Second World War. He was well acquainted, therefore, with the depths of human depravity and the height of human valour and courage. His tapestries reflect his experiences, and tell of his horror at human behaviour as well as his abiding faith in the goodness of man. Lurcat died just two years ago. But his fame is just beginning to sweep the world. I became acquainted with the works of Lurcat atashowing of his in Stratford, Ontario last month. The enthusiasm with which those Canadians who have seen his work have greeted it, could indicate that we shall be seeing more of it. If you get an opportunity to see some Lurcat tapestries, I urge you to grab it- once having been exposed to it, you will not soon forget the work ofJean Lurcat. - Mitchell Kelner P

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