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

 - Class of 1969

Page 25 of 412

 

Trinity College School - Record Yearbook (Port Hope, Ontario Canada) online yearbook collection, 1969 Edition, Page 25 of 412
Page 25 of 412



Trinity College School - Record Yearbook (Port Hope, Ontario Canada) online yearbook collection, 1969 Edition, Page 24
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Trinity College School - Record Yearbook (Port Hope, Ontario Canada) online yearbook collection, 1969 Edition, Page 26
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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

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 26 text:

,fl w -""" .fit x a 1 '-B 'ig' t ,g 23? ' f 5 -J "jf" if v. . The Butterfield Phenonmeno Old man Butterfield, still on top of his music after lives years of hanging on to his public. The face hasn't changed, but the flowofband members and the subtle change of influence has affected Butterfield's music. Ever since the radical addition of brass, the new blues of Butterfield has become more intro- spective. The fervent desire to copy Negro blues men has become less intense. There is no aping of style in his two most recent releases. The mood is high and the tempo fired, the soul comes from the self. But the phenomena fand it does existj is one of attraction. Bodies who never thought they would like anything off the TOP40 are alternately repelled and lured by Butterfield's music, his band, his white soul. Butterfield is a kind of free replacement soul brother. His colour, white, is undeniably contrary to a real soul brother. The white audience accepts the replacement, perhaps finding it too low to stoop for Muddy Waters or Lightnin Hopkins. Butterfield is not just a white soul brother, but also a boss man. The band is under his constant W' directiong he is much like a symphony orchestra conductor. Nobody steps out of his particular job. There is no shirking - if there is shirking of duty, the band member is fired. Through this process Butterfield has lost upwards of six excel- lent musicians, the absence of none apparently damaging the Butterfield Band's reputation. Sometimes blues fans object to the controlled atmosphere and restricting image of Butterfield, the leader of the band. They complain of a lack of spontaneity, fostered in the souls of all the musicicans by Butterfield himself. However, this control and direction does much good and is a factor in Butterfield's great popularity across the country. One cannot deny the very beauty of his music - he may be a white replacement, a second-hand Muddy Waters, but his presence is felt. Now there is a magic to the name of the man. His ability to lay white blues on the line, no punches pulled, impresses his audiences. Thecon- stant selling of his L.P.'s is surely an indication of the phenomena. Butterfield is on top of the white blues scene and will remain until someone of greater power and discipline can gain the lead. - C. A. G. McCulloch .gt 'e ' --Q1 -Q '-if-fi' '39 . In A ,, . fx E Page I6

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