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

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This is Victor Vasarely, one of this cen- tury’s most influential contemporary art- ists. This theme is based on the concept of “hurling” the participant into the whirl- ing world of plasticity, and absorbing him in the geometrical unities of the elements. The freedom of the imagination expressed indirectly in his work has a similar syn- thetic effect on the observer -an almost loneliness of being. However, the content of Vasarely’sworks deals with geometrical graphics, “photo- graphisms” and architectonic synthesis of design. From the antithetic clash of black and white, to the careful blending of tones and hues in vibrant colors, Victor Vasarely has exploded his plasticism on the face of modern art, in a most individualistic manner. ART EXHIBIT -GRAPHICS Victor Vasarely “To say all I want to say in a few words, this presentation is my tribute tc the multitude, my sly salute to youth my admiration before the facts of progress my love of the sun . . .the color of the day, my faith in the plane: leaf, wall screen, from which the plastic phenomenor springs, my intention to universalize th is plasticity, my hope of seeing fulfilled tht right of all to material, sensorial and in tellectua! goods, and finally my convictior that to make men see is to make them joy ous and civilized.”

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Key Largo Enigmatic Bogey plays Frank MacLeod, a W.W. II veteran disillusioned with ideal- ism and concerned only with his own wel- fare. He visits the Key Largo Hotel of Mr. Temple, whose son was killed in MacLeod ' s outfit. A group of mobsters was staying at the hotel . . . Johnny Rocco (Edward G. Robinson), a gang-lord exiled from the U.S., awaited a ‘shipment’ and the chance of return to power. However, a hurricane thwarted their plans, and they forced MacLeod to drive them to Cuba in a motorboat. He killed all of the thugs single-handedly and returned to Florida. Perhaps this was not Bogart ' s best, bu x Edward G. Robinson was formidable; ‘Curly’, ‘Angel ' and especially ' Toots’ were classic mugsters. Casablanca The immortal Bogey, sitting in a cor- ner, nursing a drink, a rolled cigarette dangling from his moistened lips, slurs that famous line - “Play it Sam, play it just one more time.’’ Bogart at his greatest, and Ingrid Berg- man at her most beautiful, together por- tray long-separated lovers in Nazi-oc- cupied Casablanca. Unfortunately for Bo- gart, Bergman is married, and her husband is known by the Nazis to be an underground leader. An emotionally jam-packed flick, Casa- blanca compares with the best of today’s films. A story of love, hate, fear and of one hardened cafe owner, it is powerful. As Bogey walks off into the dark and the end is upon us, the viewer has a tremen- dous urge to lift his glass and slowly slur, “Here’s looking at you, kid.”

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TUESDAY, OCTOBER 31 1972 - From Approximately 7:30 - 12:00 P.M. Forty-four anxious ticket-holders are now I rolling into Toronto, hoping to beat the clock and arrive on time to experience a very rewarding Hallowe’en night. Here we are. Our seats are good. We i are on the floor, an eardrum away from ! the centre of the sound system, and the | stage is not too far away - in clear view, j There are workies testing the scores of connections and making last-minute adjust- ments. After about twenty-five minutes of “last- ! minute” adjustments, the lights go out and t a spotlight zooms in on a surprise guest - Joe Mendelson (formerly of Mainline). Clad | in personalized T-shirt and jeans, “big Joe” started off with “Losing My Marbles” - a song suggestive of the man ' s style. He went through a few more foot-stomping Mendel- son Mainline tunes. He’s still a one-man band, even when he’s only playing guitar. He jerks his head, stomps his feet, strangles his guitar-neck, surely destroys his finger- i nails, and almost falls off his chair in pre- j senting his music to his listeners. Unfor- tunately, only half the 15,000 were giving him his due attention. Restless, impatient to hear Yes, many were throwing Frisbees and Hallowe’en candy, coughing and scream- ing. Those who listened, appreciated. The back-up band were unknown to the majority. The J. Geils Band are a six- man variety pack of musicians from Boston who play a tight, tough mixture of no- nonsense blues and rock. They are as in- teresting to watch as they are to listen to. Everyone there was pleasantly surprised. They were dressed like an early Elvis back-up band, but they moved and played so well that if their good-feeling sound didn’t go right through you, you must have had your fingers in your ears. They performed for the audience and not at them and, as a result, were so well received that they did a lively encore. Many possibly wondered if Yes could top this second-billing band. There was a 30-minute break as one band’s equipment was taken off and the other’s set up. It seemed to take forever. Why was it all taking so long? Everything was being arranged with a perfectionist’s touch. Yes was to tape this concert to be used in a forthcoming album made from cuts of live performances in 5 major North American cities. The mood was good; now it was better. Yes is a five-man group of extremely talented musicians from England. The mem- bers have changed from time to time but apart from becoming more electronically- oriented in material, the music is general- ly unchanged. The music is Yes. It is very difficult to put a label on it - it is very original, very different, very Yes. Yes is Steve Howe. He is a perfectionist. He is the master of the 6 and 12-string guitar (ac- coustic 13