6B - The Michigan Daily - W e eA, 4t - Thursday, February 29, 1996


Brothers Grimm: Straight ahead local rock

By Mark Carlson
Daily Arts Writer
What if I told you that there are a lot
of-great rock'n'roll bands in Ann Ar-
bor? You probably wouldn't believe
me, huh? Whether it comes from some
people you know down the hall bitching
about how there's never anything to do
on a Friday night, or my music writer
colleagues shamelessly ripping the lo-
cal music scene, people tend to pick up
the idea that this town is just full of a
bunch of lackluster, weak, college rock
crap.
Of course, most of us wouldn't think
to ask these people how often they get
out to the clubs in the Ann Arbor or
Ypsilanti area to see some local shows,
right? I'll tell you what, next time you
read in the newspaper about some local
band that is really terrible, I'll bet you a
dollar that whoever wrote it hasn't heard
a note from the band in question. We
might trace dollars every couple of
weeks, but I'm positive I'll come out on
top in the end.
So, if you can't trust what you hear
about the local music scene, how can
you trust me? You can't. That's my
point. If you want to have something
more to do on a night out on the town

BROTHERS GRIMM
Where: Rick's
When: Tonight, Friday
Tickets: $3 cover

I

than sit on yer butt in Borekeepers or
the Touch Me Cafe, you need to get out
and see for yourself what's going on
down in Rick's or over in the Blind Pig.
Maybe if you're a bit more adventur-
ous, you could even drive out to Ypsi
and check out some bands you heard
were pretty cool at Cross Street Station
or Theo's. In actuality, there are some
pretty impressive local acts out there
that just might surprise you. You might
even discover that one of your future
favorite bands was sitting right under
your nose and you didn't know it.
One band that might surprise you if
you give them the chance is the Broth-
ers Grimm. A straight ahead rock band
with a powerful sound, these guys have
been playing out in the area for about
four years, slowly but surely building a
devoted following. Of course, it can be
hard in a town where a large portion of
the rock audience isn't into the idea of
hitting the clubs to hear some fresh

If you don't like
the song, wait five
mutes and it'll
be a completely
different one."
- Dave Oesterle
Brothers Grimm drummer
talent.
"I talk to some people who are like,
'Well, I never go out to see bands in
bars,"' said drummer Dave Oesterle.
"It's just a foreign concept to a lot of
people."
"It's really hard to get people accus-
tomed to going out and hearing some-
thing new," added bassist/vocalist Garth
Girard. "A lot of people, if they want to
go out to a bar and hear something, they
want to hear something they've heard a
million times before." Still, through
hard work and quality musicianship,
the band has managed to keep moving
forward in a town that normally has its
fill of a band within a year or so.
"I'd say it's kind of milk toast actu-
ally. It's good enough where you can
work, you can improve, you can move
ahead, but it isn't a real supportive
scene. If you're out there, then people
are coming out going 'we see them
playing all over the place, they must be
good, let's go support 'em!' Nobody
has that mentality," concluded Oesterle.
Combined with the fierce yet me-
lodic twin guitar attack of guitarists/
vocalists Ben Vermeylen and Wally
Schmid, the Oesterle/Girard rhythm
section kicks out some of the coolest,

freshest rock tunes in Ann Arbor. The
band's music comes off sounding all at
once old-fashioned and starkly mod-
ern, back-to-basics and over-the-top.
Simultaneously, they seem to use the
power and grandeur of the Who and the
whimsicality of the Replacements.
The Brothers Grimm's sound, though
still rooted in classic (the Who, Jethro
Tull, Zeppelin, Traffic) and midwestern
rock (the Replacements, Bob Mould,
the Holy Cows) has grown a bit looser
over the past few years.
"I started out where I liked a lot of
real precise things, like a lot of Cream
and Rush and Zeppelin, a lot of lick-
oriented stuff, but I've kind of moved
more towards looser stuff,"
Vermeylen explained. "Putting to-
gether some big orchestration can be
all right, but I don't wanna be Yes or
anything."
Tthis shift has resulted in some great
pop songwriting, but with enough in-
teresting playing going on to keep lis-
teners on their toes. The music is also
very danceable, an aspect that always
helps out at the clubs. "I think that
people remembered that they can dance
to rock'n'roll," Oesterle said. "I think
people are starting to figure that out.
That it doesn't have to have this big
techno, somebody hitting them on the
head with a rubber mallet thing to dance
to it."
Another interesting aspect of the
Brothers Grimm sound is the fact that
they have three distinct singer/
songwriters in Vermeylen, Schmid and
Girard. The writing is presented beauti-
fully on their new CD "Going Cow-
boy," which the band self-produced and
released, and is easily one of the best-
sounding local releases of 1995. Re-
corded at Al's Audio Diner here in Ann

The Brothers Grimm is just one of Ann Arbor's many fabulous local bands.

Arbor, the disc is packed with great
song after great song. It flows together
incredibly well for a self-released al-
bum. "It's kind of like Michigan
weather," commented Oesterle. "If you
don't like the song, wait five minutes
and it'll be a completely different one.
Eventually you're gonna come across

one that you like."
The Brothers Grimm will be making
a two-night stand at Rick's tonightiand
Friday night. Special guests for tonight
will be the always-rocking South Nor.
mal. Friday night's show will bet ben-
efit show sponsored by WIQB, with the
Restroom Poets and Jes Gru.

EJDl~miT DISCOLDMTS

I

Gene Kelly's memory will stand the test of time

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By Kristin Long
Daily Arts Writer
He was a classic. He had the grace of
a figure skater with the build ofa hockey
player. In his 30 years of Hollywood
service, Gene Kelly brought style and
strength to the big screen. On Feb. 2, he
died in his Beverly Hills home, leaving
behind a wife, three children and a
legendary reputation.
This celebrated dancer began dis-
playing his talent when he was 8 years
old. In college, he 'starred in musicals

S

of eve

March 8 and the 2nd. Friday#
ery month. 89X DJ Kelly Brown,

and gave his classmates dance lessons
for 50 cents an hour to earn a little extra
cash. When Kelly graduated from the
University of Pittsburgh in 1933, he
continued his instruction by opening
Gene Kelly Studios of Dance.
Kelly hit the Broadway stage at the
age of26. He earned a part in the chorus
of "Leave it to Me," with Mary Martin;
he first attracted attention, however,
when he starred in the musical "Pal
Joey" in 1940.
The first of his 39 films came in 1942
when he made his debut in "For Me and
My Gal" with Judy Garland. The role
had critics comparing him to the danc-
ing machine Fred Astaire. Many no-
ticed that, while both had amazing tal-
ent in the dancing realm, their styles

were uniquely different. Kelly had the
average-man appearance that captivated
viewers, while Astaire had the more
formal presentation.
During World War II, Kelly starred
in two dramas, "Pilot Number Five"
and "The Cross of Lorraine." He struck
gold, however, when he starred oppo-
site Rita Hayworth in the musical
"Cover Girl" (1944). He danced his
way into the public eye and the industry
loved him for it. In 1945, he worked
opposite fellow legend Frank Sinatra in
"Anchors Aweigh" as a rambunctious
sailor on leave.
Then, Kelly started to mix a little
acting in with choreography and direct-
ing. Films like "Take Me Out to the Ball
Game" (1949) and "On the Town"

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III

(1949) gave him dual roles, wor tfig in
front and behind the camera. He di-
rected films like "Singin' in Rain"
(1952), "It's Always Fair Weather"
(1955) and "Hello Dolly" (1,69).
Throughout his career, Kelly directed
total of 10 movies; in half of thee, h
also acted.
The legend is perhaps best kown
for his roles in "An American irrParis"
(1951) and "Singin' in the Rain"-- the
former won him an Oscar for his ia' -
ing ability in the art of choreogiaphy.
The films brought together fine3usic,
dancing and acting; it was the co ina-
tion of these talents that made Kpily's
films such classics.
The greatest thing about Kelly's
achievements is that these masterpieces
are certainly not limited to the cleesy
stuff that makes modern societydinge.
He has the ability to mesmerize his
audiences with his unsurpassed tech-
nique and talent. He sang and danced,
while he simultaneously directed and
choreographed some of the.nost
memorable moments in American
film.
Interestingly enough, Kelly elO
chanted people with his "average" per-
sona. He didn't have to wear atuxedo to
leave a lasting impression. HI wore
khakis with white socks, and his sweat-
ers and shirts were always bunched
around his biceps. He was suave and
classy, yet simple and standard,
His films portrayed classic love and
joy, and while everything was not al-
ways perfect, it was good, old-fas
ioned love. Even today audiences st*
appreciate it.
Kelly received the American Film
Institute Lifetime Achievementward
in 1985. The honor is bestowedupon
individuals who have revolutioimized
the art offilm and who have beenrecog-
nized by various audiences. .A the
American Film Institutes Board of
Trustees established in 1973,- this
achievement is awarded to those "whos
work has stood the test oftime."And
we know, Kelly - more than anyone
else - fits the bill.
On the personal side, Kelly, was
married three times and had threchil-
dren. When he first moved toFijolly-
wood in 1941, he married -eStress
Betsy Blair. They had a daughter,
Kerry, who is now a psychotherapist
in Ann Arbor.
Their marriage ended in divorce i
1957; a few years laterhe marrieddanc
Jeanne Coyne, with whom he hatl son
Timothy, now 33, and daughter Rrget,
now 31. When Jeanne died in 1973 of
leukemia, Kelly took time off fromn the
screen to care for their children.
Soon thereafter, he narrated tlihree
films in the "That's Entertaini44ent!"

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I

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