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1 Friday
February 12, 1999
Canadian
By Jewel Gopwani
Daily Arts Writer
Canada not only breeds some very talented
hockey players, but this great neighbor to our
north also kicks out some mighty fine bands.
Kingston, Ontario's own, Tragically Hip will
make a long awaited performance at the Palace
of Auburn Hills tonight, in support of its 1998
release, "Phantom Power.'
In a recent interview with Johnny Fay, The
Hip's drummer, he dis-
cussed everything from
the band's grass roots
road to success, to its
The Tragically brushes with hockey
Hip greatness.
The Palace So far The Hip has
been in the business of
Tonight at 7:30 making rough around the
edges (but smooth inside)
rock 'n' roll. In its 14
years of existence, the
band has relied on local
radio and word of mouth
to reach new audiences.
But for The Hip, word
didn't travel very fast.
"We haven't had a ton of support from radio
and definitely no TV," Fay said. "We've always
prided ourselves on doing it our way, doing it
slowly and turning people on to our band
Michigan
By Jenny Curren the chi
Daily Arts Writer search.
"In memory of: Sabrina Williams, "Th
Kathy Fenzel, Darlene Lake, Debra piece i
Wyatt. These women, these lovely despen
human beings died in prison because enviroi
their medical emergencies were not pencil
treated as such by present
;prison heathcare inside
officials. That's a whelm
damn shame!" Marice
Michigan This startling Yard 2
Prisoner and eye-opening prison
Art Exhibit proclamation is way ou
Rackham Gallery only a part of ThoL
Feb. 9- 24, 1999 "The Long inside
Journey" a col- the ma
lage created by gious,
artist Tracy Neal, Africar
that appears in the icons a
Fourth Annual Amc
Michigan Richar
Prisoner Art ful wa
Exhibit.-The exhibition, which opened and ch
Tuesday, will run through Feb. 24. ing. J
Neal glued two of her journals to the Abuel
cllage, kept throughout her eight-year una raz
incarceration, as well as carefully cho- Not Fo
sen scraps of prison manuals, including tured
Cafe Sha
A study break of student
Where talking in the Libra
Come hear your peers read from their works.
memoirs, you name it. Each night will feature
Cafe Shapiro is free and open to everyone.
Complimentary coffee will be served. Reading
will begin at 8:30 pm in the Shapiro Unde
graduate Library's atrium on:
Sunday, February 14
Monday, February 15
Ibesday, February 16
Wednesday, February 17
allroom. Put some
7:30 p.m. Lessons
ce. Semi-formal
U~eMdtm h
N Come back to Daily Arts on Monday for reviews of "Our
Country's Good" and "Dancing at Lughasa."
0
,n
Is
49
rockers
Tragically Hip to play Palace
Fay insisted that too much television expo-
sure can be detrimental to bands. "The TV can
make you much bigger than you really need to
be" he said.
The band furthers that obscure anonymity in
the United States on "Phantom Power."
Although it displays some optimistic themes
on the album, the band doesn't shake its dark-
er tones, aptly featured on its first single,
"Poets," though some melodic and somber gui-
tar work.
On that grim-sounding foundation, The Hip
has built a solid fan structure on both sides of
the border, mainly using word of mouth pub-
licity tactics.
The band is currently on the second leg of
the 'Phantom Power" tour. The first leg, which
started in July, took The Hip as far south as
Texas. There, the band filled theaters of about
2,000. But tonight, The Hip is scheduled to
play the 22,000 seat Palace, which is of com-
parable size to arenas the band plays in
Canada.
Fay attributes a portion of the band's success
in Michigan to radio stations such as 88.7
CIMX (89X), that are located in Canada, but
broadcast on both sides of the river. "Border
America radio has been very very kind to
Canadian bands," Fay said.
Now that the band has gained fans on both
sides of the border The Hip is getting the
chance to do a little more with its slowly gar-
nered fame.
The Hip has donated money to Camp
Trillium, a summer camp located in Southern
Ontario, that sends children with terminal dis-
eases to camp for a week. "We were able to
send a couple hundred kids to camp last sum-
mer for free," Fay said.
The Hip also donates memorabilia, includ-
ing CD libraries, t-shirts and autographed pho-
tos to charities in Canada and the United
States.
"When you play these kinds of charity
shows, you play better because you know you
are not lining your own pocket," Fay said.
In addition to helping out these causes, The
Hip indulged in its celebrity status during the
tour's previous leg.
At its show in Philadelphia, Fay said, the
entire Philadelphia Flyers hockey team, after
an afternoon game, went to see The Hip play.
The Hip also met up with a few members of
the New York Islanders at the band's show at
Madison Square Garden in late December.
Although roughing and illegal checks were
kept to a minimum that night, the band still
rocked ... and The Hip plans to do the same
tonight with or without those hip hockey players.
Tickets for tonights show are still
available for $24.50 at all
Ticketmaster outlets
he Hip, exuding coolness, will play for more than 20,000 eager fans tonight.
through our live show."
The Hip's lack of MTV appearances has
made the band somewhat illusive in the United
States. It has always been a band fans seek out,
rather than one handed out on the platter
known as American music television.
prisoners make statement through art
illing mandates for a body cavity
e Long Journey" is not the only
n the show that offers a rare and
ately needed window into the
nment behind bars. A colored
drawing by Alloysius Cross-Bay
ts an outsider's view of a man
his cell, the steel grating over-
ing in the foreground. Similarly,
Scott's "The Yard 1" and "The
" portray the desolate feeling of a
yard and the yearning to find a
ut.
ugh the grim reality of life on the
is an important theme in the show,
jority of the works focus on reli-
cultural, and natural motifs.
n, Latino/a, and Native American
ire ever-present.
ong the most innovative are
d Phillips' "Southside," a beauti-
tercolor depicting black women
ildren beside a crumbling build-
esns Hernandez's jubilant "El
o (Grandfather)" and "Un porque,
z6n para no olvidar (A Reason for
rgetting)" provide a colorful, tex-
representation of his Cuban her-
itage.
Much of the cultural imagery is com-
bined with religious beliefs, such as the
reinterpretation of the Catholic mother
and child with black figures in Jerry
(Salim) Moore's "Black Madonna."
"Nauhatl Vision" by Michael Elliot
conjures up a pre-Catholic Mexico,
while Martin Vargas chose a more tradi-
tional interpretation of the Virgin of
Guadalupe.
Mark Killingsworth's collection of
Biblically-inspired drawings most aptly
represent the fervor of religious faith
that is present in many of the works,
with images of Christ mixed with self-
portrait, showing his devoiion.
Landscapes and nature-themed pieces
include such standouts as "Country
Sunset," a delicate watercolor by Brent
Harding, and "Natural Bonsai," a land-
scape relieve formed of acrylic and
molding paste by Rod Strelau.
One of the most surprising successes
is the array of portraiture exhibited.
Considering that most of it was done
from imagination, the talent level is
striking. Fred Hodges' portrait of a grin-
ning woman, "Chillin'," Monty Wade's
"Old Tyme Religion; Country Preacher,
1950's Era, and Christopher Dorch's
"The Hope of Soul" all present remark-
able skill with limited resources.
The lack of supplies in prison, as well
as restrictions on the materials for secu-
rity reasons renders the practice of art
difficult. Inmates resort to using avail-
able resources, exemplified by Rick
Ward's "My Mother's Blood," created
with instant coffee. Twenty-two zines,
the product of Carol Morris' collage
workshop in the Florence Crane
Correctional Facility, showcased the
originality of women inmates who used
available collage materials to express
themselves.
Even more astounding was the talk at
the opening reception by guest speaker
Hershell Turner, the full-time art direc-
tor at Ionia Correctional Facility, a max-
imum security prison in which some of
his students are locked up 23 out of 24
hours a day, including during the artistic
instruction period.
Hershell related the story of one pris-
oner who went from novice to promis-
ing in just six weeks. Hershell was
incredulous, so he hung the young man's
Art senior Carle Arseneau views a display at the Prison Art 99 gallery In Rackham.
three successive attempts on the board.
The man approached Hershell and told
him he needed the pieces back to show
his mother After she had accused him of
not being worth anything, he wanted to
prove to her what he was capable of.
Stories like Hershell's are what makes
the University's Prison Creative Arts
Project a worthwhile endeavor. More
than reminding us of the reality of prisonO
life, the works awaken us to it's transito-
ry nature; many of the inmates will
remain in prison temporarily, but the
effect of their art will last indefinitely.
'Storm' thrills with standard horror story
By Jonah Victor
For the Daily
What were you doing last time a biblical demon and
a torrential blizzard hit your town? Maybe you were like
dear Mrs. Clarendon, who was
sipping warm tea in front of the
television moments before her
Storm of the face was hacked off. Maybe you
were like fireman Lloyd, who
Century was doing maintenance work
* ** before he suddenly felt com-
ABC pelled to split his head in two
Feb. 14, 15, 17 with a short-handled axe.
Stephen King assures that his
new miniseries "Storm of the
Century" is pure entertainment.
"Storm" is a fairly conventional
horror film, contrasting some of
King's more recent work on TV
such as "The Langoliers" and "The Stand," both adapt-
ed from his novels. With time constraints in film, King
often prefers the realm of television. As "Storm" is his
first work written directly for TV, three two-hour
episodes allows the author plenty of time to be thor-
ough.
"Storm" returns to Little Tall Island (also the setting
of "Dolores Claiborne"), a small island off the coast of
Maine. Although most of Stephen King's stories are set
in Maine, this is one of the few to be filmed on location.
The miniseries wastes no time getting underway as the
Antichrist and the worst snowstorm of the century
arrive at the island on the same day.
The demonic Andre Linoge, played by Colm Feore
("Face/Off"), finds an elderly lady and proceeds to sav-
agely murder her, establishing a reign of terror that
rocks the foundations of the island community. The
local grocer-turned-crime fighter, Mike Anderson,
played by "Wings" pilot Tim Daly, is the only resident
willing to take a stand against the demon. As more and
more people die, the frightened Anderson watches the
piling snow further isolate the island from civilization.
As common-man hero Anderson, Daly seems incon-
sistent in the playing of his role, but he comes across
strong and convincing in the end. Canadian actor Feore
is excellent as the subtle yet crazed monster in human
guise.
"Storm" offers little to challenge the imagination
Fans will not find King treading much new ground in
this story. But the miniseries flows very much like his
books. As producer, King makes sure everything stays
in character. All of his trademark elements are here,
including a study of human moral weakness and the
feeling of eminent chaos where everything one accepts
as truths in the world become false.
The success of "Storm" is carried by the effective
direction of Craig Baxley, who keeps a steady stream if
suspense and frights. Aside from large piles of snow, the
special effects supervised by Boyd Shermis ("Speed",
"Batman Forever") are kept to a minimum, which
maintains the realism of the situation.
Fans of America's best-selling author may be disap-
pointed in the relatively mundane content of Stephen
King's "Storm of the Century." But this is great oppor-
tunity for non-fans to get a taste of classic Stephen
King. Fan or not, this is six hours of good, nonstop
entertainment for all.
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