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June 09, 1989 - Image 9

Resource type:
Michigan Daily Summer Weekly, 1989-06-09

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The Michiga

Williams' Society: Keats
and Yeats are on his side
BY BRENT EDWARDS film's stars. Each brings a fresh
A few years ago I took an un- face and energy to his attempts to
forgettable course entitled "Twenti- seize the day; this personal evolu-
eth Century Drama," where every tion becomes the film's focus.
class was a revelation of new ideas Although Williams shines as
and philosophies. Dead Poets the catalyst, of course-with many
Society reminds me of that one tea- funny scenes-he is not afforded
cher's attempt- to change the way the energetic, whirlwind routines
his students think, dream, and live. which became his trademark in
Robin Williams-fresh off his Vietnam. But his ease in handling
Oscar nomination for Good Mor- such scenes as coaxing an insecure
ning, Vietnam-plays John Keat- student to spontaneously create po-
ing, a teacher at a traditional New etry suggest that this performance
England prep school. He follows in may be his best so far.
the footsteps of Poitier in To Sir, Director Peter Weir (Year of
With Love and Edward James 01- Living Dangerously, Witness),
mos in Stand And Deliver, a whose images have always captured
teacher who strives to outstretch the atmosphere of foreign cultures,
the system's mundane goals. Keat- is known for depicting people in
ing questions the school's stiff- unfamiliar environments.
necked status-quo by showing stu- The mysticism of Weir's pic-
dents photographs of alumni; he tures also informs the "Dead Poets
then mimics ancient voices from Society" group, in which the boys
the past, whispering, "Carpe join to recite poetry in a cave and
diem...Seize the day." form their own rituals for celebrat-
Keating's philosophy is em- ing the exhilharation of life. Weir's
braced by a small ensemble of stu- continued ability to evoke emo-
dents who also must learn the risks tions with simple shots also helps
of taking the road less travelled, and create his most moving ending yet.

Holy Cows! New LP, gig on tap
To Be Or Not To Be (That's what I'm talkin' about), the much-delayed
second LP from Chelsea's Holy Cows, follows a 1988 cassette-only re-
lease Greener Sidewalks, on their Picnic Horn label. The 13-song LP
arrives Thursday at local stores, followed by a release party at The Beat.
Many of the songs on To Be Or Not To Be... are already familiar to
fans of The Holy Cows' live shows; the record was completed last October
at the Old Schoolhouse 24-track studio. To Be Or Not To Be. . was recor-
ded primarily live, but shows a more controlled mode than seen on stage.
It's also a step forward sonically; more complex arrangements and
prominent backing vocal lines provide a new smoothness- as far as the
word applies to their guitar-heavy roots-riff-rock sound, containing plenty
of shout-along choruses over thrashing guitars. For the hard stuff, check
out "In the Band" and "Drought" -with it's "when the rain comes" chorus.
And you can hear all the instruments and vocals for a change. But if you
desire the chaos of their live shows...hell, buy the record and see the gig.
And don't forget to say "hi" to Martin on your way in.
The HOLY COWS record release party/gig happens Thursday, June 15
at the Beat. Cover is $5, and Destruction Ride starts the show at 10:30.

an Daily-Friday, June 9,1989-Page 9
continued from p.8
top bluegrass band. White promised
me that they sound as if they were
straight out of West Virginia, and
their Do Do Dot cassette proved him
delightfully right. The accents, the
themes, the skill - Groundspeed
have got it joyously wonderful
songs like "I Drink Because She Left
Me (And She Left Me Because I
Drink." Who knows where out of
where the next wave of mountain
music is to come: the Smokies or
the Appalachians-perhaps the Alps!
FESTIVAL takes placethis weekend
at Wiard's Orchards in Ypsilanti.
Please see their advert on page 12


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