- PRAWN DINNERS
Reg. 1952 for 1

Open 4 p.m. dail
Sean gees: Fane (NO TAKE OUT)

Located I mile south of Weigh Scales in Ootischenia

«
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ENTERTAINMENT
THROUGHOUT
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SANDMAN INN [i

Castlegar 1944 columbia Ave.

1987 Reno Tours

The prices below are based
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per person in Canadian funds

Mar. 14 Sundowner (Newly renovated) 8
Mar. 21 Circus Circus

Mar. 28 Sands Hotel & Casino

Apr. 11 Sands Hotel & Casino

Apr. 18 Sands Hotel & Casino

May 2 Sands Hotel & Casino

Senior Discount of $10 per person
must be retired)

Early Bird Discount of $10 per person
(Must be booked and fully paid
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Cavanaugh’s
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May 11th

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April 11th — 16 Days

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HENNE TRAVEL

1410 Bay Ave., Trail 368-5595

WEST’S TRAVEL

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INSPIRES FANS

NASHVILLE (AP) — Hol.”
ly Dunn's touching song
about her father has ‘so in-
spired her fans ‘that many
give the tune as gifts and
others have printed the lyrics
in calligraphy?

Daddy's Hands* earned
Dunn two Grammy nomin-
ations.and made the country

¢ Top 10 earlier this

t's honest and real,” the
29-year-old singer said in an
interview. “It was written
from the heart and everyone
can relate to their dad or a
dad they wish they still had.

“It’s unusual subject mat-
ter.”

Public reaction to the song
is reminiscent of the popu-
larity Lee Greenwood’s God
Bless the USA had in 1984.

That song has replaced the
Star-Spangled Banner before
some athletic events and as
the signoff for some TV
stations.

“I think it will be my car-
eer record,” Dunn said. “This
one will be the one that
people remember.”

WRITES SONG

She wrote the song for her
father as a Father's Day
present three years ago.

In it she sings:

“I remember daddy's
hands folded silently in pray-
er.
“And reaching out to hold
me when I had a nightmare.

“You could read quite a

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story in the calluses and
lines.)
“Years of work and worry
had left their mark behind.”
She composed it in her car

on the way to work, then fin=

ished it at the song publish:
ing firm where she was em-
ployed. :

The immediate reaction by
producers and record com-
pany officials was lukewarm,

“Everyone liked it, but
there were no red lights
flashing and sirens didn’t go
off,” she recalled.

She had to persuade her
producer to put it on her al-
bum. After that, the public
made it one of the most
talked-about country songs of
recent months.

Her most successful tune
as a songwriter was I'm Not
Through Loving You Yet,
which was recorded by
Louise Mandrell about three
years ago.

Asa singer, Dunn had four
singles on the country charts,
along with a current duet
with Michael Murphey, A
Face in the Crowd.

COMPARES STYLE

Her singing style draws
comparisons to Olivia New:
ton-John.

“I hear no similarity at all,”
Dunn said. “People just need
to have a handle to get a fix
on you. It happen’ to every
singer around.

“Soon, maybe’someone will
come along and they'll say
she sounds like me.”

About her ability to write
songs, she says “The music
floats around in the back of
my mind. I get an idea, and it
just comes.

“It's like taking dictation
from God.”

She believes Daddy's Song
is a proper alternative to the
usual country music tunes
about unfaithfulness, divorce
and broken hearts.

Her father is a Church of
Christ minister in Austin,
Texas. Her mother has told
her ‘that he cried When he
read the lyrics.

“T've never seen him ery in
my whole life,” Dunn said.

Restaurant

Starting Fri., Feb. 6

ENTERTAINMENT _

SERIAL KILLERS ane
Book make

HALIFAX (CP) —It's'not the most pleasant of
subjects. But’ studying serial killers and mass murderers

‘ited
a

has
into North American media spotlight.

Elliott Leyton's Hunting Humans: The Rise of the
Modern Multiple Murderer, has been a remarkable — and
unexpected — publishing success.

It’s in its third printing in Canada and is selling well
in hardcover in the United States under the title
Compulsive Killers, It's put him on CBS' Nightwateh and
on the pages of the Boston Globe.

“It's gone crazy in the States now,” the Memorial
University professor said Tuesday with wonder in his
voice. “I'm surprised because I'm strictly a Canadian
figure, all my books have been published only in Canada.

“I never go there, I don’t know anyone there. So I
didn't expect to be able to make any impact.”

But his book, published last March, has done just
that. He was told, by CBS his Nightwatch segment drew
more viewer response than any story the program has
shown, except one on UFOs.

“So I'm more important than Henry Kissinger, less
than the green men,” he laughs.

NOT INSANE

Leyton, in Halifax to speak at St. Mary’s University,
admits the message of his book — killers are not
insane — is frightening.

“The depressing and most distressing news from my
research, I'm afraid, is that these are just ordinary people
— small minded, self-absorbed — who are willing to

envi ky ‘ a ay

4, hy

Aik S i tT
U.S. in pac

Punish the innocent for their own deficiencies,” Leyton

sa, ‘

ve want them.to be insane. We want them to be

possessed by evil spirits, to have bad chromosomes,

‘eause it removes responsibility from us and banishes

them to the domain of the bizare.”

His study of scores of serial killers — including Ted
Bundy and David (Son of Sam) Berkowitz — convinced
Leyton thésé!people are not insane. Instead, he says,
they've been programmed by society to think violence is
“a manly and appropriate response to frustration.”

PLAN REVENGE

“They're all socially ambitious and have no talent,”
he adds.

“And they. find in the failure to achieve their
ambitions a diminishing of self and a loss of self respect
and they begin to nurture a grudge . - - until they
conceive a plan of revenge — punishing the innocent.”

Leyton says there’s been an explosion of serial
murders in the United States since the 1960s, when the
Vietnam War was brought into living rooms across the
country, followed by “the explosion of super-violent
media messages.”

He says there's no evidence to
corresponding increase in Canada.

“Leyton's next book will be a study of people who kill
their families. Doesn't this kind of research give him
insomnia?

“No,” he says with a disturbing chuckle. “But I make
alfof North America unable to sleep.”

suggest a

Canadian films triumph

By LINDA DROUIN
Canadian Press

MONTREAL — Peter Pearson says there's nothing he
likes better than reading the figures rolling in from Paris,
the proof in hard cash of the success of the Quebec film, The
Decline of the American Empire.

That's only one of the triumphs the dynamic head of
Telefilm Canada can contemplate from his 25th floor office
with its’ cinematic view of the St. Lawrence River and
downtown Montreal.

It's been bonanza time in the Canadian film world lately
with successes such as My American Cousin, Anne of Green
Gables, and TV series such as Night Heat, He Shoots, He
Scores and Kids of Degrassi Street.

Telefilm Canada, the federal agency formerly known as
the Canadian Film Development Corp., has had a hand in all
of those and more since its name change in 1984.

Pearson, its voluble, executive director since July 1985,
gets a lot of the credit.

With more than $100 million a year to allocate to
independent producers for feature films, TV shows,
children’s programs and documentaries, Telefilm has
become a major player in the Canadian film world.

MAKES DEALS

A former movie-maker himself — The Best Damn
Fiddler from Galabogie to Kaladar (1969) and Paperback
Hero (1973) — Pearson has a reputation as a wheeler
dealer who can cobble together multi-million dollar deals.

One such deal resulted in the $9.3-million France-Cana
da co-production, The Sword of Gideon, which was aired on
CTV in November.

It was at Pearson's urging that the Canadian producers
backed by CTV, put together a deal that beat out Home Box
Office in the United States for the rights to the story.

Telefilm contributed $2.7 million.

“My job is chasing the dough,” Pearson says bluntly
“Tl get it wherever I can. It’s all just another version of
where is the money.”

Under Telefilm regulations, producers can't get funding
until they have a commitment from a broadcaster that their
work will be aired. Theoretically, that puts Telefilm behind
the broadcasters in the pecking order of who decided what
gets made.

“We don't pick the projects,” said Pearson. “We don't
even get to comment until the broadcasters have seen
them.”

He's quick to add that if his agency doesn't like a
proposal, no matter who else gives it a stamp of approval,
Telefilm’s purse strings will stay closed.

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Three

NEW YORK (AP) — CBS
TV is putting Designing
Women, Nothing Is Easy and
Hard Copy on hiatus and
bringing back its Sunday
night movie, the network
said.

Designing Women, a sit
com starring Dixie Carter,
Delta Burke, Annie Potts and
Jean Smartt as wise-cracking
Southern belles, has been
bounced around the schedule
all season. It started out on
Mondays, was pulled and re-
placed with the Cavanaughs,
then moved to Sundays and

If the production is no good, we're not going to invest in
it,” he said. “We're going to say straight out we don’t think
it's good and we don't care who else thinks it's good.”

‘That happened with a proposal for a show based on
Grey Owl; the author and conservationist who masqueraded
for years as an Indian, although he was a London-born white

an.

Both CTV and the BBC said they would broadcast the
program, but Telefilm rejected the project because it wasn't
satisfied with the script.

Canadian film producers generally give Telefilm high
marks.

“The development (of good films) would have happened
anyway,” says Peter Mortimer, vice-president of the
Association of Canadian Film and Television Producers.
“What Telefilm has been able to do is accelerate the
development.

“The money it has is unprecedented in Canada.”

In the best of all possible worlds, the producers would
rather do without Telefilm and get their money from higher
licence fees paid by the broadcasters who air their work,
said Mortimer.

CBC pays “Third World” licence fees that average 15
per cent of production costs compared to 60 to 100 per cent
in the Unites States, France and Britain. .

Telefilm also plays a central role because “films could
not get made if film-makers had to rely on licence fees or
pre-sales,” said Mortimer.

“He (Pearson) has become a very powerful person in the
film world,” says Mortimer. “We're lucky to have a
bureaucrat with some sensibility and some direct experience
in the industry.”

Pearson has his critics, he adds, but that’s because not
everybody gets what they want.

Telefilm's role has been even more crucial in Quebec,
where the market is smaller and licence fees paid by
broadcasters even lower than in English Canada, said Louise
Baillargeon, of the Quebec Association of Film and Video
Producers.

“Getting the financing for projects is hard and Telefilm
is probably the most important of all the funding agencies,”
said Baillargeon.

If she has any criticism of the agency, it’s that its
policies and personnel change too often in an industry where
it can take several years to put a movie deal together.

Peason has a reputation as a strong Canadian
nationalist, but says his standard for judging what's
Canadian has nothing to do with how much maple syrup
makes its way into a production.

series on hold

Lordy, Lordy, A
Sailor’s Turning 40!

SORRY HENRY,
1 COULDN'T RESIST!

now is being pulled again.
Hard Copy, a mid-season
replacement starring Michael
Murphy as a crime reporter,
made its debut with U.S. pro
football's Super Bowl as its
lead-in but has never pros-

pered in the ratings.

The family sitcom Nothing
Is Easy had returned after
being pulled earlier in the
season.

The schedule change is ef.
fective March 8.

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federal sales tax will have been increased four
the Tories by the middle of this year and
ded toa variety of p P i
not covered.

At the average income level of $42,000, the federal
income tax bite this year will be $6,102, an increase of $2
per cent or $1,487,

In contrast, the income tax take from a couple
earning $100,000 will have incrased by only $319, or two
per cent, over the same period to $19,658.

Federal income taxes for a family earning $80,000
will have risen only eight per cent, or $1,056.

. }/Zhé federal income tax bill for a single person
earnings $80,000 will have dropped by five per cent over
that period and, for an individual earning $50,000, the
decrease is one per cent. .

The Fraser it that an.
now must work until July 8 just to earn enough money to
cover the annual tax bill. ‘That so-called tax-freedom day
has been pushed back one day in each of last three years,

loss for the week to 11,25
ints.

Wall Street analysts ‘said
investors were encouraged
by the continuing strength of
smaller stocks since many of

the big-name blue chippers

situation unduly exaggerated
& correction on the stock
market during the week.

Tuey of Toronto-based Do-

Trade unions break up

By DAVE BLAIKIE

OTTAWA (CP) — Breaking up.

In the North American trade union movement these
days, it’s not that hard to do.

Bob White did it in 1985, pulling 120,000 Canadian
members out of United Auto Workers’ union and setting up
the new and independent Canadian Auto Workers’ union.

Jack Munro is doing it now, leading another 30,000

bers out of the ional Woodworkers of America
and into a new and autonomous union called IWA Canada.

International unions — a euphemism for North
American unions based in the United States — once
represented thé vast majority of Canadian union members
but their influence has been declining for decades.

They accounted for just 39 per cent of Canada's 3.7
million organized workers iit 1986, down ftom 46 per cent in
1980, 51 per cent In 1975, 62 per cérit in 1970 and 71 per cent
in 1965, says the federal Labor Department.

Part of the shift is illusory. The size of Canadian public
sector unions in Canada in the late 1960s swelled the ranks of
domestic unionists without anyone bolting ranks.

But much of the change is real and several factors have
contributed to the erosion — conflicting U.S. and Canadian
government goals, internal squabbles and policy disputes,
the tug of nationalism and a natural yearning for autonomy.

CAN BE EUPHORIC

The break from “the~ international” can be euphoric
when it comes, ending years of smouldering grievances and
perceived injustice.

White was hailed as a hero for splitting from the UAW,
which had agreed to wage concessions. Munro's divorce from
the International Woodworkers has been filed on similar
grounds.

But even the h p of
concede that it comes at a price.

The biggest loss for Canadians, often, is a big strike
fund.

Richard Jackson of the School of Business at Queen's
University in Kingston, Ont., says an international strike
fund has psychological as well as ic value. Emp!
know before provoking a fight that it could be long.

National unions counter that Canadians pump more into
the internationals in dues than they get back in benefits. The
it was so! h $30 million and $60
million in 1984, according to Statistics Canada.

Breakaways can also cost international clout.

John Crispo, an outspoken University of Toronto
economies professor, believes the UAW breakup is the labor
gaff of the century.

Any constraint U.S. auto workers felt about renegotat-
ing the Auto Pact — a boom to Canada in recent years but
not always since its inception in the 1960s — vanished when
Bob White walked out of the UAW, Crispo argues.

Already, he notes, the U.S. union is clamoring for |

Congress to renegotiate the pact on more favorable terms to
U.S. workers. o

“The auto pact is in trouble for a number of reasons,”
Crispo argues. “But when the union in the states turns
against it, that’s (it).”

Dr. Mark Thompson, a University of British Columbia
professor who wrote a paper on breakaway unions, agrees.
that autonomy has risks.

“The people who have left have had stars in their eyes,”
he says.

The Paperworkers were wracked by lengthy strikes
after their break from the international in 1974 and never
recovered their former influence, he notes.

The Brewery workers, who balked at following their
U.S. counterparts into a 1975 iiérger with the Teamsters’
union, split up following independence.

However, Thompson sees the rise of national unions as a
natural, if at times difficult, process of maturation within the
Canadian trade union movement.

“When unuions started out in this country they were
heavily dependent on American support,” he says.

“But things change. It’s like having kids that are
dependent on you and they they grow up. There are
problems but I don't see it as too negative a trend.”

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American markets to pick up
steam again next week.

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Lumber

BUSINESS

orders
down

PORTLAND, ORE. (AP) —
Lumber production and ship-
ments increased, but orders
fell in 12 Western states in
the week ended Feb. 21, a
trade association reports.

The Western Wood Prod-
ucts Association said lumber
production for the week was
482 million board feet, 2
million feet more than the
previous week.

Orders were 318 million
board feet, 68 million feet
below the previous week.
Shipments were 431 million
feet, an increase of 49 million
feet.

Production and shipments
were both up from the same
week a year ago, but orders
were down.

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