ENTERTAINMENT SS ae Castlegar News duly 13, 1988 MARIEA HAPPY 40th Love and Kisses, Keith and Lynne Very Happy Birthday Jason, on the 14th of July And congratulations on your Graduation LEGION BR. 170 DANCE SAT. 9:30 - yond @.m. JUKE "SOX Guests must be signed in Proper dress alter 9 pm Open Mondey te Thursday ' Love, Gran & Grampa o.m Friday & satorday, 12 noon - 2 a.m. 365-7017 8er’scon” Castlegar, B.C. (Formerly D-Bar-D Riding Stables.) — UNDER NEW MANAGEMENT — STABLES OPEN 9 A.M. DAILY * ALL NEW STOCK * A HORSE FOR EVERY TYPE OF RIDER * GUIDE AVAILABLE * SCENIC TRAILS * RIDING LESSONS * BOARDING FACILITIES * HORSEDRAWN HAYRIDES (By Appointment LOCATION: 1 mile south of weigh scale in Ootisch next to D-Bar-D Dining Lou! ‘ollow the Sig Phone 365-3986 GREWMAN ACRES SUMMER enna 7] HOURS Monday to Saturday, 5:30 a.m. - 8 p.m. 365-815 1004-Columbie-Ave. Castlegar D sar-D DINING LOUNGE OPEN 4 P.M. DAILY AIR CONDITIONED WESTAR & COMINCO VOUCHERS ACCEPTED RESERVATIONS FOR PRIVATE PARTIES — 365-3294 Located | mile south of weigh scale in Ootischenia — LICENCED DINING ROOM — Taste the Freshness... Trust the Name! Dixielee COMMU Bulletin Board SOUTH AFRICAN PLAY You Strike the Woman, You Strike tha T written and performed by 3 black women at the Capital The SOLU on, Thursday, July 14 ot 8 p.m. $6 and $8. Tickets at door. Sponso.ed by CUSO with Funding assistance trom CIDA 3/54 Coming events of Castlegar and District non-profit organizations may be listed here. The first 10 words are $3.75 and additional words are 20¢ each. Bold faced words (which must be used for headings) count as two words. There is no extra charge for a second insertion while the third consecutive insertion is seventy-five percent and the fourth consecutive insertion is half-price Minimum charge is $3.75 (whether ad is for one, two or three times) Deadlines are 5 p.m. Thursdays for Sundays paper ond 5 p.m. Mondays tor Wednesdays paper. Notices should be brought to the Castlegar News at 197 Pop music an escape Editor's note: Many of Britain's young people see pop music as an escape from low-paying jobs or unemploy iment. This is part of a series on the British music scene. By TIM O'CONNOR Canadian Press LONDON — Tim Simenon, a mere wisp of a British 19-year-old, is a rising music star thanks to his hit single Beat Dis. But he doesn’t play an instrument. And he's a band singer by his own admission. Simenon is a club disc jockey. “I did Beat Dis in two days for 250 pounds ($600 Cdn),” said Simenon, who has the eyes of his Chinese father and the freckles of his Scottish mother. “I just crammed my Top 20 dance records of '87 into a six-minute song by editing them together.” The song was the rage of the London dance clubs in March and is catching on in North American clubs. CREATE CAREER Simenon is one of many young Britons who have constructed careers for themselves out of pop*music Throughout the history of British pop, such trifling details as not having spiffy recording equipment not knowing more than two chords, or not even knowing how to play an instrument, haven't stopped people from making records. For many young Britons, making music is a « m, something to do, a means out of a dead end — a way to meet “birds.” And the young people express themselves artistically through pop music more than any other medium. After all, it’s a tradition. Ever since the Beatles shook the pop workd in 1963, Britain has produced thousands of pop artists, many of whom have become pillars of rock — including the Rolling Stones, Led Zeppelin, The Who, Eric Clapton, David Bowie and Dire Straits Although the United Kingdom has one-quarter the population of the United States, pop charts since the "60s show Britain routinely supplies at least a third of the world’s best-selling English_records: SEVERAL FACTORS A\ combination of factors, including social con ditions, the British creative spirit and simple geography, have made Britain extremely fertile ground for pop music. Nearly 25 per cent of Britain's youth ure unable to find jobs after high school. And the working-class youths who do find jobs — mostly unskilled labor seem resigned to the fact they will always be at a dead end. In Britain, if you're born into a working-class family, you usually remain working class. The education system, which funnels the achievers into academic courses and the rest into “trades” courses, helps maintain the gap between the classes. “I think the social conditions make the U.K. the No. 1 place in the world-for creative ideas,” said Willi Morrison, a record producer who lived in Toronto for 14 years before moving back to London in 1984. “It's tough for kids here. They have to express themselves in basic ways and come out with as much creativity as possible,” said Morrison, a soft-spoken man with a brown beard who constantly looks over his wire-rimmed glasses. OPEN TO DEBATE Since the Rolling Stones asked rhetorically, “What more can a poor boy do but play in a rock ‘'n’ roll band” (Street Fighting Man, 1968), it's been debated whether in fact that is the only option. Expatriate Canadian Katy Farmer agrees with Mick Jagger. “Music is another avenue to break out of that hole you're in,” said Farmer, who moved from Toronto to London six years ago and is now creative director of Supreme Records. In an interview in the '60s, The Who's lead singer Roger Daltrey said: “I was an apprentice sheet-metal worker for five years. Rock ‘n’ roll represented a way out of the bleedin’ gutter.” But many observers don't subscribe to the theory that rock 'n’ roll is the salvation of the working class and the poor. In fact, I talked to a number of unemployed teenagers and students, and none considered rock 'n’ roll an alterntive to finding a job or being “on the dole” (welfare). : “Oh, that's a cliche imported from America Natasha Nalko, a 16-year-old student. HAVE SAFETY NET Danny Kelly, deputy editor of the New Musical Express weekly, said that while unemployment is a factor in explaining why Britain produces so many bands, he thinks “people get into pop music because they want to. — “Our social services provide a real safety net 20 you éan do nothing and you won't be starving,” said the round-faced Kelly, whose ears stick out at right angles from his head. “If you've got bugger all else you do, you can sit around all day and practise your Velvet Underground riffs until someone offers you a record contract. There are bound to be more and better musicians.” Thus, 20 years ago, most British musicians worked full time at day jobsand played music as a sideline. Now the sideline can be a lifeline. Britain's small size also helps make the country a breeding ground for pop. Records, even ones on low-budget independent labels, can be pressed one day and in shops across the country the next. British record companies also take more chances on new acts because costs are lower, again be¢ause of the country’s size. Robbins on home video NASHVILLE, TENN. (AP) More than five years after his death, country music star Marty Robbins is on home video as a singing cowboy roaming the West The Drifter is rare footage shot in 1965 and 1966 that Robbins use in a television show. Since it was done in black and white, the program at age 57. hoped to video. Robbins laced much of his music with a macho western feel before he died of cardiac arrest on Dec. 8, 1982, His best known song was El Paso, a gunfighter ballad earned him a Grammy Award. It's one of several tunes he sings in the almost 30 years later. A friendly, gregarious entertainer, he bantered with the audience and often stayed at the Grand Ole Opry House after the show ended to sign autographs for as long as an hour. “He was a fan's favorite,” Pugh recalled about Robbins’ appearances on the Opry. “He always got encores in 1959 that Columbia Ave. COMMUNITY Bulletin Board NOW SHOWING! 2 D AYS ONLY Wednesday _) “POWERHOUSE CONNERY IN TOP FORM.” ¢ ¥ —Don Atk CALGARY HERALD SEAN Coyyer) * MARR HARMON _PRESIDIO re STARTS FRIDAY ITE COMING WULY 22 23 24 25 IONE 3a5-7el1] ASTLE THE. A TRE was never sold because color had just ‘revolutionized the industry “The show has previously been aired in only a couple of test mar. kets,” said Robbins’ son, Ronny, who is overseeing the mail-order market ing of the video for Marty Robbins Enterprises. “The fact that they were shot in black and white only adds to their uniqueness.” ge rove TanUEL LP) Let Us Plan Your Trip... Call 365-6616 Castlegar * 605-18th Street Below CSCU Office Trail © 1560 Bay Ave. Zenith 1-800-224-8647 cn the Park Sponsored by te Recreation and Culture Tomorrow (Thursday, During his 30-year career, he wrote some 500 songs and had 18 No. 1 hits. Among them were My Woman, My Woman, My Wife, Devil Woman, A White Sport Coat (and a Pink Carnation), El Paco City, The Hanging Tree, Some Memories Just Won't Die, Among My Souvenirs and Singing the Blues. SELLS RECORDS Some 30 of Robbins’ 10} albums are still available. “There wasn't any kind of country song he couldn't sing and didn't have a hit with,” said Ronnie Pugh, a re searcher at the Country Music Foun dation “He did cowboy songs, Hawaiian songs, calypso songs. He did love ballads, he did rockabilly in the ‘50s and then did the Nashville s Sound, the smoother style Yn the late ‘60s and early "70s." Robbins performed on the Grand Ole Opry from 1953 until his death sims Togo pees: ‘eon July 14) STEPHEN BALL and FRAN LAMB Stephen ond Fran will pertorm separately and together. They play @ voriety of original and favorite tunes. right up to the end. —— “The fans loved him.” Robbins sang the title song to the Clint Eastwood movie, Honky Tonk Man, which was released two weeks after Robbins died. He also appeared in 18 low-budget movies and sang the theme for others, such as The Alamo and The Hanging Tree. The sandy-haired, mustachioed performer ,was chosen for induction into the Country Musie Hall of Fame two months before his death. Two other members, Tex Ritter and Grandpa Jones, appear with him on The Drifter. Among the songs performed on the video are El Paso, Cool Water, Tumblin’ Tumbleweed, Streets of Laredo and Red River Valley. Ronny Robbins found the video material in a Nashville bank vault after the bank kept sending bills for the storage. “They were in three big vaud eville-looking chests,” he said. “There was not even any dust on them. The seal was totally intact. It was like I discovered a time capsule.” The younger Robbins recalled that his father, who grew up in the Phoenix area, was always captivated by the old West. Bergmann material dark July 13, 1988 Castlegar News ar Actress is one-woman show QUEBEC (CP) — Everything about British actress Claire Bloom is Spare. She looks as fit as an aerobics instructor. She answers reporters’ VANCOUVER (CP) — C! life at the bottom of the social seale has led to a recording contract for rocker Art Bergmann who looks to murder, suicide, incest and junkies for his material. “Checking out the limits of human behavior is a pretty dangerous game,” says the 84-year-old Berg- mann who is no stranger to the seamy side of life. “Flirting with insanity, flirting with dangerous, slimy people just for something to write about . . . I some- times feel like I'm using people, using people's deaths for a song.” The darkness of his lyrics is mat ched by his music — driving, pas- sionate, rock and roll that explodes through gut-wrenching vocals and fiery, piercing guitar playing. “It's as if he claws at the guitar when he plays it,” says producer John Cale, who has just helped Berg- mann to his first big record contract. Bergmann’s lyrical obsessions and musical intensity reflect his life, which has been close to the edge until recently. He has had his battles with the bottle and knows more about drug abuse than Nancy Reagan. —His songs and Iifestyle created a reputation for unpredictability that endeared him to fans and critics but scared off the Canadian music indus- try which likes its artists to come in neatly designed, controllable pack- ages. But last year he hooked up with manager Sam Feldman, a respected figure in national music circles who has looked after the careers of Doug and the Slugs, Headpins and Troo- per. He soon scored a deal with Duke Street, the Toronto-based indepen- dent label. Cale signed on as producer, and his first solo album, Crawl With Me, was released this week. No Canadian rocker has written songs like Art Bergmann. Our Little Secret uses a light, bouncy pop ar rangement to disguise a warped tale of incest “The song is kind of weird, ‘cause it's like the brother talking (to his sister) about his secret, and they're lovers or something,” says Berg. mann. “That's how I figured it out, anyway.” Crawl With Me is “your basic love song, with a few religious and drug references thrown in.” My Empty House is about a victim of a government restraint program who is laid off and loses everything, then snaps and shoots his wife. wife. “I just tried to identify with the man who did it, the man in that frame of mind. Ever thought of shooting up a shopping mall at Christams?” Death is a recurring theme in his lyrics: “I think everybody thinks about it every day. Dying. Worms.” His subject matter is a fargry from his childhood in rural Cloverdale. “I had a very happy childhood,” he recalls. “I don’t know what hap- pened.” His parents were God-fearing Mennonites but Bergman found reli- gion “like voodoo,” picked up a guitar at 13 and discovered it was more fun to be a bad boy than a good one. “I used to go out with these crazy juvenile delinquents and do acid with them and stuff . . come home and catch hell from my parents. Fist- fights in the kitchen . . .” Bergmann quit music for a year after his second band broke up but when punk rock hit in 1978, he jumped in head first, eventually going solo. But it was his lyrics that caught the ear of producer Cale. * Renovated in ‘86 * Parking/no: Reservations 1-255-4301 BUDGET 6 HOTEL PATRICIA moking rooms * Gateway to Chinatown ond Historical Gas Town * Showers/TV/Phones * Community Pub/Homestyle Food * Compact, Clean & Affordable from $29 with brisk, quofable sen. tences. She has a short, practical hairstyle. The 57-year-old actress, who broke into the big time in the 1952 Charlie Chaplin classic Limelight, was in Quebec City to present her one- woman show at the Theatre Fort night festival. She was clad in a simple black dress. The stage was bare save for a rug and lectern. Such economy of style has been the hallmark of this versatile actress, who joined the Oxford Repertory Theatre at age 15 and has been in a riety of stage, TV and screen roles in the last 42 years. In the last couple of years, Bloom has starred in the TV series Bride- shead Revisited with Laurence Oli- vier, and in Stephan Frear's black comedy film, Sammy and Rosie Get Laid. NOW A DABBLER Earlier in her career she appeared in many classic stage roles — Nora in A Doll's House, the lead in Hedda Gabler, Ophelia in Hamlet — but Bloom says she only dabbles in theatre nowadays. “I like the intimacy of a small theatre or @ camera. I'm much happier if I can do film or television or these (festivals), which I can control rather than being in a play that runs a year.” Her show These are Women, which Bloom created and performs three or four times a year at univer. sities and festivals, allows her to do the Shakespearean parts she loves. “For an actor, there's nothing more rewarding,” she said, then seemingly nervous at \the sweep of her statement, added laughingly: “Well, Ibsen perhaps. And Chekhov, rhaps.” “He (Shakespeare) knew every thing about women. He knew every thing about everything. Amazing. Absolutely.” SWITCH EMOTIONS During her three-night run, Bloom delivered a technically prefect per- formance, changing the emotional tempo instantly for parts as diverse as Juliet and Catherine of Aragon, the wife that Henry VIII moved heaven and hell to divorce. Critics groused about the austerity | BRITISH MUSIC SCENE — of the set and her use of a micro- phone, unusual in theatre, whic res- tricted her movements and filled the room with a slight hiss, Asked about the microphone afterwards, Bloom refused to comment, As she put it earlier at a news con- ference: “It's very delicate to try to people the stage with yourself.” Five of the Shakespearean parts followed a pattern she called women within the “bonds of wedlock.” In real life, Bloom is technically free of that; she does, however, live with American novelist Philip Roth (Portnoy's Complaint). They've been together for the last 12 years and Bloom has even acted in a TV film called The Ghost Wirter, adapted from one of Roth's novels, HAS DAUGHTER She was formerly married to actor Rod Steiger, with whom she had a dughter, Anna, now a 28-year-old opera singer. After Steiger, she married producer Hillard Elkins (Oh! Caleutta!). Does Bloom have any new worlds to conquer? “I would like to play Cleopatra but it’s just been done in London with such huge success acclaim in London in 1974, is “the most perfect part written for a woman.” Recalling her earlier days with Chaplin, Bloom described the movie legend as “a tyrant.” She added: “He wasn't hard to work with. He knew exactly what he wanted and he made sure you did it.” . STILL FAVORITE Years later, Limelight is still her favorite film: “It’s as extraordinary forme now as it was then. I was in- credibly fortunate (to have been in it).” The impact of the film on her life is evident from the title of her 1982 autobiography, Limelight and After. As for Olivier, with whom she co-starred in the film version of Richard III, Bloom admitted to having been “overcome by his personal glamor.” Currently, Bloom, who has apart- ments in New York and London, enjoys the luxury of picking and chobsing her work: “I like things to come out of the blue and if they're interesting, to do them. I've never really planned.” But her slim figure is no accident: “I exercise every day. I trained as a dancer when I was young and you can't stop. If you stop, you fall apart.” Players everywhere By TIM O'CONNOR Canadian Press LONDON — As the subway car rolled along, the young man with cropped red hair and a rumpled tweed suit excitedly told his female friend about the pop band he had just joined. At the next stop, the pair got off the train and headed out the twisting tunnels lined with dull yellow tiles. At a bend, a bearded jazzman stood playing fluid electric guitar with an amplifier the size of a shoe box tied to his waist. At the foot of a 50-metre wooden escalator, the pair encountered three young men in short leather jackets exuberantly belting out Beatles harmonies and playing acoustic gui tars. Coins lay strewn in an open guitar case on the floor. In London, wherever you look, someone always seems to be playing or listening to music, or talking or reading about it, especially pop music. “Pop has become as much a part of daily life as the Royal Family and the weather,” said Danny Kelly, the tall, plump deputy editor of the New Musical Express weekly. PART OF CULTURE Britain doesn't always have the strongest or most original popsters — in fact, the British have habitually mimicked U.S. artists — but pop music is an integral part of the country’s culture. And since four lads emerged from the deterioratingy northern port of Liverpool in 1963 to become the Beatles, hard core music fans and musicians have made the pilgrimage to London. In much the same way that Nash- ville is a spiritual touchstone for country music, London is a pop music mecta. There are more than 20 British music publications — including four weekles — that report on pop in ex- haustive detail and whose reviews range from character assassinations to canonizations. By comparison, Canada has two general-interest music magazines, both monthly. KEEP INFORMED In Britain “kids are incredibly information hungry” about pop, Kelly said. “If you're not entirely of LAMB CHOPS With mint jelly, choice of salad, potato and vegesable Thursday, Fi $s] riday ond Saturdey, July 14. 15 and 16 R RESERVATIONS 352-5358 646 Boker Street Nelson It’s Time to Say ‘‘Thank You’’ Through Air Canada’s *‘Heart of Gold’’ Award Do you know someone who goes cout of his or her way to make your community a better place to live? Air Canada and your community newspaper would like to help salute these individuals You can start things off by nominating someone you know Castlégar News Box 3007 Costieger, 8.C. VIN 3H4 the case (informed), there's a danger you'll be labelled a square.” London's racy tabloids are conven ient guides to the average person's interests. They report every stumble of the pop stars while movie and TV stars take a back seat. The red double-decker buses are moving billboards, carrying giant posters advertising the latest pop records and other products. On almost any wooden wall out- doors — especially along the gar- bage-strewn streets of the crumbling working-class areas — are plastered colorful posters the size of an aver- age door. During one night's walk around the vibrant streets of London's West End, with its neon-lit playhouses and pubs trimmed with crafted wood, I spotted Elvis Costello going into a used-book shop and Mark E. Smith, singer in the Fall, walking down the street. In nightclubs, more than half the ordinary folks I encountered seemed to be involved in the music industry in some way, as musicians, record company employees and so on. VIGIN HAS SHOP And on Oxford Street, crowded with shoppers scurrying between the high-priced shops, there's the Virgin Mega-Store. It's a sprawling, two- storey record store with its own dise jockey, a photo-processing labora- tory, a games department, books, T-shirts and a theatre ticket booth. Oh yeah, records too. In many ways, modern London is like many other big cities, except, of course, the cars drive on the left side of the road and the cabs look like identical giant beetles. But unlike other cities, London has achieved mythic stature in the world of pop music. For one thing, rock’s legendary rock bands — the Beatles, the Rolling Stones, Led Zeppelin and The Who — British glam-rock bands had higher platform shoes. British mope-rock groups were more morose. British pomp-rock bands were more pom- pous. And today, British teen favor- ites are cuter, and outrageous British bands are more outrageous. QUICK CHANGES But why do Britons pick up and discard musical styles like tissue paper? British pop radio stations play the best-selling records to death, said Kelly, and the competitive British music publications all cover the same acts. As a result, people get bored easily. And because the music scene CORRECTION Re: July Circular. Vol. 21, No. 20 The size on the Comet should read 3 pack, 500 gram total. We opologize for ony inconvenience this may have caused our customers VANCOUVER COQUITLAM EASY OFF/EASY ON Brunette North at TRANS-CANADA iIWY. 725 Brunette Ave., Coquitlam, BC, V3K 1C3 (604) 525-7777 FAX 604-525-7777 1-800-663-2233 * Quality accommodation at reasonable rates * Plenty of Free oversized parking * Minutes to Lougheed, New Westminster, Coquitlam & Guilford Shopping Centres * Direct bus to Skytrain Call Toll Free HOST FAMILY A select group of English-speaking teenagers from Europe, Asia, Aus- tralia and Latin America will arrive in just two short months — each one looking forward to living with a Can- adian family for a high school year! YOU could be one of these families! Discover another culture without leaving home. Share your country ina fun and fascinating way. And gain a special friend for lite. “After living among you as a student... Your local Educational Foundation Area Representative is urgently seek- ing volunteer families now! Host Tnow understand fom what it means. student best suited for their home. Call today! ROBERT WESTHOFF 365-3478 URGENTLY NEEDED are able to choose the GARY HALL Collect 367-7630 or call toll-free 1-800-363-3337 Reucational Foundation tor Foreign Study A Canadian non-prott organization all came from Britain. changes with such incredible speed — a single can enter the charts, hit No. 1 and be gone in six weeks — there’s always demand for new records and new stars. No matter how silly or bizarre a group appears, it’s got a chance in Britain. In North America, British groups are often sloughed off as the flavor of the month because of their strange- ness or because they're too tied to U.K. polities or culture. But trying to explain why certain English groups hit or miss in North America is usually futile because pop is marketed like toothpaste. British bands like Supertramp and Nazareth caught on first in Canada and returned hme as_ congering heroes. 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