Marsha Boulton March 31 1980


Marsha Boulton March 31 1980


In what must be the most unusual coupling of vocal chords in television history, Loretta Lynn and Luciano Pavarotti

recently paired off to croon Ernesto De Curtis’ famous tune to an Italian town, Come Back to Sorrento.The coal miner’s daughter and the baker’s son were united for an ABC-TV show called Omnibus which will air this spring with Hal Holbrook handling the introductions. Lynn and Pavarotti found common ground in songs about relationships between men and women that centre on jealousy, hatred, love and passion—the prerequisites for both country and western music and opera. To illustrate their simpático, Pavarotti sings La Donna 'e Mobile ( Women are Fickle) and Lynn belts back You Ain't Woman Enough to Take My Man, along with a hard-hitting ditty called Fm Pregnant Again.

Bobby Hull may be a great left-winger, but when it comes to making support payments to his estranged wife, Joanne, the Hartford Whaler has trouble signing his cheques on time. Earlier this month the couple’s messy arrangement was dragged into the Winnipeg courtroom of Mr. Justice Louis Deniset,

who ordered Bobby to come through with $6,000 in back payments by March 28 and told Joanne to disclose her assets fully. Joanne’s lawyer, Arthur Rich, would like Bobby to disclose his assets as well. “He lists his net assets at $630,000, but there’s no reference to his income from commercial endorsements and not a single mention of a cow, even though he has a ranch in Manitoba,” says Rich. Meanwhile, Bobby is trying to get court approval to lower the $3,000 a month he was ordered to pay last September. The financial dirty laundry is to be aired in court next month.

In 1944 Winnipeg science fiction author A. E. Van Vogt left Canada to “join the competition.” Earlier this month, Van Vogt, 68, showed up in Halifax to accept the Canadian Science Fiction and Fantasy Award for his collected works, which include Sian, The Voyage of the Space Beagle and The Weapon Ships of Isher. The cast-iron and rosewood award presented to Van Vogt featured a razor-toothed reptilian creature fashioned by Port Medv/ay, N.S., sculptor Mike Spencer after the fashion of the monster in the film Alien. In fact, Van

Vogt believes that the plot of Alien follows a story in his book, Discord in Scarlet, too closely for originality and he is currently in “friendly negotiation” with the film’s producers. So far Alien has reaped about $44 million and Van Vogt points out that the $30,000 he has been offered is “not enough for a picture that’s doing that well.”

The tremors that British Columbia novelist Crawford Kllian started last year, with his polar shakeup disaster Icequake will be followed through in a wave-riddled sequel called Aftershock. The community college English teacher, 39, says he plans to examine “how a group of narcissists in the mid-’80s cope with disaster.” Kilian describes his characters as “people who’ve been spending their lives worrying about actualizing their potential and then find that it’s necessary to actualize supper.”

Íildon’t want to be 90 years old and be I walking down the street and have people saying, ‘There goes the Rowdyman,’ ’’says 49-year-old Gordon Pinsent. The rough-and-tumble role has stalked Pinsent since 1972, when his selfscripted performance won him two best Canadian actor awards. Last week, Pinsent was honored again with a Genie Award for his supporting role as Bill Swiftwater in Jack London's Klondike Fever. This year Pinsent plans to con-

centrate on his screenplays,with a fall stage break at Ottawa’s National Arts Centre in John and the Missus. After three seasons of writing and starring in the CBC’s A Gift to Last, he decided to bow out because he had “spent enough time with it” and “can’t hang on to one thing.” Pinsent claims that he has no aspirations to becoming a “notable writer,” but he does believe that good stories are the backbone of the developing Canadian film industry. “We have to save ourselves,” he says about the limited life span of the film investor’s tax shelter, “before we’re bogged down by a history of bad films.”

f f|’d be a dentist before I’d do disco,” I laughs expatriate Winnipegger Burton Cummings, who has spent the past three years living in Los Angeles with his cocker spaniel, Fimmy, though he still maintains a home in “the Peg.” On April 2, Cummings, 32, makes what is becoming an annual pilgrimage to Toronto to host the Juno Awards. “I enjoy being the host, even though it’s not my sort of gig really,” says Cummings, who has been studying last year’s videotapes to make improvements. “I’m not going to try to come out like Johnny Carson or anything.” At the Junos, Cummings will also introduce a couple of songs from his new album, Woman Love, which he says is “gutsier” than his previous works but still has a few ballads for the faithful. Cummings is also growing his mane back for the awards. Recent photographs have shown him moustacheless and close-cropped, but he should have a shag by April. “It’s coming back quickly,” he says. “My hair grows just like a girl’s.”

There was only one big winner to emerge from former U.S. president Gerald Ford’s brief flirtation this month with the idea that he might challenge Ronald Reagan for the Republican nomination. That person was Albert Cauraro, who designs clothing for Betty Ford. While Ford was hedging his bets, his wife was rummaging in the closet and discovering that her wardrobe was not up to par for a presidential bid. According to friends, Betty agreed to campaign but insisted on looking her best, so Ford gave her the go-ahead to buy new clothes. Cauraro was called to action to prepare eight new outfits immediately with a second order in the wings. During the interim Ford decided not to run, but in the first week of April Betty’s order will be filled to the tune of about $8,000 worth of organza and crepe de Chine.

t il’ve always dreamed of dressing like |a man, even though I was never a tomboy,” says Quebec actress Carole Laure, who recently upholstered herself in various combinations of gentleman’s attire to become the first woman cover

boy of Paris’ Vogue Hommes magazine. Former Playboy photographer-turnedsoft core pornographic film-maker Just Jaeckin conceived and orchestrated Laure’s masculine masquerade, which will appear in the September issue. “There’s nothing sexier or more tender for a woman than to be dressed in the clothes of her man,” advises Jaeckin.

Though Sandra Anders is hardly a household word, chances are that any Canadian with a TV and an eye for commercials has seen her pitching everything from Molson Golden to Oil of Olay. The former model-turned-actress is now set for a role that will last longer than 30 seconds. In producer Harry Alan Towers’ adventure-on-thehigh-seas film Southern Cross, she will share billing with Franco Nero, Glenn Ford and a school of sharks. Anders, 21, learned to swim in lakes close to her hometown of Sudbury, Ontario, and her strong backstroke should serve her well next month when she begins working on underwater sequences in the clear water off the Mexican island of Cozumel. “I get really dark in the sun,” says Anders, who plays a Mexican pearl diver caught between the good guys and the bad guys. The idea of working with sharks doesn’t frighten her “that much” because she has been assured that local fishermen have been hired to round up “half-dead, docile sharks.”

When the nuclear power plant “mistake” occurred last year at Three Mile Island, singer David ClaytonThomas and the assorted members of Blood, Sweat and Tears were preparing for a concert in nearby Harrisburg, Pennsylvania. The terror of it all in-

spired Clayton-Thomas, 38, to write a song called Nuclear Blues, which has become the title cut of the group’s latest jazz-rock album. “I’m totally opposed to nuclear power plants and the kind of mentality that allows governments to build them in people’s backyards without taking the trouble to vote on it,” he says. Though the group hasn’t made a formal commitment to antinuke organizations, Clayton-Thomas says Jane Fonda’s people have been “sniffing around” and the song is becoming an anthem for the cause.

Edited by Marsha Boulton