Rumor has it that Winnipeg’s latest contribution to the recording industry, The Pumps, found their name in the telephone book, using the old open - at - any - page - and - where - the - finger - lands lands routine. Whatever happened, the group is happy with its catchy name and the fact that success is finally catching up with them after two years of pubs-and-punk-rock gigs. Currently the quartet is on its first national tour as the opening act for the Canadian version of Styx, Prism, as well as AC-DC and Streetheart—and they are taking double encores everywhere they go. Though they claim influences from the classics to Jimi Hendrix, strains of The Beatles are unmistakable in their harmonies on a ditty called Coffee With the Queen. “Yeah, The Beatles have got to be the big one with us,” admits percussionist Terry Norman Taylor, 24. “We all saw them on The Ed Sullivan Show when we were about 9, and ever since that’s been it for us.”
The adopted anthem of the feminist movement, I Am Woman, transformed Australian singer/lyricist Helen Reddy into the focal point of much kaffeeklatsch debate in the early ’70s. Eight years later the angular redhead is no less punchy in her 15th record album, Take What You Find. “I’d like to dedicate my next song to a woman I’ve come to admire and respect over the past few years—myself,” Reddy told a Toronto audience at Ontario Place recently, before belting out You're So Good. “I never was really a feminist,” Reddy confessed to Maclean's, “but I never doubted that I would make it to the top. I can see myself very clearly at 70 and I’m going to be a feisty old lady.” Whether feisty or feminist, Reddy, 37, does have a softer side—her offstage passion is needlepointing pretty blue floral designs on throw cushions.
When Terry McLaughlin of Toronto and Evert Bastet of Hudson, Que., won the Flying Dutchman sailing world championship in Malmo, Sweden, last week, the victory was bittersweet. Although world champs and “clear winners in the most technical of Olympic sailing categories,” McLaughlin admits: “It could have been the gold medal.” The win marked the culmination of four years of intensive training and a smooth-sailing race circuit in Europe this spring, where the two young Canadian mariners consistently cruised past last year’s world titleholders as well as the former Olympic champion team. The two yachtsmen are understandably unsure about navigating a course toward the 1984 games, but neither plans to give up the sport. Says
McLaughlin, an economics grad from Queen’s University: “I guess I have to face reality sometime, but right now I’d rather be sailing.”
f inhere were times when we were I filming at -47° fahrenheit, and one of the outdoor sequences was so cold that the girls literally froze parts of their anatomy,” recalls Charles Weir, who co-produced Toller Cranston’s Dream Weaver on the CBC’s Superspecial, along with director James Shaw. Last month the big freeze paid off, however, as Weir picked up the Golden Rose of Montreux Award in Geneva, beating the best that Britain, the U.S. and all of Europe—including such heavyweights as the Barry Manilow special and Sweden’s epic to the rock group ABBA. The show will be shown again on Canada Day (July 1) as part of the CBC’s annual national tribute, so that audiences will
have a chance to see the show that earned Weir a standing ovation in a Swiss airport coffee shop, as well as the kudos of 34 nations.
f |P%y contemplating the pure form of Bblue, it will affect his emotions, give him peace,” explains Barry Bryant, top dog of New York’s Karma Construction, which handled the bathroom installations for former president Richard Nixon’s Manhattan digs. The people at Karma (motto: “We build mantra-filled walls”) designed Nixon’s throne room in shades of blue, after rejecting the original plan which featured “uninspired” tans and browns. “I realized we were building him a monument,” says exBuddhist monk Bryant. Incense was burned and mantras were chanted throughout the installation, which culminated in the walling-in of copies of Buddhist prayers. “We wanted to give him a good karmic connection,” says Bryant, “to plant a seed so he can be reborn to help others.”
For the fifth year in a row, Dutch promoter Paul Acket is putting together a jazz bash for about 600 musicians and 30,000 fans—and as usual it’s a family affair. Acket, with help from his wife, Jos, and daughters, Madelon and Karin, have worked “day and night for months beforehand” to organize the festival with feature headliners Ray Charles, Oscar Peterson, Gato Barbiéri, Stan Getz, Dizzy Gillespie, Fats Domino and Benny Carter. The three-day Northsea Jazz Festival takes place in the seaside resort of The Hague, where visitors are at liberty to wander from hall to hall in
the huge Congress Centre. In his singsong English, Acket explains the only crimp in his clockwork swing to bebop organization: “Ja, all the artists want to hear each other, so we sometimes have problems getting them together in the room set aside for yam sessions.”
i í*Phere are no facts anymore. She’s a I legend and every perspective is different,” says 23-year-old Cynthia Long, who has made Marilyn Monroe the subject of her one-woman show which opens next month at Toronto’s Adelaide Court Theatre. Working from mounds of biographies and videotapes of Mon-
roe, Long hopes to be able to add an introspective dimension to the sex goddess’ past, which was “built on a superstructure with no foundation.” Though Long contends that she bears a physical resemblance to the Monroe of the nude calendar days, the Scarborough, Ont.born, former electronic draftswoman has had to take a course of Monroeisms in order to capture the exact wiggle, quiver and tone of breath. One thing that has helped has been having her own personal masseuse, as Monroe did, £ since constant massage contributes to 2 “the relaxed persona” that renders the £ perfect jiggle. “I’ve discovered that | Monroe walked with her chest,” says HI Long. “This gave her incredible back § muscles and, let’s face it, a nice profile, f I’m using every angle.” £
Bo Derek has untangled her 10 hairdo, but the beads-and-braids look isn’t going out of fashion as far as singer/actress Salome Bey is concerned. Bey has been braided for about a dozen years now, and she is philosophical about the fashion fever for twisted tresses. “Braids have been ‘in’ for a long time,” she explains. “They go back to ancient Egypt.” In the Bey family they also span two generations, as Bey’s daughter, Saidah, 5, joins in the daylong hair craft executed by the talented fingers of Diana Hamilton. “I think Bo’s fame is fantastic,” Bey told Maclean's halfway through her 180-cornrow ordeal. “And
if it brings attention to other ethnic groups, that’s even more fantastic. It makes the world aware that there are other things going on in fashion besides perms and rollers.” Given the fourmonth life-span of her petits plaits, Bey should be ready for another twisting session when her musical tribute to the blues, Indigo!, opens on Broadway next October.
iilkeep thinking he must have hypnoItized me into doing it,” says 29year-old film-maker Halya Kuchmij, whose half-hour documentary effort The
Strongest Man in the World tells the eclectic tale of 80-year-old Michael Swistun, formerly of the Ringling Brothers Barnum & Bailey Circus, once a friend of Houdini, master magician and professor of hypnotism. Kuchmij “discovered” Swistun on a swing through the backwoods of Manitoba in Olha (population, 100), where she inquired at the general store about local old-timers with stories to tell for a research project she was doing for the National Film Board. Swistun turned out to be a perfect subject—still able and willing to bend steel bars on his teeth and pull 15-cm nails through the back of his head and out his nose. According to Kuchmij, Ukrainian-born Swistun has been a failed farmer in recent years and somewhat of an underdog in his own community, but the success of the film has changed all of that. “Now he’s a star,” she says with pride. “He’s no longer the clown of Olha, he’s the strongest man in the world again.”
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