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The march of the child bridegrooms. (The Invisible Arts).(music)(Review)

Publication: C: International Contemporary Art
Publication Date: 22-JUN-02
Format: Online - approximately 1707 words
Delivery: Immediate Online Access

Article Excerpt
It begins, as most stories do, with a solitary voice. This one is a child's, unformed, unsteady but not unsure, rising from the west where the sun goes every evening to hide. Across twenty years and thousands of miles, from 1970s British Columbia to 1990s Ontario, a few boys hear her plaint:...

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..."You better come to your senses... You better let somebody love you before it's too late." They raise their heads, sniff the wind, leave the pack.

The song is the Eagles' faux-cowboy ballad, "Desperado," sung solo by nine-year-old Sheila Behman on a 1977 souvenir recording of her Langley, British Columbia school choir. The boys are Aaron Riches and Joel Gibb and their partners in Toronto bands Royal City and the Hidden Cameras, respectively. In real life, they probably didn't hear Behman's song until other music fans did, with last year's outsider-music semi-hit release of Innocence & Despair: The Langley School's Music Project on Bar/None Records. But their own work makes it seem they'd been influenced by Behman all their lives, aspiring to her affectless voice, which liberates cheap soft rock from its ersatz poetry and cliched tune, stripping the song down not to its core but to her own -- a child's ache for shelter. "Freedom, oh freedom, that's just some people talkin'," she sighs, reminding us that while rock stars usually paint childhood as a lost Edenic garden, actual innocents must wander a dark and frightening wood.

Behman sang for Langley elementary-school teacher Hans Fenger, who was influenced by the radical pedagogy...

NOTE: All illustrations and photos have been removed from this article.



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