Rock Dreams

'Rock Dreams' 

by Guy Peellaert and Nik Cohn

Guy Peellaert was born in Brussels in 1934 and in the mid-1960s moved to Paris to pursue a career in commercial art. In 1966 a French magazine published Peellaert's Pop Art comic, 'Les Aventures de Jodelle'. 'Jodelle was considered an exemplar of hip and groovy and brought 'Continental' renown to Peellaert.

In the early 70s Peellaert teamed up with the British rock critic and writer Nik Cohn (b. 1946) to do a book of pictures of prominent rock and roll artists. 'Rock Dreams' was published by Popular Library in January 1973 as a trade paperback, and became the iconic rock art book of the 1970s. 

The story goes that Mick Jagger saw the proofs of the book and promptly invited Peellaert to do the cover for the Stones' forthcoming (i.e., 1974) album It's Only Rock and Roll. 

'Rock Dreams' is 170 pages of art depicting individual and group performers in not just the genre of rock, but the genres of blues, 'adult contemporary', and country and western.

The book is chronological in order, going from the birth of rock in the 1950s, up to the early 1970s.

Peellaert's work speaks for itself. It depicts its subjects in a idealized, satirical, or even poignant manner. 

Nik Cohn's captions are a mixed bag. Some simply are fatuous (Gene Vincent is like a 'maimed black leather animal'), while others, such as Crosby, Stills, Nash, and Young ('Highway songs full of light and space' ) ably complement the artwork.

After 'Rock Dreams', Cohn went on to write for the U.S. media market. His 1976 article for New York magazine, 'Tribal Rites of the New Saturday Night', became the basis for the movie Saturday Night Fever. Later it was revealed that Cohn had fabricated much of the events supposedly profiled in the article.

For his part, Peellaert went on to do two more books of paintings of prominent personalities in the world of movies, popular culture, and politics. 'The Big Room' (1986) and '20th Century Dreams' (1999) focused on Las Vegas, and 'imaginary' historical encounters, respectively. 

It's hard to overestimate the impact of 'Rock Dreams'. I was fortunate to get a copy of the 1973 edition in late 1970s (maybe from a remainders table at Waldenbooks).

In their review of April 11, 1974, Rolling Stone magazine labeled the book 'Teen Fantasies as Art'. 

It was an essential part of every stoner's library during the 1970s, and Peellaert's approach was mimicked by other artists, such as John Youssi, who provided the illustration below for a March, 1976 Playboy article about Bruce Springsteen:

Baby Boomers are the audience for 'Rock Dreams'. I can't see anyone under 50 having much interest in the book, apart from admiring the art. 

Some of the portrayed artists nowadays are fringe figures: Johnny Ray, Annette Funicello, P.J. Proby, Conway Twitty, and Cilla Black. It's difficult to imagine those names resonating with anyone who came of age during the MTV and CD eras. And I can't see anyone in the cohorts of Gen-Y, or Gen-Z, having sufficient familiarity with even the major performers profiled in 'Rock Dreams', to grasp the insinuations couched in many of Cohn's captions.

Copies of the 1973 edition of 'Rock Dreams' fetch high prices ($40 and up, at Abebooks). The Taschen Books reprint of 2003 is a little more affordable.  

Beautiful City

'Beautiful City'
from the movie Godspell (1973)

If you're a Baby Boomer, then you may be familiar with the 1973 movie Godspell, which was based on a  stage play written in 1970 by Stephen Schwartz and John-Michael Tebelak. Godspell first was performed off-Broadway in 1971.

Godspell came on the scene just as another New Testament-based play, Jesus Christ Superstar, was gaining considerable attention on Broadway. Like Superstar, Godspell was a commercial success, with one of the songs from the soundtrack, ‘Day By Day’, becoming a Billboard top 20 hit in the Summer of 1972.

Plans were implemented for a cinematic version of Godspell, with filming taking place from August through November 1972 in New York City. The film was released in theaters in March 1973.

Viewing the film today, I am struck by how pleasant and appealing (!!!) New York City looks in the lighting and atmosphere of early Fall 1972, before the advent - just a year later-  of the Arab Oil Embargo, the resultant financial crises, and the crime, squalor and decay that were to grip the city until the mid-1990s. The film has the sort of goofy, amiable energy that was still evident in some aspects of the counterculture in 1972, when the hippie movement still had some degree of vitality.

If I were to describe Godspell to someone who has never seen it, I’d have to say it is a cross between Superstar and The Electric Company. Unlike Superstar, Godspell takes a decidedly more saccharine view of the Gospels; save for the more poignant moments, the songs and dialogue are upbeat and amiable, the cast dressed in clown’s clothing, and Jesus and his followers presented as a peculiar breed of ‘flower children’. 

Listening to the soundtrack for the film, there is plenty of (rather mawkish) early 70s folkie goodness. But there also are some tunes that perfectly capture the idealism of the Youth Movement of the era, and none does this better than 'Beautiful City'. A video clip of this song being performed in the movie is here, while the audio file (better quality sound) can be listened to here. Enjoy !

Book Review: Shadrach in the Furnace

Book Review: 'Shadrach in the Furnace' by Robert Silverberg

1 / 5 Stars

'Shadrach in the Furnace' (247 pp.) first was published in hardcover in 1976 by Bobbs-Merrill, with a cover illustration by Fred Samperi. A mass market paperback edition was released by Pocket Books in February, 1978.

'Shadrach' is set in 2012. A series of geological catastrophes, and the Virus War, have caused the downfall of the West and allowed a Chinese Communist Party apparatchik, the Mongolian Genghis II Mao IV Khan, to install himself as a global despot.

From his complex in Ulan Bator, Genghis Mao Khan - who is ninety years old - surveils events all over the world from a network of CCTV cameras. Dissent from his rule is negligible, hampered by the fact that most of the global population slowly is succumbing from the disease of 'organ rot', with treatment offered only to those in the Khan's inner circle.  

The eponymous Shadrach Mordecai is the Khan's personal physician. A black American man, Shadrach is personable, skilled, and utterly affectless about the disastrous state of the world. Living a life of privilege, sheltered in the complex in Ulan Bator, Shadrach attends to the increasing medical needs of his patient, who requires regular transplants of organs procured from the viscera of comatose rebels and dissidents interned at the 'Organ Farm'. 

When not providing care to his autarch, Shadrach enjoys dalliances with two female scientists on the Khan's staff, who are working on methods to increase the longevity of their employer. Shadrach also enjoys frequent trips to the pleasure city of Karakorum, which offers a variety of recreational delights to the Khan's bureaucrats and functionaries.

I'm not spoiling anything by revealing that Shadrach's idyllic life soon is to be disrupted by the discovery that the Khan hopes to extend his life, and regain his youth, by having his consciousness downloaded, as it were, into the body of one of his subjects. 

And it is Shadrach who has been chosen for this peculiar 'honor'.............. 

So 'Shadrach in the Furnace' would seem to have an intriguing, inherently gripping premise: our hero knows he is in a metaphorical furnace, so what will he do to save himself ? Unfortunately, with this novel, Silverberg's approach to plotting is so anemic that the novel never achieves much in the way of drama or excitement.

Indeed, Shadrach doesn't learn he's been selected to be the repository of the ailing Khan's consciousness until page 123, and despite that revelation, Shadrach eschews any sort of urgency. We are treated to expositions on the use of woodworking as a meditative tool. There are phantasmagorical excursions into Virtual Reality (as it was envisioned in 1976). Shadrach has melodramatic exchanges with his girlfriends. And in the closing chapters of the novel, Silverberg has Shadrach indulge in travel to places around the globe, this serving as a mechanism to advance Shadrachs' personal growth, and empathy with the masses of humanity suffering under the Khan's despotism. 

These divagations ensure that, when it finally arrives, the novel's denouement is underwhelming and contrived, and failed to justify the investment in time I had made for the preceding 242 pages.

The verdict ? Like most (all ?) of Silverberg's New Wave era novels, 'Shadrach in the Furnace' suffers from a preoccupation with characterization over plotting, and an emphasis on discourses into humanistic themes, discourses that can't help but seep momentum from lethargic narratives. 

It's interesting to note that after the release of 'Shadrach' Silverberg published no new works for four years, and when he did resume publishing, it was the combined fantasy / sci-fi novel 'Lord Valentine's Castle'. 

'Valentine's Castle' was considerably more energetic and plot-driven than Silverberg's New Wave entries, and as a result, also was more commercially successful.

I am comfortable with a One Star Review for 'Shadrach in the Furnace', as it is only for those readers with the patience for a dilatory narrative that exemplifies the New Wave ethos.

Penthouse March 1976

Penthouse magazine
March 1976

March, 1976, and the Billboard Hot 100 of pop singles indicates that 'Oh What A Night', by the Four Seasons, is the top-selling song in the USA. At number 2 is the late Eric Carmen, with the weepy 'All By Myself'.

The latest issue of Penthouse magazine is on the stands. Let's take a look inside, shall we ?

The cover subject, and this month's Pet, is a lissome, twenty-six year-old English girl named Joann Witty. Joann coyly discloses that flying is her passion: '...the only thing I've ever found that excites me as much as making love.'

(According to PorPor Books Blog reader Lawrence, Joann, using the stage name 'Priscilla Barnes', starred as 'Teri' in the sitcom Three's Company !).

In the advertisements, we see yet another pitch for 'Hair Dimensions', a New York City medical office that got away a 'restoration' procedure that involved implanting plastic sutures into the scalps of balding men. Tufts of hair then were attached to the sutures. The procedure invariably led to infection of the scalp and loss of the attached hair. Victims of this 'breakthrough medical implant technique' required surgical removal of the sutures, with resultant scarring and disfigurement. 

Elsewhere in the March issue, we get an advertisement for an exploitative book called 'The Viva Rape Letters', a sleazy publication that no major magazine publisher would issue nowadays, in the 21st century. But things were different 48 years ago.

The music column for this March issue highlights a New York City band called Television, who are adamant that they are not a 'glitter' band (the term 'New Wave' was still some years in the future).

We have a cartoon that also would not pass muster nowadays........

The Interview in the March issue is with Star Trek producer and creator Gene Roddenberry. Roddenberry goes to considerable effort to present himself as a Humanist of rare and powerful insight, as well as a Deep Thinker: towards the end of the interview he expounds on his theory of the 'socio-organism', a new 'species' that has come to dominate the planet.

Roddenberry is reticent about the status of the Star Trek film that he is working on at the time of the interview.  Of course, we now know, from Harlan Ellison's lengthy footnote in the 1981 Stephen King book 'Danse Macabre', that conflict between Roddenberry, his ego, and the studio, was complicating development of the film:

Paramount had been trying to get a Star Trek film in work for some time. Roddenberry was determined that his name would be on the writing credits somehow….the trouble is, he can’t write for sour owl poop. His one idea, done six or seven times in the series and again in the feature film, is that the crew of the Enterprise goes into deepest space, finds God, and God turns out to be insane, or a child, or both.

For a review by Ellison of Star Trek: The Motion Picture, readers are directed to this blog.

I hope you have enjoyed this excursion into pop culture, as it was 48 years ago.............

Bloodtide

'Bloodtide' (1982)

Lydia Cornell (left) and Mary Louise Weller (right) in the 1982 film 'Bloodtide'

Book Review: The Face of the Waters

Book Review: 'The Face of the Waters' by Robert Silverberg

3 / 5 Stars

'The Face of the Waters' first was published in hardcover in 1991. This Bantam Spectra paperback edition (436 pp.) was published in November 1992 and features cover design by A.I.R. Studio, Inc.

The planet Hydros is a 'water world' completely covered in seawater. The indigenous 'Gillies', a race of humanoid salamanders, have erected artificial islands constructed of sea plants. Anchored to the sea bed by the plants' roots, these islands are the only abovewater platforms on the entire planet.

Hydros supports a small population of humans who, either voluntarily or involuntarily, have chosen to migrate to the planet despite the knowledge that there are no mechanisms for off-world transport; those arriving on Hydros are destined to stay there till they die. 

The Gillies reluctantly allow humans to erect small settlements on Gilly islands. The humans, devoid of much in the way of technology and weaponry, are obliged to observe the strictures imposed by the Gillies.

Lead character Valben Lawler is the physician of the human colony on the island of Sorve. In his early forties, Lawler is by nature a solitary individual, whose main concern outside of medicine is the legends and history of Earth, the quasi-mythical Home of Mankind. 

In the opening chapters of 'The Face', a crisis confronts the humans on Sorve. A transgression against the Gillies has led them to order the humans into exile. With no hope of forcibly defying the Gillies' ultimatum, the 78 humans on the island are obliged to seek shelter elsewhere. 

Lawler is traumatized by the abandoning of the only home he ever has known, but he joins the other 77 exiles, dispersed aboard six sailing ships, on the dangerous trek across the ocean to find another island that is willing to accept them.

But as the Sorve Island refugee flotilla is to discover, the dangers awaiting them among the waves and spray of Hydros are unlike any they ever could imagine............ 

'The Face of the Waters' is at heart a horror novel, one that will tell you "who will survive, and what will be left of them !" The opening chapter makes this clear, and after reading that chapter, I was poised for an action-centered tale of the survival (?) of the Sorve flotilla against all manner of hostile sea-creatures. And indeed, throughout the book Silverberg does relate life-and-death encounters between the humans and the fauna and flora of the seas of Hydros. 

Unfortunately, Silverberg, as he does with many of his other novels, dilutes the narration of 'The Face' with regular, and lengthy, philosophical ruminations by Valben Lawler and his acquaintances among the ship's complement. Silverberg even arranges to have a doubting Catholic priest aboard Lawler's ship, so the two men can have deep conversations about metaphysics and eschatology. 

Silverberg's prose style is as smooth as ever, but as chapter after chapter unfurled, the denouement seem artificially delayed by the presence of so much narrative padding. And while I won't give anything away, the novel's final chapters were a letdown, delivering to the reader a confrontation between Humanism and Pantheism, that made the privations of the flotilla and the Sorve refugees seem more than a little contrived.

Summing up, 'The Face of the Waters' is a Three-Star science fiction novel. It would have benefitted from being at least 100 pages shorter, and being more focused, plot-wise. Those with the necessary degree of patience many find the book rewarding, but if patience isn't your strong suit, then 'The Face' probably is not for you.

Rolling Stone Cover to Cover: The First 40 Years

Rolling Stone Cover to Cover: The First 40 Years

Bondi, 2007

Bondi Digital Publishing was a firm founded by David Anthony and Murat Aktar in 2004 as a producer of DVDs of archived magazines, releasing these DVDs in a higher-end, boxed set format. 

In 2007 Bondi published Rolling Stone Cover to Cover, Playboy Cover to Cover: the 50s, and Playboy Cover to Cover: the 60s. Alas, that was it for Bondi Digital Publishing; while in a 2007 interview Anthony hinted at additional magazine archiving projects, the company later suspended operations. 

In 2022 a firm called Pugpig announced they had acquired Bondi Digital. Pugpig makes digital archives of content for publishers (such as High Times, Esquire, and Creem), so they can sell access to this content as part of their subscription model.

It's possible to get the Rolling Stone: Cover to Cover DVD set for very affordable prices. The item is packaged in a study gateway box that has magnetic closures. There are four DVDs, one with the installer program / Bondi Reader app, while the other three cover select intervals in the publishing history of the magazine (1967 -1983, 1984 - 1995, 1996 - 2007)

I use Windows 10 on my PC, and while I could install the Bondi Reader app, it wouldn't work. So I downloaded a patch that is available at this link. After installing the patch, I could load a content DVD and access it without any problems. Further information on troubleshooting the Rolling Stone set is available here.

Along with the DVDs you get a trade paperback book that provides a chronological overview of the high points in the magazine's history.

As for the DVD content, well, it was generated using scanning technology as it was in the mid-2000s, so it's not going to be very crisp or legible. Indeed, looking at the magazine pages on my 32-inch monitor takes some fiddling and zooming in, particularly with the older issues from the 60s and 70s and early 80s. Things improve as the 80s progress. But with no file, will the DVDs provide what nowadays is considered 'high resolution'. 

Scrolling through the files on the DVD, I recognize why I was never a big fan of Rolling Stone. I couldn't stand the magazine's deification of people like John Lennon and Yoko Ono, Hunter Thompson, Bruce Springsteen, Bono Vox, old black bluesmen.........its willingness to jump on the superficial and trendy.

That said, there are worthy articles in every third or fourth issue. Those published in the 70s and 80s, before there were internet-based protocols for vetting content, are likely to have more than a little specious content. But that's how it was in those long-ago days, when you couldn't simply sit down and fact-check a story using the internet.

Summing up,  Baby Boomers who are nostalgic for the pop culture of their youth are going to be interested in Rolling Stone: Cover to Cover. It's not the most accessible package in terms of compatibility with modern technology: you can't read it on a tablet, or a smartphone, and reading it on a laptop's smaller screen is going to be tiring. But if you're willing to access the content on the larger screen of a PC, then investing in the box is a worthwhile idea.

Book Review: The Book of Skulls

Book Review: 'The Book of Skulls' by Robert Silverberg

1 / 5 Stars

'The Book of Skulls' first was issued in hardcover by Charles Scribner's Sons in December, 1971. Numerous paperback editions have been published since then, including this Bantam Books edition (196 pp.) from January, 1983, which features a striking cover illustration by Jim Burns.

‘The Book of Skulls’ represents an effort by Silverberg to access the mainstream novel readership as it stood in the early 1970s, namely, the people who belonged to the Book of the Month Club and the Literary Guild, rather than the people who belonged to the Science Fiction Book Club. With ‘Skulls’, Silverberg plainly hoped to emulate the tales of youthful misadventures that proved so successful for Larry McMurtry with ‘The Last Picture Show’ from 1966; Jules Feiffer’s play ‘Carnal Knowledge’, made into a 1971 film; and the novels of Philip Roth (Eli Steinfeld, a character in ‘Skulls’, is essentially a younger version of Roth’s frustrated, self-conflicted Jewish males).

‘Skulls’ is set in the early 1970s. In the opening chapters we are introduced to the four characters: Eli, Oliver, Timothy, and Ned. All are students and roommates at an unnamed Ivy League university in New England. We learn that while poking around the dustier shelves in the basement of the university library, Eli came across a medieval manuscript titled Liber Calvarium, i.e., The Book of Skulls. According to the manuscript, by completing the Trial of the Skulls it is possible to achieve immortality. There is a catch, however: four people must apply for the ritual, and one of them must die at the hands of the others, and one must die by his or her own hand.

Signet edition, 1972

Would you be willing to wager your life for a 50:50 chance at immortality ? The four boys think that, yes, they would, so as the novel opens, they are on a Spring Break road trip from their university to a remote location in the Arizona desert, where they hope to find the House of Skulls. Once there, Eli, Ned, Timothy, and Oliver will proceed with the Trial, each hoping it’s someone else who winds up with the shorter end of the stick…………. 

‘The Book of Skulls’ has an intriguing premise but sadly, Silverberg doesn’t do much with it. 

The narrative is rather awkwardly constructed around revolving first-person discourses by each of the four protagonists. Silverberg adopts this procedure in order to expend considerable text on internal monologues, which inform the reader that the boys only are partially convinced that the House of Skulls, and the Trial of Skulls, even exist, but intend to satisfy their curiosity on the matter. When, on page 94, the boys finally do reach the House of Skulls, the remainder of the novel soon exhausts itself in chronicling the boy’s innermost fears and desires over the cost-benefit ratio of their eschatological enterprise. This temporizing simply pads the narrative, and doesn't do much to advance the storyline.

The novel’s prose style is dense and overwritten, couched in a kind of breathless hipster argot marked by run-on sentences that are compacted into paragraphs that can approach two and one-half pages in length. Readers will have to negotiate phrases in Latin, allusions and expositions on all manner of highbrow topics, and words like: 

muniment: an archived document or record

uncial: medieval script

geniza: the area of a synagogue or cemetery where manuscripts or documents are stored

incipit: the opening words of a medieval text

circumvolutely:  referring to rolling around or encircling something. While 'circumvoluted' is listed by Merriam-Webster online, 'circumvolutely' isn't listed....?!

By the time the denouement of ‘The Book of Skulls’ finally appeared I was so fatigued from plodding through all the verbiage that I observed the fate of Oliver, Timothy, Ned, and Eli with indifference. 

The verdict ? 'The Book of Skulls' fails to engage, neither as a mainstream novel, nor as one of Silverberg's more adventurous excursions outside the sci-fi genre.