Normally, this is a lightly-annotated but otherwise random collection of images of comic book and rock ‘n’ roll album covers. Today’s edition shifts just a little for a cavalcade of rock magazine and paperback covers instead. Consider me a Renaissance blogger.
One of the many prizes I scored in the dealers’ room at DC Comics‘ 1976 Super-DC Con in New York was this paperback novel from 1966. Produced as tie-in product for the immensely popular Batman TV series starring Adam West, Batman Vs. 3 Villains Of Doom is slightly less camp than the TV show, and seems a bit closer to its original comics inspiration. According to DC Wikia, the novel incorporates three Batman comic book stories from 1947-1950, and places them within a framing device of The Joker, The Penguin, and The Catwoman competing for the Tommy (as in Tommy gun), the underworld equivalent of an Oscar for, y’know, best–or worst–bad guy. Listen, criminals may be a superstitious and cowardly lot, but they crave validation just like regular folks do. You like me! You really like me! HA-HA-HA-HAAAA! Waughh! Meow! Ahem. I haven’t re-read this in many years, but I recall that it was a fun and entertaining pulp-lite superhero book. Credited author “Winston Lyon” is as fictional as Alfred and Commissioner Gordon; the novel was written by William Woolfolk, prolific veteran author of many novels, comic books, and screenplays. Batman Vs. 3 Villains Of Doom was only the second prose novel to star a DC Comics superhero, following George Lowther‘s The Adventures Of Superman in 1942.
Creem magazine was one of the all-time great rock ‘n’ roll rags, and it will be the subject of a near-future edition of my rock magazine reminiscence series He Buys Every Rock ‘n’ Roll Book On The Magazine Stands. (My series itself was inspired by a recent invitation from Devorah Ostrov and former Creem regular John Mendelssohn for me to contribute to Reet, a new online magazine in the proud and plowed Creem tradition.) This fairly reverent 1987 special Creem edition dedicated to The Monkees may seem an anomaly for the notoriously snarky Creem because…well, because it is an anomaly for the notoriously snarky Creem. But nor was it a unique anomaly, as the perpetrators of Creem weren’t exactly above chasin’ a quick buck by pandering to a perceived mass pop market. Hell, my first Creem mag was a 1977 spotlight on The Bay City Rollers, and I kinda wish I still had a copy of that. That said, I know that Bill Holdship, Creem‘s editor in 1987, was and remains a Monkees fan himself, and his guidance produced this lovely souvenir document of resurgent Monkeemania in the ’80s. This I still have, and I’m keepin’ it. One regrets The Monkees never did a Creem Profiles Boy Howdy! bit…did they?
Harlan Ellison was my favorite writer when I was a teenager, and no other author has ever really challenged his position at the top of my literary pantheon. Ellison was an enormous influence on my writing, and on my attitude toward writing. His essay collections (in particular The Glass Teat and The Other Glass Teat) were as essential to me as his fiction. I don’t remember how I started on my path to Ellison Wonderland. My first exposure to his work was the time-traveling Star Trek episode “The City On The Edge Of Forever,” which I adored (although Ellison despised the changes made to his work in the televised version). I saw his name in comic books, as co-writer (with Roy Thomas) of “Five Dooms To Save Tomorrow!” in The Avengers # 101, and as inspiration for a character called Harlequin Ellis in Justice League Of America # 89 (written by Mike Friedrich). My friend Bob Gray may have recommended I check out Ellison’s books. My first was Paingod And Other Delusions, a collection of short stories that included Ellison’s masterful “‘Repent, Harlequin!’ Said The Ticktockman.” I was hooked immediately, and set out to accumulate as many Ellison books as I could, as fast as I could. I saw Ellison speak at Syracuse University around 1976 or so, and I was riveted as he read his then-unpublished short story “Hitler Painted Roses.” After the lecture, Ellison autographed my copy of his No Doors, No Windows, and playfully tried to hook me up with the diminutive co-ed standing in line in front of me. Um…that’s not why Ellison’s my favorite writer. But it didn’t hurt.
Shortly after I left Buffalo to return to Syracuse in 1987, I suddenly became a bigger, more devoted fan of The Flamin’ Groovies. I don’t know exactly why, but it grew out of my increased attention to Goldmine, the bi-weekly tabloid for record collectors. I’d begun freelancing for Goldmine in late ’86, the start of what would be a twenty-year run as a GM stringer. I started ordering sundry delights from Midnight Records, one of Goldmine‘s regular advertisers. And again, I have no idea why I abruptly fixated on the Groovies at this time, though I think their track “First Plane Home” may have played a role in my Groovies revelation. It wasn’t like I didn’t already appreciate the group; I’d owned their Shake Some Action and Now albums for years, and absolutely loved them. Either just before or shortly after my move to Syracuse, I finally grabbed a copy of 1979’s Jumpin’ In The Night, the final Flamin’ Groovies LP released up to that point. “First Plane Home” freakin’ blew me away, just as “Shake Some Action” had done years before, so I guess I do know what sparked my 1987 embrace of the Groovies. And now I needed more! Midnight sold me an Australian fan magazine, Flamin’ Groovies Quarterly, a new (!!!) Groovies album called One Night Stand, a CD of live performances (Groove In), and an all-Groovies edition of one of my fave rave rock reads, Bucketfull Of Brains. Bucketfull Of Groovies filled me in on the back story for what had become one of my all-time favorite bands. This was an invaluable resource when I interviewed the Groovies’ Cyril Jordan for Goldmine in 1992.
1970-’71. I hated sixth grade. Hated it. About the only good thing I can say about sixth grade is that it was slightly better than seventh grade, the way shingles is better than leprosy. The only other good thing about sixth grade was The Pigman, a novel by Paul Zindel. My reading teacher Mrs. Mott read the book to us in class; oddly enough, I don’t remember any of us ever having the book in front of us while she read, which seems strange for a reading class. I was already reading at a high school level, so I betcha I could have followed along acceptably. The book was fascinating, sad, emotional, unforgettable. I believe I had another class in a subsequent year that also studied The Pigman, and I read it on my own at that time. My original well-worn copy is long, long gone. I replaced it with a fresh copy a few years back, when my own daughter was entering high school. She declined the option of reading it herself. But I owe myself the pleasure of re-visiting it. (A pretty classmate named Diana was the third and final only good thing about sixth grade, but she never noticed me anyway.)
When I started my recent look back at rock mags of days gone by, a few friends mentioned Rock Scene as a favorite. I bought the occasional issue of Rock Scene in the late ’70s/early ’80s, and browsed through many more of ’em on the racks at The Liftbridge Bookstore in Brockport. But Rock Scene never meant as much to me as Creem or Bomp!, Trouser Press or The Pig Paper, nor even the distrusted Rolling Stone. In retrospect, I probably should have dug Rock Scene more than I did. Really, the magazine was like a more specifically rock-oriented version of vintage 16 or Tiger Beat, focused far more on pictures than on text. There’s nothing wrong with that, and you’d think my uber-pop sensibilities would have taken to that like a High Times reader takes to chocolate chip cookies. I recall seeing an uncharacteristically snide remark within a Rock Scene piece about KISS that would have been right at home in Creem, and maybe there was more of that if I’d been paying attention. And Rock Scene did feature The Sex Pistols and The Ramones, and I was for damned sure in favor of that! I don’t think I kept any of my few Rock Scene purchases from the time, but I’ve picked up a couple of old issues at record shows in recent years. My Rock Scene fan friends were right; I was wrong.
Flea markets and used bookstores. From these fertile fields, I amassed a decent collection of paperback novels based on the ’60s TV spy show The Man From U.N.C.L.E. I don’t believe I ever saw the show when it originally aired, but I certainly knew of it and its protagonists, Napolean Solo and Illya Kuryakin. My first Man From U.N.C.L.E. adventure was a Big Little Book (The Calcutta Affair) ’roundabout fourth grade. In the mid ’70s, I saw a film called The Spy With My Face on CBS‘ late movie. The Spy With My Face was an episode of The Man From U.N.C.L.E., expanded with extra footage for a 1965 theatrical release. Hey, reduce, reuse, and recycle! I loved it. Although I started snagging the paperbacks soon thereafter, I confess I’ve yet to read one. But I still have them, and I’ll get to them one day. One of the many great things about books is that they have no expiration date. I’m told the Man From U.N.C.L.E. books also hold the distinction as the first resource to spell out the full name of U.N.C.L.E.’s evil adversary, THRUSH. We knew from the TV series about the United Network Command for Law Enforcement; it was the novels that suggested the bad guys were the Technological Hierarchy for the Removal of Undesirables and the Subjugation of Humanity. Hence, y’know, bad guys. I’ve since seen most (all?) of the TV series episodes as reruns. And I’d be remiss if I didn’t make a brief mention of actress Yvonne Craig, later to become TV’s Batgirl, steamin’ up the spy business on The Man From U.N.C.L.E.
The first punk record I ever heard was “God Save The Queen” by The Sex Pistols. The Ramones would ultimately mean a great deal more to me, but the Pistols were also important, and I still enjoy blastin’ “God Save The Queen,” “Pretty Vacant,” “Holiday In The Sun,” and “No Feelings,” among others. Punk magazine’s document of the Pistols’ American tour and messy demise was the cover feature on either the first or second issue of Punk I ever owned; I think I picked this up before I purchased the previous issue, which cover-featured The Dictators. The Sex Pistols issue was Punk‘s first as a slick magazine, transitioning from its previous tabloid format. This issue earned bonus points with me for also covering The Bay City Rollers, though apparently many Punk readers were simply horrified to see the Rollers in a punk zine. I thought Punk was a terrific, terrific magazine, and I regret that I missed most of its run. I did snag an earlier issue (with a John Holmstrom drawing of Joey Ramone on the cover, and hilarious interviews with David Johansen and the hapless Dorian Zero contained therein), and a subsequent issue starring Joey Ramone and Debbie Harry in the magazine-length photo-funny “Mutant Monster Beach Party.” Punk was gone too soon. I own two different retrospectives of the magazine, one hardcover and one softcover, and neither gives me what I really want: a comprehensive reprinting of every single page of every single issue of Punk. NOW!!!
My addiction to superpulp paperbacks in the ’70s prompted me to pursue spinner-rack reprints of decades-old adventures starring the likes of The Shadow, Doc Savage, Tarzan, The Spider, The Avenger, Operator 5, Conan the Barbarian, Ellery Queen, and The Lone Ranger, plus novelizations of ’30s comic strips starring Flash Gordon. I wish there were even more, and I wish I’d picked up the then-new Vampirella novels a couple of years later. My favorite series was probably The Phantom. Like the Flash Gordon books, these were prose adaptations of old newspaper strips, and I consumed them with great delight. Their covers were perfectly prototypical ’70s era pulp paperback fare, colorful kindred spirits to the other willfully-garish drugstore potboilers, even with a costumed hero mixed in with the prerequisite sex and violence. The cover of The Veiled Lady is a prime example, as The Ghost Who Walks deals hot lead from his firearm while cradling and protecting a buxom damsel in distress. My favorite Phantom novel was the debut entry, The Story Of The Phantom, which seemed more complete and accomplished than its sequels, but I enjoyed every one I read. And I read a few: The Story Of The Phantom, The Slave Market Of Mucar, The Scorpia Menace, The Veiled Lady, The Mysterious Ambassador, The Hydra Monster, and Killer’s Town, with The Goggle-Eyed Pirates a more recent internet purchase. For those who came in late.
I’m tempted to suggest that Hot Wacks Quarterly didn’t know whether it wanted to be a rock magazine or a girlie magazine, but I think its editors knew precisely what they were going for here. Hot Wacks specialized in coverage of bootleg recordings, but wasn’t above the use of rock-related cheesecake photos to help sales. Even so, the magazine never connected for me. I owned two or maybe three issues, realized my indifference, and moved on.
Hey, I had fun doing this! There will be more comics and LP covers to come, of course, but maybe we’ll look at some paperbacks and rock mags again, too.