Showing posts with label Rock n' Roll. Show all posts
Showing posts with label Rock n' Roll. Show all posts

Friday, August 30, 2013

Greetings From Bob Dylan On Highway 51, $12,500

by Stephen J. Gertz


A one-page, 8 1/2 x 6 inch autograph manuscript in black Flair pen by Bob Dylan from 1973 has come to market. Any Dylan material that finds its way into commerce is precious and highly desirable, and this piece, possessing a typically enigmatic, absurdist and surreal inscription and drawing, is no exception. Offered by Rulon-Miller Books, the asking price is $12,500.

The inscription to an unknown party reads: Proud of You. You never sniffed drainpipes but you have a good grasp of the Alphabet - Highway 51 is not your road. Bob Dylan 1973. To the left of his signature Dylan has drawn the rear end of an automobile with gross tailpipe trumpeting exhaust.

Those familiar with Highway 61 Revisited, the song from Dylan's sixth album of the same name released in August 1965, may be unfamiliar with Highway 51, Highway 61's sister road. Highway 51 appeared on Dylan's first album, Bob Dylan, released on March 19, 1962.

Highway 51 runs right by my baby's door
Highway 51 runs right by my baby's door
But won't get the girl I'm loving
Won't go down Highway 51 no more

Well, I know that highway like I know my hand
Yes, I know that highway like I know the back of my hand
Running from up Wisconsin way down to no man's land

Well, if I should die 'fore my time should come
And if I should die 'fore my time should come
Won't you bury my body out on Highway 51?

Highway 51 runs right by my baby's door
I said, "Highway 51 runs right by my baby's door"
But won't get the girl I'm loving
Won't go down Highway 51 no more
 
Copyright 1962 © Bob Dylan

Highway 51 is strange. Highway 61 is stranger, a malignant ribbon of asphalt that runs through purgatory straight to hell:

Now the rowin' gambler he was very bored
He was tryin' to create a next world war
He found a promoter who nearly fell off the floor
He said I never engaged in this kind of thing before
But yes I think it can be very easily done
We'll just put some bleachers out in the sun
And have it on Highway 61.
 
Copyright 1965 © Bob Dylan

Highway 51 is, in contrast, a benign boulevard. Though it's required that you have experience sniffing drainpipes before you hit the on-ramp, it is not necessary that you suck exhaust from a tailpipe as if it were hashish, a standard activity on Highway 61 and key survival skill on the way to Hades. Highway 51 is merely where love escapes to who knows where and leaves hearts behind as roadkill. Knowing the alphabet is a disadvantage; love spells trouble.

The difference between the two roads is the difference between the blues and psychosis. You are advised to avoid both. On the road with Bob Dylan makes On the Road with Jack Kerouac seem, in contrast, like placid motor down a country lane with flower petals strewn in advance of your car.
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Image courtesy of Rulon-Miller Books, with our thanks.
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Friday, March 8, 2013

If Classic Rock Albums Were Books

by Stephen J. Gertz

"Fast-paced 1958 thriller: a jilted train driver hijacks
his New York subway train to exact revenge upon his love
rival, only to threaten the life of his ex-lover.
The last 30 pages are missing. Don’t know if she survives."

Last year, Christophe Gowans, a British graphic designer who has worked as art director at Blitz, Hybrid, Esquire, Modern Painters, The Sunday Telegraph Magazine, and Stella, created The Record Books, a series of faux volumes based upon great, best-selling record albums. Booktryst is pleased to present a sampler. The blurbs are his own.

"Thorough and clear children’s reference book concerning
all things equine. Sadly, many of the illustrations
within have been disfigured with juvenile amendments
and additions, in biro.
"

"Gruesome schlock from the prolific Jackson. In this
relentless stalkerfest, private eye Dwight Blackman
takes on the ‘Shamone’ Killer for the 3rd time.
Will the psycho slip through the dick’s fingers yet again?
Yes.
"

"When a form of acid rain, caused by a comet plowing
into Uranus, appears to stunt the growth of every
living thing on Earth, mankind’s very existence is
on a knife edge. When a group of pygmies realize
that the peach is the only plant unaffected, they
found a new society, with the peach stone as its currency."

"Charismatic Harvard whizkid Hendrix’s self-help bible.
A spin-off from his phenomenally successful TV reality show,
’The Experience.’"

"A rags to glory autobiography by Bruce Reginald Grayson
Springsteen. The story of his rise from squalor to victory
in the 1932 Los Angeles Olympics is…
well, it’s a pretty dull book."

"War comic. Part of a very long series, an epic really,
recounting the journey of three boys from early
conscription to their various fates. Heroic, tragic,
moving. This one is covered in puerile sexual additions
in blue biro, though.
"
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All images courtesy of Christopher Gowans, with our thanks.

Images are available as prints and postcards here.
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Monday, February 4, 2013

John Lennon's Bag One At $133,500

by Stephen J. Gertz


A complete copy of John Lennon's Bag One (1970) from its forty-five sets only hors commerce (not for sale) issue of the first edition has come into the marketplace. No complete copy of this iteration of the first edition has previously been offered for public sale; this is the first to come out of hiding. Numbered in pencil in Roman numerals "H.C.XXXIX" and signed by Lennon, it is being offered for £85,000 ($133,500) by Peter Harrington Rare Books of London..

Bag One is a series of fourteen signed original lithographs originally conceived and executed in 1969 to commemorate Lennon's wedding to  Yoko Ono and their subsequent honeymoon in Amsterdam.

It is the rarest, most desirable and difficult to find of all of Lennon's books, no matter the edition and issue. In addition to the 45 hors commerce copies the first edition was comprised of 300 signed copies.

Last year, an attractive complete copy of one of those 300 sets was offered by New England Book Auctions for $20,000-$30,000.

The hors commerce copies are held dearly by those privileged to have had one bestowed upon them by Lennon or Ono. This copy belonged to British advertising executive and fine arts publisher and author, Edward Booth-Clibborn, who won a rather spectacular claim to fame in 1991 while working for British agency D&D.

"Even by the ad industry's extravagant standards, Edward Booth-Clibborn's lunch bill for two at Mayfair's Le Gavroche in 1991 was a jaw-dropper… [a] £448 lunch for two - including a half bottle of wine costing £126 - that grabbed the headlines. Booth-Clibborn charged the lunch against "PR", causing The Independent to suggest later that the initials must have stood for 'profligate romp'" (Campaign, January 28, 2011). Adjusted for inflation that meal cost £750 ($1,185) in 2012.

Copies of the 45 hors commerce sets were reserved primarily for personal distribution by John and Yoko: 30 sets were given to their company, Bag One Productions, and presumably circulated by them amongst their friends. This set was given to Edward Booth-Clibborn as part of the negotiations in January 1970 over a marketing deal between his company, First Run Ltd, and the US licensee appointed by Lennon and Ono, Consolidated Fine Arts Ltd. Booth-Clibborn's British company proposed to produce mass-market posters of the images, and signed a contract to that effect on January 31, 1970.

On February 7, 1970, a jerk present at the New York opening night exhibition of the Bag One lithographs at Lee Nordness Galleries surreptitiously photographed them. Cheap reprints of the entire set were  publicly offered the very next day and Booth-Clibborn's contract was cancelled. He had invested $24,200 in the project; all he got was this copy of the suite. Forty-three years later he can now enjoy a few more profligate romps. Make sure he picks up the tab and leaves the tip.

Should another hors commerce copy enter the marketplace, one owned, perhaps, by Eric Clapton or any other super nova within Lennon's orbit, it will likely sell for at least $150,000-$175,000. Should Lennon or Yoko Ono's copy ever be offered for sale? I suspect an auction estimate beginning at $200,000-$250,000 and ending where the air is thin, leaving room for outer space before the hammer falls.


LENNON, John. Bag One. New York: Cinnamon Press, 1970. First edition, limited to 45 hors commerce sets, this copy being no. H.C.XXXIX. Folio. Title page, text leaf, and fourteen signed in pencil lithograph prints ( 58 x 76 cm) on BFK Rives paper, loose as issued. Lacking the leather bag, which was not included with hors commerce sets.
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Images courtesy of Peter Harrington Rare Books, currently offering this volume, with our thanks.
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Of Related Interest:

The Rarest, Most Desirable Book By John Lennon Comes To Auction.

Extraordinary Letter From John Lennon To Eric Clapton: Join My New Band!

Yoko Ono Collects Rare Books: The Booktryst Interview.

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Friday, December 7, 2012

Paul McCartney's Handwritten Lyrics To "Lovely Rita" Offered At $175,000

by Stephen J. Gertz


Paul McCartney's handwritten, working manuscript for the song Lovely Rita, from the Beatles' preeminent and triumphant album, Sgt. Pepper's Lonely Heart's Club Band (1967), has come into the marketplace. The first rough draft, ten lines in ink on a sheet of lined paper from a steno pad, it is being offered by Biblioctopus of Beverly Hills for $175,000.

Within, McCartney rewrites the line,  "writing all the numbers in her little black book," to read,  "filling in a ticket with her little blue pen." In the final version as recorded the line reads, "filling in a ticket in her little white book." At the top is a note, "chorus."

Accompanying the manuscript is an unncorrected first state proof of the Sgt. Pepper album cover, varying from the released version with McCartney kneeling, the band instruments placed differently, and with two people amongst the cast of onlookers who refused to sign releases and were dropped from the final, published album cover.

Authentic Beatles manuscript material from Sgt. Pepper hold the records for rock n' roll memorabilia at auction. In 1994, a manuscript draft of Getting Better sold at Butterfield's for $249,200. In 2010, the manuscript lyrics to A Day in the Life sold at Sotheby's for $1,202,500.

At $175,000 Lovely Rita seems a lovely bargain.

This piece was last seen at Butterfield's on December 12, 1993.
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Of Related Interest:

Extraordinary John Lennon Letter To Eric Clapton: Join My New Band!.

Yoko Ono Collects Rare Books: The Booktryst Interview.
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Monday, December 3, 2012

Extraordinary John Lennon Letter To Eric Clapton: Join My New Band!

by Stephen J. Gertz


A spectacular, significant and revealing eight-page handwritten and signed  letter, undated but c. mid-late 1969, from John Lennon to Eric Clapton inviting him to team up in a new band, is being offered by auctioneer Profiles in History in its Property of a Distinguished American Private Collector sale on December 18, 2012. It is estimated to sell for $20,000 - $30,000.

Over a thousand words, it was written by Lennon on behalf of Yoko and him after the Beatles  split-up and Lennon and Ono were seeking an opportunity to create music of a more profound and artistic nature - and "revolutionary." Clapton had left Cream when it curdled, intent on pursuing a solo career. Lennon and Clapton had originally met in the mid-1960s when Eric was with The Yardbirds and they had remained friends.

Their careers were in a state of flux and John sensed a unique opportunity. "I’ve/we’ve long admired your music—and always kept an eye open to see what you’ve been up to lately. I really feel I/we can bring out the best in you."


The letter reads in full:

Dear Eric and

I’ve been meaning to write or call you for a few weeks now. I think maybe writing will give you and yours more time to think.

You must know by now that Yoko and I rate your music and yourself very highly, always have. You also know the kind of music we’ve been making and hope to make. Anyway, the point is, after missing the Bangla-Desh concert, we began to feel more and more like going on the road, but not the way I used to with the Beatles—night after night of torture. We mean to enjoy ourselves, take it easy, and maybe even see some of the places we go to! We have many ‘revolutionary’ ideas for presenting shows that completely involve the audience—not just as ‘Superstars’ up there—blessing the people—but that’s another letter really.

I’ll get more to the point. We’ve asked Klaus [Voormann], Jim Keltner, Nicky Hopkins — Phil Spector even! to form a ‘nucleus’ group (Plastic Ono Band)—and between us all would decide what—if any—augmentation to the group we’d like—e.g. saxs, vocal group, they all agreed so far—and of course we had YOU!!! in mind as soon as we decided.

In the past when Nicky  was working around (Stones, etc.) bringing your girl/woman/wife was frowned on—with us it’s the opposite, Nicky’s missus—will also come with us—on stage if she wants (Yoko has ideas for her!)—or backstage. Our uppermost concern is to have a happy group in body and mind. Nobody will be asked to do anything that they don’t want to, no-one will be held to any contract of any sort—(unless they wanted to, of course!).

Back to music. I’ve/we’ve long admired your music—and always kept an eye open to see what you’ve been up to lately. I really feel I/we can bring out the best in you—(same kind of security, financial or otherwise will help) but the main thing is the music. I consider Klaus, Jim, Nicky, Phil, Yoko, and you could make the kind of sound that could bring back the Balls in rock ‘n’ roll.

Both of us have been thru the same kind of shit/pain that I know you’ve had—and I know we could help each other in that area—but mainly Eric—I know I can bring out something great—in fact greater in you that had been so far evident in your music, I hope to bring out the same kind of greatness in all of us—which I know will happen if/when we get together. I’m not trying to pressure you in any way and would quite understand if you decide against joining us, we would still love and respect you. We’re not asking you for your ‘name,’ I’m sure you know this—it’s your mind we want!

Yoko and I are not interested in earning bread from public appearances, but neither do we expect the rest of the band (who mostly have families) to work for free—they/you must all be happy money wise as well—otherwise what’s the use for them to join us. We don’t ask you/them to ratify everything we believe politically—but we’re certainly interested in “revolutionizing” the world thru music, we’d love to 'do' Russia, China, Hungary, Poland, etc. 


A friend of ours just got back from Moscow, and the kids over there are really hip—they have all the latest sounds on tape from giant radios they have. 'Don’t come without your guitar' was the message they sent there are millions of people in the East—who needed to be exposed to our kind of freedom/music. We can change the world—and have a ball at the same time.

We don’t want to work under such pressure we feel dead on stage or have to pep ourselves up to live, maybe we could do 2 shows a week even, tentatively (nothing definite) goes like this:

I know we have to rehearse sometimes or other, I’m sick of going on and jamming every live session. I’ve also always wanted to go across the Pacific from the U.S. thru all those beautiful islands—across to Australia, New Zealand, Japan,--wherever, you know—Tahiti—Tonga—etc, so I came up with this.

How about a kind of 'Easy Rider' at sea. I mean we get EMI or some film co., to finance a big ship with 30 people aboard (including crew)—we take 8 track recording equipment with us (mine probably) movie equipment—and we rehearse on the way over—record if we want, play anywhere we fancy— say we film from L.A. to Tahiti, we stop there if we want—maybe have the film developed there—stay a week or as long as we want—collect the film (of course) we’ll probably film wherever we stop (if we want) and edit it on board etc. (Having just finished a movie we made around our albums ‘Imagine’ & ‘Fly’—it’s a beautiful surreal film, very surreal, all music, only about two words spoken in the whole thing! We know we are ready to make a major movie). Anyway it’s just a thought, we’d always stay as near to land as possible, and of course, we’d take doctors etc, in case of any kind of bother. We’d always be able to get to a place where someone could fly off if they’ve had enough. The whole trip could take 3-4-5-6 months, depending how we all felt—all families, children whatever are welcome etc. Please don’t think you have to go alone with the boat trip, to be in the band. I just wanted to let you know everything we’ve been talking about. (I thought we’d really be ready to hit the road after such a healthy restful rehearsal.)

Anyway, there it is, if you want to talk more please call us, or even come over here to N. York. We’re at the St. Regis, here til Nov. 30 at least (753-4500- ext/room 1701) all expenses paid of course! Or write. At least think about it, please don’t be frightened, I understand paranoia, only too well, I think it could only do good for you, to work with people who love and respect you, and that’s from all of us.

Lots of love to you both from, John & Yoko.


Lennon's reference in his greeting to "Eric and" and later to  "you both" and "you and yours" refers to Paula Boyd, 17-year-old sister of Pattie Boyd, George Harrison's wife, with whom Clapton (a friend of Harrison) was involved in a thus far unrequited love affair painful for all concerned. Patty was the someone behind Harrison's Something; Paula subbed for Patty until she learned that the lady behind Clapton's  love-sick plea, Layla, was her sister. That's not the half of it; the entire saga is one of rock's greatest soap operas.

"'Becoming American' won't stop the pain..."

A few years ago I had a marvelous first edition association copy of Arthur Janov's The Primal Scream inscribed in March 1970 - within nine months of the letter under notice - by Lennon to Clapton pass through my hands with similar references, "Eric +" and "you and yours." Paula Boyd was, apparently, She Who Must Remain Nameless. Here, John reached out to his close friend once again to offer support during a time of personal turmoil for Eric. Nine months after the inscription's date Paula got the message and left Clapton..

Clapton played with The Plastic Ono Band in December 1969 during its Live Peace in Toronto performance but did not become a full-time member.

This historic letter from rock n' roll's most progressive voice and towering icon to the greatest guitarist of his generation is a draft. The content of the final version is unknown.
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Images courtesy of Profiles in History, with our thanks.
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Of Related Interest:

Yoko Ono Collects Rare Books: The Booktryst Interview.

Paul McCartney's Handwritten Lyrics To "Lovely Rite" Offered At $175,000.
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Monday, November 12, 2012

The LSD Library Goes To Harvard

by Stephen J. Gertz

FABRICE, Delphi. L'Opium A Paris.
Paris: La Renaissance Du Livre, 1907.

The Ludlow-Santo Domingo (LSD) Library of rare books, the world's first, largest, and most distinguished collection of the literature of psychotropic drugs, has been placed at Harvard's Houghton Library on long-term loan after extended and highly sensitive negotiations with the family of the late Julio Mario Santo Domingo, Jr (1958-2009), the eldest son and scion to the fortune of Columbian business magnate Julio Mario Santo Domingo (1923-2011) and omnivorous collector of books associated with the 60s Counterculture in the U.S. and Europe.

Sex, drugs, and rock n' roll was not an area of book collecting that the family, particularly his  wife, Vera, from whom he was estranged, found edifying; it was, apparently, a source of embarrassment, and since Mr. Santo Domingo's death the family had worked hard to disburse his collection with discretion through intermediaries who insisted upon the highest degree of secrecy from potential buyers - institutions, dealers, and auction houses - and negotiations with all were, reportedly, difficult.

WILLIAMS, Fred V. The Hop-Heads of San Francisco.
San Francisco: Walter N. Brunt, 1920.

It was, then, something of a shock when Harvard formally and by name announced acquisition of the major part of the Julio Santo Domingo collection - over 25,000 books, manuscripts, works of art, audio recordings, and films - on September 28th of this year. When I inquired close to a year ago while chasing a rumor Harvard refused comment.

As did The Roll N' Roll Hall of Fame and Museum & Library and Archives which coyly responded, "no comment at this time," a non-confirming confirmation that they had acquired a chunk of the collection. And as did every auction house suspected of being involved in negotiations. (A slice of Santo Domingo's magnificent collection of fine erotica and Baudelaire was recently offered by Christie's-Paris without provenance; highly familiar with the collection, I recognized a few singular items). And last year a selection of books on '60s Counterculture from the collection was discreetly acquired by Maggs in London; journalist Susan Halas recently interviewed Carl Williams of Maggs about  Santo Domingo's Counterculture library for Americana Exchange.

FOLEY, Charles. Kowa, La Mystérieuse.
Paris: Editions Pierre Lafitte, 1920.

The cornerstone of the LSD Library - however large just one part of Santo Domingo's huge book collection - was the Fitz Hugh Ludlow Memorial Library of the literature of psychotropic drugs, which Julio (we knew each other) acquired in early 2002 from its founders and curators, rare book dealers Michael Horowitz and William Dailey, along with Robert Barker and Michael Aldrich  Ph.D, who established the collection in the early 1970s in response to the dearth of historical resources and research materials on a controversial subject at the forefront of public consciousness and discussion. It was, and will now remain, the pre-eminent book collection on the matter.

VAUDÈRE. Jane de la. Folie D'Opium.
Paris: Albert Méricant, n.d. [c. 1910].
Unrecorded; the only known copy.

But before Julio bought the Ludlow, William Dailey (with my assistance as his cataloger/manager) was sending low- to high five figure shipments of drug-related books to Julio's offices in Geneva every other month or so. Julio bought just about anything you offered  related to his area of interest. I recall that, early on, Dailey sent Julio a very long list. He returned it with only a few items checked off. Bill and I were stunned - this was great, gotta-have stuff. It turned out that Julio had merely indicated the books he didn't want - only because he already had copies.

(I think that shipment was worth $88,000; if not, it was another air freight-load to him for that sum - I died a thousand deaths in the course of arranging its pick-up and shipment. After 9/11, moving large quantities of rare books on illegal drugs out of the country actually became easier. By then, the office guys at Swiss Air freight and those on the dock had become old friends of Dailey Rare Books and we were granted "known carrier" status after an airline official took a quick look-see through the shop. Our shipments no longer required time-consuming piece-by-piece inspection and too much paperwork; now, two quick phone calls and a fax).

Julio would visit L.A. once or twice a year and take Bill and me out to lunch. What did we talk about? Uh, books; Julio couldn't get enough of the subject. He was a hip bazzionaire and always appeared in crisp white shirt, pressed faded jeans, sharp blue blazer, and black tassled loafers, a casual ensemble of uncasual quality and cost to the average citizen. He was a rock n' roll jet-setter; he had personal relationships with rock n' roll's royalty and routinely vacationed with them.

Nick Carter Weekly No. 136: Une Fumerie d'Opium. An Anarchist Plot.
New York: Street & Smith, c. 1905. French edition.

Once, while at Dailey Rare Books, I picked up the phone. It was Julio, calling from Geneva, Paris, Berlin, somewhere in Europe. We chatted for a moment then I passed the call over to William.

"Hi, Bill," Julio said, "say hello to Yoko."  Yup, that Yoko. Mick Jagger was also a friend on a long list of luminaries that were his genuine pals.

When I sold my small yet precious collection of drug literature to William Dailey in 1999 it wound up in Julio's collection. When Julio invited me to Geneva to catalog the enormous number of drug paperbacks in his collection (alas, not realized) I looked forward to seeing those old friends.

Feral House, 2008.

When I was preparing my book, Dope Menace (2008), Julio generously opened his collection to me, and had his staff in Geneva - Beatrice Rodriguez, Natasha Antonini, and Flavia Aulieri -  send requested book images for inclusion into DM, which was the first and last volume to cite the Ludow-Santo-Domingo Library as a reference source. Julio was supportive and proud of the project and looked forward to its publication. He was, sadly, extremely ill at the time of the book's release and while I sent him a copy I'm not sure that he saw it before he died.

Dr. [Julius] Cantala.
The Idol: Opium, Heroin, Morphine, and Their Kingdoms.
[N.p.]: Botwen Printing, 1924.

That the Ludlow-Santo Domingo Library is now at Harvard is a relief to those who spent decades assembling its core and those associated with it. We were afraid that the collection would be broken-up and cast to the winds. There is only one other significant collection of this material in the world, in private hands, yet it's a handsome dwarf compared to the LSD. Now, scholars will have access to the finest, broadest, and deepest collection of books, art, and ephemera related to psychotropic drugs on Earth.

I think I speak for all with their hearts in the collection when I thank the family of Julio Santo Domingo, particularly his widow, Vera, for keeping the LSD Library whole and placing it at Harvard, where the collection, once the bastard step-child of the book collecting world - years ago, William Dailey was denied membership in The Grolier Club because of his involvement with the Ludlow - is now recognized for its significance and takes a deserved place of  honor alongside Harvard's other distinguished special collections.

Work and Win No. 275: Fred Fearnot's Trip to Frisco, or
Trapping the Chinese Opium Smuggler.

New York: Frank Tousey, March 11, 1904.

Julio Santo Domingo, Jr.  is surely smiling, Jimi Hendrix, Janis Joplin, John Lennon, Brian Jones, Jerry Garcia, Marc Bolan, Nico, Harry Nilsson, Jim Morrison, Elvis, etc. at his side because Julio has no doubt become best friends with all of them. And they're likely talking about this, what the Harvard Gazette called, A Collection Unlike Others.

"We got the sex and drugs," said Leslie Morris, curator of Modern Books & Manuscripts at Houghton Library, of the Santo Domingo Library.

And now, a stately procession of ignoble books of the sort that Julio loved and owned, copies of many now,  presumably, on deposit at Harvard, the most respected institution of higher learning in the world. 


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All images from Dope Menace: The Sensational World of Drug Paperbacks 1900-1975, each, save the cover image, courtesy of the Ludlow-Santo-Domingo Library.
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Monday, October 17, 2011

The Stars in School! Collecting Celebrity Yearbooks

by Stephen J. Gertz

The celebrity school yearbook has always had a place in the rare book world. Whether acquiring volumes to complete collections of particular literary, Hollywood, sports, political, or other cultural icons, or collecting them as a genre, it's a fascinating pastime for the fan and guilty pleasure for the jaded. How did unrecognizable and unformed so-and-so get from there to big-time SO-AND-SO, and they participated in what? Who knew? It's like stalking a celeb through a wormhole into the past without fear of arrest warrant.

I love going through celebrity high school and college yearbooks. They bring back such golden memories.

Marilyn Monroe and I went to the same high school in Los Angeles.

Norma Jean Baker, University High School, Class of '42.

Unfortunately, we graduated twenty-seven years apart. Who knows what magic would have never presto'ed had she met my alter-ego, Steve Springfield, the DJ for Uni High's lunchtime low-watt radio show during the Class of Spring '69's penultimate semester? I left after a dispute with management; I refused to talk over song-intros. It annoyed me as a listener and I insisted on being DJ to the people. The supervisor's response was an unexpected and utterly insouciant, "Fine. Leave," Hitler as William Powell playing Nick Charles in The Thin Man. All he needed was a martini in his hand, Myrna Loy at his side, and Asta at his feet to complete the tableau; The Man as light comedian, student as hapless, screwball revolutionary.


Springing right along, Bruce Springstein was in the college prep program at Freehold Regional High School in New Jersey in 1967. Three years earlier, my father spent a trial separation in Asbury Park, Bruce's hometown. (I read his yearbook; we're on a first-name basis, now). Hey, not all memories are cheery,  though, at the time, I was glad to see him go. I still ache with that guilt.


Janis Joplin was in the Slide Rule Club while attending Thomas Jefferson High School in Port Arthur, Texas, Class of 1960. She was also a member of Future Teachers, Future Nurses, and the Art Club. She had a B-average. She won the top prize in the school art exhibition. Meanwhile, Jimmy Johnson, her classmate, was dreaming about coaching the Dallas Cowboys to two consecutive Super Bowl championships thirty years later, in 1992 and 1993. In 1960 I was nine years old and spent four months in bed with a bad case of infectious mononucleosis and a home tutor (who was, most assuredly,  not in  bed with me). It's the Kissing Disease. Don't ask. During 1992-1993 I was suffering from a bad case of life.


For 50-points and the game, who was President of the Student Council, recipient of the Most School Spirit award, Homeroom Representative, and member of the Drama Club at Penns Grove High School in New Jersey, class of 1973? Hint: He was a Homecoming Escort. Of course, it's Bruce Willis aka "Buck" prior to "Bruno." (High school homecoming escort service - presumably, a Risky Business-type student-work program. Dumb me. I worked for a tacky clothier, Mr. C Men's Wear, in my senior year for "Work Experience" credit to get out of school earlier in the day. I rang up a giant sale. Mr. C was elated. Until the pre-electronic credit card charge was later rejected by the bank. See you later, Mr. C).


Did her co-members of the Future Homemakers of America at Sevier High School in Sevierville, Tennessee, Class of 1964, ever imagine that one day Dolly  Parton and her wards, Golly I and Golly II, would one day sing In the Good Old Days (When Times Were Bad) and become the Queen of Country Music with her own theme-park? I  have no personal memories associated with her but she's a famous diminutive female singer and there's only one degree of separation between us: I actually had a "relationship" with a famous diminutive female singer. So, Dolly and I are practically best buds.

Lesley Goldstein, center, Dwight High School, 1963.

I met '60s teen-angst singing sensation, Lesley Gore (whose party I was not invited to, and just as well - too many tears; she was the death of it, I heard), in 1965 when she played Grossinger's, the Catskills resort with renowned rye bread that my dad's best friend managed (the hotel, not the bread). So tiny she could fit in a tea cup and leave room for the bag, she was barely nineteen years old. I was just fourteen but tall for my age and ambitious with confidence based on nothing. She was an alluring and sophisticated Older Jewish Girl, and I, possessing the urbane dash and debonair élan of one who had officially become a man the year before at the social event of the season, the Bar Mitzvah of lil' Hebrew  ersatz Cary Grant, thought I had a shot. It was a blank. She said, You don't own me, and that, furthermore, it was Judy's turn to cry. The only Judy I knew was Judy Smolka, my next-door neighbor, and I had no idea what Lesley was talking about; I never laid a hand on her (Judy or Lesley). Be that as it may oy, it's no surprise that she was a member of the choir at Dwight High School in Englewood, New Jersey, a junior in 1963; her first hit, It's My Party (And I'll Cry if I Want To), was recorded and shot to #1 that year. Rejected by Lesley Gore: You would cry, too, if it happened to you.


Singer, Miss Oklahoma, Miss America runner-up, TV-huckster for orange juice, and gay-rights opponent, Anita Bryant, is seen in her junior year at Will Rogers High School in Tulsa, OK, 1957, in various theatrical performances. Here, during a school talent show, she sings her reactionary anti-gay anthem, Homosexuality: Look Out, It Isn't Just for Breakfast Any More! (aka I'm Gonna Wash That Queer Right Out of My Hair). In 1969, she became spokesperson for the Florida Citrus Commission and we bonded, sharing the deep and abiding conviction that a day without orange juice is like a day without sunshine. At the time I was shooting-up the stuff; the sugar rush was ecstatic and, brain awash in vitamin C, I felt serene. The pulp, however, wreaked havoc with hypodermic needles.


It would take far  less time to enumerate the few high school activities that William J. Clinton did not participate in while a student at Hot Springs High School, 1962-1964, located in Hot Springs National Park, Arkansas, than the scroll-length list of things that engaged his attention. He was a dervish in search of a diploma and enviable resumé for college, Mr. School Spirit. In his first year, he appeared in around six yearbook photos. As a junior, he showed up in ten. In his senior year, he slayed the competition with appearances in nearly twenty school photos. It's as if the Photo-Op Fairy tapped him on the shoulder with her magic wand long before Monica Lewinsky was tapped by his. While "Billy" was in high school 1962-64 in Hot Springs National Park, AK, I attended Steinway Jr. High School 141 in Astoria, Queens, NYC, near the Steinway Piano factory, not far from Astoria Park. I played drums. Billy played the sax.  We were blue-eyed soul-brothers, separated, alas, by age, distance, temperament, ambition, goals, grade-point average, and a complete ignorance of each others' existence. But I still consider him a close friend.


Lou Gehrig, "The Iron Horse" of the N.Y. Yankees, is seen  here as a member of the Senior Class of Columbia College, 1923. Gehrig initially could not play intercollegiate baseball for Columbia because he had played  for a summer professional league during his freshman year, unaware that doing so jeopardized his eligibility to participate any collegiate sport. Gehrig, however, was ruled eligible to play on the Lions’ football team and was a standout fullback and tackle. He later gained baseball eligibility and joined the Lions on that squad as well. But in this yearbook he is featured in photographs and accounts of his days on the football team over the 1922 season. Gehrig is pictured at least twice and is lauded for his “consistent line-plunging,” although his efforts could not prevent the season from being “an unmitigated failure, with few, if any, redeeming qualities.” That pretty much sums up my performance in Little League; I was known as "The Marshmallow Pony."


This program book for Bryn Mawr College’s annual Elizabethan May Day celebration for 1928 commemorates the two-day event consisting of revels and six plays presented across campus. The most notable play was John Lyly’s The Woman in the Moon, starring Katharine Hepburn as Pandora, a performance which was the catalyst for her entire professional career. According to A Remarkable Woman: A Biography of Katharine Hepburn, it was this performance that lead to a letter of introduction on her behalf being sent to Edwin H. Knopf, a young theatrical producer. He hired Hepburn upon her graduation and cast her in productions by his Baltimore stock company. These quickly led to Broadway, and then Hollywood. While not singled out in any photos, she is almost certainly present in two pictures showing the May Pole procession and the crowing of the May Queen. Kate and I shared a love for Spencer Tracy, the master of thespianage, who worked so deeply undercover that he disappeared into his roles. When I studied acting I took Tracy's no-nonsense advice to heart, "Know your lines and don't bump into the furniture," despite which my shins still bear scars.


There's a reason why Eldrick Woods, freshman at Western High School in Anaheim, CA, in 1991, changed his name and it's not because of his interest in the ladies. "Eldrick" does not roll off the tongue nor signal the athetic prowess of  "Tiger." No shock: he was on the golf team, is seen in a few candid golf shots, and is mentioned as a nationally-ranked Junior player.  Tiger and I go way back, so far back that before he was born I was a caddy at Grossinger's during weekend  and summer vacation visits, where I helped that other great Afro-American golfer, comedian George Kirby, lower his handicap from stinks to simply awful.  George was a good guy and a big tipper, and I've never seen anyone since wield a golf club with such singular utility. Intense frustration on the fairway was, as far as I'm concerned, one of his funniest, most entertaining bits: what he could do with a set of irons would have been the envy of professional balloon-animal makers everywhere.


Is it possible that Lesley Gore was referring to Judy Collins? Was it her turn to cry? Send in the clowns. About the boy-crush I had on her when my sister brought an album of hers home from college and I stared at the cover photograph, enraptured: Who knows where the time goes? She just gets better with each passing year. Not that I've seen her since the first time we never met but I can dream, can't I? Judy appears in the Denver, Colorado East High School Class of 1957 yearbook on page 212 with the entire senior class and also in a candid shot, "Singing folk ballads while accompanying herself on the guitar..." Men, a show of hands: How many have fantasized about Judy Collins singing folk ballads while accompanying herself on you?


It is unlikely that the students at Thomas Jefferson High School in Dallas, Texas, class of 1965, ever imagined that the senior tackle on the football squad,  member of the Reveille Staff,  school treasurer, singer in the Concert Choir and general chorus, and manager of the school baseball team would grow up to become a versatile staple on American tables and operatic rock n' roll albums. But neither did Marvin Lee Aday figure that he would evolve into that bat out of hell and vegetarian  nightmare, Meat Loaf. But he never got a celebrity roast. Yet don't be sad, 'cause two out of three ain't bad. I vividly recall how closely I related to the lyrics of that song when it was first released:

There's only one girl that I will ever love
And that was so many years ago
And though I know I'll never get her out of my heart
She never loved me back, ooh I know
I remember how she left me on a stormy night
She kissed me and got out of our bed
And though I pleaded and I begged her
Not to walk out that door
She packed her bags and turned right away.


I was still hung up on Lesley Gore.

She, as I recall our starlit, star-crossed and (sniff-sniff boo-hoo) unconsummated, non-tempestuous night together, eschewed meat loaf (and me) for a nice, post-show brisket with stuffed baked potato and chives, string beans almondine, and a slice of Grossinger's Real Jewish Rye which she shmeared with chopped liver thus definitively answering the age-old existential Yiddish question I asked myself upon her rebuff, What am I?

Finding celebrity school yearbooks is relatively easy, though finding the particular one you want may take a bit of time. As of this morning Addall has three pages of listings for high school yearbooks. They are, for the most part, relatively inexpensive. Yet a handful are exceedingly scarce and desirable. There were only twenty-four students in John Steinbeck's high school class of 1919 in Salinas, California and his yearbook is one of the rarest and most sought-after pieces of Steinbeckiana. A copy is currently being offered for $12,000.

Now it's your turn to cry.
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Images courtesy of Between the Covers, currently offering these yearbooks (and others), with our thanks.
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Thursday, October 7, 2010

New Photo Book Documents the L.A. Punk Scene

by Stephen J. Gertz


When photographer Ann Summa arrived in Los Angeles in 1978 the city’s newly born punk scene was fertile territory for a young photographer. The Beautiful & the Damned is a collection of her portraits of the musicians, artists and fans who made Los Angeles such a crucial part of the history of punk.

Exene Cervenka and James White
Taken between 1978 and 1984, Summa’s photographs feature the Germs, the Screamers, X, the Cramps, and the Gun Club, among many others, along with pioneering performance artists the Kipper Kids, Johanna Went and Laurie Anderson.

Iggy Pop
The book also features portraits of key artists from London and New York. From the U.K., the Clash, Magazine, the Fall, the Slits, Bow Wow Wow, and the Pretenders are amongst others photographed in L.A. during their first U.S. tours. The scene in New York is represented by Television, James Chance, Lydia Lunch, and Talking Heads.

Joe Strummer of the Clash.

Captain Beefheart, Iggy Pop, David Bowie - each an inspiration to L.A. punks - plus candid shots of unidentified audience members are at home here. Edited and with an introduction by L.A.'s writing queen of the music scene, Kristine McKenna, and a Preface by Exene Cervenka, The Beautiful & The Damned includes ninety-five previously unpublished images.

Lux Interior of The Cramps

If you have any interest whatsoever in the Punk scene and fine photography get The Beautiful and the Damned. It rocks the Casbah, and, I suspect, will soon become a rare book, the limited editions sooner rather than later.
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Arcana: Books on the Arts is the sole retailer on the West Coast for Limited Editions of The Beautiful and the Damned, and have copies of the Iggy Pop and Joe Strummer photos available at the publisher's price of $150.00 per. The publisher, Foggy Notion, has mandated a price increase once the first ten of each have been sold, and Arcana has the last few copies of the John Doe and Exene edition available at $200.00. Limited edition copies are accompanied by a signed trade edition of the book, a special slipcase created specifically for the limited edition, and a signed, original photograph printed by photographer, Ann Summa.
Order the trade edition:
Hardbound / 9 x 12" / 112 pages / 182 b&w illustrations.
Published by Foggy Notion Books / Smart Art Press
$39.95 - Copies signed by Ann Summa while they last!
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All images are ©Ann Summa and cannot be reproduced without the express permission of the photographer.
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