Discographical Accounts Part 4 (1975-1983)

Disco Dabblings

 Little more than a footnote in the Jobriath catalog, the once, highly touted glittery androgyne, is reported to have committed some disco-flavored material in demo format, fleshing out a transition that began with some of the shelved third album's leanings. Although he was estranged from manager, Jerry Brandt, who still maintained "ownership" over previous royalties from his Elektra output, these recordings are said to have been a noted departure from his glam rock opuses. Sometime during 1975, Jobriath is known to have written and recorded two disco songs in the privacy of his own home:

1.) Philly, Philly
2.) Disco Saturday Night

 It has also been rumored that a disco version of "World Without End" exists somewhere in the shuffle of unreleased projects, although this is yet to be determined as fact.

If Jobriath had remained with his fellow Creatures, perhaps 

he would have been singing material pitched for 

Gregg Diamond's Bionic Boogie disco extravaganza.

Cole Berlin Work and Miscellaneous Projects

In 1976, Jobriath adopted the moniker "Cole Berlin," and began generating a rapidity of piano-laden, Broadway-themed musicals, which are currently held in private archives. At the time of his death, he appears to have completed at least three musical works, accompanied by dozens of revisions. Jobriath's first musical, 'Sunday Brunch', was a comedy piece, loosely based on the play/film, 'Dinner at Eight.' Writing of material would extend for the next three years. In 1981, Jobriath was filmed for a BBC Documentary on the Chelsea Hotel, where an excerpt of the title song was featured.

 At some point during 1977, Jobriath started developing another solo musical ventur called 'Popstar.' With several revisions to arise in the years before Jobriath's death, the first completed version was auditioned for theatre director, Joseph Papp, at New York's Public Theatre, but was rejected. Jobriath continued to scribble drafts of the musical into the early eighties, evidently recording a studio score as well.

 While in ill health, Jobriath recorded songs on a private casstte tape for a friend, with the following compositions:

1. Shelter Me
 2. Someone To Fall Back On
 3. No Matter What You Do
 4. Feel Like A Waltz
 5. You've Got A Lover
 6. This Is Our Time
 7. Dancing In Eternity

 Joseph Papp also commissioned Jobriath to work on a muddle adaption of 'Moliere's Misanthrope.' Jobriath hastily put together over twenty songs which were incorporated for a two month run, never to be revived. A few titles are recognized:

 1. Be Witness to My Madness
 2. The Choosing Song

 Two final songs penned during Jobriath's twilight years, are also worthy of mention; the first one was submitted to Frank Sinatra, inquiring of a possible collaboration.

 1. The Heart is Like a Jazz Musician
 2. Happy New Year, Let's Dance!

Discographical Accounts Part 3 (1973-1974)

Jobriath in England, recording with the London Symphony Orchestra (?)

All That Glitters Is Gay!

After his album had been turned down by numerous proprietors in the record industry, managerial impresario, Jerry Brandt came into possession of the demo tapes, and was able to locate Jobriath, signing him to Elektra for a lucrative, $500,000 recording contract. Jerry and Jobriath embarked on preliminary recording sessions for a lavish glam rock spectacle, whose length would span for around two hours. A total of twenty four songs were recorded, in conjunction with five symphonic tracks that would serve as interludes. Studio sessions lasted regularly for four to five months, based mainly in Electric Lady, with some additional time in England to orchestrate the symphonic interludes. Eventually, the conclusive studio time was divided across two separate albums, released in swift succession, during 1973 and 1974.

 Several versions of "Take Me I'm Yours" were also recorded, and "As The River Flows" was also revisited, but is yet to be released. As of 2004, the unused symphonic interludes dating from October 1973, were in possession of Sanctuary (the label that compiled the 'Lonely Planet Boy' anthology disc.) These tracks have been identified and listed below:

The symphonic tracks were conducted with a series of London-based musicians, and have circulated among collectors in lo-fi dub quality. Some of the instrumental cuts that have surfaced, rework two songs featured on Jobriath's 1974 album, 'Creatures of the Street' (a vastly different undertaking than the shelved demo reel from 1972.) Running for a total of roughly seven minutes, they are characterized by flourishes of Prokofiev's 'Romeo and Juliet.'

While on tour, Jobriath and his newly christened backing quartet, the Creatures, began work on a third album. Tentative recording was taken up in New York City's Media Sound (Creature, Gregg Diamond would later record as Bionic Boogie, along with fellow band mates, Steve Love and Jim Gregory.) One of the songs demoed in Media, "Weightless (aka: Weightless Love)" would be pitched by Jobriath as a single for the third album. The third album would have blended new material with re-recordings of earlier songs. Material was rehearsed and recorded during the run of Jobriath's summer 1974 tour of the United States, and was said to have been supervised by Godfrey Diamond, noted record producer and brother to Creatures drummer, Gregg. The track listing is theorized to have functioned in the following arrangement:

 1. Amazing Dope Tales
 2. City Freak
 3. Miss Arkanas
 4. Wildfire in Memphis
 5. Beyond Blonde
 6. Weightless Love
 7. The Actor
 8. Girl of the Night
 9. Good Fight
 10. New York, New York
 11. Ducky Lullabye

 "Good Fight" appeared on 'Lonely Planet Boy,' under the title, "I Love A Good Fight." Master tapes for five other tracks exist, and have circulated among the hands of devoted collectors with the best of bootleg crudity. On occasion, half-baked attempts at a proper release have been pursued, but there is some considerable doubt as to whether the material is "releasable."

Discographical Accounts Part 2 (1971-1972)

WNET recording flyer from Electric Lady Studios

Electric Lady Recording Sessions For Shelved Solo LP

In early 1971, Jobriath had taken up residence in New York City, where he was picked up by former Jimi Hendrix manager, Mike Jeffrey. Studio sessions were supervised by producer, Eddie Kramer, and featured a pre-'Looking For Mr. Goodbar', Richard Gere, and a teenaged Vicki Sue Robinson amidst the vast choir of backup singers. Studio time for the proposed album was documented in the New York WNET documentary series, 'Vibrations,' while the television crew were working on a piece about Electric Lady Studios. A reel of finished demos was completed on May 17, and included the following recordings:

1.) Little Dreamer
 2.) As The River Flows
 3.) Amazing Dope Tales
 4.) As The River Flows (2nd Version)
5.) Ducky Lullabye
 6.) City Freak
7.) Miss Arkansas

Following the demo cuts, a full album went into production, under the title, 'Creatures of the Street', dated June 9, 1972, with the following track listing:

In 2001, two reels of demos for the Electric Lady sessions were auctioned on Ebay and bought by Record executive, Lisa Fancher. Twelve years later, in late 2013, songs recorded during that time, finally received a proper commercial release from a small independent record label, Eschatone. A three-track EP entitled 'Amazing Dope Tales' came about as a primer for a full-length album, 'As The River Flows', which appears to have included most, if not all of the archived studio work at Electric Lady.

Discographical Accounts Part 1 (1968-1969)

      

Jobriath Salisbury promo photo

Pidgeon (1969)

 After leaving the Los Angeles cast of Hair, Jobriath went on to lead the shortly lived psychedelic pop group, Pidgeon. With songs co-written by the lyricist, Richard T. Marshall, the band (which included singer Cheri Gage and teenage drummer, Bill Strong Smith,) were assembled and signed to Decca Records by veteran session musician, Stan Farber (Farber's credits also include providing backup vocals for the American glam band, Sparks, on their 1977 album, 'Introducing Sparks.') Farber also served as producer for the album, and negotiated with the fledgling outfit for their stay in a house, where they would commit themselves to rehearse, six months prior to the album's scheduled recording sessions.

Recording sessions for the album commenced in December 1968, and the final product was mixed and finalized within a month. The album was originally dubbed, 'Pidgeon: First Flight From The Forest,' until Decca shortened the title, to the eponymous, 'Pidgeon.' The album's psychedelic avian cover art was created by Gene Brownwell, a noted art director, who issued album art and photography for record labels such as Uni and Decca.

 Just days after the December 1968 sessions had been wrapped up, Pidgeon began work on a proposed follow-up project. On January 21, the demo tracks, "How Should I Love You," "My Old Lady Is A City Freak," "Tasting of the Caramel," "What Good Then Are," and "Life At The First National," were laid down in the studio, followed by an April 22 recording of "Rubber Bricks," and "Prison Walls." The latter two demo recordings were released as a 45" single. In spite of the group's efforts to follow through with a sophomore release, Decca dropped Pidgeon from their roster due to dismal album sales. The other three songs have remained shelved, along with any other material that may survive.

BRAND SPANKING NEW! 'As The River Flows'--Jobriath's First Full-Length LP In Four Decades, Finally Released!

A new album's worth of never-before released Jobriath recordings! The icing on the rebirth of Jobriath's legacy. Stay tuned for an in-depth review of the new album. In the meantime, go ahead and order these tunes here: http://jobriath.eschatone.com/

Amazing Dope Tales EP

On October 29, 2013, a small independent record label by the name of Eschatone Records, issued a limited edition, three track vinyl EP of demo recordings from Jobriath's never-before-released studio sessions at Electric Lady studios, circa mid 1971. This material has only a dash of the Broadway stylized glitter rock that the singer would become better identified with, and can be more appropriately linked to the denim strands of rootsy psychedelia personified by the New York production of his stint in the hippie musical, 'Hair.'

In 2001, the demo reel containing songs from the unreleased Electric Lady LP were auctioned and sold on Ebay, to record executive Lisa Fancher (source: The Jobriath Fan Collective, March 31, 2004 archive)

The B-side of this EP contains songs from a soulful, independent band who go by the name of The Sevendys.

All photos appearing in this blog entry were originally uploaded to Facebook on November 29, 2013.

Columbia Test Pressing Of Jobriath's Debut LP (from the vault's of intergalactic pilot, Ygarr Ygarrist)

This is a Columbia test pressing of Jobriath's first album given to founding Zolar X member, Ygarr Ygarrist during an August 1974 show at West Hollywood's Troubadour Club. I won this record on Ebay in 2009.

Jobriath's name is inscribed on the far, upper left hand corner of the Columbia test pressing. The cardboard sleeve is also adorned with charming, whimsical doodles from various members of Zolar X.

All photos and their accompanying text appearing in this blog entry were originally uploaded to Facebook on November 29, 2013.

Jobriath Discography 101

Pidgeon LP (DJ Promo Copy, 1969)

Here's my water-damaged copy of the Pidgeon album. This is an old radio promo copy with forty odd years of ring wear on the cardboard sleeve. The record inside is in great shape and plays wonderfully.

Pidgeon's sole LP is a gatefold record, featuring some far out, psychedelic flourishes.

I bought my Jobriath LP from a Danish seller on Musicstack, while I was still attending high school. The amount of money I invested was a bit extravagant. I think the grand total for this record was around fifty-four dollars.The grandiose, gatefold record is reasonably worn, US pressing. The vinyl contained within is pristine. I have since vowed never to spend anything above a budget of fifteen dollars on a vinyl record, unless it contains material by any artist that I truly respect. I believe it is quite safe to say that I would pool my savings on any new Jobriath releases.

The flamboyant, pre-Brian Slade, naked torso in all of its androgynous glory!

A US pressing of Jobriath's sophomore LP, 'Creatures of the Street.'

The flip side of the 'Creatures' sleeve features personal artwork from Jobriath himself.

            All photos and text appearing in this blog entry were originally uploaded to Facebook 

                                                                        on November 29, 2013.

Lonely Planet Boy

Lonely Planet Boy CD photographed on July 29, 2013

While I was out looking for a bargain on Hellmann's Mayonnaise, I decided to scope out the rapidly tanking, Newbury Comics outlet at the North Shore Mall in Peabody to find a cost-sensible movie on DVD. On my way to the cashier's I spotted the quintessential, Morrissey-approved 'Lonely Planet Boy' compilation issued on Sanctuary Records in 2004. I still have my copy from high school, and I must have received it for twice the price I had stumbled upon, here. I have to chuckle regarding the length of time clocked in, for this CD to crop up at any chain music store in suburban, farmville hoedown-fixated Massachusetts.

I was really surprised to see the drop in price on this CD. I can't say I know many people who still buy music on this particular format--I know it's a rare occasion when I do. When I saw this in the store, I figured that finding it would be like trying to find a needle in a haystack, but lo and behold there were two copies on display above the row of CD's in the store.

Originally posted on Facebook on July 29, 2013.

Jobriath: A Cheese Camp Quest For Knowledge (Day 1-Boston Public Library)

A short, visual vignette from World of Wonder, that serves to introduce any foreigners on the topic of Jobriath, the would-be, Great American glitter rock superstar.

For any passers-by or for the rag tag group of Cheese Camp supporters on Facebook, I need not pose a preface to my fascination with Bruce Wayne Campbell (alias Jobriath Boone.) If I am alienating anyone with a hint of bewildered curiosity on my rabid, life-consuming fanboy entanglement, I might want to refer those confused readers to earlier entries concerning this fringe, glam demigod. 

 Jobriath A.D. (Brattle Theatre, Cambridge, MA) 

(http://putcheeseinthatsandwich.blogspot.com/2012/10/jobriath-ad-brattle-theatre-cambridge-ma.html)

Jobriath: a man ahead of his time, whose time has now come...

(http://putcheeseinthatsandwich.blogspot.com/2012/02/jobriath-man-ahead-of-his-time-whose.html)

 I have recently commenced a serious quest to use my human bar code scanner for the purpose of finding and securing any Jobriath-related journalism to my collected pipeline of rock articles.Since I am not an affiliated member of any major academic institution, along with my inhibited means of transportation, my knowledge quest is temporarily stunted. The frequency in which I update this photo album may vary. I aspire to expand my studies across the nation. Roughly a year and a half ago I traveled by bus to the city of New York to unearth and soak up the shelved demos to Jobriath's thinly-veiled autobiographical stage play, 'Pop Star.' Once I procure enough money, I am taking my hobby back to New York for a more in-depth analysis. Other destinations on my agenda include Chicago, IL, Atlanta, GA, and the Library of Congress among other pit stops I may encounter.

A concert advertisement for the Berklee Performance Center in Harvard Square. Jobriath performed here on Wednesday July 23, and Tuesday July 24, in 1974. (Boston After Dark)

According to an online concert roster, Jobriath performed in Boston, at the Berklee Performance Center, following the shows held at the Bottom Line night club in New York. Due to time constraints and a lack of primary sources I was only able to uncover this advertisement in a July 1974 issue of the Boston Phoenix (After Dark.)
 

As you can see, Jobriath received top billing and shared the stage with a parodic jazz rock musician by the name of Sweet Pie. I am yet to perform any further journalistic excavations on Jobriath. I have found several articles on the internet and have filed them in a singularly, Jobriath-focused binder. As far as local periodicals go, I know of a concert review that appeared in the Harvard Crimson on July 26, 1974. The original text is available on the Harvard University Library's website, but I would love to get my hands on the original publication, as preserved by microfiche.

 An empty search for Boston Globe coverage of Jobriath's shows at the Berklee Performance Center.

 Yep, this is what I do for fun. Here is some Boston Globe microfilm from the mid-seventies. After doing a Proquest search, I found a Jobriath-less universe in these archives. 

 The Liberace-envied, old world-flavored courtyard at the Boston Public Library's Central Branch.

 I thought this was a scenic area, so I kicked back with the Kevin Cann Bowie book I am re-borrowing from the Merrimack Valley Library Consortium and wolfed down a mean egg salad sandwich. In addition to the Jobriath ad, I also uncovered some Bowie and New York Dolls spots from the Boston After Dark publication. I hope to upload these at some point, but I still need to invest in a working photo scanner.

Jobriath A.D. (Brattle Theatre, Cambridge, MA)

If you've read any of my posts from the months prior to my launch of the Cheese Camp sub-series, 'Gawking With The Glam Rock Geek,' I'm sure that you've heard the name "Jobriath" brought up a few dozen times. Earlier this year, I compiled an entry that summarized my deep fascination with the aforementioned, forgotten glam rock hero, and this past May I was able to attend a screening of the highly researched documentary, Jobriath A.D. at the Brattle Theater, located in Cambridge, MA. The film appeared to cap more than a handful of apocryphal bits of information regarding the story surrounding this singer, who was touted as the American David Bowie. I even had the chance to shake hands with the director of the film, Kieran Turner (I would've enjoyed chatting more with Mr. Turner as I had planned, but I had to catch the last train, as it was my only route of transportation back home.) It is my understanding that the film received mixed feedback from the New England-centric audience, but I have only positive things to reflect upon from my viewing experience. 

 

Friday, May 11: The schedule card posted at the alley entrance to the Brattle Theater, with Jobriath out for blood and ready to transcend the negative hype during his initial marketing campaign in the early seventies.

I entered the theater in a cold sweat, aghast that I was finally about to gawk at this space circus show from rock 'n roll's first openly gay alien messiah. It's taken me quite a while to put my thoughts into words, as the whole experience was actually very overwhelming. As I said before, I am very set on tipping my hat to this documentary, but as I thrust myself into this event that could either revive or bury any curiosity culminated for public interest in Jobriath, I retreated from my usual research on the topic (feeling as though everyone involved with the film was the final word on any remaining mystery.) As the months have meandered, my feverishly bookish anxiety has subsided, and I am finally looking forward to uncover more Jobriath-related history, wherever I may find it (more on these efforts later.)

   Not by any accident or misstep, Ecubyan urges you, the viewer to seek the sun. You may catch a glimpse of his morning star ship descending, prepared to assimilate new members into the Jobriath Fan Collective!

 

Since Jobriath had passed away nearly three decades ago, the film unfolds with friends and aquintances recounting the deluge that was rock's true fairy. Born Bruce Wayne Campbell on December 14, 1946, the arch-angel of space age movie queens quickly developed into a child prodigy of sorts, with an unnerving talent for singing/songwriting. The best equivalent stylistic origins that I can trace to Bruce's talents are those of Frederic Chopin (both were classically-trained pianists.) Bruce seems to be a kindred, yet confused soul, as society largely over-looked his musical assets, in exchange for their harsh treatment of his homosexuality. Having gone AWOL within months of joining the military, he emerged from hiding, calling himself Jobriath (a contraction of Job and Goliath,) and adopting the surname, Salisbury. After moving from Pennsylvania to California, Jobriath was soon christened as the Jagger-obsessed (and ambiguously gay,) 'Woof' in the west coast production of the Hair musical. 

I was unaware that this clip of Jobriath as he appeared with the West Coast 'Hair' cast on the Smother Brothers Comedy Hour, had been receiving Youtube playback for years. Unfortunately his performance of 'Sodomy' is not included in this footage, but you can still spot him in the background, with blond Yvette Mimieux-like locks.

In 1969, he left the production for work with his newly-assembled folk rock band, Pidgeon. They released a self-titled LP on Decca records, and cut the single 'Rubber Bricks/Prison Walls.' The group quickly dissolved into the backdrop of Woodstock era hippie music, although the music distinguished itself with its rock operatic layers, making Pidgeon a Roger Daltrey-like entity amongst every Buffalo Springfield carbon copy on the market. After the band broke up, Jobriath's absence from the military, caught the attention of the authorities, and led to his spending half a year in a mental asylum. 

'The Dancer' from Side B of Pidgeon (1969)

In late 1972, Jobriath's meal ticket was gay prostitution, although he was still trying to make it in the recording industry as well. At Columbia Records, Jobriath's recent demo tape was just getting laughed out of the studio, with company president, Clive Davis writing it off as "mad, unstructured, and destructive to melody." Just as it seemed a new contract was unquestionably in the gutter, former Carly Simon manager Jerry Brandt, overheard the tape and quickly located Jobriath to negotiate a recording deal. Newly dubbed 'Jobriath Boone', Brandt was eager to perk up the American Public's ears, and the two of them began work on cutting a debut album, along with a great media blitzkrieg, financed by Elektra Records. Realizing the shock waves emitted from the burgeoning glam rock movement in Europe, Brandt pitted his new business partner's taste for elegant tunesmithery and embroidered it with designer space cantina attire. The combination of Jobriath's own otherworldly stage charisma, blended with the popular gimmickery of flamboyant make-up was seen as a potential vehicle to sell him as the American Bowie. At the time, Brandt further reported that their partnership was to be the biggest thing to hit the world since Colonel Parker and Elvis Presley. 

The ad campaign progressed, and Jobriath's face was plastered in every major entertainment periodical, with Billboards cropping up, seemingly out of nowhere. The record finally made its debut in October 1973, and was met with mostly positive critical reception. Amidst the hype however, red-blooded Americana's reaction was in a different ballpark. Since there had been no singles preceding the first album, US record-buyers went on listening to their Allman Brothers LP's--not a note had been played to push the music, just an image of Jobriath's naked torso and an underlying gay intonation, that was too effeminate for the New York S&M cruisers to absorb. Those that did get an earful of the rich Queen-like, rock orchestrations were puzzled by the ornate mixture of lyrical science fiction and over-the-top Liberace glamor. Bowie's Ziggy Stardust lost heat rapidly in its Trans-Atlantic journey, but it at least made a dent at number seventy-five on the Billboard Pop Charts. Jobriath's eponymous debut couldn't even crack the Top 100. America was proving itself to be too homophobic to crack.

      A photo from the September 1974 performance at the University of Alabama.

The lackluster performance of the record did little to block more of the same verbal, one-upmanship from Brandt. Allegations of guaranteed platinum music marketing, continued to pummel stories in the recording industry. By March of the following year, Jobriath, along with his backing band, the Creatures, appeared on the musical variety program, The Midnight Special, where they performed two songs off of the first LP in front of a recorded live audience. Decked out in space slinky attire, stitched by a vulcan-eared Jobriath himself, audience members appeared more confused than shocked by the songs showcased for the television selection. 

Still holding the promise of an extravagant rock spectacle, Jobriath and the Creatures played two sold out shows at New York's Bottom Line club that summer, but album sales remained financially unaccommodating. Just a mere six months after the debut album was put on record store shelves, the sophomore release, Creatures of the Street, was laced together from leftover material during the first LP sessions. Although the second album was composed mainly of outtakes to the first record, Creatures had a more fluid direction and, in my eyes, worked even better, conceptually. The songs used would not have been out of place if Jobriath's life were adapted into a Broadway show, done in the Rocky Horror vain. Personal feelings aside, this record was the death knell for Jobriath's career at Elektra. The LP was a commercial flop. During the summer of 1974 an American tour was organized, but Elektra Records was quick to dust off America's premiere pixie rock star. In spite of Brandt and Elektra's abandonment of Jobriath, and further complications from relentless gay bashers, the tour limped on, until a cord was struck during the final show at Tuscaloosa University in  Alabama. Uproarious positivity was reciprocated from Jobriath's last audience. They loved him and his band, and even bantered for five encores, until a riot ensued and the band was run out by the fire brigade. Alas, Jobriath Boone was left mentally-scarred by the two year fiasco of hot air promotion and poor public reception. 

Coping by indulging in a steady diet of drugs and booze, Jobriath announced his retirement from the music business in early 1975, retreating to a Pyramid-shaped apartment atop the Chelsea Hotel in New York City. The next eight years were a jumble of personal success and misfire. Adopting the new moniker of  "Cole Berlin", the weathered space pierott found himself more at home reviving old cabaret tunes for restaurant crowds. His classical piano-playing abilities were finding much deserved recognition, albeit on a more scaled down level than his rock 'n roll career. His artistic victories were coinciding with his on/off again street prostitution. Still struggling with unearthing his true identity, regular clients knew him as 'Joby', the mustachioed macho man of Christopher Street. In his spare time, Cole Berlin was constantly at work on a string of piano-based projects, including a semi-autobiographical musical called 'Pop Star.' To my, and several other fans, dismay, virtually all of these musings never saw the light of day (a few bits have appeared on scarce pirated sources, but a complete product of any withstanding material is unlikely to surface.) The sands of time were also streaming invertedly down the hourglass, and in 1981, Mr. Berlin's flame was burning very low. Around this time, he contracted HIV, but didn't budge from his piano, even managing to play at the Chelsea Hotel's 100th anniversary celebration 1982. But these fleeting moments of  endurance quickly dwindled, for on August 3, 1983, Bruce Wayne Campbell became one of the first prominent figures in music to die from AIDS-related causes. 

This photo was taken by Zack back in February, where at his college campus, he also contributed his part in promoting the rebirth of Jobriath!

The finished film is still touring its run in selected regions of the world. At this point, an immediate DVD release is uncertain, although Jobriath's legacy seems to definitely have extended its grasp, beyond its original niche demographic. Kieran Turner's documentary is a champion of its subject matter and it doesn't perseverate on any one topic, allowing itself to reach hold of nearly every layer in Jobriath's story. Running just over an hour and forty minutes, the flow of the film is succinct and defines its hero for the glorious person he really was. This film is a must see for anyone seeking to expand their familiarity with the 1970s glam rock or American gay scene, and its a real plus if you're a casual or obsessive fan of this unsung creature of the street. In the long scheme of things, there is still much to be discovered from the inner-world forged by Jobriath. At any point, I hope to share any information and/or photos on recent Jobriath-related finds. I still believe that there are a few odds and ends scattered about, that I'm yet to come across. Below, I have linked a film review from the controversial Jonathan Poletti, who has come under fire for his Jobriath research, but who seems to have a wealth of personal opinions (although contrary to most) and primary sources to work from. Hopefully Jobriath A.D. is a sounding beacon for the interest that Bruce Wayne Campbell has long-craved. Perhaps we may see a scrapbook or biography materialize in Barnes and Noble, sooner than we think! 

Jobriath AD Review by Jonathan Poletti, Roctober Reviews

(http://roctoberreviews.blogspot.com/2012/04/jobriath-ad-dir-kieran-turner-florida.html)