The Kennedy Chronicles: The Golden Age of MTV Through Rose-Colored Glasses by Kennedy

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ARC received by the publisher via NetGalley.

I made it known on a message board I co-admin that I planned to read this book, despite having very little memory of Kennedy, as an MTV VJ or otherwise. I knew the name, knew she was somebody, but I honestly have no recollection of seeing her on the channel, or of watching MTV at all during her five-year tenure. The subtitle of her memoir defines the early-to-mid 1990s as the golden age of MTV, and some may debate that. Me, I saw it as the beginning of the end, the transition from grab-bag video roulette that scheduled Motley Crue to follow The B-52's to follow The Doors to more structured programming that parsed videos by sub-genre and gradually doled out time slots to irrelevant shows. The 1980s had music videos, the 90s had Beavis and Butthead and Jenny McCarthy. By the time Kennedy appeared on the scene I was a college graduate in Athens, Georgia spending more time outside.

Nonetheless, I wanted to read her book in tandem with VJ, the oral history of MTV's genesis as told by four of the surviving original VJs. I thought it interesting to see both books come out around the same time, thereby allowing us a personal view of the network's evolution. First response from my message board post: You're lucky you don't remember her. I do, and she fuckin' sucked.

I haven't asked for specifics, but the "fuckin' sucks" opinion is one Kennedy seems to acknowledge. You either loved her or you wanted to poke her with sharp, fiery sticks. To make up for my neglect of MTV in the 90s, I researched clips on YouTube to find a hostess resembling a bespectacled Darlene Conner, only more interested in her environment. Not enough material to determine if she fuckin' sucked at her job, so I'll let more seasoned critics decide that. In The Kennedy Chronicles, the author recounts her time at MTV and within the music scene at the time, devoting entire chapters to specific encounters and/or relationships with the era's notables - among them Henry Rollins, Billy Corgan, and Dave Navarro. There's also talk of her colleagues - some mentioned merely in passing, others with a hint of bemusement (*cough* Kurt Loder), and a few she viewed with respect (Tabitha Soren, the one I do remember watching in this time).

From what I gathered in this collection of rambling vignettes (which are interspersed with chapters that serve as interviews with a number of these musicians), Kennedy was basically the 90s rock galpal, couch surfing at rock stars' homes and grimacing as everybody at MTV kissed Clinton's ass during a major youth vote campaign - apparently Kennedy was quite a unicorn at 1515 Broadway, perhaps the lone conservative among her peers. While many stories provide nice gossip, not all have happy endings. There's little affection spared for Courtney Love and Puck from The Real World, and you'll learn more about Jenny McCarthy's bowel habits than you'll care to know. I do wish I had more access to MTV archives to know if Kennedy's broadcast style matched her writing, regardless of the twenty-year gap. To me, the book rambles, and while fans may enjoy the "interview" chapters I thought them out of place, as though others encroached on Kennedy's time by sharing their memories.

Whatever you think or thought of Kennedy, her legacy is cemented in her short MTV tenure, and The Kennedy Chronicles serves as an interesting, albeit uneven, history of the time. Fans of the VJ and the musicians featured in her anecdotes will likely appreciate the book the most.

Rating: C

Kathryn Lively is the author of the Rock and Roll Mysteries featuring Lerxst Johnston: Rock Deadly and Rock Til You Drop, and of the collection of short stories, The Girl With the Monkee Tattoo.

How the Beatles Rocked the Kremlin by Leslie Woodhead

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I will confess when it comes pop culture and music, I often take an American-centric point of view. If a band suddenly drops of the radar, I might assume they broke up or fell out of favor with their label, forever relegated to sixth-billing at state fairs. It may not occur to us that certain musical acts sell well in other countries. I know somebody who co-wrote a song that became a number one hit in South America. The US market is important, surely, but it's not the only game in town.

One can imagine what kids in the USSR did for entertainment, and if they even heard of The Beatles during the band's prime. As it turns out, the Fabs managed to breach the Communist bloc, serving as unofficial ambassadors of the West. Filmmaker Woodhead, responsible early in his career for one of the first clips of the Beatles in action (which you can view on the author's website), would discover the group's impact on Soviet youth as he filmed documentaries. His interactions with fans and stories of government-approved (and illegal) acts influenced by the Beatles are compiled in How the Beatles Rocked the Kremlin.

If there's one appealing thing I found about this book, aside from the Russian perspective of The Beatles, is the author's honesty from the beginning - many Beatle books I've read are authored by fans...die-hards. Woodhead doesn't claim a high level of fanaticism, and I like that it lends an objective voice to this first-person narrative. Woodhead takes us through the Soviet Union, then later Gorbachev's post-glasnost Russia, to meet some of the more avid Beatlemaniacs of the East. Where my aunts could easily buy the Capitol-released albums at any store in South Florida, these comrades waited for contraband records to come in via various sources (sometimes first through port towns, though the children of the privileged class were able to get their hands on the music). Many learned English via the Beatles, and took up instruments in an attempt to keep the music alive behind the Iron Curtain. Then there's the guy with the Beatles shrine (the pictures included in the book likely don't do it justice) whose admiration of the band certainly rivals that of the most fervent comrade's devotion to the Party.

What you won't find in this book (aside from personal experiences relayed by the author) are stories of interactions with actual Beatles. McCartney's historic concert is covered, and serves as a bittersweet coda for those denied the opportunity to see the entire band and follow them as the rest of the world did. The true stars of Kremlin, however, are the fans who closely guarded their admiration for the Beatles in an unaccepting atmosphere. When I recall reading stories of "Beatle burnings" in certain American communities in reaction to John Lennon's "more popular than Jesus" remark, I find it interesting how people in the Soviet Union probably would not have had the opportunity to choose to burn a record - the government would make that decision. Yet, despite an ever-present government and rules, the Beatles managed to sneak through, proving nothing short of immortal (or divine) is impenetrable.

How the Beatles Rocked the Kremlin is for the serious Beatles scholar, a fascinating history lesson about the power of music gradually chipping away at oppression. When you begin to read, you may get the impression you're in for some dry reading, but it is the enthusiasm of the Russian fans with whom Woodhead interacts that helps the book come alive. Fifty years after those four young men rocked the Cavern, they continue to rock the Kremlin, the British Isles, the States, the Internet...and that enthusiasm keeps the music alive. Sometimes, all you do need is love, and I know one place to find it.

An advanced review copy was provided by the publisher.

Rating: B

Kathryn Lively is the author of the Rock and Roll Mysteries featuring Lerxst Johnston: Rock Deadly and Rock Til You Drop, and of the collection of short stories, The Girl With the Monkee Tattoo.

VJ: The Unplugged Adventures of MTV's First Wave

An advanced review copy was provided by the publisher via NetGalley.

When MTV joined the Cablevision lineup, it was the first stop I scrolled to on our cable box, the magical beige rectangle that increased our TV viewing options from six to FORTY-TWO channels. Oh, we were living large. MTV introduced me to music and bands that I rarely, if ever, heard on Jacksonville radio. Even in its infancy, MTV scooped radio by introducing us to artists who would eventually conquer several media. That girl with half her head shaved, leading a conga line through New York City? That Australian band playing in their underwear? I didn't hear them on the radio first.

To hear my parents tell it, you would have thought Satan purchased a TV network and started broadcasting on cable. Of course they hated it - I still remember the stunned, WTF expression on my father's face when Motley Crue's "Looks That Kill" aired one Saturday morning, and we couldn't switch to the next channel fast enough when my mother entered the den. They didn't want us watching MTV; they believed some videos with questionable content were too racy and/or violent for us impressionable youths. In the network's defense, I disagreed (but it's not like a ten-year-old had a vote in this situation). Early on, many videos amounted to footage from concert films and appearances elsewhere on television. Other promotional videos may have simply featured the band in a studio or on a stage with no bells, whistles, or whores (pretty much every video Rush filmed). Also, none of us kids ended up as juvenile delinquents or criminals as a result of prolonged exposure to MTV. One of us is a vice-president of something.

Today, I couldn't tell you on which channel you'll find MTV, or MTV 2 and whatever else has spawned. It's mostly crap now, and while I'm partial to good crap I go elsewhere for it. When I want to ride my mid-life crisis, I cruise through my YouTube playlists. One might argue we don't really need MTV anymore - it's no different from half the networks dependent on reality shows for ratings - and some may feel we might have done just fine without it. I personally wouldn't mind a rebirth - not necessarily to feed my appetite for nostalgia, but for an artistic marriage of video and music.

When I saw VJ: The Unplugged Adventures of MTV's First Wave available, I knew I had to review it for the blog. In defending my desire to watch MTV, I had placed the original five VJs as Exhibits A through E - they looked like normal people you'd have over for dinner. There were no visible skull tattoos or piercings. You'd think between perky Martha Quinn and boyish-next-door goofball Alan Hunter I'd have a good argument for MTV not spearheading the decline of Western civilization. Thirty years later, I open to the first chapter of this book and Alan and Mark recall doing blow with various rock stars. I wonder if my mother would allow me to watch MTV now.

VJ, like Starting Over, is presented as an oral history, in that the four surviving VJ pioneers (the fifth, J.J. Jackson, is sadly no longer with us) round-robin their memories of the network's genesis and first half-decade. Of the quintet, Jackson and Goodman came to the network with the strongest backgrounds in radio and music knowledge, while Hunter, Blackwood, and Quinn were likely recruited to appeal to specific viewer demographics. Talk of money quickly establishes that this operation didn't work like Friends - it wasn't "all for one, one for all" when it came to salaries or perks. In fact, it surprised me to read how bare-bones the first VJs had it. Everybody learned on the air through trial and error, whether it was ad-libbing to fill space or appeasing a record label in order to broadcast videos. In my memory MTV seemed to run seamlessly from VJ intro to video, and back again. Bear in mind, it has been many years, and likely the VJs didn't get as much air time as I recall.

If you enjoy rock gossip without having to decipher blind items, you'll find plenty to like in VJ. You'll live vicariously through four voices regaling us with tales of sex (and failed attempts at it), drugs, and awkward interviews. Want to know which of your idols was an asshole, and which Top 10 ballad Nina Blackwood inspired? There are answers within. In between the juicy bits and personal vignettes, VJ provides a nice history of the network itself and its evolution from 24/7 music to a major influence on the entertainment industry. I especially found the chapter on MTV's coverage of Live Aid interesting, since for years I had been angered by how the VJs monopolized camera time during such an event. I could see Martha Quinn on TV every damn day...why would I want to watch her dancing while Paul Frickin' McCartney was playing "Let It Be" during the London finale? It's some comfort to know that cutting to her wasn't her call.

That said, I was also disappointed not to see any information on how MTV revived The Monkees. It did happen toward the end of Quinn's and Hunter's tenures, and how MTV handled the band following a FTA at an event (covered in Monkee Business) spoke volumes of the network's power to make and break musicians at the time. I am still interested in their perception of MTV as a music influence and if any other artists suffered due to the network's neglect. In the book there's mention of how MTV likely nurtured a short-attention span mentality, something that became evident personally when certain VJs left the network. Despite our general tendencies to find distraction, my memory of MTV's glory years remain strong. VJ is a fun reminder of the days video killed the radio stars...though I wonder if video is looking over its shoulder now.

Rating: B

Kathryn Lively is the author of the Rock and Roll Mysteries featuring Lerxst Johnston: Rock Deadly and Rock Til You Drop, and of the collection of short stories, The Girl With the Monkee Tattoo.

Rubber Soul by Greg Kihn

If you're my age (and the coming reference is the only hint you're getting), you are probably familiar with Greg Kihn. Turn on your local BOB or JACK "we play anything" radio station and chances are the song Jeopardy is in rotation, sandwiched between Taco's Putting on the Ritz and that horrid Will.I.Am/Britney earworm. Greg Kihn co-wrote and performed Jeopardy, which was a huge song in its day. Constant MTV airing huge, Weird Al parody huge. If you haven't given Kihn a thought since 1984, no need to worry. He's apparently still kicking and writing in another arena.

Kihn's latest effort, Rubber Soul (AMZ), follows the adventures of a Liverpudlian entrepreneur as his life intersects periodically with those of several hometown friends striving to launch careers in music. I have read quite a few Beatle-inspired novels, and reviewed some Beatles fiction here in the past - I find stories like these go either away in terms of quality. I hesitate to call such works glorified fan fiction, since the Beatles themselves are basically historical figures now, and it wouldn't be fair to lump these books as fanfics when other writers bring true to life people into fiction and dodge the stigma. That said, some stories I have read seem to lack the polish that carries the characters out of fandom into something serious. In the case of Rubber Soul, I found a concept that interested me -- a look at the early Beatles through the eyes of a friend -- despite the rough patches.

Bobby Dingle helps his father run his antiques shop in Liverpool. Like other teenagers in the port town, he's fascinated by American rock and roll, and through the right contacts is able to snare prized 45s before anyone else in town (What's a 45? It's like an MP3, but different. Google it.). His love for American rhythm and blues and rock solidifies a friendship with a young John Lennon, and soon Bobby's position as the band's Forrest Gump is secured. Throughout the story - from encounters in Hamburg, Bobby's later adopted home of Baltimore, and London - Bobby peppers little influences like Easter eggs for John to find and integrate into the Beatles' success. If you're a fan, you'll spot them on sight.

As the reader gets a lesson in early rock and roll - with names of the Fabs' musical idols sounded off in a constant roll call - dark shadows cast occasional palls over the action. Bobby's thug half-brothers, Mick and Clive, cause trouble for the band, while fatal events in Hamburg have a lasting impact. Rubber Soul covers the period from the late 50s to the Beatles' nightmarish experience in Manila, in 1966. I've read more than my share of Beatle bios, too, and while Kihn doesn't specify actual dates throughout the story he appears to present an accurate timeline of events. That one scene where John dupes Bobby into trying LSD? I confirmed the date John tried it for the first time (it's a fairly famous story, mind you), just to make certain. A casual music fan may gloss over particulars, but a Beatleologist can nit-pick. Given that the pace of Rubber Soul runs rather swiftly, one may accept that Kihn properly placed the fixed points in Beatles history within his fiction. Curiously, though, this story omits the "bigger than Jesus" controversy altogether.

So, accuracy aside, is the story any good? Firstly, I commend any author willing to fictionalize people who existed. I did find overall dialogue stiff at times - in some parts it didn't feel natural, more like a recital of facts. I did like that the story focused more on Bobby as he connected with a variety of supporting players - the fictional Clovis, for example, came off more colorful as the rest, which would make sense given the author could write the character more freely.

Rubber Soul should please Beatles fans, and fans of early rock and roll. You'll find it's more than another version of an oft-told history, but a view of a changing time as youthful innocence morphs into moments of cynicism and turbulence. Ending with the events in The Philippines seems to cut the story short, but it doesn't make the ride there any less thrilling.

An ARC of this book was provided via NetGalley by the publisher.

Rating: B-

Kathryn Lively is the author of the Rock and Roll Mysteries featuring Lerxst Johnston: Rock Deadly and Rock Til You Drop, and of the collection of short stories, The Girl With the Monkee Tattoo.