Creem magazine is worth remembering for its two decades of probing, insightful, and often funny writing delivered by people who were, first and foremost, fans of music.
, which brought literary techniques to reporting and criticism. “We were always riffing off each other, like we were doing a comedy routine,” says Uhelszki, who took a cue from George Plimpton’s participatory journalism when she wrote the 1975 piece “I Dreamed I Was Onstage within My Maidenform Bra” and who co-produced the documentary with J. J. Kramer, Barry’s son. “It was group-think, like a hive mind, so collaborative all the time,” she says. “That’s a big point.
Indeed, many of the magazine’s regular contributors started as readers who wrote in to the letters column; Marsh, Bangs, and other editors nurtured these voices. But the film spends more time highlighting the snarky humor of the magazine’s captions, headlines, and photos than focussing on the ambition and ideas of writers such as Nick Tosches, Richard Meltzer, Richard Riegel, Richard C. Walls, Robert Duncan, Bill Holdship, J. Kordosh, and Rick Johnson.
As for the trio at the center of the documentary, Marsh left the magazine in 1973 and became better known for his work atin 1976 and moved to New York, where he died six years later, at age thirty-three, reportedly with traces of Valium and the painkiller Darvon in his bloodstream. Kramer died in his late thirties, in January, 1981, in what was ruled an accidental death. Amplifying Kramer’s contributions seems to be a goal shared by Crawford and J.J.
Two weeks before Bangs’s death, he bitterly recalled his years working with Kramer. “It was basically the kind of setup where it was a little fiefdom,” he told me. “You have a bunch of idealistic young people in the late era of hippiedom, and a guy comes in who sees that he can make a lot of money off of their idealism. . . . The guy got rich. He got his mansion and his country house, he drank V.S.O.P.
of Bangs, he was “someone trying, desperately, to get closer to something he cherishes, to hold it down long enough to marvel at it and love it more deeply.” But Bangs was never unique at, and his brand of passionate eloquence didn’t end with him or the magazine. It inspired the publications of the punk, New Wave, and early hip-hop eras; continued in the D.I.Y. fanzines of the indie-rock eighties and E.D.M. nineties; and lives on in the best music blogs and podcasts today.
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