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A harrowing look at drummer Jim Gordon's descent from rock talent to convicted murderer

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A harrowing look at drummer Jim Gordon's descent from rock talent to convicted murderer

Book Review

Drums & Demons: The Tragic Journey of Jim Gordon

By Joel Selvin
Diversion Books: 288 pages, $29

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The year was 1970, and Jim Gordon was in rock ‘n’ roll heaven.

The drummer was on part of Joe Cocker’s infamous Mad Dogs and Englishmen revue, a traveling circus of sex, drugs and legendary music, featuring bandleader and keyboardist-guitarist Leon Russell; saxophonist Bobby Keys, a sideman for the Rolling Stones; and singer Rita Coolidge. The bacchanalian troupe astonished audiences with their transcendent performances, leaving fans wanting more.

For Gordon, not yet 25, the moment was particularly sweet. A well-known session musician whose inventive percussion helped propel songs by the Beach Boys, the Byrds, Paul Revere and the Raiders and Glen Campbell to the top of the charts, he relished stepping out of the studio’s shadows onto a larger stage. Gordon would go on to play drums for Eric Clapton’s Derek and the Dominos, adding the song’s indelible piano coda to “Layla,” and record with John Lennon and George Harrison. Clapton and Ringo Starr considered him the best drummer in rock.

But beneath the sunshine, storm clouds lurked.

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One night after a Mad Dogs and Englishmen show, Gordon was hanging out in a hotel room with his girlfriend Coolidge and bassist Carl Radle, his future Derek and the Dominos bandmate. After drinking and snorting coke, Gordon asked Coolidge if he could speak to her in the hall. Given how close they had become, she thought he might propose. Instead, he punched her in the face, knocking her unconscious.

Mad Dogs and Englishmen members chalked up Gordon’s erratic behavior to the craziness surrounding the tour. But there was more to it. “For Jim, it was a crack in the mask he wore,” writes Joel Selvin, the former San Francisco Chronicle music critic, in his deeply reported and well-written book “Drums and Demons: The Tragic Journey of Jim Gordon.” “His herculean self-control had failed him, letting the dark forces he had kept under tight wraps peek out, dark forces that would have shocked anyone who knew sunny Jim.”

As recounted by Selvin, Gordon heard voices that would only grow more hostile and dangerous over time, even causing him intense physical pain if he dared to disobey them. Years later, Gordon would commit one of the most horrific acts in the annals of rock history: On June 3, 1983, he murdered his 71-year-old mother by bludgeoning her with a hammer and stabbing her repeatedly in the chest. Gordon said her voice had ordered him to commit the grisly act.

Gordon died in 2023 at 77 after nearly four decades in prison, still haunted by voices, still harboring resentment toward his long-deceased mother for her “controlling” behavior.

In “Drums and Demons,” Selvin aims to restore Gordon’s humanity and reputation by showing his professional triumphs in the context of his struggles with addiction and mental illness.

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Selvin largely succeeds by adding flesh, blood and soul to the Gordon story. He does an especially nice job of capturing the optimism and creative explosion of the Southern California pop scene in the 1960s and Gordon’s role in it. Selvin shows the handsome, blond, 6-foot, 4-inch drummer in the studio playing on Brian Wilson’s masterpiece “Good Vibrations” and driving the beat of a 24-piece orchestra on the Mason Williams 1968 instrumental hit “Classical Gas.”

In one memorable scene, producer Richard Perry tapped Gordon to play drums on Carly Simon’s “You’re So Vain” after two other drummers failed to give him the sound he wanted. “The drum kit was an extension of his being, and he danced all over it,” Selvin writes. Gordon “made the track sound like a big, juicy hit record on the first take, and at the end of the evening, he left no doubt in the minds of everyone in the room that was exactly what they now had.”

Selvin vividly charts Gordon’s decline in harrowing detail, including his alarming violence toward women, myriad psychotic episodes and banishment from rock royalty because of his increasing unreliability and frightening behavior. In the months before murdering his mother, for instance, a bloated, dull-eyed Gordon had been reduced to playing four sets a night for $30 with a faceless outfit called the Blue Monkeys in a gritty Santa Monica bar. The voices in his head continued to torment him.

The biggest problem with the book is that despite Selvin’s laudable efforts to make Gordon whole, the drummer just wasn’t that interesting, especially compared with the artists he worked with.

“Jim moved through life like a ghost. He was friendly, but he had no friends,” Selvin writes. “He hid himself from close observation. His smile served him; it kept him safe and unchallenged. Nobody really knew him.”

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That this is such a strong book reflects Selvin’s prodigious journalistic talents. The author of more than 20 works including “Altamont,” which chronicles the ill-fated 1969 rock festival headed by the Stones, he is one of the best rock writers out there. Still, I’m not convinced that session-man Gordon merits a 250-page biography. John Bonham, the thundering soul of Led Zeppelin, certainly does. So too does Starr, the heartbeat of the Beatles. But Jim Gordon? Perhaps a long magazine piece.

Ballon, a former Times and Forbes reporter, teaches an advanced writing class at USC. He lives in Fullerton.

Movie Reviews

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

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“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

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Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”