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On March 3, 1983, Peter Ivers was found bludgeoned to death in his loft in downtown Los Angeles, ending a short-lived but essential pop cultural moment that has been all but lost to history. For the two years leading up to his murder, Ivers had hosted the underground but increasingly popular LA-based music and sketch-comedy cable show New Wave Theatre.
The late '70s through early '80s was an explosive time for pop culture: Saturday Night Live and National Lampoon were leading a comedy renaissance, while punk rock and new wave were turning the music world on its head. New Wave Theatre brought together for the first time comedians-turned-Hollywood players like John Belushi, Chevy Chase, and Harold Ramis with West Coast punk rockers Black Flag, the Dead Kennedys, Fear, and others, thus transforming music and comedy forever. The show was a jubilant, chaotic punk-experimental-comedy cabaret, and Ivers was its charismatic leader and muse. He was, in fact, the only person with the vision, the generosity of spirit, and the myriad of talented friends to bring together these two very different but equally influential worlds, and with his death the improbable and electric union of punk and comedy came to an end.
The magnetic, impishly brilliant Ivers was a respected musician and composer (in addition to several albums, he wrote the music for the centerpiece song of David Lynch's cult classic Eraserhead) whose sublime and bizarre creativity was evident in everything he did. He was surrounded by people who loved him, many of them luminaries: his best friend from his Harvard days was Doug Kenney, founder of National Lampoon; he was also close to Harold Ramis and John Belushi. Upon his death, Ivers was just beginning to get mainstream recognition.
In Heaven Everything Is Fine is the first book to explore both the fertile, gritty scene that began and ended with New Wave Theatre and the life and death of its guiding spirit. Josh Frank, author of Fool the World: The Oral History of a Band Called Pixies, interviewed hundreds of people from Ivers's circle, including Jello Biafra, Stockard Channing, and David Lynch, and we hear in their own words about Ivers and the marvelous world he inhabited. He also spoke with the Los Angeles Police Department about Ivers's still-unsolved murder, and, as a result of his research, the Cold Case Unit has reopened the investigation. In Heaven Everything Is Fine is a riveting account of a gifted artist, his tragic death, and a little-known yet crucial chapter in American pop history.
- Sales Rank: #577882 in Books
- Brand: Brand: Free Press
- Published on: 2008-08-12
- Released on: 2008-08-12
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.10" w x 6.00" l, 1.19 pounds
- Binding: Hardcover
- 352 pages
- Used Book in Good Condition
From Publishers Weekly
On March 3, 1983, Peter Ivers was found murdered in his loft on skid row in L.A. When Ivers died, much of the history of his experimental television show, New Wave Theatre, went with him. In this frustrating book that is part detective story and part pop history, screenwriter and producer Franks awkwardly weaves interviews with Ivers's many friends and associates—from Harold and Anne Ramis to Paul Michael Glaser (Starsky & Hutch)—into his chronicle of Ivers's life. Franks recreates the thriving theater and music scene in New York and L.A. in the late 1970s and early 1980s as he traces Ivers's move from the Harvard Lampoon to his work with David Lynch. Ivers's most brilliant moment came with the creation of New Wave Theatre, which brought together comedy and punk music in a new way, featuring acts from the Dead Kennedys, Black Flag and the Circle Jerks alongside Beverly D'Angelo and John Belushi. Because it tries to cover so much material—Ivers's unsolved murder, the history of New Wave Theatre—it fails to cover any of it effectively; nevertheless, it provides a new look into a now mostly forgotten moment of pop culture. (Aug.) ""
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved."
From Booklist
Peter Ivers never quite entered the pop-cultural mainstream, though he influenced such contemporaries and friends who did as National Lampoon cofounder Doug Kenney, John Belushi, and David Lynch, who called on Ivers to write “In Heaven (The Lady in the Radiator Song)” for his reputation-making cult-movie Eraserhead. Ivers presaged punk rock with his Peter Peter Ivers Band (later just the Peter Ivers Band), formed after drifting out of the fatally overhyped late-1960s rock group Beacon Street Union. He is probably best remembered as host of New Wave Theatre, a 1980s TV venture that progressed from an L.A.-based UHF channel to the USA cable network. On it he delivered zany stream-of-consciousness raps before and after clips of then-cutting-edge acts like Dead Kennedys and Circle Jerks. Proceeding via snippets from interviews with the likes of Chevy Chase and Steve Martin, Frank and Buckholtz describe Ivers’ appeal and try to illuminate his mysterious bludgeoning death in 1983, a murder still unsolved. An appreciative look at a figure peripheral to a clutch of now-aging major stars. --Mike Tribby
Review
"The lost life of a groundbreaking musician and artist, murdered on the (possible) cusp of fame.... Well-stocked with interviews and evidence -- a respectful, understanding portrait." -- Kirkus Reviews
"Peter used to sign off personal notes with the words 'All good things,' and that's what he was. His life was an extraordinary gift and Josh Frank captures Peter's grace, talent, and incredible spirit with insight and compassion. The details and impact of his tragic death are offered in awful but compelling counterpoint, and this terrible contradiction continues to deeply affect all of us who knew and loved him, as it should anyone who reads the story of this remarkable man." -- Harold Ramis, director, writer, and actor
"A must read for anyone who thinks that the L.A. subculture supported by true creativity and lack of monetary ambition ended in the sixties. Peter Ivers was the figurehead for a movement that burned through underground Los Angeles before the eighties -- and his death -- extinguished the flame. Josh Frank commits to shining a light on this extraordinary man and his time, delivering an intricate thriller told through the voices of those who were there." -- Beverly D'Angelo, actress
"Surrounded by crazies, Peter Ivers faced the growing pains of a musical and social upheaval with a smile and aplomb. In Heaven Everything Is Fine is a transparent view into that world. Josh Frank's interviews remind us of how many people we change a little while we are here." -- Spit Stix, former drummer for Fear
"Frank intersperses newly documented interviews to write an engrossing account. Overdue and highly recommended, this work assays a crucial era of popular culture history." -- Library Journal
Most helpful customer reviews
8 of 8 people found the following review helpful.
Touching and evocative...
By Ferrara Brain Pan
I was pleased to learn that someone had written a book about the life of Peter Ivers, and even more pleased when I got around to reading it this past weekend. I was one of the few music fans who picked up on his 1970s LP releases and enjoyed his quirky, inventive musical sensibility. When I saw Eraserhead at its San Diego theatrical premiere in 1977 or '78, I instantly recognized his voice the first time I saw The Lady In The Radiator open her mouth to sing "In Heaven." And I remember being surprised to see him host New Wave Theater on Night Flight back in the early '80s. But I never knew much about the guy, and the fact he'd died such an awful and mysterious death made me want to know his story.
The author has done an excellent job researching his subject and I'd give the book five stars on that count. Speaking to scores of friends and associates from throughout Peter's adult life and career (there is scant attention paid to his childhood, though enough to form the basis of an understanding of what drove and challenged him as an artist and a man), this is a well fleshed out story. Moreover, the book is well crafted and structured, written in a prose that is clear, expressive and insightful. Five stars again. So often, when a famous pop (or cult) musician is given a posthumous biographical treatment in book form, one finds that the author is a longtime fan with a passionate appreciation of the artist's music, but little sense of objectivity and no gift for writing. Josh Frank and his co-author have written a book that is a touching and compelling read, which I had trouble putting down over the course of the two or three days I was engrossed in reading it. This is as much (or more so) a portrait of Peter the friend and human being as it is of Peter the musician and creative artist. The reader gets a strong sense of the atmosphere Peter lived in, whether it was the community of driven and gifted literati and creative types at Harvard University in the mid-1960s, laid-back Laurel Canyon living with hip musicians in the 70s, or the dark underbelly of LA in the 80s where Peter met his tragic demise. And this is a very suspenseful and gripping murder mystery, which the reader is left to solve. The rainy Los Angeles day on which Ivers' body was discovered left me with a sick, sad feeling, as I tossed around probable murder theories and suspects in my head and finished reading the book.
While the book is well put together and organized, there are a few things I would have liked to make it more complete. Though Josh Frank came up with a creative novelistic structure that works well in terms of presenting Ivers' life, choosing to explore personal relationships in favor of giving a detailed exposition of the events of his career, it would have been nice to include a biographical timeline section. The chapters in the book are sketchy when it comes to pinpointing the rough dates and time frames during which things happened. Nowhere in the book does it even give the fact that Peter was born in 1946 (surely any biography ought to give the year and date of birth of its subject, even if it doesn't play a major role in the narrative focus). Another drawback is that not enough effort is spent in putting Ivers' music into context and exploring how it developed over the years: from his bizarrely ingenious record debut in 1969 to his equally underappreciated 1974 Terminal Love album to the rather tawdry commercial efforts of his later life. I wish he'd given more time to interviewing some of the musicians who played with Peter on those few albums, including giving details such as names of players, session dates, etc (music fans like to know this kind of stuff). I also couldn't help noticing that no mention was made of Laurel Near, the famous Lady In The Radiator of Eraserhead who lip-synched Peter's most well-known song.
Still, it is a very worthwhile read. The stuff toward the end dealing with David Jove makes for some pretty creepy material, and you can see why some people compared that guy to Charles Manson (and why many suspected him of bearing some responsibility for Ivers' death).
1 of 3 people found the following review helpful.
Fallout from the '60's
By Eric H. Sigward
I like this book very much because it is very well-written, well-edited, and the characters are intrinsically interesting. Their positions in the elite realms of education and show biz make them more interesting. I don't know that the issues of self-destruction, death and tragedy can be adequately handled outside of the Bible's portrayal. I was a classmate of both Doug Kenney and Peter Ivers at Harvard. Thus, I watched many of my generation die before their time--James Dean, JFK, Marilyn, Martin, Bobby, Janis, Jimi, Doug, Peter, John Belushi and Vietnam. The title may be misleading: They are all gone away, and we can't get them back, and it's a tragedy. In heaven everything is fine by definition, but are they there?
2 of 2 people found the following review helpful.
Great background info. for New Wave Theater fans
By violetcherry
I was/am obsessed with the mid-80s cable access show, New Wave Theater (based out of L.A.). I also love all things by David Lynch. This book on Peter Ivers, who was closely connected with the show and with the music behind "Eraserhead," is an amazing catalog of events and happenings that led up to the creative successes connected to those projects. Ivers was an interesting person, but more than that, he was part of many cultural collectives that spanned from New York to Canada to L.A. It's nice to have learned how all these worlds were connected.
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