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Jobriath AD premieres tonight at the BFI Southbank as part of the London Lesbian and Gay Film festival, with further screenings tomorrow and Saturday.JUMP TO: Paul Brandt’s biography, facts, family, personal life, zodiac, videos, net worth, and popularity. In recent years, his cause has been taken up by musicians as varied as Marc Almond and Def Leppard's Joe Elliott, but their advocacy is hardly necessary: Jobriath's story emerges as one of rock'n'roll's great tragedies, a tale of hubris, misery and death. A successful, if not spectacular career appeared on the way, but he died in 1983 as Aids took hold in New York's gay community. Reeling from the failure, he eventually holed up in the Chelsea hotel, and reinvented himself as a retro cabaret singer (one of his monikers was the rather obvious "Cole Berlin"). The film's final section takes us into Jobriath's post-stardom years. Rather humiliatingly, he still seems to be waiting for a big break himself. Fairly soon you realise Brandt was more than a little besotted with his protege their eventual severing of creative relations, so devastating to Jobriath, was also more than likely a source of considerable pain to the manager, too. Instead of a doing simple hatchet job, to his credit Turner gives Brandt – now in his 70s and living modestly in Florida – ample screen time to explain his thinking. To contemporary eyes, Brandt looks the ultimate archetype of the mid-70s svengali: disco hair, a Studio 54 mien and fatally overweening ambition. Jobriath's story, of course, has its antagonist, the slightly satanic figure of Brandt, the wannabe Colonel Parker to Jobriath's aspiring Elvis. The near-mute, uncomfortable figure we see in interviews is in stark contrast to the happy, effusive Jobriath captured in recording studio footage: clearly the man delighted in music making, and it was during the process of selling himself and his album that the pressure began to tell.
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The androgynous, effeminate stylings affected by British glam rockers just didn't work when Jobriath adopted them: mainstream rockers hated them, the gay community despised the "sissy" look and, allied to Jobriath's actual homosexuality (as opposed to the assumed gayness of Bowie, Bolan et al), proved positively toxic. Turner's film contends that Jobriath's fate was sealed by the tag his manager, Jerry Brandt, gave him: "The true fairy of rock". In this fantastically revelatory documentary by Kieran Turner, Jobriath has been thoroughly rehabilitated: as a charismatic performer in his own right, the unwitting victim of record-industry hubris, and an unlikely, reluctant martyr for gay rights. (At least, that's how it looked to the likes of me, a decade or so later.) But give any act long enough, and the underlying details, if allowed to emerge, will point to an undreamed-of significance in hindsight. Jobriath was swiftly relegated to a footnote after punk rock detonated in the mid 70s, mostly for intrigued David Bowie fans mildly insulted by such an apparently flagrant act of copyism. Of course, Jobriath was something special, even by the standards of rock loserdom: hyped to the max in 1974, signed – apparently – to a massive contract, given a billboard in Times Square for his debut album, and then promptly became an epic commercial disaster. I t may be something to do with his extraordinary stage moniker – somehow redolent of Goliath and Job – that Bruce Campbell aka Jobriath has maintained a tenuous foothold in pop culture, somehow remaining a name to conjure with, unlike the legions of has-beens and never-wases who litter the rock'n'roll stage.