Hey there, friends! As of March 15, the “Running Wild Anthology of Stories” Volume 2 is available from Running Wild Press, including my short story, “Dawning.” Here’s a podcast that contributor Tone Milazzo recorded with me, plus interviews with other authors from this varied and captivating collection. Kudos to editor Lisa Diane Kastner for capturing such an emotional range in these stories.
“Dawning” is a wry but gritty story of a recent college grad in New York City, poised between her former life of parties and free-wheeling personal adventure and the more self-respecting prospect of a promising–and drama-free–career.
Some words about the anthology:
This diverse collection features more than 20 short works by authors from across North America, in genres including speculative fiction, mystery, women’s fiction, horror, science fiction, and fantasy. Editor Lisa Kastner’s objective was to give voice to the eclectic imaginations of authors whose work transcends the rules of typical genre fiction, including tinkering with forms and cross-pollinating genres. The anthology was designed to free the reader from typical “in-the-box” novel formats, providing a literary experience in a more urgent, concise, and versatile framework. Published by Running Wild Press, 2018.
Something kind of neat that one of my friends from the ’80s groups I follow reminded me of:
In my office sits an original script for St. Elmo’s Fire.
I worked at Columbia Pictures in the late ’80s, my first real job out of college. I did script research and had access to a library of hundreds of scripts at the offices in New York and in California, which was where my bosses worked. I was kind of the East Coast end of the script research department. Although I didn’t work on this script (it filmed before I was hired there), I had my bosses send it to me because I identified with it, having just graduated. It was not one of my favorites at the time.
It’s marked third draft, dated October 8, 1984, as received for archiving. My old boss’ name is stamped on it, Donna Brainard, who was head of script research in the legal department in Los Angeles. She lived in Venice Beach with Henry Colman, the producer of the shows Hotel and The Love Boat. I had drinks at their home the week they flew me out to meet the LA staff. My head was spinning at the time, at 23 years-old, only six months before having been drinking beer at frat parties, suddenly meeting Hollywood producers.
Sometimes it’s cool to be the kind of semi-hoarder who keeps absolutely everything. I also have the script for Spike Lee’s “School Daze” and a Jodie Foster movie called “Stealing Home.” Not sure why I kept those two of the ones I worked on– although Spike Lee was a big deal at the time and that film was a musical. (I think I had to research something about the sorority names at Howard University for that one.) These items are now 30+ years-old, and St. Elmo’s– although not exactly art–has become an iconic piece of ’80s cinema.
The daily research work at Columbia Pictures was tedious sometimes to the point of driving me to the brink insanity (which is one reason why I left), but it had certain advantages. My boss in California got me an autographed photo of Tom Cruise in Top Gun one day when he was on the studio grounds, because they knew I was obsessed. There was a screening room in the building where the staff could view movies once a week, before they were released to the public, so we could see the results of the work we were doing–even if it took more than a year to sometimes see the final product. They showed other studio’s movies as well there, since we were in fact educating ourselves about the competition in watching these films, too. I saw Oliver Stone’s Platoon there, Fatal Attraction, La Bamba, The Big Easy (I worked on those last two), a thriller called Sea of Love with Ellen Barkin that was popular at the time.
Now and then, someone famous would come through the building. We employees had our own little network wherein we’d call and alert each other when someone was aware of a celebrity passing through. Me and my buddy would then ride the elevators up and down repeatedly trying to catch that person. I took a ride with Dustin Hoffman once, and Kevin Bacon. My buddy caught Michael J. Fox. Similarly, if one of us saw someone famous on our lunch breaks, we’d call up to the rest of the girls in the building, and everyone would come out to see. Me and the girls followed Sylvester Stallone down Fifth Avenue one day when he was shopping for engagement rings for Brigitte Nielsen.
I rode the elevator up and down for about an hour the day Tom Cruise was rumored to be on-site.
Back to St. Elmo’s, below you’ll see the page with the moment that I ironically related to most closely at the time. It’s where Jules (Demi Moore) sits rocking on the floor of her empty apartment, wrapped in a sheet (and in Rob Lowe), and says…
“I’m so tired, Billy. I never thought I’d be so tired. At 22.”
New Adult angst at its finest.
This also resonated with me, just out of college, since at the time I had a bit of a
Demi Moore look going on, one of the few times people ever said I looked like anyone famous. You can kind of see the parallel in the following rock-and-roll headshot, and a clip from Demi Moore in “About Last Night.”
A few more pages for your viewing pleasure:
Love this scene, where Wendy brings Billy to dinner at her house with her family and her franchisee brothers-in-law.
Mrs. Beamish:Where did you and Wendy meet again? Billy:*Prison*
Title page, closer view. Not a bad perk at all. Wish I had taken home 20 scripts.
I like having been an authentic part of this era, and having memorabilia that has seasoned into something that’s meaningful to people. And having memories and experiences of pop culture that were more exciting than I gave them credit for at the time.
When I did my semester in England back in the mid ’80s, the first thing they did to acclimate us was send us on a “homestay” weekend with a family in the countryside. A bunch of us were sent to a town called Gloucester, where several families had volunteered to entertain us for the weekend. I stayed with a lovable family who chose me because the parents had emigrated from Italy, and they saw I had an Italian last name, plus their daughter was only a little older than I was. Her name was Nancy, and she was a nurse.
Nancy took me to Gloucester Cathedral, an 800 year-old Gothic church that is famous throughout England for its gorgeousness, despite being located in a sleepy little hamlet, lost amid miles and miles of anonymous rolling hills. It truly lived up to its reputation… walking through its spired interior took my breath away. Just the smell of a structure that was older than my whole country made me swoon.
Yesterday I was looking for an lovely photo to jazz up my Tweeter feed, so I looked up Gloucester Cathedral.
Maybe this is a kitsch-y and shallow reason to get excited about having been there, in light of the eight centuries of history the cathedral has endured, but…
Turns out they filmed parts of the Harry Potter series in Gloucester Cathedral.
Maybe if I weren’t a writer who sat on my bed reading hours and hours of these novels to my daughter, this wouldn’t mean as much to me…
But it freaking does!
Sentiment aside, it was probably the most beautiful man-made place I’ve ever (gingerly) set down my feet.
Who knew what Hollywood and the world of middle-grade literature had in store for it?
Only my husband still remembers that when I was a teenager, I said I wanted to have six children. SIX. Also, recently my daughter and I asked each other what we thought we would be if we didn’t become writers. She told me she would have gone into child care.
I believe that someone can only come to these kinds of conclusions when they have been born into a long heritage of absolutely wonderful mothers.
This is a true test.
I’ve since come to realize having an adept and caring mother is the most defining factor in a person’s life.
I didn’t go on to have six children, but that’s not the point. The point is I had such
an outstanding mother that, if practicality had warranted, I thought I might have inherited
the ability to mother more and more and more children… just keep ’em coming. And she’s the reason why. Because she was this amazing example, who to this day can make me feel better just with the sound of her voice.
A lot of Mother’s Day messages talk about all the sacrifices and such that they acknowledge their mothers made, etc. Well, of course, my mother made sacrifices up the wazoo. But she never made it feel that way for a moment. She made it feel like she was just having the gosh-darn most rollicking fun time with us, even when we drove her crazy. I don’t know too many people who laughed more. And we still have fun.
– Skinny jeans
– The terms “BAE” and “Fleek”
– Breaking up with someone on Facebook
– Men with more expensive earrings than me
– “Teen Mom”
– Smart cars
– Music videos with naked people in them
– Fake eyelashes
– Miley Cyrus and Justin Bieber
– Swiping left
– Ridiculously padded undergarments
Things I’m sad to be too old for:
– American Idol auditions
– Noah Syndergaard
– My size 3 black corduroys from 1987
– Making my kids’ Halloween costumes
– Ditto their birthday party favors
– Slam dancing
– A cute little two-piece swim suit
– Spiked heel platforms
– Summer break
– Day camp
– Bowie’s next birthday celebration
Things I’ll never be too old for:
– Harry Potter
– Disney parks
– The swingset in my backyard
– Chocolate anything
– Star Wars toys
– Perfume that smells like lemons
– Tossing my hair
– Eating only the frosting off the cupcake
– Clearasil, apparently
– Pink lip gloss
– Kraft Macaroni & Cheese
– Talking baby talk to the cats
– The Flintstones
– Dr. Seuss
I was challenged recently to post my choice of videos from the 1980s. Boy, did they pick the right girl. I thought I’d share my selections along with my commentary, for those of you who maintain a sense of nostalgia for the best decade in musical history. Enjoy.
Don’t be envious, Millennials. We’ll continue to share our sensibility with you.
The Police: King of Pain, 1983
To start us off, from The Police’s Synchronicity album, the above is some rare Australian video for this song, complete with a stuffed goat and a flaming dial telephone. This kind of eerie, Imagist camera work was considered artsy and cool at the time.
I went to the acutely famous concert promoting this album that took place at Shea Stadium, Flushing, NY, in the summer of 1983. I was 19 years-old. The LIE was transformed into a parking lot stretching across Queens, and I was twice rear-ended waiting in near-stop-dead traffic. We were so late to the event that we missed both opening bands, REM and Joan Jett, respectively. I didn’t even know who REM was yet.
According to Internet reports, it was after this one-night-only show that Sting decided to break up the band and go solo, because playing Shea Stadium (as did The Beatles) was a performance epitome for him, so he decided to move on to other pastures, where, say, the Blue Turtles roam.
Anyway, just listen…
Echo and the Bunnymen: Lips Like Sugar, 1987
Here is a quintessential ’80s dance song, although I don’t think I ever saw this video at the time. Remember, friends, there was no YouTube, and MTV had actually just emerged. Not everyone even got cable TV. So we mostly viewed these videos in the background as we danced at clubs. I hope the end of this one was supposed to be campy, because it’s as bad as some of the Godzilla films my son watches. However, the song is AWESOME, still. One other thing the rest of you ’80s people might experience: These guys all seemed so mature and intimidating at the time. Yet viewing them now, they look like babies. Oh my Lord, the perspective of a 22 year-old.
And dig that hair.
Talking Heads: Once in a Lifetime, 1980
Presenting the lead track to the movie of my life, and the theme song for my crew of girls in college. We made up a poster that had lyrics from the song magic-markered on it back in our dorm. We taped it to the ceiling, so that whenever one of us awoke on the rug the morning after a party, we’d see the lyrics staring down at us:
“And you may ask yourself, well, how did I get here?!”
David Byrne is a freaky-amazing genius and I adore him. He better not die any time soon, as losing David Bowie was enough of a blow.
Herbie Hancock: Rockit, 1983
This breaks out of my typical new wave mode, but still fits the technotronic synth-y club vibe we all grooved to at the time. I recently rediscovered this song and played it full blast, dancing through my house, remembering how wild it was with all its funky scratchiness and such.
Even my son, whose hobby is mixing “beats” all day on Mixcraft, leaned over our stair rail to ask, Hey what are you listening to?
This video was a gas in the ’80s and one of the earliest I remember seeing on MTV. The musical artist, Herbie Hancock, is funked-out fantastic. And the guy who put together these half-humanoid, half-obscene robots, a British artist and inventor named Jim Whiting, was quite The Bomb. I recall rumors at the time that the scene in “Blade Runner” where they visit the toy maker/android designer in his apartment, wherein life-size robotic toys wander aimlessly, was inspired by this guy. Although a current Internet search doesn’t back that up.
Not exactly Disney’s version of animatronics.
** I just learned I can’t post The Cure’s “Boys Don’t Cry” as an ’80s video as it was actually 1979. Dang it. Can’t use “Rock Lobster,” either. Same problem. Argh! ** Moving on …
Buster Poindexter (a.k.a. David Johansen): Hot, Hot, Hot, 1987
I’m going more late-’80s mainstream this time, although we didn’t know back then this song would become a wedding conga-line classic. Mostly I’m posting it because I have the real inside guff this time, as I was AN EXTRA in this precipitous piece of film making.
Left: Blonde in bustier. Top right, Emma with long red curls. Orange arrow, head below Emma with dark bangs: ME. I think.
Alas, hard as I try, I can barely see myself in it. Although refer to the arrows in the screen grab to the right. That’s us at the table in the indoor concert scene at the end. For four seconds. I see the exact table where we were sitting. I recognize the blonde woman in the black bustier dress who was sitting across from me. I see a fuzzy likeness of my friend Emma who I dragged out to accompany me, and there’s my head below hers. The shot is nearly as grainy as a sonogram, but it’s us.
Here’s what happened: I was working at Columbia Pictures as a script researcher and had to call a club downtown, the Latin Quarter, to fact-check something for a script. The manager said, Hey, we’re having a party for David Johansen tomorrow night because he’s filming a new video. Why don’t you come down? I grabbed my buddy Emma and we got painted up and trucked down to the place. I asked for the manager who had invited me.
An older gentleman in a bedazzled tuxedo coat met us at the door. He looked me up and down and said (and this was cute–not sure what he was expecting):
“Oh, sweetie — you’re much more attractive than I thought you’d be. Come with me!”
Next thing you know we were signing release contracts and he sat us against the stage. They filmed the end of the song repeatedly and shouted for us to dance, throw our hair, and scream. Which we did. It was a blast.
At the time, we thought it was some weird number that no one would ever hear of. Because frankly, it was David Johansen, former cross-dresser from the New York Dolls, in a 1950s pompadour hairdo and a formal suit singing a Latin song — not something you thought would become a major hit in punky 1987.
As it turns out, I’ve been able to tell this story at every wedding I’ve ever been to.
Tears For Fears, Everybody Wants To Rule the World, 1985
Screen grab from the Flock of Seagulls’ “I Ran” video. Tin-foiled camera visible in mirror behind keyboardist.
I’ll sign off with this one, because the video for The Clash’s “Rock the Casbah” in retrospect seems vaguely racist, and I can’t find the original video for that Thomas Dolby song. And the Flock of Seagulls video for “I Ran” is just too corny, with the cameras covered in aluminum foil, reflecting in all the spinning mirrored backdrops.
Soooo … I was studying a semester in England when I bought the album Songs From The Big Chair on cassette, because all I had with me was a SONY Walkman. I’d hide away in the tiny basement of our flats and play this, and literally bounce off the cinder block walls. When I hear it, I’m re-infused with the excitement and fear and wonder and expectation of my life finally beginning. I turned 21 years-old in London. And for a few moments, in my little head, I really did Rule the World.
Never go on your first date with a guy who asked your mother out first.
Especially if she has this near-psychic ability to pinpoint a person’s true character down to the bone within two minutes of meeting somebody. My mother was weird that way. Half the time she was mistaken for a giggly twenty-five year-old. She loved low-budget sci-fi movies from the 1950s and believed Bigfoot was out there. But when it came to a person’s character, she had your number the minute she saw you.
My buddy Marianne’s Sweet 16 party was at Pat and Jim’s restaurant in Patchogue, Long Island. The party ran long. Ma waited for me in the lobby, with her long Mediterranean-looking little-girl hair; as usual, smiling like a six year-old.
A D.J. named Domenick packed up his light board and cables in the front of the restaurant.
“Ey,” he said to Ma, unplugging things. “You missed the party!”
“Me?” she said. “I’m just a taxi service.”
* * *
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