music research

December 15, 1971

Michael Wasserman, fellow winner of the first Jim Morrison Memorial grant for his Film Project 1.

This was so unexpected it was hard to believe. The debacle of my last film (at UCSB – see diary blog May 28 1971 link) seared itself on my psyche and lowered my expectations to the point where merely passing would’ve felt like a triumph.

At my screening, when the first ripple of laughter landed it was the sweetest sound I’d ever heard. I loved it. To my surprise, what I considered huge success was just as disorienting as massive failure. For the first time, I leaned toward taking film production instead of film writing.

In other words, I forgot who I was – again. What saved me was enrolling in a camera class with Michael. One session of brain-numbing technical talk restored me to sanity. Production people rise at the crack of dawn and work long days – 16 hours isn’t unusual – all of it on site (as opposed to at home, where I can write in my pj’s.) Production people are surrounded by other people and forced to endure production meetings.

I couldn’t design a worse job for me if I tried (except maybe military service). I was constitutionally incapable of surviving a week, much less making it my career. To clarify, production is fantastic for people like my sister Janet. She thrives on it. She’d probably be miserable in the solitary confinement film writing requires. No value judgment is implied, neither one is “better” than the other. It depends on who you are.

Janet with Ben Vereen on the set of one of the early shows she worked on, "VEGAS". — Janet with Greg Morris on the set of one of the early shows she worked on, “VEGAS”.

Free-lance film writing is not unlike eternal college. The typical time period allotted to write a script roughly corresponds to quarters and the reaction of buyers/producers is like getting a grade. Ninety-five percent of the work is done in solitude, on my own hours, at home.

At UCLA, I discovered a genuine talent for college (this assertion based on graduating summa cum laude and Phi Beta Kappa). Clearly, film writing was my ticket and I lived happily ever after.

You didn’t buy that, did you? I’m kidding. That would make for a truly boring story. Escalating conflict, big problems and hard decisions keep things interesting – and I was blessed with an endless supply, enough to fill many years of diary blogs.

December 13, 1970

I met Luke on my first day of classes. Prior to this entry, we’d been together, give or take a few brief break-ups, for 18 months – my longest relationship ever at that time. Our friends expected us to get married. Our parents prayed we wouldn’t. He was so much a part of me, I feared I’d shatter without him.

Although Luke was an art major, he was as much a writer as I was; he kept voluminous journals in spiral-bound notebooks. We talked about movies, literature and life for hours. On the day we met, we talked for 11 hours straight. He was a year ahead of me in school with a natural air of authority. I took everything he said as gospel.

His help with the play was invaluable – there wouldn’t have been a play without him. He didn’t stop there. He had no interest in learning Swedish, but he drilled me on my Swedish vocabulary anyway. He’d already read the classic Greek plays, but he read them again – aloud, with me – which brought them to life. He didn’t write my papers, but he read them and offered suggestions to go deeper.

We were college students with few responsibilities and endless hours to get to know each other. It got harder in post-UCLA real life. It takes time to trust people, let alone get close to them. It’s probably no coincidence I met my husband of 41 years when we were in college (he was in law school, I was in grad school). We were young and free with hours of free time to spend together. With every passing year since then, when hit with life’s inevitable disappointments and betrayals, I bolster my defenses. That’s not to say I’m a rock or an island, as in the famous Simon and Garfunkel song. Family life with three children forces me to be flexible.

Luke and I didn’t have that glue to keep us together. We could walk away from each other and never look back – and we did. We haven’t spoken or seen each other for decades. We loved each other once. How did it go so wrong?

Anais Nin writes,

I don’t disagree – but each death is a little bit different. I’ll dissect this demise in future diary blogs. Do I sound cold and cynical? That’s to hide the hurt. Don’t get me wrong, I believe my life worked out the way it was meant to. I love the man I’m married to and wouldn’t have it any other way. Still, even after all these years, I miss what Luke and I had, I miss the way we were. Maybe I miss the girl I used to be.

November 28, 1985

Backstage pass for Motley Crue show - "Theatre of Pain" is an apt name indeed! — Backstage pass for Motley Crue show – “Theatre of Pain” is an apt name indeed!

This take-away lesson is a good one; unfortunately, I still haven’t mastered it. Maybe my need to be a martyr is just too ingrained. Maybe I harbor an unnatural fear of doctors and hospitals. For whatever reason, I still delay dealing with potential health issues as long as possible.

Much like I minimize my own pain or maladies, I tend to discredit health problems in those nearest and dearest to me. I used to tell my children, don’t even try to tell me you’re sick unless I see blood or vomit. In hindsight, perhaps this was not the healthiest atmosphere.

My mother was the best when I was sick - the opposite of me! She treated me like a princess. It's a wonder I didn't get addicted to being ill. — My mother was the best when I was sick – the opposite of me! She treated me like a princess. It’s a wonder I didn’t get addicted to being ill.

At the time, of course, I was absolutely convinced I was right. Now I wonder if that was something I told myself because I was so terrified of the alternative. The possibility something serious might actually be wrong paralyzed me with fear. In order to stay calm and keep going, I had to convince myself my loved one’s complaints were only in their heads – no serious threat at all.

The Theatre of Pain concert program — The “Theatre of Pain” concert program

Of course, pretending serious threats don’t exist in no way minimizes or eliminates those threats. On several occasions – Sam’s surgery when she was six, J’s hospitalizations in the late 80s to name two – I felt the full force of the fear. Fortunately, my skepticism hadn’t caused a delay that jeopardized their health.

A rare photo of me exercising. I avoid doing anything pro-active for my health as much as I avoid going to the doctor.

Maybe writing all of this down will get the lesson through my thick head at last. Don’t play games with your health – you only get one body. If there’s the slightest doubt about whether it’s serious, make time to see a doctor.

November 18, 1985

I met Gene Simmons for the first time in Gary Lucchesi’s TriStar office. Gene was wearing leopard boots, a multi-strand choker with colored glass beads or gems and some sort of mesh bracelet. I’m pretty sure I looked like a PTA president by comparison in my dress and pantyhose. (What was I thinking???) He liked my spec script and wanted me to write his movie project about groupies.

His plan was for me to attend a lot of rock concerts, go backstage, and soak up the scene. For those who read yesterday’s blog, Simon and Garfunkel’s empty dressing room at the San Jose Civic in ’67 was as close as I’d come to getting up close and personal with a rock star. (Not actually true. I met some heavyweights with Cindy Williams in 80 – but that was more of an “Industry” event, not a groupie scene).

I love rock music and I’m fascinated by the “secret society” that surrounds it – the novel I’m working on right now, in 2016, is set in the rock world. The prospect of safely immersing myself in that world was enormously appealing – but so was my hope of adapting the Moonflower Vine, a novel by Jetta Carleton I’d loved since I read it in the sixties.

It seems as if good things (such as opportunities, rewards, and kudos) as well as bad things (failure, rejection, and financial stress) tend to come in clusters. Either there are two or three projects I want to write or I can’t get arrested. Two guys ask me out or I’m home alone on a Saturday night. I’ve always assumed it’s the same way for everybody (“buses always come in threes”) but I’ve never asked. Is it?

Actually, I don't mind spending Saturday nights alone if I've got something to read. — Actually, I don’t mind spending Saturday nights alone if I’ve got something to read.

Don’t bother looking up either of these projects on the internet. Another party already purchased all rights to the Moonflower Vine – forever – so there was no hope of optioning the underlying material. I wrote a draft of the groupies’ project for Gene and TriStar at which time it died, never to be resurrected (at least not with me as the writer). In this case, these days of indecision – ripe with intoxicating possibilities – were as good as it gets.

November 17, 1967

I think this show took place at the San Jose Civic – is it still standing? I was – and still am – a devoted Simon and Garfunkel fan.

Ticket stub for the Simon and Garfunklel concert

I’m fascinated by boyhood friends who become successful creative collaborators only to discover they can’t stand each other and implode. I’ve read several Paul Simon biographies – all of them discuss the friction, none of them explain it in a way I understand. They’re far from the only paired performers to be so afflicted, though, so a lot of people probably relate.

Sweet shy Mary in our backyard in the sixties

The truly remarkable thing about this night was Mary and I actually blazed a path all the way to Simon and Garfunkel’s admittedly empty dressing room. Granted, security would’ve been tighter if the stars were still on site, but factor in the fact Mary and I were as far removed from bona fide groupies as possible. I wouldn’t have known what “groupie” meant, let alone believed there were girls who actually acted like that. (And there were. Lots of them.)

Mary and me suburban matrons - about a decade later — Mary and me suburban matrons – about a decade later

For another thing that makes you go “huh”, tomorrow’s diary blog finds me on a trans-Atlantic phone call with Gene Simmons in London; he wants me to write a groupie movie for him. Stranger still, while I’m not as naïve as the girl fighting my way backstage at this Simon and Garfunkel concert 49 years ago tonight – I’m not that much wilder, either.

October 22, 1971

Less than a month after I bought that splicer from Larry Kemp, he served as cinematographer for my award-winning Project One film. He also functioned as my AD, my confidante, driver, grip, sound technician and comic relief. He stepped up and played every role that I asked him to because he was the only guy who was there. That’s not a bad description of Larry and what he meant to me. He was the guy who was there.

He was the youngest of three boys and I was the oldest of three girls. He was from New Jersey, I’d been in California (by way of Iowa) most of my life. We both loved the Beatles and Simon and Garfunkel (okay, not exactly crazy choices in those days, but I doubt we’d have gotten along so well if he’d been into country.)

Laughter was easy with Larry. On the day of my shoot, we were both in hysterics when Larry leaned on Josie’s couch, causing her to almost poke her customer’s eye out with a tweezers. (Maybe you had to be there.)

Of course, it couldn’t be a real friendship without an occasional conflict or two. Larry met my Inner Brat and witnessed my pettiness up close and personal but he didn’t lecture, judge or reject me. It was the kind of friendship I expected to last a lifetime but we took different paths and lost touch after college.

We haven’t seen or spoken to each other since the 70s. We are Facebook “friends” but almost never email or message. In other words, our friendship today is nothing like what it was – but we’re not who we were forty years ago either. The knowledge those days are gone doesn’t diminish the friendship that once existed. I’m happy just to know he’s alive and living happily ever after in LA – one of relatively few people I went to film school with who actually wound up working in the film business.

If a time machine dropped me back in 1971, I’d buy Larry’s splicer all over again. It was worth every penny. I got the deal of lifetime.

August 16, 1982

THE LATE GREAT BRILLIANT WRITER & MUSICIAN, DAVID ACKLES

Chris met his future BFF when he was two; he and Geo Ackles both attended the Church of the Lighted Window’s Montessori School. I noticed that whenever I picked CD up, he was with the same boy who – at that time – bore a striking resemblance to CD. Unfortunately, one of them (I don’t remember which) moved to another pre-school. As these two-year-olds lacked the social skills to exchange phone numbers or arrange play dates, a beautiful friendship almost died before it began.

But fate intervened! My in-laws stopped on their way to Temecula and took CD and me out for lunch at Bob’s Big Boy.

By miraculous coincidence, David Ackles was there with his son George. Our two-year-olds were delirious with joy. They leapt across the restaurant to greet each other like long lost brothers. David and I exchanged phone numbers and promised to get them together.

I assumed we’d facilitate play dates but otherwise pass like parental ships in the night. I was astonished to learn David was a fellow WGA member as well as a talented singer/songwriter who recorded for Electra (check out Road to Cairo – my favorite of his songs – if you haven’t heard it).

DAVID ACKLES SINGING HIS SONG,"ROAD TO CAIRO," IN 1967 — DAVID ACKLES SINGING HIS SONG,”ROAD TO CAIRO,” IN 1967

Not only that, he was witty, charismatic and just plain delightful – and although it almost seems impossible – it gets BETTER! His wife, Janice, was just as quick, hilarious and fun as David.

Before long, we were dressing up and role-playing mystery games with Joyce and John Salter, Terry McDonnell, Matt Rowell, Anne Kurrasch, Jake Jacobson and others. I wish I’d had the foresight to tape or film a few of those sessions. We laughed until it hurt.

The world lost a great artist and we lost a great friend when David died of lung cancer on March 2, 1999 but his music lives on – as does the friendship between Chris and George.

PLAYING A MYSTERY GAME - Top row: Joyce Salter, John Salter, Anne Kurrasch, Terry McDonnell, David Ackles; bottom row: me, Janice Ackles — PLAYING A MYSTERY GAME – Top row: Joyce Salter, John Salter, Anne Kurrasch, Terry McDonnell, David Ackles; bottom row: me, Janice Ackles

June 11, 1966

Sandy Walker (Hegwood) in her yellow polka-dot bell-bottoms — Sandy Walker (Hegwood), on her apartment balcony in her yellow polka-dot bell-bottoms

Me in another original hand-made dress - pink paisley or polka dots - in what I thought was a cute pose - on a day I'd be well-advised to duck into a store! — Me in another original hand-made dress – pink paisley or polka dots – in what I thought was a cute pose – on a day I’d be well-advised to duck into a store!

Sandy’s bell-bottoms were yellow with white dots – it’s odd the details that stick in one’s memory. I think mine were pink. I have no recollection of the day the Lovin’ Spoonful descended on Valley Fair but I assume it did in fact happen as I was nothing if not painfully accurate in my somewhat reportorial diaries. I confess to lingering curiosity about what the “Dutch Masters” hearse might be – it sounds kind of cool but knowing me and Vania, fishing for dimes with gum on a pen, maybe not.

In 1966, Valley Fair – an outdoor mall – was the daylight weekend spot to run into people from high school or meet new people from other high schools. More often than not, I ran into someone I didn’t want to see – a guy who’d just broken up with me, for example, with his gorgeous new girlfriend on a day when two new pimples popped out of my nose and my hair looked like a Brillo pad – at which point I’d duck into the nearest store and play hide and seek (some people call it “Stalker” but I think that’s unkind).

I don’t live in Santa Clara anymore so I don’t really know – did Valley Fair survive the 70s, 80s, 90s, and the millennium? Is Macy’s still the anchor store? Does anyone else recall the Lovin’ Spoonful at our very own Valley Fair?

May 28, 1971

This was one of the worst days of my life. To set it up a little, I was at UC Santa Barbara for one quarter of intercampus visitation and this was the day I showed the film I made for one of the classes I took there.

First, I take full responsibility for this debacle. For some bizarre reason, I believed that if I made a complicated incomprehensible film that nobody could understand, the audience would be awed by my superior intellect and love me. If you doubt how pretentious and wrong-headed my film was, allow me to dazzle you with its full title – JOURNEY: A RITUAL IN FIVE PARTS.

So why do I consider this disaster one of the luckiest breaks of my life? First, I made the film in Santa Barbara, where no one from the UCLA Film Department would stumble upon it and it could die in peace. If I hadn’t launched this colossal misfire in Santa Barbara, I almost certainly would have made a similar film for my Project 1 at UCLA – which, at the time, was basically a thesis film worth 8 units of credit on which your entire career in the film department depended. The humiliation in Santa Barbara saved me a far greater humiliation.

Second, and more important, I learned in a visceral punch-to-the-gut way that obscure pretentious films are not the way to an audience’s heart. (Why didn’t I know this already? I must’ve been absent that day.) My value system changed, as is reflected in my subsequent writing career. I finally understood the most important aspects of any film, story or book are to be entertaining, clear and accessible.

And, when I made my Project 1 three months later at UCLA, it was one of four films that was awarded the Jim Morrison Memorial Grant.

May 13, 1966

A Catholic priest created the Wutzit Club to keep teen-agers off the streets. In 1966, it was on Newhall Street. It was open Wednesday, Friday and Saturday nights and featured a ballroom, stage, game room, television lounge and snack bar. Dances were strictly chaperoned and a dress code was enforced. No alcohol – and nobody 21 or older – was allowed. Live mostly local bands performed; Buckingham and Nicks played there in ’68, before Stevie Nicks and Lindsay Buckingham joined Fleetwood Mac. Dues (admission) was fifty cents – a small price to pay for the chance to meet the love of your life.

For people like me and my friends, who weren’t part of the Wilcox High “In Crowd,” the Wutzit offered an opportunity to meet non-Wilcox guys who didn’t know we were dorks. Males massed on the right side of the room. Girls milled on the left and waited for some brave boy to cross the great divide and ask us to dance. Our popularity – which in those days meant success – depended on how many times we danced. Higher mathematics were not required in my case since it is hard to miscalculate one (1).

At the Wutzit, beauty got you asked to dance. (I suspect being under 5’9” helped but I can’t prove it.) While it’s true other values – intelligence and persistence – are rewarded in the real world, it’s equally true that real life tends to be easier for those born beautiful.

Today, girls don’t need to wait by the wall. No social stigma attaches if they dance alone or with their friends. I applaud their freedom but can’t help wondering if underlying values changed too. I hope I’m wrong but I suspect more than a few millennials dancing alone still relate to the words Janis Ian wrote in 1975.

music research

December 15, 1971

December 13, 1970

November 28, 1985

November 18, 1985

November 17, 1967

October 22, 1971

August 16, 1982

June 11, 1966

May 28, 1971

May 13, 1966

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