Tuesday, February 24, 2015

Writing with Rox WEEKLY—Night Fever

It seems like every ten years or so I am hit by a sudden need to watch Saturday Night Fever. Perhaps it's because my son Jude just turned eight, the exact same age I was when Ma took me to Westwood Village to a ten pm show with her boyfriend Jay. 

In all fairness, I begged. I pleaded and moaned. I got down on my scabby roller-skater girl knees and shouted. I didn't get that is was inappropriate. It didn't matter that it would give me nightmares.  This was a matter of disco. It was 1978 and disco was everything. It was disco or die as far as I was concerned. If only I could convince Ma to take me, I'd score major points with peer pressure. The older kids would accept me into their roller clubs, friends would revere me, and surfer Jered would take me out on a date to 7-11, ogling over my maturity.  As it was, everyone was already jealous that I had such a cool mom. 

"But I already got you those fucking satin pants, Roxanne. And look? You ruined them already."

Sure enough there were holes in my Starburst Orange satin disco pants within a week of purchase. She didn't believe me when I told her the holes were caused by my brother Ben farting on them so many times, with such putrid blasts, that several holes were burned into them. "I don't see how else it happened, Ma."

"No way, Roxanne, " Ma huffed, leaving a trail of smoke all over my disco moves. "And I don't see how your roller skating teacher could assign a movie for homework. We're not going. Now turn that down!"

"Well... it's more like she suggested it. Come on, Ma. Even you think John Travolta is cute. You said yourself you wanted to go see it!"

I don't know how or why Ma finally caved; perhaps my incessant begging eroded her common sense. Though I suppose it may have had something to do with Jay, who like many of Ma's boyfriends, considered me a pain in the ass, worthy of consequences, given he worked in corrections. Or possibly, likely, because both of them weren't too far away from youth themselves, remembering what it was like to crave the wild night like a child, the same way I did. 

Perhaps it is that same rush of adrenalin that calls me now—older  than each of them at the time, at least by ten years—back to that movie time and time again. That calls me to exclaim "let's go dancing!" to whomever I happen to be watching with. Less often I disclose my intense craving for a smoke, not so much because it caresses some unfulfilled hole inside (it used to!), but because it looks so damn cool. That's the danger in movies for me. I know better, but my young body, my wishful, longing, Hollywood body, is still vulnerable to the tricks of the trade, which for memories such as this, had its place in the sun. Or the hot seventies night, as it were.

And that night was a dream. I vividly remember walking up Westwood Boulevard, heading toward the theatre just south of Wilshire on that late summer night. I bounced between Ma and Jay, decked in their best everyday disco clothes, me with the patched up satin pants, matching yellow shirt with orange satin star in the middle, disco's stamp on modern clothing. There was talk of dance moves and the coolest movie there was ever was. There was an unspoken ecstasy in the strut each of us walked up the city sidewalk that night, a smug understanding that we were the coolest people on earth, Ma and Jay looking fancy and fine with their Marlboro Reds dangling off their lips. 

The memory is encased in disco, sirens and night lights spiraling around me as we hustled in with the crowds just in time. We shared a huge tub of popcorn smothered in butter, large drinks, feet propped on the seats ahead of us. "Oh cool..." I said, as the opening credits unfolded over JT strutting those disco streets I craved so deeply in my young body, the momentum of cool. 

"Cool!" Ma echoed, and at that, I knew I was exactly where I needed to be. I belonged. And one thing I knew for sure, enhanced by the Bee Gees beat pounding with rhythm and momentum, the soundtrack to this forever night: I am special. For that night, I was part of the scene, among the adults with the world (and dance floor) at their feet. 

And that feeling lasted until disco had it's huge backlash a few years later. Things went downhill between me and Ma. Jay left. The eighties came. We learned to dance real lame. Poor John Travolta was exiled from the new wave. Friends and I TP'd houses all over the neighborhood, writing "disco sucks" in egg yolk and shaving cream all over LA's manicured lawns.

As I watched SNF again this past weekend, it occurred to me about that backlash. Why did everyone suddenly detest disco? I remember it being violent, the hatred, as though disco was some writhing disease in bell bottoms. And in the height of peer pressure, I went along with the hatred, agreeing to reject a deep part of myself in the face of Culture Club, aloofness, and androgyny. Running scared from myself in a feral city that broadcasted its utter hatred toward disco, I was reborn a depressed, motionless adolescent, never questioning the death of a pulsing era. Too young to understand at the time,  I can't help but wonder now where all that hatred came from. Why a seemingly good thing was shot down from the starry heavens, no longer cool, all dressed up in satin with nowhere to go. 


WRITE WITH ME?
Where were you the day (year? era?) the disco died? What are your disco days memories? Saturday Night Fever stories? 






Thursday, February 12, 2015

Writing with Rox WEEKLY—I want you to show me...


If you're anywhere near my age you likely remember belting it out in the car, or cranking it up in your bedroom when no one was home, perhaps lying in bed, paralyzed by love's woozy grip, picturing yourself on a tropical island ("Blue Lagoon"?) in a saucy embrace... "I want to know what love is... I want you to show me... I want to feel what love is... I know you can show me..."

I had no way of knowing at the time—the time being 1984—as I rewound this "lame" song that no one my age admitted liking, over and over again, shortly after my boyfriend took me to the Rolling Stones concert and then broke my heart the next day. No way of knowing that thirty years later I would be singing that same song, only a spiritual "cover" version, with a room full of Bhakti yogis, eyes rolling back in their heads, arms stretched toward the heavens, just outside of Madison Wisconsin. Had you told me that at the time, in fact, I likely would have said you were mistaking my life for a David Lynch movie. Not so fast, young, tortured teenage, heartsick, Rox. Not so fast. You've got a lot to learn about love, yet.

Indeed life is a constant lesson in love, is it not? But that's what love looks like when you are 13 in Los Angeles in 1984.  And then it morphs and moves around and gets old and stays loyal here and disloyal there. And then we learn it isn't what we thought it is. And then we realize it's nothing at all like we hoped it was because it's much better, and bigger and all encompassing and includes everyone... And we learn about the Dalai Lama. And Thich Nhat Hanh and lovingkindness... and eventually we realize love's a verb not a noun or it's a state of mind or it's like that great book or movie or love song...well, all that and more. And then we are back where we started from: head over heals in love, lovestruck, lovesick, heartbroken, hopeful...until we are chanting "I wanna know what love is" with a bunch of Hind-Jews, many of them wearing turbans. 

All true, but what does all that look like? And what does that have to do with Foreigner? Well. Back to basics. Back to showing "what does that look like?" Why do I ask? Because love is the courier, the fuel of our stories, the ones we live, the ones we write. Not only are there people we love, but there are also things and places and mommies and daddies and summer camps and music...god, do we ever love music. And don't even get us started on our children. And pets... 

We can love these things in our lives and it shows. When we write, it's not enough to just say it (I mean it is, but you know what I'm saying); for us to love what, how, and who you love right along with you on the page, we've got to see what that looks like.

Here's what love looks like for me: Well...admittedly, chanting  alongside a bunch of yogis just outside of Madison Wisconsin on a beautiful summer day. Laughing blissfully, picturing myself doing this on a (very) regular basis, the image of Valley Girl me chanting words in Sanskrit, cowside, for turning out so far from the person I thought I ever would be.  

Love is writing around the table here at The Beach and reading something and when I look up everyone is looking at me that certain way, a few of them crying

Love is a student naming the Beach, the Beach. 

Love is Jude surrounding himself in his stuffed animals and putting his head on my shoulder when I read The Hobbit to him in his bed. It's also Jude unexpectedly taking my hand when we walk to the bus stop. 

Love is breathing into my heart. Love is breathing back-to-back with someone, feeling the rise and fall together. 

Love is falling into fits of hysterical laughter with Jude because the sound of soy milk pouring over the Cheerios at 6 am cracks us up.

Love is singing "You Ain't Goin' Nowhere" with Debmama and Two Cute Face.

Love is my brother eulogizing my dad by remembering the story about a piece of property he had in the mountains, deciding whether or not he should sell it, wanting to keep it "so others had a place to go."

Love is Ma embellishing a Hallmark card with exclamation points and drawings on Jude's 8th birthday card.

Love is knowing someone so well you can predict their micromovements and mannerisms, before they even know they're coming.  

Love is yoga.

Gosh, I could go on because love is writing. Writing endlessly about what love looks like is love. Love is feeling the loops and dots and lines and curves that form words reflected in the shapes and breath of my body.

Okay, one more: 

Love is laughing at corny jokes like "Nine runs into a friend at the coop who doesn't recognize her because she looks like Six. So she says to the friend at the coop,  It's me! Nine! From yoga class!"



WRITE WITH ME? WHAT DOES LOVE LOOK LIKE FOR YOU, RIGHT HERE, RIGHT NOW? "LOVE IS..."
PLEASE WRITE WITH ME AND SHARE. BUT EVEN IF YOU DON'T, I STILL LOVE YOU AND WISH YOU A VERY HAPPY, SWEET, HEART-CENTERED VALENTINE'S DAY. XOXO

Monday, February 2, 2015

Writing with Rox WEEKLY—Oooooh, that's what it's all about...


For all the times I tell my students—the same way Stephen King told me in On Writing, the same way Thomas Lewis reminds me in A General Theory of Love—that most stories, above all else, are about relationships, I tend to forget this. I want to make stories about everything else: yoga, depression, Los Angeles, eating disorders, drumming, cigarettes, music, love, etc, etc... I want to make them bigger, flashier, up the stakes by giving them more places to go and more proof of their significance.

"If only I could describe that first time I shaped my body into Camel Pose in a way that really conveys that I went to another plane of reality...like a desert plane, where everything was blinding yellow, wide open and infinite..." I find myself musing on some mornings, clearly when I'm off on another plane of reality, thinking about the memoir I'll come back to someday. Yes, there is a memoir in progress. Yes, it's about LA and television and yoga and... well, a lot of things.

This morning I was talking to Dada, with whom we share the raising of one human experiment, currently in the form of an almost 8-year-old Jude. What we talk about when we talk about Jude is varied and celebratory, often addressing the logistics of raising him (as best we can) with consistent values and discipline from two separate houses. We do pretty well except for the occasional snag on screen time. Neither of us is too political or hysterical when it comes to the Matrix; it has more to do with preference: Dada loves making movies and doing stuff with technology. I am bored by it and prefer face-to-face over virtual. 

Still, occasional flare ups where I start to wonder "is he playing too many violent video games or watching too many scary movies?" result in Dada insisting there is "nothing to worry about," reminding me it's interactive, they play together, there is plenty of supervision, etc. And yet, you can take the girl out of LA, but you can't...

"But, Dada," I tell him, "remember what my memoir is about? It's about television ruining my life!" This gives us a both a laugh, me because I am citing my own unpublished memoir as evidence. Not that I don't make a good point: years of unsupervised TV and movie and music video watching while growing up in Los Angeles resulted in years of suffering, distorted thinking because I assumed TV was real, that I should tithe to the Hollywood gods to the point that I married a gay man because he—"we"— looked good. Ergo, I should've been happy, right?

"Your memoir isn't about television, it's about your mother, for Christ Sake," Dada says, reminding me how my mother insisted we watch the holocaust movies year after year and how they scared me to death. How I couldn't sleep at night when Ma was out on the town because I was afraid they were going to come get us, turn us into soap. 

Contrast that to the hours of "happily ever after" TV that came my way daily via The Brady Bunch, Heart to Heart, Facts of Life, Different Strokes, Fantasy Island, Punky Brewster... and I was one confused kid. 


When I went to Ma with these Hollywood spawn fears, she was not much help. "Could it still happen, Ma?" I said, following her around the kitchen while she crashed around in the junk drawer. After all, Ma knew best and most about all things. "Could it, Ma?"

"Who the fuck knows," she said, "it's possible. There are a lot of people out there who still hate Jews."

"But—"

"Now go outside and tell your fucking brother to get in here. Dinner's ready and I'm going to be late." She crushed Top Ramen noodles into the near boiling water, hurrying it along with a wooden spoon. 

"K! Can we eat in the living room?" Happy Days would be on soon.

"No. You'll make a fucking mess. Okay. Just don't make a fucking mess." 

Happy Days and Top Ramen, a little Sara Lee banana cake for dessert and things were looking up. Today, while it's still light, let there be dancing at Mel's; tonight I'll deal with the nazis!


How could I have forgotten? Without Ma, the journey we take together throughout the pages of my memoir, there is really no story. We are the momentum and the tension behind the entire thing. How will it "end" between us? What will I have to do for my own "happily ever after"?

Leave it to Dada to remind me of this. I picture he and Jude at the Red House, sword fighting or boxing on the Wei, before dissolving into a pile of boy laughter in the hammock. I picture Jude asking his dad if zombies are real, if they can do "stay up late night" again and have cereal for dinner. I picture Dada telling him about the zombies he has seen at work, that even though there are plenty of them, there is nothing to be afraid of, nothing to fear.

WRITE WITH ME? WHO AND WHAT IS YOUR MEMOIR ABOUT?