David Soul – Queer and Loathing in America

Sunday morning, and all is well in the Lost Apartment.

I woke up early this morning and, remembering, thought it might have been a dream, but no, a quick glance at the Internet told me it really did happen–Alabama did lose to Vanderbilt yesterday, 40-35. Hell, Arkansas came back to upset Tennessee last night while we were were watching ‘salem’s Lot (more on that later). What in the world was going on in college football yesterday? Admittedly, insane days like yesterday (Washington even went to Michigan and won. What the holy hell is going on this year?) are what make college football so fun to watch and experience as a fan; and I think 2024 might just be one of those insane “reset” seasons where everything goes out the window. Vanderbilt beating Alabama¹ just two weeks after losing to Georgia State–another Vandy embarrassment–and now the concept of hope has shown up for the hapless Commodores; if they can beat an Alabama team, on any given Saturday, the ‘dores could beat anyone. Absolutely wild. I was watching a different game–I don’t even remember which this morning–when I saw that the score was 13-7 in the second quarter, Vandy leading, and I thought, what the hell and switched over to that game, and both Paul and I watched in stunned bemusement, riveted until the clock ticked to zero and the Vandy fans rushed the field, tore down the goalposts, and carried them three miles to throw them into the Cumberland River. I can only imagine what it was like to be a Vandy fan watching all of this yesterday.² I do pity the new Alabama coach; he’s got a hell of a week to get through before next weekend’s South Carolina game (LSU comes back from the bye week to play Mississippi next week at home; the Rebs trounced South Carolina yesterday), but still have to play Tennessee, LSU and Oklahoma. They can still make the play-offs if they run the table, but I am beginning to wonder about that. Missouri was also beaten badly by Texas A&M yesterday, so now Texas is the only unbeaten SEC team still standing and there’s no telling who might run the table, who is good and who isn’t, and so forth. It’s kind of exciting, actually. CHAOS.

I did sleep late yesterday, got up and ran all over town and even went out to Metairie for my eye appointment (which has to be rescheduled; it was an on-line booking error), but was thoroughly exhausted when I got home from everything. I immediately started cleaning while the A&M game was on–no need to watch that thrashing, so it was mostly background noise. I did manage to get all the dishes done, and launder the bed linens, and pick up around here. The Lost Apartment looks better this morning, but I also need to finish assembling my desk chair, do some more cleaning up around here (the floors, the floors!) and hopefully do some reading and writing today as well. The Saints play tomorrow night (Taylor Swift has been rumored to be attending; so I imagine all day tomorrow local networks will have someone stationed at the airport to see if her plane lands), and the weather has been lovely since that sopping wet mess of a Friday we had here. I am glad to be up early this morning–clearly I needed to sleep in yesterday, and I was still easily exhausted, so I know I am still not at 100% yet…patience, Gregalicious, patience. You’re older and it takes longer to bounce back than it used to, and you’ve never had a major surgery before; it hasn’t even been a full year yet since the surgery.

I do have one errand to run today, and I should get it done this morning.

So, we decided to watch ‘salem’s Lot instead of watching the Tennessee game (which we should have watched, apparently; I never tire of watching Tennessee lose), and going into it, I knew that most of the King fans amongst my horror writer/reader social media friends didn’t care for it. As I watched the movie–which is a fairly competent vampire horror movie–I immediately saw what the problem with this film adaptation was going to be, and even understood why even the cheesy two-part television version with David Soul failed. I have always thought of ‘salem’s Lot as “Peyton Place with vampires, and that strength of the novel–the townspeople themselves, their relationships with each other and all the long-simmering feuds and gossips and pettiness–was the primary strength of the novel, as is its pacing: it begins as a slow building burn, and the momentum just keeps building. Everyone knows the story is about vampires now; it’s even a bit of an homage, in its own way, to Dracula–there’s even a scene in the book where Matt Burke reminds Ben of Van Helsing–but when I first read the paperback from Signet back in the fall of 1976 in Kansas, I had no idea what it was about. I just knew it was scary, it was about evil in a small town, and the writer was the guy who wrote Carrie, which I had read in one sitting a year earlier. So, I was enjoying how the town is originally shown, a small town that’s like every other small town, that idyllic vision of America that the right keeps forcing on us all–small town America is the real America as this Norman Rockwell painting/Mayberry like life, and it’s anything but that. (Small town America is the real America, but not in the way they mean–small towns are composites of the society as a whole, with percentage wise just as much crime, adultery, incest and passive-aggression as the rest of the country, no matter how much better they believe they are than urban dwellers.) That slow build, as we settle into Jerusalem’s Lot as a town like any other, with likable people and unlikable people whose dirty secrets King allows us to see; in the first half of the book it’s almost like reading Peyton Place; Jerusalems Lot even has the Marsten House as Peyton Place had Samuel’s castle (which was also the name of Allison’s novel in the book). Something dark is going on in the town, and just getting started, which we get glimpses of from time to time–a dog killed and left on the cemetery fence spikes; the disappearance of Ralphie Glick and his brother’s strange sickness and death…but it isn’t until Danny Glick shows up at Mark Petrie’s window do we know that it’s actually vampires, and then the entire book flips and no longer lazily meanders along on its assigned path; it then becomes a thriller that moves with the speed of a locomotive.

This pacing is what most readers like me (and I suspect a lot of others) loved the most about the book; I always loved the town-stuff as much as the vampires, honestly, but that kind of pacing is impossible in a film or a two-part television movie–you can’t have the first half be meandering and slowly moving along the path of the story, folks who have no idea what’s happening in their town and still aren’t entirely sure as the depopulation moves faster and faster, because you risk losing your audience. This was the problem with the David Soul version–the pacing was the same throughout, which isn’t the way the story reads. In this film version they chose to abandon everything from the story that isn’t about vampires, and to just make a standard horror film about vampires. On that level, the movie works. It’s a standard vampire movie that moves very quickly, just as the second half of the book does, but by cutting out all the stuff that made us care about the characters, we aren’t as vested, and when they die, we don’t really feel it much or care–every death in the book was a fucking tragedy, and so the movie is actually kind of soulless. We aren’t given enough character development to care when characters die. I think the only true way to film ‘salem’s Lot successfully, it needs to be a six or eight episode series to be done truly properly. There was hardly anything about the Marsten House in the movie, and that’s a significant change from the book. It’s just there, and we have no idea what kind of research Ben is doing for his novel or why he even came back. The loss of all the supporting characters that really made the book so strong can be felt deeply in the film. It’s just a competent vampire movie, but it isn’t ‘salem’s Lot, but I did like the big scene at the drive-in movie theater.

And on that note, I am heading into the spice mines. I want to get a lot done today, and here’s hoping that shall come to pass.

No one ever worries about losing to Vanderbilt; it’s usually seen as a bye for most teams because Vanderbilt has always been terrible in football; they’ve never won the conference in all the years of belonging, haven’t beaten Alabama since 1984, and are always cellar-dwellers in the SEC (one of my favorite things to remind people is that Senator Tatertown the moron lost to Vanderbilt as a football coach; now Kalen DeBoer will also have that distinction. What a wake-up call for Tuscaloosa, and how wild that it happened one week after Alabama beat Georgia, handing them their first regular season loss in 42 games. I mean, good for Vanderbilt, but whoa, what the hell, Bama? ↩︎
Vanderbilt always has more visiting fans in their stadium than their own fans; at one point I was in the kitchen washing dishes and would hear the crowd cheer, so would come take a look–they were Alabama cheers, and they were louder than the smaller contingent of Vandy fans there. ↩︎

Ah, Starsky and Hutch.

As I have been reviewing things that helped confirm to myself as a child that I was a big old homo (for my book The Summer of Lost Boys), I found myself remembering a lot of things, memories from the darkest dusty and cobwebbed chasms of my memory banks.

But as a kid, realizing that I was drawn to men more than women was difficult and weird, and not in the least because I didn’t understand what women saw in men; their sex symbols, to me, left a lot to be desired. I grew up on the cusp of some societal and cultural changes, and not the least of which was the fact that in the 1970s, men finally began being sexualized and held to a kind of male beauty standard that gradually changed that standard–which for a burgeoning young gay boy, was perfect timing. I never understood, for example, what girls saw in teen idols–sure, Bobby Sherman and Davy Jones and David Cassidy were cute…but I didn’t think of them as sexy or sexualized; the Tiger Beat crowd was very into guys who were not sexually threatening–these weren’t guys they wanted to fuck but rather ones they wanted to hold hands with and go on dates to malt shops and movies with, and chastely kiss good night. I never really got the sense that women ever wanted to fuck their sex symbols, either–there was an odd chasteness to women (the old madonna/whore paradigm) in their fandoms. You never heard a woman saying she wanted to fuck Paul Newman or Robert Redford or Burt Reynolds; there was more to it than just sexual energy.

But “Women’s Lib” began taking flight in the 1970s, as did queer rights, and a gradual shift in the paradigm of what is sexy in a man and what isn’t began changing. It was the decade Playgirl launched (more on that later), Jim Palmer began doing underwear ads, and the poster of Mark Spitz and his gold medals wearing a speedo sold like cheap beer on a payday.

And it also began the rise of the himbo shows; the male equivalent of all those jiggle shows with big breasted girls without a bra jumping up and down; those shows were almost guaranteed ratings in the Top Ten. Starksy and Hutch was the first real himbo show that I can remember; David Soul and Paul Michael Glaser were very good looking with great bodies that were very masculine as well–and the show showed them shirtless as much as possible, or in towels, or–you get the idea. They drove a fast car with an odd but distinctive paint job (cars were also stars that decade) and the show also not only was a hit but a part of the zeitgeist, too. I watched every week–as did my sister and almost every girl I knew–but it being a macho cop show, it was okay for men to watch, too.

And if there was an Internet and fan fic, a lot of people would have been writing erotic romances about the two of them.

Their closeness as characters as well as their chemistry, and their willingness to appear half-naked at the drop of a hat certainly made the show popular with gay men–and the stars also didn’t mind playing into the gay interest in the show, as you can see by the picture of them running hand in hand on the beach.

They also did a lot of those kinds of promo photo shoots.

Glaser’s wife later contracted AIDS from a blood tranfusion, and the two of them spent a lot of their time and energy working for AIDS treatment, education, and a cure.