Jim moved to California in 1978. He’d liked the area down by Santa Cruz so he rented a place in Capitola. To get away from White Arms and up the ante a bit he started writing a play that would star me and be produced in San Francisco.
It was called 1968 and it was about the attempted assassination of Andy Warhol. I was to play Valerie Solanas, he would play Andy. He wanted it to be called an opera even though there was no music. It was written in verse and both Andy and Valerie were backed by a Greek chorus. The only real musical element was the drummer who pounded out a rhythm which we tried to keep up with and project over.
We heavily researched every assassination detail and stuck to the facts. To a point. The verse was broken when Valerie delivered her SCUM Manifesto to the adoring masses. And after her trial she was given electric shock treatments to set her straight. The play ended with me lip synching “Chain of Fools.”
As things started to come together and it looked like we were going to pull it off, Jim moved up to the City into a rooming house across the street from me. A few months later he moved in with me so we could save money and share expenses.
We lived 1968 night and day and constantly bickered. He wanted Valerie to be true to life, scruffy and plain. I knew if my followers were coming they would want to see glam. I fought for something more mod and, even though it ended up a modest mod, it was not the realism he wanted.
Jim took on the roles of producing, directing and acting. He had no experience in any of them. It didn’t help that he was also so indecisive. Sometimes we’d gather for rehearsals and he’d have no plans on what we were to work on, still mulling it over in his head. Most of the cast were friends of mine and I felt guilty we were wasting everyone’s time.
As the opening approached we fought over everything; graphics, staging, mailing lists. He would not delegate, I would not compromise.
His biggest accomplishment was securing the The Fab Mab. It was the hippest venue in town and the home of San Francisco’s punk scene. He talked the owner Dirk Dirksen into giving us early evenings on the weekends in June, 1980. At one rehearsal some English group was unloading their equipment and I heard one guy say, “ah, it’s just some fluff doing a play.”
Things finally came to a head over the program. I arrived home one night after he had been to the printers. He told me my cover design was technically not feasible. He seemed pleased about it because he hadn’t liked it in the first place. I said something catty like I’m sure he’d worked really hard to find a solution.
He snapped. He started yelling I always had to have my way, I was impossible to work with, I never supported him, etc., etc. For emphasis, he put his fist through the plaster with such force the fountain pen he held splattered all over the ceiling.
I’d seen his violent side before but it had never been directed towards me. I shut down and started to phase him out. During the month-long run of 1968 communication between us was terse and only when necessary.
Mercifully, the play ended but our relationship was destroyed. We could barely stand to be together.
The Story of Jim
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