The first ‘Star Wars’ generation

I remember sitting in a cinema one day in the early summer of 1977. I was just shy of nine years old, so I was there with my dad.

My dad wanted to see this new movie called Star Wars.

I didn’t really know what to expect, but my dad (then barely in his thirties) was excited about it. So I went along, too. My mom had no interest the movie. (My mom liked very few movies that didn’t involve horses.)

I remember watching the opening scenes. The big spaceships on the big screen. Oh, man, I was immediately hooked.

I know: this essay has already veered into cliché. By this point, everyone has seen those scenes in the original Star Wars movie. The CGI effects in 21st-century movies like Avatar, moreover, have since surpassed our collective ability to be visually amazed.

But keep in mind: in 1977, the average feature film was a Burt Reynolds movie that relied on conventional car chases. (In fact, one such movie—Smokey and the Bandit—was released within a few weeks of Star Wars.)

Most of the available science fiction in 1977 was campy and already a decade old. There was Star Trek, of course. But Star Trek was made in the 1960s, and it showed in the production values.

There was also Lost in Space, which had its original prime-time run between 1965 and 1968. (Oh, and the first season of Lost in Space was in black and white.)

I won’t tell you about Star Wars and how it was different because well…you already know. But you might not know what it was like to be part of the first Star Wars generation.

To truly get that, you have to have been there.

America in the 1970s was an unsettled place. The country was on a hangover from Vietnam, the counterculture, the 1960s, Watergate.

Many of the Baby Boomers, then at the peak of their childbearing years, were trying to reconcile parenthood with all the Me Generation stuff.

I should note that my parents were the exception in this regard. I had wonderful parents and—on the whole—an idyllic childhood. But my childhood was the exception. This was an era of small families, divorce, and adults working in parenthood as an afterthought. The 1970s was not a child-focused decade, on the whole.

This showed up in the marketplace. Corporate America didn’t put out much entertainment for children, because the demand wasn’t there, like it was from the mid-1980s onward. For most children, circa 1976, Saturday morning cartoons (mostly reruns from the 1960s) were the highlight of the week.

But then there was Star Wars. If you were a kid in that era, Star Wars was not just a movie, but a way of life…or a way of play, anyway.

Star Wars trading card, 1977

Publishers cranked out Star Wars trading cards and comics. Toy manufacturers rushed light sabers and action figures to market. There was always something new to buy…or to beg your parents to buy.

Burger Chef, a now defunct fast food chain, issued a set of Star Wars posters in 1977. Each one was given away with the purchase of a double hamburger meal, or something like that. I talked my parents into acquiring all of them.

My bedroom became a shrine to Star Wars. My room contained not just the posters, but all the paraphernalia I could acquire.

Burger Chef Star Wars poster 1977

I’ve watched the more recent Star Wars movies. I know that the last few have been controversial among longtime fans. I’m not interested in wading into that debate. For me, the first three movies—Star Wars (1977), The Empire Strikes Back (1980) and Return of the Jedi (1983) are the only three “canonical” ones, anyway.

These three films traced the end of my childhood, effectively. I was nine when the first one came out. When Return of the Jedi hit the local cinema, I had completed a year of high school.

But this is about more than mere nostalgia. In recent years, the culture wars have invaded science fiction, superhero comics, and whatnot. There was little appetite for that in the late 1970s and 1980s.

Why? That era was already full of gloomy, abstruse movies that were overloaded with “message” and “issues”. And in the 1970s, the issue du jour was the Vietnam War, which was still very much in recent memory.

And so we got turgid, barely watchable films like The Deer Hunter (1978), Taxi Driver (1976), and Apocalypse Now (1979). In 1978, I remember hearing a news story about a Vietnam vet shooting himself at a screening of The Deer Hunter. That movie is incredibly gloomy and depressing to watch, as are the other two. (And the Jodie Foster scenes in Taxi Driver, in which she plays a child prostitute, are downright bizarre by today’s standards.)

Star Wars offered a break from all that. Star Wars was a movie about a war in space that didn’t ask you to think about Vietnam. Nor did it ask you to think about the nuclear arms race—another big “issue” of that time.

The original Star Wars trilogy had a relatively diverse cast. It wasn’t all white males in the spotlight. Who can imagine Star Wars without Carrie Fisher, after all? And the third movie of the original trilogy made a major star of Billy Dee Williams.

And yet, Star Wars didn’t ask audiences to engage in endless navel-gazing about race and gender. (These matters now greatly preoccupy the fandom of science fiction publishing, but that’s another “issue” for another time.)

The original three Star Wars movies were simply fun. They weren’t controversial. They didn’t try to change your worldview or your politics. Practically everyone liked them. (Even my mother relented and saw the second and third Star Wars movies, despite their lack of horses.)

And if you were a kid in the late 1970s, Star Wars was larger than life.

I’ll close with a blunt assertion: I think it’s high time for the film and comics industries to retire the franchise. To put this in perspective: I was not quite nine when the first movie came out. I’ll soon be fifty-three, and they’re still riding the Star Wars wagon, trying to squeeze a few more million out of the original story concept.

But who cares what I think? Maybe I’ll see the next Star Wars movie, and maybe I won’t. It’s not like I’m boycotting them. But like I said: for me, the first three are the only ones that really count.

Rereading ‘Salem’s Lot’ after 35 years

The original hardcover, published in 1975

I recently decided to reread Stephen King’s vampire novel, ‘Salem’s Lot. This seemed reasonable enough, as I had first read the book in 1984. (After thirty-five years, just about any novel or film will seem fresh again.)

I have a lot of nostalgia associated with this novel, as I tend to have a lot of nostalgia associated with a lot of things. This was the book that birthed my adult interest in reading and writing.

In February of 1984, I was a sophomore in high school. During my free period, I worked behind the counter of the school library. That’s right: I was a librarian.

But I wasn’t a big reader. Not at that time, at least. I had been a very avid reader during my childhood years, devouring series like John Dennis Fitzgerald’s The Great Brain, and Alfred Hitchcock and the Three Investigators.

Once I hit puberty, though, I developed other interests: football and rock music, specifically.

I did play high school football for a while—if you can dignify what I did with that description. (I was a third-string right tackle, or something like that.) And I messed around with a few garage bands. I can still play the basic chords on a guitar. (But I was always much more interested in lyrics than in music.)

One day, when things were slow in the school library, I picked up a dogeared paperback copy of ‘Salem’s Lot on a whim, and started reading it.

I was immediately hooked. I checked the book out, and read the entire thing in less than a week.

After that, I read the rest of Stephen King’s oeuvre, as it existed in 1984. Stephen King fans tend to divide themselves between those who prefer his newer style—long, rambling books like Duma Key and 11/22/63, and those who prefer the tightly plotted, shorter novels of his earlier years. Put me solidly in the latter camp. The Stephen King books I most love: The Stand, Pet Sematary, Christine, Carrie, The Dead Zone, Cujo, and ’Salem’s Lot were already available in 1984. (’Salem’s Lot, in fact, had already been out for a decade in 1984, and had already been adapted into a made-for-TV movie, starring David Soul as Ben Mears.)

 

There is much about ‘Salem’s Lot to love. Let’s start with the way Stephen King pulls you into the small-town New England setting. I have spent most of my life in Ohio, and I’ve never been within a hundred miles of Maine. But when I read ‘Salem’s Lot, I had a deep, palpable feeling of small-town Maine life in the mid-1970s, when the story takes place.

The horror element of the story builds slowly, and is an organic part of the setting. The horror is embedded in the history of the town, and Ben Mears’s terrifying childhood experience in the Marsten House. When the supernatural phenomena begin to occur, they are believable precisely because Stephen King has already made you believe in this world of ‘Salem’s Lot, a small town in rural Maine.

It starts with the very prosaic, quite mundane details, as seen through the eyes of Ben Mears. It begins as Mears, still haunted by the death of his wife, is driving into the town where he had spent a few happy summers of his childhood:

…and he could see Schoolyard Hill through the slash in the trees where the Central Maine Power pylons ran on a northwest to southeast line. The Griffen farm was still there, although the barn had been enlarged. He wondered if they still bottled and sold their own milk. The logo had been a smiling cow under the name brand: “Sunshine Milk from Griffen Farms!” He smiled. He had splashed a lot of that milk on his cornflakes at Aunt Cindy’s house.

That, you see, is how a master horror writer like Stephen King suspends your disbelief. He begins by investing you in the characters and the settings. Then he introduces the paranormal—the scary stuff.

 

The vampires in ‘Salem’s Lot are old-school vampires. They are spiritually foul, evil creatures who pose a threat to your immortal soul. The best horror fiction involves the threat of death—either spiritual death or physical death. ‘Salem’s Lot involves both.

I will confess a love of the old-school vampires, done in the Bram Stoker mode. I moderately enjoyed Richard Matheson’s I Am Legend, but it was a lightweight vampire novel compared to ’Salem’s Lot. A virus-created vampire is not a proper vampire. A proper vampire must be a supernatural, reanimated being. It must recoil from crucifixes, and be burned by holy water. A vampire is not a scientific accident, or a misunderstood antihero (more on that abomination shortly).

 

Stephen King maintains a pretty tight pace throughout ‘Salem’s Lot. Like I said, I read it the first time in less than a week; and I read it the second time at a similarly brisk pace.

Nevertheless, the book was originally published in 1975. Since then, much as changed. The reading public has become accustomed to 200+ channels on cable television, Jame Patterson-style minimalist thrillers, and…of course, the Internet, cell phones, and all the distractions of digital life. Attention spans are much short than they were in 1975, or even 1984.

I would like to declare that I haven’t been personally influenced by any of this, but I know better. As much as I admire Stephen King’s “world-building” in ‘Salem’s Lot, there were a few passages in which he spends a bit too many words going in-depth about the foibles and petty hypocrisies of small-town life.

Also, I was fifteen when I read the book for the first time. I was fifty when I reread it. In the intervening years, I have read many novels, and consumed countless television dramas, movies, etc. Perhaps my standards are more exacting than they were in 1984.

 

There is a feeling of pathos that the reader gets from ‘Salem’s Lot, and I believe that this is one of the book’s under-appreciated aspects. Much of the best horror fiction does leave us slightly sad and reflective. After reading a good horror novel, you should be like the wedding guest in The Rime of the Ancient Mariner: “a sadder and a wiser man” (or woman).

Ben Mears comes to ‘Salem’s Lot in order to recover from an existential tragedy, the death of his wife, Miranda, in an accident. What he encounters there, however, is yet another tragedy—this one even more profound and disturbing.

On a personal level, he briefly finds love again, in his budding relationship with Susan Norton. But that (spoiler alert) is not to last. His loss of Susan, moreover, will be closely tied to the vampire outbreak, culminating in a scene that is reminiscent of a scene in Bram Stoker’s Dracula.

 

I love ‘Salem’s Lot, as this post probably makes clear. My own personal attachment to the book aside, I sincerely believe that it is a great novel, and probably the best novel of the vampire genre yet written.

I despise what Stephanie Meyer and her many imitators have done to the vampire genre. The vampire should be dark and terrifying. Twilight—and the many Twilight knock-offs—have transformed the vampire into a teenage girl’s romantic fantasy. (Search for “vampire novel” on Amazon, and most of the results will be YA romance novels. Gag me.)

But we still have ‘Salem’s Lot. If you like the idea of a real vampire novel, then you should definitely read this one, if you haven’t done so already.

You can learn a lot from a rock star

I am old enough to remember when KISS lunch boxes were all the rage among the elementary school crowd.

The music of the rock band KISS is admittedly an acquired taste. So, arguably, is the personality of KISS bassist Gene Simmons.

Simmons is outspoken and politically incorrect. He has never been hampered by a lack of self-confidence.

But Simmons also has an inspiring life story–from early childhood poverty in Israel, to mega-riches and fame in the United States. His is literally a rags-to-riches story.

Wouldn’t you like to know how he did it? I sure did–which is why I bought and devoured his book, Me, Inc.: Build an Army of One, Unleash Your Inner Rock God, Win in Life and Business


Stairway to Heaven: the ‘Heart’ version

I was poking around on YouTube and I found this cover version of Led Zeppelin’s “Stairway to Heaven’ by Heart–a band I remember fondly from the 1980s.

I’ll admit when I clicked on this, I had my doubts: I mean, Heart…’Stairway to Heaven’?…Really?

To my surprise, however, Heart might actually have improved on the original. (Yes, I know this will seem like pure blasphemy to some of you. But give it a listen before you judge.)

The meaning…if there is one…of the lyrics of ‘Stairway to Heaven’ have been debated for years. I won’t delve into the occult controversy for now. Suffice it to say that the lyrics of this song sounded a lot more profound to me thirty-five years ago, when I heard them at the age of fifteen.  But a lot of things aren’t as good or as deep as we remember them, thirty or forty years later.

‘Stairway to Heaven’ is still a great song, part of the soundtrack of my (and many other people’s) youth. I’ll always like it.

Remembering those Burger Chef ‘Star Wars’ posters of 1977

Star Wars Authentics

I was part of the original Star Wars generation.

I remember being nine years old in the summer of 1977, sitting with my dad in the cinema, watching that first epic Star Wars opening crawl.

I became a total fanatic for Star Wars. And yes, that meant Star Wars action figures, Star Wars trading cards, and much else. During that first two years of Jimmy Carter’s presidency, I wasn’t thinking about stagflation or the energy crisis, or Jimmy Carter’s “malaise”. I was thinking about Star Wars.

Among my favorite Star Wars memorabilia of that era were the four Star Wars posters issued by Burger Chef. (Burger Chef was a once popular fast food chain that went out of business in 1996.)

I had all four posters, and they were hung all around my bedroom. (I can still recall the exact placement of each one, in fact.)

These are now collectors’ items, of course. But they were just delightful children’s bric-a-brac in 1977.