How I Escaped From the Hotel Diva

It was a warm, early February afternoon in 1987. It was Friday, I had the rest of the day off. So I had an idea: Why not see if the hotel where I was staying had a rooftop deck? Wouldn't it be nice to get some sun?

I took the elevator to the top floor of the Hotel Diva in San Francisco. I found an entrance to the roof, opened the door, and peeked out. It was just a bare, flat roof, with no formal sunbathing area. A sign on the door told me the roof was not for guests.

I returned to my room, grabbed one of those plastic laundry bags, and stuffed in it a couple of towels, some sunscreen, and the local newspaper. I changed into shorts and a T-shirt, and off I went to the rooftop, energized by mischief.

Onto the roof I ventured for a delightful two hours. Whenever I grew restless, I'd walk over to the edge of the roof and look down on busy Geary Street below, with the Curran Theatre across the street. The theatre had me thinking that I'd like to see a play soon. Or maybe I'd go to a movie that night. I'd just seen Woody Allen's latest, Radio Days, and was hungry for another good film.

Then it hit me. Radio Days! There's a scene in the film in which Mia Farrow and a man venture onto a rooftop and later discover the door has locked behind them! So I rush to the door, pull its handle. It's locked.

Since this event happened 26 years ago, I had no cell phone in my possession. I banged on the door and yelled, but no one came. The sun was starting to slip behind some of the nearby highrises. On one side of the building, which fronted an alley, there was a rickety fire escape. Relieved, I gathered my stuff and began my descent. The first hallway window I came to, directly off the fire escape, was locked. So was the next. And the next. When I reached the bottom of the fire escape, I discovered a two-story drop. There was a ladder built into the fire escape that would presumably stretch down to the street level, but I couldn't get the ladder to release. It looked as if I had a big jump to take.

By now it was dusk. I climbed back up the fire escape, looking for windows off to the side that might possibly be open. I traveled up what must have been six floors until, at last, I found one window open.

The window led into a hotel room. I called into the room, to see if there were someone who might help me. No answer. I listened closely, but heard no sounds coming from the room. It was difficult to be sure, however, because of the street noises below. I took a chance, creeping into the room as silently as possible.

About midway from the window to the door, I heard sounds coming from the bathroom. How shall I put this? The bathroom occupant had explosive diarrhea. I inched my way to the door, hoping to not make a sound. It was then I noticed my plastic hotel laundry bag had developed a hole in the bottom; my room key had fallen out.

I looked around and spotted the key, on the floor back towards the window. The man experiencing gastrointestinal distress went silent, experiencing a lull in his operatic evacuations. I froze for what felt like ten minutes but in reality was probably ten seconds. His stomach gurgled and rumbled, a signal that another wave was arriving, and when it hit, I quietly went back to retrieve my key and make my way to the door. Just as I opened it, the man in the bathroom experienced an explosion that made the Krakatoa volcano sound like a July 4th fireworks show.

As I hurried into the hall and back to my room, I felt a thrill. This had been the end of my first week in San Francisco, and my new life here promised to be full of adventure.

Uncle Poodle & Being Gay in the South

Will Uncle Poodle get his own reality TV show? If so, will I be able to watch it?

I didn't even know what an Uncle Poodle was until Tuesday, when I discovered he's Honey Boo Boo's gay uncle. I'd been researching potential topics for a short, farcical play about fairy tale characters and wondered if Honey Boo Boo might be potential fodder. After all, one of the definitions of fairy tale is "a made-up story usually designed to mislead." If that doesn't describe reality TV, what does?

So I Googled 'Honey Boo Boo' and discovered Uncle Poodle. I've seen perhaps three minutes of Here Comes Honey Boo Boo. It was an episode in which everyone was getting hosed off before jumping into a red-clay mud hole. (I wrote about it in my October 2012 post "Does Honey Boo Boo Get Spanked in School?") Three minutes was all the Here Comes Honey Boo Boo I could consume. I felt it presented negative, country Southern stereotypes so that viewers could feel superior to them (as if most people don't already secretly feel superior to Southerners).

Uncle Poodle and My Great Nephew

But now, I'm intrigued by Uncle Poodle, who apparently got his nickname because Honey Boo Boo calls all gay men her "poodles."

Uncle Poodle and Honey Boo Boo

Uncle Poodle's real name is Lee Thompson. He's the brother of Honey Boo Boo's father, Sugar Bear. (Now there's a fairy tale character name to love.) Uncle Poodle is openly gay in a place--rural Georgia--not exactly known for tolerance and inclusion. Apparently, however, the Honey Boo Boo clan loves their Uncle Poodle. They accept him for who he is--a gay man who also happens to be HIV positive (which he revealed recently).

A Southern family's acceptance of a close gay relative isn't especially new, at least in my experience. Many people outside the South forget that Southerners, as a rule, are big believers in family. And if your uncle or brother or sister happens to be gay, so what? They're family. This is why it's not unusual in the South to meet a woman who votes Republican, listens to Rush Limbaugh, and yet loves her gay brother and his partner. I should know; I'm lucky enough to have such a sister, and three other equally supportive sisters.

One of my favorite examples of my family's "what's the big deal?"attitude occurred in the early-mid 1990s. I was talking to my great nephew, Banner, who grew up in a town outside Greensboro, N.C. Banner, who was about five or six then, suddenly pointed to a home nearby and said, "See that house? The guys who live there are gay." I breathed in, waiting for him to say something unkind. Instead, he shrugged his shoulders. "That's cool," he said.

The Liberace of Littleton

The acceptance of gays in the South extends beyond families, of course, and this isn't exactly 'new news,' either.

In the early 1980s, when I was a reporter for the Roanoke Rapids, N.C. newspaper, I became involved with a nearby small town theater company (thanks to Nick). In this town, Littleton, lived a flamboyantly gay man who played piano for the theater company's productions. Appropriately enough, he was nicknamed "The Liberace of Littleton." Despite his status as an unapologetically flaming queen in a small Southern town, countless Littleton parents hired him to give their kids piano lessons. This was a small farming/paper mill Southern town, and the parents adored the gay piano teacher. And not once did I overhear a resident speaking badly about him behind his back.

I hasten to add that many people who live in or are from the South have not had the most positive experiences being out. At the same time, we can't assume that someone who grew up on the 'more enlightened' West Coast has had an easy time being gay, either. I know of at least one gay man who grew up outside San Francisco and whose parents, after he came out to them, had nothing to do with him for 15 years.

But back to Uncle Poodle. According to recent news articles, he wants his own reality TV program in order to show what it's like to be "gay in the South." If he succeeds, and I hope he does, I'll have to watch at least one episode. But I suspect my own tolerance boundaries--for reality TV--will be severely tested. Especially if they start hosing each other down and leaping into mud holes.

A Light in the Darkroom

It is my first week on a new job and already, Adrienne Ivey catches me in a lie.

The time is May 1981. I've just started my first real job out of college as a reporter for the Daily Herald in Roanoke Rapids, N.C. During my job interview a few weeks prior, the newspaper owner had informed me that not only would I be reporting, I'd be taking pictures as well.

"You know how to develop pictures?" he'd asked.

"Sure. My father's a professional photographer." The second part of my statement was true. As for the first part, I assumed I'd never have to actually develop film, as the newspaper had a staff photographer.

I assumed wrong.

That first week at work, one of my assignments is to write a story about an elderly woman named Grace who was being sprung from the local hospital after an extended stay. Her church is hosting a homecoming party for her. My editor, Dick Kern, who always mumbles with a pipe in his mouth and rarely makes eye contact, assigns me to cover the story. He wants photos.

"You'll need to develop the pictures," Mr. Kern mumbles. Phil, the paper's photographer, called in sick that day. "I need them before you leave today."

A Frantic Call to My Father

Heart pounding, I wait for the newsroom to empty after the noon press deadline and dial my father's studio in Greensboro. I'm hoping for an impromptu lesson by phone in darkroom techniques. My father had often tried to teach me such things when I was a kid, but my head wanted to fill itself instead with I Dream of Jeannie, Lost in Space, and The Wild, Wild West.

"He's out on a photo shoot for the rest of the day," my father's secretary says. "Why don't you call him tonight at home?"

"Why don't I look for another job?," I wonder. I glance at the darkroom door. Maybe if I venture inside, I'll discover written instructions explaining how to develop film. I open the door and leave it open, so I can see because, being a darkroom, it is dark. My eyes glaze over at the bottles of chemicals, which look familiar and foreign at the same time. I open a drawer, then another and another. One of them contains a stack of blank paper. I keep opening drawers until a woman's voice startles me.

"What in Sam Hill are you doing?"

It's Adrienne Ivey, the paper's long-time city reporter. She is probably not much taller than five feet, with short hair red like the tip of a matchstick. As she speaks, she removes her small, rectangular-framed sunglasses, revealing the hardened expression of someone who'd grown up in a mill town (Roanoke Rapids). Deep crinkles circle her eyes as she sizes me up.

I decide to come clean, telling her I didn't have a clue how to develop film. I never expected that I'd have to actually do it, I explain.

"Yeah, well, you're gonna be doing a lot of things around here you never expected," Adrienne quips. Her gaze lands on the stack of paper in the drawer. A smile that is partly a smirk, an Adrienne trademark, creeps across her face.

"Let me enlighten you, pun intended," Adrienne says. "You see that stack of paper? That's what you print pictures on. When the paper hasn't already been exposed to light. Which it has been now, because someone left the darkroom door open."

I try to swallow. "You mean..."

Adrienne nods, still smiling at me in her particular way. She picks up the stack of photo paper. "This is every bit as good as Confederate money."

"Is there any more paper?" I ask, hopefully.

"Of course not," she says, smiling.

What if Mr. Kern Finds Out?

I apologize profusely, mortified at my stupidity, fearful of being reprimanded, afraid of--dare I say it?--being exposed. Like an astronomer studying the night sky, Adrienne knows exactly what is going on in my head.

"What will Mr. Kern say when he finds out?" I ask.

She kooks at the useless paper, at me, at her watch. "He ain't gonna find out shit,"she says. With the stack of paper in hand, Adrienne walks out of the darkroom and heads toward the press room, with me close behind. She stuffs the papers deep into an enormous trash bin, then stirs up other rubbish--banana peels, old newspapers, leftover lunches and such--until the photographic papers become invisible as well as unusable.

"Thank you Adrienne," I say when we return to the still-empty newsroom. "But what will I say when Mr. Kern asks me--"

"Good Lord child," Adrienne says. "You'd like to worry me to death." She lit a cigarette, studied me. "I can handle Dick." After a beat, she smiles mischievously. "Maybe I should rephrase that."

Gaslighting Mr. Kern

About an hour later, Mr. Kern returns from his lunch break. Adrienne informs him there is no film-developing paper. "That can't be," he responds. "I just bought a bunch last week."

"Well, there's none now. How do you expect us to develop pictures?"

I say nothing, busying myself at my desk. Within a few minutes, Adrienne not only assures Mr. Kern there's no paper; she convinces him it's his fault and to go out and buy more. I go on to my assignment, after Adrienne tells me to meet her back at the office later that afternoon, to show me how to develop film.

I do as I'm told. As we work together in the darkroom, the photos I'd taken of an elderly woman, transported on a gurney back to her home, begin to take shape. They're not bad, I think; my father would probably like them.

"See?" Adrienne says. "I told you that you'd be doing things here you never expected."

Adrienne and me, mid 1980s

---

I wrote about Adrienne in my last post, "Southern Storytelling - The Preacher and The Cigarette." I have another Adrienne story I'll share later. It takes place in the middle of the night--at a murder scene, no less.

Southern Storytelling - The Preacher and The Cigarette

The setting is Margie's Diner, a reliably greasy eatery in the small industrial city of Roanoke Rapids, N.C., in the early 1980s. It's a workday afternoon, and Adrienne Ivey, a lifetime resident of the city and the local newspaper's top reporter, sits in an upholstered booth. She sprinkles salt on her chef's salad, takes a deep drag off her cigarette, spots "The Preacher," and sighs. "Here we go," she thinks.

The lanky man lumbering toward Adrienne isn't an ordained preacher. The Preacher is simply his nickname, one he wears proudly like a new Stetson hat. He earned the nickname because he's apt to preach. He tells you exactly what he thinks whether you asked for his opinion or not, and usually, you didn't ask.

"Afternoon, Adrienne," says The Preacher, towering over her. He glances at the empty seat across from her and then back to Adrienne, with all the subtlety of a silent film actor.

Adrienne Ivey at her desk

"Be my guest," Adrienne replies, knowing she has no other alternative but to be rude. As The Preacher takes his seat, Adrienne alternates between bites of her salad and deep draws from her cigarette. The Preacher's nose twitches. Small talk is exchanged; who's been at church lately, who hasn't, that sort of thing.

Adrienne exhales more smoke, this time a bit closer to The Preacher's nostrils, which flare with indignation at each of Adrienne's exhalations. The Preacher tries to ignore the smoke and continues with the small talk, which consists primarily of his opinions about who's up to no good.

Finally, Adrienne lets out a stream of smoke like something you'd see from a rocket ship blasting off. "Adrienne," The Preacher says, his voice lowering, "I'd rather commit adultery than smoke a cigarette!"

Adrienne narrows her eyes, looks squarely at The Preacher, and says, "So would I, Preacher. But I've only got 30 minutes for lunch."

--

My previous post about Southern storytellers brought Adrienne, and this story, to mind. Next time: Adrienne catches me in a 'white lie' during my first week on the job--and saves me from a dreadful fate.

Are Southerners Natural-Born Storytellers?

"Southerners love a good tale. They are born reciters, great memory retainers, diary keepers, letter exchangers...great talkers."

Eudora Welty

The above quotation comes from a woman who epitomized Southern storytelling to generations of readers, Eudora Welty. The Mississippi writer's quote evokes images of Southern folk in creaky rocking chairs on weathered front porches, drinking bourbon out of Mason jars, swapping stories late into the night, to an hour when even the crickets and 'lightning bugs' (aka fireflies) have retired.

But was Welty right? Are Southerners inherently good at spinning a compelling yarn? Or is it a myth, perpetuated by the enduring reputations of Southern writers (Welty, William Faulkner, Margaret Mitchell, Truman Capote, Harper Lee, Flannery O'Connor and such)? And if it was true in Welty's time (1909 to 2001), is is still true today in the age of Facebook, Twitter, and text messaging?

Truman Capote

I think there is some reality to Welty's quote, but there's also some wishful thinking behind it--which, come to think of it, are frequently the ingredients for a good Southern story.

It's true that Southerners tend to be 'great talkers,' but that's not the same as being a great storyteller. Ask the typical Southerner a question about, say, a favorite food, and he or she is likely to tell you the entire recipe or the name of the restaurant that serves the particular dish plus directions for how to get there--all without a pause.

Flannery O'Connor

One of my closest Southern friends has this habit, especially when talking about someone else (something we Southerners love to do). He'll start off with an interesting piece of information but soon gets bogged down in irrelevant details. When I see this happening, I try to stop him by saying "Mother's maiden name!" This is code between us that means: Stop before you tell me everything I don't need to know about this person including her mother's maiden name!

I've known some fascinating Southern storytellers, but they're usually not great conversationalists. Recently, I ran into a man I knew years ago when I lived in Charleston. He was seated at a table in a San Francisco cafe. Once I said his name and he recognized me, his one-man show began. What followed were a string of hilarious, witty, and at times poignant stories. But not once did he ask how I was doing, as I had a few stories of my own to share. When I tried to tell him, he changed the subject back to himself. Narcissists, whether of Southern, Yankee, Midwestern, or Japanese extraction, are often fascinating but ultimately tiresome people.

Southerners, in general, often have a heightened sense of drama and frequently possess a terrific sense of humor, especially about themselves, which helps a lot when telling a good story. The Southerner's slower sense of pacing also contributes, as does the accent. Some Southerners are keenly aware of their region's reputation for good storytelling and feel a duty to preserve it, as well. There's even an organization called the Southern Order of Storytellers, based in Atlanta, whose mission is "to bring storytelling to wider audiences and help make storytelling once again an integral part of culture and entertainment."

Finally, there are lots of eccentrics in the South--people who know they are outside the mainstream. Rather than denying it, they flaunt it; eccentricity is their calling card. These are the characters who tell the richest stories, or who are the basis of stories others tell about them.

In other words, a Southerner isn't by nature a great storyteller, but the South has its fair share of them. But for how long? The Internet, globalization, and other forces are flattening out regional and cultural differences, so it's only a matter of time before Southern storytelling becomes yet another lost art form.

In the meantime, however, we have Leslie Jordan.

Jordan is a gifted actor from Tennessee best known for his roles in Will and Grace and Sordid Lives, the film and the TV series. During a recent one-man show in San Francisco, Jordan held his audience in rapt attention for two hours as he spun one Southern story after another, many of them featuring eccentric characters (himself included). If Southern storytelling is a dying art form, Jordan is single-handedly keeping it alive. I'll conclude with two examples.

Leslie Jordan

An anecdote Jordan re-enacted on stage was about how, as a boy, he would hang out in the local beauty parlor with his mother. One day, in walked the town tramp, her torpedo tits "entering before she did." Jordan's recounting of this story was full of small details, from the clothes the woman wore to the cigarettes she smoked. At one point, the hair stylist asked the town trollop if she wanted her hair teased. "Teased?," the woman responded. "I want it terrorized!"

In another anecdote, Jordan recounted a chance meeting with a Southern drag queen who called herself Kitty Litter. Jordan had been friends with Kitty in Atlanta years ago, in their wilder days. During their unexpected encounter years later, Kitty asked Jordan if he still drank; Jordan said he stopped long ago. "Me too," said Kitty. "I only have a little Peppermint Schnapps now and then to sweeten my breath."

And then, after a beat, Kitty added, "Sometimes, my breath is so sweet, I can hardly stand up."

----- What do you think? Are Southerners great storytellers? Do you have a great 'Southern' story to share? Let me know in the comments below.

New Year's Resolutions for Southerners and San Franciscans

Time to make New Year's Resolutions. Even though most resolutions have the life span of a butterfly with a bad cough, it never hurts to pause, reflect, and vow to be a better person in the coming year.

In the spirit of the season, the following are New Year's Resolutions from imaginary Southerners and San Franciscans--two demographics I admire, love, consider myself a member of, and, yes, enjoy poking fun at. I've also added some vintage New Year's Eve photos I found online, just for the heck of it.

Weight

The Southerner: "I want to see my shoes again while standing up. Mostly to make sure they're not white and it's after Labor Day."

The San Franciscan: "My goal is to keep my weight down and my Klout score up."

Getting Organized

The Southerner: "I resolve to stop storing my pistol in my makeup drawer."

The San Franciscan: "I will remember that after drinking my Starbucks non-fat-one-Splenda-extra-foamy-double-tall latte, I will put the used cup, brown paper 'sleeve,' and wooden stir stick into the composting bin. The plastic lid goes in recycling. And those bottles of 'ethical' plastic water bottles I bought go into my messenger bag so I won't have to pay the 10 cent paper bag fee."

Budget

The Southerner: "Start putting pocket change into my Piggly Wiggly piggy bank. Those summer shag dancing competitions in Myrtle Beach don't come cheap!"

The San Franciscan: "I resolve to not blow my budget this year for medical marijuana lollipops and leather chaps for the Folsom Street Fair, and to add money to my budget to offset my carbon footprint whenever I drive my Prius to Whole Foods."

Giving Back

The Southerner: "It's time for me to give back all those casserole dishes my cousins brought to my house for MeeMaw's 105th birthday party."

The San Franciscan: "I will stop hogging the electrical vehicle charging station in the Noe Valley Walgreen's parking lot."

Career

The Southerner: "I resolve to leave my job as a banker in Charlotte for something totally different--like being a banker in Atlanta."

The San Franciscan: "It's time I left my exhausting job at Google and got an exhausting job at Facebook. Besides, Facebook's chef is, like, way better than Google's."

Your Resolutions?

Whether you're a Southerner, a San Franciscan, or something entirely different, what are your New Year's resolutions? Serious or silly, I'd love to hear them.

"A Southerner in San Francisco" Now on Kindle

Why would you pay $1 a month for something you can already read for free?

That's the question I asked myself when I published this blog to Amazon's Kindle platform a few days ago. For the aforementioned price, you can now have A Southerner in San Francisco delivered automatically and wirelessly to your Kindle whenever this blog is updated.

One benefit is that you can read this blog on your Kindle, whether you're on the go or curled up in bed. You don't have to navigate to it; it comes to you. Instant gratification is a good thing.

Also, I get a percentage of every $1 monthly subscription--which is more money than I currently make writing my blog. So think of me as your friendly neighborhood bartender, and a Kindle subscription to my blog as the equivalent of the tip jar.

If you're interested, here's the link to A Southerner in San Francisco on Kindle.

Whether you subscribe or not, thank you for reading. To paraphrase Sandra Bernhard, without readers, this blog (or any other one) is nothing.

Why is There a Gorilla in Our Living Room Every Christmas?

On the eve of Christmas Eve, Nick and I are taking a break from our dinner party preparations. It's quiet, except for the sound of something thrashing around inside the clothes dryer. The windy rain has momentarily stopped.

And there's a gorilla in our living room.

Any reasonable person might ask, "Why is there a gorilla in your living room?" The unreasonable answer is, "He visits us  every Christmas."

About nine years ago, Nick and I threw a big anti-Christmas Christmas party built around the theme of a Tahitian disco. It's not that we dislike Christmas; it's the same-old-same-old Christmas decorations we'd grown tired of. So we bought two faux palm trees with white lights in them to serve as our Christmas tree, with a leopard-print sheet wrapped around their base. (Leopard print, in my opinion, is suitable for any occasion, especially Christmas.)

We pulled out white ceiling lights and replaced them with green, blue, and yellow bulbs. We bought a big disco ball and hung it from the ceiling. Our dining area monkey chandelier dripped with plastic leis. Paper pineapples proliferated, to the extent that our living room resembled a tiny Dole plantation. We didn't go over the top, because there was no top for us to go over.

The party was a hit. We held onto all the decorations. And every Christmas since then, we bring out a subset of them to transform our living room into a Tiki hut.

About a month ago, we came to a crossroads. While cleaning out our garage, we pulled out our traditional faux Christmas tree. We hadn't used it since 2003, the year of our big Tahitian party. It was taking up space. So the question arose: Keep it or donate it? After the briefest of pauses, we looked at each other and added the traditional Christmas tree to our Salvation Army pile.

Oh yes, you're wondering about the gorilla.

He's a life-sized cardboard cutout that Nick discovered in a party shop when buying decorations for our Tahitian disco. Every Christmas, he is unfolded and propped up to silently witness the shenanigans around him. He is ingeniously named "Christmas Gorilla."

Christmas Gorilla

The first day or so after Christmas Gorilla returns, he invariably startles us. About a week ago, I came into the kitchen late at night to get a glass of water, saw the big dark shape, and jumped. Nick has had similar episodes.

On a few occasions, Christmas Gorilla has come out at other times of the year. When a close friend of ours was recuperating in the hospital from surgery, Christmas Gorilla went with us to visit her. Even the nurse, who had presumably seen many strange things in her line of work, took a look at our friend and said, "I've seen some jackasses in the hospital before but never a gorilla."

On New Year's Day, we fold Christmas Gorilla, wrap him back up in black garbage bags, and store him behind a tall Japanese tansu. The Tiki hut is transformed back into a living room, and another year begins.

Sh%t Southern Women Say

"Some fool stole my buggy at the Piggly Wiggly!"

"Dern! My tannin' bed's broke!"

"He's dumb as dirt, bless his heart."

"Does this pistol come in pink?"

"I'm fixin' to beat your ass!"

Admittedly, I've never heard a Southern woman say any of the above. But they do in the hilarious YouTube video, "Sh%it Southern Women Say Part 1." I've posted both of the "Sh%t Southern Women Say" clips below because, as a Southern woman (or man) would say, they're a "hoot." And I'm adding a few things I've heard Southern women say that aren't in either of these videos: 

"I hate I heard that," the meaning of which is obvious. 

"I hate I drank that," which means: "Damn this is so good, I'm gonna get addicted." 

"I hate I ate that." Same as "I hate I drank that."

"I'm sorry but I'm sorry." 

"She doesn't have the sense God gave a flea."

"Do I have on too much makeup?" (Usually asked by someone whose makeup was applied by Bozo the Clown. In the dark.)

"What time should I come to y'all's house?"

  

Facing a Cliff? Go Ahead and Jump!

With all this talk about the fiscal cliff, you'd think going over a cliff is a bad thing. As with all things in life, it depends. On the cliff.

I understand the anxiety about facing a cliff and not wanting to go over it. I'm one of those people who, staring down at the bay from the Golden Gate Bridge, imagines what it would be like to jump or, worse, be pushed off. The thought immediately causes me to step back from the rail, horrified.

But sometimes, I see a cliff and know I must jump.

Before you send a SWAT team of psychiatrists to my home, I'm talking primarily about a psychological cliff. It's a point you've reached beyond which you can only see a deep, scary chasm of uncertainty. There's no obvious safety net. And yet, you jump.

When I was 29, I was offered the opportunity to move from Atlanta to San Francisco by my then-employer. All the moving expenses were paid and I had a job to go to. At the time, Nick was not working, so he was free to relocate. We were both bored with Atlanta anyway. Was this really a cliff? Maybe not, but it felt like one. What if we didn't like San Francisco and wanted to move back--without any jobs to return to? How would my parents react to such a big move? What would happen to our friendships in the South? Nearly 26 years later, I'm happy to report that this was one of the best 'cliff jumps' I've ever made.

A few years ago, I was in New York on business. While there, I went on a three-day theater binge. Electrified by August: Osage County, I decided to try my hand at writing plays. Within three years, I was among the opening-night audience for a short farce I'd written called Two Wings and a Breast. I knew, heading to the theater, that I was also heading toward a cliff. I had friends in the audience--what if they didn't like it and simply gave me fake smiles afterwards? What if no one laughed when I wanted them to or laughed when they weren't supposed to? What if the actors flubbed their lines? What if an actor at the last minute couldn't make it and my play, part of an evening of shorts, was cancelled? (There were no understudies). I took the leap anyway, and thankfully, the audience went with me.

Not all my cliffs have been purely psychological, however.

Years ago, on a trip to Mexico, I had just begun to insinuate myself onto a beach chair when I heard Nick call my name--from somewhere in the sky. I looked up and discovered he was parasailing over my head. He returned to Earth, all breathless excitement about the fantastic experience he'd just had and urging me to try it too. Nick's mother and former sister-in-law, Margaret, were with us. Margaret and I anxiously took the challenge, signed legal documents that would give even a Hollywood stuntman reason for concern, were strapped into parachutes, and were soon airborne.

As I floated over Acapulco Bay, I screamed as loud as I possibly could. Even the iguanas stopped munching foliage and looked up. Eventually, something miraculous happened: I stopped screaming. I looked around. I admired the view, felt the embrace of warm sun and wind. In those few moments, I had no fear, only wonder and excitement and gratitude.

Those moments ended all too soon, unfortunately. When attempting to land on a postage-stamp platform in the bay, I smacked against the side of it instead. The physical pain was fleeting; it's the jump I took that is with me still.

What cliffs have you jumped off? I'd love to hear about them in the comments.

A Google Car? Yes Please. But What About a Facebook Car?

I can't wait to own a Google driverless car, especially if they come out with a metallic blue convertible. I imagine it will be like a den on wheels. Want to cruise around town while having cocktails and watching Downtown Abbey? But of course. Only questions: Where should we go, and will that be a pomegranate martini or a cosmo?

Of course, once there is a Google car for purchase, other corporate-branded, self-driving cars are inevitable. A few examples, if you will.

The Facebook Car

A giant 'Like' button with four doors and wheels, the Facebook car will let you video chat and IM with friends to enliven mundane chores, like driving to the hair salon. In fact, you can have your hair done, even dyed, while driving across town for a dinner engagement. Just pull up to the salon, yell out the car window to your stylist, "Hey barber, get in!," and off you go. Your friends around the globe can give you an instant thumbs up or down on your new style and color. But why stop there? Get a Brazil wax on the way to a Brazilian restaurant. The only downside is that, in keeping with Facebook's privacy practice, the car will automatically post on your timeline, to the entire world, every place you go. And of course, you'll have no way to prevent this from happening. In other words, it will be just like Facebook. So if you're planning a trip to a Las Vegas brothel and you're married, might I suggest a taxi instead?

The Krispy Kreme Car
 
Imagine a giant glazed doughnut cruising along on the highway and you've got an idea of what the Krispy Kreme Car will look like. This one will also sport a giant neon 'hot light' that automatically turns on whenever a conveyer belt in the backseat produces freshly made doughnuts. Instead of air bags, the Krispy Kreme Car will be equipped with vomit bags that automatically engage once you've consumed more than a dozen doughnuts at once and hit one too many potholes. Just for the fun of it, the vomit bags will be decorated with the Dunkin' Donuts logo.

The Apple Car

The iCar, as it will surely be named, will have only one button, an on/off switch. Everything else will be controlled on a giant touchscreen that replaces the entire windshield. (Who needs to see those tedious pedestrians?) The car will be gorgeous, sleek, cool and sophisticated. Fans will stand in line for weeks to get one. And, in keeping with Apple's corporate philosophy, the car will only take you to places that Apple pre-approves (unless, of course, you get someone to jailbreak your car).

As you can see, the possibilities are endless. Which corporate-branded driverless car are you waiting for? Just don't ask for a 'MySpace car,' however; that one will only take you to dead-end roads.

Facebook & the 2012 Election: Can We Still Be Friends?

You didn't have to look further than your Facebook news feed to see the rancorous divide that grew during the 2012 Presidential election. In fact, here's something that probably won't surprise you: A Mashable poll found that 47 percent of people on Facebook unfriended someone due to the election.

It's been two weeks since the election, so I hesitate to kick this particular hornet's nest. But the election raised a lot of questions for me, ones I'm still mulling over. Such as:

* When someone unfriends another person because of his or her political beliefs, were those people actually friends or just acquaintances? If it's the latter, is Facebook really the place to connect? To me, Facebook is where you connect with people you care about; LinkedIn is for people you do business with; and Twitter is for broadcasting to the entire world.

Image from Mashable

I have only unfriended one or two people in my years on Facebook. It wasn't because I disagreed strongly with their views; it's because they clogged my news feed with way too much meaningless stuff. Seriously, I don't need to be alerted whenever you step out of the hot tub.

* Isn't it unhealthy to only surround ourselves with people who think just like us? I'm not setting myself up as the poster child for diversity, by the way. I'm a Democrat and so are the vast majority of my friends. And I live in San Francisco, where Republicans are as difficult to find as convenient parking spaces.

One reason why many people only engage with those who think similarly is because they want to avoid conflict. I'm guilty here, too. But conflict can have positive results. Recently, I attended an excellent playwriting workshop in which the instructor said one character's driving need, desire or interest is blocked by another character, and that creates conflict. That conflict creates change, and change causes the characters to grow. If in real life we avoid interpersonal conflicts at all costs, aren't we denying ourselves the potential for change? Doesn't conflict, when it's resolved or at least expressed civilly and understood, lead to greater intimacy?

* Have we gotten too comfortable making assumptions about other people because of their political party affiliation? The truth is, nobody I know is all one thing or another. We're complex human beings with sometimes conflicting beliefs. For example, I know Republicans who support same-sex marriage and Democrats who favor the death penalty.

* How long does it take to repair a friendship damaged by political differences? Many years ago, a friend of mine expressed the belief that gays shouldn't be allowed in the military. The statement was made casually, just as many things are expressed today on Facebook, but it stung. I decided that person no longer my friend. Fast-forward to today. We are friends again--on Facebook, of course. And I'd all but forgotten this incident until Nick reminded me of it when reading a draft of this blog post.

* How much is too much when it comes to sharing political, religious, or other potentially divisive views on Facebook? Some people believe such topics are better kept off Facebook; others don't think twice about frequently posting their views. So what is the happy medium? One solution might be to create a Facebook group for your politically like-minded friends and only let that group see your most heated political postings. But that doesn't feel like a good solution, because you're making assumptions again about the people you're excluding. And by including people with different opinions, you might learn something from them.

* My last question is rhetorical but worth asking anyway. Wouldn't we be much better off if each of us considered the rights, needs and feelings of others along with our own, not just at election time but all the time?

True Confessions of a Technology Addict

Hello, my name is Jim, and I'm a technology addict. (This is your cue to say, "Hi Jim!")

New Yorkers waiting to buy an iPad Mini (photo by Fortune)

You probably know at least one tech addict. Maybe you're one, too. If nothing else, just check out the line at an Apple store when a new product is released. Case in point: Today, some 600 people stood in line at the Fifth Avenue Apple store to buy a new iPad Mini, while other long lines formed at gas stations and grocery stores in the wake of Hurricane Sandy. Whenever priorities seem so out of whack like that, there must be an addiction lurking.

Fortunately, my childhood was free of technology addiction. Of course, outside of a cute, portable, black-and-white Sony TV, there wasn't much consumer technology to get worked up about in the 1960s. The Sony TV only got a few channels anyway, and they were fuzzier than a Chia head eating a peach.

Somewhere around age ten or 11, my father gave me an electric typewriter, a hand-me-down from his photography studio. I was thrilled; it was as if my efforts to tell stories suddenly acquired power steering. I tapped away for hours at a time, drafting incoherent yarns and adolescent plays that embarrassed me then and would mortify me now.

Kaypro PC

I kept the typewriter throughout college, writing term papers and short stories. By the mid 1980s, something even better came along: a PC. I saved and bought a Kaypro, an MS-DOS computer made by a short-lived, family-run computer company whose demise was due to "too many Kays and not enough pros," according to one wag.

Eventually, the Kaypro led to my first Mac, which led to more Macs as well as more PCs and then to laptops and smartphones and iPads, oh my. Today, our home is filled with everything from an iPod nano to a 40-inch Samsung HDTV.

How did this addiction happen? Maybe its roots can be traced to the typewriter. I loved this machine because it gave me a new, easier way to write my stories, and for whatever reason, I have had a compulsion to tell stories since I was a kid.

My father, the Southern gentleman photographer

At any rate, the addiction kicked into a higher gear 20 years ago, when I was working as an editor for Publish. The working environment at this magazine was often so dysfunctional, we nicknamed it "Punish." But I learned something of lasting value there: how to use technology in new ways to not only tell stories but to illustrate them as well. During this period, I got everyone in my immediate family, and most of those in my extended family, to write down the fondest memories of their lives and send me their favorite pictures. I digitized it all, used page layout software to design a book, printed multiple copies, and had the books bound. It was none too soon. My father died a year later.

Over time, someone we loved who has died inevitably fades in our memories. It's sad, it's even a little scary, but it happens. Stories--their stories, in their words--keeps them alive in ways that a photograph can't. Now that I've come clean with my technology addiction, it occurs to me that preserving the stories of people who won't be here one day to share them is my true addiction. Technology is just the enabler.