My first exposure to my next interview subject, Jennifer Rubin, came via A Nightmare On Elm Street 3: Dream Warriors. In that movie, Ms. Rubin played Taryn, a Westin Hospital patient whose dream power is that she’s “beautiful…and bad”, the former evidenced by a punk fashion and hairstyle, the latter by having a way with knives. Although Taryn is eventually killed by Freddy Kruegger, she’s still able to get in a few good shots at him.

As the years progressed, I would come to know more about Jennifer Rubin’s work, whether as a genre-hopping actress or a noted model for designers like Calvin Klein. I befriended her on Facebook several years ago, and have been wanting to interview her for a long time. That opportunity finally arrived on Tuesday, August 7th, as I spoke to Jennifer about everything from acting to modeling to a GoFundMe, which will be linked to at the end of this article, for her sister’s battle with multiple sclerosis.

She’s beautiful. She’s bad. She’s my newest Flashback Interview subject.

Say hello to Jennifer Rubin!

Jennifer: Hi, Johnny!

Johnny: Hi, Jennifer. Johnny Caps here. How are you?

Jennifer: I’m good. How are you?

Johnny: I’m doing good. I have my questions ready to go.

Jennifer: Go ahead.

Johnny: Alright. You first achieved fame as a model. Who were your favorite designers to work with, and as you were a model in the 80s, what were the most outrageous fashions you can recall wearing?

Jennifer: (Laughing) That’s a funny question. I won International Model Of The Year in 1984. I wore an Yves St. Lauren number that my mom bought me from Saks Fifth Avenue. One of the best shows that I walked on the runway was Calvin Klein. His show was terrific to walk down the catwalk on. The funny fashions at the time were those MC Hammer pants, really big shoulder pads that were like from Dallas, big Heather Locklear hair or Linda Gray hair in their heydays…That kind of ridiculous stuff (laughing).

Johnny: I think you looked fantastic in it.

Jennifer: (Laughing) Thank you.

Johnny: Speaking of Calvin Klein, you were the original model for Obsession. Those advertisements were very memorable, and would go on to be spoofed in entertainments ranging from Saturday Night Live to the Neil Young video “This Note’s For You”. What do you think it was about those advertisements that made them stand out from other fragrance commercials?

Jennifer: Well, I think if you’re doing a fashion timeline, you would have that big hair, those big shoulder pads, and the big baggy pants, and then you would go strip that all away and you have a more authentic, young, physical body. My commercial was directed by David Lynch at the time of Twin Peaks, and so David was able to bring a mysterious poetry and the perfume together. It was half-David and half-Calvin for me.

Johnny: A very great combo.

Jennifer: Yeah.

Johnny: Was the modeling business as cutthroat as movies and TV shows have made it seem to be?

Jennifer: No, not at all. I thought that the modeling agency was the most wonderful place in the world, and I think I went off-track when I was surrounded by actors, because actors aren’t necessarily interested in finding the light and the beauty. Actors are looking for the conflict, because you have to have conflict in a scene to make it interesting. That really bothered me on some level because I really like the camaraderie of a photo shoot, you know? It’s less people and bringing out the best of the fashion. It’s a pretty business. Pretty girls should be in modeling, you know? There’s something about the quality of life for anybody. When you find the light and you stand in it, everybody’s so beautiful, and I’d rather go for that feeling than conflict.

Johnny: That’s a very poetic way of looking at it.

Jennifer: Yeah. They picked me up off the street, so to speak, but not really. I was in college and they were doing a model search, but it was such a beautiful magic carpet to New York City, then off to Paris and around the world. At that time, models were turning from models to actresses like Phoebe Cates. I made it through to acting before they hyphenated model-turned-actress. Now it’s okay to have three monikers and stuff like that, but at that time, it was a big leap. I mean, it seems so. There were probably actresses who got discovered by being stewardesses or models. I don’t know much about the history of where they find their talent, but there was a definite shift for models-turned-actresses at that time.

Johnny: Alright. You made your film debut as Taryn in A Nightmare On Elm Street 3: Dream Warriors. Had you seen the first two Nightmares before signing on for this movie, or were you coming in blind?

Jennifer: Coming in blind, I’d say. It wasn’t my debut. I did one TV show, The Twilight Zone. My beginning came from the great casting director Ilene Starger, who put me in this movie called Creeps. I had one line, and that’s how I started in the film business. I said, “Excuse me, you guys”, and I was so nervous that I only said “Excuse me” and I ran through the scene. The guy with the clipboard and the headphones comes up to me and spells it out, “Ex-cuse me, you guys”, so we do another take. We get it, we get the shot, and then I go forward and get The Twilight Zone, and then I do Blueberry Hill with Matt Lattanzi, Olivia Newton-John’s ex-husband, directed by Strathford Hamilton, and THEN I get Nightmare On Elm Street. I think the beginning was when I did Blueberry Hill. Because the independent film market was blossoming, I got to do a second film like Nightmare On Elm Street, and I think that made me become a working actress, but I had been working in modeling for a while. You know what I mean?

Johnny: Yeah, I know what you’re getting at. So what was your favorite part of making Dream Warriors?

Jennifer: Oh, driving to and from the set (laughing). It was just such a positive feeling. I had a jeep and the air going through my hair, feeling that feeling that you have in your 20s like, “Oh, life’s so perfect”, you know, and then leaving so happy you did it. Walking on the set and seeing how the sets were built. There was a real creativity walking into the warehouse with Will’s wheelchair scene down the hallway and the pig and the staff room and the mirrors. That was all there where you could look at it, you know? That was pretty exciting. Even my alley scene, they built that. It’s so funny that it’s a set. You have a real home, and then you have a home set. it’s very different. It’s interesting.

Johnny: It definitely did have a great production design.

Jennifer: It did.

Johnny: Although I did enjoy the movie very much, I did have one issue with it. We didn’t exactly get to see extended scenes of the Dream Warriors’ powers in action. Did you and the other actors and actresses who were the Dream Warriors have more fantasy scenes, or was what you saw in the movie the bulk of what it was for the Warriors?

Jennifer: I think. My experience was that it was exactly like the script. It was a well-written script by Chuck Russell and Frank Darabont, you know? I mean, maybe they shoot a little too much, but I don’t think so with the low-budget production. Time counts, you know, so you kind of want to go in and hit your mark and say your lines. The hardest part was the fight scene with Robert Englund. Now that I’ve had theater study and stage-fighting study, the dance with the camera and selling the blows, you know it’s ballet, right?

Johnny: Yeah, I can see that.

Jennifer: They give you a few minutes to figure it out. I mean, Robert was the real genius with the fight scene because he was really hitting his stride as far as being Freddy. It was a bit chop chop suey suey, but he knew what he was doing, and he took care of me in that situation.

Johnny: The movie was definitely great fun. Now we come to 1988, where you played Cynthia in Bad Dreams, another horror movie set primarily in a mental hospital. (Jennifer laughs) Was that a coincidence, or were the filmmakers influenced by Dream Warriors?

Jennifer: Well, that movie was between myself and Rae Dawn Chong. Spiritually and intellectually speaking, I feel myself and Rae Dawn Chong were right for the role. My father’s a pharmacist and there are health issues in my family, so it was about a hospital for me and prescription medicine. That’s why it fit for me, but I could also see where it could fit for Rae Dawn Chong because her parents were great in the marijuana industry, you know, with Cheech and Chong. I think as far as casting goes, those casting directors, when they say “I’m looking for the best actor for the part”, I thought it was pretty amazing where she has a political parent in this medical kind of way, and with terminal illness and my dad being a pharmacist, I simaltaneously had that same kind of energy that is appropriate for the role. I got lucky because Rae was pretty tough to beat, but I think A Nightmare On Elm Street 3 put it over the edge into my favor at the time.

Johnny: Alright. When filming Bad Dreams, did you find yourself having dreams similar to Cynthia’s when you were sleeping?

Jennifer: (Laughing) No, I had them during the day. It was more stressful because I’ve only been a leading actress three times. All the other times are supporting roles, and there’s a lot of stress that comes with being the lead girl that I didn’t know about. There’s a lot of politics that go with it. There’s a lot of backstabbing that’s going on behind the scenes that you don’t know about, and you’re a young kid, you know? It’s kind of 50/50 being a lead actor. I don’t think it’s that much fun, to tell you the truth (laughing), but I did it a couple of times, and every time it was stressful.

Johnny: Alright. Cynthia was a Final Girl in Bad Dreams, which will soon be owned by Disney once their deal to purchase the bulk of entertainment assets from 21st Century Fox is complete. As such, have you seen any memes from Bad Dreams saying things like “Cynthia is now a Disney Princess”?

Jennifer: (Laughing) No. That is the funniest thing I’ve ever heard, and it’s poetic. I think that’s spiritual poetry, because I read for John Boorman and John Landis for two Disney pictures, and they said I was too dark (laughing), so for them to acquire that movie and for her to become like this princess, which she is, a medical princess, I would be overjoyed. I would get a big kick out of that.

Johnny: Moving into the 90s, you played Edie in Oliver Stone’s The Doors. Stone does not exactly have the best reputation as either a filmmaker or a person to associate with, so was your experience working with him a good one or a bad one?

Jennifer: Oliver Stone was a dream. He was an absolute dream. Unbelievable. He was so supportive. i shot for two weeks on that movie. I ended up saying, “Oliver, you have to keep me in it”. It was a 20 hour movie cut down to four hours, and I was shooting with Robert Downey Sr. on another picture where Eric Idle had broken his back at the Chateau Marmont pool horsing around with Valeria Golino. We were pushed back, and I had to do Oliver’s movie during the night and morning, and I had to do Robert’s movie when we went back into production during the day. I had to practically sleep in that party scene. I remember waking up and seeing Frank Whaley looking at me and going, “She’s sleeping”. I was like, “Oh, if you only knew”. My schedule got confused and Oliver went to bat for me. He had to iron out scheduling, and you know how tense agents and lawyers make that. He was so kind. He did this great Orson Welles scene where the camera dollies for 4 minutes through the scene. That’s where Val Kilmer goes through, talks to the astronauts, comes by me, goes to Andy Warhol, and then goes through a door to a deeper part of the party. That was a masterpiece moment. We did it four times and he told me which take was the best for me. When do I give it my all? When do I fluctuate? Where is my focus? Can I get it again? Can I do it in cahoots with the 200 people onstage like a Ziegfeld Follies dance, you know? You don’t want to be the one who trips on the stairs with 200 people (laughing), coordinated with a camera weaving and no cutting. It was a dream. He was very supportive of me, a very wonderful man, and no funny business. I think we were all going to a party, and he was there with his wife. I have great Oliver Stone stories, ridiculously funny ones. Wonderful.

Johnny: If you had to pick one of those stories to relate, which do you think would be the best one?

Jennifer: Like I said, Eric Idle had hurt his tail and coccyx bones at the Chateau Marmont. He was flirting with Valeria Golino. I don’t think he would mind me saying that. I think it’s a cute thing. He wasn’t married or anything. It was nothing sordid. Everyone was happy and having a good time. We had to push production, and I had a scene to shoot with Robert Downey Jr. on his father’s movie called Too Much Sun, with Ralph Macchio and Andrea Martin and Leo Rossi. It’s a great picture, but this picture pushes my schedule into The Doors, so now Robert Downey Sr. needs me, but I’m supposed to be on Oliver’s set, and rightly so, you know? I did the wardrobe test already, and you have to go through hair and make-up as well and show Oliver what you’re going to look like in the movie. It was pretty easy because Edie Sedgwick is great. The way I got the role is that I was the reader opposite the boys trying out for Jim Morrison. I did that for two days, and after those two days of reading, he said, “Who do you want to be? Do you want to be the stewardess or Edie Sedgwick”. I was like, “Edie Sedgwick, of course”, so with the schedule I had to do the wardrobe and then come in. Crispin Glover was playing Andy Warhol and I didn’t have time to do Edie’s hair, so when I was in the trailer, I saw Crispin Glover had done his hair and make-up tests, and he had two Andy Warhol wigs. I ran out of the make-up studio to find Oliver, and I said, “I’ve got it! I figured it out. I’ll wear one of Andy Warhol’s wigs. He has two, so I’ll take care of it”. He said, “Yeah”, and I put it on and we went and did the 4-minute no-cutting scene for a couple of days. I mean, it was fantastic. He just made it work, and he let me find the answer myself because I couldn’t do anything to get off the other set, not that I wanted to. It was pretty stressful.

Johnny: …But of course, out of stress comes some of your best ideas.

Jennifer: Yeah, I had that with the mohawk in A Nightmare On Elm Street. I was walking down the hall, and I saw a mohawk on a Time Magazine. My hairdo didn’t look right with that leather outfit. When I put it on, I was like, “Yuck, can’t wear this hairdo”. We put it up and that really changed the game, and with the Warhol wig, it was not as pronounced, but it was the same thing, different day. I really loved 80s and 90s low-budget film, making it happen choppy choppy.

Johnny: These are fantastic stories you’re sharing. We now come to 1994, where you played Ruby in the short film The Coriolis Effect. That doesn’t have a plot description on IMDB, so what was it about, and how did you get involved?

Jennifer: I got involved because of the writer, Louis Venosta. His father is a writer of both Broadway and Off-Broadway theater. Louis Venosta wrote Bird On A Wire, starring Mel Gibson and Goldie Hawn. He was doing a short where he could direct, so writer-turned-director. He saw the movie, Delusion, that I did, and he pretty much cornered me and say, “You’ve gotta do it, you’ve gotta do it!”. It was out of Universal Studios, and at that point I had my own makeup artist. That was nice to have my own makeup artist, because when you’re going out through the cow pies in the middle of nowhere, and you get dirt under your nails doing these scenes in the cornfield, it’s kind of nice to have one of my magazine makeup artists work on me. You know, the difference between movie makeup artists and magazine makeup artists is that it’s really boring to do movie makeup, because you have to make the person look the same every day, but with magazines, you get to start from scratch every day and make things terrific and coordinated with the environment. The Coriolis Effect was about two guys and a girl who’s going to throw herself into a tornado. Spielberg picked up the idea with Twister. It was like the beginning of that movie, but instead of chasing it, I was just going to throw myself into the tornado because my dog got sucked up into it and I was going to follow my dog out of pure love. Two boys try to stop me from doing that because they don’t think it makes much sense. It’s sort of a Twister prototype.

Johnny: Alright. Going into 1995, you appeared in the Chris Isaak video “Somebody’s Crying”. Were you a fan of Chris Isaak’s before you were signed for the video?

Jennifer: Yeah. I dated his guitar player who worked on “Wicked Game”, (imitating the song’s guitar line), the one who made that sound and stretched the chord that way. I dated him, and so I toured with them for a while. Cheis Isaak’s a great showman, a great comedian, has a fantastic mother, one of those real character stage moms, one of those funny, even wacky, I’d say, San Francisco mothers. He didn’t write that song (laughing) until Jimmy and I broke up, but it was very nice of him to put me in it. He was very supportive. I never dated him. My girlfriend dated him, and I became friends with her because I was dating the guitar player.

Johnny: Alright. Also in 1995, you played Jessica Hanson in Screamers, based on Phillip K. Dick’s short story Second Variety. Had you read that story before signing on for the movie, and if so, how did it influence your role?

Jennifer: Well, I have to tell no. I didn’t. I’ve read his other work, and I’ve seen the other movies adapted from his work, but that was a short story that Steadicam operator-turned-director Christian Duguay had as his first directing job. He collaborated with Peter Weller on this short story that didn’t have a complete script, and those two gentlemen wrote the scenes at night (laughing) and gave us the pages in the morning. It just shows you how intelligent Peter Weller is, and how wonderful the Steadicam-turned-director understood the camera. Peter really understands. My entrance in Screamers is phenomenal. Those two gentlemen worked their asses off at night and wrote it.

Johnny: Very good movies. Going into 1997, you played Kandi Kane in the spoof Plump Fiction, which in its’ all-star cast featured several of my previous interview subjects, including Julie Brown, Judy Tenuta and Lezlie Deane. What’s your favorite memory of that project?

Jennifer: Well, I think the director, Bob Koherr, was an extraordinary director because of his comedic timing from doing improv. I didn’t come from that. I think as I started to progress in my movie career, each role became kind of harder and harder for me to do because I have four sci-fi and four comedy and four drama. It’s like each kind of little genre, I was the one and only person who actually jumped ship. I think there’s a little bit of a corporate ladder you climb. They like to pigeonhole you like, if you start in horror, you stay in horror. You’re a comedian? You stay in comedy. I didn’t do that. I would just stay long enough, and then try something else because, ultimately, I’m really a writer. As an artist, I’ve developed into a writer. I was never trying to shoot to be corporate. I was moving strategically and with guile. Most don’t move that way. I did so many different films and I think doing a lot of different genres, and aging, made it so that I knew enough to be dangerous. I didn’t really understand improv, so it was a real challenge for me to do. There’s this technique that comedic actors have. It’s like Second City. They have rules so you’re always on board with the other person. Maybe some of the darker roles made me a little more uptight, and I probably didn’t relax as much into it to make it enjoyable, but looking back after 20 years, I did great. I did it. The experience of it was the important part of doing it, but it was stressful. I’m a very happy person in my private life. I think I could do it today, but now my skin can’t handle the makeup so, you know, whatever.

Johnny: Well, to move to my next question, because of all you’ve done in media, you’ve made a decent amount of convention appearances over the years. What’s been the most rewarding part of attending conventions for you?

Jennifer: Oh, thank you. I like you saying “decent amount” because it IS a decent amount. You can do too many shows or not enough because you kind of have to get your feet in that as well. I’ll tell you: When I turned 40, and I moved to downtown Manhattan in New York City after 9/11 to kind of build up the neighborhood, Page Six wrote, “Jennifer’s serving the people she used to star opposite with”. I guess they were making fun of me or something, and so I called them and said, “Hey, listen. You know my boss doesn’t know anything about anything of my movies, and you can’t say that you have this hostess here like a loser. Downtown needs support here now”. They mentioned me again on Page Six that same week, and when you’re in Page Six twice in a week, you’re Jack Nicholson, okay? (Laughing) That’s a big deal, so they printed kind of a retraction with the Statue Of Liberty saying, “Give me your tired, your poor, your old actresses”, or something like that (laughing), but it was nice and I kept my job. You go to New York City to retire as an actress and I did great. There was this one guy named Brett Dobson who came to the restaurant in Downtown Manhattan, which has closed since. It was a place called Grace, a funny title for a restaurant. He came down and he brought me a picture of myself in A Nightmare On Elm Street, my first 8X10, and he told me, “Hey, you don’t have to work so hard at Grace” (laughing). I did my first show, and it was like a whole new world, to quote a Disney Princess. I never got to experience the success of A Nightmare On Elm Street because I went straight into my next project. I did, like, four films a year for a stretch, and I had no idea of the success of that movie until the documentary Never Sleep Again, and then I did appear more. That was really neat-o, and I think, at every con, you meet someone who is going to be a friend forever. With everybody else, it’s nice to hear what the film did for them with my character, with the drug overdose. Usually it scared them off drugs, so mostly that’s what they say. Usually people say, “You’re much taller than I thought you were going to be” (laughing).

Johnny: When it comes to conventions, we met at Chiller Theatre last October. What was your favorite memory of that Chiller?

Jennifer: Well, being with Kevin Clement at the front. He sits there on the first day as guests and vendors start showing up early. He had some health issues in the past, and you just sit there with him while he watches everybody come in. People pay him his respects and show him gratitude, ask him questions and give him ideas for the show. He likes sitting around with a bunch of guys and smoking cigars, although he doesn’t smoke a cigar that I know of. He’s a great painter and he talks about his painting. His woman takes care of him. She’s real sweet. I think it’s difficult to throw a con, and I really like these guys who have stuck with it long enough to make it a lasting event for so many people.

Johnny: It was definitely an honor to meet you.

Jennifer: Oh, thank you. You, too.

Johnny: As a matter of fact, a picture of us is my current profile picture on Facebook.

Jennifer: Yeah, I saw that (laughing).

Johnny: I changed that in anticipation of the interview. One more question about conventions before moving on to my last one: What’s the most surprising or unusual piece of memorabilia a fan has presented to you for signing at a convention?

Jennifer: Probably their skin for a tattoo.

Johnny: It seems as if skin is the most unusual thing talents that I’ve interviewed have been asked to sign (Jennifer laughs). This year, I interviewed Lisa Wilcox, another Nightmare On Elm Street veteran, and Dee Wallace, and they both said the same thing. They said skin for a tattoo.

Jennifer: (Laughing) Yeah, that’s the weirdest, but I mean, if you said, “What’s the most wonderful?”, I would say that some of these people make popsicle houses with lights inside. Some people take the artwork from VHS videos and make them 3-D and have them signed. Some of the portraits that fans have drawn or painted of me, they’ve given me. I have a nice collection. I think I’m going to use the portraits that people paint of me and put them as chapter dividers in my book, and use the artwork that way. There’s also FredHeads. That’s a living, breathing art project that people are involved in that’s wonderful.

Johnny: Your answer to that has actually inspired me to go in a new direction for future interviews. Instead of asking, “What’s the most unusual…”, I’ll go for, “What’s the most wonderful piece of memorabilia?”. I like that word.

Jennifer: Yeah, because most of the Nightmare On Elm Street fan base is humorous and gentle and eclectic. A lot of them are artists already, because that was when you could build it and make it your own horror film. These are all kind of fun, childish things to do, all the way up to the Kevin Yaghers who do great special effects make-up, and the stuff Heather Langenkamp does as well with her family and studio. I haven’t met anybody who’s bananas, thank God. Knock on wood. (Laughing) Maybe back in the day I had more of that “jump out of the bush and grab a lock of my hair”. That was a long time ago, and they’ve pretty much mellowed out since then.

Johnny: Alright. I now come to my final question, and it’s this: You’re currently raising funds to help your sister in her battle with Multiple Sclerosis. What has helping your sister fight that battle taught you about life, about familial relations, about those sorts of things?

Jennifer: I did this GoFundMe campaign for her, to share with her and the Nightmare On Elm Street fan base. It would be nice to share it with her because it’s such an extraordinary fan base, and it’s from love and from joy that it can be shared. I haven’t asked her this, and she hasn’t said this, but this would be my deep thought. It would be challenging to have a terminal illness. It probably gets exhausting. Instead of thinking about losing her, I want it to be more on the level of “share her love and joy”. Charity is not a self-profiting thing. Realistically, it’s a sharing of love and joy and support if we can. I mean, I have to be completely realistic. I don’t have expectations. It’s up to the heart and spirit of the matter. It teaches me a kind of humility, I think. There’s definitely horrors to be danced around and joys to be shared. It’s bittersweet. It’s a hard thing to articulate without overexposing her.

Johnny: I apologize if the question made you uncertain or uneasy. I’m very sorry if it did.

Jennifer: No, you didn’t. I mean, it’s a good question. Financial support and charity are big topics. I’ve never done it before. I’ve never been active to this extent before. I’ve obviously lived with this, but I’ve never activated for charity before. It’s not uncomfortable. I stand strong in it. She makes me stronger. There’s lots of fears for us around the financial and medical costs of that diagnosis. It’s part of it. It’s bittersweet. Gratitude in advance without expectation of giving.

Johnny: Well, I’m glad I’ve been able to help in my own way, and I will promote the GoFundMe when the interview is published. I do want to again thank you for taking the time to do this interview. I have to say I was very touched when we met at Chiller last year. The picture I asked you to personalize came from A Nightmare On Elm Street 3. I asked you to write, “Johnny, we’re beautiful and bad!”. (Jennifer laughs) I said that I don’t know if I could consider myself beautiful, but you complimented me on that, and that really touched me and made me feel good. I thank you for that. I mean, to be complimented by a great beauty like you is something that really made me feel good because I haven’t exactly had the best reputation in terms of looks. I mean, I’ve always had people telling me to trim my beard or get a haircut, and just basically say they don’t think I look good, so for you to compliment me on my looks? It really warmed my heart.

Jennifer: Can I tell you something, though, about looks? Having been in the look business my whole life, I’ve had that, too. I’ve had awkwardly broad shoulders and I’ve had gangly arms and legs, but I met this wonderful man who had a big nose, and it was big, like sundial big. He said to me, “I wish it was bigger”. You know, you take your flaw and accentuate it and make it bigger. I’ve made my shoulders my biggest thing. As a broad-shouldered girl I can say, “If I have broad shoulders, let them be broader”. Embrace your faults. That is the way to overpower anybody making a comment, and we all have learned in high school: You don’t make fun of anybody else’s body. It’s a gift from God and that’s how their body needs to be, just as my sister’s body needs to be this way. It’s not a bad thing. It’s challenging, but we’ve all learned this in high school and we should remember: You don’t make fun of people’s bodies. I don’t because I don’t know if my mother’s body always worked or if my sister’s body always worked. They don’t always work and they start to age, so embrace anything that’s not standard.

Johnny: That’s wonderful advice, and I do thank you again for taking the time to do this.

Jennifer: I appreciate anything and everything, and you’re just a saint for being the first to welcome me into this new world of fundraising and charity, and on such a personal matter, so thank you for being so delicate with me. I really appreciate it.

Johnny: Thank you for being so kind and such a good heart. I’ll catch you on Facebook, and I’ll be in touch via text as well. That’s roughly about it from me. Thanks again for your time, and we’ll talk again soon.

Jennifer: Great. Take it easy.

Johnny: You, too. Goodbye.

Jennifer: Bye.

I would again like to thank Jennifer Rubin for taking the time to speak to me. If you would like to help Jennifer Rubin’s sister in her battle with multiple sclerosis, here’s the link to make a donation. There are some cool Nightmare On Elm Street perks available for your donations.

Coming soon to the Flashback Interview are conversations with Tom Ruegger, the animation legend with three different projects celebrating big anniversaries this year, and Ami Dolenz, the actress/author/artist whom my fellow 80s fans will recognize from movies like Can’t Buy Me Love and She’s Out Of Control. Thanks as always for reading, and have a wonderful day.


  1. “including Julie Brown, Judy Tenuta and Lezlie Deane”
    Only one of those isn’t highlighted. Are you working on getting Julie Brown? That’d be awesome.

    Looking forward to the conversation you had with Tom. He’s a good guy.

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