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"content": "\u003cp>Who are these people? Who are the people who live inside popular American “literary” fiction? Working in a bookstore, these novels cross my counter all day long, and my customers ask me “Have you read this? Have you read that?” In order to prove I am not a complete elitist snob when it comes to bestsellers, I have to pick up the occasional popular novel and read it. Usually I wait ’til a used copy comes in so I can borrow it, read it, and return it.\u003c/p>\n\u003cp>This is what I did with \u003cb>Little Children\u003c/b> by Tom Perrotta. Perrotta is the author of Election, which was made into the funny indie movie by Alexander Payne, starring Reese Witherspoon and Matthew Broderick. I knew \u003cb>Little Children\u003c/b> was about bored parents of young children who hang out at the playground, and since this was kind of my life up until last year, I thought I’d give it a whirl. But as soon as I started, I had to ask myself: “Who are these people??”\u003c/p>\n\u003cp>In \u003cb>Little Children\u003c/b>, two parents of toddlers start up an affair during the long summer months, while their spouses remain somewhat disengaged and oblivious. Todd, the “Prom King,” as the ladies at the playground have taken to calling the handsome stay-at-home dad, has failed the bar exam twice and is married to a stunning documentary filmmaker named Kathy who is supporting the family on her meager income. Sarah, the too-smart-for-suburbia mom with frizzy hair and low self-esteem, uses her affair with Todd to validate her life and give it some kind of shape and meaning. Todd also gets wrapped up in a late night touch football league with some of the local dads, including Larry, a retired cop hell-bent on outing and punishing the newly-paroled child molester who has recently moved in with his mother on Blueberry Court.\u003c/p>\n\u003cp>Maybe I live in a bubble, and if so, I’m glad of that. Because these suburban cardboard cut-out characters found in most popular fiction are so dreadfully one-dimensional it makes me want to hurl. And this is not necessarily the fault of this writer, who is perfectly capable of constructing a page-turning plot, but I fear it’s the fault of our country and society which create these people and somehow turn them into literary models that the average reader can relate to. It’s like watching reality TV and thinking, “Wow, is everyone in this country really only concerned with looking hot, hooking up with someone who looks hot, and getting a lot of money?” In the world of \u003cb>Little Children\u003c/b>, these people all live in the suburbs and see nothing beyond their kids, their marriages and their petty obsessions. Except for one brief discussion of Madame Bovary, no one in this book seems to be able to use their brain for anything beyond whatever is right in front of them.\u003c/p>\n\u003cp>What is ultimately frustrating is that I don’t believe Perrotta is really making any cynical or postmodern statement about the shallow lives of people in the suburbs, because he seems to find their lifestyle perfectly acceptable as a jumping-off point for his storytelling. He even embellishes them with such attributes as “documentary filmmaker” and “retired cop,” as if just saying these things will make these characters all of a sudden spring to life and have some kind of depth. The deeper problem is that these people exist at all, even if they are imaginary. Desperate Housewives is more aware of itself than this book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the descriptions of the tedious routine of caring for young children do fit the bill, though, and it’s pretty entertaining and comforting to know that others find the lifestyle a bit, well, stultifying. As gratifying as it is to be the stay-at-home parent for your little one, there comes a point where you really resent your spouse for being able to get dressed and go to work every day. Now that I go to work almost every day, and my son is in preschool, I occasionally have those moments of missing the simplicity and regularity of a day ruled by meals, playtime, and naps. No wonder Todd and Sarah decide to have an affair in the book. Why not? They’ve got nothing better to do during naptime!\u003c/p>\n\u003cp>I did find \u003cb>Little Children\u003c/b> ultimately entertaining, except for the long drawn-out descriptions of Todd’s touch football games which made my eyes glaze over and drool drip down my chin. Snore. The sub-plot of the child molester living in their midst mixes up the intrigue to a somewhat suspenseful finish, and as much as I found everyone in the book boring beyond belief, I did want to know what was going to happen. So either this means Tom Perrotta’s a good writer, or I need to get a life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0312315732\" target=\"offsite\" rel=\"noopener\">\u003cb>Little Children\u003c/b>\u003c/a> by Tom Perrotta\u003cbr>Paperback. 368 pages.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who are these people? Who are the people who live inside popular American “literary” fiction? Working in a bookstore, these novels cross my counter all day long, and my customers ask me “Have you read this? Have you read that?” In order to prove I am not a complete elitist snob when it comes to bestsellers, I have to pick up the occasional popular novel and read it. Usually I wait ’til a used copy comes in so I can borrow it, read it, and return it.\u003c/p>\n\u003cp>This is what I did with \u003cb>Little Children\u003c/b> by Tom Perrotta. Perrotta is the author of Election, which was made into the funny indie movie by Alexander Payne, starring Reese Witherspoon and Matthew Broderick. I knew \u003cb>Little Children\u003c/b> was about bored parents of young children who hang out at the playground, and since this was kind of my life up until last year, I thought I’d give it a whirl. But as soon as I started, I had to ask myself: “Who are these people??”\u003c/p>\n\u003cp>In \u003cb>Little Children\u003c/b>, two parents of toddlers start up an affair during the long summer months, while their spouses remain somewhat disengaged and oblivious. Todd, the “Prom King,” as the ladies at the playground have taken to calling the handsome stay-at-home dad, has failed the bar exam twice and is married to a stunning documentary filmmaker named Kathy who is supporting the family on her meager income. Sarah, the too-smart-for-suburbia mom with frizzy hair and low self-esteem, uses her affair with Todd to validate her life and give it some kind of shape and meaning. Todd also gets wrapped up in a late night touch football league with some of the local dads, including Larry, a retired cop hell-bent on outing and punishing the newly-paroled child molester who has recently moved in with his mother on Blueberry Court.\u003c/p>\n\u003cp>Maybe I live in a bubble, and if so, I’m glad of that. Because these suburban cardboard cut-out characters found in most popular fiction are so dreadfully one-dimensional it makes me want to hurl. And this is not necessarily the fault of this writer, who is perfectly capable of constructing a page-turning plot, but I fear it’s the fault of our country and society which create these people and somehow turn them into literary models that the average reader can relate to. It’s like watching reality TV and thinking, “Wow, is everyone in this country really only concerned with looking hot, hooking up with someone who looks hot, and getting a lot of money?” In the world of \u003cb>Little Children\u003c/b>, these people all live in the suburbs and see nothing beyond their kids, their marriages and their petty obsessions. Except for one brief discussion of Madame Bovary, no one in this book seems to be able to use their brain for anything beyond whatever is right in front of them.\u003c/p>\n\u003cp>What is ultimately frustrating is that I don’t believe Perrotta is really making any cynical or postmodern statement about the shallow lives of people in the suburbs, because he seems to find their lifestyle perfectly acceptable as a jumping-off point for his storytelling. He even embellishes them with such attributes as “documentary filmmaker” and “retired cop,” as if just saying these things will make these characters all of a sudden spring to life and have some kind of depth. The deeper problem is that these people exist at all, even if they are imaginary. Desperate Housewives is more aware of itself than this book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the descriptions of the tedious routine of caring for young children do fit the bill, though, and it’s pretty entertaining and comforting to know that others find the lifestyle a bit, well, stultifying. As gratifying as it is to be the stay-at-home parent for your little one, there comes a point where you really resent your spouse for being able to get dressed and go to work every day. Now that I go to work almost every day, and my son is in preschool, I occasionally have those moments of missing the simplicity and regularity of a day ruled by meals, playtime, and naps. No wonder Todd and Sarah decide to have an affair in the book. Why not? They’ve got nothing better to do during naptime!\u003c/p>\n\u003cp>I did find \u003cb>Little Children\u003c/b> ultimately entertaining, except for the long drawn-out descriptions of Todd’s touch football games which made my eyes glaze over and drool drip down my chin. Snore. The sub-plot of the child molester living in their midst mixes up the intrigue to a somewhat suspenseful finish, and as much as I found everyone in the book boring beyond belief, I did want to know what was going to happen. So either this means Tom Perrotta’s a good writer, or I need to get a life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0312315732\" target=\"offsite\" rel=\"noopener\">\u003cb>Little Children\u003c/b>\u003c/a> by Tom Perrotta\u003cbr>Paperback. 368 pages.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Last Days of Dogtown by Anita Diamant",
"headTitle": "The Last Days of Dogtown by Anita Diamant | KQED",
"content": "\u003cp>Having read author Anita Diamant’s controversial first novel, \u003ca href=\"/.amazon/0312195516\">\u003cb>The Red Tent\u003c/b>\u003c/a>, I didn’t know quite what to expect from her latest effort, \u003ca href=\"/.amazon/0743225732\">\u003cb>The Last Days of Dogtown\u003c/b>\u003c/a> (and, before I continue: no, it has nothing to do with Z-boys or skating culture). I knew it was about a group of misfits living in a small New England town back in the day. But would it have the same passionate quality and dark undertones as that of its counterpart?\u003c/p>\n\u003cp>No. It does not. The language, characters and stories are understated and sparse, much like its rugged setting. A distinctive New England ethos pervades the pages, and while \u003cb>The Last Days of Dogtown\u003c/b> lacks the same intense drama that made \u003cb>The Red Tent\u003c/b> so memorable, this novel more than makes up for it in its characters and sense of place.\u003c/p>\n\u003cp>The book recounts the stories of the last few remaining residents of a dwindling village in the early 19th century inhabited by widows, orphans, drunkards, spinsters, outcasts, philanderers and so-called witches. Diamant tells their stories giving insight into their backgrounds, aspirations, motivations and hidden desires. You meet sweet and lonely Judy Rhines, who pines for her first and only love Cornelius Finson, a mysterious and reserved “African”. There’s Easter Carter, who owns the largest house in Dogtown and operates an informal tavern, and Black Ruth, aka John Woodsman, the reticent female stonemason who dresses as a man and boards in Ruth’s attic.\u003c/p>\n\u003cp>You also hear the story of the town’s madame Mrs. Stanley, the two pathetic prostitutes she keeps, Molly and Sally, her enterprising, ambitious charge Sammy Stanley and her pimp of sorts, the violent alcoholic John Stanwood. And then there’s Oliver Younger and his bitter, ornery aunt Tammy. Indeed Oliver’s story happens to be the only truly happy one in the entire novel. Happiness being a rare commodity in Dogtown.\u003c/p>\n\u003cp>In her Author’s Note, Diamant implies that she was inspired with the idea after reading a pamphlet and then doing some subsequent research on an actual hamlet once known as Dogtown which has since long perished. She writes, “⿦the death of a village, even one as poor and small as Dogtown, is not an altogether trivial thing. Surely there was value in the quiet lives lived among those boulders⿦”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise and organization of \u003cb>The Last Days of Dogtown\u003c/b> (the chapters, except for the first in which you are introduced to all the major players, are each dedicated to a particular character’s story with the occasional appearance of one or another) seems like an elaborate writing exercise. One in which you take a \u003ca href=\"http://www.flickr.com/groups/foundphotos\">\u003cb>found photo\u003c/b>\u003c/a> of a grade school \u003ca href=\"http://www.flickr.com/photos/velvethellvis/34710083/in/pool-foundphotos\">\u003cb>class\u003c/b>\u003c/a> and then proceed to write a story about each student. The characters are all in one place and are linked in some way but they have totally different backgrounds and will all meet different fates.\u003c/p>\n\u003cp>What struck me the most was the way in which people in the community helped one another though they were all destitute and of meager means. People bartered goods (a few eggs for a jar of jam) and did odd jobs for a place to stay. It made me wonder if people would help each other in the same way today. Would you take in a down on his luck neighbor in exchange for him doing a household chore like your laundry? Have we lost our sense of community?\u003c/p>\n\u003cp>I was also moved by the unrealized love and interracial relationship between Judy and Cornelius. Although blacks (really all people of color) and whites lived in separate communities with distinct physical and social boundaries, in towns and villages as small as Dogtown, those boundaries must have broken down enough for each to be able to live in fairly close proximity. In which case, intimate relationships would have the possibility of springing up. However, just because they may have happened doesn’t mean they were accepted.\u003c/p>\n\u003cp>As illustrated by these two characters, who held a life-long love for one another but were never able to publicly acknowledge their feelings. Judy and Cornelius could never acknowledge their love and their relationship was doomed from the very start on the sole basis of the color of their skin. And when you look at how few interracial relationships exist today, you can’t help but think that, perhaps, things haven’t changed all that much.\u003c/p>\n\u003cp>\u003cb>The Last Days of Dogtown\u003c/b> mirrors its subjects in many ways. It is a quiet, self-contained novel that holds many secrets. Nonetheless, years from now, no one will be able to recall its existence. Much like Dogtown itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0743225732\">\u003cb>The Last Days of Dogtown\u003c/b>\u003c/a> by Anita Diamant\u003cbr>Hardcover (288 pp)\u003cbr>Scribner: August 30, 2005\u003cbr>ISBN: 0743225732\u003c/p>\n\n",
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"excerpt": "Having read author Anita Diamant's controversial first novel, \u003ca href=\"/.amazon/0312195516\">\u003cb>The Red Tent\u003c/b>\u003c/a>, I didn't know quite what to expect from her latest effort, \u003ca href=\"/.amazon/0743225732\">\u003cb>The Last Days of Dogtown\u003c/b>\u003c/a> (and, before I continue: no, it has nothing to do with Z-boys or skating culture). I knew it was about a group of misfits living in a small New England town back in the day. But would it have the same passionate quality and dark undertones as that of its counterpart?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Having read author Anita Diamant’s controversial first novel, \u003ca href=\"/.amazon/0312195516\">\u003cb>The Red Tent\u003c/b>\u003c/a>, I didn’t know quite what to expect from her latest effort, \u003ca href=\"/.amazon/0743225732\">\u003cb>The Last Days of Dogtown\u003c/b>\u003c/a> (and, before I continue: no, it has nothing to do with Z-boys or skating culture). I knew it was about a group of misfits living in a small New England town back in the day. But would it have the same passionate quality and dark undertones as that of its counterpart?\u003c/p>\n\u003cp>No. It does not. The language, characters and stories are understated and sparse, much like its rugged setting. A distinctive New England ethos pervades the pages, and while \u003cb>The Last Days of Dogtown\u003c/b> lacks the same intense drama that made \u003cb>The Red Tent\u003c/b> so memorable, this novel more than makes up for it in its characters and sense of place.\u003c/p>\n\u003cp>The book recounts the stories of the last few remaining residents of a dwindling village in the early 19th century inhabited by widows, orphans, drunkards, spinsters, outcasts, philanderers and so-called witches. Diamant tells their stories giving insight into their backgrounds, aspirations, motivations and hidden desires. You meet sweet and lonely Judy Rhines, who pines for her first and only love Cornelius Finson, a mysterious and reserved “African”. There’s Easter Carter, who owns the largest house in Dogtown and operates an informal tavern, and Black Ruth, aka John Woodsman, the reticent female stonemason who dresses as a man and boards in Ruth’s attic.\u003c/p>\n\u003cp>You also hear the story of the town’s madame Mrs. Stanley, the two pathetic prostitutes she keeps, Molly and Sally, her enterprising, ambitious charge Sammy Stanley and her pimp of sorts, the violent alcoholic John Stanwood. And then there’s Oliver Younger and his bitter, ornery aunt Tammy. Indeed Oliver’s story happens to be the only truly happy one in the entire novel. Happiness being a rare commodity in Dogtown.\u003c/p>\n\u003cp>In her Author’s Note, Diamant implies that she was inspired with the idea after reading a pamphlet and then doing some subsequent research on an actual hamlet once known as Dogtown which has since long perished. She writes, “⿦the death of a village, even one as poor and small as Dogtown, is not an altogether trivial thing. Surely there was value in the quiet lives lived among those boulders⿦”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The premise and organization of \u003cb>The Last Days of Dogtown\u003c/b> (the chapters, except for the first in which you are introduced to all the major players, are each dedicated to a particular character’s story with the occasional appearance of one or another) seems like an elaborate writing exercise. One in which you take a \u003ca href=\"http://www.flickr.com/groups/foundphotos\">\u003cb>found photo\u003c/b>\u003c/a> of a grade school \u003ca href=\"http://www.flickr.com/photos/velvethellvis/34710083/in/pool-foundphotos\">\u003cb>class\u003c/b>\u003c/a> and then proceed to write a story about each student. The characters are all in one place and are linked in some way but they have totally different backgrounds and will all meet different fates.\u003c/p>\n\u003cp>What struck me the most was the way in which people in the community helped one another though they were all destitute and of meager means. People bartered goods (a few eggs for a jar of jam) and did odd jobs for a place to stay. It made me wonder if people would help each other in the same way today. Would you take in a down on his luck neighbor in exchange for him doing a household chore like your laundry? Have we lost our sense of community?\u003c/p>\n\u003cp>I was also moved by the unrealized love and interracial relationship between Judy and Cornelius. Although blacks (really all people of color) and whites lived in separate communities with distinct physical and social boundaries, in towns and villages as small as Dogtown, those boundaries must have broken down enough for each to be able to live in fairly close proximity. In which case, intimate relationships would have the possibility of springing up. However, just because they may have happened doesn’t mean they were accepted.\u003c/p>\n\u003cp>As illustrated by these two characters, who held a life-long love for one another but were never able to publicly acknowledge their feelings. Judy and Cornelius could never acknowledge their love and their relationship was doomed from the very start on the sole basis of the color of their skin. And when you look at how few interracial relationships exist today, you can’t help but think that, perhaps, things haven’t changed all that much.\u003c/p>\n\u003cp>\u003cb>The Last Days of Dogtown\u003c/b> mirrors its subjects in many ways. It is a quiet, self-contained novel that holds many secrets. Nonetheless, years from now, no one will be able to recall its existence. Much like Dogtown itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0743225732\">\u003cb>The Last Days of Dogtown\u003c/b>\u003c/a> by Anita Diamant\u003cbr>Hardcover (288 pp)\u003cbr>Scribner: August 30, 2005\u003cbr>ISBN: 0743225732\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are things we do in our lives for the sheer discomfort of them — to remind us of what we have, and what we require for a happy existence, and what we need to sustain ourselves. We do things like hiking and camping, and mountain climbing, and sailing, and cross-country skiing. And the moment we return home from one of our outdoor adventures, whether we have hiked 10 miles to a remote wilderness camp or grilled ahi tuna next to the car in a state park, we feel at peace. We can peel off the dirty smelly clothes, we can warm the chilled extremities, we can take a long, excruciatingly hot shower and brew up some tea and cuddle up under the covers of a fluffy bed. This is exactly how I felt after reading \u003cb>Drop City\u003c/b>.\u003c/p>\n\u003cp>Those of us who were lucky enough to have been born just behind the “Summer of Love” generation are sick to death of gagging on the regurgitated memories shoved down our throats by those who lived through those seemingly halcyon days. Images of flower children dancing in the park, and poets rallying against the war, and color wheels spinning out oily slicks of psychedelic mush behind some “legendary” guitar hero or raspy-voiced blues mama have been so overplayed as to be comical. Thankfully, T.C. Boyle cuts right to the dark underbelly of what it means to be counter-culture, both in the hippie sense, and in the sense of any men and women who choose to live “off-the-grid” in their own adventurous ways.\u003c/p>\n\u003cp>\u003cb>Drop City\u003c/b> starts out as a tale of a commune with growing pains, a Northern California hippie enclave which is attracting far too many weekend gawkers, freeloaders, and losers who just can’t handle their drugs. After a series of mishaps that brings the Man around to pressure the group to abandon their idyllic property, Norm Sender, Papa Bear to the clan, decides to move the whole free-lovin’ soap opera up to Alaska. His uncle has bequeathed unto him a cabin in one of the most god-forsaken regions of the Yukon, where the sun shines 24 hours a day in summer, but it’s dark and 40 below all winter, and if you’re not prepared and you’re not skilled, you’re in deep moose poop.\u003c/p>\n\u003cp>They encounter a group of hardened river folk with their own turf wars and rivalries, and as the days grow shorter and colder, their stories grow more and more intertwined and claustrophobic, til you want to jump out of your skin lest Boyle regale you with one more scene of tedium, boredom and danger borne out of the darkest, sub-zero hell that is this particular part of the world. It’s a rocking good read, with stunning turns of phrase and characters that ooze from the page with startling ferocity. In Boyle’s world, you can run from society, but it will always track you down like a wild pack of starved dogs.\u003c/p>\n\u003cp>So let those dogs lie. The laundry is done, the woodsmoke smell is out of everything, and the rain beats against the window as I lay here, thanking my lucky stars I’m not out there hunting down my dinner or trying to feed 30 stinky hippies and their misguided dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0142003808\">\u003cb>Drop City\u003c/b>\u003c/a> by T.C. Boyle\u003cbr>Paperback (512 pp)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are things we do in our lives for the sheer discomfort of them — to remind us of what we have, and what we require for a happy existence, and what we need to sustain ourselves. We do things like hiking and camping, and mountain climbing, and sailing, and cross-country skiing. And the moment we return home from one of our outdoor adventures, whether we have hiked 10 miles to a remote wilderness camp or grilled ahi tuna next to the car in a state park, we feel at peace. We can peel off the dirty smelly clothes, we can warm the chilled extremities, we can take a long, excruciatingly hot shower and brew up some tea and cuddle up under the covers of a fluffy bed. This is exactly how I felt after reading \u003cb>Drop City\u003c/b>.\u003c/p>\n\u003cp>Those of us who were lucky enough to have been born just behind the “Summer of Love” generation are sick to death of gagging on the regurgitated memories shoved down our throats by those who lived through those seemingly halcyon days. Images of flower children dancing in the park, and poets rallying against the war, and color wheels spinning out oily slicks of psychedelic mush behind some “legendary” guitar hero or raspy-voiced blues mama have been so overplayed as to be comical. Thankfully, T.C. Boyle cuts right to the dark underbelly of what it means to be counter-culture, both in the hippie sense, and in the sense of any men and women who choose to live “off-the-grid” in their own adventurous ways.\u003c/p>\n\u003cp>\u003cb>Drop City\u003c/b> starts out as a tale of a commune with growing pains, a Northern California hippie enclave which is attracting far too many weekend gawkers, freeloaders, and losers who just can’t handle their drugs. After a series of mishaps that brings the Man around to pressure the group to abandon their idyllic property, Norm Sender, Papa Bear to the clan, decides to move the whole free-lovin’ soap opera up to Alaska. His uncle has bequeathed unto him a cabin in one of the most god-forsaken regions of the Yukon, where the sun shines 24 hours a day in summer, but it’s dark and 40 below all winter, and if you’re not prepared and you’re not skilled, you’re in deep moose poop.\u003c/p>\n\u003cp>They encounter a group of hardened river folk with their own turf wars and rivalries, and as the days grow shorter and colder, their stories grow more and more intertwined and claustrophobic, til you want to jump out of your skin lest Boyle regale you with one more scene of tedium, boredom and danger borne out of the darkest, sub-zero hell that is this particular part of the world. It’s a rocking good read, with stunning turns of phrase and characters that ooze from the page with startling ferocity. In Boyle’s world, you can run from society, but it will always track you down like a wild pack of starved dogs.\u003c/p>\n\u003cp>So let those dogs lie. The laundry is done, the woodsmoke smell is out of everything, and the rain beats against the window as I lay here, thanking my lucky stars I’m not out there hunting down my dinner or trying to feed 30 stinky hippies and their misguided dreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "In Cold Blood by Truman Capote | KQED",
"content": "\u003cp>After having watched the outstanding film \u003ca href=\"http://www.imdb.com/title/tt0379725\">\u003cb>Capote\u003c/b>\u003c/a>, essentially about \u003ca href=\"http://www.kirjasto.sci.fi/capote.htm\">\u003cb>Truman Capote’s\u003c/b>\u003c/a> experiences researching the grisly murders of a family in rural Kansas in 1959, I was compelled to read \u003ca href=\"/.amazon/0679745580\">\u003cb>In Cold Blood\u003c/b>\u003c/a>, the product of the six grueling, emotionally trying years of said research. The movie asserts that the novel simultaneously established the author as the most famous writer in America \u003ci>and\u003c/i> ruined him both emotionally and physically; he never finished another book and subsequently became addicted to both alcohol and drugs. I was intrigued and, I admit, a little scared. I mean, if the material inside those pages could scar someone as urbane and jaded as Truman Capote, what would it do to me?\u003c/p>\n\u003cp>First of all, it should be noted that \u003cb>In Cold Blood\u003c/b>, while written like an extremely well crafted work of fiction, is not the product of an overactive imagination. It’s all real. That’s the frighteningly haunting part. It is a non-fiction literary novel, a genre created by Capote and of which he still reigns as king, which means that it’s all, whether you like it or not, factually-based. I have yet to come across a non-fictional book that is half as full of description and deeply developed “characters” as is \u003cb>In Cold Blood\u003c/b>. And, perhaps I never shall.\u003c/p>\n\u003cp>Published in 1965, the novel is dedicated to both Jack Dunphy, Capote’s longtime lover, and Harper Lee (who wrote \u003ca href=\"/.amazon/0446310786\">\u003cb>To Kill a Mockingbird\u003c/b>\u003c/a>), his lifelong friend. The first few pages immediately set the scene and tone for the rest of the book, much like the opening scene of a movie (Capote also wrote the novella \u003ca href=\"http://www.imdb.com/title/tt005469\">\u003cb>Breakfast at Tiffany’s\u003c/b>\u003c/a>, which was then made into the movie starring Audrey Hepburn). You are guided into the world inhabited by the subjects and feel yourself leaving the present behind. Welcome to Holcomb, Kansas, the (unlikely) scene of the crime.\u003c/p>\n\u003cp>Equal parts bleak and joyful, Holcomb is a small tight-knit community that seems like an ideal place to grow up and then quickly move away. Despite the flat prairie lands that mercilessly expose one to the elements, Holcomb and the nearby town of Garden City were really quite sheltered. That is until November 1959, when one of the community’s most-popular and best loved families, The Clutters, were murdered for no apparent reason, shot point blank in the heads, with the father also having his neck slit. After this tragedy, things just weren’t the same in good old Holcomb.\u003c/p>\n\u003cp>The film doesn’t really go into the family’s background or the townspeople and instead focuses more on the killers and Capote. Thus, I was slightly taken aback by the extent to which \u003cb>In Cold Blood\u003c/b> delves into both the Clutters’ and the community’s lives as well as that of the two murderers. It’s so well constructed and pieced together that it’s difficult to fathom that it’s non-fiction and that the victims weren’t interviewed by Capote from the beyond the grave. I kept on asking myself, “How could he possibly \u003ci>know\u003c/i> all this stuff?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, Capote creates in-depth character studies of each member of the family — Mr. Clutter, his mentally unstable wife Bonnie Clutter, the enormously popular and peppy Nancy and his moody, nerdy only son Kenyon — except for, mysteriously, the two eldest sisters and only surviving members of the family, Beverly and Eveanna, who were away at the time, one being married and the other engaged. Maybe they refused to talk to him? Capote doesn’t stop with the Clutters, he includes and interweaves the stories of various members of the town — from an English teacher at the high school and Nancy’s best friend Susan, to the Kansas Bureau of Investigation agents working the case and even the likes of Mrs. Myrtle Clare, the ornery, opinionated postmistress — in an almost Dickensian panorama with the same grand results.\u003c/p>\n\u003cp>The most disturbing passages, besides those that actually describe the murders, are those of the murderers themselves, Perry Smith and Dick Hickock. Their easy cruelty, delusions and violent tendencies sent shivers up my back. I imagined having to spend years hanging out with one of them in a jail cell while researching a book as Capote had done with Smith. Of course, he was driven to drink! These evocative passages are interlaced with the other passages creating a seamless, layered story, which gradually builds suspense and tension. You are compelled to turn the page even though you’re apprehensive of what happens next.\u003c/p>\n\u003cp>It was quite an interesting dynamic having first seen a film about how the author was affected by the story and then reading \u003cb>In Cold Blood\u003c/b> afterwards. It added another nuance to the reading experience, that’s for sure. I kept on imagining him sitting at his desk writing and interviewing the subjects and picturing Truman Capote as \u003ca href=\"http://www.imdb.com/name/nm0000450\">Philip Seymour Hoffman\u003c/a>. Through enormous amounts of research and imagination, Capote miraculously re-constructs and pieces this tragic story together with a chess-like stratagem, creating a novel of epic proportions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0679745580\">\u003cb>In Cold Blood\u003c/b>\u003c/a> by Truman Capote\u003cbr>Paperback (368 pp)\u003cbr>Vintage; Reprint edition: February 1, 1994\u003cbr>ISBN: 0679745580\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After having watched the outstanding film \u003ca href=\"http://www.imdb.com/title/tt0379725\">\u003cb>Capote\u003c/b>\u003c/a>, essentially about \u003ca href=\"http://www.kirjasto.sci.fi/capote.htm\">\u003cb>Truman Capote’s\u003c/b>\u003c/a> experiences researching the grisly murders of a family in rural Kansas in 1959, I was compelled to read \u003ca href=\"/.amazon/0679745580\">\u003cb>In Cold Blood\u003c/b>\u003c/a>, the product of the six grueling, emotionally trying years of said research. The movie asserts that the novel simultaneously established the author as the most famous writer in America \u003ci>and\u003c/i> ruined him both emotionally and physically; he never finished another book and subsequently became addicted to both alcohol and drugs. I was intrigued and, I admit, a little scared. I mean, if the material inside those pages could scar someone as urbane and jaded as Truman Capote, what would it do to me?\u003c/p>\n\u003cp>First of all, it should be noted that \u003cb>In Cold Blood\u003c/b>, while written like an extremely well crafted work of fiction, is not the product of an overactive imagination. It’s all real. That’s the frighteningly haunting part. It is a non-fiction literary novel, a genre created by Capote and of which he still reigns as king, which means that it’s all, whether you like it or not, factually-based. I have yet to come across a non-fictional book that is half as full of description and deeply developed “characters” as is \u003cb>In Cold Blood\u003c/b>. And, perhaps I never shall.\u003c/p>\n\u003cp>Published in 1965, the novel is dedicated to both Jack Dunphy, Capote’s longtime lover, and Harper Lee (who wrote \u003ca href=\"/.amazon/0446310786\">\u003cb>To Kill a Mockingbird\u003c/b>\u003c/a>), his lifelong friend. The first few pages immediately set the scene and tone for the rest of the book, much like the opening scene of a movie (Capote also wrote the novella \u003ca href=\"http://www.imdb.com/title/tt005469\">\u003cb>Breakfast at Tiffany’s\u003c/b>\u003c/a>, which was then made into the movie starring Audrey Hepburn). You are guided into the world inhabited by the subjects and feel yourself leaving the present behind. Welcome to Holcomb, Kansas, the (unlikely) scene of the crime.\u003c/p>\n\u003cp>Equal parts bleak and joyful, Holcomb is a small tight-knit community that seems like an ideal place to grow up and then quickly move away. Despite the flat prairie lands that mercilessly expose one to the elements, Holcomb and the nearby town of Garden City were really quite sheltered. That is until November 1959, when one of the community’s most-popular and best loved families, The Clutters, were murdered for no apparent reason, shot point blank in the heads, with the father also having his neck slit. After this tragedy, things just weren’t the same in good old Holcomb.\u003c/p>\n\u003cp>The film doesn’t really go into the family’s background or the townspeople and instead focuses more on the killers and Capote. Thus, I was slightly taken aback by the extent to which \u003cb>In Cold Blood\u003c/b> delves into both the Clutters’ and the community’s lives as well as that of the two murderers. It’s so well constructed and pieced together that it’s difficult to fathom that it’s non-fiction and that the victims weren’t interviewed by Capote from the beyond the grave. I kept on asking myself, “How could he possibly \u003ci>know\u003c/i> all this stuff?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, Capote creates in-depth character studies of each member of the family — Mr. Clutter, his mentally unstable wife Bonnie Clutter, the enormously popular and peppy Nancy and his moody, nerdy only son Kenyon — except for, mysteriously, the two eldest sisters and only surviving members of the family, Beverly and Eveanna, who were away at the time, one being married and the other engaged. Maybe they refused to talk to him? Capote doesn’t stop with the Clutters, he includes and interweaves the stories of various members of the town — from an English teacher at the high school and Nancy’s best friend Susan, to the Kansas Bureau of Investigation agents working the case and even the likes of Mrs. Myrtle Clare, the ornery, opinionated postmistress — in an almost Dickensian panorama with the same grand results.\u003c/p>\n\u003cp>The most disturbing passages, besides those that actually describe the murders, are those of the murderers themselves, Perry Smith and Dick Hickock. Their easy cruelty, delusions and violent tendencies sent shivers up my back. I imagined having to spend years hanging out with one of them in a jail cell while researching a book as Capote had done with Smith. Of course, he was driven to drink! These evocative passages are interlaced with the other passages creating a seamless, layered story, which gradually builds suspense and tension. You are compelled to turn the page even though you’re apprehensive of what happens next.\u003c/p>\n\u003cp>It was quite an interesting dynamic having first seen a film about how the author was affected by the story and then reading \u003cb>In Cold Blood\u003c/b> afterwards. It added another nuance to the reading experience, that’s for sure. I kept on imagining him sitting at his desk writing and interviewing the subjects and picturing Truman Capote as \u003ca href=\"http://www.imdb.com/name/nm0000450\">Philip Seymour Hoffman\u003c/a>. Through enormous amounts of research and imagination, Capote miraculously re-constructs and pieces this tragic story together with a chess-like stratagem, creating a novel of epic proportions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/0679745580\">\u003cb>In Cold Blood\u003c/b>\u003c/a> by Truman Capote\u003cbr>Paperback (368 pp)\u003cbr>Vintage; Reprint edition: February 1, 1994\u003cbr>ISBN: 0679745580\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m not a crier. While I shed tears at appropriate occasions like weddings and funerals and may break down while giving a particularly sentimental speech, I rarely cry during movies (unless it’s a serious tear-jerker, which I try to generally avoid) and even less so when reading a book. I remember crying over \u003cb>Bastard out of Carolina\u003c/b> and needing serious proverbial therapy in order to deal with the disturbing ending. I was also all mopey over \u003cb>The Passion\u003c/b>. But I read those books years ago and the ducts have been dry ever since. Maybe it’s because I hadn’t read anything that’s really moved me in such a way. That is until I picked up \u003ca href=\"/.amazon/1400043395\">\u003cb>Never Let Me Go\u003c/b>\u003c/a> at the \u003ca href=\"http://www.sfpl.org\">library\u003c/a>.\u003c/p>\n\u003cp>Japanese British author Kazuo Ishiguro’s (\u003cb>Remains of the Day\u003c/b>, \u003cb>A Pale View of the Hills\u003c/b>) latest novel is a masterpiece. Essentially it is about the life-long yet somewhat dysfunctional friendship between three characters: Kathy, Ruth and Tommy who attended an idyllic boarding school of sorts in the English countryside called Hailsham.\u003c/p>\n\u003cp>The novel unfolds entirely in flashbacks through Kathy’s reminiscences, which all possess a touch of bittersweet sadness and childlike wonder. As she talks about lazy days lying about in the fields, petty fights, gossip about teachers (called guardians at Hailsham), self-conscious social interactions and all the other things that make up a good bildungsroman, you are swept away into your own awkward childhood and adolescent experiences.\u003c/p>\n\u003cp>All those hurts and pangs and yearnings I once had, drifted right up to the surface. Making me thankful, once more, that I never have to go through any of that crap ever again. Unless I’m reliving it through a book of course. I don’t want to write about the saddest part of the novel, which would give away the ending, but only say that it haunted me many days after. In fact, I had to stop and breathe and run for tissues just to get through those final scenes; which is not to say that \u003cb>Never Let Me Go\u003c/b> is a depressing read.\u003c/p>\n\u003cp>Indeed, there is something about the characters’ experiences, though presented with a subtle elusiveness, which is powerful and uplifting. And, despite the tears, I am thankful to Ishiguro for both bringing me along for the trip and creating this world and these characters, which have stayed with me long after I closed the book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Never Let Me Go\u003c/b> has earned its position on my all-time favorite books list. Even though it made me cry. Or maybe because of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/1400043395\">\u003cb>Never Let Me Go\u003c/b>\u003c/a> by Kazuo Ishiguro\u003cbr>Hardcover (304 pp)\u003cbr>Knopf: April 5, 2005\u003cbr>ISBN: 1400043395\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not a crier. While I shed tears at appropriate occasions like weddings and funerals and may break down while giving a particularly sentimental speech, I rarely cry during movies (unless it’s a serious tear-jerker, which I try to generally avoid) and even less so when reading a book. I remember crying over \u003cb>Bastard out of Carolina\u003c/b> and needing serious proverbial therapy in order to deal with the disturbing ending. I was also all mopey over \u003cb>The Passion\u003c/b>. But I read those books years ago and the ducts have been dry ever since. Maybe it’s because I hadn’t read anything that’s really moved me in such a way. That is until I picked up \u003ca href=\"/.amazon/1400043395\">\u003cb>Never Let Me Go\u003c/b>\u003c/a> at the \u003ca href=\"http://www.sfpl.org\">library\u003c/a>.\u003c/p>\n\u003cp>Japanese British author Kazuo Ishiguro’s (\u003cb>Remains of the Day\u003c/b>, \u003cb>A Pale View of the Hills\u003c/b>) latest novel is a masterpiece. Essentially it is about the life-long yet somewhat dysfunctional friendship between three characters: Kathy, Ruth and Tommy who attended an idyllic boarding school of sorts in the English countryside called Hailsham.\u003c/p>\n\u003cp>The novel unfolds entirely in flashbacks through Kathy’s reminiscences, which all possess a touch of bittersweet sadness and childlike wonder. As she talks about lazy days lying about in the fields, petty fights, gossip about teachers (called guardians at Hailsham), self-conscious social interactions and all the other things that make up a good bildungsroman, you are swept away into your own awkward childhood and adolescent experiences.\u003c/p>\n\u003cp>All those hurts and pangs and yearnings I once had, drifted right up to the surface. Making me thankful, once more, that I never have to go through any of that crap ever again. Unless I’m reliving it through a book of course. I don’t want to write about the saddest part of the novel, which would give away the ending, but only say that it haunted me many days after. In fact, I had to stop and breathe and run for tissues just to get through those final scenes; which is not to say that \u003cb>Never Let Me Go\u003c/b> is a depressing read.\u003c/p>\n\u003cp>Indeed, there is something about the characters’ experiences, though presented with a subtle elusiveness, which is powerful and uplifting. And, despite the tears, I am thankful to Ishiguro for both bringing me along for the trip and creating this world and these characters, which have stayed with me long after I closed the book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Never Let Me Go\u003c/b> has earned its position on my all-time favorite books list. Even though it made me cry. Or maybe because of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"/.amazon/1400043395\">\u003cb>Never Let Me Go\u003c/b>\u003c/a> by Kazuo Ishiguro\u003cbr>Hardcover (304 pp)\u003cbr>Knopf: April 5, 2005\u003cbr>ISBN: 1400043395\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I’m not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother’s late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.\u003c/p>\n\u003cp>One night, I turned the dial just in time to catch an image that would be forever imprinted in my young and impressionable mind. Tura Satana, the fox on the screen, clad in black from head to toe, with a cinched waist, knee high boots, hefty cleavage and a dangerous snarl plastered across her beautiful face, dug her heel into a man’s chest. This lady didn’t resemble my spinster English teacher, or the boring neighbor ladies who tended to their husbands and homes, or my aunt’s who sat around on plastic covered furniture as they gossiped and sipped Turkish coffee. She was nasty, powerful and dangerous.\u003c/p>\n\u003cp>The images of fast cars, chicks wearing hot pants and go-go boots, and the miles of sun- drenched desert depicted in Russ Meyer’s \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> came to represent California, at least in my mind. The seeds of the California dream were planted. It was a dark, beautiful and mysterious tangle of conflicting ideals and visual images. My mom woke up and promptly turned the television off, deeming the content of my California dream far too adult for my innocent eyes. But as I stared at the blank screen, I realized something had already transpired and the film became inextricably linked with the notion of an alternative lifestyle that seemingly only existed in California. I never knew the title of the film or who the mysterious woman was, but I knew I would never forget them.\u003c/p>\n\u003cp>Years later, when I was actually living in California, I realized pretty quickly that Modesto was about as far removed from the romantic imagery of my childhood as one could get. I lived in the most boring town on earth, where the only nightlife option on a Saturday evening was to descend into the parking lot of the local theater and play out our own “Midnight Movie” ritual. Week after week, we came to see the same scratched print of the \u003cb>The Rocky Horror Picture Show\u003c/b>.\u003c/p>\n\u003cp>One weekend, someone booked a special screening of a Russ Meyer film, and within seconds I recognized the woman that had left such an impact on me as a young girl. There was Tura Satana in all her glory, being projected larger than life on a fifty-foot screen. Varla, the character she played, was a tough, independent woman who could take care of herself and took no shit, even if she was a bit of a psychopath. Once again the image appeared to me at a defining moment — just as my own feminist ideals were beginning to take shape and my interest in B-movies was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So when I recently found out that Tura Satana was going to be a special guest at \u003cb>Midnight Mass\u003c/b> for a screening of \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, I couldn’t pass up the opportunity to go and see my idol in the flesh. When I arrived, the line was already wrapped around the block. The smell of clove cigarettes hung in the air as I walked past drag queens dressed-up in full Varla garb; older post-punks sneaking hooch and looking fashionably bored; death rock kids huddled in groups and smoking cigarettes; and B-movie aficionados ready with their favorite memorabilia for Tura to sign. As I was parking my bike I caught a glimpse of HER. I expected her to be a giant, to be six feet tall — bigger than life. But in reality she was a tiny little lady, with a big smile on her face. Wearing an outfit that resembled her costume in \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, Satana walked down the red carpet in front of the Bridge Theater and into a mob scene.\u003c/p>\n\u003cp>I had gone to \u003cb>Midnight Mass\u003c/b> during its humble beginnings, so I was completely unprepared for the glitz and glamour in store for the audience. Since 1998, this midnight summer screening series has featured cult classics like John Water’s \u003cb>Desperate Living\u003c/b>, Doris Wishman’s \u003cb>Double Agent 73\u003c/b>, and Paul Verhoeven’s modern romp \u003cb>Showgirls\u003c/b>. The official mistress of ceremonies, Peaches Christ, presides over the spectacle, which has included lap dancing and a wet t-shirt contest. For this special evening, Peaches Christ, the hostess of \u003cb>Midnight Mass\u003c/b>, pulled out all the stops with the pre-show entertainment, unveiling her new single Idol Worship, a live floorshow complete with a gaggle of wild go-go dancers and a clip reel of Tura Satana’s cinematic legacy. The house was packed; there was electricity in the air and a sense of anticipation, knowing that Tura Satana would soon grace the stage.\u003c/p>\n\u003cp>The minute Satana walked onto the stage, the audience went wild. People were genuinely excited and probably shocked to be in the same room with an icon whose image had graced the cover of countless posters, t-shirts and B-movie magazines. I have to admit I was pretty star-struck. Satana proved to be just as amazing in real life, as the image plastered across the screen. She was funny, feisty and incredibly gracious during her interview, which was an intriguing mix of gossip, banter and intimate details from her personal life. Tura shared her experiences growing up Asian American and having to protect herself from the anti-Japanese sentiment she faced in the U.S. following World War II. She talked about learning karate in reaction to a vicious attack and learning to take care of herself at an early age. On a less serious note, Satana displayed the astonishing muscle control she learned to exert over her cleavage after years of tassel twirling in her legendary career as a burlesque dancer. She revealed her clandestine affair with Elvis and flashed a diamond ring he had given her as a gift. After the interview concluded and the lights went down, \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> was projected and Tura Satana’s persona lit up the screen. She was a giant again. Her iconic image was still as powerful as the first time I saw it on a tiny black and white TV.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Check out the last \u003cb>Midnight Mass\u003c/b> show of the summer, which will feature the San Francisco Underground Short Film Festival on August 20th. Find out more at \u003ca href=\"http://www.peacheschrist.com/\">peacheschrist.com\u003c/a>.\u003c/p>\n\n",
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"headline": "Faster Pussycat at Midnight Mass",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I saw Tura Satana was through the fuzz of our tiny black and white TV. And no, I’m not a hundred years old. My mom was never a big proponent of new technology, so even in 1982 we still had an archaic black and white set. I was finally old enough to stay up late on Saturdays to participate in my mother’s late-night movie ritual. This was well before I started rolling my eyes at her or trying to avoid being seen with her in public. Our relationship was warm and as fuzzy as the black and white pictures that flickered into our living room. She would usually drift off to sleep pretty early. Left on my own, I would end up watching gothic horror movies that scared me and invaded my dreams.\u003c/p>\n\u003cp>One night, I turned the dial just in time to catch an image that would be forever imprinted in my young and impressionable mind. Tura Satana, the fox on the screen, clad in black from head to toe, with a cinched waist, knee high boots, hefty cleavage and a dangerous snarl plastered across her beautiful face, dug her heel into a man’s chest. This lady didn’t resemble my spinster English teacher, or the boring neighbor ladies who tended to their husbands and homes, or my aunt’s who sat around on plastic covered furniture as they gossiped and sipped Turkish coffee. She was nasty, powerful and dangerous.\u003c/p>\n\u003cp>The images of fast cars, chicks wearing hot pants and go-go boots, and the miles of sun- drenched desert depicted in Russ Meyer’s \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> came to represent California, at least in my mind. The seeds of the California dream were planted. It was a dark, beautiful and mysterious tangle of conflicting ideals and visual images. My mom woke up and promptly turned the television off, deeming the content of my California dream far too adult for my innocent eyes. But as I stared at the blank screen, I realized something had already transpired and the film became inextricably linked with the notion of an alternative lifestyle that seemingly only existed in California. I never knew the title of the film or who the mysterious woman was, but I knew I would never forget them.\u003c/p>\n\u003cp>Years later, when I was actually living in California, I realized pretty quickly that Modesto was about as far removed from the romantic imagery of my childhood as one could get. I lived in the most boring town on earth, where the only nightlife option on a Saturday evening was to descend into the parking lot of the local theater and play out our own “Midnight Movie” ritual. Week after week, we came to see the same scratched print of the \u003cb>The Rocky Horror Picture Show\u003c/b>.\u003c/p>\n\u003cp>One weekend, someone booked a special screening of a Russ Meyer film, and within seconds I recognized the woman that had left such an impact on me as a young girl. There was Tura Satana in all her glory, being projected larger than life on a fifty-foot screen. Varla, the character she played, was a tough, independent woman who could take care of herself and took no shit, even if she was a bit of a psychopath. Once again the image appeared to me at a defining moment — just as my own feminist ideals were beginning to take shape and my interest in B-movies was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when I recently found out that Tura Satana was going to be a special guest at \u003cb>Midnight Mass\u003c/b> for a screening of \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, I couldn’t pass up the opportunity to go and see my idol in the flesh. When I arrived, the line was already wrapped around the block. The smell of clove cigarettes hung in the air as I walked past drag queens dressed-up in full Varla garb; older post-punks sneaking hooch and looking fashionably bored; death rock kids huddled in groups and smoking cigarettes; and B-movie aficionados ready with their favorite memorabilia for Tura to sign. As I was parking my bike I caught a glimpse of HER. I expected her to be a giant, to be six feet tall — bigger than life. But in reality she was a tiny little lady, with a big smile on her face. Wearing an outfit that resembled her costume in \u003cb>Faster Pussycat, Kill! Kill!\u003c/b>, Satana walked down the red carpet in front of the Bridge Theater and into a mob scene.\u003c/p>\n\u003cp>I had gone to \u003cb>Midnight Mass\u003c/b> during its humble beginnings, so I was completely unprepared for the glitz and glamour in store for the audience. Since 1998, this midnight summer screening series has featured cult classics like John Water’s \u003cb>Desperate Living\u003c/b>, Doris Wishman’s \u003cb>Double Agent 73\u003c/b>, and Paul Verhoeven’s modern romp \u003cb>Showgirls\u003c/b>. The official mistress of ceremonies, Peaches Christ, presides over the spectacle, which has included lap dancing and a wet t-shirt contest. For this special evening, Peaches Christ, the hostess of \u003cb>Midnight Mass\u003c/b>, pulled out all the stops with the pre-show entertainment, unveiling her new single Idol Worship, a live floorshow complete with a gaggle of wild go-go dancers and a clip reel of Tura Satana’s cinematic legacy. The house was packed; there was electricity in the air and a sense of anticipation, knowing that Tura Satana would soon grace the stage.\u003c/p>\n\u003cp>The minute Satana walked onto the stage, the audience went wild. People were genuinely excited and probably shocked to be in the same room with an icon whose image had graced the cover of countless posters, t-shirts and B-movie magazines. I have to admit I was pretty star-struck. Satana proved to be just as amazing in real life, as the image plastered across the screen. She was funny, feisty and incredibly gracious during her interview, which was an intriguing mix of gossip, banter and intimate details from her personal life. Tura shared her experiences growing up Asian American and having to protect herself from the anti-Japanese sentiment she faced in the U.S. following World War II. She talked about learning karate in reaction to a vicious attack and learning to take care of herself at an early age. On a less serious note, Satana displayed the astonishing muscle control she learned to exert over her cleavage after years of tassel twirling in her legendary career as a burlesque dancer. She revealed her clandestine affair with Elvis and flashed a diamond ring he had given her as a gift. After the interview concluded and the lights went down, \u003cb>Faster Pussycat, Kill! Kill!\u003c/b> was projected and Tura Satana’s persona lit up the screen. She was a giant again. Her iconic image was still as powerful as the first time I saw it on a tiny black and white TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out the last \u003cb>Midnight Mass\u003c/b> show of the summer, which will feature the San Francisco Underground Short Film Festival on August 20th. Find out more at \u003ca href=\"http://www.peacheschrist.com/\">peacheschrist.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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