1 00:00:01,720 --> 00:00:12,280 Speaker 1: Cal Zone Media book Club book Club book Club. Hello 2 00:00:13,280 --> 00:00:15,760 Speaker 1: and welcome to the Cool Zone Media book Club, the 3 00:00:15,960 --> 00:00:17,959 Speaker 1: only book club where you don't have to do the 4 00:00:18,000 --> 00:00:21,239 Speaker 1: reading because I do it for you. I'm your host, 5 00:00:21,239 --> 00:00:25,760 Speaker 1: Margaret Kiljoy, and we are in our summer read. Our 6 00:00:26,520 --> 00:00:30,600 Speaker 1: four parter are long. It's not actually very long. It's 7 00:00:30,600 --> 00:00:33,120 Speaker 1: barely a novella. It is right on the edge between 8 00:00:33,880 --> 00:00:38,519 Speaker 1: novelette and novella, which is an almost meaningless distinction that 9 00:00:39,000 --> 00:00:43,919 Speaker 1: I only know the difference between because of or categories. 10 00:00:43,960 --> 00:00:47,120 Speaker 1: That's the main reason that any of these numbers matter, 11 00:00:47,240 --> 00:00:54,200 Speaker 1: and the distinctions between flash fiction, short stories, novelettes, novellas, 12 00:00:54,640 --> 00:00:58,720 Speaker 1: and novels. But this one, we're going to call it 13 00:00:58,760 --> 00:01:02,520 Speaker 1: a novella because it's also, you know, a social category 14 00:01:02,840 --> 00:01:06,920 Speaker 1: rather than just a strict word count thing. That's the 15 00:01:06,959 --> 00:01:11,119 Speaker 1: aside you all were really excited about hearing. We are 16 00:01:11,280 --> 00:01:17,120 Speaker 1: reading A Locust House by Adam Ganatti. And if you 17 00:01:17,160 --> 00:01:20,240 Speaker 1: don't remember part one incredibly well, well you can listen 18 00:01:20,240 --> 00:01:23,800 Speaker 1: to it again if you want. But also, this is 19 00:01:23,840 --> 00:01:27,120 Speaker 1: a slightly less linear book than most of what we 20 00:01:27,160 --> 00:01:31,240 Speaker 1: read here, so don't worry about it too much. Like 21 00:01:31,319 --> 00:01:34,000 Speaker 1: obviously the stuff that's in part one is going to 22 00:01:34,000 --> 00:01:36,520 Speaker 1: come up. Especially. I feel like the payoff is really 23 00:01:36,680 --> 00:01:41,040 Speaker 1: for that part is in part four, the end, because 24 00:01:41,040 --> 00:01:42,800 Speaker 1: we're going to switch characters. We're going to switch to 25 00:01:42,840 --> 00:01:46,039 Speaker 1: new characters. Why am I procrastinating by telling you all 26 00:01:46,040 --> 00:01:49,520 Speaker 1: of this because there's a lot of Spanish in this one, 27 00:01:49,760 --> 00:01:55,240 Speaker 1: and I'm not incredibly good at Spanish. But here we 28 00:01:55,320 --> 00:02:02,880 Speaker 1: go anyway. Chapter two Locust House by Adam Ganatti, Golden Hill. 29 00:02:03,040 --> 00:02:07,120 Speaker 1: As you move eastward from Agnes mccanty's studio apartment, which 30 00:02:07,160 --> 00:02:09,359 Speaker 1: sits on the crest of the hill on the far 31 00:02:09,480 --> 00:02:12,320 Speaker 1: west edge of the neighborhood, the streets are wide and 32 00:02:12,400 --> 00:02:15,959 Speaker 1: well paved and lined with cars. It's an older part 33 00:02:15,960 --> 00:02:19,520 Speaker 1: of town, or rather it feels older in contrast to 34 00:02:19,560 --> 00:02:23,079 Speaker 1: Downtown with his expensive wine bars and dance clubs, or 35 00:02:23,120 --> 00:02:26,800 Speaker 1: the coastal areas beach resorts sprawl. The houses in Golden 36 00:02:26,880 --> 00:02:30,240 Speaker 1: Hill are by and large ratty, but as lovingly well 37 00:02:30,320 --> 00:02:34,840 Speaker 1: maintained as a low to modest income will allow. Driving 38 00:02:34,919 --> 00:02:40,840 Speaker 1: up Broadway. As the numbered streets rise, you will see craftsmen, cottages, victorians, 39 00:02:41,280 --> 00:02:45,280 Speaker 1: turn of the sentry, bungalows, white stucco apartments in the 40 00:02:45,360 --> 00:02:51,400 Speaker 1: California Motels style crumbling alpine and facades, railroad apartments with 41 00:02:51,520 --> 00:02:56,679 Speaker 1: French ironwork gates. Inside the Victorians and craftsmens are hardwood 42 00:02:56,720 --> 00:03:00,160 Speaker 1: floors in varying states of repair and old glass gas 43 00:03:00,280 --> 00:03:03,720 Speaker 1: cabinets and big windows and window seats with a view 44 00:03:04,080 --> 00:03:07,240 Speaker 1: facing west of downtown and the airport in the shipyard 45 00:03:07,400 --> 00:03:11,200 Speaker 1: or to the northeast and south rolling hills of tar 46 00:03:11,360 --> 00:03:16,480 Speaker 1: shingle and orange tile rooftops. The skies are blue and cloudless, 47 00:03:16,480 --> 00:03:19,800 Speaker 1: and the rain comes in frequently. As with most deserts, 48 00:03:20,840 --> 00:03:24,400 Speaker 1: that is what San Diego is. A desert, but a 49 00:03:24,440 --> 00:03:27,360 Speaker 1: desert in disguise made green with the water of other 50 00:03:27,760 --> 00:03:32,320 Speaker 1: poorer cities. In the years since, the drought has come 51 00:03:32,360 --> 00:03:35,400 Speaker 1: and the beautiful lawns are gone. But a well located 52 00:03:35,440 --> 00:03:39,520 Speaker 1: coastal town will change in other ways. Development rolls in 53 00:03:39,600 --> 00:03:43,960 Speaker 1: with tourist money or the promise of it. The San 54 00:03:44,040 --> 00:03:46,840 Speaker 1: Diego of now is not the San Diego of then, 55 00:03:47,520 --> 00:03:49,920 Speaker 1: just like the San Diego of then is not the 56 00:03:49,960 --> 00:03:54,160 Speaker 1: San Diego of decades past, when the sleepy beach neighborhoods 57 00:03:54,160 --> 00:03:58,560 Speaker 1: were closer to a post war America. Before that, it 58 00:03:58,640 --> 00:04:02,360 Speaker 1: was ranchland and marsh flats and endless dirt fields of 59 00:04:02,440 --> 00:04:06,280 Speaker 1: low scrub brush. Before that, the Spanish priests and the 60 00:04:06,320 --> 00:04:14,880 Speaker 1: mission above Old Town and further back Native people Lucienno, Caiuhia, Kupienno, Diegenno, 61 00:04:16,040 --> 00:04:20,039 Speaker 1: small tribes in the arid, sun baked Manzanita hills and 62 00:04:20,080 --> 00:04:24,039 Speaker 1: bramble land, or to the west, coastal villages with fish 63 00:04:24,080 --> 00:04:28,080 Speaker 1: and pelts drying on wood racks, small fires, men and 64 00:04:28,160 --> 00:04:32,080 Speaker 1: women pulling abalone from the tide pools. It was a 65 00:04:32,160 --> 00:04:34,920 Speaker 1: quiet time when the loudest sound was the wind, which 66 00:04:35,000 --> 00:04:38,400 Speaker 1: came and comes mostly from the west over the sea 67 00:04:38,920 --> 00:04:42,760 Speaker 1: and onshore wind colder than the warm offshores from the 68 00:04:42,760 --> 00:04:45,960 Speaker 1: east that blow over the deserts and spark brush fires 69 00:04:45,960 --> 00:04:50,080 Speaker 1: and the drier rural parts of the county. On March 70 00:04:50,160 --> 00:04:54,560 Speaker 1: twenty ninth, two thousand two, Golden Hill is a quiet 71 00:04:54,560 --> 00:04:57,479 Speaker 1: part of town in a different way than in the 72 00:04:57,520 --> 00:05:01,440 Speaker 1: time of the Luciennos, and the development that's now spread 73 00:05:01,440 --> 00:05:04,280 Speaker 1: across the country has yet to change the face of 74 00:05:04,320 --> 00:05:09,080 Speaker 1: the neighborhood here now March two thousand and two, the 75 00:05:09,120 --> 00:05:12,640 Speaker 1: predominant language is Spanish, and muscle cars or hot rods 76 00:05:12,640 --> 00:05:15,960 Speaker 1: sit in dusty driveways, next to rabbit hutches or stacks 77 00:05:15,960 --> 00:05:19,880 Speaker 1: of tires in the weeds or small gardens. In the evenings, 78 00:05:19,920 --> 00:05:24,520 Speaker 1: mariachi bands play backyard parties or birthdays or kinsignettas with 79 00:05:24,640 --> 00:05:28,040 Speaker 1: laughing families and candles lit on garden walls and strings 80 00:05:28,080 --> 00:05:32,039 Speaker 1: of light over picnic tables, window signs in Spanish and 81 00:05:32,080 --> 00:05:36,680 Speaker 1: out sails on pork shoulders tripe canalope. The neighborhood is 82 00:05:36,720 --> 00:05:41,320 Speaker 1: full of taco shops, mercados, and carnserias. Stately churches in 83 00:05:41,360 --> 00:05:44,440 Speaker 1: the mission style are semi Gothic. In the middle of 84 00:05:44,520 --> 00:05:47,320 Speaker 1: town is a laundromat with a sleeping cat in the window, 85 00:05:47,880 --> 00:05:51,159 Speaker 1: and there are well kept liquor stores and bars, shops 86 00:05:51,160 --> 00:05:55,039 Speaker 1: selling US to Mexico, phone cards and pinatas, and sturdy 87 00:05:55,080 --> 00:05:58,920 Speaker 1: cowboy boots. The trees are mostly palm trees and they 88 00:05:58,960 --> 00:06:02,960 Speaker 1: line the hilly streets like telephone poles. As you reach 89 00:06:03,040 --> 00:06:05,800 Speaker 1: the eastern edge of town, there are empty lots with 90 00:06:05,880 --> 00:06:08,960 Speaker 1: dog shit, dried white and old car batteries, and the 91 00:06:09,000 --> 00:06:11,920 Speaker 1: bones of cats and birds. In the ice plant and grass. 92 00:06:12,880 --> 00:06:16,800 Speaker 1: There are abandoned apartments, punk squats with kids outside drinking 93 00:06:16,880 --> 00:06:21,080 Speaker 1: forties watching you drive past. There are condemned houses covered 94 00:06:21,080 --> 00:06:25,760 Speaker 1: in graffiti, mostly names in elaborate jagged shapes and colorful swirls, 95 00:06:26,200 --> 00:06:30,480 Speaker 1: or smiling cartoon animals or exaggerated taggers with huge heads 96 00:06:30,520 --> 00:06:33,919 Speaker 1: and big sneakers and a can of Krylon spray paint 97 00:06:33,960 --> 00:06:38,400 Speaker 1: and hand. There are also political murals Caesar Chaves and 98 00:06:38,440 --> 00:06:42,080 Speaker 1: a sea of upturned faces Martin Luther King with a 99 00:06:42,080 --> 00:06:46,560 Speaker 1: finger raised defiantly next to his face, che Guvara Stormy 100 00:06:46,560 --> 00:06:50,520 Speaker 1: with his beard and beret, or stencils of Mexican revolutionaries 101 00:06:50,520 --> 00:06:54,080 Speaker 1: with rifles held above their heads and bandoliers of cartridges 102 00:06:54,160 --> 00:06:58,800 Speaker 1: draped across their chests. Now these are gone, along with 103 00:06:58,839 --> 00:07:02,560 Speaker 1: the muscle cars and rabbit touches and empty lots. Now, 104 00:07:02,760 --> 00:07:06,039 Speaker 1: in twenty sixteen, the young professionals who work in the 105 00:07:06,080 --> 00:07:09,800 Speaker 1: Mission Valley and downtown offices, and the white college students 106 00:07:09,840 --> 00:07:12,480 Speaker 1: have moved in, and many of the Mexican families and 107 00:07:12,560 --> 00:07:15,000 Speaker 1: most of the punks have moved south to Logan or 108 00:07:15,000 --> 00:07:19,400 Speaker 1: Sherman Heights, or further still to Chula Vista or Senya Sidru. 109 00:07:20,560 --> 00:07:23,360 Speaker 1: But for now it's a quieter time. At night, you 110 00:07:23,360 --> 00:07:25,160 Speaker 1: can hear the sound of the freeway as you walk 111 00:07:25,240 --> 00:07:28,920 Speaker 1: down Broadway and there are neons humming from storefronts, and 112 00:07:28,960 --> 00:07:33,080 Speaker 1: you can imagine yourself in nineteen fifties America walking down 113 00:07:33,120 --> 00:07:36,200 Speaker 1: c Street or twenty six at dusk, you will smell 114 00:07:36,240 --> 00:07:43,200 Speaker 1: dinner cooking albondigas, manuato bozzole, pots of beans, well peppered cherizo, 115 00:07:43,760 --> 00:07:50,240 Speaker 1: sopez frying in oil. James Jackson Bozick twenty six and 116 00:07:50,320 --> 00:07:54,480 Speaker 1: Frances Alisio twenty one walk past the shop fronts and 117 00:07:54,520 --> 00:07:58,320 Speaker 1: awnings lining twenty fifth Street. It's night, but most of 118 00:07:58,360 --> 00:08:01,720 Speaker 1: the stores are still open. They wait for traffic to clear, 119 00:08:01,840 --> 00:08:05,480 Speaker 1: then cross the street, passing the fruit stand closed and 120 00:08:05,480 --> 00:08:09,400 Speaker 1: the laundromat open. The smell of pineapples and dryer sheets 121 00:08:09,400 --> 00:08:13,440 Speaker 1: in the air. Frances hums to herself the tune indistinct. 122 00:08:14,360 --> 00:08:16,520 Speaker 1: They walk arm in arm, and James thinks of his 123 00:08:16,600 --> 00:08:19,720 Speaker 1: grandfather's twenty two pistol on the sock drawer and the 124 00:08:19,800 --> 00:08:22,040 Speaker 1: dusty light through the window as he slides the drawer 125 00:08:22,080 --> 00:08:26,840 Speaker 1: open to look at it on his tiptoes. Six years old, Leveda, Colorado. 126 00:08:27,920 --> 00:08:32,040 Speaker 1: Frances thinks of dark trees in Georgia and sky behind them. 127 00:08:32,640 --> 00:08:35,319 Speaker 1: She thinks of the footbridge over the stream in Hinesville, 128 00:08:35,679 --> 00:08:38,640 Speaker 1: and ring snakes bending through the grass, and a crack 129 00:08:38,679 --> 00:08:44,280 Speaker 1: of lightning running in jagged crags across the sky. Eugenio Armandares, 130 00:08:44,360 --> 00:08:47,959 Speaker 1: forty three, sells grilled corn from a stand on twenty fifth. 131 00:08:48,440 --> 00:08:50,640 Speaker 1: He wears a white T shirt with a front pocket, 132 00:08:51,080 --> 00:08:54,400 Speaker 1: light blue work pants, and black boots. As James and 133 00:08:54,440 --> 00:08:57,000 Speaker 1: Frances approach, he's thumbing through a copy of The Reader. 134 00:08:57,720 --> 00:08:59,839 Speaker 1: He folds it under his arm and smiles and not 135 00:09:00,160 --> 00:09:02,959 Speaker 1: so loon. He sees Frances and thinks of his daughter 136 00:09:03,040 --> 00:09:07,080 Speaker 1: back in Mexico. Standing at the water spigot, thin armed, pale, 137 00:09:07,400 --> 00:09:10,079 Speaker 1: struggling to fill a bucket for the goats. The sky 138 00:09:10,160 --> 00:09:13,720 Speaker 1: overhead blue and cloudless, the musky smell of the creek 139 00:09:13,760 --> 00:09:19,280 Speaker 1: in the air. Cheonda, says James. Eugenio nods. Piero lote 140 00:09:19,679 --> 00:09:24,720 Speaker 1: see gustiarra mostos poufoor. Eugenio asked James if he wants cheese, 141 00:09:25,160 --> 00:09:30,960 Speaker 1: conquees orsen Tenemoscotia. Frankie, you want cheese, right, yeah? Please, 142 00:09:31,080 --> 00:09:35,040 Speaker 1: she says. Eugenia nods and smiles at her, and takes 143 00:09:35,080 --> 00:09:37,679 Speaker 1: the first ear of corn off the grill and rolls 144 00:09:37,720 --> 00:09:40,760 Speaker 1: it in an aluminum serving dish of melted butter, then 145 00:09:40,800 --> 00:09:44,360 Speaker 1: drizzles it in dry white cheese, next a squeeze of 146 00:09:44,400 --> 00:09:47,400 Speaker 1: fresh lime and a shake of cayenne pepper. He thinks 147 00:09:47,440 --> 00:09:50,240 Speaker 1: of TV static as the channel's change in a dark 148 00:09:50,280 --> 00:09:53,400 Speaker 1: living room with people sitting on a couch. His daughter 149 00:09:53,520 --> 00:09:56,520 Speaker 1: standing in the hallway door, head leaned on her arm 150 00:09:56,559 --> 00:09:59,520 Speaker 1: against the jam, the light of the TV on her face. 151 00:10:00,320 --> 00:10:03,920 Speaker 1: John Wayne is on screen in military attire, standing in 152 00:10:03,920 --> 00:10:07,400 Speaker 1: front of a tank, squinting. Say, well, you're gone and 153 00:10:07,480 --> 00:10:11,040 Speaker 1: done it this time, didn't you. His daughter says that 154 00:10:11,080 --> 00:10:13,760 Speaker 1: Americans aren't really like that, and her brother says sh. 155 00:10:14,440 --> 00:10:20,280 Speaker 1: The traffic clears and the street darkens, much like dear listener, 156 00:10:20,720 --> 00:10:23,679 Speaker 1: how the hubbub of content must clear out so that 157 00:10:23,720 --> 00:10:38,240 Speaker 1: we can throw to ads. Here's products and services, and 158 00:10:38,360 --> 00:10:46,760 Speaker 1: we're back. The neons of the turf club glow green 159 00:10:46,880 --> 00:10:49,319 Speaker 1: against the gray and black, and the windows of the 160 00:10:49,400 --> 00:10:53,560 Speaker 1: laundromat are bright lit and cheery. A pregnant woman moves inside, 161 00:10:53,640 --> 00:10:56,280 Speaker 1: pulling wet clothes from a washer and setting them aside 162 00:10:56,280 --> 00:11:01,160 Speaker 1: in a wire basket. Now traffic again, moving past, slow, 163 00:11:01,480 --> 00:11:06,880 Speaker 1: yellow white head lights, dull red break lights, flashing. Frances 164 00:11:06,880 --> 00:11:09,840 Speaker 1: wraps her arm in James's, her head on his shoulder. 165 00:11:10,559 --> 00:11:14,360 Speaker 1: All is good, for now, for now, all is good. 166 00:11:15,640 --> 00:11:19,679 Speaker 1: Joey Carr twenty four turns the corner, walking past Pancheta's 167 00:11:19,679 --> 00:11:23,520 Speaker 1: Bakery and Jac's Market, smoking a cigarette, drinking tequila from 168 00:11:23,559 --> 00:11:27,800 Speaker 1: a doctor pepper Can, staggering but comfortable, singing to himself. 169 00:11:28,920 --> 00:11:34,360 Speaker 1: Frances nods up the street. James, is that Joey Carr? Huh, yeah, 170 00:11:34,440 --> 00:11:37,680 Speaker 1: he looks like shit. Eugenio asks James if he and 171 00:11:37,760 --> 00:11:41,080 Speaker 1: Frances want something to drink. James shakes his head. No, 172 00:11:41,160 --> 00:11:46,439 Speaker 1: gracias hues tres dorades. James opens his wallet, takes out 173 00:11:46,440 --> 00:11:51,280 Speaker 1: a ten chilo dos poor al porpino hey cambio see 174 00:11:51,320 --> 00:11:55,960 Speaker 1: grassius miho. Joey catches sight of them and half jogs 175 00:11:56,040 --> 00:11:57,959 Speaker 1: up to the stand and then he's out of breath, 176 00:11:58,280 --> 00:12:03,839 Speaker 1: leaned forward, hands on his knees. James Jackson Bosic and 177 00:12:03,920 --> 00:12:08,280 Speaker 1: Frances Alicia, What are you two vampires up to? Laughing, 178 00:12:08,400 --> 00:12:11,319 Speaker 1: standing up straight again, bringing his cigarette to his mouth, 179 00:12:11,400 --> 00:12:14,680 Speaker 1: sucking in. His nails are painted black and chipped, and 180 00:12:14,760 --> 00:12:17,320 Speaker 1: his hands are sunburnt. His hair is dirty, and he's 181 00:12:17,360 --> 00:12:19,679 Speaker 1: wearing an eyeliner, and he smells like weed and sweat. 182 00:12:20,640 --> 00:12:23,640 Speaker 1: His stained white T shirt reads the Shock, The Shock, 183 00:12:23,880 --> 00:12:29,199 Speaker 1: The Shock in hot pink letters. James smiles. We're going 184 00:12:29,240 --> 00:12:31,880 Speaker 1: to the East Street House show. It's their moving out party. 185 00:12:32,360 --> 00:12:37,199 Speaker 1: They got evicted. You should come with, says Frances. Eugenio 186 00:12:37,240 --> 00:12:39,960 Speaker 1: hands Francs a paper bag with the aluminum foil wrapped 187 00:12:39,960 --> 00:12:43,640 Speaker 1: corn cobs inside. It's heavy. She can feel the heat 188 00:12:43,679 --> 00:12:45,480 Speaker 1: through the bag, and she can smell the butter and 189 00:12:45,559 --> 00:12:50,680 Speaker 1: cayenne pepper. Thanks, she says, thank you, Miihita. He stares 190 00:12:50,720 --> 00:12:52,960 Speaker 1: at her sadly and decides to call his daughter in 191 00:12:53,000 --> 00:12:56,280 Speaker 1: the morning. In his mind, he says he's sorry. Ociento 192 00:12:56,360 --> 00:13:01,440 Speaker 1: letta lociento. Mihita makes a dragon, turns his head and 193 00:13:01,440 --> 00:13:04,600 Speaker 1: blows the smoke to the side. Dude, no way, the 194 00:13:04,640 --> 00:13:10,839 Speaker 1: Avocado Club's closing up shop bummers. James nods. Avocado Club. 195 00:13:11,320 --> 00:13:16,120 Speaker 1: Who calls it that? Some people do? I always just 196 00:13:16,160 --> 00:13:20,160 Speaker 1: called it the Locust House. As Francis Joey's distracted. He 197 00:13:20,200 --> 00:13:23,480 Speaker 1: looks across the street at the seven eleven. Yeah, but 198 00:13:23,760 --> 00:13:27,320 Speaker 1: like but like nobody else does. He looks back at 199 00:13:27,400 --> 00:13:31,080 Speaker 1: James and Francis and smiles. His teeth are gapped in yellow. 200 00:13:31,840 --> 00:13:33,839 Speaker 1: I've always called it the East Street House, but it's 201 00:13:33,840 --> 00:13:37,240 Speaker 1: funny to say the Avocado Club, because I'm all, No way, 202 00:13:37,280 --> 00:13:39,720 Speaker 1: that shit's a sandwich, you ow, not a house. You 203 00:13:39,720 --> 00:13:43,040 Speaker 1: can't live in a sandwich. He laughs and coughs. That 204 00:13:43,120 --> 00:13:48,720 Speaker 1: shit's a it's a sandwich, right, James shrugs. I guess 205 00:13:49,120 --> 00:13:52,360 Speaker 1: I don't know. Anyway, it should be pretty fun. Who's 206 00:13:52,400 --> 00:13:58,400 Speaker 1: playing locust Blood Brothers. Joey flicks his cigarette into the street. Sick. 207 00:14:00,040 --> 00:14:02,840 Speaker 1: James looks at the cigarette lying in the street. Smoke's 208 00:14:02,840 --> 00:14:06,120 Speaker 1: still trailing up from it, moving with the breeze. A 209 00:14:06,200 --> 00:14:08,880 Speaker 1: car passes over it and he sees it again. The 210 00:14:08,920 --> 00:14:12,719 Speaker 1: smoke is still rising. I think I think the new 211 00:14:12,760 --> 00:14:14,920 Speaker 1: band with Omar and Cedric from at the drive in. 212 00:14:16,080 --> 00:14:17,840 Speaker 1: They stepped to the side so a woman with a 213 00:14:17,880 --> 00:14:21,760 Speaker 1: toddler girl next to her can order nessosito nueve. The 214 00:14:21,800 --> 00:14:26,240 Speaker 1: woman tells Eugenio he trus pepsis. Eugenio begins to work. 215 00:14:27,080 --> 00:14:31,400 Speaker 1: Joey pulls another cigarette from his pack at the drive in. 216 00:14:31,440 --> 00:14:35,560 Speaker 1: No way, really is it Mars volta No? I think 217 00:14:35,600 --> 00:14:39,280 Speaker 1: it's called the Facto. Frankie, who else is playing. James 218 00:14:39,320 --> 00:14:43,880 Speaker 1: looks at Francis shrugging, moving units. Francis shakes her head. 219 00:14:44,320 --> 00:14:48,520 Speaker 1: Maybe I don't know, but we should head out, James, 220 00:14:48,520 --> 00:14:52,200 Speaker 1: you want to do this? Yeah, yeah, yeah, yeah, says James. 221 00:14:52,400 --> 00:14:55,480 Speaker 1: Let's do it. Joey lights the cigarette and sticks his 222 00:14:55,560 --> 00:14:58,480 Speaker 1: lighter into his back pocket. I'll see you around. Maybe 223 00:14:58,560 --> 00:15:00,880 Speaker 1: I'm supposed to meet Kurt at Ray's. We're going to 224 00:15:00,920 --> 00:15:04,520 Speaker 1: ib to buy talking quieter. Now. We're buying some shit 225 00:15:04,600 --> 00:15:07,920 Speaker 1: to take down to Ensnata to sell if you all 226 00:15:07,960 --> 00:15:12,720 Speaker 1: want some. James shakes his head. No, that's cool, No thanks, 227 00:15:12,760 --> 00:15:16,640 Speaker 1: says Francis. All right, late, see you two around. Don't 228 00:15:16,640 --> 00:15:20,920 Speaker 1: go chasing waterfalls. Joey laughs, then coughs again, holding his 229 00:15:20,920 --> 00:15:24,960 Speaker 1: fist to his mouth. Don't go chasing waterfalls, he says again, 230 00:15:25,320 --> 00:15:29,120 Speaker 1: hoping James or Francis will continue the line. They don't 231 00:15:29,800 --> 00:15:34,880 Speaker 1: see us, says James. By Joey, says Francis. James and 232 00:15:34,920 --> 00:15:37,960 Speaker 1: Francis walk down twenty fifth, Francis holding the bag of 233 00:15:38,000 --> 00:15:41,920 Speaker 1: corn cops under her right arm. Yeah that was awful, 234 00:15:42,320 --> 00:15:46,240 Speaker 1: James says, What the fuck? Poor Joey, he's such a 235 00:15:46,320 --> 00:15:48,880 Speaker 1: nice kid. I wish we didn't see that. What's he 236 00:15:48,920 --> 00:15:55,400 Speaker 1: getting from Kurt? I don't know, Heroinugh, geez, no good, no, no, 237 00:15:55,400 --> 00:15:58,760 Speaker 1: no good. I fucking hate that guy. Kurt. His sister 238 00:15:58,800 --> 00:16:03,720 Speaker 1: also is cool. It's not about that, huh, James, he 239 00:16:03,800 --> 00:16:08,040 Speaker 1: looked like he was eighty. Yeah. Yeah, But we're going 240 00:16:08,120 --> 00:16:10,880 Speaker 1: to the party and it'll be great. It will, right, 241 00:16:11,600 --> 00:16:16,000 Speaker 1: it will, Frankie, it will, it'll be great. And who cares? Right? 242 00:16:16,200 --> 00:16:20,560 Speaker 1: Who cares? Ah, James. But still still, I feel like 243 00:16:20,600 --> 00:16:23,960 Speaker 1: we just saw a ghost. They stand at the stoplight 244 00:16:24,720 --> 00:16:27,880 Speaker 1: across the street on Broadway. Joey Carr drops his doctor 245 00:16:27,880 --> 00:16:30,600 Speaker 1: Pepperkhn in the trash and walks into the seven eleven. 246 00:16:31,120 --> 00:16:34,520 Speaker 1: Francis sees Tyler Monahan's dark blue Miata pull up to 247 00:16:34,560 --> 00:16:38,240 Speaker 1: the curb and park on Broadway. Tyler gets out, shuts 248 00:16:38,240 --> 00:16:41,320 Speaker 1: his door, and waves at them emphatically. Hey guys, he 249 00:16:41,360 --> 00:16:44,360 Speaker 1: shouts him across the street. They don't hear it. They 250 00:16:44,400 --> 00:16:51,440 Speaker 1: see him, James look Tyler nice, Hey, Tyler hey. Francis 251 00:16:51,480 --> 00:16:54,160 Speaker 1: looks up as the light turns to green above them. 252 00:16:54,200 --> 00:16:56,960 Speaker 1: The black sky is streaked gray, like lines of old 253 00:16:57,000 --> 00:17:01,000 Speaker 1: scars on skin. She thinks of relief maps, train tracks, 254 00:17:01,320 --> 00:17:08,639 Speaker 1: dirty canals, neosporin, hydrogen peroxide. They crossed the street. But 255 00:17:09,320 --> 00:17:12,720 Speaker 1: dear listener, do you know what would never cross us? No, 256 00:17:12,800 --> 00:17:16,040 Speaker 1: it would never get past us. Is a chance to 257 00:17:16,160 --> 00:17:31,240 Speaker 1: interrupt stories, to tell you about products and services. And 258 00:17:31,359 --> 00:17:42,080 Speaker 1: we're back. Chapter three, Battles and Aftermath. James, Frankie, Tyler 259 00:17:42,119 --> 00:17:44,240 Speaker 1: and I sat on a curb down by the overpass 260 00:17:44,320 --> 00:17:47,520 Speaker 1: bridge and ate our corn and sipped Tyler's flask of rum. 261 00:17:48,240 --> 00:17:50,359 Speaker 1: The rum felt warm in my belly and made my 262 00:17:50,400 --> 00:17:53,520 Speaker 1: head swim nicely, and the corn was damn good. But 263 00:17:53,600 --> 00:17:56,320 Speaker 1: Frankie and I could barely sit still. We wanted to 264 00:17:56,359 --> 00:17:58,840 Speaker 1: go to the party. We wanted to see the bands. 265 00:18:00,119 --> 00:18:02,199 Speaker 1: We finished the corn, we stopped at seven to eleven 266 00:18:02,240 --> 00:18:05,199 Speaker 1: for provisions and walked to the party. The place was 267 00:18:05,240 --> 00:18:07,520 Speaker 1: packed by the time we got there. It was a 268 00:18:07,600 --> 00:18:11,280 Speaker 1: very dark night foggy too, which is something that stands 269 00:18:11,320 --> 00:18:14,720 Speaker 1: out in all my memories of Golden Hill. Foggy nights, 270 00:18:15,440 --> 00:18:18,000 Speaker 1: slow fog when it's dark and there's no moon in 271 00:18:18,040 --> 00:18:21,760 Speaker 1: that thick beautiful mist creeps up from the canyons and freeways, 272 00:18:21,800 --> 00:18:24,480 Speaker 1: and the air is wet and smells a honeysuckle and 273 00:18:24,560 --> 00:18:28,680 Speaker 1: night blooming Jasmine. At the house, A million kids were 274 00:18:28,680 --> 00:18:31,640 Speaker 1: out smoking and drinking on the porch, a whole sea 275 00:18:31,720 --> 00:18:34,879 Speaker 1: of them, and more than that on the lawn, sitting 276 00:18:34,920 --> 00:18:38,440 Speaker 1: along the white picket fence that lined the sidewalk, lying 277 00:18:38,520 --> 00:18:41,560 Speaker 1: in the grass with bottles and cigarettes in hand, or 278 00:18:41,680 --> 00:18:44,520 Speaker 1: up on the rooftops of cars coming in and out 279 00:18:44,520 --> 00:18:46,600 Speaker 1: of the house. Every square foot of the place was 280 00:18:46,680 --> 00:18:49,000 Speaker 1: moving like it was covered in ants, and you could 281 00:18:49,040 --> 00:18:54,480 Speaker 1: hear music from inside, muffled but heavy rumbling. The street 282 00:18:54,600 --> 00:18:56,719 Speaker 1: was lined with vans, and the bands had come in, 283 00:18:56,800 --> 00:18:59,359 Speaker 1: and some of them had their side doors open, and 284 00:18:59,400 --> 00:19:02,160 Speaker 1: you could see all all your heroes drinking or smoking 285 00:19:02,280 --> 00:19:06,639 Speaker 1: or talking or just chilling before they're set. We walked 286 00:19:06,640 --> 00:19:08,879 Speaker 1: past one of the bands standing outside their van on 287 00:19:08,920 --> 00:19:12,240 Speaker 1: the sidewalk, and I stopped the singer and I was like, Hey, 288 00:19:12,480 --> 00:19:15,320 Speaker 1: my name's James, my friend of your cousin Meggie. You 289 00:19:15,400 --> 00:19:17,840 Speaker 1: guys new record is so fucking good. I've listened to 290 00:19:17,840 --> 00:19:20,679 Speaker 1: it two hundred times this week. And he kind of 291 00:19:20,720 --> 00:19:24,760 Speaker 1: just shrugged and smiled and walked off. I was young, 292 00:19:25,200 --> 00:19:28,320 Speaker 1: younger than I am now, and very starstruck and nervous, 293 00:19:28,359 --> 00:19:30,840 Speaker 1: and so much more innocent than the person I've become 294 00:19:31,320 --> 00:19:33,919 Speaker 1: who I worry is a hard time feeling his blood 295 00:19:33,960 --> 00:19:37,879 Speaker 1: some days, as nerdy and uncool and on the outside 296 00:19:37,920 --> 00:19:40,120 Speaker 1: of things as I was at the time. My move 297 00:19:40,160 --> 00:19:42,359 Speaker 1: towards the opposite of that has come with a price. 298 00:19:43,160 --> 00:19:45,600 Speaker 1: I won't say I'm jaded, but I've never felt as 299 00:19:45,600 --> 00:19:50,000 Speaker 1: thrilled by music by white, hot, cranked, wild eyed music 300 00:19:50,440 --> 00:19:53,359 Speaker 1: as I did back then. My love for good music 301 00:19:53,440 --> 00:19:58,040 Speaker 1: was almost religious or maybe sexual. It was pious, desperate. 302 00:19:58,480 --> 00:20:01,159 Speaker 1: Good music made me feel hot headed and frantic, and 303 00:20:01,520 --> 00:20:03,720 Speaker 1: I don't know if I've ever felt so free since 304 00:20:04,640 --> 00:20:07,679 Speaker 1: I wasn't cool, but I was free, and that was 305 00:20:07,720 --> 00:20:11,560 Speaker 1: something good. Frankie and Tyler and I walked up the 306 00:20:11,560 --> 00:20:14,800 Speaker 1: sidewalk and we were so happy and so innocent, and 307 00:20:14,840 --> 00:20:17,080 Speaker 1: I was taking SIPs off this bottle of Mad Dog 308 00:20:17,200 --> 00:20:19,680 Speaker 1: twenty twenty orange flavor I got at seven to eleven 309 00:20:20,000 --> 00:20:23,000 Speaker 1: and was getting solidly drunk, and it felt as though 310 00:20:23,040 --> 00:20:26,120 Speaker 1: everything was new and alive and more colorful and vibrant 311 00:20:26,160 --> 00:20:29,560 Speaker 1: than everyday life. The time, I had a job as 312 00:20:29,560 --> 00:20:32,399 Speaker 1: a reporter for a small wire service in Hillcrest, and 313 00:20:32,440 --> 00:20:35,520 Speaker 1: Frankie worked as an endoscopy clinic receptionist up in La Joya. 314 00:20:36,320 --> 00:20:38,639 Speaker 1: Our lives weren't bad, but the nine to five sucked 315 00:20:38,640 --> 00:20:42,320 Speaker 1: it out of us. It made us feel slow inside, muted, 316 00:20:42,640 --> 00:20:45,160 Speaker 1: dead on our feet. It felt like we were wasting 317 00:20:45,200 --> 00:20:47,760 Speaker 1: our time. But when we listened to these bands, we loved. 318 00:20:48,119 --> 00:20:51,879 Speaker 1: Life seemed vital and strange and triumphant and real. What 319 00:20:51,920 --> 00:20:54,680 Speaker 1: I'm trying to say is I had no arrogance, no stuffiness, 320 00:20:54,720 --> 00:20:58,200 Speaker 1: no true or defined ego. I was terrified of living 321 00:20:58,240 --> 00:21:00,240 Speaker 1: half the time and scared as hell of die eying 322 00:21:00,320 --> 00:21:03,080 Speaker 1: the rest. A lot of us were that way, and 323 00:21:03,119 --> 00:21:06,240 Speaker 1: we wanted nothing more than to sign off on real, hard, 324 00:21:06,400 --> 00:21:09,480 Speaker 1: stupid life and listen to records that were like trains 325 00:21:09,520 --> 00:21:13,280 Speaker 1: crashing into each other and dance clubs exploding into rainbows 326 00:21:13,320 --> 00:21:17,600 Speaker 1: and carnivorous flowers devouring crickets at ten times the normal speed. 327 00:21:18,560 --> 00:21:21,680 Speaker 1: We wanted punk rock, but our version of punk didn't 328 00:21:21,720 --> 00:21:26,119 Speaker 1: sound like a band. It wasn't two guitars, bass, singer, drums. 329 00:21:26,520 --> 00:21:29,080 Speaker 1: We wanted a sound that tore itself to pieces, but 330 00:21:29,200 --> 00:21:33,159 Speaker 1: did it smart. We wanted grindcore turned inside out and 331 00:21:33,240 --> 00:21:35,720 Speaker 1: sped up and then chopped to pieces by a machete. 332 00:21:35,720 --> 00:21:39,320 Speaker 1: The size of the universe. We wanted power, violence with 333 00:21:39,400 --> 00:21:42,960 Speaker 1: a big loving heart and good ethics to match. We 334 00:21:43,000 --> 00:21:45,800 Speaker 1: wanted punk you could dance to and never feel awkward 335 00:21:45,840 --> 00:21:49,760 Speaker 1: or uncool or out of place. If anything, I wanted 336 00:21:49,760 --> 00:21:52,960 Speaker 1: to dance. I wanted to lose my mind and throw 337 00:21:53,040 --> 00:21:56,080 Speaker 1: myself into walls and get sweaty and stupid and feel 338 00:21:56,119 --> 00:21:59,399 Speaker 1: the raw animalness in me. I had many nights alone 339 00:21:59,400 --> 00:22:02,320 Speaker 1: in our cottage, which in Golden Hill, sad, drunk after 340 00:22:02,359 --> 00:22:04,840 Speaker 1: a bad day at work or a fight with Frankie 341 00:22:05,240 --> 00:22:07,480 Speaker 1: in the dark, dancing by myself in front of the 342 00:22:07,520 --> 00:22:11,399 Speaker 1: record player, one hand on the bookcase. I needed bands 343 00:22:11,400 --> 00:22:16,440 Speaker 1: like Angel Hair, Antioc Arrow, Get Hustle, Die Princess, Die Melt, 344 00:22:16,440 --> 00:22:22,120 Speaker 1: Banana Orchid, Black Dice vss Man as the bastard, universal 345 00:22:22,240 --> 00:22:26,879 Speaker 1: Order of Armageddon, celebration, the best, in the darkest, the 346 00:22:26,880 --> 00:22:30,960 Speaker 1: wildest hearts. I still remember the first time music really 347 00:22:31,000 --> 00:22:33,360 Speaker 1: did it for me. I was at the Chay Cafe 348 00:22:33,440 --> 00:22:35,879 Speaker 1: a couple years before the East Street Party, and the 349 00:22:35,920 --> 00:22:40,520 Speaker 1: Locust came out of nowhere and imploded my world. Those short, abrupt, 350 00:22:40,920 --> 00:22:46,400 Speaker 1: sinewy forty five second songs wiped my brain clean, changed everything, 351 00:22:46,840 --> 00:22:50,639 Speaker 1: scrambled my senses, showed me that music wasn't necessarily what 352 00:22:50,680 --> 00:22:54,680 Speaker 1: everyone had told me. It was unlike a lot of 353 00:22:54,720 --> 00:22:57,280 Speaker 1: people I've talked to. I didn't have to work to 354 00:22:57,880 --> 00:23:02,919 Speaker 1: get their music. It made immediately. Of course, of course 355 00:23:02,960 --> 00:23:05,520 Speaker 1: songs should be like this. Of course, this is how 356 00:23:05,600 --> 00:23:08,520 Speaker 1: music should be. That first song at the Chay was 357 00:23:08,640 --> 00:23:10,720 Speaker 1: enough for me to change for the better, and the 358 00:23:10,840 --> 00:23:14,800 Speaker 1: change was natural and easy and comfortable. I didn't consider 359 00:23:14,840 --> 00:23:17,280 Speaker 1: their music scream o or metal or anything else the 360 00:23:17,280 --> 00:23:20,159 Speaker 1: critics called it. I began to see Locust songs as 361 00:23:20,280 --> 00:23:24,399 Speaker 1: pop songs, danceable, rhythmic blasts of thrash and grime and 362 00:23:24,520 --> 00:23:28,880 Speaker 1: humor and new experimental ideas. A few months later, Francis 363 00:23:28,920 --> 00:23:30,920 Speaker 1: Ben Frank and I went to see the band open 364 00:23:30,960 --> 00:23:34,120 Speaker 1: the premiere of the John Waters film Cecil B Demented 365 00:23:34,480 --> 00:23:37,520 Speaker 1: at Hillcrest Landmark, and they played the show in adult 366 00:23:37,560 --> 00:23:40,119 Speaker 1: sized diapers, more or less naked, in front of the 367 00:23:40,119 --> 00:23:43,280 Speaker 1: big screen in a sold out crowd. Their set was 368 00:23:43,320 --> 00:23:49,160 Speaker 1: about nine minutes long, and they played twice that many songs, short, colorful, glittery, 369 00:23:49,359 --> 00:23:54,040 Speaker 1: stutteringly abrasive, robotic, seizure songs just as human as birth 370 00:23:54,080 --> 00:23:57,560 Speaker 1: and life and sex and death. After that, we watched 371 00:23:57,560 --> 00:24:00,639 Speaker 1: the movie, smiling like fools, slurping our soa and picking 372 00:24:00,720 --> 00:24:03,720 Speaker 1: out her popcorn and junior mints. In the scene that 373 00:24:03,840 --> 00:24:07,600 Speaker 1: used their song Nice Tranquil thumb in Mouth, the characters 374 00:24:07,640 --> 00:24:10,800 Speaker 1: show up at a Baltimore Film Commission luncheon and have 375 00:24:10,840 --> 00:24:14,600 Speaker 1: a big shootout with the cops. Thumb my favorite song 376 00:24:14,640 --> 00:24:17,119 Speaker 1: at the time, was looped to extend it and it 377 00:24:17,200 --> 00:24:20,640 Speaker 1: was the catchiest thing in the world. Toe tapping, head nodding, 378 00:24:21,040 --> 00:24:24,480 Speaker 1: but oh man, so fucking savage and strange and brutal. 379 00:24:25,440 --> 00:24:27,679 Speaker 1: When the credits rolled and the band's name came up 380 00:24:27,680 --> 00:24:31,760 Speaker 1: in the soundtrack list, everyone cheered. I was proud, proud 381 00:24:31,760 --> 00:24:33,919 Speaker 1: of my city and the people in it, and of 382 00:24:33,960 --> 00:24:38,119 Speaker 1: this small moment of time. People were excited, excited and 383 00:24:38,160 --> 00:24:41,200 Speaker 1: together about this thing. It was easy to get caught 384 00:24:41,280 --> 00:24:44,040 Speaker 1: up in. Their music became a part of our culture. 385 00:24:44,560 --> 00:24:46,840 Speaker 1: Not everyone's culture, but for some of us it was 386 00:24:46,840 --> 00:24:50,320 Speaker 1: as San Diego as the Tom's deep plate at Poca's 387 00:24:50,680 --> 00:24:53,719 Speaker 1: and gothy wine, drunk dance parties in North Park and 388 00:24:53,760 --> 00:24:56,800 Speaker 1: talking shit about the gas lamp. There's this line from 389 00:24:56,880 --> 00:25:01,439 Speaker 1: Casavetti's great film Opening Night, or Genie Rawlin's character says 390 00:25:02,440 --> 00:25:05,320 Speaker 1: when I was seventeen, I could do anything. It was 391 00:25:05,359 --> 00:25:08,640 Speaker 1: so easy. My emotions were so close to the surface. 392 00:25:09,320 --> 00:25:12,200 Speaker 1: I'm finding it harder and harder to stay in touch. 393 00:25:13,640 --> 00:25:17,840 Speaker 1: That's how it was, and that is where we're going 394 00:25:17,880 --> 00:25:20,360 Speaker 1: to leave it for today. But soon, don't worry, we're 395 00:25:20,359 --> 00:25:22,520 Speaker 1: going to touch base with Agnes from the first part. 396 00:25:22,760 --> 00:25:27,240 Speaker 1: She's around here somewhere. Hazel, who helps behind the scenes, says, quote, 397 00:25:27,760 --> 00:25:29,960 Speaker 1: I really really like how much the city of San 398 00:25:30,000 --> 00:25:32,880 Speaker 1: Diego is almost a character in this book. You can 399 00:25:32,920 --> 00:25:35,520 Speaker 1: tell just how much time Ganati has spent rooted in 400 00:25:35,520 --> 00:25:39,919 Speaker 1: the neighborhood. His prose feels so lived in. That's for 401 00:25:40,000 --> 00:25:41,560 Speaker 1: what I have to say about it. You know. It's 402 00:25:41,560 --> 00:25:42,760 Speaker 1: funny is I don't remember what I had to say 403 00:25:42,760 --> 00:25:44,280 Speaker 1: about it last time, so maybe I'm going to say 404 00:25:44,280 --> 00:25:49,160 Speaker 1: the same thing, but I don't know. I love how 405 00:25:49,200 --> 00:25:51,840 Speaker 1: punk this is. That's like sort of obvious, right. It 406 00:25:51,920 --> 00:25:55,280 Speaker 1: is a punk novella, but it's also it's literature. It's 407 00:25:55,320 --> 00:25:59,040 Speaker 1: written in a very literature style, including making choices that 408 00:25:59,600 --> 00:26:03,359 Speaker 1: Isa John or fiction writer often wouldn't make right. But 409 00:26:04,240 --> 00:26:08,840 Speaker 1: it's telling a really simple day. This is just a 410 00:26:08,880 --> 00:26:12,560 Speaker 1: story about some day that some people had and how 411 00:26:12,560 --> 00:26:15,920 Speaker 1: it was unforgettable even though it was regular in every 412 00:26:16,000 --> 00:26:19,960 Speaker 1: day And I think that this is one of my 413 00:26:20,040 --> 00:26:25,080 Speaker 1: favorite styles of art, is stuff that makes us remember 414 00:26:26,040 --> 00:26:31,040 Speaker 1: that we do live these magic lives and that even 415 00:26:31,080 --> 00:26:33,080 Speaker 1: if like this is why I hate superheroes, Like, even 416 00:26:33,080 --> 00:26:37,080 Speaker 1: if we're not superheroes doing it astounding world changing things, 417 00:26:37,119 --> 00:26:41,600 Speaker 1: we're doing these things. And you can see the resonance 418 00:26:41,640 --> 00:26:44,760 Speaker 1: of how this like flies out across the rest of 419 00:26:44,800 --> 00:26:47,800 Speaker 1: the country. Right Like, I'm guessing more of you have 420 00:26:47,920 --> 00:26:50,520 Speaker 1: heard of or seen the movie Cecil Be Demented than 421 00:26:50,640 --> 00:26:54,160 Speaker 1: have really listened to The Locust or you know, been 422 00:26:54,200 --> 00:26:58,560 Speaker 1: to this type of house show. But yet the band 423 00:26:58,600 --> 00:27:00,919 Speaker 1: that sort of has this kind of house as the 424 00:27:01,000 --> 00:27:05,919 Speaker 1: song on the underground but still mainstream John Waters movie, 425 00:27:06,080 --> 00:27:08,879 Speaker 1: you know. And I think I saw The Locust, And 426 00:27:08,920 --> 00:27:11,480 Speaker 1: what's funny is I don't know two thousand and four, 427 00:27:11,760 --> 00:27:14,840 Speaker 1: I was going to a lot of these styles of shows. 428 00:27:15,400 --> 00:27:17,879 Speaker 1: I also think I went to the Chay Cafe, but 429 00:27:17,960 --> 00:27:20,679 Speaker 1: I weirdly don't know. I have a memory of what 430 00:27:20,720 --> 00:27:22,919 Speaker 1: it might be. But I'm also mixing it up with 431 00:27:23,000 --> 00:27:28,000 Speaker 1: another like Radical Cafe that was up in Seattle in 432 00:27:28,080 --> 00:27:31,159 Speaker 1: the U District, and so I think I actually probably 433 00:27:31,160 --> 00:27:33,200 Speaker 1: never went to the Chay Cafe. And I don't know 434 00:27:33,240 --> 00:27:35,119 Speaker 1: if it was the locust or the body that I 435 00:27:35,200 --> 00:27:41,320 Speaker 1: saw in the copycat in Baltimore at a warehouse, you know, 436 00:27:41,400 --> 00:27:44,679 Speaker 1: on the top floor of a warehouse party where I 437 00:27:44,680 --> 00:27:49,280 Speaker 1: had just left New York to go hang out in Baltimore. 438 00:27:50,720 --> 00:27:54,080 Speaker 1: But I like, I haven't been here. I'm not trying 439 00:27:54,080 --> 00:27:56,280 Speaker 1: to be like I know this neighborhood, I know this cafe, 440 00:27:56,359 --> 00:28:00,080 Speaker 1: I know this band, right, I don't, but I know 441 00:28:00,280 --> 00:28:04,480 Speaker 1: this scene. And I think that that's like why this 442 00:28:04,720 --> 00:28:07,320 Speaker 1: gets to me so much, you know, is because this 443 00:28:07,440 --> 00:28:11,400 Speaker 1: is about how I came up in a way that 444 00:28:11,560 --> 00:28:14,119 Speaker 1: I never see represented. And so I really appreciate you 445 00:28:14,200 --> 00:28:18,840 Speaker 1: all coming along to hear something that's deeply personal to me, 446 00:28:19,640 --> 00:28:22,400 Speaker 1: whether or not it is to you. And I think 447 00:28:22,440 --> 00:28:28,479 Speaker 1: that that includes the horrible shit. You know, there's like 448 00:28:28,520 --> 00:28:32,520 Speaker 1: this almost blase attitude that this story has towards some 449 00:28:32,560 --> 00:28:35,320 Speaker 1: really horrible shit. And both parts one and part two, right, 450 00:28:36,080 --> 00:28:40,920 Speaker 1: but so just real, like those are both experiences I've had, 451 00:28:41,520 --> 00:28:46,400 Speaker 1: you know. Yeah, anyway, we'll be back with part three 452 00:28:47,280 --> 00:28:49,120 Speaker 1: soon enough. You actually know when it's going to be 453 00:28:49,160 --> 00:28:51,200 Speaker 1: next Sunday. That's when we're gonna be back with part three. 454 00:28:51,400 --> 00:28:53,280 Speaker 1: Nus you're listening in the future, in which case you 455 00:28:53,520 --> 00:28:56,200 Speaker 1: already can listen to part three because it'll all already 456 00:28:56,240 --> 00:28:59,440 Speaker 1: come out, unless the world ends between now next Sunday, 457 00:28:59,440 --> 00:29:01,760 Speaker 1: which case you want you listening to this later anyway. 458 00:29:01,960 --> 00:29:05,880 Speaker 1: But did you know that Adam Gannatti gave us a 459 00:29:05,920 --> 00:29:10,240 Speaker 1: biome to read? And this is it. Born in San Diego, California, 460 00:29:10,360 --> 00:29:12,680 Speaker 1: Adam Gannatti now lives on a six acre farm in 461 00:29:12,720 --> 00:29:16,239 Speaker 1: rural Kansas, near the towns of Lawrence and Tonganoxie, in 462 00:29:16,320 --> 00:29:20,120 Speaker 1: half an hour outside Kansas City, Missouri. On September twenty sixth, 463 00:29:20,120 --> 00:29:22,959 Speaker 1: twenty twenty six, the Numero Group will reissue Gannati's two 464 00:29:23,000 --> 00:29:26,680 Speaker 1: thousand and five debut Talking Songs record Run, Hide, Retreat, 465 00:29:26,800 --> 00:29:30,560 Speaker 1: Surrender on twelve inch final. In October of twenty twenty six, 466 00:29:30,640 --> 00:29:33,800 Speaker 1: his fourteenth book, Wild Horseshit will be released by Brett 467 00:29:33,800 --> 00:29:36,000 Speaker 1: and Roses Press in conjunction with Three to one g. 468 00:29:36,760 --> 00:29:39,680 Speaker 1: Recent works have included the Home and Away Quartet and 469 00:29:39,720 --> 00:29:42,840 Speaker 1: the Talking Songs collection The World of Today and the 470 00:29:42,880 --> 00:29:46,240 Speaker 1: World of Tomorrow, issued on cassette twenty twenty one and 471 00:29:46,320 --> 00:29:49,960 Speaker 1: laithe Cut ced twenty twenty six. Gannatti's work is published 472 00:29:50,000 --> 00:29:52,320 Speaker 1: and issued by Brett and Roses Press three to one 473 00:29:52,320 --> 00:29:56,720 Speaker 1: g Hello America, Stereo Cassette and the Numero Group. And 474 00:29:57,440 --> 00:30:00,920 Speaker 1: I'm Margaret Kiljoy and you can find me. I have 475 00:30:00,960 --> 00:30:04,240 Speaker 1: a newsletter comes out every week. It is Margaret Kiljoy 476 00:30:04,320 --> 00:30:07,440 Speaker 1: dot substack dot com. It's called Birds Before the Storm, 477 00:30:08,000 --> 00:30:11,240 Speaker 1: and that's where you can find me. I'm also in 478 00:30:11,360 --> 00:30:13,920 Speaker 1: social media, but I hate social media. It makes me 479 00:30:13,960 --> 00:30:17,160 Speaker 1: really sad. I will be back next week with more 480 00:30:17,200 --> 00:30:20,840 Speaker 1: Locust House and remember until then that any human power 481 00:30:20,880 --> 00:30:24,200 Speaker 1: can be resisted and transformed by human beings. It is 482 00:30:24,240 --> 00:30:26,840 Speaker 1: our moral imperative to become grains of sand in the 483 00:30:26,840 --> 00:30:30,960 Speaker 1: wheels of the machine. Fuck Ice Free Palestine. See you 484 00:30:31,000 --> 00:30:31,480 Speaker 1: next week. 485 00:30:37,040 --> 00:30:39,520 Speaker 2: It Could Happen Here is a production of cool Zone Media. 486 00:30:39,720 --> 00:30:42,760 Speaker 2: For more podcasts from cool Zone Media, visit our website 487 00:30:42,840 --> 00:30:46,440 Speaker 2: Coolzonemedia dot com, or check us out on the iHeartRadio app, 488 00:30:46,480 --> 00:30:50,040 Speaker 2: Apple Podcasts, or wherever you listen to podcasts. You can 489 00:30:50,120 --> 00:30:52,440 Speaker 2: now find sources for It Could Happen here, listed directly 490 00:30:52,440 --> 00:30:54,760 Speaker 2: in episode descriptions. Thanks for listening.