Notebook on Cities and Culture

Colin Marshall sits down in North Hollywood at midnight with film critic Tyler Smith, co-host of the podcast Battleship Pretension and host of the podcast More than One Lesson. They discuss the strong associations between diners late at night and talk about movies; his struggle to stay in Chicago and ultimate move to Los Angeles; his choice between screenwriting and film criticism; film criticism's relationship with the kinds of conversations film geeks have; the impulse to start a podcast, and what it took to understand what makes a fascinating film discussion; how to talk to comedians about film, even if they claim not to care about the medium; his return to his old church in Nixa, Missouri to give a lecture about the film industry in Los Angeles; the concept of discernment not just in criticism, but in Christianity; the power and influence some Christian ideas about film ascribe purely to content; Fight Club and the attitude pictures hold to their own content; whether film reflects the personality of its creators or possesses one of its own; and how much one wants to get to know the personality behind a film when that personality happens to be, say, Orson Welles'.

Colin Marshall sits down at the Los Angeles Central Library downtown with Map Librarian Glen Creason, author of Los Angeles in Maps. They discuss the point at which Los Angeles becomes not just a place to live but a subject; riding the old Pacific Electric streetcars that prompted the city to grow so large in the firs place; using maps to see the influence of trains, water, the movies, and oil on the city's spread, growing up in the "Leave it to Beaver territory" of South Gate; early Los Angeles-boosters selling the city by employing mapmakers' sleight of hand; downtown's death in the sixties and seventies, and its more recent revival; learning little but having a lot of fun at UCLA during the Summer of Love; when the city "took a breath and reinvented itself," Los Angeles' uniquely dramatic geographical setting; how multiculturalism took hold from the very beginning; what it took to build the Third Street Tunnel; how miracles of civic engineering turned into freeway frustration; the non-disaster of "Carmageddon"; where the water in the Los Angeles River went, and how it remains useful as a navigational aid; the American notion of creating an Eden; whether Los Angeles is, as the posters say, "a world in itself"; former Italian and German communities, and current Indian and Chinese ones; the city's surprising new walkability; whether the "driver's paradise" days of twenty minutes to everywhere really happened at all; becoming the Map Librarian serendipitously; Los Angeles' past of rabbits, gambling ships, and Central Avenue jazz clubs; what happened in Chavez Ravine; how good intentions in Los Angeles' development have often led to reconsideration; how even longtime Angelenos learn from the ways the constant influx of new Angelenos approach the city; and the endless last rites given to Los Angeles that it never quite needs.

Colin Marshall sits down at Bourgeois Pig in Hollywood with Eliza Skinner, comedian, musical improviser, comedic rap-battle impresario, writer, and the woman of the one-woman show Eliza Skinner is Shameless. They discuss a Scotsman who left his wife possibly due and possibly not due to what he felt in her onstage spirit; the one-way intimacy of performance; the proper cultivation of one's personal brand; the odd confluence of skills required for the non-career (absent an eccentric billionaire) of musical improvisation, and the fear some have of practicing them; when New York felt like one big "last call"; the apparent ease of performing in Los Angeles as a buoy for the spirit; breaking the shackles of "musical improviser" as an identity; the women of Shameless like Amy and Karen, who compulsively complicate their lives in ways they don't understand; matching mother-daughter breast implants; the lack of female characters who are lovable yet not likable; the fact that nobody, given that everyone plays the hero in their own story, thinks of themselves as an asshole; the fears of being misunderstood, of foxholes, and of getting stuck in underwater tubes; Tyler Perry, who honed his craft on the theatrical "chitlin' circuit," as the ideal career model; the logistical requirements of setting up freestyle rap battles; and what it takes for RuPaul to deem you "shelarious."

(Photo: Tyler Ross)

Colin Marshall sits down at Fat Dog in West Hollywood with comedian and actor Jordan Morris, co-host of the comedy podcast Jordan, Jesse, Go!, writer on the web series MyMusic, former host of Fuel TV's The Daily Habit, and creator of satirical commercials for "Gamewave" and the "Action Circle." They talk about growing up in Orange County with the solace of ska music; The Simpsons' un-overstatable influence on the current generation of young comedy writers; whether and how "Family-Guyization" is affecting comedic culture; the usefulness of college as "a place to be bad for a while"; how those who move to Los Angeles from other major cities have gone blind to their hometowns' sources of suckiness; the prohibitive cost of a bedazzled T-shirt; what kind of a golden calf Conan O'Brien's show represents for today's comedic minds; "gab podcasts" and the rapidly diminishing viability thereof; the temptation to pander to your audience, whichever audience your medium determines you have; whether working at an "action sports" channel made for a living hell; how and why fifteen-year-olds maintain their alienness to non-fifteen-year-olds; and how best to satirize the troubled relationship some hardcore gamers have with human sexuality.

(Photo: Pat Weir)

Colin Marshall sits down at the La Brea Tar Pits with David L. Ulin, Los Angeles Times book critic, editor of the anthologies Writing Los Angeles, Another City, and Cape Cod Noir, and author of The Myth of Solid Ground, The Lost Art of Reading, and the upcoming novella Labyrinth. They talk about his attitude as a young New Yorker moving to Los Angeles; his approach to everything in life through the filter of books; his "graduate education" writing for the mythologized oasis of writerly cool that was the Los Angeles Reader; the importance of competition in print journalism; criticism as the search for the most important questions; how to talk about a city that doesn't know how to talk about itself; how to have a coherent conversation about a city that resists coherent conversation; the "sacred ordinariness" of Los Angeles; how literature of exile became literature of place; ersatz public and protected pseudo-urban space; whether the city will feel the same ten years from now; whether we'll still have what architectural critic Reyner Banham described as an "autopia" ten years from now; how narrative offers our only hope of meaning, yet only offers meaning up to a point; and what happens when our narratives go bad, assuming we notice.

(Photo: Noah Ulin)

Colin Marshall sits down in Hollywood with comedian, actor, and novelist DC Pierson, man behind the one-man show DC Pierson is Bad at Girls, one-third of the Mystery Team of Mystery Team, and the author of The Boy Who Couldn't Sleep and Never Had To. They talk about innate, unchanging age; teenage blogging; Daria; the compulsion to read criticism; moving to Los Angeles from New York; avoiding falling into the standard complaint-driven narratives of young New York writers who move to Los Angeles; whether and how Los Angeles is shinin'; the mysteries surrounding how many Hollywood residents earn their income; building things rather than tearing things down; becoming the butt of your own jokes; blogging one's first hundred days in Los Angeles; and the inherent criminality of existing in one's twenties.

(Photo: Zac Wolf)

Colin Marshall talks to Alan Nakagawa; sound artist; visual artist; installation artist; founding member of Los Angeles' long-running, multi-disciplinary, multi-ethnic, soon-to-be-dissolved arts collective Collage Ensemble; director of the experimental music Ear Meal webcast; L.A. Metro public art executive; member of Otonomiyaki, the Southern California Soundscape Ensemble and Ear Diorama Ear; and very serious eater indeed.

Recorded on location in Mexico City, Colin Marshall talks to David Lida, author of First Stop in the New World, Las llaves de la ciudad, Travel Advisory: Stories of Mexico, and the blog Mostly Mexico City. A native New Yorker, Lida moved to Mexico City in 1990 — a year considered by many to have been the megalopolis' absolute nadir in terms of crime, crowding, and pollution — and hasn't looked back, becoming the best-known English-language chronicler of el Distrito Federal in the 21st century.

Colin Marshall talks to Laurie Ochoa and Joe Donnelly, founding editors of the new Los Angeles literary journal Slake. The magazine, which has just released its third issue, combines fiction, poetry, essays, reportage, photography, and several different kinds of visual art into a regular exploration of Los Angeles from every angle — and an exploration of the rest of the world from a Los Angeles angle.

Colin Marshall talks to J. Hoberman, senior film critic at The Village Voice and author of books on such cinematic subjects as 8mm and Super 8 pictures, Dennis Hopper, the 1960s, midnight movies, and Yiddish tradition. In his latest title, An Army of Phantoms: American Movies and the Making of the Cold War, he examines the American decade from 1946 to 1956, a time of "cavalry Westerns, apocalyptic sci-fi flicks, and biblical spectaculars, atomic tests on live TV, God talks on the radio, and Joe McCarthy bracketed with Marilyn Monroe."