Feeds:
Posts
Comments

Archive for the ‘Prostitution’ Category

 may162SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern, Toronto (December 9, 2016).

First of two shows at The Horseshoe Tavern featuring the return of Dave Clark on Drums. Featuring Hugh Marsh on Violin and Kevin Hearn on Vocals and Keyboards.

I’m not sure how many shows the band played since the previous show in April.  This show was eight months later and the improvement in Martin’ on stage behavior is remarkable.  He seems calm and comfortable.  He hits his notes and (almost) doesn’t forget any lyrics.  Hugh Marsh is on violin.

This is a really remarkable show.

It’s also the introduction of five new songs!

The recording sound is quiet and a little flat, so you really don’t get a good exposure to the new songs which don;t sound that great in this setting.

They start the show confidently with “Stolen Car” and Martin sounds great.  Tim says, we don’t have any setlists (no sure if that’s bragging or complaining).  It is followed by “King of the Past” with some soaring violins from Hugh.

“Claire” feels quiet, but the whole show does, like it’s missing a low end or something.  After the song, Tim says, “That’s it for the hits, sorry.”

But Dave counters, “Here come the near misses” and they launch into “P.I.N.”  Followed by a song from The Story of Harmelodia (Don;t worry it ends well) “It’s Easy To Be With You.”  They both sound poppy and great.

Dave mentions the “wintertime seasonal shenanigans” as Kevin starts playing samples of Mister Rogers: “Sandwiches.  I like to talk to you.  You’re very special to me.  Even if it were raining I’d like it with you.”  This is the lead in to “Michael Jackson” which has a lot of fun keyboard sounds on the verses.  The song instrumentation sounds very different, even if music hasn’t changed.

Then come the five new songs:

Music Is The Message (Tim Vesely) 4:45  This is a slow Tim song.  It is heavy on piano and,in fact, feels like the other guys aren’t really part of it (I assume the recorded version will sound bigger).

Before Dave’s song, Martin says:

“Remember… eye contact with the first three rows. Make love to their faces.”
Dave: “I don’t know if i can do that with all of those people.”
Martin: “You can a little bit.”
Dave: “I have my eye on someone special, Martin.”
Kevin: “You’re a man of great stamina.”

Mountains And The Sea (Dave Bidini) 5:05  This song has a sing-song quality with a kind of farty keyboards (a recording issue no doubt).  But once again, heavy on the piano and rather mellow.  There’s a kind of orchestral middle section that’s quite unlike a Dave song (there’s even soaring vocals).

Dave Clark: “Martin,  I’m not going to cheer because of those miserable people on deck.”
Martin: “The boys of the crew.”
Kevin: “Why don’t you like the boys of the crew?”
Dave: “They’re so cruel.”
Martin: “They kill stuff for fun.”
This is a lead in to The Albatross (Martin Tielli) 5:35 which Martin explains is pretty directly from a [Charles] Baudelaire poem called “The Unlucky Albatross.”   It’s a very Martin piece, quite theatrical.  It’s about the boys beating to death the unlucky albatross.  The middle section is a very theatrical waltz with muzzy keyboards and a plucked violin.

At the end, Martin says: “That was in 16/11.”  I’m not sure if he means the tempo or the year.

Someone shouts, “When are you releasing a new album?”
Bidnini: “It’s complicated.”
Martin: “We gotta get out of our contract with Sire Records, first.”  [much laughter]
Tim: “Forty more years don’t worry about it.”

Kevin’s gonna lead us in this next song, Chemical Valley (Kevin Hearn) 5:27.  It’s a very Kevin slow song (and quite long ).  Again lots of keys and limited guitar (sounds like maybe Martin is soloing trough).

Bidini: “Dave Clark on the drumset tonight.”
Someone in the audience shouts: “I love you, Dave.”
Bidini: “I love you too, ma’am.”
Tim: “Other Dave.”
Clark: “Wow, Tim is a tough crowd.”
Super Controller (Dave Clark) 4:55 has a big “ba da da” verse.

Then back to the older stuff with a great “California Dreamline.”  Martin sounds terrific.  And they joke about “spooning in the dry sand.”  Bidini: “We were into spooning like way before it was popular.”  Martin: “Before there was a word for it.”  Clark: “They tried knifing, they tried forking.”  Bidini: “You guys ever whisk?  That was dangerous.  We learned how to whisk in Vancouver.”

“Legal Age Life At Variety Store” has a wild wah wah solo from Hugh Marsh, it also has part of “Uncle Henry” and a song with lyrics “We’re digging a hole on a military trail” which I can’t place.

“Queer” sounds great (with excellent backing vocals) and has a reading by Kevin dad of “The Laughing Heart” by Charles Bukowski.  Kevin takes a little vamp through “I’m Waiting For My Man” before the song ends properly.

“Dope Fiends and Boozehounds” is wild with some cool keys floating over the top and then an effects-filled drum (and keyboard?) solo and then an “Alomar” type solo before the howls and sirens bring the song to an end.”

The pages says “Shaved Head” but there is no “Shaved Head,” just a long encore break.

They return with a walloping “Peoples Republic Of Dave” (“You ready for G sharp?”).  That was Martin’s request.
Kevin: “Was it from before you joined the band?”
Martin: “It was as I joined the band.”
Dave B:  “It was before I joined the band …weird.”

Martin sounds great on “Saskatchewan” and “Northern Wish.”

And they do come out for a second encore.  Clark says, “I’m gonna play brushed on this one.”
Martin: “We are Ratt.  This is called “Round and Round”

They start “Self Serve Gas Station,” with Martin messing up and joking (!) “Sometimes its gotta start right.”  He even throws in a jokey line: “What went wrong with Bilbo, is he dumb?”

In addition to Martin sounding fantastic, Clark is remarkably restrained.  back in the day he was t he wild and checked id of the band, making jokes, reciting poetry.   In this show he made one or two comments but was otherwise just an amazing drummer.

Knowing that they sound this good now means that I absolutely must see them again when they play next time.

[READ: June 16, 2016] “A Life of Adventure and Delight”

I found this story to be a little confusing.  The action all made enough sense, but there was something that felt…off about it.

As the story opens, Gautama is shoved into a police van with a bunch of other men.  It’s the first time he was arrested for calling a prostitute.  He was 24 and a student at NYU.

He was from Gwalior and knew he would have to get married one day, so he wanted to have as much sex as possible.  Perversely, he though that any woman who would have sex before marriage was depraved and foul.

Gautama had hired many prostitutes although his favorite thing was the negotiation (the actual sex was so immoral it was hard for him to enjoy it).

He was released the next day and made to do community service. (more…)

Advertisements

Read Full Post »

SOUNDTRACK: OVERCOATS-Young (2017).

Overcoats is the project of two women: Hana Elion (left on the album cover) and JJ Mitchell.  The focus of their music is, without question, their dynamic voices.  They harmonize beautifully with each other.  Often times you can’t tell who is singing what.  And yet, they also have lovely voices individually.

The music on this record is very minimal.  Some songs are based solely around a low keyboard note and simple percussion.

What’s most interesting about the duo is that their music veers between quiet, introspective songs and some serious dance music.  Their sound is at times uncomfortably poppy for me.  And yet after seeing them on a Tiny Desk Concert I have embraced them and let my pop hair down.

The disc opens with the short (less than 2 minute) “Father” which features one vocal and a low drone underneath.  For the second verse, their voices are multiplied and echoed.  It’s beautiful and a little unsettling.

But it’s “Smaller Than My Mother” in which the more dancey aspects first show up.  Over a thumping bass, their voices are manipulated in a strange way to create a staccato melody.  Musically the song is again, a little unsettling, but after a verse or two, some full-on synths come in to take over the manipulated voices as the prime melody and the two main vocals power through in close, delightful harmony.  The song isn’t exactly catchy, but it is quite entrancing.

“23” begins quietly, with just one vocal line.  For the second verse, the harmonies kick in and the song soars. But again, the music behind them is pretty minimal–droney synths a simple beat and sprinkling of keyboard notes.

“Leave the Light On” takes what they’ve done to a new level of complexity.  It showcases not only their voices (close and distant harmonies) but also their danciest sensibilities.  Their voices are looped and modulated, but they also sing quite rhythmically.  The song also has more music than the others, with some loud synthy patterns and a real dance feel.

“Hold Me Close” is a powerful pretty ballad.  The melody is followed on a piano with these buzzy electronic sounds that propel the song forward.  But the music mostly drifts away because it’s all about their voices.

The back half of the album is a lot more mellow.  “The Fog” manipulates their voices more as a woozy, foggy synth plays throughout the song while “Walk On” is just a pretty, understated song.  “Little Memory” is all about their harmonies as is “Siren” although with a bit more oomph.

“Nighttime Memory” seems like it will continue in that quieter vein, but the chorus comes in with a kind of sinister droning keyboard and the two singers singing a tight harmony of “When the darkness comes, wheh wheh when…”

“Mother” bookends the disc.  The way the two hum in harmony is really warm and inviting, a comforting end to this sometimes unsettling but always beautiful disc.

[READ: March, 21, 2016] “The Elephant”

At the time, I had been reading a number of stories set in the Middle East and India that seemed to be full of futility.  It is quite dispiriting,

This story begins at Mr Ganesh Pai’s store.  Mrs. Engineer had come in person to shop there.  She bought an expensive TV table and said she would pay the balance of the item once it was delivered safely.  Mr Pai notes, “she’s a stingy old cunt.”  This makes his assistant laugh, but there is no laughing in this store.  Rather, he must tell Chenayya that it is his delivery to make.

Chenayya is a coolie–a delivery boy–for this mega store.  The store is doing well, there are many deliveries a day.  But the deliverers get paid poorly and have to give a portion of their to Pai.  Chenayya begins his delivery on the bicycle. Up the big hill.   He works hard, even making sure the table doesn’t wobble (he carried a big saw with him) but she gives him only 3 rupees as a tip.  He begs for six but she tells him to get away.

Many of the other delivery men spend their money on alcohol, but not Chenayya.  He knows the cost isn’t worth t.  He does buy a lottery ticket, though.   He often thinks about stealing the money on a delivery and taking off–maybe someday. (more…)

Read Full Post »

last3 SOUNDTRACK: NIGHT BEDS-Tiny Desk Concert #266 (February 18, 2013).

nightTypically we don’t see what happens before the Tiny Desk Concert begins, but for this show, there’s a very funny introduction.  Robin clacks the clacker and as the Winston Yellen starts singing you hear Robin interrupt him and say something.  He sings “When the sorrow goooozz….” and laughs as Robin says “much more important than your singing is my introduction.”  Someone in the band jokes, “gather round, take a knee.”

Night Beds are certainly anchored around Yellen’s voice.  The first song is a brief a capella track called “Faithful Heights.”  It segues perfectly into “Ramona,” where you get a better sense for what the band sounds like.  The band kicks in with some lovely guitar work on the electric guitar while Yellen plays acoustic.  Near the end of the song he launches unexpectedly into some really powerful falsetto.  It’s a very pretty song.

“22” features a more pronounced slide guitar which offers some cool spare, echoing sounds.  The final song is “Hide from It,” and older song tha they haven’t played much. It’s a bit faster with nice backing vocals.  There’s a very pretty guitar riff (I love the gentle echo) and keyboards instead of slide guitar.

I found Might Beds to be quite winning.

[READ: January 17, 2017] LastMan 3

This book was originally written in French (and called Lastman there as well).  These editions were translated by Alexis Siegel.

The art is black and white (and grayscale) and the characters are what I can only describe as very French looking. The faces are very minimal, with some of them looking almost bleached out but for eyes and a mouth.  Some of the men are rather grotesque-looking while the one woman is a knockout.  For the first book I said that it might be okay for a slightly younger audience, but this book changes things–prostitutes, porn mags, threats of violence–nothing explicit but still, way too much for young kids.

This book is also very different from the first two in that it is set in an entirely in a new location.

Adrian and his mom, Marianne, have ridden out to the Rift on her motorcycle.  His mom says that she is going to walk into the mist for a few minutes and she wants him to stay where he is.  And I love this bit:

-Listen Adrian, they say a lot of things in school and at church but in the end what should you always listen to?
-Uh, yes,  I know. Your heart?
-No Silly, what your mother says.

She comes back with a map and realizes that the rift is passable.  They arrive on the outskirts of a town and are caught by some thugs.  It’s very Mad Max looking with the men being really grotesque and planning to proceed with the rape of the delinquent.  Yikes.

As they get close, Adrian’s mother does a summoning and knocks everyone around her down–many of them flee.  Adrian is in awe of his mom.

They ride into Nillipolis and she is convinced that Richard is there.  But Nillipolis proves to be a scummy town.  We meet a guy who works at a brothel, Francis.  He’s the only nice person in the whole town (as are the prostitutes, particularly Flora, the prettiest woman in the book).  They suggest looking in the pawn shop for evidence of Richard.  And indeed in the shop they see the cup that he and Adrian won–it’s even got their names on it.

There’s a lot of excitement in this book with Adrian and his mom fleeing from the thugs who are with the police and the fireman and then  dealing with two attorneys: Raven and Delacruz.  She is being placed under arrest for charges of false prostitution.  But it’s really because they have tied her to Richard–who is in fact in the same prison.

The last quarter of the book is taken up with the trail.  And this trial is unlike any you’ve seen.  There are cheerleaders.  And, it quickly becomes obvious that you win your case through violence and strength and little else.  If your attorney is killed, then you get the death sentence.

We also learn that there’s a grizzled old creepy dude in a wheelchair who wants the map that she has–he believes that the Valley of Kings–where Adrian and his mom are from–has the secret to eternal life.

The book ends on board a ship to Paxtown–a questionable city.  Richard is heading there as well, and it looks like Cristo, the person in the mask who Richard defeated in the battle is there too.

But we’ll have to wait until book 4 to find out just what’s going on.

Read Full Post »

2008_04_07-400SOUNDTRACK: HOLLY WILLIAMS-Tiny Desk Concert #373 (July 14, 2014).

holyHolly Williams is a country singer.  Her lineage is hard to deny: the daughter of Hank Williams Jr., half-sister of Hank Williams III, and the granddaughter of country legend, Hank Williams Sr. (she never met him, as he died long before she was born).

She sings three songs.  “Drinkin'” which is very country.  “Railroads” rocks a bit more and has an interesting sounding chorus.  But it’s “Waitin’ on June,” a story song about her grandparents (not on the Williams side) that is beautiful and touching (although I really don’t like the way she sings the word “June,” but that’s just me).

[READ: February 18, 2016] “The House Behind a Weeping Cherry”

This story is about a young Chinese man, Wanren, who has set out for New York to try to benefit his family.  He is shocked to find that he is working in a sweatshop (he left China for this?) pressing clothes.

He has been living in the upstairs apartment of a house owned by Mrs Chen.  But his roommate has just left because he couldn’t handle the fact that the women who lived down the hall were prostitutes (who paid Mrs Chen).

When the roommate moves out Wanren is afraid Mrs Chen will raise the rent. But instead, she asks if he will drive the girls to their appointments at local hotels.  Mrs Chen assures him that he wont get in trouble with the police and he reluctantly agrees.

The rest of the story unfolds with the narrator becoming more friendly with the three girls.

Lili is the meanest of the three. She speaks the best English and answers the phone.  Nana is friendly, but it’s Huong who is the best cook and the prettiest of the three.  Wanren likes her the best.  Lili suggests that he should buy one of them for the night since he has no girlfriend, but he knows not get involved.  He doesn’t want to play favorites even though he has one.

The two of them wind up eating dinner together and sharing their living space a lot more.

He desperately wishes the girls could stop their life and do something legal, but all three of them have serious debts to pay.  Huong owes a Coyote $2000 a month for the expense of getting her to the US.

He learns about the johns and what type of people they are.  Some are married looking for something different.  Some are widows just looking for advice.  For the most part the girls aren’t ever treated that badly. Sometimes the johns go too far–one bit Huong very hard once, and another client turned out to be two men who were both so rough with her so that she couldn’t walk the next day.

One night when a client wouldn’t leave (some made house calls) Wanren stepped in to help.  And now the women like him even more.

This story is something a of a “hooker with a heart of gold” story, but the added details of their illegal status, their trying to raise money to go home and their having to pay off other men puts an interesting twist on it

Finally, the narrator finds them some honest work, but it will never pay enough.  They go to the coyote to see about changing the terms of her payment but he more or less says that if they try plaything he knows where they live.

The story is hopeless.  But somehow the ending adds a slight ray of hope, as unbelievable as it may be.

In writing about the story it seems less good than when I was reading it, but I really enjoyed the characters, especially Wanren, and seeing how his mind worked.  Even if some parts were rather cliched.

Read Full Post »

naughty SOUNDTRACK: GEM CLUB-Tiny Desk Concert #181 (December 16, 2011).

gem clubGem Club is a quiet band.  During this set there are three members:  Christopher Barnes on keyboards and lead vocals, cellist Kristen Drymala and vocalist Ieva Berberian (who is eerily silent and still for much of the performance).

The first song, “Animal” features Barnes on keyboards, playing a simple melody and Drymala, playing a low and loud cello to accompany (when her first note comes in, it’s really striking).  She also sings a wonderful harmony vocal.  Barnes’ voice is almost a whisper, but between his voice and the vibrato on the keys, it sounds really big (but still quiet).  I really enjoyed the way the only “melody” she played on cello was at the very end of the song–a brief riff to signal the end.

“Breakers” opens with some rough cello playing and then a gentle echoed keyboard.  Ieva Berberian didn’t do anything in the first song, she just hovered mysteriously in the background. But for the second song she hits occasional tambourine notes (which sound practically like explosions amid the delicate echoing keyboards).  Perhaps the most interesting part of the song is watching Drymala tap on some  colorful bells with her foot to create a lovely melody.

For the final song, “252” Barnes says it is kind of a beast, (although it doesn’t sound any more complex than the previous two to me).  The piano is echoed and Ieva Berberian finally sings backing vocals.  Her voice is a little haunting and it works very nicely with Barnes’ voice.  The melody is beautiful.

Incidentally, the blurb says that this is the first time they’ve amplified a singer’s voice (they ran his voice through a chorus pedal to give it that otherworldly echo).  I have been listening to a lot of loud music lately, and this was a perfect counterpoint.

[READ: December 20, 2015] History’s Naughty Bits

This is the kind of book that promises to be very funny.  And then it turns out to be mostly funny but also rather scholarly.  Which is not bad thing, it’s just not as raucous as one might have imagined.

Dolby begins by dismissing the idea that “naughty” things are a recent invention and then proceeds to go through the history of human culture to show examples of things that would certainly be considered naughty today (some are quite shocking).

She starts with Classical Greece where women were expected to remain chaste, except for hetairai, high-class courtesans, who were well-educated and respected.  That’s some choice.  Adultery was considered less of a sin if was committed with a prostitute. (more…)

Read Full Post »

hiltonSOUNDTRACK: BECK/RECORD CLUB-SKIP SPENCE: Oar (2010).

skipOf the four Record Club discs, this is the only one I don’t own.  Although I do have a different covers collection called More Oar (which Beck also appears on). I may have never heard any of the original songs on this disc, so I can’t even compare them.

For those who don’t know (as I didn’t), Skip Spence was one of the founders of Moby Grape, a band who was vaguely successful in the late 60s and then sort of fell apart (especially when Spence tried to kill his bandmates and was put in an asylum for a year).

Beck doesn’t have anything special to say about why they picked this album.  But he must have been very excited that Wilco and Feist were around to play on it.  He says

This one took place last June when Wilco was in town for the release of their new eponymous album. They came by after a long day filming a TV appearance and still managed to put down 8 songs with us. Jamie Lidell was in the studio with me working on his new record. Leslie Feist happened to be in town editing her documentary and heard we were all getting together. Recording took place at Sunset Sound Studios in the room where the Stones did a lot of Exile On Main Street (and looking at the records on the walls it appeared that the Doobie Brothers recorded most of their output there too). Sitting in on drums, we had James Gadson, who’s played on most of the Bill Withers records and on songs like ‘Express Yourself’ and ‘I Will Survive.’ Jeff Tweedy’s son Spencer played played additional drums. Also, Brian Lebarton, from the last two Record Club sessions is back.

And if you don’t know what Record Club is, see the summary on yesterday’s post.

Wilco plays on 8 tracks (of 12) and they sound great.  Indeed, overall this is the most “professional” sounding recording.  Which is not to say that they don’t have fun. It sure sounds like they do.

Little Hands (2:59).  This has a traditional folk band sound.  It’s a great recording.
Cripple Creek (4:14).  This is not THAT “Cripple Creek,” by the way.  “Jamie takes the lead and Gadson gets behind the kit, while Beck and Brian back them.”  There’s a funky drum breakdown in the middle.
Diana (3:48).  Another good sounding song.
Margaret/Tiger Rug (2:27). This song is a little boppy and slightly silly sounding, but not really that silly.
Weighted Down (The Prison Song) (4:58) “Feist takes the lead this week with Nels Cline arpeggiating some ridiculous 64th notes on a toy guitar.”  Feist adds some beautiful vocals to this song.
War In Peace (5:04).  This begins a little slow and shambolic but it soon builds into a full band that gets even crazier when they start playing “Sunshine of Your Love.”  It was fun to hear them let loose.
Broken Heart (3:39).  This sounds like a traditional song.  A little drunken and fun–a nice duet with Feist.
All Come To Meet Her (2:02).  This is a simply beautiful harmonized a capella rendition.
Books Of Moses (7:21) “Gadson lays down the heaviest RC beat ever, while Jamie loops his voice into a voice army and Brian plays some kind of octagon shaped synth.”  This had a kind of Primus-y weird synth opening.  But as Jamie loops his voice over and over it sounds really good, although it is too long.
Dixie Peach Promenade (Yin For Yang) (3:56).  This is a synthy bouncy song.  It’s a little silly, especially with th Ace of Base coda at the end.  But it sounds good.
Lawrence of Euphoria (5:17).  The lyrics of this song are very silly. This version has a fake cowbell and  funky bass but is otherwise just electronic drums and vocals.
Grey/Afro (7:35).  This has echoed vocals and noisy bass.  It’s hard to figure out what’s going on here, especially at the chaotic ending. But it’s nice to hear them all let loose a bit.

As I said, I don’t know how this compares to the original, but I really enjoyed it.

[READ: March 23, 2014] White Girls

This book was madly hyped and I was pretty excited to read it (even though to be honest I didn’t know if it was fiction or non-fiction–and wasn’t even entirely sure as much as half way through the first piece).  I knew Als’ name from the New Yorker, although I wasn’t really conscious of having read anything by him.  It turns out I read one of these essays in McSweeney’s 35 about four years ago.  The fact that I didn’t remember reading that essay does not speak all that well about it.  But overall I enjoyed most of the essays in the book quite a lot; however, the two longest ones I found, well, way too long.  And I honestly don’t understand the title.

Overall the book is a collection of essays (often told from an interesting perspective, like from the dead person’s first point of view).  The problem with pretty much every essay in the book at least for me was that Als presupposes a base knowledge of these people.  Without that, the essays can be frustratingly vague and unclear.  But again, these people are all famous enough that it seems likely that one would have that base knowledge (even if I don’t).  I do wish there was a small bio or even a photo with these essays (as there was with the Truman Capote one) as I feel that grounded me nicely.

I was a lot more confused by his essays that were more personal.  I didn’t really understand the context for what he was talking about, since i know very little about him.  And as you’ll see from the first essay, he covered a lot in a very un-straight way. (more…)

Read Full Post »

honeySOUNDTRACK: HORRIBLE HISTORIES-“Charles Dickens” (2013).

dickensHorrible Histories is a British children’s show.  They tell you histories of people and things in fun ways. Like this.  (It sounds awesome).

This biography of Charles Dickens (which lyrically is amusing as well as informative) is done in the style of The Smiths.  The music is very clearly The Smiths and of course the singer hits all of the Morrisseyisms that he can.  In addition to some actual Smiths lines (Dickens take a bow, heaven knows I’m miserable now), the song more or less mashes up “Heaven Know I’m Miserable Now” and “This Charming Man.”

It’s very funny and catchy as well.  Check out the joy:

[READ: June 30, 2013] A Taste of Honey

I discovered this play because it was mentioned in a documentary about The Smiths,  It was one of Morrissey’s favorite movies; he quoted a line from it in “Reel Around the Fountain” (I dreamt about you last night and fell out of bed twice”) and the song “This Night Has Opened My Eyes” is basically a summary of the play (with lines from it).

It’s a fairly modern story for 1959 England (Delaney was 18 when she wrote it), but it seems like rather a downer to be a favorite film/play.

It is the story of Jo, a young girl who is stuck in the dreaded life of living poor in Manchester (The river the color of lead).  She has no father around and her mother, Helen, (described as as a semi-whore (!), is quite unpleasant). Indeed, the opening scene of the play is the two of them bickering in a hole in the wall flat that feels dirty just by reading it.

Eventually a man comes along who promises to take Helen away from all of this.  He may be her pimp (specifics are not really given in the story and I wondered if they would be more obvious if it was 1959 (or in the movie).  But it’s clear that he has money and seems to be willing to bring Helen home.  At the same time, he is terribly mean to Jo–treating her worse than her mother does.  By the end of the scene, he takes Helen away, leaving Jo on her own. (more…)

Read Full Post »

Older Posts »