Wednesday, January 31, 2018
What it's like to be young and in love in Southeast Asia
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Dying teen marries high school sweetheart
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Children could get online grooming 'alerts' - NSPCC
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ColorFab: 3D printer can change colour of objects
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Five tips to keep your app data safe online
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How a boy from Belarus makes money from mining cryptocurrency
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Night Shift: Game aims to help doctors detect trauma
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Samsung topples Intel to become the world’s largest chipmaker
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Spotify is testing a new playlist-based music app that’s a lot like Pandora
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Crunch Report | Amazon, JPMorgan and Berkshire Hathaway are building a healthcare company
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At the State of the Union, Trump touts tax cuts and immigration deal
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Chat app Line announces plan for cryptocurrency services, loans and insurance
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DroneGun Tactical is a portable (but still illegal) drone scrambler
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Appeals court rules that Tinder’s pricing violates age discrimination laws
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Fools and their crypto
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Red Hat acquires CoreOS for $250 million in Kubernetes expansion
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TimeFlip is a time-tracking gadget simple enough that I might actually use it
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Amazon is experimenting with its own QR code style ‘SmileCodes’
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Imverse’s groundbreaking mixed reality renders you inside VR
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Getting to the root of the revenue multiple
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CVS, other health stocks down upon Amazon, JPMorgan, Berkshire healthcare co news
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You can now use Alexa to send SMS messages
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Google is launching a new digital store to sell cloud-based software
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Amazon’s new healthcare company could give smaller healthtech players a boost
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Apple reportedly under investigation by SEC and DOJ for phone slowdown
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Contraception app still being probed by medical agency over unwanted pregnancies
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Details and solutions emerge for missile threat false alarm in Hawaii
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State of the Union: Trump hails 'new American moment'
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Taliban threaten 70% of Afghanistan, BBC finds
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Pope to send envoy to investigate Chile sex abuse claims
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Trump signs order to keep Guantanamo Bay prison open
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Hawaii false alarm: Officials quit over missile alert
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Glee actor Mark Salling, 35, found dead
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Skywatchers await 'super blue blood Moon'
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Diane Keaton defends Woody Allen over abuse allegations
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Yemen separatists capture most of Aden, residents say
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France jogger death: Husband admits killing Alexia Daval
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Pierre Agnes: Boardriders boss goes missing at sea in France
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The killer whale that can say 'hello' and 'bye bye'
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State of the Union: Congress divided on Trump speech
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State of the Union: Kennedy delivers response to Trump
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Taliban 'threaten 70% of Afghanistan' BBC investigation finds
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Super blue blood moon: Get ready for a rare celestial show
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Why did Kenya's Raila Odinga 'inaugurate' himself as president?
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Stranded skiers' chairlift chopper rescue
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RĂ©union island and the 'stolen children' of France
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Top-secret Australian files 'left at second-hand shop'
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'Emotional support peacock' barred from United Airlines plane
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South Koreans conquer fear of dining alone
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Cow walks on wild side with Polish bison
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State of the Union: The North Korean defector at Trump's side
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Used clothes: Why is worldwide demand declining?
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'I was 12 when I married a 35-year-old'
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The tea boss with a thirst for global domination
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Trump pushes hardline immigration policies even as he urges unity
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Trump preaches cooperation, but can he follow through?
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Trump orders Guantanamo detention center to stay open
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Trump fixes gaze on Republicans during speech to U.S. Congress
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Justice Department warned White House about releasing memo: Washington Post
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Hawaii civil defense employee mistook drill for actual missile attack
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Texas inmate executed for murder of ex-girlfriend
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Governor seeks probe of Texas training site in gymnastics scandal
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As U.S. immigration debate rages, 'Dreamers' await their fate
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CIA director expects Russia will try to target U.S. mid-term elections
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Göteborg: Finland’s MTV Group Joins Nordisk Film & TV Fond
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Stephen Colbert Skewers Trump and Learns Definition of ‘Zaddy’ in Live ‘Late Show’
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Pinto Da Cunha Joins Pink Parrot, a New Canada-Spain International Distributor
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Stormy Daniels Appears on ‘Jimmy Kimmel Live!’ After State of the Union Address
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Ivanhoe Boards India’s ‘Unread Pages’
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Trump’s First State of the Union: A Divisive President Delivers a Dictator’s Speech (Column)
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Joseph P. Kennedy III Delivers Official Democratic Party Response to SOTU
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Fox Poised to Win Rights to ‘Thursday Night Football’
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Inside the Chamber: Top Moments from Trump’s State of the Union
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Celebrities Deride Trump’s State of the Union: ‘Not All Immigrants Are in Gangs’
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Fox News Breaking News Alert
Trump says honoring veterans is ‘why we proudly stand for the national anthem’
01/30/18 9:37 PM
Fox News Breaking News Alert
Clinton, moments before SOTU, explains why she didn't fire campaign adviser
01/30/18 9:31 PM
Coronation Street to get a Co-op and Costa in product placement deal
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Can cars be used as mini power stations?
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Rescuing child brides
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Global brew
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Things fall apart
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German police make arrests in nationwide raids on human traffickers
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Nonfiction: Jefferson’s Three Daughters — Two Free, One Enslaved
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America does export energy. It imports a lot more.
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How much do corporate tax cuts help workers
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Facebook hit with lawsuit over murder posted online
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Bollywood's troubled relationship with women
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'Chemtrail' conspiracy theorists: The people who think governments control the weather
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Tuesday, January 30, 2018
Liberian President George Weah cuts salary to confront 'broken economy'
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Scientists grow new ears for children with defect
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EasyJet CEO takes pay cut to match female predecessor
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Carmakers use monkeys to test diesel fumes
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4 dead in Kenya blaze as fire trucks 'run out of water'
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US immigration deal may not get done
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Inside Amazon’s Spheres
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Facebook nabs Google’s AR product director
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GV leads $25M investment in Hover, a computer vision startup that digitizes your home
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The Grammys gave CBS All Access its second-biggest day for signups yet
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DJI Mavic Air review
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Facebook will start prioritizing local news in user feeds
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Microsoft buys gaming services startup PlayFab to bolster its Azure platform
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SuperPhone is building a Salesforce for texting
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US military reviewing tech use after Strava privacy snafu
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Microsoft’s Slack competitor, Teams, gets its biggest update with new app integrations and app store
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Why the Dell rumors might have substance
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Boeing HorizonX invests in Berkeley aerospace battery tech startup
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Chechen leader: Gay activists invent nonsense for money
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Fox News Breaking News Alert
House Intel Committee votes to release classified FISA memo
01/29/18 6:32 PM
Fox News Breaking News Alert
FBI Deputy Director Andrew McCabe was ‘removed’ from his post, Fox News has learned
01/29/18 1:04 PM
Fox News Breaking News Alert
FBI Deputy Director Andrew McCabe is stepping down from the bureau, Fox News has learned
01/29/18 12:45 PM
Fox News Breaking News Alert
FBI Director Wray viewed a controversial memo on Obama administration spying
01/29/18 12:15 PM
Any Brexit deal will hit UK economy - government paper
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House of Fraser boss wants Brexit 'signal'
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Three European banks to pay $46m for 'spoofing' market
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Why has Meryl Streep applied to trademark her name?
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India ride-sharing firm Ola to enter Australia
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Joe Bloggs owner and fashion firm East go into administration
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EasyJet chief Johan Lundgren cuts pay to match predecessor
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Nafta talks are at a 'much better' point, says Mexico
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Cash offer 'to silence pension complaint'
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TomTom ditches map updates for some sat-navs
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Dr Pepper Snapple merges with Keurig Green Mountain
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Rated People and MyBuilder website profiles cause concern
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German shock at car exhaust tests on humans and monkeys
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HullCoin: The social experiment that's rewarding good deeds
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Facebook to promote local news in drive for 'trusted' content
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London Underground noise could damage hearing, says academic
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Robo news
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'Too worried to sleep'
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The magic money tree
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Any Brexit deal will hit UK economy - government paper
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'Ex-soldier' raiding Home Counties houses at gunpoint
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BBC women face 'veiled threats' over equal pay queries
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CIA chief says China 'as big a threat to US' as Russia
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Eddie Adams' iconic Vietnam War photo: what happened next
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Stranded skiers' chairlift chopper rescue
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Tens of millions of prescription drugs on the black market
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Beckham's fans are cheering, but will they show up on match days?
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Irish abortion referendum: Vote to be held in May
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Duke and Duchess of Cambridge begin tour of Sweden
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Personal Independence payments: All 1.6 million claims to be reviewed
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India estimates 21 million of its girls are 'unwanted'
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Heads warn of 'chronic' funding shortages
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The Papers: May 'quit calls' and 'night watcher' burglar
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News Daily: Brexit leak and 'threats' over BBC pay queries
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Wedding speech dilemma: Time to hear from the bride?
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Five tips to keep your app data safe online
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The 2018 Grammys in 90 seconds
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Paris residents battle floods as Seine level peaks
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I'm not a sexist - Neville
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Is Tube travel damaging your hearing?
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The diabetic boxer fighting for his chance to compete
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David Beckham on the launch of his new team - in Miami
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Lampard: Social media affects my daughters
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China is buying UK boar semen to help strengthen pig stock
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Terminally ill teenager marries high school sweetheart
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Maye Musk: "I am just getting started" as a model, aged 69
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Do 'robo hacks' spell the end for human journalists?
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How Jon Culshaw became David Bowie - but not for laughs
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A Crack of Darkness: Myth-Making and Mob Culture in the City That Can’t Keep a Secret
NEARLY A DECADE AGO, Tod Goldberg wrote a short story about a mob-connected hit man from Chicago who goes undercover in Las Vegas as a rabbi. That story, “Mitzvah,” turned into the novel Gangsterland, and now with the publication of Gangster Nation has turned into a series and possibly a television show. I spoke with Tod via email about the evolution of the series and the development of its exceptionally conflicted protagonist, Sal Cupertine.
¤
JIM RULAND: You’ve said that when you wrote Gangsterland, you didn’t know you were beginning a series. Did your experience writing the Burn Notice books provide any guidance when picking up Gangster Nation where you left off?
TOD GOLDBERG: Not really, because my main job when I was writing Burn Notice was to make the books evergreen … well, not my main job, but a primary one, because when you’re writing books that are tied to a franchise like Burn Notice, you can’t do something in the books that will mess with the continuity of the show itself. So I couldn’t have Michael Westen lose a finger, or I couldn’t have Sam Axe suddenly become depressed and sullen and questioning all of the things he’d ever done, or Fiona couldn’t decide, screw it, I’m moving to Los Angeles and getting into improv comedy. Plus, I wanted the books to be comfort food — something that when the show was off the air for the break, or off the air permanently, fans could come back to for a taste of what gave them joy. It was an awful lot of fun to write those books and I could have kept writing them forever if I’d wanted to, but after five books in four years I felt pretty well cooked. However, what writing Burn Notice taught me was actually something far more profound, which was how to write commercial fiction. Realizing you’re servicing a franchise that already has millions of fans means you can’t be as precious with your work, but it also means understanding what a larger population expects, too. It was particularly enlightening.
One of the things the Gangsterland series does is address the mythology of Las Vegas. Its own brand of myth-making contributes to the sense that it’s not real, that it’s a fabrication, a mirage in the desert. In Gangster Nation you really drill down into issues of place and property. Why is that?
I’ve always been fascinated by place and property, perhaps because I’ve spent a lot of my life living in resort cities, which by definition requires a bit of magical realism to pull things off. Las Vegas takes it to the extreme, of course, when you look at the Strip or the Fremont Street Experience, but so too in the gated and master-planned communities that now make up the suburbs on both sides of the Strip. Summerlin, where the majority of the action takes place in the Las Vegas portion of the book, could be cut and pasted into Orange County and no one would blink — it’s a cookie-cutter idea of what a relaxed suburban lifestyle should look like, even though the people who live in the homes are largely employed in a vast con known as the “gaming industry.” But as it relates to the great crimes of our nation in the last 100 years or so, the mortgage fraud that destroyed our economy in 2008 was of course a pretty significant one … that went entirely unpunished, save for the people who lost their homes and lives and all that. And no place was more emblematic of this false hope than Las Vegas, which ended up with ghost-town neighborhoods after the collapse. When Gangster Nation takes place, in 2001, they were already way down deep in the subprime world and already people were getting conned in legit and illegitimate ways to get those homes. Turns out the mob was a better bet than Countrywide, in the long run.
You’ve embedded a very cogent critique of neoliberalism in these crime stories! But I especially love how your Las Vegas is one the tourists don’t come to Nevada to see. No showgirls or pit bosses or drifters in convertibles with heads full of LSD. How do the Gangsterland novels fit in the legacy of Vegas noir?
That’s the thing about Las Vegas: If you live there, you don’t really go to the Strip unless you’re going to work. It’s actually a pretty sleepy community that is surprisingly conservative and surprisingly religious — Hillary won Clark County by over 10 percent in the last election, though she took the state by a much smaller margin; but Nevada in general is pretty much a 50-50 state in terms of liberal versus conservative, going decisively to Bush in 2000 (which is when the book takes place) through 2004 and overwhelmingly for Obama in 2008 and 2012 — and conveniently both parties are notoriously corrupt in the state. So there’s a lot of false equivalencies of the American Dream being trotted out in the state on both sides, though they’re uniformly supportive of the elements that bring darkness to the place … which is to say, gambling and tourism. That said, normal people still live there and so if you’re writing crime fiction about Las Vegas, I think you have to talk about what happens away from the bright lights.
When I first wrote about these characters, it was in an anthology called Las Vegas Noir in 2008 and I was tasked with writing about Summerlin, where I used to live, and so that forced me to take the story off the Strip, to look at the normal people, at the commonplace crime that takes place. And when I wrote the first book, I told myself that I wasn’t going to set a single scene on the Strip, that everything was going to happen where the real deception was taking place — the suburbs, which were selling people an idea of paradise in the middle of the desert, everything manufactured to be hospitable — and then sort of forced my own hand by making it so Sal/Rabbi David Cohen was forbidden from going to the Strip to avoid the cameras and facial-recognition programs that were just starting to proliferate out there and grew all the more present since 9/11. None of which is sort of the expected ideal of Las Vegas noir stories in general, but I think part of what I am always trying to do with these characters is to also poke fun at the stereotypes of the genre. Mob stories in particular are filled with romantic notions and post-Puzo, they fall so easily into cliche, perhaps because Puzo also taught modern-day mobsters how to be mobsters, creating lore where there wasn’t before. To be perfectly honest, I’ve disliked a lot of crime fiction set in Las Vegas because the stories don’t go anywhere new. That’s changed in the last few years with books like Vu Tran’s excellent Dragonfish, which I think is one of the best novels about Las Vegas, ever, never mind crime fiction. So where do I fit in the legacy? I’m writing about the time period where it became popular to say that Las Vegas was better when the Mafia controlled it, when it became apparent that the corporations who took over the city from the crooks weren’t, in fact, a total improvement. Which is absolutely crazy. But that’s what Las Vegas does to people: it makes you put aside your normal values.
A lot of crime novels tend to be first-person affairs. Direct action driven by direct characters. You take a more circumspect approach with multiple points of view. Can you talk about this decision and how it influenced the kind of book you wanted to write?
Well, I think if I were writing a more traditional whodunit, I wouldn’t write from multiple points of view, but in this case the choice comes from both a plot necessity — I wanted to show the ripples of a crime, in this case how the people Sal Cupertine killed in the previous book, which caused him to disappear into the guise of Rabbi David Cohen, have materialized into bigger problems outside his own view — and a thematic necessity — which is that the book is about how the government, the crime families, and religious organizations end up gnawing on different parts of the same bone. But also there’s a functional character reason: the main character isn’t doing notable things every single day. Most of the time, Sal/Rabbi David Cohen is busy doing boring rabbi things. Likewise, the former FBI agent who is hunting him — Matthew Drew — is busy trying to earn a living on most days, the gangsters who are hoping to get rid of him are also busy trying to earn a living, and, on most days, Sal’s wife Jennifer is just trying to keep her shit together enough to raise her son. That’s part of what I wanted to also show, generally, that the life of a criminal, the life of an FBI agent, and the life of someone just trying to live in the shadow of those worlds are mostly a mundane affair, punctuated by action … not action punctuated by the mundane.
No one wants to read that, however. People want to read the parts where interesting things happen. So shifting point of view and engaging a few different characters while keeping Sal/Rabbi David Cohen as the focal point became my way of telling a more complex story without long chapters where the characters just kind of sit around thinking about going to Target (though, now that I think about it, I do have scene in a Target … and another in a Walmart…).
Sal Cupertine is a very bad man, yet he embraces some of the truths of the Jewish tradition that he is impersonating. One of these holds, “Meet all sorrow standing up.” That seems like great advice for a hit man.
It’s not bad life advice, really, no matter a person’s vocation. There’s a lot of Talmudic knowledge that can be used to justify almost any behavior, or to edify it. I get emails on occasion from readers who tell me that Rabbi David Cohen is misusing something from the Talmud or the Torah and I want to tell them that’s because he’s not a real rabbi, he’s a hit man, and that what he says the Talmud teaches is oftentimes a ruse because he knows the Jews he’s speaking to don’t know any better, which is why he can also sometimes get by merely using a line from a Bruce Springsteen song instead … and then I think, “Well, if I have to explain this joke, we both end up poorer from the experience.” So I usually just say something like, “Thanks, I’ll check it out.”
The larger thing, of course, is that the evolution of Sal Cupertine into the Rabbi David Cohen ends up making him a bit less predictable, because now this ruthless killer is beginning to feel pangs of empathy, to sense that his life has some spiritual worth, and also he’s beginning to feel, dare I say, good about helping people sometimes. He feels bad that he’s performing sham weddings. This allows me to take the character down some roads that aren’t usual in a crime novel, to examine things I find intellectually interesting, in additional to having a guy running around shooting people who piss him off, which I also find intellectually interesting, or at least emotionally satisfying on some days.
Without giving anything away, what’s next for Sal/Rabbi David Cohen and the Gangsterland series?
There will be another book, for sure, and we recently sold the books to the folks who make the TV show Peaky Blinders, which could mean great things are coming, or nothing ever gets made, of course. I don’t see me writing more than three books with Sal/Rabbi Cohen, at this point, but who knows? Maybe I’ll do a YA series! Picture books! I look at a writer like James Lee Burke and the great things he’s done with a character like Dave Robicheaux and inhabiting Louisiana so acutely and I try to imagine if I could write 20 books about Sal Cupertine and Las Vegas … and it doesn’t seem possible or plausible, but I know for sure I have another 400 pages, at least.
Stop me if you’ve heard this before, but have people said, “Well actually there are a lot of similarities between being a rabbi and a hit man?”
Yeah, but in particular I hear it from rabbis! I hear from a lot of rabbis, actually, to talk about their jobs — not many hit men contact me to discuss the finer points of their work, thankfully — and to tell me funny stories, or to tell me, “Hey, you might find this an interesting parallel,” and then tell me about some minor crime that took place in their shul. It’s not usually things that would involve a hit man, but there are certainly some clear lines to be drawn between organized crime and organized religion and their attendant hierarchal structures, but also in that each requires a certain amount of fealty. If you’re going to devote yourself to some Mafia don or a rabbi or a priest or cult leader or whatever, in the end it’s because you think your life will be better for it — that you’ll get some tangible payoff, in this life or the next. That means a level of devotion, of giving a part of yourself to someone else. I am innately drawn to that … in a mostly negative way.
Can you talk about your own faith? As you’ve gone on this journey with Sal/Rabbi David Cohen, what’s been the payoff for you?
I’ve never felt more Jewish in my life. I don’t know if that’s entirely about my immersion in the holy books in order to write this character or if it’s the rise in anti-Semitism I’ve seen subsequent to the election in 2016, the march of Nazis in Charlottesville, or merely that I’m now 47, my parents are dead, my grandparents are long dead, and I’m now at the top of the family tree, along with my siblings and cousins, which I think naturally makes you look back at how you got to this place in your life. It’s impossible to grow up with the last name Goldberg and not know you’re a Jew, of course, but the truth is that I didn’t know much about Judaism itself until about 10 years ago — which is true for a lot of cultural Jews, as it were, which is to say Jews who don’t go to temple, who eat bacon, and who only really take part in rituals on holidays. But of late, I find my thinking really influenced by the things I’ve learned in the Talmud, by the lessons, by the philosophy. It hasn’t made me more religious, but it has made me more spiritual, and also more socially active.
A weird thing happened to me a few months ago — a woman responded to something I’d said on Facebook by sending me a photo of Hitler. This was on a public forum hosted by the local newspaper ostensibly about local politics, but which had mostly devolved into a place where people argued national politics and lunatics posted conspiracy theories. Anyway, I was shocked by this, so I took a photo of it, and periodically people would ask me if it had happened, that they’d heard this person had done this thing — she was a local conservative political supporter and had once run for city council or some such thing herself — and was it true. And I would always say yes, of course it was true, and I’d show them the picture, because it was crazy! But she was not the first or the last person to send me a photo of Hitler. Well, eventually, this person ended up hosting an event in her home for local political candidates and I was asked, yet again, if it was true that she’d sent me a photo of Hitler and yet again I said yes, of course, here’s the photo. Except this time, it all ended up on the front page of the local newspaper.
So I had to go over to my mother-in-law’s house and sit down and explain to her this was a thing that was happening, that she was going to get the paper in the morning and I was going to be on the front page. She said to me, “Why would someone post a photo of Hitler in response to something you said?” And I said, “Because a crack of darkness has opened up in the world and all the hate has come flooding out of it. And now people feel like they can do such things to Jews or anyone else.” It was something my good friend, the poet Matthew Zapruder, had said in response to some other event of anti-Semitism in the United States and it had stuck with me. My mother-in-law is a devout Christian and she sat there for a long time, not speaking, and then she started to get teary eyed, and said, “I didn’t know such things still happened.” And I said, “This has never stopped happening.”
I tell you all of this because the truth is, it doesn’t matter how much faith I have, how much spirituality I possess, my last name will always be the marker of my heritage — the difference now is that I carry others’ heritage with it, by virtue of my job as a writer, people who would never speak up. That means something more in these times.
¤
The post A Crack of Darkness: Myth-Making and Mob Culture in the City That Can’t Keep a Secret appeared first on Los Angeles Review of Books.
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Identifying and Identifying with the Thin White Duke: David Bullock’s “David Bowie Made Me Gay: 100 Years of LGBT Music”
THE TITLE OF Darryl W. Bullock’s latest book, David Bowie Made Me Gay: 100 Years of LGBT Music, raises a few questions. Is this a memoir, detailing the author’s coming to terms with his own identity through the sexually protean Thin White Duke (or Ziggy Stardust or Major Tom or Aladdin Sane or, for the more cinematically minded queer babies of my generation, the Goblin King)? If so, how will this intimate and personal narrative intersect with the promised examination of a century of LGBT music? Spoiler alert: It won’t, really. Bowie is positioned at the beginning of the book both as an emblem of the monumental boomer music losses of 2016 (Prince, Maurice White, Glenn Frey, George Martin, Leonard Cohen, Pete Burns, and George Michael, to name a few), pointing out that, even when just one entry in the list of the previous year’s dearly departed, he elicited a staggering volume of grief from diverse audiences around the world. After the first chapters, he is never heard from again.
This is because Bullock doesn’t want to tell the story of how Bowie — someone with a complicated relationship to queer subcultures, who would in 1993 come out as a “closet heterosexual” and face accusations of cultural appropriation — “made him gay,” aside from a broad acknowledgment of the importance of celebrities coming out publicly. What he wants to do is write the contributions of LGBT people into pop music history (a worthwhile task, to be sure). But for Bullock’s reparative history, one can imagine a self-identifying LGBT musician serving just as well. Why is Bowie — white male androgynous space alien, coming out time and again to the press, as gay, as bisexual, as refusing sexual and gender conformity — Bullock’s emblem for queer influence in popular music? What exactly is “LGBT music” to Bullock? Is it music made by LGBT people? Music consumed by LGBT people? Music that, somehow, seems uniquely lesbian or gay or bisexual or transgender in its themes, sounds, structures, or forms? This framing device raises a number of fascinating questions about the relationship between music and the development of sexual identity that the book fails to address at all. With the exception of the titular Bowie, Bullock confines his history mainly to the first category: music made by LGBT people. In this way, he robs the subject of some of its complexity (no more mention of the many hetero artists and/or normatively gendered genres and styles that have tended to draw queer audiences here, unless the draw was a queer performer).
It might be a little unfair to expect a book whose stated aim is to reclaim performers whose stories have been straight-washed and to celebrate those LGBT musical icons whose sexual identities and behaviors have been ripped to shreds in the public eye — to come to terms with a survey so expansive. In such a survey any music at all could be classified as “LGBT.” Instead, the author strives to catalog and honor the contributions of these individuals, so often, he argues, eclipsed by gossip and speculation about their sexuality. It would also be unfair to fault Bullock for not being as inclusive as he could’ve been; certainly Sylvester Made Me Gay or Dusty Springfield Made Me Gay would’ve been very different books than the one under discussion here. “This book is not intended as a fully comprehensive guide to every LGBT musician who has ever entered a recording studio,” Bullock offers by way of anticipatory apology, “but it is my hope that, through its pages, you will discover some of the people who spent their lives fighting for us to be heard.” I was still a little disappointed that instead of an intimate and personal narrative interwoven into a broader history, the survey of the “100 Years of LGBT Music” advertised in the second half of the title proceeds in a fairly traditional manner, and David Bowie represents not an opportunity to examine the complexities of music and sexual identity, but simply the cultural position of the author.
To begin, Bullock surveys a number of musicians, LGBT and otherwise (The Gun Club’s Kid Congo Powers, Frankie Goes to Hollywood’s Holly Johnson and Paul Rutherford, XTC’s Andy Partridge, Erasure’s Andy Bell, Culture Club’s Boy George, Soft Cell’s Marc Almond), who cite watching Bowie’s boundary-pushing 1972 performance of “Starman” on Top of the Pops as a central moment in imagining what they could be: as queer, as performers, as outsiders. Of course, as I’ve alluded to already, David Bowie may have made Bullock et al gay, but over the span of a multi-decade career, audiences were introduced to a variety of configurations of gender and sexuality through Bowie’s numerous performing personas and, just as importantly, his public statements in interviews. In 1972, months before the aforementioned Top of the Pops performance and two years after his first marriage (to the seldom-remembered Angie Bowie), he told Melody Maker journalist Michael Watts that he was gay. In 1976, he told Playboy that he was bisexual. Soon after, in 1979 — in a terse clapback during an interview with Mavis Nicholson — he expressed annoyance with the refutations and disbelief that accompanied his declaration of bisexuality, though, in a curious turn of the history of his public identity, he would ultimately acquiesce to those refutations. In 1983, he told Rolling Stone’s Kurt Loder that the Melody Maker interview, which inspired Bullock and countless others, was “the biggest mistake I ever made […] Christ, I was so young then. I was experimenting …”
I groan along with a million bisexuals and queer people at this trajectory. We are used to designations of sexual fluidity as “experimentation” or “immaturity” or “provocation” or other artifice, but it’s clear that Bowie’s protracted and very public negotiations of his sexuality (and whatever identity might hold thereto) are part of what gives him a wider, queerer appeal. As Bullock explains in the first chapter: “Gay, straight or bisexual: whatever word Bowie chose to define his sexuality, this particular cat was out of the bag — or rather the closet. He’d said it, in print, and for thousands of young LGBT people across the world, life was suddenly a little less suffocating.” It is this kind of influence that Bullock tries to document in David Bowie Made Me Gay, though again, he does this mainly through an exploration of LGBT artists, not artists who have inspired LGBT people.
Drawing predominantly on primary periodical sources and interviews (again, a lot of third- to fourth- to fifth-hand stories that could be classified as “gossip”), Bullock’s freewheeling survey moves more or less chronologically through various genres of music (the blues, jazz, cabaret and night club music, “blue” novelty records, early experimental electronic music, country, folk, disco, punk, protest music, dance music, et cetera), using influential figures and significant records to orient the reader in this vast sea of names. The first 80 pages cover the first half of the 20th century, taking us from jazz and the blues around the turn of the 20th century through the “Pansy Craze” and the vogue for gender non-conforming performers that petered out around World War II. Bullock surveys these fĂȘted pansies, as well as male and female impersonators popular throughout the 1930s in the United States, jumping across the pond to consider the concurrent embrace of similar performers in UK music halls and treating the reader to brief forays into musical life in France and Germany. The next 200 pages tackle the second half of the 20th century, with chapters on queer progenitors of — or early and/or exceptional participants in — well-known genres of music. These chapters are rooted in the post-Stonewall musical developments of the 1970s, but open out into discussions of artists making music in later decades, moving away from the straightforwardly chronological organization of the preceding chapters.
Even in the chapters on more contemporary music, an elegiac, memorial tone persists in Bullock’s prose: an attempt to counter the usual gossipy narratives of LGBT musical icons’ lives, which he argues eclipses a full consideration of their musical and cultural influence. In this endeavor, Bullock sometimes succeeds, sometimes fails; gossip can be both a historian’s most tangible source of information where sexuality is concerned and one of the most limited vantage points for interrogating a life and its cultural ripples. Bullock brings attention to an impressive number of LGBT performers, composers, technicians, and producers, and it is shocking such a guide doesn’t exist already. Over the course of its 350 pages — crammed with probably as many, if not more, names — David Bowie Made Me Gay certainly succeeds at being the kind of survey Bullock sets out to provide in the introduction, and many will be very excited at the existence of such a capacious reference.
David Bowie Made Me Gay is, indeed, impressively capacious in this regard, but as a result, the book is uneven in both tone and treatment. It lists heavily toward gay and British examples and concentrates, unsurprisingly, on the period between the ’60s and the ’80s. Non-Anglo examples (Jamaica, Kenya, Russia) are grouped together unfortunately in a chapter called “Hope and Homophobia,” along with the only segment on queer hip-hop (a genre which I would think demands its own chapter). Engaging narratives tracking the development of particular albums, performers, and record labels are interrupted by tedious sections that contain long lists of names and little else, and some sections — such as the discussion of Liberace, which transitions clumsily from a gloss of Billie Holiday’s career and purported romance with Tallulah Bankhead to a retelling of Liberace’s rise to fame and libel case — are arranged seemingly at random. Scanning the table of contents before I jumped in filled me with the same vertiginous feeling I got picking up Judith Peraino’s Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (University of California Press, 2005) for the first time. Listening to the Sirens also considers the ways in which music helps queer subjects make sense of themselves, though she, even more ambitiously than Bullock, does so over a period of 30 centuries instead of just one and doesn’t limit herself to popular music. As a result, it’s just as all-over-the-place as David Bowie Made Me Gay, in spite of its professed linear chronology. Is this, one wonders, ever the fate of historical studies that attempt to chart the harmonies and dissonances between queerness and music? The grasp perpetually exceeding the reach in an attempt to account for the “LGBT community” as some kind of monolithic whole?
The main challenge for any book like Bullock’s or Peraino’s is one of scope and scale for organizing so much material. These problems are particularly acute when studying sexuality, an area of identity and experience inflected by gender, race, class, and nation — separable components that form unique constellations of behavior, self-identity, social identity, gender presentation, and so on and so forth that differ from individual to individual and have the slippery tendency to change over time. These problems are further complicated by the fact that individuals who we might want to claim as queer forebears actively hid their sexual behavior or identity, or may have had understandings of sexuality that differ drastically from our own, eschewing the verbal confirmations or denials Bullock’s book favors. The historian in me cringed at several anachronistic uses of language, as when Bullock refers to 17th-century composers Jean-Baptiste Lully and Arcangelo Corelli as “gay,” a word that refers to a category of identity that neither existed nor would have held any meaning for the, respectively, French and Italian court-employed composers.
The impulse to identify and honor historical figures, musical or otherwise, who reflect our identities, desires, and struggles back to us can be very powerful, especially in non-generational communities like the expansive “LGBT,” and I’m glad Bullock’s survey is out there in the world. As I’m sure has been made clear throughout this review, I think a much more interesting approach, one that would honor the complexity of the kinds of influence popular music exercises in our lives as queer people, would have been the intimate, the autobiographical. It is my secret hope that every LGBT reader of this book will mad-lib the title and think about which pop music icons, LGBT and otherwise, played a role in shaping their sexualities (alas, the likely mortifying but highly entertaining Fiona Apple Made Me Queer and Misanthropic, will unfortunately have to wait till I finish my dissertation). But there are as many unwritten hundred-year surveys of LGBT music out there as there are LGBT people, and honestly, I’d probably love to read each and every one of them, in all their uneven, flawed, and exuberant glory.
¤
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