I recently applied to a radio journalism internship at KALW in San Francisco. Interns work on developing their audio reporting skills while working with the experienced staff at Crosscurrents, one of the news magazines of the station. So to familiarize myself with the organization, I subscribed to the Crosscurrents podcast. It’s pretty rad. I like that it’s local.

A while back I joined a free community journalism class online and it was the first time I ever considered broadcast journalism (i.e. TV, radio) as something that could be local. I don’t know why, perhaps because I considered video and audio to be big productions. But with modern technology, a little cost can go a long way in terms of production quality. Not saying Crosscurrents is a tiny community thing. They’re community is the whole Bay Area, which is huge and encompasses so many different types of people. And I think that’s why I enjoy the broadcast. It touches on a lot of different facets of Bay Area life.

Anyway, I think if you don’t live in the Bay Area (or are not trying to become familiar with what’s happening there) it would be pointless for you to listen to Crosscurrents. But I encourage people to seek out these localized news distributors because honestly, don’t you think most nationwide media outlets these days just suck (too much hatred and politics and not having meaningful discussions).



When my internet wasn’t working, I downloaded some movies at work that I could then watch at home. One of those films was Dance, Girl, Dance (Arzner, 1940) starring Maureen O’Hara and Lucille Ball. Very interesting. The film was not well received at the time, but has risen to classic status, partly because it was directed by a woman (Dorothy Arzner) and features two female characters that are different and at ends with each other but aren’t reduced to caricatures that fight and hate each other throughout the whole movie.

Maureen O’Hara and Lucille Ball work in a dancing troupe. O’Hara wants to be in ballet and has this naive sensibility. Ball just cares about fame and uses her sexuality to her advantage. So they’re very different. Yet they’re friends (?), despite stepping on each other’s toes, they find a way for them both to exist and succeed in the way they define success. I really like that.

Then there’s this powerful monologue from when the audience of a burlesque show heckles O’Hara’s character, wanting to see more of Ball.

The narrative pacing seems a bit off, but the film isn’t that long, and definitely if you’re a classic movie buff (or want to watch more films by women) you should add this to your list.




It was a thoroughly enjoyable read. Very comprehensive. Obviously you can’t learn by just reading a book. But I’m glad I have a base of knowledge that I can apply to my podcast and that I can go back and reference if I one day work at a radio station.

Up next: The House on Mango Street and a book of non-fiction narrative about the May Fourth Movement from the perspective of women.