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By Susanna (Whitmore) Fránek

________

I was in my mid-20s when I landed in Barcelona. A yearlong relationship with Mariano, a chemistry PhD student from Spain, led me to leave UC Santa Barbara only a few months from graduating with a BA in Spanish literature. It may have seemed a dumb idea, but I had other plans. I was on a quest to find myself through a new career as a belly dancer.

It was the spring of 1976, less than a year after Francisco Franco died, and Spain was able to breathe again as the country slowly opened up to democracy. Fascist repression was lifting, and academics, artists and writers were returning home. The long-stifled language of Catalan once again echoed through the streets, in schools, in the media and in government. The magazine Interview showcased politics and soft porn side by side, unthinkable under Franco. The environment was ripe for a belly dancer from California to start teaching and performing.

I had taken dance classes for a couple of years in Santa Barbara and had studied videos of famous Egyptian dancers. They were queens, revered by society. I was a pioneer.

But in Barcelona there was no network of dancers or musicians from the Arab world with whom I could collaborate and from whom I could continue to learn. So I brought a supply of Egyptian, Turkish and Lebanese-style dance music, classical and contemporary.

Upon my arrival, Mariano’s ex-girlfriend, Ana Maria, introduced me to the owner of a dance studio, and within a few weeks I was teaching and performing weekly. I prepared non-stop. This would be my first time teaching, as well as performing in front of an audience that wasn’t made up of friends and family. It was also new for the women who signed up, but they were eager.

I made my own costumes. Luckily, my knack for sewing and an antique treadle Singer sewing machine were all I needed. While I pedaled and sewed, the gold Egyptian sphinx decal on the front of the machine seemed to be winking at me. I sewed like crazy, copying costumes from 19th Century Orientalist paintings of court dancers. I combined velvet and ethnic textiles, topped with heavy silver belts and jewelry from Afghanistan, then layered sheer veils to use as props when twirling.

I was a stickler when it came to teaching dancing technique. I had seen my fair share of dancers who had taken a couple of classes and started performing. Separating the neck from the shoulders and the torso from the hips while dancing was challenging; as was connecting to the power of the womb. Many students couldn’t isolate their hips.

In many Middle Eastern cultures, women belly dance for one another. I loved helping my students unlock their feminine core. I often spoke about the folklore and varied rhythms and instruments. Yet in my performance, I struggled to find the middle ground of expressing my sensuality without overcompensating for the stereotypes associated with belly dancing.

My relationship with Mariano became strained as I immersed myself further in my dance career. So I took a hiatus from teaching and performing and we moved to Adahuesca, a village of 200 in the region of Aragón, where his parents were from. There was a large, empty family house waiting to be renovated, almond orchards that needed tending, wheat fields to be planted, as well as a vineyard ripe for picking to fill our wine cellar. During the mondongo, the slaughtering of a pig, I even stirred the blood that would be used to make the venerated blood sausage. As I gathered strength, many stood around me worried I would freak out and allow the blood to coagulate, ruining the sausage.

After an exhilarating yet exhausting year working the land and living the life of a campesina, I grew antsy to get back to the city to restart my dance career. Mariano envisioned marriage and living in the village for the rest of our lives. I didn’t. Amicably, we went our separate ways.

Back in Barcelona, I moved in with Ana Maria and her husband. They had an empty bedroom in their apartment in the neighborhood called Gracia, not far from the Sagrada Familia cathedral. I started performing every Friday and Saturday night at a Moroccan restaurant in the red light district off Las Ramblas. Soon I had a following, including many of my students and their friends, alongside Saudis and Kuwaitis passing through.

The Arabs were spending so much of their oil money in Europe that there was a saying that they were coming back to re-conquer Spain. Let loose from the cultural confines in their home countries, they came to Spain to play. Stories circulated of Western women trapped by boyfriends and husbands in the Middle East. It was not uncommon for Gulf visitors to invite me to spend an evening or to travel with them. But I wanted to be seen as an artist, not a call girl or a conquest.

I was now busy all the time. I was interviewed in newspapers and on the radio and danced in a well-known three-part film on the Spanish civil war, “Victoria,” directed by Antoni Ribas. Still, I wanted to move on.

I had heard that in the south, in Málaga, were clubs and restaurants catering to the growing Arab community. I packed my things. There, I was hired to dance at a Lebanese restaurant, the Beirut. The owners also flew me to Paris for a private party, a well-paid gig that allowed me a few days to bum around the city, take in the Louvre, roam the streets of Montmartre and spend time at the Musée Gustave Moreau to view his Orientalist paintings.

I returned to Málaga to perform at the Beirut and for private parties for the Saudis. Invited to sit at one gathering, I ate my first goat soup, with the animal’s eyes floating in the broth.

Opportunities were abundant, yet soon I felt uncomfortable, as if I were selling out to the growing Saudi influence in Southern Spain. I soon revolted against the jet set scene in Málaga and, while uninterested in the Saudi men, I considered myself to be among the women chasing opportunities by performing for them.

I called a friend who had mentioned getting me into a couple of dance studios on the island of Mallorca. At the same time, a friend from Los Angeles was traveling to Mallorca in search of Robert Graves, the poet and novelist who wrote the BBC series “I Claudius.” We stayed in my new home, a country house shared with friends just outside Palma, and traveled to the village of Deià, where Graves had a home, but he was in the throes of dementia, and we weren’t able to meet him.

For more than a year, though, I performed weekly at the five-star hotel, Son Vida. It was Egyptian- and Saudi-owned and attracted writers and artists. The publisher of a daily newspaper in Cairo, Al-Ahram, was a regular. He liked to tease me. He said that while I had done a good job picking up the Egyptian style of dance, I was too thin and my arms were too long. He assured me that the American belly dancers were becoming popular in Cairo and said that if I were ever there, I’d have a place to perform if I wished.

One night at Son Vida I found myself dancing for 200 Kuwaitis. They asked me to put on the region’s traditional large caftan they had with them. It was embroidered with gold thread and easily weighed 30 pounds. Floating across the dance floor as if lifted by a soft wind over the desert, emulating the subtle movement of camels, I isolated my neck movements and head throws, with my hair loosely tossing from side to side, as is done in the Gulf region. The audience was ecstatic that I knew the Khaleegi style of movement.

As a belly dancer this was how I spent my nights.

I was once hired at a baroque-style estate, decked with overflowing baskets of flowers, fruit arrangements, statues of goddesses and candles and with classical music blaring. The owners dressed me as a Greek goddess, and we selected 13th century Andalusian Arabic music from southern Spain. I danced through the mansion. A fellow dressed in ancient Greek attire followed me at a distance with a metal censer suspended from chains with the incense used in Catholic churches. It was something out of a Visconti movie.

I was in demand, scheduled to dance for the King Juan Carlos of Spain, who vacationed every summer on the island and was often seen riding around Palma on his Vespa. It was a big disappointment when the call came that the party was canceled. One evening I danced at a party that Austrian Chancellor Bruno Kreisky and his wife attended. After my performance, we discussed how a dancer from California ended up performing Middle Eastern dance in Mallorca.

I started to wonder why I felt closer to Middle Eastern culture than my own. Going to Cairo to study dance and Arabic appealed to me more and more.

Then it ended.

One night dancing at a local coffee house, I met Robert, a British ex-pat who had lived on the island for 10 years. A teacher of Jewish mysticism and well versed in ancient Egyptian history, he was interested in the genesis of my Middle Eastern dance. We met to talk about a potential collaboration to choreograph a fusion of ancient Egyptian myth with contemporary Middle Eastern dance style. I imagined a new dance form, similar to the ancients, though attempting to explain the mystery of our own world.

Robert and I spent the next two years together. We married in 1983 and traveled between Palma and Derby, England, where he was from.

We had talked of going to Cairo together. It never happened, nor did we develop a new dance form. Robert had a drinking problem. Over time he turned obsessively jealous and violent and forced me to quit dancing. I didn’t want to live as a prisoner. So when my son Tomás was born, I planned my escape from Palma. Within four months I moved back home to Los Angeles, and to the comfort of my family.

Having found my way back home, I no longer questioned my roots. And dancing was the last thing on my mind.

________

Susanna Fránek is a native Poblador descendent of the city of Los Angeles. She is a cultural anthropologist and has her own business conducting consumer research among mostly Latino immigrants and their second generation offspring. She hopes to eventually publish these short stories in a book. Contact her through her website: ethnologix.com.
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By K.C. Glynn

[dropcap1]A[/dropcap1]fter 23 years in the Navy, much of it sailing to “exotic ports of call” where I took note of some very strange behavior between both natives and sailors, and then some 20 or so years as a public high school teacher in Los Angeles, I decided to get my Master’s degree in History, with the idea of cementing my resume as an academic.

Upon entering the program at Cal State University, Northridge, the question became one of specialization. I decided to focus on “archival management.” Having been ground down by years of oversized classes crammed with unappreciative teenage louts, I fantasized about working all alone in a quiet, spacious room where I could peruse historical documents while listening to Mozart.

A requirement of the program was to organize and catalogue primary materials for the “Special Collections” division of CSUN’s library which, I discovered, is one of the largest repositories of erotica and pornography in the United States.

CSUN is smack dab in the middle of the San Fernando Valley, the center of American porn production and a freeway drive from the Xanadus of Hugh Hefner and Larry Flynt. Like the feudal barons of the Middle Ages who atoned for careers of rape and pillage by commissioning stained glass windows in cathedrals, it seemed that those who built their castles on sins of the flesh would donate materials to CSUN in the possible hope that someone, someday would transform their otherwise tawdry work into an “archive” for scholarly study and bestow that veneer of respectability they craved. Instead of mere smut, their deeds would become “history.”

The crown jewel of the archive is the “Verne and Bonnie Bullough Collection on Sex and Gender” which (and I quote from the library description):

was established by former CSUN faculty member Vern Bullough starting in 1973.   Its purpose is to document social attitudes and studies of sex and gender from ancient times to the present, in support of CSUN curricula and research. The collection is maintained for research and educational purposes, and is comprised of books, periodicals, manuscripts, and archival materials covering such topics as cross-dressing, gender roles in various time periods, the homosexual community in Los Angeles, prostitution, the transgendered community, children and gender, nudism, gender and medicine, fetishism, and pornography.

I reported to the “Head Archivist,” a quiet, contemplative man who would not have been out of place in a monastery. I was instead directed to organize 16 large boxes marked “The Tri-Ess Society,” a group which billed itself as “The Society of the Second Self, America’s oldest and largest heterosexual cross-dressing organization” founded by one “Virginia Prince” some time in the early 1950’s. Inside the boxes were thousands of letters, pictures, drawings, articles, implements, and artifacts belonging to men, young and old, fathers, brothers, and sons, who all shared a single terrifying secret.

They wanted to become women.

This desire took on different forms. Most had a compulsion simply to dress as women either privately or publically. I discovered a letter written by a World War II B-17 bomber pilot to Virginia Prince in her function as a cross-dressing “Dear Abby. ” He captained a crew that had worked the system to get themselves assigned to the same airplane in the Eighth Air Force. They liked to wear women’s clothes while bombing Germany; it gave them “a sense of comfort” as they fought the flak and fighters somewhere over Dusseldorf. They looked fabulous astride their machine guns in stiletto heels.

Other letters were from “alpha males” who, after retiring from Fortune 500 careers, wanted to make tea and arrange flowers while dressed in Dior and bathed in Chanel No. 5.  They seemed exhausted from the competition and run out of testosterone in the corporate rat race. There were doctors, lawyers, priests, politicians, convicts, rich, and poor. An Air Force test pilot based at Edwards Air Force Base worried what would happen to his career should he be stopped by the Highway Patrol on his way home from the transvestite Tupperware party somewhere in Pasadena while still in drag. Some wanted to physically become women and were asking for help or advice. Some wondered if they were homosexuals but were cautioned by Miss Prince that “Tri-Ess” was an organization for heterosexual, not homosexual, transvestites and that they should seek counsel elsewhere, along with the other transsexuals and fetishists who sought admission to her club. Most seemed unhappy with a fate they were at a loss to understand.

I worked on that collection for 18 months, slowly putting together the pieces of the puzzle while drawing some insight into the conundrum of gender identity. I thought about mothers dressing their toddler boys as girls, or boys playing with dolls, or Oedipus, or Freud, or Liberacé. I thought about the theories of “Nature versus Nurture” and watched reruns of “Tootsie” and “Some Like It Hot.”

As I catalogued the collection, the greatest mystery of all remained Virginia Prince herself. Who was she? What was she? Was she still a he? Or had he really become a she? This question had a personal resonance for me.

The first person I met in college was Charlie, in a processional line for freshmen. Charlie seemed to be everything I was not. I was a Long Island suburbanite; Charlie was a stone-cold, Upper East Side, brownstone, private-school, doorman-whistle-taxi Manhattanite. He breathed old money with every puff of the Parliaments he smoked. But even more remarkable, he was married! 

In some kind of weird “Romeo and Juliet,” “West Side Story” meets “The Godfather” kind of thing Charlie, rich WASP Manhattan dude, had a torrid love affair with Maria, Italian love-bomb from Brooklyn, and the two, despite their families, had run off and got hitched that summer before going on to their separate college destinations. Now, with about a hundred miles of New York moo-cow farmland between them, they anxiously awaited each others’ embrace.

Charlie and Maria somehow survived the Ashley Madisons and Lotharios of college to graduate and soon got jobs in New York City only to fall prey to corporate temptations. One day, Charlie called me and wanted to meet for lunch. He told me that Maria was having an affair with her boss and that they were divorcing. Shocked, I expressed a hope that we could still remain friends. He replied that I could be friends either with him or with Maria but not both. Resenting being pressed into a corner, I chose Maria. He angrily got up from the table and left to disappear into the. As for Maria, I pressed her about what went wrong. She hinted at “irreconcilable differences” but would not elaborate.

Thirty years later, as I worked in CSUN’s archives, a rumor surfaced at the college class reunion. A clerk at the transcript office had communicated a story to a member of the reunion committee that a woman had requested a transcript under a man’s name. Charlie was now “Charlene.”

Back in the bowels of the library, I dug deep into the boxes of material trying to find some clues. Maybe Charlie was somewhere in there. It became like the search for the origin of “Rosebud” in “Citizen Kane.” I sifted through the Tri-Ess Executive Committee minutes overseeing their transvestite “sororities” across America, I read the Central Intelligence Agency’s assessment of the security risk of transvestites to the Space Race, I read smuggled letters from “Kalina” in Moscow about zeks cracking rocks in the Gulag Archipelago (apparently, the Politburo considered cross-dressing communists as counter-revolutionaries). I pored over back issues of “Guys in Gowns,” “Transvestia,” and “Bizarre.” Until Bingo! I found a pamphlet by Virginia Prince titled “Everything You Wanted to Know About Cross-dressing but Didn’t Know Who to Ask.” The pamphlet itself, a primer on transvestism as an expression of man’s feminine nature, was opaque as to her origins, but inside was a yellowed newsletter commentary whose Rosetta Stone-like contents made me reach for the nearest seat.

Virginia Prince had been a student at my school!

Arnold Lowman, Class of 1932, Los Angeles High, where I have been teaching since 1995.

I went to our Ray Bradbury Library (another illustrious alumni) and found the yearbook collection. And there he was! A slimly built member of the Junior Varsity Track team! Chemistry club anddebate team andsecretary of This and That.In the depths of the Depression, Arnold Lowman, who had apparently first began cross-dressing at the age of twelve, went on to the University of California, Berkeley where he earned his Ph.D in pharmacology, got married, had children, got divorced, got married again, but then reinvented himself as Virginia Prince, Transvestite Queen, and begin a movement that would culminate not only in the transfiguration of Bruce Jenner, Olympic Decathlete and Wheaties Icon, into Caitlyn Jenner, America’s Sweetheart, but in the announcement by the University of California that this year’s college application will have six possible boxes to check off in the “gender” category.

Virginia, nee’ Arnold, died in 2009, aged 91, having gone to meet her maker in a dress. It was no ordinary life. And one done against great odds. My hat’s off to you, Arnold/Virginia.

As for Charlie/Charlene, he called me up out of the blue one evening a year or so later, after he read something about me in the “class notes” section from our alumni newsmagazine. Although he was pretty hammered, we caught up with each other. We talked about the class reunion. The rumor of “Charlene” came up and when it did, the timbre of his voice changed from baritone to alto. It was true, he said. He was now a she. I had a drink. She had a drink. Maybe some more. Charlene told me that (like Arnold) she knew something didn’t fit by the age of twelve, but didn’t know what it was. Charlie had married Maria, got caught trying to become Maria, divorced Maria, married again for ten years but, his second wife, exasperated from finding her husband borrowing her clothes, divorced him.

Charlie withdrew into alcohol and despair and psychoanalysis but took the plunge and became Charlene. I did not want to know just how deep the end of the pool was when he jumped in, but Charlene told me that other people found her quite attractive. She said she was happy. Thinking of Charlie all those many years ago standing in that processional line as a freshman I wondered if that might be true. However, I did not want her to send me a picture. She was living with another woman, “Tiffany,” somewhere in Baltimore. Did that make her a lesbian? Going through all that to find you still loved women?

I thought of Baltimore’s famous film maker John Waters. Charlie and I had seen “Pink Flamingoes” starring its notorious drag diva, Divine, in our freshman year at some Halloween midnight show. I kept my eyes shut most of the time for fear of seeing something I shouldn’t, couldn’t, dare not see.

Charlie’s eyes were probably wide open all the way.

A year or so after graduating to go return to the still unappreciative teenage louts lurking in my classroom, I visited the CSUN archive and its chief monk. As we chatted in his office, a well-dressed young man pored over reference materials at one of the archival computers.

“He’s a visiting scholar doing research,” the chief monk said, “he’s been looking at your work.”

I observed him intent at his work, making notes and taking pictures with small, manicured hands. He was slightly built with glossy hair and a meticulously trimmed silky goatee.

I felt surprise, perhaps mixed with a twinge of relief, thinking that my own unrequested exploration of the unexpected would not be consigned to some dusty academic dead end, but might, instead, light some candle for others to peer into those mysterious dark corners as we continue to wonder what it means to be human.

____

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K.C. Glynn is a sailor and a writer who teaches Social Studies and Shakespeare at Los Angeles High School.  His debut novel, “Tyrannosaurus Sex,” now available on Amazon and Barnes & Noble, tries to make sense of it all.   Contact him at:  kglaca@gmail.com.

 

 

 

 

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By Cecelia Flores

[dropcap1]I[/dropcap1]n 1973, I was a single mother of three small children. I was working in a wig distribution warehouse in downtown LA packing wigs in boxes that were sold at major department stores. I was always looking for a better paying job. My co-worker suggested I get a job where she worked nights. She was a taxi dancer. I had no idea what a taxi dancer was, but she said the money was good because you also got tipped by some of the customers, so I went that night to see about the job.

In 1943 two brothers, Ben and Edward Fenton, a couple of Los Angeles lawyers who were visiting San Francisco, went into a dance hall. These halls had been in San Francisco since the Gold Rush days. Women danced with men for a dime a minute and were called taxi dancers. Business was good and when the Fenton brothers returned home they opened up the first taxi dance ballroom in Los Angeles known as Roseland Roof. It was at 9th and Spring streets. Soon, they opened up another one at 5th and Main. That one was called Dreamland. This is where I went for my interview.

In the early 70’s downtown, Main Street had a seedy, dire, uneasy feel. It was a section of Skid Row filled with drug addicts, alcoholics and prostitutes. There were three bars on one block. One of the bars was next to Dreamland. It was a small dive that smelled like urine. Next to it was another that was loud and rowdy – Jalisco Bar. The third one was closer to 5th Street. There was just one place to get something to eat; a popular chicken place called Cy’s Chicken, two doors down from Dreamland. The taxi dancers would go there before work.

I entered the dance hall from the street and walked up a flight of stairs. At the top of the stairs, inside the dance hall, was an old-fashioned ticket booth, like the ones outside movie theaters. A matronly cashier was selling tickets. I asked her who Bob was and that I had an appointment with him.

The ballroom was on the second story of a very old building. The dance floor was dimly lit with strings of little white lights hanging from the ceiling. Next to the ticket booth were a couple pool tables and a nonalcoholic bar that served sodas, tea, coffee, sandwiches and candy. In the far corner of the dance floor was a sign that read NO LEWD BEHAVIOR. Toward the back were small tables and chairs for two.

Three leather benches faced the ticket booth. Here sat the girls, on display for the customers. They were laughing and talking and seemed much at ease. I watched as the men approached the women and asked them to dance. The women stood and walked over to a clock next to the ticket booth and punched a time card, then walked on to the dance floor. The Rolling Stones were playing on the juke box, yet though the music was fast-paced the couples on the dance floor were slow dancing, barely moving. The whole time I was waiting for my interview no one ever picked up the pace to match the music. Half the couples were openly grinding heavily with no shame whatsoever. I don’t know what the bouncer’s job was, but he never interfered.

Bob, the manager, was a stocky, balding, middle-aged white guy. His office consisted of old furniture. He had no pictures on the wall, nothing personal. He didn’t ask me many questions. Instead, he explained the rules: no prostitution and no drugs or drinking. He said that sometimes the cops came in wearing plainclothes, asking questions about the girls, and trying to find out which ones were prostituting after hours. Yet it was cops, he said, who left with the girls when the night was over. He asked if I knew how to handle men.

“I guess,” I said.

He told me I had to go to the police department to get fingerprinted and photographed. I went to LAPD and started working the following night.

A new girl was always the most popular among the customers for her first couple of weeks at Dreamland. Because most of the girls build up their clientele over a period of time they would let you know that you were dancing with their customer and didn’t appreciate it. Instead, you built up your own customers. This wasn’t hard to do because a lot of the men came in every night.

A lot of jobs need a skill. Here the skill was manipulation. The men who frequented these dance halls were mostly unattractive and lonely. They were Latinos, African Americans, American Indians, whites, Asians and a lot of Filipinos. They were alcoholics, drug addicts; they were married or single. Dancing with these men five nights a week was not an easy job. Most of them were forty years old and older and I, like most of the girls, was under 30. So, before some of us had to go out on the dance floor, we would sneak a drink or smoke some pot in the dressing room, blowing the smoke out the open windows.

More than half the men who came in wanted to dance so they could get close enough to you to grind. I would be dancing with a customer and he’d see another couple grinding and ask me if I danced like that. I would, but he would have to give me a thirty-five to forty-dollar tip. But I never allowed this kind of person to be one of my regular customers. They disgusted me.

Other patrons were just looking for someone. Some lived in a fantasy and thought I was their girlfriend. It was easy to manipulate these men. At first I would ask them to buy me two or three hours worth of tickets so at the end of the night I could reach a quota I had set for myself. Then I would ask for a twenty- or thirty-dollar tip. This worked if you could pretend for a while that you liked them.

One of my regular customers was a guy by the name of Tony. He was tall and lanky with an overbite like a rabbit. He told me he worked in the psychiatric unit of the General Hospital, but I think he was a patient there. The good thing about having him as a customer was that he preferred to sit and talk than dance and he always bought me extra time.

One evening he came in and asked me if I recognized the address that he had written down on a piece of paper. It was mine. He had followed me home. I told him he knew damn well that it was my address and I took the paper and tore it up and told him never to follow me again or next time I would report him to the authorities.

He still came in. He knew that I no longer wanted to keep him company and that I had other regulars and this bothered him. I told him if he wanted to continue to be my customer I wanted money for a down payment on a car. He gave it to me two nights later. Before the night was over he wanted his money back. He didn’t get it back and I bought a ‘67 Ford Mustang. I never saw him again.

Another of my customers was a Jewish guy by the name of Allen. I never knew any of my customers’ last names and I never told them anything personal about myself. He told me he was a cameraman for some movie studio. He was well groomed and had manicured hands. Allen had a lot of confidence I think because all the girls knew him and a few had had him as a customer for a while. The first time I danced with him he hardly spoke. The next time he came in, two of the dancers, Darlene and Kathy, warned me about him. They told me he was a jerk.

Allen started coming in more often and soon became one of my patrons. He was always a gentleman, never danced fast, but never got fresh with me. One night I went to the dressing room for a sweater and when I returned to the dance floor he was dancing with one of his former partners and they were grinding in the corner. Darlene and Kathy took me aside. He wasn’t a cameraman, they told me; he worked for Market Basket, a chain of grocery stores, and was on mental disability. I didn’t care what he did but I wasn’t going to put up with another nut case. I started to ignore him and he got the hint. I heard later that he was dancing with the girls at Roseland Roof.

I never became close friends with any of the girls but on slow nights we would sit around on the benches smoking and drinking tea or soda and talking. Kathy was a white hippie. She had a good attitude and handled the job well. She was tall and thin with long brown hair that she always wore loose. She went to school during the day and danced at night. Most of the girls had kids; not Kathy. She was a nudist. She would spend her weekends at nudist colonies. I was fascinated by this. I asked her questions about it whenever she would bring it up. Was everyone naked? Did people stare at one another? Would the men walk around with erections? Were the people having sex? She always told me I should go just once. I would just laugh at that thought. She always wore short dresses and cowboy boots.

Within a few months it got hard to work there. Having to deal with really lonely men depressed me. I started drinking in the dressing room with the other girls more often. One of the girls that Ben Fenton was dating saw us drinking one night in the dressing room and told on five of us. When Bob called me into his office he told me he knew I was drinking on the job and that I was fired. He then told me he would talk to the Fenton brothers on my behalf. I told him thanks but no thanks. I’d had enough.

Today, the hotels, bars and restaurants at 5th and Main cater to the younger, hipper crowd. The streets look cleaner and safer than they did back then. The New Jalisco Bar is now frequented by 21-year-olds. Cy’s is now The 5 Cent Diner, though it’s still a chicken place. Dreamland went out of business long ago. The space where I worked as a taxi dancer is now occupied by H&H Hothouse Productions, a video studio.

I lost all contact with everyone at Dreamland. My family never knew I worked there. They thought I worked the graveyard shift at a factory.

After I left the dancehall, I worked at a pharmacy and went to night school. Then I got a job with the State of California Department of Health as an entry-level clerical worker in the Social Security Insurance section. For the next thirty-three years I worked for five different state agencies, from Caltrans to the Public Utilities Commission.

I had to formally apply for each job. But I never put Dreamland on a resume.

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