9/4/2006 #
Olive Garden
Well, judging that the advertising has been pretty heavy during football games, it appears that Olive Garden is trying to woo males into its $7.95 all-you-can-eat you-call-it pasta bowl promotion.
I think I am prepared to return to the establishment to see if they are willing to put their pasta where my mouth is, because my last experience with the place involved a very empty salad bowl and a very angry Blood Money.
My experience with the place is that nobody likes the food, but girls like the cheap salad and bread deal. Perhaps this will be an answer to Johnny Carinos’ rising prices and mandatory salad orders.
9/4/2006 #
It's Monday Night
The only time I don’t hate FSU is when they’re playing Miami.
When they’re playing Miami, they’re one of my favorite teams.
Lou Holtz really seems like a butt-monkey now. Far cry from the Notre Dame glory days.
9/4/2006 #
Guitar Wars 2000!
I stumbled onto this tab and got a kick out of the little argument that went on in the comments regarding whether it was a sustained D played throughout the verse.
The perported artist himself actually chimes in (assuming our collective legs aren’t being pulled) and tries to resolve the controversy.
It’s the age of the Internet.
9/3/2006 #
There's a Pun in There Somewhere
So…
Yu leaves Yahoo and joins YouTube.
They should broadcast their financial results and call it YuTube.
9/3/2006 #
Cluster, The Next Fragment
All I can say is that if I took the story Springer, EZ-E just took it Tolkien.
Kudos.
9/2/2006 #
Wow
I went from struggling with a barred F#m (Em: 022000 barred up two frets…fairly easy) yesterday to getting through Hotel California switching between barres and non-barres with relative ease (and a significant finger-numbness).
By the way… Ouch.
9/2/2006 #
The Alarum Sounds
Had to set the alarm this morning, so I can have the possibility of getting my huge grading job done before Big Red draws first blood for the season.
I’m struggling through VH-1’s Top 20 video countdown. I heard an interview with Pharrell, who seems like he’s probably a jerk. He managed to style himself as both a modern Warhol and Willy Wonka. Maybe he likes names that begin with W. Props for “Drop It Like It’s Hot,” though.
Paging SCUM, anyone…?
Jessica Simpson amazes me because she doesn’t have to talk to look like an idiot. It just … happens. Her image now is so filthily, subliminally sexual it’s almost amusing to see the whole blond, brushed hair thing persist.
Snow Patrol sounds like Semisonic. My answer to that is to like Semisonic and ignore Snow Patrol.
Blue October just needs to go away. It’s almost like they’re trying to tell you something with “Hate Me.” Same goes to All American Rejects, which had all the listening pleasure of the dying cricket underneath my fridge.
The Fray and James Blunt are kind of doing the same thing, in the way of the whole piano band thing. The problem with piano bands is that they’re all trying to tell you they’re a piano band. Ben Folds Five didn’t have to do that, because they hit the first riff on “One Angry Dwarf” and everybody knew what was up, namely an incredibly awesome album that managed to be alternative-rocky with the only (principal) electric instrument being a bass guitar.
If Hinder blows up, we have a lower-octave Aerosmith teary ballad machine on our hands. Therefore, friends don’t let friends let Hinder blow up.
Lachey is now hacking his way through an aabb rhyme scheme. I don’t generally like aabb because it’s almost like your lyricist’s attention span is too short to delay rhyming gratification for at least one line.
I’ll close halfway through the countdown by saying that the Red Hot Chili Peppers need to retire (in California). This new one here sounds like a backtrack. Maybe they had another song about California in line, and bumped it so all their singles won’t be about California.
9/2/2006 #
PT in the Hizzle
I was a believer my freshman year. Good to see the QB looks like he will hold his own this season.
9/2/2006 #
Post-Eraserhead
A quick combing of the web for Eraserhead-related information led me to the Wikipedia article on Blue Velvet, which in turn pointed out that Frank’s inhalent was actually amyl nitrite, not nitrous oxide (as has been the current EZ-E/Blood Money consensus). This is a bit disappointing, in terms of the road to understanding. However, this little tidbit does little to upset the backbone theories.
Something subliminal about Eraserhead has me about ready to rethink the entire Sandman/Ben issue, and what that place really meant. I am settled that the clown in the apartment is the keystone.
And, to continue the asides, I also see that there is another movie in the works.
Eraserhead was frighteningly frightening, beautiful only to someone who came into it wanting something that made Blue Velvet fit into some unknown genre.
Without digressing into the sexual violence of a Frank Booth-type character, Eraserhead managed to create a lurid picture of a “man” and his “wife” (both in quotes for entirely different reasons—but I’m trying to avoid spoilers). It’s about sin, and heaven, but heaven is ironically inside a very hot place.
Again, dancing around significant spoilers, heaven has a checkerboard tile floor (possibly illuminating the Mulholland Drive and Twin Peaks: Fire Walk with Me situations regarding checkerboard floors).
My analysis does put heaven vertically above the “real world,” which reinforces some traditional Judeo-Christian meta-reality going on somewhere in there, but the whole thing is pretty much a rompus room of jumbled, uneasy images.
The signature diddy, “In Heaven Everything Is Fine” had a very end-of-Mulholland Drive feel, or even in the way of Dorothy Vallens’ performance of “Blue Velvet” at the Slow Club.
There was a small box with a frightening, mysterious thing inside. Very Mulholland Drive there.
By the way, I thought this was a pretty good description of whatever the heck Dumb Land was, although I would say that #6 (“My Teeth Are Bleeding”) might have been more violent than #5 (“Get the Stick!”).
While attempting to shut up my post-Lynch chatter to wait for interested parties to see the movie, I would say that my take on Eraserhead is that it is a key element to understanding anything that followed it (meaning everything, as it was Lynch’s first full-length feature film).
My principal starting-off theme is that everything has a hole in it, and you can’t close an open door. It’s oh-so-much-more complicated than that, but I’ll leave it there pending a more complete viewership.