"I feel like an Asian Branch Davidian."

Lots of cringeworthy moments from tonight's Glee, people.

But first, a disclaimer: Ya see, I do love me some Glee. It's practically written into how gay men are programmed circa 2010. I've seen some of the butchest, most masculine men start gushing about Glee, and suddenly the yards of taffeta come spilling out of their mouths. Every episode has a wild, "cheer spontaneously" moment. But every episode, without fail, also has a moment where a part of me dies inside. But tonight's extravaganza was...uh...I think I spit up in my mouth more than a little. To wit:

- Finn. In a bright red shower curtain floor-length dress and red glitter cat eyes, looking for all the world like a reject from the Hall of Justice. Because that's the best way he can think of to express his ultimate theatricality and save poor Kurt from imminent brutality by a couple of chunky football thugs. GAWD. Even Zan and Jayna and their pet monkey were cringing. (Freaky coincidence: the pet monkey's name is Gleek. Fact!) Just so you know, my ideal of theatricality would be Hugh Jackman, in any role he's ever done. Shirtless, preferably.

- Finn, pt. 2. Every time he yelled out the word "faggy" at Kurt.

- Rachel. Singing "Poker Face" accompanied only by piano with her newfound mom. Because between the two of them and their kaleidoscopic knowledge of decades of worthy Broadway tunes, the one song that really sums up their feelings for each other is a fucking Lady Gaga song released just this past year. I wanted to crawl into a hole every time they both sang "puh-puh-puh-poker face."

- Puck. Singing "Beth" (which...wow...didn't realize it was such a pretty tune) to Quinn, then asking her afterward to name her/their baby Beth, and for him to be there for the baby's birth. Ennhh...squirm...

- Quinn. For agreeing to Puck's groveling. Also could NOT take her emotions seriously. I can't take anyone seriously who wears four-inch day-glo pink eyelash extensions and bats them with mock pathos.

- Kurt. For designing that hideous get-up that would have been his and Finn's new shared bedroom. Gay interior designers the nation over gasped and collapsed on their fainting couches in horror. And for actually having something he called a "privacy partition." Gag. And finally, for declaring said room a great mixture of masculine and feminine. There wasn't anything even remotely masculine in that place, except for Finn. Then Kurt's dad, who, I've just heard, has been nominated by God for the title of Best TV Dad Ever.

- Will Schuester. And for that matter, the writers. For making a Lady Gaga-inspired show. (No Gaga fan, I.) Redeeming quality? There were only two Gaga songs. Other redeeming quality? Balanced out by two Kiss songs.

Sorry, Glee. Normally you're great, but aside from some brilliant one-liners (like this post's title), tonight was just skwudge.

Guilty pleasures galore!

MMMBop - Hanson: I flew into Minneapolis one early June afternoon in 1997, got picked up by a guy I had just started dating, and this hummer came on the radio. I called it: at once, it was going to be the most loved, most hated, and most overplayed song of the summer. But apparently I was really, really late on the draw. It was already #1 in the nation, and would be for nearly two months. Deservedly so. Unabashed, unadulterated bubblegum fun, fun, fun, and one great antidote for the angst and flannel of the early-mid 1990s. "MMMBop" singlehandedly paved the way for the resurgence of the post-Nirvana boy bands and a myriad of guilty pleasures, including...

I Want It That Way - Backstreet Boys: I wanted to hate this one. I could NEVER get behind New Kids on the Block (let alone that lamefuck NKOTB reunion), and I figgered this was just another incarnation thereof. But sitting in Portland traffic one late spring afternoon a few years later (and damn, PDX traffic SUCKS considering it ain't all that huge a city), this breezy tune hit my speakers, and I've seldom been hooked so hard. Honestly, everything that's right and good and perfect and dreamy about boy bands is right here, and if you don't like this song, you probably will never get the whole boy band thang. My infatuation hit epic levels one day in 2007 when I drove to and from work playing ONLY this song. Replay, replay, replay. It was the aural equivalent of a large orange/vanilla soft-serve ice cream cone (I have the immortal Pat's Twist-o-Cream from the late '70s to thank for that memory. RIP.) And I ain't the only one who loved this one. Rolling Stone apparently placed this beauty ahead of "Good Vibrations" in a list of the best summer songs of all time. Much consternation and wailing ensued from the boomers, but for sheer enjoyment, I agree - "I Want It That Way" blows even that classic out of the water.

When You Close Your Eyes - Night Ranger: I won't deny the NR lovers their "Sister Christian," which is epic. But this one is truly my favorite. The video did it for me. Learning about love in the back of a Chevrolet? Phallic guitar wank-o-ramas? Drowning your sorrows at the bar and imagining your lost love is standing right there? This one might have out-Desert Mooned "Desert Moon," even, for sheer cliches. As anyone who watched MTV back in 1983 will attest, these guys ROCKED. There was a lot of competition to be the biggest big hair band back then (Ratt, Def Leppard...hell, Ozzy himself), and maybe Night Ranger didn't quite make it to the top of the heap, but they put up a damned good fight. (If you like both those songs, you HAVE to get Night Ranger's Greatest Hits.)

Baby Got Back - Sir Mix-A-Lot: No real comment on this song. I just wanted a reason to type "callipygian" in a proper context. Callipygian, callipygian, callipygian.

Big Star - Third/Sister Lovers

Pop quiz: You're the leader of a critically revered band, and fans drive for hours, sometimes days, to see your band perform. But the first two albums you release flop, and aside from these few trickling fans, NO ONE knows you. Your band is falling apart member by member due to internal strife, and you still have a contractual agreement with your record company. Whaddaya do?

If your name is Alex Chilton, apparently you indulge in self-destruction. You get drunk and wasted a lot, show up at the studio while still wasted, slur your singing, sometimes play like crap, and fuck with the producers who are trying to salvage what chaos you have wrought, so that your third album is all but unapproachable - and certainly unmarketable. But your efforts at self-sabotage are foiled by a few things. You write some really, really good music that withstands the barrage of shit you run it through. And on some songs, you actually care that what you create is worthwhile, even beautiful at times...and it shows.

Some of the best music ever created - especially great pop music - sounds effortless, perfect, totally meant to be. Third/Sister Lovers is practically the antithesis of that concept. This sounds like it took a Sisyphean effort to create, and you can hear all the evidence of heads banging against walls that won't budge, of unbelievable exhaustion, dejection and pain, and of lives (and a band) irretrievably falling apart. Somehow, the music survived, in some cases barely intact. Somehow, it made it past the producers. Somehow, a company convinced its shareholders or board members that the album was worth releasing to the public...four years after the fact. And somehow, this album found its way into some young musicians' hands - a few of whom ended up being very influential, popular, and willing to drop the album's name. (For example: Peter Buck of R.E.M. once compared it to well-known classics like Revolver, Highway 61 Revisited, and Exile on Main Street.)

Is Third/Sister Lovers really the classic that so many admirers make it out to be? I don't think so. It's much more inconsistent than its two predecessors. It's definitely easier to appreciate than like. Third/Sister Lovers is NOT where one ought to start with Big Star. It takes a long time to get into a lot of this stuff, and it's best to go at it on a song-by-song basis, rather than digesting the whole album at one sitting. Here's some of the best stuff:

1) "Kanga Roo" - One of the tougher songs on the album to get into, but man, what a mindblower. It sounds like it's a warped transmission radioed in from some underwater ice planet, with random misfiring cowbells, way-overdubbed drums, and space-age guitar feedback. Then suddenly, it all resolves in a gorgeous crystalline minor chord in the choruses, with Alex soaring vocally through the stratosphere. "Kanga Roo" may be the best song on here...and it's been covered gobs of times since.

2) "Jesus Christ" - Here's the closest you'll get to a straight-ahead pop song on here. Begins with a warped piano ditty that sounds like an overplayed cassette tape that's about to spit its contents out of the tape player. But the song is solid guitar pop, almost a relief to listen to amidst the wreckage of the rest of the album. And interestingly enough, it's a completely sincere paean to Jesus Christ.

3) "Holocaust" - My God...this is the sound of ultimate depression. Alex can barely slur "Your eyes are almost dead, can't get out of bed, and you can't sleep," as a funereal piano plods behind him and ghosts moan in the background. Otherworldly, it's so sad.

4) "For You" - The only original song that Alex didn't pen for this album, written and sung instead by Jody Stephens, the drummer. Romantic chamber pop heaven, utterly beautiful.

5-7) "Blue Moon", "Nightime", "Take Care" - And the chamber pop heaven continues, with "Nightime" taking the honors for being the most scintillatingly gorgeous and having the best lyrics. (Love at first sight was never expressed better than "Caught a glance in your eyes and fell through the skies." Meanwhile, Chilton's unburnished negativity rears its head later: "Get me out of here, get me out of here. I hate it here, get me out of here.") "Take Care" is an anguished farewell, ending the (original) album on the most uncertain of chords played by fragile gossamer strings, completely unresolved.

8) "Downs" - How deranged did Big Star get? How willing was the rest of the band to follow Alex down the rabbit hole? Witness this mess of piano, steel drums, out-of-tune...uh..."singing," and nearly indecipherable lyrics. No surprise, this one was not on the original album. Still, it's kinda fun.

Hmm. Maybe that was the big deal about this album. It was a crystal-clear vision of how fucked-up a band could get and still turn out great music. On that level, Third/Sister Lovers is an unqualified success. It's just hard to plod through, that's all.

And here ended (at least, for a few decades) one of the most frustrating and sad stories in pop history. As I said before, this band proved that life could be a shitstorm of unfair. But man, they turned out some great stuff in the meantime, and their influence on popular music lies up there with the Beatles, Bob Dylan, the Velvet Underground, and Led Zeppelin. With just three brilliant, essential albums.

Big Star - Radio City

The story so far: former Box Tops singer Alex Chilton travels back to his hometown of Memphis after unsuccessfully giving being a solo musician in New York a try. He gets together with a few bandmates, and they all end up releasing one of the great unsung pop masterpieces of all time: #1 Record. The creative tension between the mercurial genius Chilton and melodic perfectionist Chris Bell is largely to credit for the album's (critical) success. Unfortunately, unlike Lennon and McCartney, who were able to sustain this tension and feed off each other for years, it got to be too much. Bell left the band once #1 Record was released, leaving Chilton on his own to front Big Star.

Bell left his beautiful imprint on Big Star's sound, and it's sad to ponder for a bit what could have been. But as it turns out, Chilton and the rest of Big Star could do just fine without that fourth member, thank you. Unrestrained by Bell's meticulous attention to detail, Radio City makes for a harder, rawer, looser, and more exhilarating ride. Its sparse production (the virtual antithesis of Spector's "wall of sound") reveals frequent holes of sound that presage punk by a few years; it sounds like a live album in spots. And it's just as successful as its predecessor.

It's a bit easier to choose the highlights of Radio City; after all, with this wildness comes some inconsistency. So here we go:

1) "O My Soul" - The clarion call to get wild, get drunk, and kick up your heels, and the perfect way to start this album. Loose as loose can be, but funky...and that rhythm section is unstoppable.

2) "What's Going Ahn" - Chilton's penchant for weird song titles continues here in this achingly sad tune. "I like love, but I don't know/All these girls, they come and go," he moans, resigned to be unsuccessful at love. And the drums sound like they're ready to fall apart at any moment. The most despondent that Big Star ever got...well, until the next album, at least.

3) "Mod Lang" - Then they turn around and deliver this glamalicious number, with Chilton howling almost inaudibly in the background. Fun, fun stuff.

4) "She's A Mover" - Sounds like the best outtake from Revolver the Beatles never released. So Big Star picked it up, dusted it off, tambourine and all, and went to work. Not so much a song as a three minute-long relentless groove.

5) "September Gurls" - Yes, the one critics the world over adore. I first heard this one and couldn't get past the clanging guitars. But the song is still power-pop heaven, and the most straight-ahead song here.

6) "You Get What You Deserve" - Chilton's bitter side comes out hard here in a pretty little ditty that recalls CCR's "Have You Ever Seen The Rain." Ends on an ominous single piano note.

And actually, that's something that really separates Chilton from so many other pop stars. He isn't afraid to express the negativity that permeates his psyche, and just about every song on Radio City has a dark edge to it. "Life is White" begins with the kiss-off: "Don't like to see your face/Don't like to hear you talk at all." (Apparently, that song was all about Chris Bell - kinda makes sense why he left, don't it?) Even the lightness of "September Gurls" is brought down by the line, "I loved you...well, never mind. I've been crying all the time." Ouch! Self-pity was never disguised so well or expressed so succinctly.

So there you have it. Two of the greatest pop/rock albums ever released. And no one knew about it back in the early '70s. And now you can get them both on one CD. Do it. Now.

Big Star - #1 Record

Holy shee-it. What a find I have made. And this is truly rare treasure that most people haven't even heard of. It's Big Star, people. The group that proves that life can be a shitstorm of unfair. These guys, were there any justice, should have been the ones who took the torch from the Beatles and run with it, enjoying wild success all through the '70s. Critically, no question. I mean, read some of these random review excerpts:

"It's safe to say there would have been no modern pop movement without Big Star."

"Anyone not in possession of Big Star's three landmark studio albums...should stop reading this now and go purchase them."

"Radio City and #1 Record brim over with punchy songs that served as the blueprint for almost every power pop band to follow, and the much darker Third/Sister Lovers is a depressive masterpiece."

I read the first excerpt in a review for Third/Sister Lovers back in the early 1990s, and was dumbfounded. I had never heard of any such group before. And these guys were a major fount from which the likes of R.E.M., the Replacements, Happy Mondays, the dBs, the Bangles, Teenage Fanclub, the Posies, the Soup Dragons, and Matthew Sweet all came? (For starters.) Wow. Gotta pick this one up. (At the time, Third/Sister Lovers was a major disappointment for me. To be continued later.)

One of the group's founders and the resident genius, Alex Chilton, died on St. Patrick's Day this year. His death prodded me to get their first two albums, both on one CD. And OH MY GOD what was I thinking not getting them sooner?

#1 Record is a brilliant, perfect power-pop masterpiece, brimming with optimism, excitement, wistfulness, puppy love, and just plain fun. Do you dig '70s Aerosmith? Alice Cooper? Badfinger? Todd Rundgren? Love? Moby Grape? The Byrds? The soundtrack to Dazed and Confused? Or even the other bands I've already mentioned? Go out and get this album NOW.

Just like with the Descendents' Somery, I can't narrow down which song is the ultimate pinnacle on #1 Record. But let me see if I can capture the high points.

1) "Feel" - Subtle strumming and an eerie, plangent twang suddenly explode into fireworks of scream-singing and wild drumming that don't let up for the entire song. These guys are going for broke. One hellaciously beautiful way to start off an album.

2) "The Ballad of El Goodo" - Crappy song title. Beautiful, defiant Statement Of Purpose. Required listening for really earnest and idealistic kids who are determined to live life on their own terms, goddamnit.

3) "In The Street" - Big Star's only claim to fame over the past decade. That '70s Show swiped the song for the opening credits. Extra points for the hilarious line "Wish we had a joint so bad."

4) "Watch The Sunrise" - Gorgeous, gorgeous meditative 12-string showcase by Chilton. And yes, you can just imagine the sun rise as the song is playing.

5) "When My Baby's Beside Me" - Kinda lame beginning, but man, I defy you not to clap along to the chorus. Addictive.

6) "ST 100/6" - Indecipherable song title. Not even a minute long. Slightly psychedelic harmonies over some simple guitar chords. Complete in its incompleteness, perfect in its imperfection.

So why didn't these guys get a break? Apparently, Ardent Records (or maybe it was Stax...the details are kinda sketchy), the company in charge of printing and distribution really, really fell down on the job. People heard them and wanted to get their hands on #1 Record...it just wasn't available anywhere. Another, much lesser reason was that people in the early '70s were just done with the Beatles and the Byrds and all those other poppy, fun bands that were so last decade. I don't buy that excuse. Music like this is just too awesome and timeless to pass up.

Random quickie song reviews

Ready for the '80s - Village People: Aside from the fact that it's virtually indistinguishable from any other Village People song, it's perhaps one of the saddest songs ever performed - unintentionally so. Just read the lyrics. (And fergawdsakes forgive the atrocious punctuation.) Ain't it so happy, peppy, and bursting with love and optimism for the future? Well, check this out. I doubt any Village People fan was ready for what the '80s were about to bring.

Gentleman Who Fell - Milla: That's model Milla Jovovich, y'all, at the ripe age of 16. With a gloriously untrained voice that swoops and whispers with trepidation to a man she can't catch. And yes, she wrote this (at least, in part), part of her only album, The Divine Comedy. A gorgeous, almost baroque arrangement that is essential listening for Jane Siberry and Kate Bush aficionados. And speaking of Jane Siberry...

Calling All Angels - Jane Siberry and k.d. lang: The best song off the Until The End Of The World soundtrack, itself an early '90s pre-Nirvana, pre-emo depressive classic. A slow funereal drum, pedal steel, and spare guitar plucking back these two chanteuses aching for aid and relief from above, "cause we're not sure how this goes." Who can't relate?

God Bless America - Kate Smith: There's good reason Kate Smith will always be linked with this song. You can just hear her heart swell with pride and unbridled patriotism, and it's impossible not to get caught up in it. She recorded many worthy versions, but this particular beauty was captured at Carnegie Hall in 1963, back when our nation was still brimming with optimism for the future and reveling in its post-war glory, mere days before JFK's assassination. It's a snapshot of simpler times, when it was still cool to be patriotic and have unshakeable faith that our country was on the right track. It's almost heartwrenching now to consider how far we've strayed from that moment. There was once a movement to make this song the national anthem. If they ever bring it back up, I'm in.

Dive In The Pool - Barry Harris and Pepper Mashay: Originally came out on the first Queer as Folk soundtrack back in 2001, and was therefore deemed worthy to pollute gay danceclubs nationwide for years thereafter. It tries to sound tribal, but fails miserably; how pathetic is it that Baltimora and Gloria Estefan sound more authentic? Includes the requisite black diva (with one of the worst drag names ever), here lamely howling at all the boys to dive in the pool and get soaking wet. Hoarksome. I defy you to listen to more than 30 seconds of this shite without banging your head against the wall, or at least shutting it off.

Generic blog title about misspelling.

Yeah, I'm a lazy, uncreative bum. And I let others do the work for me. Put a sock in it. I shoveled a foot of the wettest, gloppiest snow of the season off our driveway for over an hour today and had a craptacularly useless day otherwise.

So.

Now that we all are clear on my emotional state, let's move on to indulge more of my supposed moral superiority where language is concerned, shall we? Check out this beauty. Anything that references hemorrhoids in the battle against spelling "lose" wrong is golden. And here is the whipped cream on top: "If you put an "A" in "definitely," you're definitely an A-hole." Bonus points for offering up this advice as a poster you can purchase.

Ahh...sweet balm to the soul...

Ramblings on not having kids

What is it about my parents that inspire such ugly, angry sentiments? Pull up a chair and set a spell. I'll tell ya.

Tonight was a classic example of a typical family dinner...except this time it was blown up much more than usual. Dinner pretty much comes down to this: the rest of the family, and then me. The rest of 'em talk about politics, rant about Obama as if he's the downfall of this country of ours, and otherwise engage in conversation the likes about which I could really give a shit. Even the subtle nonverbal behaviors often imply that I'm not really one of "them."

But tonight was really beyond. I really was pretty much ignored during the whole meal. There was company over, which may explain a bit, but really? Rude not to include everyone in conversation from time to time, right?

My big news: I tried out for four solos during a choir retreat this weekend, and landed one of 'em. Thrilled about it - it's a fun one, in a wacky Marx Brothers-inspired ditty called "Lydia the Tattooed Lady." So I told my parents about it. Mild congratulations, at best. Then when I mentioned the name of the song, not only did they immediately say the name of the song wrong (and one thing I've learned is that you don't correct your elders), but they went on to talking about "John the Tattooed Skier," who was spotted schussing down the slopes sans shirt, exposing his ink for all to see. And it went on from there, leaving my good news in the dust. (I somehow suspect that my stint in the local gay men's choir also contributed to my news' lukewarm reception.)

It's behavior like this from my parents that really reinforce the idea that having kids is really just not for me. My old college roommate mentioned a few years ago that he was gonna be a dad, and I was thrilled for him and his wife. Their daughter, of course, is adorable and perfect - and I say that with as little saccharine inflection as I can. They've really done right by her. But I admitted to him that the responsibility of being a parent would be overwhelming to me. I'd be obsessing over every little tiny minute detail, wanting to make sure everything was just so, and freaked out about how said details, if neglected or mishandled, could irreversibly send the kid on a path toward a terrible fate of some sort. He heard me, but he also said that, well, these little buggers are pretty damned resilient, and you just do the best you can. I've heard the former, and I do kinda believe it. But that second part? Not good enough for me.

My parents did the best they could. I have to assume that. On nights like this, it's awfully hard for me to believe that, though. After 35 years, I still feel like a pariah in my own family. What the fuck? If they did the best they could, and this is the result, I sure as hell don't want to do my best and still end up alienating any kids I might have.

I was never breastfed, and as such, lost out on an essential part of my growth. I deal with more colds and such than I should, I have had more illnesses than many - heck, my health just ain't where it should be in general. Also, if my mom actually stopped to consider the bond between her and her baby simply by breastfeeding, she might have done it. Especially knowing how things have been ever since then. (Why wasn't I breastfed? I was adopted, and, well, if a woman hasn't been producing milk, why bother, right? I can't tell you how much that statement is WRONG.)

I sometimes think I was awfully rebellious as a teenager. As a kid, apparently I was "the perfect child." Never cried, never wanted for anything, easy-going, relaxed. And then hormones kicked in, and I transformed into, well, into a regular teenager. Were I in another family (perhaps even one consisting of my actual birthparents, were they up to the task), I might have been handled better. My parents thought that my rebellious streak was me reacting to them. Well, perhaps some, but they give themselves too much credit. It was not about them necessarily. It was about me trying to carve out my identity. Unfortunately, my identity and their values were at odds. A lot. So it was a very unfortunate coincidence. (In contrast, my brother and sister, who were blood-related within the family, became typical "rebellious" teenagers, but because their values were so similar, it usually was a non-issue.)

So yeah, adopting ain't for me. I'd hate to adopt a kid and unwittingly screw that kid up for life.

I'm also fucked in the brain enough that I don't think I'd make a good, effective, and solid father. Loving? Yes. And God knows I'd tell that kid as often as I could that he or she could do anything - ANYTHING - they wanted to. (A message I never heard. Oh, wait, scratch that. I was told "If you're gonna be a ditch digger, be the best damned ditch digger you can be." Yeah. Thanks for the lesson in ambition and being a success.) But giving a kid what he or she would need to actually go out in the world and be functional, successful, and as completely evolved as possible? Not terribly likely.

Also...I would not want to raise a kid with my current (and possibly lifetime) partner. I tolerate many of his habits that I feel are self-destructive, because I know their influence extends only to me, and I've learned to mitigate his influence over the years. (Health is also a huge issue, in general, and Mr. Man is just not healthy at all. And OH MY GOD is that a subject for another post or seven.) But were we to welcome a new bundle of joy into our lives, thence would begin much fighting and anguish. Our sometimes-opposing values would be sorely tested. And it might mean the end of us. (See above about trying my best and still fucking up a kid's life.)

Incidentally, about the whole choir retreat this weekend: tons of fun. Our cabin was small, but the six of us had a blast talking about everything under the sun, from ghosts to Family Guy. LAUGHED our asses off. And became much more tight-knit friends. It was glorious. So to come from that to a dinner where I was a mere afterthought at the table, all but ignored, was a huge slap in the face.

Henry Rollins - Airport Hell

Henry Rollins rules. Over everyone. At least when he's opening his mouth and spewing some of the most razor-sharp commentary on popular culture you'll ever hear. I ain't much a fan of his music; he's way too heavy-handed, and there isn't much fun to be had with his tunes. Even Weight, his band's most critically-lauded album from 1994, was a bit harsh. But put him in front of an audience without a band, and just tell him to GO!, and he will deliver. He'll make you think, but beyond that, damn, will he make you laugh.

I'm at the airport right now, and although I don't travel as much as the peripatetic Rollins, I totally get his skewering of the whole airport scene. When people go to the airport, their IQ does plummet 40 points. Any sane, rational human being gets this, and some prepare accordingly. But others are just too stupid to understand the simplest of concepts.

For example, the metal detector. "What does a metal detector detect? Me-tal," he imbecilically points out, along with the rest of his amused audience. But who doesn't get it? The old man with a janitor's keychain and a month's supply of laundry quarters in his pockets who has to run through the metal detector three times. Apparently, the rules don't apply to him. Or how about showing your ID and boarding pass? How simple is this? Have it in hand. Answer the security questions quickly. Drop off your bags. And move along to the gate. Total time elapsed should take no more than one minute. Two, tops. But some dig in their pockets, trying to find these most essential of objects. And of course, this happens after standing impatiently in line, doing nothing. But the worst part? "Where are these people standing?" Rollins seethes. "In front of ME!" Naturellement.

Rollins continues with the sarcasm, longing for the day when there is a "sit the fuck down and shut the fuck up" light in the plane, and fantasizing about slamming through people who sag on the side of the moving walkway, hurtling them into the air and sending carry-on bags flying, scattering papers and undergarments everywhere. But until then, he still has to deal with the idiots who fail to grasp the simplest of concepts.

Sure, there's simple yelling and spleen-venting that goes nowhere. But Hank has a very worthy point. These people who stand in front of him, acting stupid and wasting time, are slowly killing him. What little life we have on this planet, he reasons, is far too valuable to spend in line, an unwitting victim of the inanities of others. This from a guy who had to dodge bullets in gang shootings back in his heyday with Black Flag. But he also saw one of these shootings result in the death of one of his best friends, right in front of him. Rollins knows whereof he speaks.

Really, any of Hank's spoken-word stuff is brilliant. The older he gets, the more incisive he gets, the more expressive his dead-on impressions of old fragile women or teenage skater punks. One of his most daring of monologues, from the album Big Ugly Mouth, is a cryptically-titled "Touch and Go," wherein he extols the virtues of beating off. As a twenty-something dude. To fellow twenty-something dudes and their girlfriends. Yipes. It takes major balls to talk about that onstage for nearly ten minutes at a time in your life when merely admitting that you beat off is just asking to be ridiculed. The Boxed Life is even more brilliant; though I haven't heard it for years, it was a staple during my stint as a college radio DJ. But the most hilarious stuff I've yet heard accompanies "Airport Hell" on Think Tank. He debunks homophobia (while convincingly explaining why he's not gay despite continual rumors), relives the stupidest thing he ever did onstage ("I just kicked my own ass!"), explains how he'd persuade nations like Iraq not to fuck with us (starting with executions during televised sports events like the Super Bowl), wants to rename El Nino "the First Four Black Sabbath Albums," and wrings tears in a parable about a teenager with terminal cancer who, as his last wish, wanted to just spend some time with Rollins himself. Honestly, the whole double-album should be required listening for...well, at the very least, for anyone reading this blog. If nothing else, a few more people would pull their heads out of their asses and act a bit smarter at the airport.

"Where can I go to see a big good healthy dose of bad attitude?"

Gloryhallastoopid, my prayers have been answered! Maybe six years late, but still...better than nothing, right?

Daria: The Complete Animated Series is being released in May. EVERYTHING. Eight discs worth. Soup to nuts. Pilot episode to two full-length season-ending films. A Mystik Spiral video. A top 10 MTV video countdown with Daria and Jane.

Of course, all clouds must have smoky gray linings, right? The music that made Daria such a perfect time capsule of the 1990s is not intact. It'll be replaced by covers and (as they put it rather euphemistically) "appropriate" generic music. Boo-hiss. But a rather weak boo-hiss. I mean, this has been WAY long in coming, and for Daria to finally be released is major cause for celebration. I may have to have a weekend long Dariathon in a few months. Can't wait.