"Tim Tebow is not a religious symbol."

...so don't write about him using religious imagery, alright?

Good sweet godforsaken Jeebus in a frozen pillbox, people. I am SICK of it.

I've already written about the phenomenon that is Tim Tebow before. I was repulsed before, and I am utterly sick to my stomach now. Because I live in Denver, I get to read headlines once a week about this boy. Sometimes more, because, well, now his very un-Christian way of showing his Christianity at the end of games or in the end zone has become something of a national phenomenon, no longer simply a local thang. But everyone loves him. A friend of mine (whom, yes, I have also written about before) actually has Tebow's name written backwards as his middle name on Facebook, so deep does his enthusiasm go. And I throw up in my mouth a little whenever I see it.

People, this is making me about as nauseated as it did to have to handle eight years of having to utter the phrase "President Bush." And that, my fellow Americans, was well-nigh intolerable. (Ohio, I hold you and your, uh, questionable voting/counting methods in '04 responsible. I don't care you voted Obama in '08...we didn't need you after all the votes were tallied. Send my regards to Pennsylvania, Indiana, and Virginia for that one.)

Now I've heard it all. Tebow is...oh, God, I can barely bring myself to type it. Suffice it to say that I got this from Fox Sports. (See? Why am I even reading this tripe? Fox Sports? That should be kryptonite to me. But there it was, and my addled mind chose to read the article. Effective headline, though: "Tebow might be a true revelation"; it sickened me and made me want to read more.)

Okay: here's the quote.

"Tebow’s birth — a product of his mother’s faith and refusal to listen to doctors advising her to abort — might very well have been a religious miracle."

Great. The last thing we need is for our ailing football franchise - because that's really the most important thing here, to support our local sports team, right? - is for the latest golden boy to be branded a religious miracle because his parents did not abort. Regarding this situation, Tebow is the product of some dedicated and stubborn parents who wanted to keep their child, damn what the doctors said. And that he turned out alright is certainly much to their credit. And from a Whitman/Emersonian standpoint, yes, life is a miraculous thing, no sarcasm intended. But c'mon, people. A religious miracle? That goes about 100 steps too far.

But that's not all. Let's go one sentence previous.

"He’s a shrine to the power of a strong, committed, passionate two-parent upbringing."

A shrine!? Someone stop me before I slap this sports columnist silly. The point here is that Tebow's success is because he had two parents (heterosexual, bien sûr). The comparison is to other QBs like Michael Vick (that paragon of perfection who should still be serving time, and someone whom I sincerely hope karma will address at some point). Apparently, Vick limped along in a single-parent home, and that's why he fails. Tebow was lucky (no, sorry, my fellow Christians. You're right. Luck doesn't exist. It's blessed) blessed enough to have two parents. But seriously? That's the reason for his success? Dude, let me take you aside. (I reserve my "Honey, honey, honey, what's all this?" Karen Walker routine for my fellow gay boys. "Dude" makes more sense here.) There are millions upon millions of people here who were fortunate enough to grow up in two-parent families. I'm sure lots of quarterbacks, too. And I'd imagine that the vast majority of those QBs aren't bringing football teams back from ignominy. The vast majority of children raised by two parents aren't making headlines because of their successes. So don't ascribe Tebow's success to that. And STOP with the religious imagery, and do NOT call him a shrine or a miracle. Because everytime you do that, even God spits up in His mouth a little.

"I'm not scared. I'm outta here."

(Part 3 in a series in honor of R.E.M.; here's part 1 and part 2.)

Up - Thanks to generally bad reviews (and to Monster, still), I don't have this one. And it sounds like I made the right choice. R.E.M. could write a whole album's worth of decent mid-tempo ballads in their sleep. But Bill Berry's understandable bowing-out crippled these guys. Still, they trudged on. And what do you do when you lack a drummer? You make ballads, of course! Well, it sounds like the post-Berry incarnation struggled at it. I will say that the few downloads I've made - the pensive "At My Most Beautiful" and the ethereal and pleasant "Daysleeper" - were not wastes of money. These are truly pretty, pretty songs. But the negative rumblings from around will probably keep me from purchasing Up as a whole.

Reveal - And the next album I never got, even though I did download some songs from it. Experimentation, pop-heavy and luscious. But it sounds like it wasn't entirely successful. These three guys faithfully channel the Beach Boys on "Beat a Drum" and "Beachball," both great songs. "Imitation of Life" hearkens back to Out of Time in its production and Fables of the Reconstruction in that the first four chords are an exact replica of "Driver 8." Apparently, Peter Buck didn't realize until a fan pointed it out to him; this might imply why the song doesn't stick after a few listens. I dunno. You'll have to look elsewhere for incisive critique on this album.

Around the Sun - The worst that things ever got. While I was in a Virgin Megastore lo these years ago, I listened to about 30 seconds of each of these songs, and stuck around "The Outsiders" long enough to hear Q-Tip do a terribly awkward and slow rap. And I was done. It sounded competent. It sounded tasteful. It sounded textureless. It sounded like Muzak. And it was awful...well, actually, it was worse than awful. It was mediocre. Do I need to say I never got this album either?

Accelerate - These guys needed to clear the air, and they knew it. They knew their career depended on it. So they went to work. And good goddamn, talk about your phoenician rebirth. An album ago, R.E.M. was content to merely exist in a corner, polite and unobtrusive. Now, they demand to be heard. Back are the buzzsaw guitars, the stadium-ready noise, the agitprop, and loads of great, great music. Michael Stipe yowls "wow!" on each of the first three songs - the best opening trio since at least Automatic for the People - and ends the whole album with a triumphant "yeaaah!" The whole album bristles with energy; even the one-and-a-half ballads are restless and uneasy, demanding and hoping for personal and political change. Far and away, this is R.E.M.'s best balls-to-the-wall rock album (Monster could only dream of being like this), and possibly their best latter-day album. Well, with the possible exception of...

Collapse Into Now - Their swan song. R.E.M. touches on all of the musical territory they've established since leaving I.R.S. Records - and does it masterfully, beautifully, with elegance, and perhaps just a bit of dust on the proceedings. The hard rock of Monster and Accelerate, the meandering, urgent buzz of New Adventures in Hi-Fi, the balladry of Automatic for the People, Up and Around the Sun, and the ethereal pop beauty of Out of Time and Reveal all have their moments here. (Heck, they even bring in Stipe's muse Patti Smith on his stream of consciousness ode "Blue.") And like many other R.E.M. albums, this one may not be easy to get into, but it slowly grows on you until it's warm as a comforter. Apparently, after the disaster of Around the Sun, these guys wanted to prove that they still could put out good music. With the last two albums, done and done.

Thanks, guys. It's been a great time.

"This decision is mine. I have lived a full life. And these are the eyes that I want you to remember."

(Part 2 in a series of 3 in honor of R.E.M. and a reaction to their decision to break up; here's part 1.)

Green - So R.E.M. jumps to the majors. And the handwringing amongst the loyal begins. Verdict: not really warranted. Green is not a sellout. It does announce that these boys are going for as big and stadium-ready a sound as possible, but they're staying true to their instincts; it's easy to hear Green as an extension of Document, albeit somewhat more personal and musically more varied. Unfortunately, the album is a bit scattershot. I can't really explain "Stand," and "I Remember California" and "The Wrong Child" are dreadful. Still, songs like the oblique and kinetic "Pop Song 89," the delicate "Hairshirt," and the melancholy Big Statement "World Leader Pretend" almost redeem it.

Out of Time - Turns out that R.E.M. maybe just had to get their water legs after suddenly being thrust into the spotlight. Or maybe they just needed a long break after their exhausting world tour. But whatever the explanation, they sound like a band rejuvenated here, and maybe this is officially where the second phase of their career should actually begin. This one has received perhaps the most mixed reviews of all their albums. I think it depends on whether you like the perfect production over most of the music here, or whether it's too cloying. Me? I think it's absolutely fantastic. Beautiful, sweet pop gem after pop gem. Of course, "Losing My Religion" is the crown jewel, but there really isn't a bad moment here...not even Stipe's bucolic improvisation "Country Feedback," which I personally don't care for much. Let's make it easy and say what other songs aren't exactly my favorites: "Low," "Shiny Happy People" (duh), and "Half A World Away." Everything else is golden.

Automatic for the People - Basically the darker twin of Out of Time. Not as consistent, it has higher highs and lower lows. But it's still as lovely, pop-heavy, and accessible...and produced as impeccably as Out of Time. Just don't expect a shiny happy time. Yet when the orchestral sadness hits, expect that...uh..."Sweetness Follows." On the best songs, the lyrics will bring you down, then in the next breath, they'll convince you not to slash your wrists after all. Or they'll have you pining for younger days, or steeling yourself for an uncertain future. Really, really worthy. (Solipsistic note: I devoted nearly half the songs to my favorite mix tape in high school (hey kids! remember those?), and probably should have included a few more for good measure. I also transcribed the gorgeous "Nightswimming" to sheet music (full score as well as individual parts), then gave it to some orchestra friends to perform with me for our high school spring concert.)

Monster -  Bill Berry apparently threatened to quit the band if they didn't put out an honest-to-Pete rock record after two unabashed pop albums. And here's the mess they came up with. To its credit, this album is certainly a bold maneuver, and I would argue it is one of the most important albums R.E.M. ever made; Monster laid the blueprint for many worthy songs afterward, and without it, latter-day R.E.M. would have been awfully monochromatic. But the album itself is just not that great. "What's the Frequency Kenneth?" boasts the least-inspired reverse guitar solo I've ever heard. And Michael Stipe sounds just wimpy and whiny on "Tongue" and "Strange Currencies." The rest of it just sounds like the band is trying too hard to rock, and if ever there was a doubt that R.E.M.'s strengths lie in midtempo ballads, Monster ended the argument once and for all. The only really worthy moments are "Crush With Eyeliner," a glamalicious number that just struts with attitude, and the first ten seconds of "Let Me In," which wash over you like a huge, cathartic, sonic tidal wave. It's a shame the rest of the song merely sounds masturbatory. (Actually, now that I hear it again, the urgent pulse behind "Bang and Blame" is pretty compelling, too.)

New Adventures in Hi-Fi -  The first R.E.M. album (aside from Chronic Town and Dead Letter Office) I never got, thanks to Monster scaring me away. Until just a few weeks ago, at least. And my first thought on listening to this for the first time: "Oh, so this is what they were wanting to accomplish with Monster." But whereas that album had more than a few fun moments, New Adventures is the first in their catalog that actually feels like a bit of drudgery to sit through; not coincidentally, it's also their longest album. Bristling with electricity and dryness and movement, it's the sound of a band in the midst of crisis and transition, fighting with buzzsaw guitars and feedback to stay afloat against the powers that be. They do Neil Young and Crazy Horse proud in "Low Desert," tastefully cannibalize themselves with "Bittersweet Me," and somehow make an otherwise annoying siren seem essential to the urgent "Leave." Good road trip music, which makes sense, since it was more or less recorded on tour and has a similar feel to Jackson Browne's Running on Empty.

National Coming Out Day, 2011

A short list of things (trivial and otherwise) I might have done in years past, were I not so infused with internalized homophobia:

• Participated in a play or two in high school without fear of being termed a theater fag.
• Hit the gym specifically to become more muscle-bound (since not only was I afraid of my attraction to bigger guys, I was afraid of what it might mean if I actively pursued becoming one of them myself).
• And hence...been healthier and more self-confident.
• Listened to the Smiths and Erasure more.
• Felt more comfortable not entering into dead-end relationships with girls.
• Broken fewer hearts.
• Kissed a boy.
• Been more open with a certain summer camp counselor - while I was a summer camp counselor, too! Nothing illegal here!

Then again, I might have also:

• been beaten up more
• been shunned by my family, possibly disowned
• had very few people to relate to
• had very few teachers I could rely on for help
• been summarily fired for being more open with that summer camp counselor
• been banned from Boy Scouts (oh...which might have rendered the summer camp scene moot)

But internalized homophobia did not keep me from:

• looking at guys unendingly
• having a crush on a high school girlfriend's linebacker brother (yes, you read right)
• flaming out occasionally
• listening to the Nylons and the occasional Broadway soundtrack
• getting excited in 9th grade while reading Plato and discovering, quite graphically, that Socrates was at least bi, if not entirely homosexual. (the Charmides dialogue, if you are curious)

It's so weird, though, growing up with messages from friends, family, and society at large that do not jibe with what you're experiencing. Lots of grown-ups at the time told me that they would never want to live through being a teenager again, because my God all those hormones! For me, it wasn't so much about the uncontrollable sex urges, because in my case, they had to be controllable. Yet at the same time, so many of my friends were going girl crazy, and I thought I just had more restraint than they did. For me, the trials and travails of hormones manifested in some pretty profound anguish, and not in sex. Years later, I'm starting to see what the hormonal rush really was about, and I do feel like I lost out on a lot.

The act of coming out was the most important thing I ever accomplished. As I alluded to in a post a year ago, when I was finally out (halfway through college), it didn't matter that I had just failed a quiz, or that it was cold and rainy, or that I had just missed lunch and my stomach was rumbling, or whatever was conspiring to ruin my day. For the first time since those damned hormones began coursing through my body half a lifetime ago, I finally felt solid in who I was. I had a solid foundation upon which I could rest my identity. It was the most profoundly comforting feeling I'd ever had. And it was not sinful.

So what's done is done. I'm out, so are millions more of my brothers and sisters, and honestly, the world is becoming a better place because of it. People are pausing more when they say anti-gay things or voting against so-called "gay rights," knowing that oh yeah, there is that couple down the road from us, and they are actually kinda nice, and don't they seem "normal"? (Whatever that is.) And some parents are undoubtedly pausing as well, because, well, what if my son/daughter isn't straight? So they are having a harder time justifying those homophobic words and deeds. And it all started in huge part over 42 years ago because a handful of queer boys, butch lesbians, and drag queens revolted when police tried to arrest them and throw them in jail for the crime of peacefully gathering together and having a drink at a bar.

"Whistle as the wind blows..."

R.I.P. R.E.M. One of two or three of the most formative bands in my life, and although I was sorely bummed to hear that they had decided to call it a day (to quote directly), after some thought, I was fine with it. Although they haven't put out dross lately, neither has their recent output been staggering.

Now, simply because I can, and I'm that kind of blogger (witness, oh, just about everything I've written here), here's my short takes on R.E.M.'s output, and what you should listen to at least once before you write it off.

Chronic Town - Never heard all the way through. But those short 30-second teasers sure sound fun. I may pick it up, just for the fun of it now. It certainly sounds like nothing else out there at the time...even amongst their fellow Athens comrades, R.E.M. sounds original, mature yet green behind the ears.

Murmur - I'm one of maybe two or three R.E.M. fans in the world who just doesn't get this album. "Perfect Circle" is, indeed, perfect and complete in its incompleteness...spidery and delicate, mysterious and soothing all at the same time. Bill Berry once said that to him, R.E.M. never felt like a band until they performed this song for the first time; for him, this is where it all coalesced. And I dig "Laughing," too...I mean, how many singers, no matter how literate, would ever write a song about Laocoon? But otherwise, I just don't get the adulation this album garners. "Talk About The Passion" is wimpy and boring. "Radio Free Europe" is also yawn-worthy. (The Hibtone recording is more kinetic and scads better, but still not awesome.) And don't get me started on "Moral Kiosk."Just like Big Star's Third/Sister Lovers, this one is easier to appreciate than love. And yes, it still sounds like nothing out there, existing in its own unverse. Mumbling and arpeggios never sounded so cryptic. But that's no reason to think it's the best album of 1983, or one of the top 10 of the 1980s (both inexplicably averred by Rolling Stone).

Reckoning - Son of Murmur. But perhaps a bit better. Sue me for being obvious, but "(Don't Go Back to) Rockville" and "So. Central Rain (I'm Sorry)" were two of my favorites from the early years. And "Harborcoat" was more exciting than anything on Murmur. (It did take like three decades to finally comprehend why "Seven Chinese Brothers" was so great, though, when I heard the Decemberists nearly duplicate it exactly with "Calamity Song.") The tone was still the same, though, and most of the songs remained inscrutable.

Fables of the Reconstruction - Very transitional. All of a sudden, the production became a lot cleaner, even as Michael Stipe's mumbles remained. But the excitement on Reckoning was suddenly suppressed and subdued and uncomfortable. I mean, any album that leads off with such a tense and unsettling song as "Feeling Gravitys Pull" can't be happy (even if that song is pretty excellent). And even the easier-going songs like "Green Grow the Rushes" have an undercurrent of unease. Best song: "Wendell Gee," a beautiful tearjerker about a misfit who somehow dies by entering a tree whose excavated middle he replaced with chicken wire. When the wire turned into lizard skin, the tree collapsed on him. Seriously. It doesn't get much weirder than that.

Lifes Rich Pageant - R.E.M. clears its throat, throws off all the murk, the overgrown kudzu, the mumbling, and the pristine mystery, and dives headlong into full-blown rock and roll. Thank GOD. This is one of their best two or three albums, and the best of their early years. Optimistic, passionate (not just "talking about the passion," but finally living fully in it), idealistic, loud, and messy, here is where I'd recommend anyone who hasn't gotten into early R.E.M. should start. Even if it's not particularly representative of anything earlier than that, it's better. Best songs: "Begin the Begin," "These Days," "Fall On Me," "Cuyahoga," "I Believe," "What If We Give It Away?", "Swan Swan H," "Superman."

Document - And R.E.M. remains bad-ass. Even clearer enunciation and production, more approachable songs, and the boldest, most political record yet. It's a shame that the second side kinda sucks (exceptions: "The One I Love," [yes, really], and the frenetic "Lightnin' Hopkins."), but the first side is damn near unimpeachable.

Eponymous and Dead Letter Office - The end of part 1 of R.E.M.'s career (basically, their contract with IRS Records). Eponymous is the greatest hits (with the aforementioned Hibtone recording of "Radio Free Europe," a cleaned-up "(Don't Go Back To) Rockville," and a cheesy version of "Finest Worksong" with unwelcome brass. Dead Letter Office is R.E.M. clearing out its back pages, B-sides, outtakes, and random paraphernalia. Instructive and often amusing, particularly when the band drunkenly slurs "King of the Road" or performs "Voice of Harold," which is really Michael Stipe singing the liner notes to some gospel perfomance, set to "Seven Chinese Brothers." Also discloses some of R.E.M.'s influences (Aerosmith, Velvet Underground). Even more worthy now that Chronic Town has been appended to it.

More to come later...

At least no one spilled a drink on me, right?

How to feel like Martha Dumptruck:

• Go out on the town to do karaoke.
• Forget to tell friends you're going out.
• Find out that the bar you went to suddenly has a vastly different crowd.
• Don't drink. (Alcohol, that is.)
• Pick one of the most middle-of-the-road, boring songs you can think of to sing.
• Sing it...ah, okay-like. Not fabulous.
• Get tired of the spot.
• Leave and go to another karaoke spot...this one at a watering hole with an established clientele.
• Order more non-alcoholic drinks, and get the eye (not the good kind) from the bartender.
• Feel sheepish, and order what you think is the smallest dessert on the menu to ease your qualms.
• Freak out when you get a behemoth of a dessert. (Yes, you do have to eat it all, says your inner Jewish mom.)
• Sing "Miss Chatelaine" by k.d. lang. In her register.
• Once you're done, have the drag queen who is hosting ask you where you tucked your balls. (Let me reiterate: a drag queen is asking you this.)
• Walk off and finish eating your huge slice of cake.
• Notice that only one other person there seems to be eating, and it's rabbit food.
• Did I mention no friends around? At all.

At least I can take solace in the fact that eventually, Martha ended up spending a fun evening of movies and popcorn with Veronica. Self-effacement, sweetie darlings. I do it all for you.

I'm torn.

I'm allergic to sensitive chick music. (Is that harsh? Oh well.) Now, by this, I don't mean goddesses like Aretha. Nor powerhouses like PJ Harvey. Not even the gentler, and yes, sensitive but still kick-ass singer-songwriters like Carole King or Joni Mitchell. All of them RULE.

Heck, I could make this easy: Lilith Fair. Pretty much says it all, right? There is a LOT to be said about empowering women, and I'm all for it. But Lilith Fair was pretty soporific, no? One of the many reasons why the '90s sucked. The following are kryptonite to me (with a few scattered song exceptions here and there):

Natalie Imbruglia
Lisa Loeb
Sarah McLachlan
Paula Cole
Jewel
Sixpence None the Richer
The Cranberries

The Cardigans (yeah, even though they were college radio darlings)
Dido
Natalie Merchant (on her own...10,000 Maniacs had some good stuff)
Tori Amos

So there's the soundtrack to my personal hell. Here are the few exceptions from off the top of my head:

The Sundays - Reading, Writing and Arithmetic was a pretty good album. It made for a smooth, inoffensive transition to me to liking the Smiths (which I swore I would not, could not, should not like or even expose myself to back in high school, because only faggots and weirdos listened to the Smiths, right? UGGGH...). "Here's Where The Story Ends" was captivating; Harriet Wheeler's voice mesmerized me, the video was super cool, and I could gaze at David Gavurin for hours - and did. In private, of course. And yes, I know that these guys were largely responsible for the list I made above. But as Nirvana (and the Pixies before them) proved, the fount can be awesome, while everything else that follows sucks.

Frente! - I never got into their version of "Bizarre Love Triangle." But that's not a prerequisite to liking them, right? Marvin the Album was super fun. "Accidently Kelly Street" was a cute and bouncy kidlike ditty. Best line, from "Cuscutlan": "And I don't wanna die/I'm as innocent as anybody/I don't even know how to spell 'revolutionary'/Jesus in the sky." A long-lost...well, maybe not classic, but it sure is worthy. Those guys deserved a larger audience.

Get It While You Can - Janis Joplin

Ten years ago today, I had just finished the most amazing weekend with a guy who had suddenly entered my life just three weeks prior. He was wonderful, sweet, caring, generous, funny, a blast to be around, and what was really cool, he really really liked me! We met at a bar - pretty standard. But when we met, we both were celebrating being single, free, and fabulous!

Um. Oops. What they say about love hitting exactly when you're not looking for it? Yeah. Exactly.

Some drunk guy, whom we've never seen since, introduced us on the dance floor. He seemed happy to dance with anyone and everyone, and while he was elsewhere, I grabbed Mr. Man and started chatting with him off the dance floor. And a half hour later, I had a date set with him two days later!

Mr. Man (who was then working for the airlines) told me he was going to see Madonna in L.A. on September 14th, and wanted to offer me a second ticket. Oh...and then he offered to fly up to Portland (where I was living at the time), pick me up, and fly me down to L.A. first class for the weekend! Yeah. He had me.

Until September 11th hit. So much for flying. So instead, still determined to see Madonna and each other, we drove - him from Denver, me from Portland. And we met at the Ramada in West Hollywood and spent one fantastic weekend together. Madonna wasn't half bad, either...especially when she stopped in the middle of the concert to affirm our decision to go ahead with our lives and have fun, damn what those terrorists may have tried to do.

As I left, I had a whirlwind of emotions and uncertainty hit me. He's in Denver! You're in Portland! Long distance relationships don't last! You're in the middle of med school! Med school relationships don't last! What are you thinking? But finally, I just thought, "You know what? Fuck you. I've got a really good feeling about this guy, and I want to pursue things with him."

And right there, on I-5 headed north, came this amazing song on the radio by Our Lady of Southern Comfort. Needless to say, it fully affirmed exactly what I was thinking. And ten years later, Mr. Man and I are still going strong. God bless Janis Joplin. RIP.

On The Occasion Of A Most Impressive Breakfast.

Slow day down here at work. Colleagues have all left for the day, and my stomach commenced to grumbling for lunch. So I traipsed on down to Toast, one of my favorite comfort food joints in town. There's many blessings to working in the downtown district of one of the best towns/suburbs in Denver, and this here is one of 'em.

I walked in for lunch today, well after 1:00 (my yoozh nowadays), to a nearly-empty diner. The manager, a gruff bull with shaved head and a perpetual don't-fuck-with-me expression, still managed a natural smile and seated me. Then came my server...a beefy twentysomething guy with patchy three-day stubble and an adorable smile. Swoon. Friendly as anything, too.

In comes the requisite freshly squeezed orange juice before breakfast, in the classic textured plastic glass you associate with diners and cafeterias. I've had other great things there...the gargantuan sausage and gravy hotcakes, the chorizo breakfast burrito, the Nutella French toast...all fantastic. But today, I was basic...just chose the sausage and eggs with potatoes and a side of biscuits and gravy.

Well. Good GOD. I'm raving about a simple breakfast like this? That should tell you something.

Le Peep calls their eggs "pampered." Um, no. I don't want to be reminded of diapers while I'm eating eggs. Besides, that word (along with "gosh") just weirds me out like the word "moist" inexplicably weirds out the rest of the world. The eggs at Toast are the exact opposite of "pampered." (And for me to rave about eggs, that says a lot. Aside from scrambled and in omelettes, and with plenty of accoutrements, I won't even touch eggs.) In the back, they must have been whipped to within an inch of vaporization, and cooked with a cappuccino steamer. Not a single mucus-like strand of egg white anywhere. Perfectly fluffy...and with none of that icky, uh, liquid that you sometimes see on other egg dishes. Oh, and they say two eggs, but it looked like they served me four. Maybe they like me. I'm not quite a regular there, but I do go in a few times a month.

The sausage links were firm, thick, spicy, and luscious. I will avoid any double entendres from here on through.

Potatoes...pretty well cooked, sliced, and seasoned. No complaints here...as far as adding substance to a meal goes, these were pretty great.

But OHMYGOD...the biscuits and gravy. I have no idea why I have been here for over a year and have only today tried them. Best sausage gravy EVER. It tasted like it was made with black-label bacon drippings. Damn near perfection.

When I was done paying, the server handed me the receipt and gave me a wink. And again, set my heart all aflutter. Then flashed a peace sign when I left. As I walked out, I just thought...man...let me give him a few beers, and he might be up for some, uh, M2M fun!

I stopped back at the office right after...uh...breakfast? lunch? to pound this out. You're welcome. Now go patronize Toast when you're hungry for some excellent breakfast like a good kid. And tell 'em I sent ya when you're done.

The estimated blackboard pauses opposite his thesis.

Prefab Sprout - Jordan: The Comeback: Painful. Critics swoon over Prefab Sprout. And I demand that they justify themselves. This overlong album (by about 17 songs) grates horrendously. Twee and kaleidoscopic. It's so bad, I'm reduced to poor commentary with incomplete sentences made only of adjectives. The only song I really think is worthwhile is "Scarlet Nights," a touching yet rollicking farewell to a dying relative. (And if you can't tolerate even that, you're completely forgiven.)

The Iron Lady: I was too young to really get Margaret Thatcher. To me, Maggie was just a stern British headmistress on the news who was the last person you wanted as a babysitter. Oh, and the punks hated her. Normally, a movie about her would barely raise an eyebrow. But this has me itching to see more. And Meryl Streep could clinch an Oscar - or at least a nomination - on the basis of this trailer alone. Hell, she's not even onscreen for half her part!

Uh...um...this. This actually outdoes People of Wal-Mart. I mean, I kind of slightly enjoy POWM once every few years. But then I get to thinking...hmm. These people are genetically related to me. I could, theoretically, breed with one of these people and we could turn out a specimen that is not incompatible with life. All the DNA fits, we share the same number of chromosomes...it could happen. (Though, of course, the same could be said about a chihuahua and a Great Dane. Theoretically.) And it's at that point that I'm out.
See, with these two glass-eyed walking poster children for Ugly Anorexics of America, I don't even enjoy looking at them. There's no schadenfreude, no amusing rolling of the eyes. It's just disgust that paparazzi have deemed these genetic freaks somehow worthy of tabloids. I mean, they don't do anything interesting. They don't even move. They just stand, wear expensive, ugly...uh...clothes, and look homely. But combine this phenomenon with some of the most nauseating conspicuous consumption and saddest use for reptiles, and we have reached the level of obscenity. If this is what these twins are good for, then put 'em out of my misery. I have a garden to cultivate. Ship 'em off to Siberia. Or a cat farm. (I'm convinced they're gonna be the subject of the next Grey Gardens.)