Monday, August 31, 2026

Song of the Day: "Settle Up with Your Downfall"

A column about music, and about how the music informs our lives. Today's author is Joe. See the previous songs HERE.


"Settle Up with Your Downfall"
Sincere Engineer
from Probable Claws
2026

Fuuuuuuuuck, I figured it out. The answer to a mystery that's been bugging me for years. And it ain't pretty.

Okay so the main mystery requires us to break the fourth wall briefly. No strangers to that around here, but still, I figured I'd warn ya anyway. Especially since when I start talking about the blog in a meta sense, I fear that it gets boring, because I assume that no one actually gives a shit about inside baseball bullshit on the blog. Consider yourself warned.

We operate on Blogger. The URL says "blogspot," but that's due to a grandfather clause. From what I recall (and I didn't do any supplemental research to back these hazy memories up), PoYB originated on a blogging platform called "Blogspot," and then at some point, Google LLC Or Whatever The Fuck bought it out, and pushed it under the umbrella of their own blogging platform, called "Blogger." But they didn't change the URL. So you type in "blogspot," but when I go to the interface where I do all the editing and publishing, that's blogger.com.

All that to say that this website that I am typing these words on right now is owned by Google. Been that way for a long time. I am still here due to inertia, and due to the overwhelming horror of even thinking about trying to move over ten thousand blog posts over to a different platform. Plus, it's free. This is the understanding, and ultimately, the first-level mystery here. Why is it free? Why have I been allowed to operate this dumb blog free of charge, free of ads, for almost twenty years? What's the catch? There's always a fucking catch.

When we talk about "what is free on the internet," then what we're really doing is asking who is the customer, and what is the product. You can think about Facebook as a well-known example. Facebook has never charged a membership fee, as far as I'm aware. Though you might get swindled out of money through spam ads and deceit, it's never been Facebook itself asking you to pay money for its services. It's free to use. So what does that mean? That's means that you are the product. In this case, it means that all your personal information is documented and sold as many times as possible, mostly to advertisers but to other even more nefarious entities as well I'm sure. You can think about it like you would a cow on a farm. Why is it that cows are given a free place to stay, free food to eat, free medical care when necessary? It's not because the farmer gives a shit about the cow, it's because the farmer is keeping his product safe, before it is sent to be slaughtered.

So if we're operating for free here on Blogger, then the question remains: in what ways are we the product? Why have we been allowed to languish here in relative obscurity (relative to other websites around the internet) for free, doing as we please in this space? In what ways are we the cows, awaiting slaughter? I don't think it's as simple as the Facebook scenario. I don't think it's as easy to pull our personal information from these words. I've done what I could to prevent people's identifying details from entering the algorithm, and I myself have typed a LOT of personal details about myself, but I'm just one guy, and it would take a lot of effort for to pull the necessary info from my shitty prose for very little payoff (i.e. selling the personal info of ONE GUY doesn't feel worth it to me, from the perspective of someone who sells personal info to advertisers).

I think I have the answer, but let's first talk about a different mystery that's been floating around these parts for the past few years. This mystery has bothered me for a long time, and it's necessary to talk about here in today's post, since it occurred to me the other day, suddenly, out of the blue, that the mysteries have the same exact answer. So put a pin in the first one for a few paragraphs, and let's discuss the second one.

I've mentioned offhandedly a few times over the years that, on the aforementioned Blogger interface where I act as editor-in-chief, there is a tab for "Stats." Here, you can see how many "hits" the blog has, over the last eighteen years, broken down in yearly, monthly, weekly, and daily chunks if you need them, as well as specific visitor counts for individual blog posts. So I can see what blog post has the most traffic, and I can track traffic over the past however long, to see if more or less people are visiting the blog during certain times of the week or certain times in this blog's lifespan.

It's traditionally been sort of a useless tool to me, since the readership of PoYB is not that large. Less than 100 people in my own life are even aware of this website's existence, and way fewer than that are even semi-regular readers. I'm not discounting the idea that there are people I don't know who are semi-regular readers, friends of friends and friends of friends of friends and whatnot. But if they exist, they do not exist in large numbers. They can't. This isn't that type of website. It's just a hobby. At the upper end of reasonable estimations, we could reasonably say that maybe 20 people are visiting PoYB a day, and even at five clicks per person, that's like 100 visits per day. Maybe sometimes people are clicking around and we get a few hundred clicks. That's reasonable. That's logical. And that's not really worth clicking the Stats tab over. Traffic isn't the point! I'm not creating content here! We're just typing for shits and giggles! Who gives a shit!

But I'll idly click the Stats option every once in a while anyway, and sometimes I'll notice strange spikes. There might be a day when we have like 3000 hits. Why? This is what I've been thinking about for literally years now. It happens often enough that I notice it, and it bothers me. It'll happen for like four days in a row, and then it will stop for days or weeks, before happening again. It's pretty obvious that the numbers are inflated for reasons outside of people literally visiting the blog to read what's written on it. It doesn't make logical sense for a Tuesday to have 200 clicks and a Wednesday to have 2500 clicks, especially when the post on Tuesday is a blog post about the fourth-most popular Fleetwood Mac album and the post on Wednesday is some hack creative writing blabber about a forgotten American sitcome called 'Til Death.

For a while, I had visions of, I dunno, a skeleton crew in the Blogger cubicles getting a notification that there is still one blog on their servers that is being updated daily, and those clicks coming from that staff, either out of curiosity or out of professional duty. Something like that. I wasn't sure whether I should be worried or not. I sincerely don't know what the entity of "Blogger" even looks like. Are there even workers assigned to that department? Or is it just an empty shell that can run on its own?

The suspicion has ratcheted up significantly over the past couple weeks. The Stats tab has gone off the chain. As of this writing, we've had about two straight weeks of approximately 25,000 hits per day. 2500 was illogical, but 25,000 is just laughably false. C'mon. There's no reason for it. The blogging itself is still steady, but no one is reinventing the wheel here. We're not "viral," because there's nothing that could go viral even if that was the goal, which it's not. And if you'll recall, individual blog posts get tallies too, so it would be one thing if we got 25,000 hits and a Bruce Springsteen retrospective said "24K" next to it, but it doesn't. At the end of the day, something like that usually says "8." Not eight thousand, but eight.

It doesn't make sense... until it does. Folks, I figured it out. These two mysteries are the same. They have the same answer. Why we are allowed to play around on Blogger for free and why there has been an increase in traffic, they are both related, inexplicably intertwined. The truth hit me like a ton of fucking bricks the other day. It's all so fucking obvious. Why haven't I thought of this before?

Google is using Puke on Your Birthday to train its AI.

Think about it. It all makes sense. The training tool is visiting PoYB to take the words written here for its own purposes, and that's what's bumping up the traffic. And Google is heavily (and disastrously) invested in improving their AI, which can read through pieces that humans have written in order to improve, and so why not use this resource, Puke on Your Birthday, where actual humans have written tens of millions of words, millions of real-life sentences typed by human hands? I can't even use the word "steal" here, because we're on a website owned by Google! For free! We are the product!

What if that's the reason Blogger still exists? It's the only reasonable explanation. There is literally no other reason that such a useless dumb bullshit website could hold any value. Our words are here, and the company that owns the words is using their robot to suck up everything we have created. And there's nothing we can do about it! This is the world that we have built. We have typed and typed and typed and all this time we have been sitting in the goo pods from The Matrix, living a lie while our brain power is sucked into the machine.

There's not really an upside to any of this. I have taken great pride in this body of work over the years, and it makes me feel like a chump that there's some underlying nefarious purpose to it. I also cringe at the idea of some AI bot taking on my writing voice, at the very least because that means that my voice is no longer unique. Worst of all, it feels like our fate here on this website is now irrevocably tied to the fate of AI, which as we all know is a bubble, and I fear that when that bubble pops, we'll pop right along with it. 

What other option is there, though? I get a six-gig file sent to me every month, containing within it a full copy of the blog. I've always considered that an emergency option, moving away from Blogger onto some other platform. It's probably not as easy as it sounds, either. I'm sure if I ported everything over to Wordpress, there would be some jacked-up error with the formatting that would require me to manually fix 10,000 blog posts, and I'm not looking to choose to do that anytime soon. And as we discussed at some point earlier, I'm slowing down on the blogging but I'm not in any position to stop. Too much of my emotional wellness and overall sanity is tied to the act of typing in this space. I don't know what I would do if I was forced to stop. That feels like an exaggeration, but it's unfortunately true.

I could also just... give up caring. Accept the fact that this is the world that we live in. That the bad guys won, and that they have branded us all cattle, and that there's nothing we can do to prevent the slaughter that is headed our way. Might as well enjoy the free room and board while we wait.

In My Place 242

August 30, 2026. 40.11946, -75.12311. See the updated map here. See all the blog posts here.


I don't know what the etiquette is. I don't have the experience. Do you ask about the sickness, or do you not ask about it? Is that all you talk about, or do you ignore it? Try to split the difference? I tried to split the difference. It was fortunate that my paternal aunt was there when I got there. She has the experience. She knew what to talk about. I learned from her. There's small talk, to start, then there's a delicate balance of asking about what's happening in here and what's happening out there. What I'm missing while I'm not here, what you're missing while you're not there, trying to bridge that gap. Or something. I don't know. I don't know how to help, or if I can, or if my presence is helpful or if it's detrimental or what. But I'm here, when I can be.

Sunday, August 30, 2026

Album of the Week: Reality Awaits

Well, this is it. The final week I'll be bothering anyone with extra emails about Record Club. I mean, you'll still be bothered, assuming that emails on Sunday and Thursday mornings are bothersome. But not anything other than that. Unless you're in Film Club. Or unless I decide to send something about a special project. Actually, that reminds me, that Donny Most thing (see bottom of this post) is gonna be coming up before you know it, I have to get on that. Maybe I'll announce the details next week. For now: enjoy Record Club's Album of the Summer, and let us know what you think!

Record Club:

WEEK 396 — August 30-September 5, 2026


Reality Awaits
by the Strokes

LISTEN:
Spotify | YouTube | Bandcamp | Apple

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PICKED BY VOTE

CATEOGRY OF VOTING: "Final Album of the Summer" — I know it was a small sample size on the poll, but I'm still shocked at how handedly the Strokes defeated their opponents. The second-place album has half the votes that Reality Awaits did. I read something recently that posited that 2020's The New Abnormal was basically the only album that matters to Gen Z Strokes fans, which is a fascinating reframing of my understanding of the Strokes. Maybe they are more popular now than they were in the early aughts? Maybe I know nothing about the world?

LOSING ALBUMS: Confessions II by Madonna; I Must Be Dreaming by Alabama Shakes; Lost Weekend by Phoebe Bridgers; Loveland by Suki Waterhouse; petal by Ariana Grande; THRASHER by Brandon Flowers.

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ALBUM DETAILS

GENRE: Indie rock, post-punk revival, neo-psychedelia, new wave

RELEASED: July 24, 2026

LENGTH: 42:39

TRACKLIST:
  1. Psycho Shit
  2. Dine N'Dash
  3. Lonely in the Future
  4. Falling Out of Love
  5. Going to Babble On
  6. Going Shopping
  7. Liar's Remorse
  8. The Fruits of Conquest
  9. Tyrants of the Mellow Moon
LYRICS: Genius.com

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ARTIST DETAILS

PRONOUNS: all five members prefer to use he/him/his pronouns

ABOUT: The Strokes formed in New York City in 1998. They consist of Julian Casablancas (vocals), Nick Valensi (guitar), Albert Hammond Jr. (guitar), Nikolai Fraiture (bass), and Fabrizio Moretti (drums). Is This It, released at the turn of the century, was influential in that it started the garage rock revival of that time, and centered the NYC-based rock scene of the aughts (as captured in Meet Me in the Bathroom). The band has maintained a relatively high critical reputation, but with dwindling commercial success since their debut. However, their COVID-era release was successful with a new generation of Strokes fans. Casablancas and Hammond Jr. both have robust solo careers (Casablancas with the Voidz). They are politically minded, with Casablancas especially being very upfront about his views.

DISCOGRAPHY: This is their seventh and most recent album. The aforementioned Is This It was their debut in 2001, followed by Room on Fire in 2003. The most recent before Reality Awaits was The New Abnormal in 2020.

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ADDITIONAL INFO

READING SOME SHIT: Steven Hyden talks about the history of the Strokes and their critical reception over time

WATCHING SOME SHIT: the whole show on their most recent tour

RECORD CLUB CONNECTIONS: The video for this album's "Going Shopping" is an homage to the video for Paul Simon's "You Can Call Me Al," Paul Simon formerly of Simon & Garfunkel from just last week.

Arctic Monkeys were influenced by the Strokes, and the first line on their Tranquility Base Hotel & Casino is "I just wanted to be one of the Strokes / Now look at the mess you made me make." The Killers apparently threw out everything they were working on (besides "Mr. Brightside") when they first heard Is This It. We Are Scientists have also talked about being influenced by the Strokes.

Casablancas featured on Charli XCX's brat and it's completely different but also still brat. The Strokes also brought her out to perform with them at a festival this summer. Casablancas dropped three Velvet Underground covers for the hit HBO show—you guessed it!—Vinyl.

Rick Rubin produced this album, and he's produced so many albums by so many different artists, including many RC artists. These are the RC albums that he's produced that I saw as I scrolled through the very long list: Give Up the Ghost by Brandi Carlile. Whoops, I thought there would be more. Rick Rubin, for what it's worth, seems like a creep, though I don't have evidence to back that up.

The Strokes have a song called "Ode to the Mets," and Geese threw out the first pitch at a game earlier in the season.

Albert Hammond Jr.'s dad, Albert Hammond, has a retroactive writing credit on Radiohead's "Creep," which is pretty funny.

Fabrizio Moretti once dated Kristen Wiig, an obscure actress whose only notable role was Ghostbusters.

How far can I stretch this section today?

Tina Turner suffered a stroke in 2013.

Okay that's enough.

MENTIONS ON THE BLOG: "Last Nite" was named as the 37th-best song of the '00s. "Under Cover of Darkness" was named as the 27th-best song of the '10s. I reviewed The New Abnormal (back when I thought it was gauche to feature big-tent indie rock releases in Record Club, but we've moved past that), and that review is making me think I need to heavily revisit that thing in preparation for the review of Reality Awaits. Laura chose a song from that album for YSC Day 23. So, so many little passing references to the Strokes scattered throughout this blog, especially the Record Club reviews. They were an influential band on our generation, clearly!

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RECORD CLUB ALUMNI ASSOCIATION

This week's discography dive album: PINK by CHAI

This week's follow-up album: Luck... or Something by Hilary Duff; Monica by Jack Harlow; Weight of the World by Footballhead; ARIRANG by BTS; possibly more

This week's keeping up album (probably): n/a this week

Listen with us! Keep your favorite Record Club artists in the rotation!

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COUNTDOWN:
69 Weeks Until Week 420


We are tracking and counting down every week from here on out till Record Club Week 420. We started this countdown 69 weeks out. During Record Club Week 420, we will be covering Donny Most by the esteemed Happy Days virgin Donny Most. The goal for Week 420 of Record Club is that it will feature 69 reviews from 69 different people. 

THIS WEEK: We are 24 weeks away from Week 420.

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Happy listening, RC family!
Have a great week!

In My Place 241

August 29, 2026. 39.95242, -75.16998. See the updated map here. See all the blog posts here.


It starts so good, maybe even to the point where we are "catching" good behavior and being vocal about it, like "we're proud of you guys for behaving yourselves." This is at a fancy restaurant, no ironic quotes required. It's brunch, it's outside, it casual fancy, pressure is low but the pressure is still there, feeling a little like we're toeing the line on the social contract by bringing the kids to such a place. Mostly young-ish women wearing the same exact yoga outfit (I'm not exaggerating, maybe they all go to a studio that makes you wear the same thing?) surrounding us, definitely the only family, one couple with two huge dogs, but let's be clear, the dogs were WAY more well behaved than these kids. Still decently behaved, but it's a gradually heightening of tension of acting out, not noticeable at first, some bubbles in the glass of water, some SHHHs exchanged, a near miss of a spill, until finally it's the check and the two older kids are wrapping cloth napkins around each other's heads and the youngest runs around the table and trips and falls and starts crying and we rush out of there as quick as we can.

We survived. I love what we have built over the past twelve years. We eventually be able to go out to eat without losing our fucking minds.

Saturday, August 29, 2026

Record Club Alumni Association — Minutes from Meeting #12: Tori Amos, St. Lucia, Cautious Clay, Weezer

The Record Club Alumni Association meets every week to discuss the larger body of work that our RC alumni have put together, outside of the specific albums that were covered in the main section of our club. You can follow along with everything that the RCAA has covered so far HERE.


(Deeper Dive)

Tori Amos

Little Earthquakes — RC Week 187 — 3 pukes out of 5

From the Choirgirl Hotel
1998

The plan was to get really into Tori Amos this week, but it just never materialized. I think that I'm a little more cognizant of the value of this music this time around (whereas I was completely nonplussed during that week of RC), but I'm still not there completely. I just can't get past the nagging thought that Tori Amos occasionally sounds like a half-baked Kate Bush. Not that I love Kate Bush's music either, but at least her weirdness feels like it has substance. Tori Amos is excellent at setting the mood, but almost nothing sticks with me. There are moments, like the fascinating instrumentation choices in "Cruel" (DJ scratching? xylophone rhythm?), when I see the genius peeking through. But "Cruel" doesn't give me anything to hold onto either. I'm not humming "Cruel" later in the day. It's like the art piece at a museum that feels like an outlier when you see it, and you forget about it as soon as you don't see it. It frustrates the hell out of me, because I love weirdo art-pop, and I love outliers, and I want to love this so much. But I'm stuck in the same spot that I was last time: this is fine, it's okay, I probably won't return to it too often after this.

GRADE: 3 pukes out of 5


(Follow-up)

St. Lucia

When the Night — RC Week 326 — 3 pukes out of 5

Fate Morgana: Dawn
March 14, 2025

Sometimes I'll be listening to a YouTube playlist version of an album that is new to me, and a song will come on that is so preposterously cheesy and out of place and plastic-sounding that I have to check, and sure enough, yup, it's a fucking ad. I felt the pull to check for ads multiples times while listening to Fate Morgana: Dawn, only to remember each time that I was listening to the album on Bandcamp. The album is just that corny. Market-tested for your approval! Do you like bossa nova with your consumer-capitalism indie rock? Well then, make sure you check out "In Your Arms"! It's quirky in a cute way! Oh god, I have to stop, because the sarcasm is misinterpreted as sincerity. The question is, is St. Lucia being sarcastic too? Or are we gonna have to take the Chase Visa commercial music seriously? Okay, fine, I'll cop to taking one song seriously, if only because St. Lucia clearly did: "Going to Space." There's enough meat on the bones of this eight-minute chameleon that I'll tip my hat. Only once, though!!!

GRADE: 2.5 pukes out of 5

Fate Morgana: Dusk
December 5, 2025

The hope is that I get all caught up on these RC alumni albums eventually and I don't have to worry about listening to these double-albums-released-separately back-to-back anymore, because when it's an artist like St. Lucia, it becomes way too much. After listening to Dawn and writing the blurbed review, I immediately clicked on Dusk, and listened to a song called "Oh Daddy," which... yikes. Too much! Musak for the YouTube generation! Filler for the filler-filled I <3 Radio music vibers! No! "People Change" sounds like the type of music that the 1975 have already given their ironic take on, and it's too weird that St. Lucia doesn't really seem to understand what irony even is. I have quips about all these songs, just like that. But I think the biggest missed opportunity is creating some thematic juxtaposition between the two sibling albums. Dawn and Dusk just sound like two collections of songs. I guess Dusk has more upbeat songs? Or do I just want it to be that way? Anyways, I'm tired of this shit. Give me the next one.

GRADE: 2 pukes out of 5


Cautious Clay

Deadpan Love — RC Week 181 — 2 pukes out of 5
KARPEH — RC f/u #22 — 3 pukes out of 5
The Hours: Morning — RCAA #6 — 2.5 pukes out of 5
The Hours: Night — RCAA #6 — 2 pukes out of 5

The Hours: High Noon
July 31, 2026

Oh great, yeah, this is exactly what I needed. Give me my medicine. Some of the straightest, middle-of-the-road contemporary R&B pop music you could possibly make. I need it. I need to be humbled in this way. Nothing like some random fucking guy falling into Record Club and releasing some boring-ass bullshit every nine months for the rest of my life. I wouldn't be surprised if he dropped The Hours: Supper Time by the time I finish writing this review. You should know that I'm doing this because I'm obligated to do it. I'm sorry that I can't give you a more sincere effort, but I just can't fucking do it with this algorithm pop any longer. Who listens to this? Who? Tell me who. Please. I'm begging you. I want to know how there could possibly be a market for this. I want to know how Cautious Clay manages to put food on his table. Does he have a day job? Does he work at CVS stocking shelves? Do his coworkers know that during the "hours" outside of work, he's making the most cliché music that's ever graced the "listen to this" section of an AI-generated Spotify playlist? I don't know. I don't know.

GRADE: 1.5 pukes out of 5


(Keeping Up)

Weezer

OK Human — RC Week 105 — 2 pukes out of 5
Van Weezer — RC f/u #1 — 1 puke out of 5

The Gold Album
August 21, 2026

The "they're back!" narrative is almost always played out, but it is especially played out with Weezer. With The Gold Album, they are not "back." They are the same as they've always been. Yes, that includes Pinkerton, don't let your rose-colored nostalgia glasses fool you. And DON'T let the self-referential humility of something like "C.E.O." fool you either. Just because you acknowledge that the new song sounds like the old song doesn't mean the new song can't be a tired retread of that old song and worthless because of it. Look, I went through this once. I was suckered into it over a decade ago. Everything Will Be Alright in the End was a Weezer album about Weezer, about how they were "back," about how they still had it. I have rose-colored nostalgia glasses for that one. I was vulnerable once, but there's no reason you have to be vulnerable here and now. Listen to "Don't Make It Weird" if you need a wake-up call. These lyrics are fucking ass. And if you think that they are "back" because the lyrics elsewhere are claiming that they are back, well, just you fucking remember what happened last time they said this: a couple years later, "Africa" happened, and they leaned into it. Weezer are not back. They never will be.

GRADE: 2 pukes out of 5


(Random RCAA News)
  • Mac Miller's The Divine Feminine is getting a tenth-anniversary deluxe reissue. No sign of Mac Miller showing up in RCAA, but never say never.
  • Turnstile's NEVER ENOUGH is getting a remix version, and it features Dan Deacon, Slayyyter, Hayley Williams (of Paramore), Julien Baker (of boygenius), and Panda Bear (of Animal Collective).
  • I was like "I wonder if I'll be able to find a third news item for this space" and then like five minutes later Dolly Parton passed away. R.I.P. She lived a good life, and now she's up in heaven, waiting patiently for her good pal Kid Rock to join her.

In My Place 240

August 28, 2026. 40.07307, -75.06927. See the updated map here. See all the blog posts here.


Heard a sound like a yell, muffled because the windows and doors were closed, but it was out there, so I went out to investigate.

Everything was silent as I stepped onto the top step of our stoop. Nothing moved.

Except me. I slinked around the corner, down the driveway, soaking in the solitude and silence.

I have a friend who used to drink on this roof. So she told me, years later, after I bought the house next to the building she used to drink on top of. The roof seems pretty steep, something only a sixteen-year-old would deign to sit on for more than a few minutes, let alone get fucked up on.

I haven't heard from that friend in a while. I hope she's staying away from roofs.

I started walking back to my front door, and when I reached the top step again, I heard the scream. Clearly this time. I whipped around.

Three young kids on bikes, down the driveway, into the dark night, screaming about who knows what.

Probably just screaming because they felt alive, as one often does at that age. Alive, with a propensity to ride bikes at night and sit on roofs.

Friday, August 28, 2026

Discussion — Week 395: Wednesday Morning, 3 A.M. by Simon & Garfunkel


I appreciated the opportunity to take this album and these musicians seriously for one week. I thought it was a worthy endeavor. But you know what I appreciate now even more? How fucking terrible Paul Simon's haircuts were in the '60s. Holy shit! It's funny, because my longstanding thought was "That Art Garfunkel, what a fucking jabroni, look at his hair!" And now I'm ending this week thinking that there's no way anyone had a worse haircut than Paul Simon. I'm not even thinking about Garfunkel anymore!

So, uh, what else are we thinking about? How was the music? How were the reviews? Anything get your motor running? If not, it's all good. Summer is over, let's get this weekend going.

Wednesday Morning, 3 A.M., Sunny


We've spent the week hanging around in the Finger Lakes area. Nice stuff—rolling fields, calm water, big blue skies. And lots of driving to get from one thing to another. All that driving has given plenty of opportunity to listen to Simon & Garfunkel (and the Strokes, for another day), which has been extremely apropos. The soft folk voices, the slowed-down tempos, the Americana lyrics feel right at home.

Kelsey pointed out that these anti-war pro-civil rights songs probably blew heads and burned down houses 70 years ago. Today, it reads a lot like same-y and a little corny, the wheel of time and culture flattening the freshness this probably had. "Sound of Silence" obviously still kills, and "Mountain" and "Brother" I mostly enjoyed on the way through. Driving back from Seneca one day, we had the sudden, chilling thought: "Might Joe be right about S&G?" Maybe we just like the later stuff more.

Wednesday Morning, 3 A.M., Gloria


I know the songs on this album well, although I don't think I've listened to it as a whole very often. I grew up in a family of folk music lovers—everyone could at least manage basic guitar chords and a folk strum, and family parties always included singing. Simon & Garfunkel were always a big hit.

The obvious standout on this album is "The Sound of Silence." It's striking to hear lyrics written in 1964 about people's inability to connect on a deeper level just stuck instead in surface-level interactions. I wonder how much different it feels from that time, and how much more superficial our interactions have become in the 60 odd years. I feel like it's become more superficial in just my lifetime, but maybe that is a skewed perspective. It's easy to idealize a different time. And yet there's something strange about the contrast: we live in an era where people share intimate details of their lives with total strangers, and still our day-to-day interactions can feel hollow. Building real community is so hard.

That's what the song captures for me, that isolation underneath all that noise.

In my own life, I'm often the one who does the maintenance in friendships, the one who reaches out first. I find myself wondering how much that effort is even noticed or appreciated. I wonder if I stopped doing it, how many people would start making more effort, or if they would just let the relationship slide.

Lately I've been thinking about whether I chose the right life, in like the Sylvia Plath fig-tree sort of way, where every branch not taken represents a version of yourself you'll never get to live out. The paths I did choose have cost me other things, and a built-in sense of community is one of them. I didn't move far from where I grew up (though I didn't want to stay there either), and even so, it's been hard to find that sense of belonging here. People from Philly tend to already have their circles, old friend groups built on decades of shared history. I rarely fall in with them, and even when I do, it can feel isolating; there's a kind of hyper-local shorthand made up of high school memories, sports teams, other things that happened twenty years ago that I'm simply not part of. Most of the people I have connected with here moved as adults, like me.

And I don't think there is anything necessarily wrong with it. It's just something that I notice. Maybe that's the real appeal of a song like this, it kind of offers you company in the noticing? And there's something to be said for that. I don't know, maybe we need to find other people who hear the same silence we do.

Wednesday Morning, 3 A.M., Frank


I cannot express just how annoyed I am that I thought this album was boring as shit. 

I came into this fully prepared to rub it in Joe's face that this was actually good and his hate is boring and clichéd. And then it wasn't. It sucks ass. It's like a not fun parody of folk music. "The Times They Are a-Changin'" was a crime of a cover. It probably convinced Dylan to go electric. 

It very much makes sense that this was unsuccessful and Paul Simon moved to England. Whatever happened there that he brought back with him that lead to The Graduate soundtrack was a freaking miracle. 

I'm so mad. Whatever. "Bridge over Troubled Water" is great. I'll always have Graceland. In the words of Ralph Mouth: sit on it, Joe.

Wednesday Morning, 3 A.M., Melissa


Simon & Garfunkel's Wednesday Morning, 3 A.M. was not my plan for this evening. I've got a good book to finish, goddamnit. I'm writing this review purely because my husband hated it so much. So when I put the album on, I was STUNNED by his hatred. My love for this album purely comes from my father's love for this album. I know for a fact he still has the actual record. This album is true nostalgia for me. Is it weird that they sing so much about the Lord in "You Can Tell the World"? Maybe, but I did the musical Godspell, so I'm not going to pooh-pooh this. 

Their harmonies are so soothing and weird to me. "Bleecker Street" is a lullaby, and it's the sound I think of most when I hear Simon & Garfunkel. 

Let's not pretend "Sound of Silence" isn't the most beautifully tragic song of all time. Sure, The Graduate of it all is important, but it's much more for me. My dad had been drafted (kicking and screaming) to the Army during the Vietnam war. This song was a reminder of his loneliness and fear—although he has never phrased it in that way. He was an un-athletic South Philly kid off to bootcamp in the South, and Simon & Garfunkel sang that into meaning for him. 

"Peggy-O" is silly lyrically, but again we have that classic vocal and guitar sound that for me is legendary. 

On a giant aside, the other day my kids were fighting about some stupid songs they wanted to hear, and I yelled "SIRI PLAY 'THE TIMES THEY ARE A CHANGIN'' BY BOB DYLAN ON SPOTIFY”... the children were silent as Bob warbled on. I digress, except to say kids can drive you to '60s rebellion music. This S&G version doesn't have the same spark as Dylan's, but it's still so good. 

"Wednesday Morning, 3 A.M.," and a lot of this album, feels transcendent. Am I at the Renn Faire or is it 1965?

My husband is wrong. This album is great, and weird, and folk, and harmonic, and all over the place, but still grounded in their sound. Are there better Simon & Garfunkel albums, yes, but I will still give this one a thumbs up.

Wednesday Morning, 3 A.M., Gary


I didn't think I would ever dislike S&G. In fact, I thought they could not fail. They are the Beatles duo in my eyes. Even the worst songs I thought were still good. And this album proved me very, very wrong. 

Sidenote. At 3:00 AM on a Wednesday, there are only a few things I would be doing. Mainly, being woken up by our one-year-old. Ten years ago, I would have assumed it was the devil waking me up. Ten years before that, I was still up playing video games. Finally, ten years before that, I was trying so hard to go to bed, tossing and turning, worrying about going back to school after the summer. 

Why am I telling you all this? Raised in a Catholic-in-name-only house, church on Sundays because my nan would guilt us into going, I never once listened to a religious-y type genre. Or at least not when it was blatantly obvious. 

And then I listened to this and thought, "Are S&G super religious? What the fuck were they doing up at 3:00 on a Wednesday? Why are these songs total dog water?"

Life lessons learned. Not all great things can stay great forever. Maybe in ten years I'll be up feverishly writing a music review. Maybe I'll be worried about my kids starting their next school year. Hell, I might even start dementia a little early and think the devil is waking me up.

But I can tell you this for free. I'll never be listening to this album, or S&G for that matter, the same ever again.

Wednesday Morning, 3 A.M., Catherine


It's tough judging a debut album when you already know how much more an artist is capable of, but as far as I'm concerned, the rest of the tracks here could be banging pots and pans as long as we get "The Sound of Silence." Nestled among a few dated hymns and covers is one of the greatest songs of all time, and that's automatic hall of fame consideration for me.

I've listened to this album a few times now (most recently on Wednesday morning at 5 AM, so close!), and my perception has evolved a lot. It first struck me as a little frivolous with clap-along church songs, like their parents sat them down and only let them choose family-friendly tracks so grandma could listen. But the privilege of living in the future stops me from criticizing too harshly.

This is our first taste of legends in the making. I'm extremely biased here, but S&G are very much my shit. They're medieval troubadours who fell through a wormhole into the post-beatnik era. Give me black turtlenecks and hand-painted protest signs and smoky Greenwich village poetry readings and I'm so very sold. They were introduced to me by my mom who never got to see me become an adult, and I can't explain the attachment fully, but listening to them feels like getting to meet her as an adolescent.

"Take my arms so I might reach you."

Sorry, getting a little maudlin for Record Club, but if you're in the mood to be moved—not wallow, necessarily, but indulge in a little spiritual melancholy—these are your guys. Poetry, seraphic harmonies, lyricism! This is certainly not my favorite Simon & Garfunkel album, but it's fascinating to see how they started and how they evolved, and I can very much appreciate it for that.

I got a chance to see Paul Simon's farewell concert in 2018 in his hometown of Corona, Queens. He finished his last song as I squeezed my way to the front, and he thanked the crowd saying, "It means more to me than you'll ever know." I cried, hardly able to believe I was lucky enough to be in attendance for this final, historic moment.

Anyway, that son of a bitch has continued touring ever since.

Wednesday Morning, 3 A.M., Nate


Regarding S&G:

They found a homemade incendiary device at the Grateful Dead symphony show in San Francisco, a misplaced outburst of aggression toward a generation who is guilty of the same thing every other generation will be guilty of: the inability to let go. A fool blames the symptom, a scientist recognizes the disease. No one except you made you use your ears and eyes in the way you do. No one except you is responsible for seeing a strange garden and calling it a patch of weeds. Shame on you for treating life like a quarterly earnings call and not the only experience you'll ever get. Why do you live this way when you don't have to?

Wednesday Morning, 3 A.M., Zach


A pleasant album, one that doesn't quite have the verve of all the music from The Graduate but still with all the same Simon & Garfunkel vibes. I've never heard any group have the exact type of sound that Simon & Garfunkel have, which is saying a lot. There are so many indie bands that just all sound the same to me, and Simon & Garfunkel manage to take a singer-songwritery genre and make it unique. That alone deserves celebration. "The Sound of Silence" will always be a classic, and I didn't realize "The Times They Are a-Changin'" is theirs. The rest of the album has their typical sound, and it's comforting. Good enough for me.

Wednesday Morning, 3 A.M., Jeanine


I went to the Philadelphia Folk Festival a few times. It was interesting. I can't say I enjoyed it, but I wouldn't say I hated it either. I remember I wanted to love it. I wanted to be a Fest person. I wanted to want to camp. I feel the same way about Simon & Garfunkel.

I excitedly chose this album to review. I remember enjoying it, and was looking forward to revisiting it for a good listen. I like Simon & Garfunkel. I love acoustic music. But I don't love Simon & Garfunkel. Like the Folk Fest, this album falls flat for me and leaves me bored. There are a few standouts, but as a whole, I would not listen to it from top to bottom again. At thirteen seconds into "Benedictus," it felt like the time I had walked from the music field to the Fest campground, as if I had made a huge mistake and would never get home again. This album is the longest 31 minutes of music I've ever listened to. I'll never get back to Beyoncé.

It wasn't all the bad. The Fest was laid out really well, and it was lovely to lay in the music field and listen to bands play. "Bleecker Street" and "Wednesday Morning, 3 A.M." are quite lovely. I like the layered melody with the two acoustic guitars, and their vocal harmonies aren't too heavy. They complement each other instead of one taking over, like the harmonies overtake the soft guitar in the acoustic version of "Sounds of Silence," and I am not sure if I particularly care for that song. I listened to it twice to help make up my mind, but I am left feeling a little perplexed. The one other song I do not mind is "Sparrow."

I like their cover of "The Times They Are a-Changin'," because Bob Dylan's voice can be a little much for me, but I love this song. I love the lyrics, I love the message. I don't feel the message has diminished or changed over time, and if anything, I genuinely feel like every person should be listening to this song or reading the lyrics.  

I want to like the other songs, but they don't hold my ear. Folk music doesn't quite do it for me. I have tried many times, but like the Fest, it never pulled me in. I need a little more in my music. More speed, more life, more beats. The only thing Simon & Garfunkel (and folk music) are good for is putting me to sleep.

Wednesday Morning, 3 A.M., Joe


The Bleecker Street Boys! They're coming to get me! Oh god, help!

I'm chased around a corner, down an alleyway. I try pushing trash cans over in my wake to trip them up, but the young Bleecker Street Boys nimbly hop over them in their sharply polished shoes and shorten the distance between us. With a stitch in my side, I give up. I lean flat against a brick wall, my hands above my head, asking for mercy. They quickly swarm, and the burliest of the bunch, clearly their leader, clicks a switchblade and holds it up to my jugular.

I try to explain my point-of-view, but they're not having it. They are, after all, a gang of hoodlums who so love the '60s folk-dork duo Simon & Garfunkel that they have named their gang after one of the least terrible songs on their shitty debut album. My protestations fall on deaf ears. Even the thought of them finding out I used the phrase "shitty debut album" in a review makes me pee in my pants, just a little bit. I am used to defending my negative opinion about this dreck, but not under such dangerous circumstances.

As the cold shiny tip of the blade begins to delicately poke my neck, I start to consider that maybe this isn't the hill to die on (we're in a dark alleyway, not a hill, I'm not speaking literally, but you get it). Maybe Wednesday Morning, 3 A.M. ain't so bad. That I could see the positives of such an artistic endeavor. Two then-young men, innocence dripping out of their pores, singing frail, pretty songs about the calm world around them, and Jesus, and silence. Perhaps I've seen it all wrong. Perhaps I've been too conditioned to the rough and tumble of this fucked-up modern world that I can't seem to reach that place of calm that is required to appreciate soft, tender folk music like this.

The fact that I am surrounded by passionate (and violent, sure, but perhaps violence from passion) fans in this current predicament could maybe be seen as a symbol of the true problem that lies within me, and that is that the perception of art from others has a way of affecting my own perception of said art. In other words, the fact that so many people seem so enamored with this is the very fact that makes me so cold about it. It's the same reason I roll my eyes at Rumours or Pinkerton—good art, when overrated, curdles in my brain, and turns toxic.

"Trying to come up with a reason not to die, mate?" says the rugged leader, and he cackles, like he made a joke, but he's not wrong. I really am trying to come up with a reason not to die at the hands of homicidal Simon & Garfunkel acolytes. I thus turn the criticism inward. Yes, I'm wrong, to feel the way I feel, but sometimes I can't help how I feel, and I don't deserve to die because of it. Do I? I ask this last part out loud: "Do I?"

Oh god, how did we get here. It's been such a long road. Such an arduous journey, all of it leading right here. I first had to grow into the idea of love. That's where it started. In order to love something, you need to make peace with the fact that you can't love everything. This is how we process art. There are some pieces of art that make you feel good, and some pieces of art that make you feel bad. And the journey consists first of acknowledging this, of finding the words within yourself that speak to those dual ideas of good and bad. The journey consists second of doing the labor of moving as many emotions as you can from the bad side to the good side. You shouldn't like feeling bad, and if you are normal and you don't, then you discover that there is a precious alchemy that allows you to turn the bad into good. You work hard at it, and you get to a point in your life where the good feelings greatly outweigh the bad. You look around and you realize that most art makes you feel good, and that in itself feels good. That's satisfying. That's where you wanna be.

But the third and final step in the journey is not total good, because, if you recall from the very beginning, the duality of good and bad is what makes the good, well, good. You need to feel that comparison. If everything feels good, then nothing does. And so in this final step, you choose totems that will keep the good alive. These totems are symbolic of the art that you hate. It's not that you actually hate them, and it's not that, were you to encounter them in a vacuum, your first response would necessarily be "I hate this." It's more that you are just trying to feel, and in order to feel good about good art, then you need to do the opposite too. You need to feel bad about bad art. This is for balance.

The Bleecker Street Boys could never comprehend any of this. They love Simon & Garfunkel because they are slaves to their own appetite. They hear something that is nice, and they have no capacity to think critically about that feeling within them. They follow what they think feels nice, without understanding what it means. They refuse to know that opinion is a choice, and it's a choice that we sometimes make under trying circumstances. I have made a choice, to hate their music. I hate it, not because it is of poor quality, but because it brings peace and balance to my life. I can love the art I love, but only because I can hate the art I hate. I hate Simon & Garfunkel. I say this last bit out loud too: "I hate Simon & Garfunkel."

And this unruly swarm of young strawmen collapse upon me, and all goes black. My life seems unreal, my crime an illusion, and yet, when this is all over, I will stand. I will stand up and I will walk forward into the great unknown, clear in my heart of one thing. I was right. This is some lame-ass bullshit made by a bunch of white-bread Bible-thumpers. To hate this means that I love life, and goddamn it, do I love life, and always will, for as long as I have life within my grasp. I'll take any beating I get from this, I'll take the pain and ask for more, because I was right.

GRADE: 1.5 pukes out of 5

In My Place 239

August 27, 2026. 39.95451, -75.1672. See the updated map here. See all the blog posts here.


This Arch Street tunnel off of Suburban Station is so fucking weird. I discovered it earlier this year, and every time I take the train to or from the city, I've been making a point to go through this tunnel. I continue to be the only person in here every once in a while. Some people occasionally go halfway and then go through a different tunnel, possibly to the apartments above us, I'm not even sure. There was also a dude smoking a fat blunt last week, and I don't blame him for choosing here, it's fucking deserted. And now the ceiling is collapsing? I know nothing about where I am, where I walk through, and yet I continue to walk. Because... I don't know, because it's peaceful, probably. Work consists solely of people pestering me every second of the day, bookended by joining the huddled masses of dead-eyed commuters. So it's nice to just be by myself for like two minutes. Even if it's in some creepy tunnel.

Thursday, August 27, 2026

Never Seen It #330: Pink Flamingos

Oh, I love you, blog. I love you more than anything in this whole world. I love you more than my own filthiness, more than my own hair color. Oh God, I love you more than the sound of bones breaking, the 500 movies I've never seen before, the sound of death rattle—even more than the sound of my own shit do I love you, blog.


Pink Flamingos
1972
John Waters

Zoom: August 25, 2026, 9 PM to 10 PM

Participants: Joe, Sam, Stef

The smallest Zoom so far, for perhaps the smallest movie. Smallest movie in terms of, I dunno, production and budget and scope of the world that it built. But a pretty big movie in terms of impact, I'd argue. Pink Flamingos is a cult film, to start, so it gradually built up notoriety and reputation. It's now considered—generally, not universally—to be good art, so much so that it's sometimes—not universally, but sometimes—considered one of the best movies of all time. That's not because it's easy to watch. That's because it's interesting to watch. It's saying something, and it makes you feel something. What the "something" is might be up to you, or you could just whittle it down simply to "shock value." Regardless, c'mon, it's interesting. You can't deny that. From there, we're just gonna have to try to agree one whether interesting movies are good because they are interesting, even if they are also horrifying.

Some more thoughts we had during our discussion:
  • Some comparisons that were discussed: Yoko Ono, The Room, Alice in Wonderland porn parody, Scary Movie, The Blair Witch Project, Looney Toons, Jackass (meet me in the comments if you want to know why these were compared/contrasted)
  • Was this funny? Was it supposed to be?
  • Funny parts: the mailing address and fight with mailman; the discussion about whether all chickens might disappear
  • The Edie stuff was actually quite sweet, or maybe just in comparison to the rest of the film
  • Interesting how the "filthiness" kept getting more and more intense
  • When was the last time you felt while watching a movie what you felt while watching this movie?
  • The logistics of killing a chicken on camera; how this felt dangerous because the actors were really doing these things!
  • So many Baltimore accents!
  • I made a big point about how flashing one's dick would be boring but flashing one's dick with deli meats tied to one's dick is INSPIRED (I'm talking about moviemaking, not the actually act, you sicko!!!)
  • Tied for #211 on BFI Sight and Sound's Best Movies of All-Time list from 2022, tied with such movies as Raiders of the Lost Ark, The Deer Hunter, All About Eve, Brief Encounter
  • The actors are committed, this is an actor showcase basically
  • Context is important to understanding this film.
  • What does this film mean to the queer community?
  • Is abject art still art?
  • Is Divine a character, an actor, or both? (Probably both.)
I missed writing down a lot of discussion points, but this felt like a good movie to talk about in general. A lot happening, and most of it is weird, and most of it is discomforting. And it's important to talk about your feelings, especially in this context, and "I felt uncomfortable" is a surprisingly easy one to talk about.

Your conclusion is going to come down to whether you agree with the following statement: "A good movie makes you feel something." If that's enough, then you'd agree Pink Flamingos was a good movie. I'm in that camp. I'm giving it 4 pukes out of 5. I have a strong suspicion that Stef and Sam would not agree with this grade.

How about you? What grade would you give this? Or would you be like Roger Ebert, refusing to even assign a grade, so shocked were you that this movie could even exist in our world?

(NEXT TIME: A small group gets together to watch A Knight's Tale, which I know has Heath Ledger, and that's about it.)

In My Place 238

August 26, 2026. 39.95356, -75.16654. See the updated map here. See all the blog posts here.


Sometimes a huge day hits you out of nowhere, one of those days that involves very high highs and very low lows and some self-exploration and some guideposts for the future and then also three spare minutes where you're staring at a random art installation that involves a bunch of graffiti and a toilet. I'll remember most of today forever, but I'm documenting the toilet art, because that's what I took a picture of. 

Wednesday, August 26, 2026

schmill schmeth #28: "Vintage Eddie"

A review of S02E06 of the American sitcome 'Til Death.


Enter gym manager. "Enter" being figurative, as it's really "exit." As in exit the gym, out the front door, at the end of the night. After the last of the gym patrons have ended their workout. There are two people out front still, as he's locking up. A man and a woman. Smoking cigarettes. Which is not really supposed to be happening in front of the gym, but the manager lets it happen. It's the end of another long day. The gym manager goes home, to another story. He's not involved in this one. In this one, the man and the woman remain.

We—the audience of this extended soap opera—have met each of these characters before. The man is Dennis. He's now married to Emelia, the editor of an unnamed magazine marketed toward women. We last saw him as a kid, years ago, when he was a good student in Grace's second-grade classroom. You could tell then and you can tell now that Dennis is a good egg. The woman talking to him and smoking a ciggy next to him is Kristine, who was first introduced via her admittedly jejune AIM conversation with an ex-boyfriend Trey. In my world, Kristine is married to her high school sweetheart Hunter (I was at the wedding), but in this world, the fictional world where everyone is obsessed with the American sitcome Til Death, Kristine lost touch with Hunter years ago, ended up having a baby with Trey, and then lost track of him too.

Dennis and Kristine are acquaintances, not friends. They only know each other from these meetings that they attend weekly. There is nary a spark of romance or even lust. That's not really something that happens at these meetings. Especially these specific meetings, here at the gym. Neither of them had ever heard of an AA meeting that takes place on treadmills and ellipticals. As far as I know, this might be the only place in the country that has them. A weird focus on fitness in this town. Alcoholics Anonymous—not sure if you've ever been to one, I've been to a few in my day, and can draw assumptions based on those few hours spent in church basements—is largely inclusive, and, as you might suspect, they typically draw a crowd that can barely walk up the damn steps without getting winded, let alone finding themselves in spitting distance of a goddamn treadmill.

Yes, yes, Dennis and Kristine are both alcoholics. Who isn't these days? Now that the stigma has largely been erased, there's even a way to wear it like a badge of honor, if you play your cards right. And if you're trying to stay sober, and you're hitting the gym, and you're talking to others about your problems and helping others with theirs and staying true to yourself and attempting to live your best life under the tough circumstances of this rough society that we live in? Well, goddamn. No reason to complain, I say.

If I had to describe the dynamic between these two characters, at least as we've seen them, here in front of this gym post-workout/AA on a weekly basis, I would probably say that Dennis is something of a mentor to Kristine. "Sponsor" I believe is the word typically used, though I didn't use it because neither one of them has said the word and Kristine hasn't even considered whether she even needs a sponsor at this point. But these weekly post-gym cig chats really do mostly consist of Kristine expressing some supplementary thoughts that she had during the AA sharing time and Dennis thoughtfully responding to them. Let's listen in for a moment or two.

"I think it just got to me, when Alan was talking about trying to give it away. That's what he kept saying, right? 'Give it away.'"

"That's a pretty well-established AA concept. How it's easier to handle the intense longing for the substance of choice but removing the focus from yourself and giving it away to others, to your community, you get it."

"Yeah, sure, I get it, but I think I just struggle with the underlying concept as it relates to me. It feels selfish, to give it away. If I keep the pain all for myself, then I'm protecting others, which is selfless. Right?"

"Ehhh, I think it's just the mothering instincts that you've built up since you had your little guy. How old is he now?"

"Seven."

"Wow. That's an age, ain't it?"

"Sure is. And you're probably right. I spend so much of my time trying to protect him from the world that we live in that I struggle with the idea of letting go of that role, of letting others protect me. It's tough."

"You're tough, is what it sounds like."

"Don't flatter me."

They both chuckle at this point, almost like there was an inside joke passed between them, but I missed it. A couple drags of their respective cigarettes in silence, then:

"You ever see the American sitcome Til Death?"

"Kristine, we talk about this every week. Everyone I know watches the show. I watch the show. Of course I watch the show."

"Okay, but you've seen the episode with the expensive wine bottle?"

"Jesus christ, I already see where you're going with this." Dennis is smirking as he says it though.

"Right. So tall guy... fuck I always forget his name. You know, the dude from that made-for-TV movie, the one with the guys in the stands of Wrigley Field? You know who I'm talking about. I think his name was Marvin in that movie. Oh, Bleacher Bums! But the tall guy. Tall Marvin."

"Got it."

"Marvin and his hot wife go to yet another birthday party that the piefucker creep is having for himself, co-hosted with character actress Kat Foster in the restaurant with one other guy plus five faceless extras who are facing away from the camera."

"I've seen it, Kristine, you don't need to explain the plot to me."

"Fine. So we get to the end of the episode, and everyone's interests have suddenly aligned, all the cards are on the table, the four main leads are about to make a fortune off some random expensive bottle of wine sold on eBay. They spend the episode jockeying with lies and deceit and self-centeredness, and when they all agree to collective lavish in the muck and mire of group foul play, the wine bottle is smashed, and their hopes at making a quick buck are snuffed out completely."

"You're about to ask what would have happened if they had continued to lie and deceive each other and allowed one victor."

"Exactly, would that victor still have that wine bottle, unsmashed?"

"I don't see that as the point, though. I think you have it backward. What if everyone had been truthful to each other the entire time? What then? They'd be sipping cocktails on the beaches of Greece together, instead of schlepping through another stressful Monday at dead-end jobs. But the truth takes courage sometimes."

"I hear you. I feel that courage in that room in there. Or, feel it in the gym, rather. Courage to share truth. I just don't see these Til Death characters as having that courage."

"That's the whole thing. That's the tension that creates humor. These are selfish bastards, and that's why the studio audience laughs—that they are selfish, that they meet their downfall because of that selfishness."

"Whereas if they gave themselves away, allowed their little community to flourish, then maybe they'd reach salvation, instead of sink into the pit of despair of your average American sitcome."

More silence, some more ciggy puffs into the night air. Then:

"Did you know Alan has 20 years sobriety this week?"

"Jeez, no I didn't. I'll be honest, sometimes I can't understand what he's saying."

"Well, it's tough, through the thick Texas drawl of his. Plus the whirl of the dozen or so treadmills all circled up."

"True."

"I'm just curious whether Alan watches Til Death."

"Everyone does!"

"Not everyone, Dennis. There are some holdouts. Maybe Alan is one of them. Maybe he arrived at his 'giving it away' conclusion through lived experience. What kind of horrors do you think Alan's seen? I know he mentioned something about a gnome, I almost didn't believe it. Just makes you wonder how people can hear this kind of thing and watch these types of TV shows and still continue to be selfish in their day-to-days. If you watched the wine bottle of episode of Til Death, how can you possibly live the same way? Wouldn't it make you sick?"

"Kristine, you're still not doing it. You're still not giving it away yourself. Try it sometime."

"Easy for you to say. That beautiful wife of yours waiting at home for you. And how many years sober now, eight?"

"You think that came easy for me?"

"I... no, I guess it didn't?"

"No, it didn't. Those are a hard-earned eight, Kristine. But I wake up every day, and I live, and then I go to sleep and wake up and do it all over again. And then I come here and hop on the elliptical and try to give it all away. The pain, the regret, all of it. We're all here together, putting all our pain in the collective pot, letting it sit there, handling that load all together."

"So the treadmills and ellipticals are a metaphor?"

Dennis chuckled. "It's all a metaphor, I think. You can even pretend that the figurative language is part of the giving-it-away, if you want."

"I don't know what I want."

After a while longer, they said brief goodbyes, and Kristine got into her car and drove away, lost in thought. Dennis hopped on his bike (like, actual bike, not stationary cycle), and took that long ride home to that loving and supportive wife of his. Neither story is over, but that's all we're privy to tonight. I know you might be thinking: well Wayne, that wasn't much of a story. What was the point? I hear you. What I'd propose to you now is that you should just be patient. You won't get all the answers in any single one of these pop-ins that I'm pulling back the curtain on. It takes time. But, like those diligent elliptical-riding alcoholics, if you keep showing up every day, you'll gradually see results. You put your whole self into this shit, and that's where the real change occurs. When you put your whole self into it, then we can handle that load together.

For now, let's give this episode a 5 pukes out of 5, and call it a night. See you next time. Maybe we'll check in with that gym manager, see what he's up to, and what he thinks about the great American sitcome Til Death.