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Archive for the ‘Masturbation’ Category

CV1_TNY_04_22_13Pearson.inddSOUNDTRACK: MIKAL CRONIN-MCII (2013).

mciiMikal Cronin has a very pleasant middle range voice—conventionally good.  Indeed, there’s nothing especially unique about this record.  But it is a great summer pop album.  Lots of great big choruses that are fun to sing along to.  And, Cronin is a talented multi-instumentalist.  I believe he plays everything on the record, although I’m not sure about that.

The album is 37 minutes.  The first song, “Weight” has a simple melody and is incredibly catchy. There’s a nice falsetto before the big loud guitar chorus kicks  in.  “Shout It Out” is another great pop song—big fuzzy guitars and a wonderfully catchy melody.   And I love how it gets mildly chaotic at the end.  “Am I Wrong” is a straightforward rocker, with more big crunchy guitars.  There’s a fun fiddly keyboard solo (with lots of flubs, which is kind of endearing).  This song (and several others) remind me of Sloan.

“See It My Way” has a shambolic feel to it, I can do without the oddball sax solo, but there’s something so oddball about it that I think it works in the end.  “Peace of Mind” has a nice harmony vocal on it that gives this simple song a fuller sound.    There’s an unexpected violin solo in here.  “Change” opens with a real grungy loud guitar which is quickly replaced by a  speedy drum over a simple, catchy verse.  And a speedy chorus.  There’s an interesting middle section with another violin solo (and some unusual squeaky violin noises as well).  “I’m Done Running From You” is a fun fast bit of pop with a rocking guitar solo.  And “Don’t Let Me Go” is a slow ballady type song (as much as one can be on a rocking record like this).  “Turn Away” brings the rock back, although “Piano Mantra” ends the disc with a solo piano intro.  But the song builds and builds into a rollicking violin-fueled conclusion.

I’d never heard of Mikal Cronin before, and when i first started listening to the disc I thought it was an okay pop punk album.  But the more I listened to it, the more I enjoyed it.  It’s still as simple pop punk album but it’s done so very well.  I’m going to have to check out his debut as well.

[READ: May 2, 2013] “Mexican Manifesto”

I love that stories from Roberto Bolaño keep popping up.  I realize that most of these have been published in Spanish somewhere, but it seems like even if we know that his next book is going to be all poetry (Unknown  University coming out in June), somehow there’s at least one short story in it (I assume it comes from here, where else would it have come from?).  So, since it seems like there’s a new Bolaño book out every six months, I assume that barrage will come to an end now.

Unknown University is, as far as I can tell, the last thing that will be translated by Bolaño.  Wikipedia suggests that there are four other titles that could be translated: A Lumpen Novella (which he completed but which has not been translated), Diorama, an unfinished novel, something being called Part 6 of 2666 (who knows what that means) and an early book that he cowrote Advice from a Morrison Disciple to a Joyce Fanatic which I would really like to read–the title is so intriguing–but who knows is it will ever find a translator.

But that’s got nothing to do with this short story.  This short story is about a couple who frequent steam baths. The narrator is the man, and the woman, Laura, I the more adventurous of the two.  She is the one who encourages them to go to the baths in the first place and, while he also thinks it is wonderful, it is she who wants them to explore as many different baths in the city as possible. (more…)

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McSweeney’s #13 (2006)

13SOUNDTRACKPARTS & LABOR-Stay Afraid (2006).

partslaborParts & Labor have changed t heir style over the years going from noisemakers who have a melody to being melodious noisemakers.  This album is one of their earlier releases when noise dominated.  Right from the opening you know the album is going to be a challenge.  The first song has pounding drums (electronics that sound like bagpipes) and heavy distorted shouty vocals.  By the end of the songs there is squealing feedback, punk speed drums and screaming distorted vocals (complete with space sound effects).  It’s an aggressive opening for sure.  Song two opens with a long low rumbling and then “Drastic Measures” proves to be another fast-paced song.

“A Pleasant Stay” is 5 minutes long (most of the rest of the album’s songs are about 3 minutes).  It continues in this fast framework, although it has a bit more open moments of just drums or just vocals.  The way the band plays with feedback in the last minute or so of the song  very cool.

“New Buildings” has a hardcore beat with a guitar part that sounds sped up.  “Death” is a thumping song (the drums are very loud on this disc), while “Timeline” is two minutes of squealing guitars.  “Stay Afraid” has a false start (although who knows why–how do these guys know if the feedback sounds are what  they wanted anyhow?).  The song ends with 30 seconds of sheer noise).  The album ends with the 5 minute “Changing of the Guard” a song not unlike the rest of the album–noisy with loud drumming and more noise.

The album is certainly challenging, it’s abrasive and off putting, but there;s surprising pleasures and melodies amidst the chaos.   Indeed, after a listen or two you start to really look forward to the hooks.  If you like this sort of thing, this album s a joy.  It’s also quite brief, so it never overstays its welcome.

[READ: April 15, 2011] McSweeney’s #13

I have been looking forward to reading this issue for quite some time.  Indeed, as soon as I received it I wanted to put aside time for it.  It only took eight years.  For this is the fabled comics issue.  Or as the cover puts it: Included with this paper: a free 264 page hardcover.  Because the cover is a fold-out poster–a gorgeous broadside done by Chris Ware called “God.”  And as with all Chris Ware stories, this is about life, the universe and everything.  On the flip side of the (seriously, really beautiful with gold foil and everything) Ware comic are the contributors’ list and a large drawing that is credited to LHOOQ which is the name of Marcel Duchamp’s art piece in which he put a mustache on the Mona Lisa.  It’s a kind of composite of the history of famous faces in art all done in a series of concentric squares.  It’s quite cool.

So, yes, this issue is all about comics.  There are a couple of essays, a couple of biographical sketches by Ware of artists that I assume many people don’t know and there’s a few unpublished pieces by famous mainstream artists.  But the bulk of the book is comprised of underground (and some who are not so underground anymore) artists showing of their goods.  It’s amazing how divergent the styles are for subject matter that is (for the most part) pretty similar: woe is me!  Angst fills these pages.  Whether it is the biographical angst of famous artists by Brunetti or the angst of not getting the girl (most of the others) or the angst of life (the remaining ones), there’s not a lot of joy here. Although there is a lot of humor.  A couple of these comics made it into the Best American Comics 2006.

There’s no letters this issue, which makes sense as the whole thing is Chris Ware’s baby.  But there are two special tiny books that fit nearly into the fold that the oversized cover makes.  There’s also two introductions.  One by Ira Glass (and yes I’d rather hear him say it but what can you do).  And the other by Ware.  Ware has advocated for underground comics forever and it’s cool that he has a forum for his ideas here.  I’m not sure I’ve ever read prose from him before. (more…)

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SOUNDTRACK: KISS-Lick It Up (1983).

Kiss takes off their makeup!  And they look…like normal guys with lots of hair (How has Paul’s hair stayed so spectacular for so long?).

Lick It Up was a transformative album for Kiss, in which they suddenly gained new respect and new fans.  And yet somehow, that impressive amazing tongue really looks kind of dumb without all the makeup on, sorry Gene.  They also added (officially) Vinnie Vincent to the band (see he’s right there on the cover!). I tend to hate the song “Lick It Up” with a real passion.  In part because it was overplayed and in part because it’s terrible.  Vinnie Vincent was supposed to be this amazing guitarist and that’s what he came up with?  Blah.  Maybe he felt hampered by Kiss and that’s why he made the wank-fest that was Vinnie Vincent Invasion.

As a result I tend to overlook this album, but “Exciter” is a great, rocking track.  It’s fast and heavy and is really propulsive.  “Not for the Innocent” is one Gene’s great songs—heavy and dark with a cool chorus (Much better than some of his recent affairs).  “Young and Wasted” starts out kind of tripping over itself but man the chorus is great.

“Give Me More” is a straight out fast rocker.  The song never stops and there’s a great old-school Kiss Chorus  too.  “All Hell’s Breaking Loose” also has an old school sound—a kind of “Hotter Than Hell” feel.  And of course, who doesn’t love when Paul rambles nonsensically, “Hey man, I am cool, I am the breeze.”  “A Million to One” is kind of a generic Kiss song—not bad (certainly not as bad as some of their songs) but nothing terribly exciting.

“Fits Like a Glove” is one of Gene’s dirty songs, it has a good bridge/chorus structure.  Kiss may have set a record for the most similes when it comes to sex.  “Dance All Over Your Face” is pretty silly, probably the worst song on the disc.  The lyrics are, well, Gene, and it even has a break where it’s just drums (a terrible way to force a song to be an anthem).  At least the album ends on a high note with “And on the 8th Day.”  True it’s yet another attempt for the band to have an anthem about rock, and it starts out a little anemic, but this is what they do best, and even a middling Kiss anthem is a good one.   Somehow I think about Eric Carr singing along to this and it makes the song seem better.

Whereas Creatures of the Night was overlooked by most people, Lick It Up is overlooked by me.  It needs a higher ranking in my Kiss lists.

[READ: July 30, 2012] “Permission to Enter”

I’m very happy to see a new Zadie Smith story in The New Yorker.  I know she left her gig at Harper’s to work more on writing.  And here’s some of the fruits.  It’s funny to me that this one is done in a series of numbered sections–a strange microtrend that I have been experiencing lately.  It’s strange for Zadie because I find that her transitions and narrative structure are always very strong, so to eschew that for these little chapter breaks is surprising.  Of course, if she spelled everything out it would have been much longer and–given the content, potentially less effective.

So this is the story of Keisha Blake and Leah Hanwell.  When they first met they were four years old.  They were “swimming” in a shallow trough in a park in Hampstead when (and no one saw it happen) Keisha rescued Leah from drowning.  Leah’s mother was so grateful that she invited Keisha over and Keisha and Leah became best friends (even though there are so may differences between their families and they clearly would have never been friends otherwise, really under any circumstances).

And so each titled section reveals something new about their young friendship.  For example, “6. Some Answers” gives just the answers to a series of questions which economically show the difference and similarities between these two girls).  The girls grow up together.  They grow apart a little as friends will.  While Leah and her other friends liked Sonic Youth, Keisha (and no other friends) liked Monie Love. But they stayed close friends anyhow (never really questioning why they were friends–a wonderful detail). (more…)

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SOUNDTRACK: SUFJAN STEVENS-The Age of Adz (2010).

Sufjan Stevens has released a bunch of albums of beautiful orchestral rock.  It is multi-layered and complex with classical elements and all kinds of cool instruments.

And this album starts out with a beautiful acoustic guitar melody and Sufjan’s delicate vocals.  Although it is a far more stripped down song than usual, “Futile Devices” seems like it is heading in the standard direction.  But anyone who heard Sufjan’s Christmas album number VIII knows that he has been having some fun with electronics.  And they show up with a vengeance on track two, “Too Much.”

All of the multilayered noise that was once orchestral and (some might say) precious has been replaced by a cacophony of gorgeous electronic noises.  The beginning of the song reminds me of the sounds in Skinny Puppy’s “Stairs and Flowers” (how many Sufjan Stevens reviews mention Skinny Puppy?).  The song is nothing like Skinny Puppy once the vocals kick in–it’s catchy and delicate–but those electronics underpin the whole thing, bringing his pastoralia into the twenty-first century.  When I first reviewed this song I didn’t like it but once you get absorbed by Sufjan’s world, it’s an enticing place to be,

“Age of Adz” takes this electronic nonsense even further with an 8 minute brew of strange sounds and choral voices.  But he always manages to throw in some catchy parts, no matter how strange the song gets.

For me one of the highlights of the disc is “I Walked” it features one of my favorite Sufjan things–falsetto vocals in a beautiful but unexpected melody.  And this song has them in spades.  “Now That I’m Older” has a very disconcerting sound–his voice is slowly warbled and mournful.  It’s a beautiful melody that is alienating at the same time.

“Get Real Get Right” returns to his earlier style somewhat (there’s more layers of music, although the electronica is still in place).   “Vesuvius” is a beautiful song and “All for Myself” is another of those great falsetto tracks that I like so much.

“I Want to Be Well” eventually turns into a manic electronic workout in which he repeats the chorus “I’m not fucking around.”

But nothing compares  to “Impossible Soul” a twenty-five minute (!) multi-part suite of electronic chaos.  It’s a fantastic song complete with autotune (used to very cool effect), repeated swelling choruses (it’s like a Polyphonic Spree tribute), electronic freakouts, and acoustic comedowns.  All in a positive, happy message.  I can’t stop listening to it.  “It’s not so impossible!”

Sufjan continues to impress me.

[READ: November 10, 2011] McSweeney’s #9

After the excesses of McSweeney’s #8, I was excited to get to the brevity (and urgency) of McSweeney’s #9.  This one is a paperback and looks like the first couple of issues.  The cover is mostly text with a hodgepodge of phrases and pleas.  You get things like: Thankful, Emboldened, The (Hot-Blooded/Life-Saving) Presumption of (Perpetual/Irrational (or More Likely, Irreducibly Rational) Good Will, Efflorescence, Our motto this time: We Give You Sweaty Hugs,” Alternative motto: ” We Are Out Looking,” GEGENSCHEIN (no more), and the promise: “We will Do Four This Year.”

This is the kind of issue that makes me love McSweeney’s.  There are some wonderful short stories, there are some nice essays and there are some dark moments all centered vaguely and tangentially around a theme.  There are some great authors here, too.

The back cover image is called Garden Variety by Scott Greene and it’s a fantastic painting.  You can see it here (navigate through the 2000-2004 paintings, but I have to say I really like the style of all of his work.

There are no letters and no nonsense in this issue.  So let’s get to it. (more…)

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SOUNDTRACKMETRIC-Fantasies (2009).

I was hooked by the song “Gold Guns Girls.”  I liked it so much, I bought the disc, and I was absolutely not disappointed.  This disc reminds me of all of the best things about late 90s alt rock (one of my favorite musical periods).  There are echoes of later period Lush, or of Garbage or some other slickly produced commercial alt-rock.

I’m led to understand that this disc would merit cries of sell-out from older fans (their earlier stuff it a bit rougher, I gather), and yes, this is a pretty commercial release, but I don’t mind.  The songs are all top-notch: great songwriting, catchy choruses, wonderful production.  And there’s something slightly uncommercial about the lyrics which I think is what keeps this album from being too slick for its own good.

I have listened to this disc dozens of times at this point and I never get tired of it.  And, there’s no reason why I shouldn’t go back and get some of their earlier releases too.

[READ: May 15, 2011] Fraud

I’ve seen Rakoff on the Daily Show, and his name has been cropping up in various places lately.  So I decided to read his actual published work to see what he was all about.

Fraud is his first book.  It is mostly funny, although it also dwells on serious matters by the end of the book.  In many ways Rakoff is like a slightly wilder, slightly edgier version of David Sedaris (the two have a long history of friendship and working together, so this may not be totally surprising).

I’m not going to compare him to Sedaris in any meaningful way, just to say that there are similarities of temperament and style; I don’t think either one of them is hilarious, but that I enjoy both of them and often laugh pretty hard at their material.

I’m also not going to review each essay in this book.  It seems to be constructed in a vague sort of narrative arc.  Well, actually, the second half of the book has the narrative arc (I suspect that the essays that were published previously were modified slightly and that the new essays allude to some of the incidents mentioned there.

The first few essays of the book are the funnier ones (insert joke about Woody Allen’s early funny movies here), and they stick more to the idea of Rakoff as a “Fraud.”  In them, Rakoff, a Canadian ex-pat (he’s from Toronto), somewhat neurotic, gay, New York Jew goes to different locations where he is an atypical person and then reports on them. (more…)

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SOUNDTRACK: GWAR on The Joan Rivers Show (1991).

Because this story is pretty, nay, really gross, I wanted to find a suitably gross song to attach to it. I considered Cannibal Corpse and Carcass, but I found that most of the lyrics were too hard to understand.  And then I hit upon Gwar.

I was trying to pick my favorite Gwar song (actually I only know their first two albums), and then YouTube pointed me to this absurd interview.

I always enjoyed the premise of Gwar, and I think that Scumdogs is a wonderfully hilarious album.  This interview (around the time of the release of Scumdogs) is really funny.  They actually make Joan Rivers speechless, and they play their act wonderfully straight.  I’d never watched a second of Joan’s show, and won’t watch any more than this clip, but seeing Oderus Urungus and Beefcake the Mighty on a talk show is pretty awesome.

Check it out here.  Sadly, there is no song played live.

[READ: November 5, 2010] “Guts”

My coworker suggested I read this story.  And I know from past experience that if he suggests something it will be slightly, shall we say, askew.  When a fellow coworker who had also read it overheard the suggestion she groaned in a way that confirmed my suspicions.

I’m not exactly sure what’s going on in Haunted.  My coworker said it was a short story collection and yet the book clearly says Haunted: A Novel.  I browsed the back and I get the sense that the book is a whole bunch of people writing /telling stories, but I didn’t investigate too thoroughly (I will likely read the whole book one of these days just to find out).

So, anyway, yeah, “Guts” is pretty disturbing.  It begins with a guy telling stories about the creepy/weird things people do to get off.  More specifically it talks about the injuries people sustain while trying to get off. (more…)

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SOUNDTRACK: SHARON VAN ETTEN-“Don’t Do It” (2010).

This song is available from NPR’s All Songs Considered.  I’d never heard of Sharon Van Etten before, so I didn’t know what to expect.  And this was a great way to learn about someone new (to me) and to find a song that I fell in love with.

This is a dreamy kind of track, sort of like later period Cocteau Twins, but less ethereal.  And I have to say on first listen I was really blown away because what starts as a simple song really blossoms into a full blow epic.

The song isn’t staggeringly original, by which I mean I can hear many precedents in the song (Throwing Muses, perhaps, but again, not as extreme).  And yet, she takes this template and really makes it shine in her own way.  This song is layered and textured with more depth of sound coming on each verse.  And it feels like by around the third minute or so, you’re totally caught up in the song.

On further listens, that effect is still there.  It’s very subtle, but really effective.  And I keep getting sucked right in.  I’ll definitely check out her full length, Epic.

[READ: October 20, 2010] “Peep Show”

This was the final story of the 1999 New Yorker 20 Under 40 collection that I read (there’s one more after this, but I read them out of order).  The excerpt in the main issue was intriguing but very short and the whole story blew my mind with its unexpected surrealism.

Allen Fein, a man with his shit together, trips over a curb on his way to Port Authority.  It throws off his stride and his whole day.   When he straightens up, he looks up to see a barker offering peep shows for 25 cents.  Fein had been to a peeps how once before as a teen, and he sort of thinks that his day is a mess anyhow, so why not.

When he goes in, things are not as the were when he was a kid.  In fact, the glass that usually keeps peeper from peepee is removed, and the first word that the woman says when the door goes up is “Touch.”  And Allen finds himself in a weird position, especially when he touches the woman and his erection won’t subside. (more…)

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[LISTENED TO: End of October 2010] Brief Interviews with Hideous Men

There are three options for listening to Brief Interviews.

The first version is the original audio cassette which is read entirely by DFW (1999).  It’s out of print but you can download the audio for free at the David Foster Wallace Audio Project. The second version is the newly released audio book that coincides with John Krasinski’s film (2009).  This CD features some of the readings by DFW although most of the actual interviews are read by the actors from the film (see below for all details).  The third option is a collection of staged readings which were created by The Howling Fantods Brief Interviews Project.  They are available at the site and at the David Foster Wallace Audio Project.  [UPDATE Nov. 8: For the sake of accuracy, I wanted to state that George Carr is responsible for all of the work down for these recordings.  The Howling Fantods site simply hosted the results].

None of these recordings include all of the stories from the book.  Although the stories that they do include are unedited (this is officially listed as “unedited selections from the book”).  The stories that are not included in any of these recordings are:  creepy organ music

  • “The Depressed Person”  [this would have been a tour de force to read]
  • “The Devil Is a Busy Man”
  • “Think”
  • “Signifying Nothing”
  • Datum Centurio” [I can’t imagine trying to read this out loud]
  • “Octet”
  • “Adult World (I)”
  • “Adult World (II)” [I would have liked to hear how these were handled]
  • “The Devil Is a Busy Man”
  • “Church Not Made with Hands”
  • “Yet Another Example of the Porousness of Certain Borders (XI)”
  • “Tri-Stan: I Sold Sissee Nar to Ecko” [this is my least favorite bit of DFW work and I would have really liked to have heard it read aloud to see if I could get anything more out of it].
  • “On His Deathbed, Holding Your Hand, the Acclaimed New Young Off-Broadway Playwright’s Father Begs a Boon” (more…)

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SOUNDTRACKSUPERCHUNK-Hyper Enough (1995).

“Hyper Enough” is one of my favorite songs of all time. I don’t know if there’s much more that i can say about it.

“Never Too Young to Smoke” sounds surprisingly like a Cure song to me.  The guitar seems very unSuperchunk and Mac’s voice even has traces of Robert Smith in it.  It’ s neat trick.  And it’s good song, too.  It’s got a lot of slow building tension (again, unusual).  And it really pays off.

The final track, “Detroit Has a Skyline” is another acoustic version (original on Here’s Where the Strings Come In).  It has certain Cure-isms on it as well, but it is much more clearly Mac than Robert Smith.  It has a great chord progression in the bridge, but we knew that from the original.

[READ: September 30, 2010] “Raft in Water, Floating”

A.M. Homes was the fifth writer in the New Yorker’s 1999 20 Under 40 collection.

I’ve really enjoyed A.M. Homes’ books.  I liked The End of Alice, and I really liked This Book Will Save Your Life.  She has a few books in between these, but I’ve been remiss about reading her.

And this story was definitely not my favorite.  It is written in an exceedingly detached tone.  A young woman is floating on a raft.  She is described by an almost uninterested 3rd person voice.  Even the young woman’s conversations are robotic and emotionless.  In many ways it reminded me of Bret Easton Ellis’ style of distant characters.

Her boyfriend comes over, he gives himself an orgasm which she is complicit in and yet somewhat oblivious to, and then it gets really strange. (more…)

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SOUNDTRACK: THE VIOLET ARCHERS-Sunshine at Night (2008).

This is the second Violet Archers CD.  It’s a fantastic collection of mellow songs.   “You and I” is a delightful acoustic guitar and vocals song (and Vesely’s voice sounds great: soft and delicate without being whiny).  “Insecure” features the vocals of Ida Nilsen (a great voice which works wonderfully with Vesely’s songs).  It also has a wonderful trumpet solo (!) (which consists of only a few notes repeated but which is totally great).  It sounds a bit too similar to Siberry’s “The Speckless Sky” but it wins out with its own identity by the end.

“Transporter” is an electric track (still mellow though).  Vesely’s delivery is great on this, with unexpected delays making it just off the beat.  Although “Tired” (we can tell by the titles that Vesely is not a “Party On” kind of guy) rocks much harder than you’d expect for the title, it’s still nothing like a hard rock song.  “Sunshine at Night” continues in this louder vein, but again, Vesely’s voice is soft, so even a louder song doesn’t rock hard.  This has some great harmony vocals.

“Suffocates” returns to the upbeat acoustic style while “Truth” is its cool minor chord downbeat companion.  “Themesong” is a cute, more upbeat track that finally mentions a violet archer.  “Don’t Talk” is the only song that builds from a standstill (as opposed to just starting) and the drums and power chords make it feel like it’s a bid for commercial viability.  And the disc ends with “Listening,” a quiet lullaby of a song that showcases’s Vesely’s falsetto.

The Violet Archers still tour and there are some downloadable shows available on the Rheostatics live website.  And, of course, Tim was super nice, so let’s hope for a left field smash hit on their next disc.

[READ: September 29, 2010] “Anti-Climax”

This piece is from The Critic at Large section of the New Yorker and it seems to be a kind of Books redux section.

I enjoyed this piece more than I had a right to enjoy a thirteen year old article about sex books.  Strangely enough it begins with a comment about televisions in airports (which I agree with JF that they are the devil and are unavoidable and make it really hard to read).  And I cannot even imagine that 89% of air travelers believe that the TVs make “time spent in an airport more worthwhile” (although you know that is one of the more nebulous survey questions)

But this topic segues into the matter at hand: sex books.  He notes how he is also at odds with the norm when Men’s Health says that lingerie is the US male’s favorite erotic aid.  And I can’t believe how in tune I am with JF Franzen’s comment:

What I feel when I hear that the mainstream actually buys this stuff is the same garden-variety alienation I feel on learning that Hootie & the Blowfish sold 13 million copies of their first record, or that the American male’s dream date is Cindy Crawford. (more…)

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