The line is "Cries out," not "Cries." Those are two different things.

Well, Blurred Lines has a much more explicit, "I know what you want better than you do vibe," what with the "You know you want it," lines and all. But ok. I can't argue with how you take these lyrics.

Why do you assume it's violent? And why do you assume she's crying out in pain?

That's true. No chance you'll forget about it and later, your mom will open your computer and be confronted by your orgasm.

That's literally what a sexual fantasy is. A fantasy that's not in your head is no longer a fantasy, definition-wise. Have we gone so far round that even feeling generically lustful for a person is creepy? There doesn't seem to be any fantasized imbalance in the power relationship. It's just a song about wanting to…

Wait, real estate / novelist, like he does both jobs? That would be realtor / novelist. I always hear that line as this poor fuck at the bar is a real estate novelist the way people are crime novelists, like he writes novels about real estate. Rendering the question of why he's a failure fairly moot.

I'm gonna need a link to that.

West Wing gets good again in the back half of season 6, and it maintains that quality through season 7, but it's a different show than the one Sorkin guided. Gone is the character-based drama and the intimacy and the near-poetry, in favor of melodrama and melodrama and more melodrama.

I mean, Matthew Durham already explained it, so I don't know why you're still trying to approach it literally. Moore's talking about the rate of accumulation of cultural information.

I'm fairly amused by imagining you sitting down countless times to try to watch it, but never making it past the credits.

Agreed. You know a mashup is lazy and unnecessary when hearing it explained to you ("Miami Connection theme song over the Friends opening credits!") has literally the same comedic impact as watching it play out. It begins and ends in the exact same place.

I don't think he'd object. He'd just see it as another chance to grab at some money made off of songs that other people wrote.

You joke, but a molasses flood in Boston once killed a whole bunch of people.

Thanks for the report from the front lines.

But who really cares? This idea that the artist is the great arbiter of his or her own work is boring, and encourages the audience to shift their attention away from the creation and to the creator. Positioning the artist as just another member of his or her own audience really speaks to the power of the work; it…

I think a lot of artists work that way, actually, and it's not a bad way to go about it. It suggests the artist is subject to art just as much as any audience, that the power lies in the piece and not in the ego of the creator. There's something far more honest about that.

We shall see, Xanderpuss. We shall see.

To really simulate the effect of a Beatles concert, everybody would have to shine really bright lights at the stage and completely wash out the holograms.

Well, sure, but they're not called Dave Matthews and the Band for just that reason.

I think the best you can really ergo is that Rob Thomas and his mom are probably colleagues.