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Posts by Benutty
40 Is the New 30 Is the New Shoulder Is the New Sweetums Is the New Wanna Know What I Hate
Apr 27th
Nick just told Shawnito that 40 is the new 30. That means we all get to look forward to a meltdown/blow out at his 40th bday party — huhns, besties, lovies, aunties and all non-Mexicans will have their shit tossed off a balcony, their rice titties torn from their halter tops, wigs thrashed, and faces busted wide open. #expecttheexpected
Ten Best Films of My Life
Apr 24th
If you want a theme to point to explain my cinematic sensibilities, I’m a total sucker for dramatic tear-jerkers. And it has recently been pointed out to me that I typically dislike movies about poor people. I know I appreciate movies that I can interpret, free of strict explanations offered up by the film itself, and find actresses more compelling than actors. I think what I’ve presented below is a pretty good mix of my taste in film.
10. Jarhead (2005)
9. The Talented Mr. Ripley (1999)
8. Elizabeth (1998)
7. The White Ribbon (2009)
6. Moulin Rouge! (2001)
5. Mean Girls (2004)
This movie was/is my life through college. I’ve hosted (currently) three parties with a Mean Girls theme (complete with burn books, pink outfits, and hump day drinks). I know every catch phrase (and there are many) from it and absolutely die for almost every scene. I mean, really. Doesn’t this one just speak for itself?
4. American Beauty (1999)
I kind of feel like this was the first “deep” movie I felt like I understood and appreciated. Kevin Spacey kills it as whack-job Lester and Annette Bening was robbed of her Oscar. Darkly humorous yet beautifully poignant, this film was popular for a reason — simple greatness.
3. Rabbit Hole (2010)
Ugh. Wrongly underrated because of misguided marketing, this film is just so magical to me. Sad, at times yes, but surprisingly witty and hopeful, Rabbit Hole showcases wonderful actresses (Kidman and Weist) doing wonderful work. I saw it three times in the theater. If you haven’t seen it, see it just to find out where the term ‘rabbit hole’ comes from because for me, that’s one of the most fantastic ideas in the story.
2. The Lord of the Rings trilogy (2001-2003)
You know why — fantasy films done right. No one can argue the majestic qualities of this movie masterpiece. All films should strive to be of this caliber and I have no idea why they don’t. If you need me to say anything more, you’re too lost in the world to care.
1. The Lion King (1994)
Hakuna Matata is the only annoying part of this movie. Take it out! I lived off of this movie for the longest time, and my family can attest to my impromptu performances of the opening song — you know, the African version of Circle of Life! I served up fierce tribal tranny realness, even at the age of 11. Sarabi deserves a lifetime achievement award and Scar should be billed as the best villain of all time. Who else cries every time Simba calls out for his dead dad? I know I’m not alone on that one.
Ten Best Albums of My Life
Apr 22nd
Well, well, well. Today marks the start of the celebration that is the week leading up to my 28th birthgay. In lieu of inviting any of you has-beens to the party I’m not having, I thought I’d bless you with a series of “best of” lists of the things I’ve cared about so far in my lifetime. Over the course of the week, hopefully you’ll learn something new, be persuaded to live a better life, and be amazed at my own amazingness. Congratulations, and consider yourself glittered. All. Week. A little lot self-indulgent, yes, but isn’t that what blogs and birthdays are all about? Holler.
I definitely have a weakness for female artist pop music, that will be evident. But when it comes to liking an album or not, I generally appreciate works that are cohesive, displaying a singular vision throughout. I’m also quite partial to more recent albums, probably because I’m a pretty fickle person with little conviction (ha!). Whether that holds true to my selections below, I’ll offer up to the scrutiny of your judgment.
10. This Fire – Paula Cole (1996)
- Iconic song: I Don’t Want to Wait
- Shouldabeenasingle song: Feelin’ Love
- Perfect-for-drag song: Throwing Stones
- Favorite lyric: I am carrying my rhythm, I am carrying my prayers, but you can’t kill my spirit, it’s solid and it’s strong, like a mountain I will go on and on. – from Me
9. The ArchAndroid – Janelle Monae (2010)
- Iconic song: Tightrope
- Shouldabeenasingle song: Locked Inside
- Perfect-for-drag song: Cold War
- Favorite lyric: I hear the colors in the flowers, just like a candle snuffed at dawn, you’re here you’re near you’re there and then you’re gone – from Oh, Maker
8. Once Again – John Legend (2006)
- Iconic song: Save Room
- Shouldabeenasingle song: Coming Home
- Most-apt-for-drag song: P.D.A. (We Just Don’t Care)
- Favorite lyric: We know that life took us apart, but you’re still within my heart, I go to sleep and feel your spirit next to me – from Coming Home
7. Supposed Former Infatuation Junkie – Alanis Morissette (1998)
- Iconic song: Thank U
- Shouldabeenasingle song: Are You Still Mad
- Perfect-for-drag song: Unsent
- Favorite lyric: I’d be lying if I said I was completely unscathed, I might be proving you right with my silence or my retaliation. Would I be letting you win in my non-reaction? – from Can’t Not
6. The Velvet Rope – Janet Jackson (1997)
- Iconic song: Together Again
- Shouldabeenasingle song: What About
- Perfect-for-drag song: What About
- Favorite lyric: Does what they think of you determine your worth? If special’s what you feel when you’re with them, taken away you feel less than again. – from You
5. Good Girl Gone Bad – Rihanna (2007)
Basically this album defines a point in my life for me — I wore it out the year after I graduated college and was back living in Sacramento. I existed somewhere in the gray area between being depressed & unconfident and excited & independent. It got me through a mind-numbing job and marks the inception of my long-lasting adoration of a budding pop icon. Rihanna really signed, sealed and delivered her pop star status with this near-perfect dance-heavy R&B/pop set. And the re-issue deluxe produced two monster-hits to boot!
- Iconic song: Umbrella
- Shouldabeenasingle song: Breakin’ Dishes
- Perfect-for-drag song: Shut Up and Drive
- Favorite lyric: I’m killing time, you know bleachin your clothes, I’m roastin’ marshmallows on the fire and what I’m burnin’ is your attire. – from Breakin’ Dishes
4. The Miseducation of Lauryn Hill (1998)
The only album on my list to earn the “prestigious” Album of the Year award at the Grammy’s, Miseducation is rarely called into question when appearing among someone’s best of all time. The ruggedness of her vocals and what Nick recently pointed out to me as one of the few (if not the only) times a rapper has been able to, on their own, produce a well-received emotional depth to rap songs, Lauryn definitely made her mark on the music industry with her solo debut.
- Iconic song: Ex-Factor
- Shouldabeenasingle song: Lost Ones
- Perfect-for-drag song: Doo Wop (That Thing)
- Favorite lyric: Now hear this mixture, where hip-hop meets scripture, develop the negative into a positive picture. – from Everything Is Everything
3. 21 – Adele (2011)
Probably the only album on my list that I can honestly call ‘flawless.’ The voice, lyrical content, and general gentleness of this album is unmatched. There’s no need to explain why Adele has so quickly captivated the entire world, garnering new fans all over the place, with this album. It’s just… flawless.
- Iconic song: Rolling in the Deep
- Shouldabeenasingle song: One and Only
- Perfect-for-drag song: Set Fire to the Rain
- Favorite lyric: I hate to turn up out of the blue uninvited, but I couldn’t stay away, I couldn’t fight it. I’d hoped you see my face and that you’d be reminded that for me it isn’t over. – from Someone Like You
2. Body Talk – Robyn (2010)
If not entirely taken directly and specifically from Robyn’s own life, the lyrics on this album still come off as deeply personal and are emotionally-driven with a focus on love-relationships. Together with fresh pop beats, the easily relatable songs penetrated deep into every gay I know’s earphones for months. And when I passed off the album to my friends that were previously unaware of Robyn they, too, fell in love at first listen.
- Iconic song: Hang with Me
- Shouldabeenasingle song: Criminal Intent
- Perfect-for-drag song: Don’t Fucking Tell Me What to Do – and I’ve done it!
- Favorite lyric: (tie) Sweat drippin’ down from your brow, hold tight, don’t let go, don’t you let me go – from Indestructible and Come on all you trannies click your heels for me – from Include Me Out
1. Ray of Light – Madonna (1998)
I can’t praise this album enough. By far, Madonna’s best and most intimate! The importance of this album comes in Madonna’s awareness of the proper music that she needed to make following the birth of her first child. And when you mix such a personal experience with Madonna’s ideas of fame and spirituality you know you’re left with nothing less than gold. I should also point out that her image has never been better — love the Ray of Light look.
- Iconic song: Frozen
- Shouldabeenasingle song: Candy Perfume Girl
- Perfect-for-drag song: Nothing Really Matters
- Favorite lyric: And now I find I’ve changed my mind. This is my religion. – from Drowned World
Don’t Spread Yourself So Thin Then!
Apr 18th
Hannah: Shawnito’s letting me use his picture for grindr. That’s true love.
Me: Indeed.
Benutty’s Book Review: The Graveyard Book
Apr 18th
(Neil Gaiman, 2008)
You may or may not already be familiar with some of Neil Gaiman’s other works — most likely with Coraline or Stardust, both of which were made into films — but I wasn’t when I came across his critically acclaimed and much-awarded children’s novel, The Graveyard Book. I mean, I’d heard his name before and his books had been recommended to me — 3rin tried to get me to read American Gods once — but I’d never really paid much attention. I’ve had quite an itch for fantasy stories lately though, going so far as to rent Twilight: Eclipse from redbox (ack!, I know), so when I came across this story on wikipedia I knew I had to read it.
The Graveyard Book tells the tale of a boy, Nobody Owens, who, after the murder of his family, is orphaned and then adopted by a community of ghosts in his town’s graveyard. An archetypal coming-of-age story, Nobody’s adventures are fueled by a thirst for knowledge and a desire to experience life to the fullest. But life doesn’t come easy for a boy raised by the dead. Nobody (Bod for short) is kept guarded within the gates of the graveyard because, for him, life beyond the gates, among the living, is dangerous; the man that murdered his family is still looking for him and only the magic and protections of the graveyard can keep him safe.
Endearing, tenderly haunting, and soon-to-be made into a movie!, The Graveyard Book is well worth the few days it’ll take to read. With hints of Dante’s Inferno and Lemony Snicket’s Series of Unfortunate Events, this book is perfect for any reader, especially those with even an ounce of interest in children’s fantasy.
Notable excerpt:
“Yes.” Silas hesitated. “They are. And they are, for the most part, done with the world. You are not. You’re alive, Bod. That means you have infinite potential. You can do anything, make anything, dream anything. If you change the world, the world will change. Potential. Once you’re dead, it’s gone. Over. You’ve made what you’ve made, dreamed your dream, written your name. You may be buried here, you may even walk. But that potential is finished.”
Stereotypes & San Francisco: Building a Reality TV Franchise
Apr 8th
The other day, in my post “So Delicious! A-Look at The A-List: New York,” I very thinly discussed the role of stereotypes in television, a relationship I see as entirely necessary for any program, specifically within the scope of reality, to work. In this companion-post, I want to flesh that out a little more while addressing my belief as to why a Housewives or A-List show will probably never work in San Francisco.
One of the reasons why reality franchises like Real Housewives, Jersey Shore, and Real World are so successful is that they use stereotypes as a foundation and build upon and exploit them in depth. Jersey Shore is a prime example of TV capitalizing on a stereotype and needs no explanation, but consider the Real Housewives and the casts and cities it has branched out into as they relate to the stereotypes exaggerated in each variation: New York – sophistication, Orange County – blonde/plastic surgery, Atlanta – black/music, New Jersey – Italian/family, DC – politics, Beverly Hills – fame/wealth, and Miami – Latin/food — each acutely depicts what an audience expects and believes to be true about the people of each city. Whether or not such a stereotype defines that city is irrelevant because the purpose of the franchise is not to depict the general population of the city, but rather to exploit and entertain our fancies of the different types of women in our country through these stereotypes that are relative to the places we believe them to come from most often.
Look, no television show is ever going to succeed if the audience can’t enter into it with some foreknowledge of the characters or storyline. Lost, one of the most abstract shows in recent history, began with the very easy storyline of ‘plane crashes on deserted island’ — a common plot that any viewer could use as an entrance point to the series. From there, once it solidified its core audience, it was able to branch out into the more fantastical, unfamiliar plot archs it became known for. With reality TV the plot isn’t readily accessible from the beginning, so the only bridge between the audience and the show available, at least from the outset, is achieved through stereotypical characters. The familiarity draws the viewer in and after justifying his/her preconceptions of the characters through cliche dialogue, bitch fests, and cat fights the series can start to embrace other aspects of the characters (even if they often don’t).
For The A-List: New York, the obvious stereotype is fashionable, materialistic gay men, but because it is the only arm of the series (potential franchise?) the impression is that the image portrayed is a stereotype of the entire gay community. The clue that this isn’t the desired impression though is in the very name of the show. By calling it the New York variation of The A-List the producers are doing two things: 1) anticipating the backlash of the gay media criticizing the stereotype as representative of the culture as a whole, and 2) setting up potential spin-offs in other cities (i.e. The A-List: Los Angeles, The A-List: Miami). But in order for my stereotype rule to work in #2, The A-List would have to pull from different niches of the gay community specific to different cities, just as Real Housewives does for women.
There is no denying that the gay community has a ton of subcultures within the larger umbrella of LGBT, and one might even argue that these are more easily definable than the stereotypes of the straight community. The problem though is whether or not these subcultures are relative to the cities where potential spin-offs might take place. Is it predetermined enough to say LA = entertainment gays and Miami = beach/body gays? What then are Atlanta, Chicago, and Dallas? What cities are defined by daddy gays, sporty gays, or drag gays? I’m not convinced the stereotype/city model works as easily within the gay community. It wouldn’t make sense to an audience for the show to pick out a niche in the gay community and arbitrarily showcase it from any given city — there has to be a believable (again, based on stereotyping) correlation between cast and city for it to work, and I’m just not convinced there is.
I’m also not sure the model, in the context of Real Housewives or A-List, works for the city of San Francisco. What is the stereotype of a San Francisco citizen? Apparently we’re uber-liberal. Apparently we’re pretty casual. Do we hike more often? Are we environmentalist vegetarians? And are we these things more than the dwellers of any other city? And even if we are one of those stereotypes, are any of them interesting enough to base a reality series on?
Generally speaking, I don’t think the city of San Francisco (in all of its actual glory) is portrayed very well in the media. The most recent example being the Giants who, in their journey to become baseball’s 2010 champions, were, despite their playoff dominance, always deemed the underdog and called “misfits.” Yet, in a way, San Francisco is a city of misfits, isn’t it. Perhaps the city isn’t depicted positively because it is so undefinable. The city is home to many stereotypes, if not all of them!, and remains defined by its lack of definition, diversity and international attractiveness. Creating a reality show based on inhabitants of this city would prove difficult because there is no one stereotype that distinguishes the city from another, leaving no stereotyping foundation as an entrance for the audience.
Obviously I’m just hypothesizing here from my own observations, so I’m curious to know what other people think. Does reality TV only work when playing up stereotypes? If so, is that offensive? And what about San Francisco, could it be used as the hub of one of the Housewives or A-List shows, gay or otherwise?
So Delicious! A-Look at The A-List: New York
Apr 6th
First off, we all know that the Real Housewives of Atlanta are basically a circus clown troupe of wannabe (or more likely, actual) drag queens so let’s not argue over what is or isn’t the first gay housewives television series because in all literal interpretations, The A-List: New York on Logo is — so let’s treat it as such.
What can really be said then about television’s first interpretation of real kept gay men? “Kept” because this was the working title of the series and because a few of the men are kept, and the ones that aren’t long to be. Most critiques of the show want to focus on the materialistic point of view of the series, citing a cast of fashion-centric, body hair-phobic, and bitchyqueenycatty young men — one owns a hair salon, one is a model agent, two are wannabe models, one is a fashion photographer, and the other is an entertainment jack-of-all-trades (read: fame whore). Yet, indeed, this is the stereotype of gay men that the world is most popularly familiar with (especially in a New York gay), so I’m wary of holding such casting against the show’s producers. Popular shows like Will & Grace and Queer as Folk didn’t even dare step too far outside of this comfort zone of ‘gay men love/know fashion’ and ‘gay men say I love you through sarcastic, bitchy stabs at one another.’ I’d argue that this materialistic and catty point of view is more indicative of production’s attempt to appeal to an audience that isn’t used to any other interpretation of the gay community than it is anything else.
Let’s face it, television is very rarely groundbreaking with regard to casting — we have yet to see a successful Asian-American show and Latino-American shows still seem to struggle (bitch, Ugly Betty got canceled after only four seasons!). RuPaul’s Drag Race (obviously groundbreaking) is one of television’s most uniquely casted shows and after three seasons still has no strong foothold in mass appeal. Producers know that if they want a successful show then they have to stick to what an audience expects and knows. And for “gay housewives” that expectation is fashion and flamboyance.
Sad, right? For me, The A-List’s saving grace is that I actually think the cast is rather dynamic when you take into account the idiosyncracies of their personalities — Derek’s willingness to be in drag on TV, Reichen’s and Austin’s acknowledgments of their sordid pasts, and Ryan’s ability to apologize are all qualities that I don’t think are stereotypical traits of judgmental, bratty queens. And even when their dialogue proves repetitive episode-to-episode, the guys come out to sparkle in unexpected ways. Throughout this first season, Mike is very vocal about his dedication to philanthropy and opens up about the strain his coming out had on the relationship he had with his father. In other cases, Derek’s mother expresses concern for her son’s romantic heartbreak, Ryan confides in his best friend TJ that he and his husband are going to become fathers, and Austin becomes emotionally moved by stories of gay marriage. These gems of touching and very real events in the guys’ lives are what provide enough inspiration to leave me optimistic of a greater depth to the series in season two. And when matched with the cattiness we come to expect and love in our favorite housewives shows, why does anyone have a problem? For me, the show is absolutely delicious (*wink*).
The entire first season of The A-List: New York can be viewed online at logotv.com.
And look for supporting cast member TJ Kelly (also: co-founder of OutSpokenNYC.com) as a nominee on Logo’s NewNowNext Awards this year. Although I barely addressed him, TJ is without a doubt the scene-stealer and star of the show. Check out this bonus clip of him below:
Papa-papa-razzi
Mar 31st
If it walks like Dixie Normous, has a Hello Kitty purse like Dixie Normous, wears hot pink Variety Shop leggings like Dixie Normous, shops at Walmart on a Sunday like Dixie Normous, can barely walk in ho-heels like Dixie Normous, and just came from a church in a black faux leather jacket then, well, it’s probably that wannabe drag queen Shangela. Halleloo! But if it’s not Shangela, then it’s probably actually that ladyboy-still-looks-like-a-boy lady Dixie fucking Normous. Yeah, girl, look who I found high-stepping it in the latest Christian Siriano for Payless ho-heels at Walmart-West Sacramento last Sunday — after a rehearsal for Shamperella’s funeral hunnyreal. Is that an ash-gray sweater tied around her waist? Oh, huhhhhnns.
This Woman’s Work: A Look at HBO’s Mildred Pierce
Mar 29th
If you’ve heard the title “Mildred Pierce” before it is probably from the 1945 film starring Joan Crawford. That version, a film noir interpretation of the James M. Cain novel by the same name, earned Joan an Oscar for Best Actress and was nominated in several other categories. It is a fast-paced, beautiful black-and-white whodunnit with a flawless cast and iconic cinematography. Now, HBO has baked their own version of Cain’s story into a 5-part/5-hour miniseries event (it began Sunday, March 27th, with new parts airing on Sundays in the coming weeks) starring Kate Winslet in the title role, with a stellar supporting cast of Evan Rachel Wood, Guy Pearce and Melissa Leo. If you’re a fan of the original film adaptation, I’m here to tell you that you’ll be quite surprised, for better or worse, by the direction that HBO has taken the story.
The story, presented in either version, centers around newly single Mildred Pierce, an unlikely heroine who is painfully devoted to the needs and desires of her eldest daughter, Veda, and who beats all odds to become a wealthy, self-made woman in Depression-era America. But the two cinematic presentations of this archetypal story couldn’t be more different. Like I said, the Joan Crawford version is very-much-so a film noir classic, opening with a mysterious murder with the meat of the story fleshed out through a police station interrogation of Mildred. Joan’s character tells the story by recalling the events that led to her rise in fortunes and that culminated in the murder from that opening scene. Suspenseful and smart, Crawford’s version focuses on the scandal that is Mildred Pierce’s life — how exactly a movie about a self-made, barrier-breaking woman could even be made in the 40s was indeed part of the scandal of the story.
So far, HBO and Todd Haynes (the miniseries’ director, most known for his film “Far From Heaven”) have taken Mildred’s story in a completely different direction. I have not read the book, but due to the differences in the miniseries and the original film, I am assuming that HBO has chosen to interpret directly from the book rather than Crawford’s movie. The story is not framed as film noir in any sense, but rather presents a classic period piece, complete with an art direction of muted colors, a dreary score, and the inclusion of meaningless dialogues between unimportant characters, all there simply to characterize the time and setting of the story. If my description of a period piece seems critical, it is because I mean it to be.
Indeed, HBO’s take on “Mildred Pierce” is slow-paced, drawn-out, and not as visually stunning as it could be. With the cast that it has, many will be drawn into the series as I was, but if the first two parts are any indication of the pacing of the remaining three then many viewers will have a hard time finishing the series. Too many scenes have little-to-no dialogue, and even the ones that have plenty beg one to question the talent of the scriptwriter. I imagine that HBO found relevancy in the project between the Depression-era setting and our recent economic recession, and surely are playing up the struggle of Mildred to find a balance between her pride and financial struggle, but I wonder if this likeness between the two eras is lost on a modern audience more used to thrilling films rather than slow, heavy-hearted ones.
The upsides of HBO’s version for me are the cast (obviously) and the attentiveness to Mildred as an archetypal struggling hero. Kate Winslet is an acting goddess and brings creativity, uniqueness, nerve and talent to everything she does. Rumor has it that in all 5 hours there is not one scene that Kate is not in! Kate presents a more complicated Mildred than Joad did, a woman at constant odds with her eldest daughter, Veda, in parts 1 and 2 a young and irreverent brat of a girl, but also struggling with her own sense of worth as a newly single, newly poor woman of pride. And in HBO’s lack of focus on building a story an audience will be thrillingly drawn to, they deal rather acutely with this inner struggle Mildred has with her own plight, an aspect Crawford’s version most certainly pushes aside to make room for pace and mystery.
All in all I can’t say for sure yet whether or not I completely hate HBO’s version — indeed, parts 1 and 2 were painfully drawn-out with very few intriguing scenes. The problem is that Guy Pearce came on screen late into Part 2 and Evan Rachel Wood has yet to be shown — both of whom play characters that offer up the most conflict with Mildred. And if the trailers for parts 3-5 are any indication, Evan Rachel Wood is going to bring a lot of vitality and excitement to the script. For that reason I must reserve judgment on the series, and will continue to watch. But I can’t, with any type of confidence, recommend the series to anyone vaguely interested. In order to pull through this one you’re going to need to be naturally drawn to the series on your own because if you hate it I’m not prepared to take the blame for it!
If you are interested though and missed Sunday’s premiere, parts 1 and 2 will be airing nightly on HBO all week, with part 3 premiering next Sunday at 9 pm. Check out the trailer below to get your own sense of where HBO has taken this classic:
The Essential Britney Spears
Mar 25th
In honor of the new Britney Spears album release this Tuesday, I thought I’d provide FrankieRose our readers with a suggested playlist of the very very very essential Britney songs from her career so far. If you’re in doubt over why you should care about her or her music, take a look at this great article for SF Weekly by one of my recent Twitter discoveries, @OscarRaymundo. And for a review of what you can expect from her new album, Femme Fatale, check out this article on OutspokenNYC.com by superfan Tommy.
But, real talk, these are the 25 songs you should be jammin’ to all weekend in hotticipation of Femme Fatale:
- …Baby One More Time
- (You Drive Me) Crazy [Stop Remix]
- Born to Make You Happy
- Oops!…I Did It Again
- Stronger
- Don’t Let Me Be the Last to Know
- One Kiss from You
- I’m a Slave 4 U
- Overprotected
- Me Against the Music [with Madonna]
- (I Got That) Boom Boom [with Yin-Yang Twins]
- Toxic
- Touch of My Hand
- Everytime
from Greatest Hits: My Prerogative
- Do Somethin’
- Piece of Me
- Break the Ice
- Freakshow
- Toy Soldier
- Ooh Ooh Baby
- Circus
- If U Seek Amy
- Lace and Leather
- Trouble
- 3
And if you’re a real loser like Nick and I, try rearranging the songs into your dream Britney concert setlist — you can even geek out over what her wardrobe and set will look like in each section. And don’t forget the ever-important tour title. Mine would obviously be “The Abomi-National Tour.”
Take a peak at the two lead singles from Femme Fatale and see where Britney is heading with the new sound!
Bathroom, Driving Range, or Both?
Mar 22nd
Oops. Why does my mind always go to toilet?
The following is a very short conversation with a friend from high school stemming from his Facebook status:
Mike: Ok seriously there’s like 40 other stalls you can occupy. Why do you have to go to the one directly next to mine???
Me: The real question is why are you doing the deuce in a public restroom large enough to have 40 stalls?
Mike: Lol this was at the driving range. But the question does work for the guys that do that in the bathroom too.
I’m pretty confused because I could have sworn that was very obviously a comment on bathroom etiquette, not driving range nonsense.