Opium

I hope they don't mind me dipping the human meat in spicy honey mustard.

There's a good chance that I'm going to check out both of those things. Thanks, pardner

[cloudset]https://soundcloud.com/amj-96/unevenedge[/cloudset]

Everything posted so far is input. All are lyrics.

Oh, this is gonna be a good song

Traffic is bad here but fuck it, baby! Three stanzas, give it to me.

Part 7 is my daddy and he comforted me like a daddy should on Father's Day.

Topic: Slightly active tonight (Read 5 times) :-\

Only if he's erect. I'm not suckin anyone who can't appreciate what I can do with my tongue.

I would try to tuck their penis between their vagina and try to fit my penis in whatever crevice forms that's most identical to a vagina. If that fails then I'd tug on their little guy hard enough to see if maybe there's some form or function to their vagina that I could gain access to by using their penis as some lever to a gate.

I'M MORE LIKE BOOMHAUER

Talking is the reason I'm ever lonely. I just never really want to talk. Could be anywhere cool, could be anywhere fun, could be with friends or family; I'd just rather not. There's nothing good to talk about anyways.

I thought Part 6 was incredibly bad... and I've loved every previous Part. The Dougie scene of him drawing was the only time I felt the pacing was unforgivable. I don't mind the overall nature of Dougie and I understand what they're getting at with him but this scene was just a waste. They showed the boss looking at the drawings anyway so watching Dougie actually draw it is nonsensical. Not to mention they reused the same jazz track about three times up to this point -- and it's not even a Badlamenti track (nor is it particularly exceptional). The intersection scene felt like a parody. The excruciating, almost embarrassing acting by the extras that we get a full view of neutered what otherwise could have been an intense scene. The shot showing the truck driver put his face in his hand was just dumb. I'm not sure if this was supposed to be comedic. I couldn't even find it weird or surreal. It all just felt really dumb; a misfire. The dwarf scene was shocking, but I also found relief in that this likely means we won't have to hear that bland 'hip-hop' instrumental beat again. The developments with Richard Horne was disappointing. A great introduction to something sinister and evil in Part 5 knocked down to the atypical "Don't call me kid!" villain; the overall dull introduction to Red as something sinister and evil being a bad liver and goofy mannerisms that came across like Lynch going through the motions. The part with the dime was cool, but Getty lacks an intensity in appearance that Farren has almost by default. Getty looks like a deflated Henry Rollins here and has zero menace. Lastly, Chad. This is the lamest, most asinine character. He is so out-of-place and so obviously unfit to be an officer, and even with the mention of the police force being on cruise control, I find it ridiculous that a guy this obvious would still be kept around. The connotation here isn't that the Twin Peaks Sheriff's Department is resting on its laurels, it's that it's incompetent. And even if that's the intention, that doesn't forgive the lack of thought put into this character. But I'm still going with this and looking forward to the next Parts. I was just really bummed on this one, and felt that the exceptional scenes of Twin Peaks in Part 5 were castrated in the follow-up.

We're only friends if we can't be lovers. But you know I've always loved a good sword fight.

I believe there's still a possibility for Bowie. I'm not truly expecting it but I think there's a chance, especially considering how strongly things are revolving around Philip Jefferies. I'm honestly a little done with the Dougie bit. I don't hatefuck it like some people on the internet do - I'm rather indifferent - but I feel it's been stretched far enough. I'm betting it'll be resolved in 2 or 3 more parts but with Lynch you never know. Might not get Coop till the last two parts, which would kinda suck. Part 5 is probably my favorite Part so far, as it felt like the old series with its mix of absurdism and sinister smalltown atmosphere. The Bang Bang Bar scene with Richard Horne was fantastic, as was Becky getting high. Also really enjoyed seeing Mike (Mike IS the man) tear down Bobby 2.0.

Ah yes, I believe in all of this as well. I was mostly speaking for myself as a reader/writer and my relationship with poetry and how I consume literature. Objectively speaking, it holds its own and whereas I feel something is missing another will find a million.

I recently finished Yasunari Kawabata's Snow Country and am now reading through his collection of short stories under The Dancing Girl of Izu. I'm also reading (slowly, of course) Karl Ove Knausgaard's My Struggle: Book 2 and Juan Rulfo's Pedro Paramo. Also J.A. Baker's The Peregrine. Also a number of Cormac McCarthy books. I usually start reading books then splinter off and read another then juggle.

Hell yeah, What I mean by function of mystery is that poetry, for me, always ends initially with the question "what the fuck did I just read" more often than straight comprehension of the text. I think by design poetry is supposed to be analyzed and deconstructed to discern its meaning, usually always existing on different levels with different intent - even when a poem is straightforward and seemingly obvious. I suppose by structure it's meant to be questioned. It's always struggling to say something, even when the words its using are beautiful. As a reader/writer, and as a person, I struggle to say things myself, and I think this is why I don't respond as well to poetry because it's a reflection of myself in other people's words. Lyrical prose can be mysterious but there's often enough of it that you can easily find its point as long as you stick with it. It's a way of talking that can be therapeutic because it's structured to communicate and doesn't necessarily call to be deconstructed. It can just be beautiful on its own. Poetry can be too, but I don't think its presented in a manner that welcomes its own independence. It needs the participation of the reader's analysis in order to be made sense of.

The thought of courting these days makes me physically tired. There's a spark of inspiration and enjoyment until you realize you gotta fuckin text them every 5 or 10 mins of your life or you see another girl who's even cuter and you wanna ask her out but you got this chick you've been talking to on the solid... Jerking off is just so much more convenient. There are times when I want to feel loved but I don't want to put in that kind of effort when I know how I am and where I'd like to be in life.

First, you punch her right in the stomach. Make sure you're using a balanced amount of force here in order to get her hunching over and not down-and-out on the dance floor. Assuming you did this properly, she is now hunched over with her mouth open. Quickly insert food into her mouth at this time. I suggest a low-calorie food item, as you don't want your soon-to-be attractive girl becoming your soon-to-be bounce house. As she eats (if she chokes then repeat step one), ask her what her favorite bands are, tell her you're an artist, and then show her your high scores in Sonic. If you two aren't fucking at this point then God's not real and that's all I have to say about that.

Poetry works as a function of mystery to me. But as a form of expression, it never satisfies as it's something that works best under technicalities than off the wall emotion... at least generally. Of course there is always an exception, especially in post-modernism. But for me, as a reader, I've drifted far from being amused by poetry. I've found lyrical prose to be more effective currently.