Glazed Muffin

A few days ago, I celebrated my 49th birthday—the final lap of my forties. Since it fell in the middle of the week, I chose a quiet dinner at home when my wife asked how I wanted to spend it.

When I got home from work, she was already in the kitchen preparing a birthday meal. She greeted me with a smile and told me to head upstairs and get comfortable. When I came back down, I noticed a few wrapped presents waiting on the dining table. She then pulled blueberry muffins from the oven and, with a mischievous grin, began slowly drizzling glaze over them. “I have a surprise for you,” she said.

Then came the letter candles—arranged carefully to spell out: “ASK ME.” I raised an eyebrow, confused. “We’re already married,” I said.

“No,” she laughed. “Ask me.”

Grinning, I asked, “Can we have sex?”

“After you open your presents,” she replied, smirking. “Then we can go upstairs for some... quality time.”

Doing my best to play it cool, I opened two beautifully wrapped shirts—classic Tommy Bahama button-downs. Perfect for future date nights or beach days.

Soon after, we headed upstairs and enjoyed a much-needed, intimate moment together. An hour later, we returned downstairs where she finished preparing a delicious dinner. Afterward, as we shared the glazed muffins, she asked how I liked my birthday.

I couldn’t help myself. “Best birthday ever,” I said. “You made me glazed muffins… and I got to glaze your muffin.”

ai generated

Album Cover: Alice Cooper - School’s Out

Album Cover

Album:  Alice Cooper - School’s Out

Released: June 13, 1972

Cover Art Design: Craig Braun

Sources:

Wikipedia

Henry Scott Tuke

Art Appreciation

Henry Scott Tuke was born on June 12, 1858, in York, England, into a Quaker family. His father was a physician and a supporter of the arts, which helped nurture Tuke’s early interest in painting. 

In 1870, the family moved to Falmouth, Cornwall, a seaside town that would later become central to Tuke’s artistic identity. Surrounded by coastal scenery and a vibrant harbor community, young Tuke developed a fascination with the sea—a theme that would appear repeatedly in his work. His formal art education began at the Slade School of Fine Art in London, where he trained under prominent figures like Alphonse Legros.

Tuke’s early career was marked by experimentation and travel. In 1880, he received a scholarship that allowed him to study in Italy and France, where he was exposed to Impressionist techniques and classical themes. 

By the mid-1880s, he returned to Cornwall and became associated with the Newlyn School, a group of artists focused on plein air painting and working-class life. Tuke’s early works were traditional in style, often depicting maritime labor and naturalistic seascapes. He also began to paint portraits, gradually gaining recognition for his sensitive and realistic portrayals.

In the 1890s, Tuke's reputation grew significantly. He settled in Falmouth permanently and converted an old fishing boat into a floating studio. During this period, his most distinctive work emerged—scenes of young men bathing or lounging by the sea. 

While these works were admired for their technical skill and light-filled naturalism, they also carried an undercurrent of sensuality that would later lead to both praise and controversy. Tuke was elected an Associate of the Royal Academy in 1900 and became a full Academician in 1914, affirming his place in the British art world.

Tuke’s style is best described as a fusion of Impressionism and Victorian realism. He worked primarily in oils and watercolors, favoring natural light, outdoor settings, and fluid brushwork. His subjects ranged from coastal life and portraiture to male nudes in idyllic maritime settings. 

Though often interpreted through a homoerotic lens today, Tuke’s contemporaries largely viewed his work as innocent and romanticized depictions of youth and nature. His technical mastery and emotional subtlety earned him awards at international exhibitions, including a gold medal at the Paris Salon.

Two of Tuke’s best-known paintings are August Blue (1893–94) and The Bathers (1888). August Blue depicts four young men diving and lounging in the blue-green waters of a calm bay, capturing a moment of harmony between body and landscape. It remains his most celebrated work and was purchased by the Tate Gallery in 1894. The Bathers, painted a few years earlier, helped establish his reputation with its bold composition and luminous treatment of flesh and water.

A Soldier (possibly T.E. Lawrence), 1921

Return from Fishing, 1907

Rounding the Manacle Buoy, 1888

August Blue, 1893-94

The Bathers, 1888

Sources:

Wikipedia

https://www.tate.org.uk/art/artists/henry-scott-tuke-555

https://artuk.org/discover/artists/tuke-henry-scott-18581929

https://outstoriesbristol.org.uk/people/biographies/henry-scott-tuke/ 

RANDOM WEDNESDAY: Charles "Chas" Addams - The New Yorker June 14, 1958

Cover art by Chas Addams 

Elvis Costello and the Attractions - Pump It Up

Music Appreciation

Released on June 10, 1978, Pump It Up is one of Elvis Costello & the Attractions' most electrifying songs, originally appearing on Costello’s second album, This Year’s Model. A driving force of the new wave and pub rock scene, the song captures the manic energy of late-'70s punk-infused rock. 

Lyrically, Pump It Up is both a satirical take on hedonism and a commentary on frenzied desire, with Costello’s signature wit shining through. The pounding bassline, rapid-fire drumbeat, and Steve Nieve’s signature swirling organ give the song an almost relentless pulse, reinforcing its theme of excess. Built on a tight, repetitive riff reminiscent of Bob Dylan’s "Subterranean Homesick Blues", the track is a masterclass in controlled chaos.

The song’s music video, directed by Paul Flattery for Jon Roseman Productions, perfectly captures its restless energy. Costello, decked out in his trademark skinny suit and Buddy Holly glasses, showcases his iconic jerky dancing, flailing and bouncing around with an urgency that matches the song’s unrelenting beat. The video’s low-budget, high-energy aesthetic only adds to its charm, embodying the raw, no-frills attitude of the punk/new wave movement. 

Sources:

Wikipedia

Is That Democracy in the Rearview Mirror?

Pardon the Interruption

I recently read a thoughtful opinion piece in the Austin Chronicle by Erblin Ribari titled “There Is an ‘Us’ in USA. Let’s Act Like It.” Ribari, MIT and Harvard graduate, reflects on leadership, unity, and civic responsibility, urging Americans to live up to the “us” in USA—by building bridges instead of walls, showing care over convenience, and remembering that democracy only works when we all participate.

In theory, this is exactly how democracy should work. I say “in theory” because, under the Trump administration, we’ve seen a steady shift toward something more authoritarian in style. And let’s be clear—authoritarianism isn’t just about a strongman at the podium. It’s about limiting public input, tightening control over media and education, and shrinking the space where free expression once thrived (e.g. entertainment and the arts). These are all elements we've seen touched by executive orders and policy shifts, recently.

The result? A rising fear among Americans that speaking out might come at a cost. Students worry their scholarships or enrollment might be on the line for expressing dissent. Foreign students face the threat of deportation or harassment for joining protests. Judges’ families are being targeted--online and off-- for cases questioning the Trump Administration's directives.  Meanwhile, militarized agents dressed like they raided a Spirit Halloween store are storming businesses and detaining elected officials for doing their jobs, representing their communities.

The fear is real. And in a climate like this, it’s no wonder many people are unsure if their voices matter—or even if they’ll be heard. But if we take Ribari’s message to heart, we’re reminded that the only way through this moment is together, by choosing courage over comfort and community over silence.

by Guy Parsons, November 25, 2024

Sources:

https://www.austinchronicle.com/columns/2025-05-30/opinion-there-is-an-us-in-usa-lets-act-like-it/

https://cagle.com/cartoonist/guy-parsons/2024/11/25/290531/span-idtitle_290531trump-escalator-autocracy

AJR - Sober Up

Music Appreciation

AJR's "Sober Up," featuring Rivers Cuomo of Weezer, made its debut on June 8, 2017 as a single from their second studio album, The Click. The track was crafted by the band’s members—Adam, Jack, and Ryan Met—and showcases a delightful collaboration with Cuomo that fans embraced from the start.

Musically, "Sober Up" is a buoyant blend of catchy pop rhythms, indie rock vibes, and quirky electronic touches. The song’s lyrics offer a lighthearted reflection on the bittersweet nature of growing up, mixing nostalgia with a playful call to hold on to the magic of youth. Its infectious hooks and spirited composition create an atmosphere that’s both reflective and irresistibly upbeat.

The music video, directed by Aaron A. and brought to life in the bustling streets of New York City, perfectly mirrors the song’s energetic charm. It features a series of whimsical scenes that capture everyday urban moments with a twist of playful creativity. From unexpected visual surprises to its vibrant storytelling, the video has been well received for its fun and imaginative portrayal of the track’s spirited vibe.

Sources:

Wikipedia