moolah moolah

What’s the differential diagnosis for an average overworked & underpaid 9 to 5 employee being bored by the idea of wealth?

Seriously, I think that’s what happened to me as a 26-year old millionaire briefed the room on how he got from point A to point B (or should I say Point C to Point PhP?)… I’d say I’m  a bit interested, but not all too enthusiastic.

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I wouldn’t trade Legazpi for Tagaytay. No siree. Manileños love to drive up there for a decent out-of-towner because it’s chilly AND it’s near. But I don’t get it. There’s not much to see there. Just as the Grand Canyon is nothing but one big hole in the ground, I think Tagaytay won the elavation bet with the gods of topography, who failed to anticipate the need for an 11th commandment: Thou shalt not steal revenue from a neighbor’s asset. If you can’t catch a view of the Taal lake & the elfin volcano from there, what’s there to see? Sure you can visit the restos & bars & coffeehouses, heck you can get those anywhere. The climate? Stand before your fridge, your daddy oh sure can use a break from your begging gas money.

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I am getting a daily dose of House, 1-2 eps a day. This is one of the few things you’re never gonna get tired of. If I happen to catch a rerun when I’m seventy, I swear to God, I will fall right into the pit of nostalgia & ehem, how my Veto gave me seasons 1 thru 3 original DVDs. wink wink!

I’m trying to complete all 5 seasons before the 6th ushers in by September.

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hunched

Text from “Sister Wendy’s American Masterpieces“:

“Apparently, there was a period when every college dormitory in the country had on its walls a poster of Hopper’s Nighthawks; it had become an icon. It is easy to understand its appeal. This is not just an image of big-city loneliness, but of existential loneliness: the sense that we have (perhaps overwhelmingly in late adolescence) of being on our own in the human condition. When we look at that dark New York street, we would expect the fluorescent-lit cafe to be welcoming, but it is not. There is no way to enter it, no door. The extreme brightness means that the people inside are held, exposed and vulnerable. They hunch their shoulders defensively. Hopper did not actually observe them, because he used himself as a model for both the seated men, as if he perceived men in this situation as clones. He modeled the woman, as he did all of his female characters, on his wife Jo. He was a difficult man, and Jo was far more emotionally involved with him than he with her; one of her methods of keeping him with her was to insist that only she would be his model.