Jun 7, 2025 Off / the pole .

                 29-09-2014

 

                'After midnight', Clapton sings it better, 'we're going to let it all / hang out.'  As tempting - and as late as it is this Tuesday evening - to let it all hang out, it is not yet after midnight, and Cin like Clapton had to learn the hard way that letting it all hang out can lead to no No End of T®ouble, to Out ©ome / the ©uffs, and so he will stick with just the facts / ma'am.

 

                'I can't wait,' one of the heroines of the film Return to 'Nuke 'Em High says it better – before during and after witnessing one of her classmate's head implode after exposure to, you guessed it, nuclear sludge becaue Nuke ‘Em High - 'to go home and write about this / in my blog', and so it is that, before during and after Cin's 25th high school class re-union, he couldn't wait to get home, for to write about it in / this Take This Thing Back to Baltimore me-moirs and (f) / (b) (s) / Plan (c) log.

 

                Course that didn't prevent him from stopping on the way, to videe the latest Denzel Washington vehicle, The Equalize®.  Film starts promisingly enough, 'the two most important days in your life are the day that you're born', the opening shot quoting Mark Twain has it better, 'and the day you find out what you're here up out here up on out on up on this Dog and Pony Show / for', ellipse, and tics / are ©in's – it’s ‘what you’re here for’ is the line ‘ - but you get the idea, it's a good line, along the lines of the writer’s line about some of us coming up on out on up on out up here with secret / missions to run.

 

                Denzel's mission of course in The Equalize® is to rid the world of ever ne'e® do well unlucky enough to cross / his path – ridding the world of ever ne'e® do well unlucky enough to cross / his path is all / we gots - in this case the entirety of the Masshole ®ussian mob, not only in Boston, but in ®ussia as well because Hollywood.  After a Fi®st A©t involving brutally bad dialogue exchanged between Denzel's character 'Bob' and his new BFF, 'Clare', aka 'Ludmilla' - 'you don't look like a Bob' she says in perfect English, 'you look like a 'Robert'.  Roberts read books,' she summarizes, noticing that your man Bob reads book at the cafe where they meet / ©ute – Clare between her p®ostitot t®i©ks with johns, Bob working off cinsomnia (insomnia -id.), which is a mild form of what Bob has, the man doesn't sleep, 'Bobs watch / TV' – Clare a Russian pro with dreams of being a singer, the Second and Third Acts of The Equalize® come with just the brutality, ma'am.

 

                Though it's two hours of his life that Cin will never / get back - and after a 25th-year high school / reunion, a person realizes that (s)he doesn't have all that many two hours of his / her life that (s)he'll never get back left - it's hard to keep your eyes off a film like The Equalize®.  Movie jumps the sha®k early on, and makes no bones about it, jumping the sha®k early on and making no bones about it is all / we gots.  You had your 'Fool Kille®', innit MF, the supe®hero who, well, does as his name indicates. 

 

                Though your super-(anti -id.)he®o - your man The Fool Kille® - would surely be doing the rest of us up on out on up on out on this this Dog and Pony Show a bigger favor by thinning our ranks, before, during, and after his (b) / (s) / (m) / (gl) / and just plain / adventures, than the likes of Denzel’s The Equalizer, with his ostensibly guilty victims ('I almost feel sorry' A.O. Scott of the New Yo®k Times reviewed the same film better, 'for the hired goons in these films, there to open a door or act tough, who get in the way of the vigilante and pay for it with their lives'), this is a Hollywood film, and so your man The Equalize® needs / a reason to go coocoo for coacoa puffs – if only a ©ursory nod - needing a reason to go coocoo for coacoa puffs is all / we gots.

 

                Before during and after his new frenemies the ®ussian Massholes dispatch an assassin to take care of Bob in Boston – before during and after Bob takes out some local goons, who unwisely refused his offer of U$9800.00 as a payment for Bob's new BFF, Clare / Ludmilla's freedom - the rest of the story writes / itself, an 'oligarch' is the last Ruskie ©®azy Ivan to fall, the Ruskies these days are again the big-screen villains of choice, and Boston and its Massholes the new ville / de noir, innit perfesser, 'ra ra Rasputin' Boney M sings it better, 'lover of the Russian Queen, it was a shame how he / carried on.'

 

                Meanwhile, back on the non-celluloid planet Ea®th - the non-celluloid planet Ea®th is all / we gots - ©in is after hulk-smashing away at this Take This Thing Back to Baltimore (s) / (f) / (b) log in his adolescent bed-room in Luskvegas, on the Quebe© side of the Quebe© - Onta®ia®ia®ia®ia®io border, having made the tacti©al erro® earlier this evening of continuing West, cinstead of going back into town and back to the cindominium, during the course of his (b) / (m) / (s) / (gl) / Plan (c) - and yes sometimes just plain - adventures, after videeing The Equalizer in Aylmer, ' yes' the film ended it better, it's the reply that Denzel Washington's Bob hulk-smashes as reply to an e-mail, and to a sequel, in the film, after someone else e-mails your man The Equalize® aksing 'can you / help me ?', hulk-smashing 'yes' in reply to an e-mail aksing 'can you / help me ?' is all / we gots.

 

                It was a tacti©al erro® because Cin's adolescent home up on out on up on out up here in Luskvegas is not only his adolescent home up on out on up on out up here in Luskvegas, but also just a place where he stayed over the summer, and the summer, dear readers, is over.  His new room-mates - their M and P - are back out here up in out on up in Luskvegas, and with them back too a host / of cintentious (‘contentious’ as they pertain  / to Cin –id.) issues.  'And this' Cin aksed it, though surely not better, of his Ma earlier this evening - after videeing the mess of hardware that now passes for the living room after their M and P were unable to turn on / the television, and then called technical support of some kind, God only knows who, but give them / a raise, whoever it was, 'cause somehow the TV set at least turned on - 'is how you're going / to roll?'

 

                It was a gratuitous line, though not without merit, to use on an octogenarian of course, but Cin has run out of approaches to their M and P's shtick(s) up on out on up on out on up out here, 'I had a good chat with P*****' their Ma said it better to Cin - after going on and on about the telephone conversation she had had earlier in the evening 'with someone in Pakistan' about fixing the TV set - and he said that we should get someone out here to look after / your father.'  This of course has been Cin's approach to the various jackpots ongoing up on out on up on out up here from Day One - to have a man F®iday about / the place - but it is as though this cinversation that took place this after were the first time that it was ever / brought up. 

 

                Course no one ever went sane or won the Nobel / Pea©e P®ize by living with their M and P at an advanced age - his / hers, or theirs -  and it was a ta©tical erro® to stay another night out here after Plan A called for your man ©in the humble / humbled / humiliated narrator of this Take This Thing Back to Baltimore me-moirs and (f) / (s) / (b) / Plan (c) log to decamp to the city for the rest of the week after staying over last night.  But for all of his bluster and bad-mouthing and ®ain Man truth-telling and blogging and flogging and slogging and vlogging and hulk-smashing away at this Take This Thing Back to Baltimore me-moirs and (f) / (s) / (b) / Plan (c) log , Cin's heart broke just a little bit more earlier this morning, as he was taking his leave, and his Ma said in passing 'have / a good week'. 

 

                For the same reasons that Cin should be many miles from here - namely the manifestations of the results of the metastasizing ja©kpots, the kitchen pots and pans and cutlery left all over the kitchen and now the front yard, the air / of sadness, that make up in equal measure on the one hand both their M and P's need of a (wo)man F®iday up on out on up on out up here, other, (un)fortunately than your man Cin because precarious-enough already mental health for all parties / cinvolved, and on the other, their steadfast refusal to accept / the same - Cin can too get guilted by a simple line like 'have a good / week' into coming back of this Just Another Mani© Monday evening, when every bone in his body knew it was a bad, or at least ambitious, idea.

 

                Though Cin did the saddition for this trip early this after in what's left / of his mind - calculating the odds that he would not find the place and its cinhabitants / in disarray - his calculations was cincorrect in retrospect, i.e. those odds is None / Nada / Zero / Zilch, son, a ®ussian oligarch has a better chance of leaving a room intact before during and after a meeting with Denzel Washington's The Equalize® than does ©in when he comes up on out on up on out up here expecting to find the place Spi© / and Span. 

 

                Course Spi© and Span is an oven / cleaner, and this here Take This Thing Back to Baltimore me-moirs and (f) / (b) / (s) / Plan (c) log is not, though it could probably / certainly use some foaming / cleanliness, innit Mr. ©lean.  Cinstead this Take This Thing Back to Baltimore (f) / (b) / (s) / Plan (c) log is 'assupposed to be about 25-year high-school graduation week-end reunions and what happens / at same, but those me-moirs will have / to wait as his cellphone starts to buzz and buzz and buzz and Big Mac's replacement battery goes from 10 percent warnings to 7 percent warnings in about as many minutes and is about / to die, and Cin needs to save before it dies, saving before we die is all / we gots.

 

                Thanks for reading this Take This Thing Back to Baltimore me-moirs and (f) / (b) / (s) / Plan (c) log.