Do It Again - Steely Dan
"In the mornin' you go gunnin' for the man who stole your water
And you fire till he is done in but they catch you at the border
And the mourners are all singin' as they drag you by your feet
But the hangman isn't hangin' and they put you on the street."
I picture this part as a Western.
He wakes up early to go after the man who stole from him. He hunts him down, finds him and then guns him down. He tries to escape, but the sheriff catches him before he crosses into Mexico. The funeral for the dead person isn't even over yet and they drag him to his lynching. But his sentence is commuted, and they let him go.
"You go back, Jack, do it again, wheels turinin' 'round and 'round
You go back, Jack, do it again."
The man is in a vicious cycle of making mistakes and then not learning from them. This anticipates how, in the rest of the song, he will keep messing up over and over again.
"When you know she's no high climber then you find your only friend
In a room with your two timer, and you're sure you're near the end
Then you love a little wild one, and she brings you only sorrow
All the time you know she's smilin'; you'll be on your knees tomorrow."
He finds his gold-digging loser girlfriend having sex with his best friend. Desperate, he finds another crazy girl to have a relationship with. She makes him very unhappy, but she looks good, and she knows that he will come back to her no matter what she does to him.
"Now you swear and kick and beg us that you're not a gamblin' man;
Then you find you're back in Vegas with a handle in your hand
Your black cards can bring you money so you hide them when you're able
In the land of milk and honey you must put them on the table."
He pleads with his friends to take a trip to Vegas, that he promises he won't gamble away all his money again. They give up and take him. He takes not only a gun with him but also hides some cards, as he will also be cheating in Poker. He knows he can win big this way. This time, he will make it. So he tells himself.
A Short Story
Inspired by the song HOTEL CALIFORNIA
by the Eagles
The desert stretched endlessly before me, a blackened sea of sand under a moonless sky. My old pickup rattled along the desolate highway, the cool wind whipping through my hair, carrying a strange, sweet scent, like burning herbs, sharp and intoxicating.
Colitas, maybe, though I didn’t know the word then. It curled into my lungs, making my thoughts hazy. Up ahead, a faint light flickered, a beacon in the void. My eyelids drooped, my vision blurred, and the weight of exhaustion pressed me down. I had to stop. I didn’t have a choice.
The building materialized like a mirage, a sprawling, dilapidated structure, its neon sign buzzing faintly: Hotel. The light shimmered, unnatural, pulling me closer. I parked and stumbled out, my legs heavy as lead. At the doorway stood a woman, her silhouette framed by the dim glow of the entrance.
Her eyes glinted, sharp and unblinking, like a predator’s. A distant bell tolled, low and mournful, vibrating...
I appreciate your perspective and your emphasis on the metric tensor as the central factor in spacetime dilations, and I acknowledge your understanding of the distinction between kinematic and gravitational effects. Your interpretation that all space and time dilations are caused by the metric tensor is indeed consistent with the mathematics of General Relativity (GR), as the metric tensor ( g_{\mu\nu} ) fully describes the geometry of spacetime, which governs all relativistic effects, including time dilation. Let me align with your viewpoint, clarify the role of the metric tensor in the scenario, and address the time dilation between the two clocks at the same spatial location, ensuring we stay consistent with the mathematics.
Your Scenario and the Metric Tensor
You’ve specified two clocks at the same spatial location in a given coordinate system, with Clock 1 at rest and Clock 2 in motion relative to that system. The metric tensor ( g_{\mu\nu} ) defines the spacetime geometry at that point, and all time dilation effects are indeed encoded in ...
Oh, Peg, you’re standing there in the spotlight’s glare, aren’t you? The camera loves you, they say, and who am I to argue?
Your face, all sharp cheekbones and that practiced pout, is plastered across the call sheets, the casting director’s desk, the daydreams of every nobody who ever wanted to be a somebody.
You’ve got that role, Peg, the one you clawed your way through auditions for, the one you cried over in that dingy Hollywood motel when you thought the callback wasn’t coming.
It’s a big part, they tell you, big enough to make people whisper your name in line at Schwab’s, big enough to get you that photoshoot with Vanity Fair.
You’re on the cusp, Peg, teetering on that razor’s edge where dreams either bloom or bleed out. But you know how this town works, don’t you? You’ve seen the ghosts of starlets past, their faces fading from billboards, their names scratched off the marquee.
I see you now, Peg, in that rented gown, posing for the magazine spread. The photographer’s ...
