al-in-chgo's definitions
from car TRUNK + trick OR TREAT. A style of Halloween trick or treating where children solicit candy and other goodies not from households but from car trunks in an entertainment style similar to tailgating. Trunk or treating has its origins in late 1990s Utah but has since spread to some other locales, generally small towns or suburbs in the Midwest and South. To host a trunk-or-treat event, a sponsoring entity (usually a local church) will offer its parking lot on Halloween afternoon and evening. Participants agree to bring their cars and stock the trunks with candy. A growing custom, there are now websites devoted to explaining the ritual and offering tips for decorating car trunks in Halloween themes.
"Jimmy won't be home 'til almost dark. He's going to trunk or treat with friends."
"Do you mean trick or treat?"
"No, trunk or treat. The kids go to church parking lots and get their candy from the parents' car trunks."
"The younger generation has it too easy, if you ask me."
"Do you mean trick or treat?"
"No, trunk or treat. The kids go to church parking lots and get their candy from the parents' car trunks."
"The younger generation has it too easy, if you ask me."
by al-in-chgo November 2, 2013
Get the trunk or treatmug. Smarm was the name given to a particularly heavy and cloying hair grease worn by Indian men in the nineteenth century.
Thus a "smarmy" person is cloying, over-ingratiating, oleaginous ("oily"), close, and over-familiar.
Thus a "smarmy" person is cloying, over-ingratiating, oleaginous ("oily"), close, and over-familiar.
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"Who was that man who pretended to know you so well?"
"Oh, Kenneth. Ignore him. He confuses charm with smarm."
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"Who was that man who pretended to know you so well?"
"Oh, Kenneth. Ignore him. He confuses charm with smarm."
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by al-in-chgo March 25, 2010
Get the Smarmmug. Means achieved orgasm, reached orgasm, climaxed sexually. To use "came" or "cummed" for an orgasm in the past tense? People actually get into arguments about this.
1. One argument is that since "cum" is pronounced same as "come" it's only natural to use the past tense of "came".
2. OTOH: A sportscaster would not say, "The batter flew out to left field." If the batter hit a pop fly, the sportscaster would say, "The batter flied out to left field." "Flew" in this case is absurd (except for a Red Bull commercial!). So by analogy "cummed" is acceptable.
In this writer's opinion, either "came" or "cummed" is acceptable. If you want an alternative that doesn't sound like a sexologist uttered it, there's always climax/climaxed. "I just orgasm'ed" is possible, too, if a bit stilted.
This is truly a case that argues for liberality of usage among even the most conservative speakers of American English. You do yourself and the language harm to over-scruple, and your sex life might suffer, too!
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1. One argument is that since "cum" is pronounced same as "come" it's only natural to use the past tense of "came".
2. OTOH: A sportscaster would not say, "The batter flew out to left field." If the batter hit a pop fly, the sportscaster would say, "The batter flied out to left field." "Flew" in this case is absurd (except for a Red Bull commercial!). So by analogy "cummed" is acceptable.
In this writer's opinion, either "came" or "cummed" is acceptable. If you want an alternative that doesn't sound like a sexologist uttered it, there's always climax/climaxed. "I just orgasm'ed" is possible, too, if a bit stilted.
This is truly a case that argues for liberality of usage among even the most conservative speakers of American English. You do yourself and the language harm to over-scruple, and your sex life might suffer, too!
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"I came four times last week by beating off." --
"Oh dang, I think I just came." "You mean you don't know?"
"You cummed in my mouth. You said you wouldn't." --
"Oh shit, I just cummed early." "Don't worry, big fella, you'll live to come again."
(The tag section has other possibilities.)
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"Oh dang, I think I just came." "You mean you don't know?"
"You cummed in my mouth. You said you wouldn't." --
"Oh shit, I just cummed early." "Don't worry, big fella, you'll live to come again."
(The tag section has other possibilities.)
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by al-in-chgo February 23, 2010
Get the cummedmug. Adjective form of approval for gay man with a high "Woof!" potential; generally expresses a gay man's admiration for a particularly virile gay male like a hairy-chested bear or well-defined muscle daddy. The woofy object of admiration is more likely to be older rather than younger than the woofer (admirer).
See also Woof!
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See also Woof!
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"Okay, so who's woofier: Blake Nolan or Tim Kelly?" --
"Hard to choose, dude, they're both so woofy. I wouldn't kick either out of bed."
"Hard to choose, dude, they're both so woofy. I wouldn't kick either out of bed."
by al-in-chgo February 25, 2010
Get the woofymug. Name of the rock-based instrumental tune that opened and closed the syndicated Canadian TV show, THE KIDS IN THE HALL (1990s).
The song was performed by a rock trio called "Shadowy Men on a Shadowy Planet," which name is, unfortunately, one character too long to fit the 30-character limit for tags. The band (1984-1991) was based in Toronto and one of its members was/is friends with one of the Kids in the Hall. Shadowy Men had a successful career in its relatively brief life and has a reputation as both innovative and influential, in that it fused Punk with Surf styles. The group's bassist, Reid Diamond, died of cancer in 1991.
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See also UrbanDictionary listing: Shadowy Men on a Shadowy Planet.
The song was performed by a rock trio called "Shadowy Men on a Shadowy Planet," which name is, unfortunately, one character too long to fit the 30-character limit for tags. The band (1984-1991) was based in Toronto and one of its members was/is friends with one of the Kids in the Hall. Shadowy Men had a successful career in its relatively brief life and has a reputation as both innovative and influential, in that it fused Punk with Surf styles. The group's bassist, Reid Diamond, died of cancer in 1991.
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See also UrbanDictionary listing: Shadowy Men on a Shadowy Planet.
"Shadowy Men on a Shadowy Planet" is an unusual name, even for an indie band."
"A lot of their tunes have quirky names, too: consider "Having an Average Weekend," which The Kids In The Hall used as the intro / outro music for their show."
"TMI! Unless I can win a bar bet with it."
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"A lot of their tunes have quirky names, too: consider "Having an Average Weekend," which The Kids In The Hall used as the intro / outro music for their show."
"TMI! Unless I can win a bar bet with it."
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by al-in-chgo March 1, 2010
Get the Having an Average Weekendmug. (Sometimes called TV Parking.) Not parking for the movies, but the kind of ridiculously easy parking a character in a movie gets when s/he pulls right up to his/her destination, zeroing in on a miraculously wide-open parking spot in what otherwise is an impossibly tight urban area.
During the 1950s and 1960s, in movies and on television, Doris Day got such a rep for manifesting that lucky talent that a spin-off term was coined; see "Doris Day Parking." Generally Ms. Day's roles had her piloting sensible domestic sedans and station wagons, a visual metaphor for her competence, efficiency, self-reliance and ability to live without a man. By way of contrast, the neurotic characters Tony Randall portrayed often struggled with temperamental British roadsters, and Rock Hudson played dissolute types who poured themselves into a taxi -- hungover, drunk, in a hurry, or all three.
Times did change -- a little. On "The Doris Day Show," CBS-TV's' late 1960s career-girl sitcom and vehicle (no pun intended) for Ms. Day, her character drove a 1969 Dodge Charger. A red convertible Charger, on a legal secretary's salary. Modernity notwithstanding, Doris never seemed to have much trouble finding instant parking. In San Francisco. Business-district and high-rise parts of San Francisco. In all fairness, though, the opening credits included a very brief shot of her on the California Avenue cable car.
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During the 1950s and 1960s, in movies and on television, Doris Day got such a rep for manifesting that lucky talent that a spin-off term was coined; see "Doris Day Parking." Generally Ms. Day's roles had her piloting sensible domestic sedans and station wagons, a visual metaphor for her competence, efficiency, self-reliance and ability to live without a man. By way of contrast, the neurotic characters Tony Randall portrayed often struggled with temperamental British roadsters, and Rock Hudson played dissolute types who poured themselves into a taxi -- hungover, drunk, in a hurry, or all three.
Times did change -- a little. On "The Doris Day Show," CBS-TV's' late 1960s career-girl sitcom and vehicle (no pun intended) for Ms. Day, her character drove a 1969 Dodge Charger. A red convertible Charger, on a legal secretary's salary. Modernity notwithstanding, Doris never seemed to have much trouble finding instant parking. In San Francisco. Business-district and high-rise parts of San Francisco. In all fairness, though, the opening credits included a very brief shot of her on the California Avenue cable car.
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In 1985 writer-director-male lead Albert Brooks, playing opposite Julie Hagerty in the film comedy LOST IN AMERICA, saw a movie convention ripe for satire. The lead couple, having had all kinds of bad luck in the Heartland, moves to New York City to find new careers. As the soundtrack blares Frank Sinatra's "New York, New York," their car, shown in exteme high shot, dives (no backing) right into a perfectly sized parking space dead center in front of a white high-rise office building in Midtown Manhattan. This knowing send-up of, and homage to the Movie Parking convention (which fit the plot perfectly) never fails to draw howls from the audience.
"Man, we were so lucky. TV parking in front of the building; the FedEx van had just pulled away."
"You want to see Movie Parking at its finest? Alfred Hitchcock's VERTIGO from 1957. Jimmy Stewart, Kim Novak, Barbara bel Geddes, all drove right up to Jimmy's apartment building, and it seemed to be the same spot perpetually open and waiting for them. Diagonal parking stalls, no less, or as you Midwesterners like to call it, angle parking."
In 1985 writer-director-male lead Albert Brooks, playing opposite Julie Hagerty in the film comedy LOST IN AMERICA, saw a movie convention ripe for satire. The lead couple, having had all kinds of bad luck in the Heartland, moves to New York City to find new careers. As the soundtrack blares Frank Sinatra's "New York, New York," their car, shown in exteme high shot, dives (no backing) right into a perfectly sized parking space dead center in front of a white high-rise office building in Midtown Manhattan. This knowing send-up of, and homage to the Movie Parking convention (which fit the plot perfectly) never fails to draw howls from the audience.
"Man, we were so lucky. TV parking in front of the building; the FedEx van had just pulled away."
"You want to see Movie Parking at its finest? Alfred Hitchcock's VERTIGO from 1957. Jimmy Stewart, Kim Novak, Barbara bel Geddes, all drove right up to Jimmy's apartment building, and it seemed to be the same spot perpetually open and waiting for them. Diagonal parking stalls, no less, or as you Midwesterners like to call it, angle parking."
by al-in-chgo February 25, 2010
Get the Movie Parkingmug. Judgment City is that part of town where all the buildings are of medium height, usually located near expressways, and built between the early Sixties and the mid-Eighties. Its style is some variation on International Style as exemplified by the almost inevitable flat roofs with HVAC equipment forming a "sore thumb" addendum to the roof lines. Judgment City gets its name from the sterile corporate complex that is the setting for most of the plot of Albert Brooks' satiric comedy DEFENDING YOUR LIFE.
Beige is the predominant theme of Judgment City -- beige for the cast-concrete slabs that form some buildings, most bridges, and practically all covered parking structures attached to those buildings that no longer are surrounded by enormous asphalt parking lots. Beige also shows up in more overtly pseudo-sophisticated building techniques like pebbled walls (usually more concrete but with a deliberate random design), or the vertical walls with pretend fluting that are made of a whiter shade of concrete.
Judgment City areas generally push retail and housing to its edges because in these neo-downtowns, rents are too expensive to support low-rise concerns.
If, however, you come across a newer area that is not flat-roofed and beige, but equally corporate with such building features as monopitch or steepled roofs, ziggurat-edged walls and exposed structural elements like gray PPG plate glass or red girders, you've gone beyond Modern into Post-Modern: Legoland. (See "Legoland".)
Beige is the predominant theme of Judgment City -- beige for the cast-concrete slabs that form some buildings, most bridges, and practically all covered parking structures attached to those buildings that no longer are surrounded by enormous asphalt parking lots. Beige also shows up in more overtly pseudo-sophisticated building techniques like pebbled walls (usually more concrete but with a deliberate random design), or the vertical walls with pretend fluting that are made of a whiter shade of concrete.
Judgment City areas generally push retail and housing to its edges because in these neo-downtowns, rents are too expensive to support low-rise concerns.
If, however, you come across a newer area that is not flat-roofed and beige, but equally corporate with such building features as monopitch or steepled roofs, ziggurat-edged walls and exposed structural elements like gray PPG plate glass or red girders, you've gone beyond Modern into Post-Modern: Legoland. (See "Legoland".)
-- Recall that in Albert Brooks' movie DEFENDING YOUR LIFE, the newer retail outlets in Judgment City, like nail salons or frozen-yogurt shops, were going up on the edge of town.
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by al-in-chgo June 19, 2011
Get the Judgment Citymug.