Hello, Computer. How's the Internet today?

Morning Linkage

Still looking for the best 11 guys - Manny Diaz was fairly frank during his Troy-week press conference about where we are as a defense right now. Hit the link to hear him discuss our lack of turnovers (which he interestingly attributes in part to our shortcomings in stopping the run), the effects of losing Market to injury, and the peculiarity of having a very strong fourth-quarter defense at the same time as having a not-so-strong first-quarter defense. (Or click here to read the C-L's take on the press conference instead, or here to read Robbie Faulk's summary at 247Sports.)

Horseshoes and hand-grenades - State's players and coaches reflect on the multiple missed opportunities in the A&M and LSU losses.

Math - One of Football Study Hall's weekly in-depth advanced stat box scores went to the State-A&M game. Tons of information, but here's one thing that immediately jumped out that hadn't occurred to me before: Our average starting field position sucked. The 21.1 yard line for us, the 36.7 yard line for A&M. That isn't going to get it done, people.

Relentless, Episode V - Here ya go:

Attractive People Drinking Whisky

Speaking of Jack Kerouac . . . .

It's hard not to think that this was the way On the Road was meant to be read:

Pink Floyd Fridays

In 1969, Pink Floyd recorded roughly an album's worth of music for Italian filmmaker Michelangelo Antonioni to use in an upcoming film. Despite the Floyd's efforts, Antonioni only ended up using a few of the songs and filled out the rest of his soundtrack with a hodge-podge of Americana ranging from the Grateful Dead to John Fahey to Patti Page. Most of the rest of the Floyd stuff ended up on bootlegs over the years until an expanded version of the film's soundtrack was released in the 90's. (One exception was a song that reemerged on Dark Side in 1973 as "Great Gig in the Sky.")

The film, Zabriskie Point, is inconsequential and boring. But the final scene features some of the most Floyderrific images you'll ever see—hyper-slow-motion shots of spontaneously combusting inanimate objects set to a glorious non-album version of "Careful With that Axe, Eugene" called "Come in Number 51, Your Time is Up."

After some pointlessly repetitive real-time explosions, the music starts at around 1:40. Enjoy.