Aitch-Bar

Writing About (Mostly) Not Astrophysics


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Stilloob

In April 2020 I had tickets to see proto-quirk band They Might Be Giants perform their classic 1990 album Flood for the tour marking it’s 30th anniversary. Or at least, I had tickets from when I bought them in about December 2019 until March 2020, when the tickets evaporated into a powdery mist and blew away, carried forth into an unknowable future date. For much of the following year I went to great lengths to avoid mists of all types.

They tentatively pushed the show back a year, then readjusted, then rescheduled the readjustment, the tide came in, the tide went out, flowers bloomed in the meadow, streams became choked with salmon, a thousand Tuscan suns blazed to life, shone for an eternity, and dwindled to cosmic embers. Somewhere a little after that, a firm date was finally decided upon this past September. Even that was briefly in doubt as John Flansburgh was seriously injured in a car accident this June, one night after managing to commence the tour.

Since the initial cancellation, I’d spent over a year working remotely, got vaccinated, finally saw my friends and family again after the long absence, welcomed a daughter…you get the idea. By the time it finally rolled around, I was a completely different person.

Unfortunately, the person I was now was was a sleepy dad. The kind of guy who wants to want to go to concerts, but doesn’t actually want to go to concerts. And my pal who’d planned to go with me back in 2020 was similarly crushed under the weight of his 2022 life. So I gave my tickets away. C’est la vie. While I’d held out this future event as a personal marker of the end of my pandemic for two years, once it came time to mark it I’d been so battered by those years that I was in no mood. Seems appropriate.

Sensing, I assume, my particular circumstances, TMBG streamed the Minneapolis performance from the tour I missed. So after putting to bed the offspring that was nothing more than a twinkle in my eye when this endeavor began I finally saw my Flood show. It was lovely to hear them do a bunch of album tracks that they wouldn’t have played live in concerts for 30 years, or ever.

The most surprising of these was their treatment of Sapphire Bullets of Pure Love. Specifically, they played it backwards.

Flansburgh told the audience to cheer and applaud before the song, and they proceeded to do it in reverse. It has a geometric plinky-plonky riff and it’s fairly short, so it was a good choice for this kind of thing. The backwards version is called Stilloob, a fittingly imprecise reversal of ‘bullets’. This became evident later in the show when they played the recording of the reversed version backwards, to hear how similar it was to the original. The direction of time, nothing more than impediment. Truly, the Tenet of songs.


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Brilliant Entry May Have Been Deemed “Too Thought-provoking” For Boston-Area Photography Contest

Newton, Massachusetts. March 26th, 6:06 PM

Back in May there were sandwich boards around town soliciting pictures for a photography exhibit about the initial months of the pandemic. Being the sensitive and artistic soul that I know myself to be, I thought “I’ve got just the picture!” and scrolled back through my camera roll to the grey early days of our now-perpetual state. Back when people were still leaving their mail untouched for a day, when we’d only just begun to mentally size up the airflow in every new interior space upon entering. The days before fear gave way to sadness, and we weren’t yet numb to the multi-faceted tragedy of what we’re still watching unfold.

My submission didn’t make it in. It probably got edged out by a photo of a cat watching Tiger King or something. No problem, I’ve got this blog I can put it on instead. Basically what you’re looking at here is a picture I took one day while out with my wife on one of those walks we all have to take now so we don’t go crazy. The Mass Pike runs through the area and I’d been fixated on how the ever-present crush of Boston traffic had dwindled to nothing seemingly overnight. I can see part of the pike out of the corner of my eye from my desk at home so I’d been tracking it unintentionally as society went into lockdown.

This was two weeks into isolation for us. On the 12th as cancellations and scary news alerts were steadily pinging away, I took a day off work to rush down to RI to stock my mother with groceries and convince her to stay put for a while. I never returned to the office—we went remote the next day. A couple days later my wife’s did too. I was proud of how a patchwork of local authorities and employers here had taken these extreme steps to help slow or prevent the elderly and vulnerable from dying—a shared decision made by ordinary people in the almost total absence of national leadership.

When we came up on this highway bridge it really was shocking to see the highway this deserted. But I knew that that doesn’t necessarily come across in a still image, so I had to try to take a few and make them a bit arty while still showing the maximum possible extent of the road without cars on it. I liked this one the best, but it’s funny that I thought I could make a photo featuring the weird grocery store perched over the pike “arty.”

The contest required a description under 100 words, thus quashing my desire to write an extended reverie on the idea that under normal circumstances, at the time and date I took this, the Red Sox would have been playing their opening game. The road would have been filled with cars holding people listening to it on their radios. How poetic!

Here’s what I wrote instead:

I live close enough to the pike to hear it whooshing through a quiet night. It crowds with crawling cars twice a day and only ever subsides to a steady thrum.
As ordinary life shut down for many of us, and my world shrank to the blocks around my apartment, I couldn’t help but gawk at the abrupt lack of traffic; an eerie absence that substantiated the magnitude of the crisis. Yet, far from being ominous, the quiet road was evidence of our enormous collective effort to save each other’s lives.
I took this picture on a Thursday evening in late March, at what would have been the height of rush hour.