In the previous two decades of international public-health experience, starting with SARS and on through the rest of the acronym-heavy list, a standard procedure had emerged, and it had proved effective again and again. The U.S, with its combination of scientific and military-logistics might, would coordinate and support efforts by other countries. Subsequent stages would depend on the nature of the disease, but the fact that the U.S. would take the primary role was expected. When the new coronavirus threat suddenly materialized, American engagement was the signal all other participants were waiting for. But this time it did not come. It was as if air traffic controllers walked away from their stations and said, “The rest of you just work it out for yourselves.”
“We’re approaching our final destination. Please return your tray tables and seat backs to their fully upright positions, place your heads between your legs, and kiss your asses goodbye. And thank you for flying Trump Air.”
The Menaul trailhead, shot from a social distance.
Beyond hoarding beans, buttwipe and bullets, people don’t seem to be taking The Bug seriously in these parts.
Or they didn’t on Sunday, anyway.
When Herself and I bicycled over to the Dark Tower to deliver some vino to Herself the Elder, we passed three trailhead parking lots that were jam-packed and overflowing onto neighboring streets.
Call me crazy, but this seemed like antisocial distancing to me, on a par with slow dancing in a burning building, the New Mexican equivalent of sunburned bro-brahs wearing bikini babes like earbuds during spring break in Florida.
Maybe the authorities were watching, too. Maybe our crowds were not out of the ordinary.
Because come Monday, Gov. Michelle Lujan Grisham went on TV to lay down the law. Or the advisory, anyway.
The nut graf? Keep your distance, preferably behind closed doors.
“There are a lot of people out and about,” she said. “This creates risk. This creates exposure.”
The Piedra Lisa trailhead, which looked like the drop-off lane at an elementary school.
I created a few exposures myself with the old iPhone camera, and here they are, all shot from a proper social distance, if only to avoid an ass-kicking (“Hey, man, whatchoo taking pictures of, huh? You work for my old lady?”).
And when I got back to El Rancho Pendejo I created another podcast.
• Technical notes: I recorded this episode with an Audio-Technica ATR2100-USB mic straight to the MacBook Pro, using Rogue Amoeba’s nifty little app Piezo. Editing was in GarageBand. The background music is “Buddy,” an iMovie jingle. The other sound effects were liberated from the GarageBand loops library. And those musical references? The musicologists among you will be familiar with “Highway to Hell” (AC/DC); “Stairway to Heaven” (Led Zeppelin); “Happy Trails” (Roy Rogers and Dale Evans); “Get It While You Can” (Janis Joplin); “The Last Waltz” (The Band); and “When the Roll Is Called Up Yonder” (Johnny Cash). These are not necessarily the folks who wrote the music, but the ones who came to mind as I was writing the podcast.
C’mon. When you’re staring at this much screen you want a box of popcorn, a big ol’ soda, and a preview of coming attractions that does not include the honking 18-wheeler into whose lane you have strayed.
I have an ironclad disagreement with the notion of a multiplex in motion.
My argument is a simple one: If you want to drive, get an automobile. If you want to text, tweet, phone, Facebook, Instagram, eat, drink, smoke, shoot, or stream anything other than your own bad self down the road, why, get a sofa and some fixed location to put it in.
Our discussion of the Escalade Multiplex with its 38 inches of curving OLED real estate caused me to remember an earlier screed on this very topic, from the pages of Bicycle Retailer and Industry News circa 2014. For a change I cited sources other than the voices in my head, though of course they too were interviewed at length.
Rather than simply reprint the column — c’est ennuyeux! — I barked it into the old Shure SM58 and presto! Yes, yes, yes, out popped another episode of Radio Free Dogpatch!
Too late for this year’s Pulitzer for Audio Reporting, but hey, there’s always next year, amirite? Or maybe 2024, when the sonofabitch will be 10 years old and journalistic standards may have declined even further, perhaps to my level.
P L A Y R A D I O F R E E D O G P A T C H
• Technical notes: This episode was recorded with a Shure SM58 microphone and a Zoom H5 Handy Recorder, then edited in Apple’s GarageBand on the 13-inch 2014 MacBook Pro. Post-production voodoo by Auphonic. The background music is “Well Oiled Machine” from Zapsplat. Sound effects from Apple’s iMovie effects bin and Your Humble Narrator.