The Thin Man 0: The Man Under the Bridge

Everything’s thin. The Wire

Setting:

We open onto a large office in what looks to be Moscow.  It could be anywhere in the East however, anywhere from Petersburg to Potsdam.  The office appears busy; clerks filing, apprentices bustling, managers shouting instructions and reprimands that go generally unheard, not out of rebellion, nor compromised auditory canals, but rather because the generalized cacophony of the office space is such that the collective action set cannot but unfold without coordination or direction.

The office is draughty and usually cold, although an occasional over-active heat pipe burbles out a bit of local warmth for certain fortunate corners.  The walls are covered from floor to ceiling with filing cabinets; the major task of the office is simply to inspect, stamp, classify, and file an endless stream of nominally related documents.  It is mid-fall, nearly harvest season.  Summer’s bounty this year has been acceptable, and the local populace will have food for the holidays.  Inside, however, the mood is one of permanent resignation to circumstance.

Scene One: Morning

You found me on the other side of a loser’s winning streak/ where my thoughts all wander further than they should

Dawes

The office’s hierarchy is complex, following rules of its own.  Those at the bottom of the ladder are blissfully unseen and operate without oversight or sanction unless transgressing in a manner so egregious that the neighbours become involved.  Those in the middle-lower classes are a little more visible; their seating, for instance, is of great importance.  Members of this class are ever being told that their stool has been moved to another section of the office.  Reason is neither given nor sought.  Transience is the way of the world, and is widely accepted.

The scene opens in the morning, just after the workers arrive.  At a large oak table, two members of this class sit, within mere inches of one another.  One of these is a thin man–the other, a Teutonic Knight.  Both have piles of papers left over from the day before in their work spaces, spaces delineated by a crack in the oak.  One of the papers from the thin man’s zone has shifted by a fraction of an inch overnight, whether on account of the draft or the vagaries of the cleaning staff is unknown.

The Teutonic Knight turns to face the thin man.

“I think you forgot something in my space,” he says.

“I didn’t forget anything in your space,” replies the thin man, “if you are referring to this piece of paper, it has shifted marginally and is abutting the crack which separates my zone from yours.”

“You have forgotten something,” insists the Knight.  “Take it away.”

The thin man sighs and removes the paper.  Good money after bad, he thinks to himself, applying a concept from the card tables, tables which he has, perhaps, been frequenting a little more often than he might want to admit.  The Knight knows nothing of the gambler’s demi-monde, spending his evenings as he does in endless rows over minor matters with one of the succession of women he sees.  And the thin man, well he has at least managed to stay out of the clutches of the worst money-lenders and knee-cappers in the city thus far.  His taste, in the last analysis, may run more to the risque than to risk per se.  In any case, the skirmish over, the knight withdraws from the field of battle, content in his triumph.  The thin man looks at the clock.  These days, everything seems to take all morning.

Scene Two: A Few Days Later

Well I was drinkin’ last night with a biker/ and I showed him a picture of you/ I said “Pal get to know her, you’ll like her”/ seemed like the least I could do

The Dead

The office has a kind of canteen, an open space where weak tea and the occasional edible biscuit have been reported. Here lives another man, a man from the south. His status with the company is ambiguous–a matter of no little gossip. Tales are told of whirlwind romances, payments under the table, mutually compromising material. No one really knows. This southerner spends his days reading and drinking tea in a most relaxed fashion. Good work if you can get it, muses the thin man. The thin man and the southerner are allies of the kind that sometimes arise during wartime conditions. The details of his ally’s dalliances and contractual complexities are only of a general interest to the thin man, who is however curious what value the southerner is seen to be providing to the company. Literacy is good and all, but the filing by god, the filing waits for no man.

Sometime that fall, the southerner pulls the thin man aside, for a talk. His manner is furtive, his words oblique. The thin man’s time with the company is limited, he whispers. His number is up. Time to hit the bricks, pal.

The thin man takes this news in stride. The tables beckon and he’s met a woman, a lady of the evening, perhaps, yet classy–demure, yet perfectly capable of looking after her own interests. He has only seen her a few times, true, yet there are possibilities. Of course being sans salary is not likely to widen that particular possibility set. So when the southerner leans in and whispers low, the thin man listens close.

“There is a man, a man you may meet,” says the southerner. “You must not ever tell anyone I told you this. The man will be under a bridge on a high holiday. There will be revelry. He may make you an offer.”

Gambling man he may be, but the thin man is confused.

“What should I do?”

“Stay alert. Pay attention. I can say no more.”

Easy to say, harder to execute, thinks the thin man. Alert for what? A man under a bridge is easy enough to spot, however the southerner seemed to be referring to another matter, an occasion where attention would be needed to carry the day. The thin man files the conversation away, and resolves to stay open to a situation that appears to have elements of fluidity.  It seems like the least he can do.

Scene Three: A Few Weeks Later

In bar light/ she looked alright/ in day light/ she looked desperate

Hold Steady

The thin man waited out the fall, his gambling limited to the occasional dice game at the Metropole. The southerner’s sage advice, if not quite forgotten, had faded into the general background of the holiday season. The city filled with lights and good cheer, and the denizens of the office slipped into a gentle numbness even more pronounced than usual. The demure lass was deft enough to dangle enough hints and intimations to keep the thin man hooked. You get what you get, he mused, when were it ever otherwise?  A couple of hot streaks at the tables allowed him to further postpone thoughts of the future. He would buy a round or two for a barfly girl he knew–at least she was around. Eggnog, that was her tipple.

One day a upper-middle manager summoned the thin man into a meeting. Called him by name no less. The meeting started crisply.

“Thin man, as you know you number is up here at the company.”

Hit the bricks, pal.

“As a result, we won’t be renewing your employment next year.”

Uh huh…ok, eggnog time then.

“I want you to understand that you won’t be employed by the company next year.”

What was that? “Stay alert,” so said the southerner.

“You won’t be offered a contract with the company. Do you understand?”

Unnecessarily repetitive. Information is being underlined. Pay attention.

“I understand perfectly,” said the thin man. And he thought that he did.

Scene IV: The Next Day

It was in Pittsburgh, late one night/ lost my hat, got into a fight/ I rolled and I tumbled, ’til I saw the light/ went to the Big Apple, took a bite

Dylan

After receiving the news of his impending termination, the thin man felt he had relatively little to lose.  He spent the next day in the canteen talking with the southerner.  The Tutonic Knight still reigned supreme over the crack in the oak; there was no there there in any case.  The southerner read philosophy, remained on the payroll.

“I’m attending a holiday party,” said the southerner.  “It will be this Saturday.  Under a bridge in the dead center of town.”

Indeed.

“There will be a man there.  If you decide to come to the party, meet me on the street just above the bridge.  I will act as if our meeting was coincidence.  Then, I will take you to the man under the bridge.  He is waiting to meet you.”

The thin man had but one true weakness, a byproduct, perhaps, of over-indulgence in games of chance.  His weakness, he knew, was for the unexpected.  For the unplanned. For, essentially, the random.

“Sure.  What time Saturday.”

“18:30”

Military time.

“OK.  I will present myself on the street as instructed,” said the thin man.

Scene V: Saturday

I said hey Senorita that’s astute/ why don’t we get together and call ourselves an institute

Paul Simon

On Saturday, the thin man arrived on time as promised.  The southerner materialized on the street just then.

“Ah, thin man, what an amazing coincidence.  I was just heading down under this here bridge to see a man about a mule.  Perhaps you would like to join me.  He may have an extra one for sale.”

“A mule might help me get out of town in a hurry,” said the thin man.  “Let’s see what’s happening.”

Under an inky moon the two men descended, passing through waves of people, men and women, reveling in the moonlight and watching the circus.  It was cake they ate, cake it was.  The density of erotic micro-transactions formed an exact square to the paucity of actual action.  Such was the slightly unkind thought that ran through the head of the thin man as he navigated the pretty party people.  In any case, the locus of action was ever in motion.

They pushed on, through the crowd, and reached the lowest point of the city.  Here, a man with a coat of many colors stood, in pointed shoes and a tricorne.  The host with the most, he held court to a motley crew of the pockmarked and the lame–the beautiful people of our fair city.

“This is a thin man,” said the southerner to the tricorne.

The man with the tricorne folded the thin man into a close embrace.  “You will be my new best friend,” said he.

“Naturally,” said the thin man.  “I think we will be very good friends indeed.”

“Now,” said the tricorne, “I have a little talent business, providing the right kind of people to the company.  You are my new best friend.  I will provide you to the company.  As talent.  That I found.”

“Of course you will,” said the thin man.  “Wither the eggnog, si vous plais?”

Dedication: For the southern man. Thanks for putting up with my nonsense over all these years.

Half Hours on Earth (A Poem)

Note: I wrote this poem in Auckland in 2009 however it is based on an encounter I had in Adelaide a few days prior. (There are a lot of mussels served in Auckland, incidentally.) The theme here is pretty obvious; it’s about an encounter, or, more precisely, an event, during which time compressed itself almost to a standstill. You have probably had this experience if you have been knocked of your bicycle by a car or something like that. When this happens over a half-hour, that’s a bit of a different guy.

This is one of my favorite poems that I have written. The title, and the repeating coda, are borrowed from the band The Silver Jews.

The quality of experience in half hours
is not uniform.
Some half hours are simply wasted;
in others, something occurs,
leads into something else.

“Half hours on earth/ what are they worth?/ I don’t know”

With the occasional half hour
something actually happens,
(in the Raymond Carver sense)
something that matters.
The air is charged, and thin;
butterflies roil one’s viscera;
and something is on the line.

“Half hours on earth/ what are they worth?”

These electric half hours
even if isolated in time
are frightening, or better
giddily upsetting, and dangerous.
They sear themselves into the memory,
rippling the fabric of the universe.

“Half hours on earth”

Dedication: For Molly. And for David Berman, RIP.

The Respectable Man (A Poem)

Note: I wrote this poem when I was in my twenties and it shows. Back then I wrote poems really fast. Today I still write really fast, but can barely write poetry at all. Anyway, this is sort of my version of a punk tune. It’s called “The Respectable Man,” and kind of speaks for itself.

The respectable man
reflects if he can
but the world won’t wait for reflectors
the respectable man
sits on the can
sits on the board of directors

The respectable man
hawks wares to the clan
who cannot tell shit from shinola
the respectable man
sees a water ban
and irrigates crops with a cola

The respectable man
works on his tan
en route to his room at the Hilton
the respectable man
is pimping a plan
with robust tax-giveaways built-in

The respectable man
spits on his hands
and scurries his way up the ladder
the respectable man
looks over the land
and respectfully empties his bladder

Song of the Day: Luna’s “Tracy I Luv You”

The song of the day is “Tracy I Luv You,” from Luna. Tracy was first recorded for the Penthouse sessions (released in 1995), and left off the record. It was later collected on the deluxe version. The Penthouse version sounds pretty finished to me, however the band would hold it back and rework it for Pup Tent. It is hard to say where the song would have been sequenced if it had made the cut. Especially in the early version, it is not as uptempo as “Chinatown,” still the obvious single. It would also not have fit well around “23 Minutes in Brussels,” which needs its own space. I could see it sequenced second, with “Sideshow by the Seashore” moved to anchor the back half somewhere–but that’s party because I like Tracy better than Sideshow. Or, it could have gone late–say 11th if Penthouse had had 12 tracks. I like a really sneaky good song like Tracy second to last. A good example of this move is on Lambchop’s Flotus, where “NIV” sits 10th and sets up the shaggy-epic “The Hustle.” Here, Tracy would set up “Bonnie and Clyde,” maybe not a natural fit but I kind of like it. The Penthouse version is only 3:50 though, while the Pup Tent version is 4:50. 4:50 is a better length to set up a song like Bonnie.

Anyway, the slightly more syrupy, marginally slower early version was redone and ended up on 1997’s Pup Tent. I like the fact that the new version gets an one minute extended outro with the cascade of “doooo/ doo doo doo,” though I’m not sure that I don’t like the early version better. Pup Tent’s sound was notoriously labored over, and in his memoir Wareham writes that Tracy was especially tough to get the vocal for. Although the album was trying to record, Wareham writes that “Pup Tent was not our best record, but it was our best-sounding record, containing all kinds of sonic textures.” He also told filmmaker Noah Baumbach in 2016 that “there are some really cool sounding things on Pup Tent; ‘Pup Tent’ itself, ‘Tracy I Love You,’ ‘Fuzzy Wuzzy.’ So, sonically, I love it.” Indeed Tracy has stayed on the set list and established itself as one of the standouts of Luna’s catalog.

The song opens with a classic Wareham verse:

Tell me stories on my birthday/ buy me gifts on Halloween/ she’s pretending not to know me/ but I know where she’s been.

Nobody does needy/ cheeky/ sly/ sexy in quite the same combination as peak Wareham.

Two verses later we get another deeply quotable verse:

I spend too much time in airplanes/ eating peanuts and getting high/ don’t know why I can’t stop smiling/ when I only need to cry.

It is this verse especially that I prefer on the Penthouse sessions–there is a weird stuttering reverb that almost pulls the vocal back in time–it’s like a car trying and not quite getting into third gear. For the Pup Tent version, Eden’s guitar behind the vocal has been improved, and the vocal is much smoother. To each their own–both versions rock.

On Kris Kristofferson’s “To Beat the Devil”

This piece takes a look at Kris Kristofferson’s “To Beat the Devil.” The song appears on Kristofferson’s self-titled debut album from 1970 on Monument, which is, by any standard, an astonishingly good record. The album features “Me and Bobby McGee,” “Sunday Morning Coming Down,” and “Just the Other Side of Nowhere,” along with the ol’ Devil. That’s four absolute classics right there for ya.

Sunday Morning features an opening quatrain that most other songwriters would trade their career for:

Well I woke up Sunday morning/ with no way to hold my head that didn’t hurt/ and the beer I had for breakfast wasn’t bad/ so I had one more for dessert

(I could play this game all day—Jason Isbell’s Southeastern features another couple life-work worthy couplets:

The first two lines of “Super 8”:

Don’t wanna die in a super 8 motel/ just because somebody’s evening didn’t go so well

And from “Different Days”:

Time went by and I left and I left again/ Jesus loves a sinner but the highway loves a sin.

If I’d written lines that great I’d call it a career and sip martinis on the house for the duration.)

Sunday Morning and Bobby are probably objectively better songs than To Beat the Devil, yet what I like about this one is that Kristofferson states very clearly a kind of founding intention for his life in song and art, right out of the gate. The only parallel I can think of is Craig Finn’s The Hold Steady, whose first album Almost Killed Me kicks off with “A Positive Jam.”

(Here’s Finn telling it like it is:

I got bored when I didn’t have a band/ so I started a band/ we’re gonna start it with a positive jam/ hold steady.

Rock on Craig baby.)

Anyway, let’s get to the focus of this piece. Kristofferson opens with a spoken intro.:

A couple of years back I come across a great and wasted friend of mine in the hallway of a recording studio. And while he was reciting some poetry to me that he had written, I saw that he was about a step away from dying, and I couldn’t help but wonder why. And the lines of this song occurred to me.

Here the singer is looking up at his idol who is both “great and wasted.” I wasn’t around quite yet in 1970, yet I can easily imagine Ginsberg’s “best minds” line hanging over talented folks across a lot of zones. Klosterman wasn’t quite there either (June 5, 1972–a mid Gemini of course), but he was close, and to indulge not for the last time in a little Klostermania, the zeitgeist seemed to be making people thirsty.

The singer receives some scraps of poetry, shards of shattered inspiration, and a song “occurs” to him. He doesn’t state it directly, however we imagine the song arrives fully formed, like “Pancho and Lefty,” or “Kubla Khan.” Thus, To Beat the Devil is also both an answer and an offer of redemption to his idol, who here is John(ny) Cash.

I’m happy to say he’s no longer wasted, and he’s got him a good woman. And I’d like to dedicate this to John and June, who helped showed me how to beat the devil.

The singer takes up the mantle of the master, and in so doing opens a possibility window onto redemption for his senior. This is no exaggeration—Cash also recorded To Beat the Devil in 1970 and we are basically stipulating that Kristofferson’s genius, descended from Cash while also original to himself, helped rescue Cash from addiction and the whole deal there. We won’t be deep diving into the archive on this one—as we said we’re just keeping it local and breaking it down, so you’ll have to take my word on it or search it up your own self.

Here’s the first verse; the words speak for themselves:

It was wintertime in Nashville/ down on Music City Row/ and I was looking for a place/ and to get myself out of the cold/ to warm the frozen feeling that was eating at my soul/ keep the chilly wind off my guitar

A classic down and out in the big city piece of scene-setting. The singer is physiologically and psychologically frozen, a cold wind gusts across his art. The man needs a break.

My thirsty wanted whiskey/ my hungry needed beans/ but it had been a month of paydays/ since I’d heard that eagle scream/ so with a stomach full of empty/ and a pocket full of dreams/ I left my pride and stepped inside a bar

You might think that the operative nouns here would be “thirst” and “hunger,” but no. This is not a man with a thirst; this is a thirsty man. We also hear an echo of a now-ancient American past where a man with an empty stomach would go in search of, of all things, “beans.”

Anyway, he’s got no money, can’t really bring himself to care. So, a singer walks into a bar.

Actually I’d guess you’d call it a tavern/ cigarette smoke to the ceiling
and sawdust on the floor/ friendly shadows/ I saw that there was just one old man sitting at the bar/ and in the mirror I could see him checking me and my guitar/ and he turned and said/ come up here, boy, and show us what you are/ I said I’m dry, and he bought me a beer

The man in the mirror, the devil himself. The singer comes face to face with the man who checks him out and summons him over. Kristofferson then enters into a bargain–offers up the terms of an encounter: a beer on the old man’s tab. Score one for the thirsty man. The singer faces the old man; it’s to be a showdown. He doesn’t have much, but he’s got some “friendly shadows,” traces of an older map perhaps, an older memory.

I can’t help here but engage in a bit of presumption. When I play the song in my head, I want to hear “in the mirror I saw him casing me and my guitar,” (listen to the way he pronounces “guitar” on the track. Kristofferson was born in Brownsville, Texas in ‘36 and behind the laid back folksinger you can here some roots here baby).

If I could make one edit to the song, it would be to replace “checking me,” with “casing me.” What a great verb “to case” is.

Lexical Interlude: “To case the joint”

1. slang To observe a place in order to familiarize oneself with its workings in preparation for some criminal activity (often robbery). Judging from the security footage, those men cased the joint hours before robbing it.

2. slang By extension, to thoroughly examine a place. In this usage, no devious motive is implied. As soon as my kids walking into the hotel room, they started casing the joint, exclaiming about everything from the TV to the mini-fridge.

The seminal use of this verb phrase comes from Bill Callahan, formerly of Smog. Callahan is an odd duck—he is so artificial, so obviously self-created as an entertainer, that he has become almost post-authentic.  Callahan contains multitudes.

My favorite Smog album, well in the top two, is Red Apple Falls, which features “Ex-Con,” on which Callahan sings: 

Jean jacket and tie/ feel like such a lie/ when I go to your house/ I feel like I’m/ casing the joint

Devious motive implied.

=====

He nodded at my guitar and said/ it’s a tough life, ain’t it?/ I just looked at him/ he said “you ain’t making any money, are you?/ I said, you been reading my mail/ he just smiled and said, let me see that guitar/ I got something you ought to hear/ and then he laid it on me

The devil has a bead on the singer, and he’s not far off.  Yes he’s broke.  Yes he’s down and out.  Whaddaya want?

=====

Filmic Interlude I: The Long Goodbye

In Robert Altman The Long Goodbye, written by Leigh Brackett, the main character Philip Marlowe gets out of jail somewhere in the first act and heads to a all-purpose pit stop restaurant who’s owner apparently collects Marlowe’s mail. The dialogue is exquisite.

Marlowe: You got any messages for me?

Owner: Believe we’ve got a few over there. As a matter of fact, you’ll find my phone bill in there too.

Marlowe: I wouldn’t worry about that.

When you ain’t got nothing you got nothing to lose. Kristofferson’s got nothing to hide in his mail. Those bills go straight to the wastebasket.

=====

If you waste your time a talkin’ / to the people who don’t listen/ to the things that you are saying/ who do you thinks gonna hear?/ and if you should die explaining how/ the things that they complain about/ are things they could be changing/ who do you thinks gonna care?

there were other lonely singers/ in a world turned deaf and blind/ who were crucified for what they tried to show/ and their voices have been scattered by the swirling winds of time/ ‘cause the truth remains that no one wants to know

The devil’s words speak for themselves. The path of the troubadour is a dead end. The world has not ears to hear nor eyes to see. Truth tellers meet a bad end. Whiners gonna whine. It’s a strong opening bet, made, we presume, with his red right hand.

Well the old man was a stranger/ but I’d heard his song before/ back when failure had me locked out/ on the wrong side of the door/ when no one stood behind me/ but my shadow on the floor/ and lonesome was more than a state of mind

The singer is on familiar territory; he’s has been tempted by this cynical incantation, he’s not immune to tuning out his calling when out in the cold. Who is?

You see, the devil haunts a hungry man/ if you don’t want to join him/ you gotta beat him/ I ain’t saying I beat the devil/ but I drank his beer for nothing/ then I stole his song

This is the key verse in our little tale. You see, when we tango with the devil the devil usually gets to lead. That’s just the way it goes. But the thing about the devil is, his game is a bit of a bluff. A couple of low pairs, maybe. You just gotta call.

and you still can hear me singing/ to the people who don’t listen/ to the things that I am saying/ praying someone’s gonna hear/ and I guess I’ll die explaining how/ the things that they complain about/ are things they could be changing/ hoping someone’s gonna care

I was born a lonely singer/ and I’m bound to die the same/ but I’ve gotta feed the hunger in my soul/ and if I never have a nickel/ I won’t ever die ashamed/ ‘cause I don’t believe that no one wants to know

Kristoffeson flips it right around. The devil’s got a point; the singer may die dead broke, that’s fine. Songs are borne on the wind in any case. The thing is to have faith in your audience. To believe someone is out there, heart in their hands and ear to the wind. And to hold this faith as a mantra. That’ll keep ‘em guessing, cause then you’re not playing their game, you’re playing your own.

Overall, To Beat the Devil is a young man’s song. It’s got a confidence, a swagger, even a hubris. So, after drafting most of this piece I wanted to find a recent live version, see how it’s aged. I stumbled on a version from a live set with Lou Reed released in 2017. The set is part of The Bottom Line Archive, and it finds Kristofferson in a Waitsian stage of life. The voice is richer than ever, but he’s not exactly singing. Then again, that’s what they said about Dylan and it’s B.S. The voice is the voice; singing is just a category.

The set is interspersed with short interviews of the two songwriters. Here is Kristofferson’s spoken introduction that precedes To Beat the Devil. It is instructive.

Interviewer: The devil figures in some of your songs, you know there’s that silver tongued devil and he pops up from time to time. Who’s the devil? What’s the devil for you? What are your demons?

K.K.: Well, I, I’ll do that song then. Ahhh…

Interviewer: Is that a metaphor or is that something real for you?

K.K.: Well here’s a song called To Beat the Devil. Maybe it’ll explain it. I can’t.

Notes on Breathing

A lot has been written and said about breathing.  Here’s some more of that.

Most people it seems to me breathe pretty high in their chest.  This makes some sense because your lungs are up there somewhere.  However, I’ve long thought this was basically wrong.  When someone says, “take a deep breath,” well, deep implies lower down.  And, meditators, who know something about the topic, sort of breathe with their belly.  That’s why they get a little fat there–a little buddha belly.  Breathing in the belly centers us and calms us down.  It’s also a pretty cool motion.

Recently though, I realized that I have been over-modeling meditation breathing at the expense of breathing in my chest.  I went from one extreme to the other, failing to remember the middle way principal.  Do you know the middle way principal?  It’s pretty easy to remember.  The middle way principal is simply: “just split the difference, dude.”

So that’s what I’m working on.  Breathing in the chest upward with vigor–that brings inspiration and good upstairs action.  And, breathing in the belly, making a little balloon there at the same time.  This feels good.  Like a middle way.

No one really teaches you these things, or at least they didn’t me.  If this makes sense to you in any way, maybe tell someone about it.

Introducing thekyotokibbitzer

“Half hours on earth/ What are they worth/ I don’t know
In 27 years/ I’ve drunk fifty thousand beers/ And they just wash against me/like the sea into a pier…”
David Berman (Silver Jews), from Trains Across the Sea.

Welcome to thekyotokibbitzer.com. On this site you will experience posts uploaded whenever I write one. I write mostly about people, music, language, things that happened to me, and things I have observed. I also write some fiction.

Basically, I like to “check things out,” so some of the posts will just be sort of check-ins–that is briefish looks at a topic. Other pieces will be a little fuller, a little more polished.

The kibbitzer, classically, seeks neither fame nor fortune and is seen only by those in the audience, if at all.  If you feel like an audience member, drop a line or leave a polite and interesting comment. Also, if you’d like to write for the site send me a guest post and I’ll see if it’s a good fit.

Here’s Trains Across the Sea for y’all:

Peace out.