At the bottom is us. We tune in, log on, turn up, shout out. More often than not, we log on and turn up and shout out at each other; it’s what we do now, how we come to make our voices known. Sometimes it’s fun, some (very rare) times it’s educational, but mostly it’s just a pressure release valve we unwind to make sense of our senses, to craft the inevitable human flaw of narrative for ourselves, to try and understand why we feel the way we do. It’s hard work, living. But you, me, we all go on doing it anyway, tuning in because sports are a relief from the rest of our embattered lives and because logging on, turning up, shouting out at what we can’t control is, in its own way, a liberation we’re only inching toward. For now.
It wasn’t an unusual meeting in that place. If you couldn’t find a conference room either because they were all booked or because the stupid names gave nothing away about which direction or floor you needed to go and it’d be too much of a hassle to try finding it, you squeezed onto one of the communal couches by the kitchen nearest you and had your meeting there, out in the open, often alongside other, equally self-important meetings. It’s strange to feel as if you have too many conference rooms and too few people, yet the rooms are never free and the people are disappearing.
It was a race of laughter and forgetting.
Amid the majestic Moravian hills of Brno in the Czech Republic, what followed (very common given name in Italy and not at all less expected than Dionigi or Dionisio) Dennis Foggia’s maiden Moto3 victory and a lethally inch-perfect ride for the second time in seven days from Enea Bastianini in Moto2 was the unraveling of every narrative your favorite pundit hoped to craft for the 2020 MotoGP season. The baby’s out with the bathwater now: If anyone could be called a favorite going into the weekend, it was Fabio Quartararo. But nobody is a favorite anymore — which is why it’s worth waking up for, of course.
The Basílica de la Sagrada Família
The first architect of the Sagrada Família was a man of diocesan ilk and inspiration, exactly the kind of person you would hope and expect to build something prototypically beautiful and adhesive to the traditions and standards that the Catholic Church, particularly in Spain, would presumably place upon a person. He took the same approach to his projects, calculating and reasonably efficient, that you take to ordering monthly subscription boxes, or homing in on preferred brands of toothpaste. “This works, it addresses a problem, so I like it, and let’s stick with it for now, until and unless a problem arises.”
Francisco de Paula del Villar y Lozano was no slouch, having aided in the designs, re-designs and restorations of many important buildings in and around his native Catalunya. He took on the project under the advisement of the Associació de Devots de Sant Josep, and when it got to be too much, his adviser Joan Martorell recommended Antoni Gaudí, an exceptionally devout Roman Catholic even by Catholic standards. The latter then spent the final years of his life figuring out what to do with the thing before, well, getting hit by a tram and passing away in 1926.