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A renowned musician and visual artist presents an idiosyncratic behind-the-handlebars view of the world’s cities
Since the early 1980s, David Byrne has been riding a bike as his principal means of transportation in New York City. Two decades ago, he discovered folding bikes and started taking them on tour. Byrne’s choice was made out of convenience rather than political motivation, but the more cities he saw from his bicycle, the more he became hooked on this mode of transport and the sense of liberation it provided. Convinced that urban biking opens one’s eyes to the inner workings and rhythms of a city’s geography and population, Byrne began keeping a journal of his observations and insights.
An account of what he sees and whom he meets as he pedals through metropoles from Berlin to Buenos Aires, Istanbul to San Francisco, Manila to New York, Bicycle Diaries also records Byrne’s thoughts on world music, urban planning, fashion, architecture, cultural dislocation, and much more, all conveyed with a highly personal mixture of humor, curiosity, and humility. Part travelogue, part journal, part photo album, Bicycle Diaries is an eye-opening celebration of seeing the world from the seat of a bike.
If you encounter David Byrne in New York or, for that matter, in Paris, Istanbul, or Buenos Aires, chances are the co-founder of the Talking Heads will be pedaling on a bike. Ever since the early eighties, this versatile musician, visual artist and filmmaker has been getting from Point A to Point B on his convenient, lightweight, and, as it turns out, ecologically-friendly bike. In Bicycle Diaries, which features cycling jaunts around Berlin, Manila, San Francisco, and all the aforementioned cities, Byrne proves that his rides haven't been just mindless exercises. In fact, they provide the stimulus for observations on a plethora of subjects, including cultural differences, urban planning, music, visual arts, globalization, and even the collapse of civilizations. Fast-paced road trips; now in paperback.
Let us examine the case. Bicycle Diaries takes the form of a light travelogue or pedalodyssey, with Byrne -- ex-frontman of Talking Heads, current artistic all-rounder -- gliding on his fold-up two-wheeler through Istanbul or Berlin or Sydney, popping into galleries, playing music, talking to interesting people, thinking thoughts, reading books, and then recording his impressions as to the essential nature of the place and its degree of bicycleability (these last two quantities being not unrelated.) So with The Third Policeman in mind, we must ask: After all this international pedaling about, and so much hard atomic contact between rider and seat, exactly what percentage of David Byrne is still David Byrne? His prose style, certainly, would seem to suggest a preponderance of bicycle-atoms. “Most often when listening and not dancing,” he writes in the “London” chapter of Bicycle Diaries, “I choose music with singing as I find that the arc of a melody, combined with harmonies and a rhythmic pulse, can be incredibly emotionally involving. We call these songs.” Yes, I suppose we do. Elsewhere Byrne tellingly refers to humans as “poor little meat puppets” and offers the speculation that “while religions might indeed be a lot of superstition as well as being an unfortunate excuse for violence and countless horrors they might also serve a purpose.” Pure bicycle-speak.
But this is disrespectful, isn’t it. Byrne is a musical visionary, a great lyricist too, and as far as I’m concerned he can write whatever the hell kind of book he wants to write. Besides, the functional and mildly alienated tone of his prose actually works rather well in this context: his is a bicycling mind, with a point of view -- as he explains in the Introduction -- “faster than a walk, slower than a train, often slightly higher than a person.” And if, in this light swoon of two wheels whirring, some of the things that occur to him are a little banal, well, others are quite interesting. In Buenos Aires, for example, pondering the strange absence of bicycles from a city so temperate, flat, and cleanly laid out, he concludes that the answer is simply “cultural abhorrence”: “The cycling meme hasn’t been dropped into the mix here, or it never took hold,” he muses, before pedalling off into an excursus on the theories of Jared Diamond.
Also: The world is fascinating. Byrne in Bicycle Diaries is the complete postmodern tourist, open to everything, concepts at his fingertips, keenly -- but not too keenly -- interested in a certain hovering, numinous sensation that he gets around shrines and places of worship, and so he makes a very good guide. In the recession-bitten town of Millvale, Pennsylvania, just outside Pittsburgh, he finds a Croatian church containing tempera wall paintings by the midcentury artist Maxo Vanka. The imagery is explosive: factories belch infernal smoke; angels weep as a top-hatted industrialist peruses the stock quotes; the Virgin, her face a stark grimace of compassion, separates two struggling soldiers, while Jesus takes a bayonet to the side. Smutty with Allegheny Valley coal dust, the murals knock Byrne out: he dubs Vanka “the Diego Rivera of Pittsburgh.”
Byrne also spends some time in Manila, where in contrast to Vanka’s devotion he finds the relics of secular idolatry -- gauzy, soft-core homages to Ferdinand and Imelda Marcos, painted dreamscapes designed to propel the blighted First Couple into the realm of national mythology. Not that we ourselves are immune to such things, Byrne is quick to note: “The desire to find a slot for oneself in the collective national psyche runs deep. George Bush and Ronald Reagan were often photographed wearing Western clothes despite one being a New England WASP and the other a Hollywood movie star.”
So much for neutral observer Byrne: there’s also plugged-in Byrne, international art scene Byrne, whose connections in each city tend to be deep in that city’s culture sector. (“My friend C and I have lunch with two youngish guys who run an art gallery here...”) And then, of course, there’s bicycling Byrne, threading his way with spindly, helmeted heroism past every bus-shaped Scylla and whirling Charybdis-like junction that the modern city can throw at him. Biking à la Byrne means ecology, geekiness, a way of piercing into the world: skateboarding for the cerebral, if you like. The bicycle, fundamentally, is a machine in two dimensions -- which is why we appreciate so heartily the sight of a fat man on a bicycle. Byrne is not fat: he is tall and pointy and possessed of a certain angelic remoteness. But he loves to ride, and look at things, and he thinks, moreover, that the hour of the bicycle may be upon us. He applauds the bike racks sensibly installed on San Francisco’s Muni buses; “New Yorkers,” he ventures, “are at the point where they might, given the chance and opportunity, consider a bicycle as a valid means of transportation.” He is very interested in a new prototype helmet that can be slipped inside various “skins”: “a warm woolen skin with earflaps for cold winters, a porous mesh skin for hot summer.” He feels the cold, and he feels the heat, and he thinks about his fellow beings. More man than bicycle after all. --James Parker
James Parker is the author of Turned On: A Biography of Henry Rollins (Cooper Square Press), and a correspondent for The Atlantic.
I’ve been riding a bicycle as my principal means of transportation in New York since the early 1980s. I tentatively first gave it a try, and it felt good even here in New York. I felt energized and liberated. I had an old three-speed leftover from my childhood in the Baltimore suburbs, and for New York City that’s pretty much all you need. My life at that time was more or less restricted to downtown Manhattan—the East Village and SoHo—and it soon became apparent to me that biking was an easy way to run errands in the daytime or efficiently hit a few clubs, art openings, or nightspots in the evening without searching for a cab or the nearest subway. I know, one doesn’t usually think of nightclubbing and bike riding as being soul mates, but there is so much to see and hear in New York, and I discovered that zipping from one place to another by bike was amazingly fast and efficient. So I stuck with it, despite the aura of uncoolness and the danger, as there weren’t many people riding in the city back then. Car drivers at that time weren’t expecting to share the road with cyclists, so they would cut you off or squeeze you into parked cars even more than they do now. As I got a little older I also may have felt that cycling was a convenient way of getting some exercise, but at first I wasn’t thinking of that. It just felt good to cruise down the dirty potholed streets. It was exhilarating.
By the late ’80s I’d discovered folding bikes, and as my work and curiosity took me to various parts of the world, I usually took one along. That same sense of liberation I experienced in New York recurred as I pedaled around many of the world’s principal cities. I felt more connected to the life on the streets than I would have inside a car or in some form of public transport: I could stop whenever I wanted to; it was often (very often) faster than a car or taxi for getting from point A to point B; and I didn’t have to follow any set route. The same exhilaration, as the air and street life whizzed by, happened again in each town. It was, for me, addictive.
This point of view—faster than a walk, slower than a train, often slightly higher than a person—became my panoramic window on much of the world over the last thirty years—and it still is. It’s a big window and it looks out on a mainly urban landscape. (I’m not a racer or sports cyclist.) Through this window I catch glimpses of the mind of my fellow man, as expressed in the cities he lives in. Cities, it occurred to me, are physical manifestations of our deepest beliefs and our often unconscious thoughts, not so much as individuals, but as the social animals we are. A cognitive scientist need only look at what we have made—the hives we have created—to know what we think and what we believe to be important, as well as how we structure those thoughts and beliefs. It’s all there, in plain view, right out in the open; you don’t need CAT scans and cultural anthropologists to show you what’s going on inside the human mind; its inner workings are manifested in three dimensions, all around us. Our values and hopes are sometimes awfully embarrassingly easy to read. They’re right there—in the storefronts, museums, temples, shops, and office buildings and in how these structures interrelate, or sometimes don’t. They say, in their unique visual language, “This is what we think matters, this is how we live and how we play.” Riding a bike through all this is like navigating the collective neural pathways of some vast global mind. It really is a trip inside the collective psyche of a compacted group of people. A Fantastic Voyage, but without the cheesy special effects. One can sense the collective brain—happy, cruel, deceitful, and generous—at work and at play. Endless variations on familiar themes repeat and recur: triumphant or melancholic, hopeful or resigned, the permutations keep unfolding and multiplying.
Yes, in most of these cities I was usually just passing through. And one might say that what I could see would therefore by definition be shallow, limited, and particular. That’s true, and many of the things I’ve written about cities might be viewed as a kind of self-examination, with the city functioning as a mirror. But I also believe that a visitor staying briefly can read the details, the specifics made visible, and then the larger picture and the city’s hidden agendas emerge almost by themselves. Economics is revealed in shop fronts and history in door frames. Oddly, as the microscope moves in for a closer look, the perspective widens at the same time.
Each chapter in this book focuses on a particular city, though there are many more I could have included. Not surprisingly, different cites have their own unique faces and ways of expressing what they feel is important. Sometimes one’s questions and trains of thought almost seem predetermined by each urban landscape. So, for example, some chapters ended up focusing more on history in the urban landscape while others look at music or art—each depending on the particular city.
Naturally, some cities are more accommodating to a cyclist than others. Not just geographically or because of the climate, though that makes a difference, but because of the kinds of behavior that are encouraged and the way some cities are organized, or not organized. Surprisingly, the least accommodating are sometimes the most interesting. Rome, for example, is amazing on a bike. The car traffic in central Italian cities is notoriously snarled, so one can make good time on a bike, and, if the famous hills in that town are avoided, one can glide from one amazing vista to the next. It’s not a bike-friendly city by any means—the every-man-for-himself vibe hasn’t encouraged the creation of secure bike lanes in these big towns—but if one accepts that reality, at least temporarily, and is careful, the experience is something to be recommended.
These diaries go back at least a dozen years. Many were written during work-related visits to various towns—for a performance or an exhibit, in my case. Lots of folks have jobs that take them all over the world. I found that biking around for just a few hours a day—or even just to and from work—helps keep me sane. People can lose their bearings when they travel, unmoored from their familiar physical surroundings, and that somehow loosens some psychic connections as well. Sometimes that's a good thing—it can open the mind, offer new insights— but frequently it's also traumatic in a not-so-good way. Some people retreat into themselves or their hotel rooms if a place is unfamiliar, or lash out in an attempt to gain some control. I myself find that the physical sensation of self-powered transport coupled with the feeling of self-control endemic to this two-wheeled situation is nicely empowering and reassuring, even if temporary, and it is enough to center me for the rest of the day.
It sounds like some form of meditation, and in a way it is. Performing a familiar task, like driving a car or riding a bicycle, puts one into a zone that is not too deep or involving. The activity is repetitive, mechanical, and it distracts and occupies the conscious mind, or at least part of it, in a way that is just engaging enough but not too much—it doesn't cause you to be caught off guard. It facilitates a state of mind that allows some but not too much of the unconscious to bubble up. As someone who believes that much of the source of his work and creativity is to be gleaned from those bubbles, it's a reliable place to find that connection. In the same way that perplexing problems sometimes get resolved in one's sleep, when the conscious mind is distracted the unconscious works things out.
During the time these diaries were written I have seen some cities, like New York, become more bike-friendly in radical new ways, while in others the changes have been slow and incremental—they have yet to reach a tipping point as far as accepting cycling as a practical and valid means of transportation. Some cities have managed to find a way to make themselves more livable, and have even reaped some financial rewards as a result, while others have sunk deeper into the pits they started digging for themselves decades ago. I discuss these developments, urban planning, and policy in the New York City chapter, as well as describe my limited involvement in local politics (and entertainment) as it pertains to making my city more bike-friendly, and, I think, a more human place to live.
klynnj
Posted December 24, 2009
This book challenges our preconceptions and delves into the mechantions which create or destroy successful urban communitites. It also reflects on art as accepted and sold by the establishment and questions the foundation of ingrained assumptions and prejudice.
4 out of 5 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.BobN17
Posted September 16, 2010
This is not a cycling book, despite the name. It's just his observations on the places he's been. Coincidentally, he rides a little folding bike around, but that has nothing to do with what he writes. So don't expect an account of his many bike rides. If that's what you want, you'll be sorely disappointed. I was.
2 out of 5 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted January 4, 2012
I was given this book by my girlfriend because of my interests in the Talking Heads and cycling. However, after reading it, I can say that I would have enjoyed this book immensely even if I did not have those interests. Being in the diary format, it does delve quite a lot into Mr. Byrne's personal insights and feelings on many things; urban life, culture, music, and of course cycling. This last topic, despite the title of the book, is surprisingly less present than one would think. Despite this, I found The Bicycle Diaries to be a very intriguing and thought-provoking read.
1 out of 1 people found this review helpful.
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Posted December 5, 2011
I enjoyed this very much. Byrnes unique voice & honesty in his perspective is always refreshing in this world of competing cleverness & cynisism.
1 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Byrne's unique perspective makes for interesrting and entertaining stories.
1 out of 2 people found this review helpful.
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Posted February 1, 2012
I thought this book was boring and pretentious and the author came across as if he was preaching to us.
0 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.LeftCoaster
Posted November 1, 2011
I bought this book because I wanted to read David Byrne's experiences cycling in different cities around the world. While I got a flavor for that, just as much of the book is spent on Byrne's personal political, social and moral beliefs. That's OK, but not what I expected from a book titled "Bicycle Diaries." Perhaps Byrne could have titled the book "It's Not About the Bike" ... oh wait....
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Posted September 16, 2009
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Overview
A renowned musician and visual artist presents an idiosyncratic behind-the-handlebars view of the world’s cities
Since the early 1980s, David Byrne has been riding a bike as his principal means of transportation in New York City. Two decades ago, he discovered folding bikes and started taking them on tour. Byrne’s choice was made out of convenience rather than political motivation, but the more cities he saw from his bicycle, the more he became hooked on this mode of transport and the sense of liberation it provided. Convinced that urban biking opens one’s eyes to the inner workings and rhythms of a city’s geography and...