en
David Byrne

Bicycle Diaries

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EDITORIAL REVIEW: **A renowned musician and visual artist presents an idiosyncratic behind-thehandlebars 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.
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Citas

  • Филипп Каретовcompartió una citahace 6 años
    A history of nightlife!—what an interesting concept. A history of a people, told not through their daily travails and successive political upheavals, but via the changes in their nightly celebrations and unwindings. History is, in this telling, accompanied by a bottle of Malbec, some fine Argentine steak, tango music, dancing, and gossip. It unfolds through and alongside illicit activities that take place in the multitude of discos, dance parlors, and clubs. Its direction, the way people live, is determined on half-lit streets, in bars, and in smoky late-night restaurants. This history is inscribed in songs, on menus, via half-remembered conversations, love affairs, drunken fights, and years of drug abuse.
  • Филипп Каретовcompartió una citahace 6 años
    Apparently there are more women than men in Argentina, so maybe that explains part of it—with an imbalance like that, the women face more competition than they would in most other countries, so they have to try harder to attract a man’s attention. At least that would explain it in Darwinian terms.
    I think a similar process operates in Los Angeles, though the context there is slightly different. I don’t know what the male-female balance is in L.A., but I suspect that because people in that town come into close contact with one another relatively infrequently—they are usually physically isolated at work, at home, or in their cars—they have to make an immediate and profound impression on the opposite sex and on their rivals whenever a chance presents itself. Subtlety will get you nowhere in this context.
  • Филипп Каретовcompartió una citahace 6 años
    The next day during the afternoon I ride my bicycle out to a park where I notice that there is a “shrine” that consists of a small statue of a saint, and around him offerings of plastic bottles of water—hundreds of them—all over the place. At first glance, if one didn’t know better, it almost looks like a recycling depot. But this has that distinctive, unmistakable appearance of a deliberate human act. An act of faith, a process that has created a nexus of desire and magic. The bottles have a purposeful look, not the look of a heap of rubbish. These everyday objects have been ordered and activated, given power and significance, and charged with hopes and longing. Even if one doesn’t believe, one can sense that a creative and spiritual act has taken place. A transference of will from inside to outside. I take a few photos and then pedal on.
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