Noshing on the train

I'd like to report that I've been exploring the universe via TARDIS and that's why I've been absent. Instead, I've been preparing to travel cross-country the old-fashioned way (auto) from LA to Chicago. I have a new job at the American Planning Association, but I'm looking forward to getting back onboard the blogging train (haha).

Speaking of trains, Amtrak is kicking it up quite a few notches in terms of its food offerings. It's bringing together well-known chefs to develop new menus:
The chefs’ gathering has spawned dishes as diverse as a spice-rubbed Atlantic salmon fillet and vegetarian shell pasta with corn, leeks and Parmesan cheese. One dish — a [Tom] Douglas creation — prompted a passenger to write to the Los Angeles Times’ Culinary S.O.S. column in search of the recipe for “the most delicious” lamb shanks with mushrooms she and her husband sampled in the regular dining car of the Southwest Chief route that took them from L.A. to Chicago.
Last time I rode Amtrak a few months ago, it was definitely an instant coffee/chips/preservative-filled pastries kind of selection. (Although, why does crappy coffee taste so delicious in particular situations? It's the same with airplane food. Everyone complains about it, but how often do you see someone refuse a meal or even just eat half? Never. People scarf it down and don't look the least bit disgusted.) In any case, I'd love to one day take the train between LA and Chicago in first class so I can sample those lamb shanks.

Traveling through space and time Doctor Who style

So I'm not a Doctor Who fan at all, but lately have become intrigued (I know a couple fanatics and it feels like it's about time to see what that's all about). I recently learned about the TARDIS (Time and Relative Dimension in Space), Doctor Who's spacecraft/time machine thing.


It's perhaps a stretch to consider the TARDIS a mode of travel, but, hey, I've seen mobility folks talk about traveling via the mind and imagination as if that doesn't involve some suspension of disbelief and a sprinkling of magic. I'd actually consider the TARDIS more legit than that even, as it is getting Doctor Who from point A to point B. It's really just one small step below mobility topics like canoeing ethnographies, the movement of SARS germs, or the locomotive as a phallic representation. (Mobilities is a broad, broad concept if that isn't apparent.)

In any case, I became much more interested in the world of Doctor Who after watching this great video by a German woman who built a TARDIS from scratch.


This really has nothing to do with travel, transportation, or mobility, but it was such a delight to watch. (Her videos on teaching are also wonderful.)

National Train Day

National Train Day is coming up on Saturday, May 11. There are events happening at different places across the country. In Los Angeles, Union Station is hosting what sounds like a fun day for kids and adults:
The National Train Day event at Los Angeles Union Station will feature free kids’ activities sponsored by Chuggington, interactive and educational exhibits, model train displays and giveaways. Visitors will have the chance to tour private luxury railcars, freight and commuter trains, as well as current Amtrak equipment.
I really want to go since luxury railcars are like tiny houses on wheels (and I love tiny houses!). I also want to know if Chuggington is a sentient being, an anthropomorphic train, or an abstract marketing concept.

I also suspect there will be lots of train enthusiasts at this event, and it would be fun to chat those folks up. Someone once told me I was obsessed with people who are obsessed and I think that's quite accurate. I don't have the attention span to be a true obsessor (at the moment, I'm simultaneously into knitting, fly fishing, and banjoes - I like to call myself a serial hobbyist) and so I live vicariously through those who can devote themselves without reservation. Train people are like that. In fact, hardcore train fans are called "foamers."

On a related topic, John McPhee had a great two-part article about coal trains in a 2005 issue of the New Yorker.

Update: I'm apparently very out of the kids' television programming loop - Chuggington is an animated talking train show.



The beauty of escalators

Miha Tamura loves escalators and she photographs really cool ones in Japan.

In an interview with PingMag, she talks about escalator behavior:
There is a system of courtesy with Japanese escalators, especially in Tokyo and Osaka, that you leave one side clear for walking. However, with the recently increase in escalator accidents among the elderly, the Japan Elevator Association has in principle prohibited walking on escalators. On the other hand, in subway stations in London, China and so on there are posters advising people to leave one side of the escalator clear for people who are in a hurry.
She's also apparently fond of bridge supports for elevated highways and is part of a fan club that has some great photos.

(via kottke.org)

Temporal dissonance on the bus

While this isn't a transportation-specific thing, I came across some very cool photos today and one was transit-themed. Flora Borsi takes old photos from the days before digital cameras and smartphones and cleverly puts herself in the photos using these devices. One of the photos is on a bus.




 The rest of the series is worth checking out.

(via kottke.org)

Rosa Parks artifacts

The U.S. National Archives has some interesting Rosa Parks items - a diagram showing where she was seated on the bus when she refused to give up her seat to a white rider and the 1955 City of Montgomery police report.

The diagram provides some interesting insight into the spatial segregation of bus spaces. In a 1966 study, researchers looked at the seating patterns of black and whites on buses in New Orleans, where public transit had been desegregated since 1958. They used a variety of approaches to measuring "precedence violators," those individuals who violated traditional black-white social expectations about where people should sit. While they acknowledge the challenges in doing a segregation-integration study and the many factors that can influence seating in the confines of a bus, their measures show that generally buses remained racially segregated spaces.

(thx Nick K!) (via U.S. National Archives)

Documentary on race and transit

Transportation Nation and American Public Media collaborated on a radio documentary put out last year called Back of the Bus: Mass Transit, Race, and Inequality. It's a collection of different pieces about a variety of topics, including the devastation of the African American neighborhood of Rondo in St. Paul after the interstate highway system came through, the Oakland Airport Connector and the politics of transit financing, race and public transit disparities in Atlanta, and the relationship between transit and housing values in Washington, DC and Denver.

It's well-produced and worth a listen.

(via Transportation Nation, American Public Media)

More transit pasts

In an earlier post, I talked about Pope Francis' use of transit - both in Argentina during his pre-Pope days and in Rome more recently.

Yesterday Nicolas Maduro was declared the winner of Venezuela's presidential election. It turns out he's a former bus driver who likes to use transit metaphors in his campaign speeches:
"We're all going in the bus of the fatherland, which has a driver," Maduro said upon launching his election campaign from the late president's childhood home. "Here he is, Chavez's driver!"
The transit-related pasts of social and political leaders continue to be noteworthy and an effective way to bolster images of their connections to the masses.


(via Reuters, Transportation Nation)

Quiet car discussions continued

Last month I wrote about Amtrak's Quiet Car (apparently it's a proper noun) and some of the  rules of social order discussions that have been popping up about noise levels and reprimanding violators. I've come across a couple other things since then.

In an article in The Atlantic, Andrea Bartoli at George Mason University's School for Conflict Analysis and Resolution provides an interesting take on the social structure of quiet car space:

"Fundamentally, the Quiet Car is a perfect microcosm, because you have all the elements of a primordial society," Bartoli says. "You're not in a family. You're not in a work environment where someone is more important. You don't have responsibility or power structure. You just have anonymous people sharing the space."
Bartoli's approach to dealing with offenders is to walk up to them and point to the Quiet Car sign, what he calls a "silent reminder." Apparently this works about two-thirds of the time. In the other one-third of instances, people respond in hostile ways and conductors or fellow passengers get involved. I suppose two out of three isn't that bad - though a seventy-five percent success rate isn't an unreasonable expectation for a conflict resolution expert (I think).

In discussing the quiet car violators, Ta-Nehisi Coates is less conciliatory in understanding people's behaviors:
These people are almost always dealt with by a conductor or other passengers. But I've never quite been able to figure out why they come to the Quiet Car. It's not a matter of not knowing the rules, so much as a matter of not caring. It's almost as if the offenders regard the regular cars as a public lavatory, and the Quiet Car as a private bathroom where they may repair to handle their shit.
He likens a cellphone conversation on the quiet car to a drunk person in a bar using racial epithet, which I found a bit much. I felt like he was mashing together two types of social interactions he hates, but that really are not analogous.

On a different (yet kind of related) topic, while I obviously don't think anyone should be using racial slurs or swearing at Coates' wife, I do have a soft spot for the life story folks he describes. Since I can strike up a conversation with pretty much anyone, I usually hear at least one life story a day. It's a habit that borders on a compulsion and I should probably curb the urge, but I've talked to some unexpectedly interesting people - an excommunicated Mormon, a troubled former child star, and a cat hoarder, for example. I'm fascinated by the everyday stories me as much as the more unusual ones - accounts of familial relations, parenthood, work, aging, and sickness. (Recently, a woman told me about losing seventy pounds after struggling with her weight for years and the ways in which her life has forever changed. It was very moving to hear.) In any case, I hang out in cafes a lot and not bars and so my people, if anything, are over-caffeinated. Maybe chatty drunk people are a whole different story.


(via The Atlantic)

The caboose house

I have a fondness for tiny houses that my friends don't really understand. It's mostly from enjoying creative uses of limited space (having faced this dilemma myself many times), appreciating the small carbon footprint of tiny houses, and finding the enthusiasm of tiny house aficionados quite infectious. Or maybe I just have an adult doll house fetish. I also find tight, confined spaces (like MRI machines) comfortable rather than panic-inducing. So, my love of tiny houses I suppose is the result of any of a number of understandable and kind of weird factors.

The range of structures that fall under the tiny house umbrella vary considerably. Some are fixed structures and others are transportable. They can be built from scratch, converted, or salvaged. And some are utterly unique living spaces - like this caboose house that I came across recently. It's utterly adorable and it even has a washer/dryer in the unit!


The caboose house was featured on an episode of HGTV's You Live in What? show.

If anyone is interested in tiny houses, some great sites include Relaxshacks.com, Tiny House Blog, LittleDiggsTiny House Listings, and This Is the Little Life.

(via Tiny House Blog)

Mobility film roundup

I have a number of interesting transportation-related films to share: two new documentaries, one experimental nonfiction film, a badass film from the 60s, and an old-timey film from way back when.

First up is La Camioneta:
Every day dozens of decommissioned school buses leave the United States on a southward migration that carries them to Guatemala, where they are repaired, repainted, and resurrected as the brightly-colored camionetas that bring the vast majority of Guatemalans to work each day. Since 2006, nearly 1,000 camioneta drivers and fare-collectors have been murdered for either refusing or being unable to pay the extortion money demanded by local Guatemalan gangs. LA CAMIONETA follows one such bus on its transformative journey: a journey between North and South, between life and death, and through an unfolding collection of moments, people, and places that serve to quietly remind us of the interconnected worlds in which we live.

Next is Go Grandriders, a film from Taiwan about the trials and tribulations of a group of elderly men on a motorcycle trip:
In Go Grandriders, a group of senior citizens embark on what may be the most daring adventure of their lives: a thirteen-day tour—entirely on motorcycle—around the island of Taiwan. A number in the group have heart problems, two have had cancer, and their average age is 81. The trip brings harrowing escapes (one rider falls asleep at the wheel, while another is knocked off his bike by a truck), pure exhilaration (including a gleeful romp in the waves when riders reach Taiwan’s east coast), and somber reflection, as riders recall their youths fighting in the Sino-Japanese War.


Then we move to a beautiful film called Trains of Winnipeg: 14 Film Poems available through MUBI.* There's a 17-minute version of the film available, and the full length version on MUBI which is 89 minutes:
Trains of Winnipeg: 14 Film Poems is a feature-length film cycle that straddles the borders between the balkanized worlds of cinema, visual art, music and literature. The 14 films in this major cycle employ a wide variety of non-linear digital and filmic formal experiments in depicting suburban and urban dystopias, in essays exploring the politics of form and the form of personal politics, as well as in audiovisual tone poems celebrating the raw joy of moving pictures, sound, colour and light. 
The films are pulled together with the overarching metaphor of a train journey, culminating in the title film, an unabashed love ballad for the rusty grace and brute power of the Trains of Winnipeg. The film also acts as a portal from the analog century to the digital beyond, where everything looks the same, but we know it’s not.


More about Clive Holden's project is on his website, including information about a related book and CD.

Another film on MUBI, the 1968 film The Girl on a Motorcycle, is described as a "counterculture classic" about a woman "on a doomed psychedelic and erotic journey":


It looks like you can watch the entire film here.

And finally, Arrival of a Train, a fascinating short silent film by the Lumière brothers:
For many, cinema began on December 28, 1895, with the first public projection of short films like Arrival of a Train and The Card Party by Louis and Auguste Lumière. But these iconic films also exist in alternative versions, sometimes with each frame of the print colored by hand! Lobster Films purchased the original Lumiere-perforation negatives of Arrival of a Train and fifty other titles at an auction in Lyon for about fifty U.S. dollars. They were wrapped up in old paper, which turned out to be an original poster of Watering the Gardener, perhaps the very first poster in the history of moving pictures!
*MUBI (formerly The Auteurs) is a really fantastic independent and alternative site that streams films. It's described as an "online cinematheque." I don't love the new film format - where they upload a new film each day and have an ongoing collection of 30 films available to view (so one rotates out each day) - because I like taking forever to watch a film if I feel like it. But, still it's only $4.99 a month and there's always a well-curated and diverse group of films. This month Nick Broomfield's films are being featured. There are also lots of free things to watch in MUBI's general library of films.

Collaborative consumption in Vegas

I've become a bit fascinated with this whole idea of collaborative consumption (also known as the sharing economy) lately and the arguments that it alters notions of ownership, fosters trust and a sense of community, and can potentially change the social and physical landscape of cities. Some of the discussions are convincing and others are less so. For me, it's partly that a lot of very disparate things are grouped under the general category of collaborative consumption. When money is part of the "transaction," very different dynamics and sets of expectations emerge (for example, Airbnb versus Couchsurfing). I'm far from an expert on collaborative consumption, but I'm interested in seeing how things evolve and the concept is refined or redefined.

Some mobility-related, peer-to-peer car sharing examples of this new culture of sharing are Zipcar, Getaround, RelayRides, and SideCar. Downtown Project is the brainchild of Tony Hsieh of Zappos. It's a $350 million plan to revitalize Downtown Las Vegas through increased urban density and a mix of industries and creative communities. Yesterday, Project 100 was announced, the transportation part of this initiative:
Project 100 is the code name for a complete transportation system designed to let you get rid of your car and be more connected to your neighborhood. It includes on-demand cars with drivers, shared cars you can drive yourself, bikesharing, shuttle buses and more. The experience is simple: open an app so we know where you are and tell us what zone you want to travel to. With that information we’ll give you a set of options, for example, 1 – Be picked up by a driver in a Tesla in 3 minutes, 2 – Drive yourself in a low range electric vehicle that’s 0.2 miles away, 3 – Grab a bike that’s 0.1 miles away or 4 – Hop on the party bus that will be near you in 4 minutes. 
They have indeed teamed up with Tesla for the car part of the program. I'm curious to see how the system plays out and the types of social interactions that emerge from the people-people and people-mode relationships.

(via TIME, The Atlantic Cities, TED, Green Car Reports)

No wanking on board

A few weeks ago I came across the photo below of a poster that was part of a Queensland Rail campaign. My initial reaction was, Wow, those Australians and their edgy public transit ads! They did it again!












Then I got a little suspicious and started to look around for more details. It turns out that these are not real posters (surprise, surprise), but rather one of those meme* things from a public service outreach campaign that went awry.

Apparently, Queensland Rail put up an application where people could create custom etiquette posters and people did just that.




So, instead of posters about where to stand and where to place one's bag, they ended up with posters about public drunkenness, sexual deviancy, and other such unsavory or delay-inducing behavior.




A collection of the infamous Queensland Rail etiquette posters is here and another here (note: these are not for the easily offended). While many of these are repugnant and reflect racist, misogynist, homophobic, and other discriminatory attitudes, they are interesting as manifestations of social and cultural tensions. Some of them are about the unsavory things that do happen (or people think happen) on public transit, such as masturbating, passing gas, and drinking. Some are about societal insecurities around race, gender, religion, and ability/disability that are expressed by marking the Other through this anonymous medium. And, some just make no sense - the tampon in the trash one falling into this category.

*I never really understood how a meme was different from something that went viral, but here's what I learned from the site Know Your Meme (an impressive site "considered the most authoritative source on news, history and origins of viral phenomena and Internet memes" - it claims to have its own editorial and research staff):
An Internet meme is a piece of content or an idea that's passed from person to person, changing and evolving along the way. A piece of content that is passed from person to person, but does not evolve or change during the transmission process is considered viral content.

(thx Mike S!) (via Know Your Meme, Ranker, BuzzFeed

Cab conversations

Daniel J. Wilson, a cab driver/artist/documentary filmmaker in New York, started recording conversations in his cab and put them together into an audio collage. Then his cab became a transportation, performance, and gallery space all-in-one when he played the collage back for passengers.
“It’s this world where people act like you don’t exist, even though you’re three feet away,” Mr. Wilson, 35, said from the front seat of his cab recently. “You get this fragment of a person.” 
Of course, those fragments can have jagged edges. Unlike a bartender, who is expected to at least feign interest in the tales told by his regulars, a taxi driver is rarely used as a sounding board. Yet he is still privy to explosive confessions and earsplitting breakups, office gossip after work and whiskey-induced phone calls before dawn. 
He talks about the process of gathering the sound in a video on his website 9Y40. He also put a book together, an interesting collection of artifacts and notes from his experience getting a New York City cab license.

(via NY Times)

Muppets on bikes

In the coming weeks, I want to delve into some topics that reflect the darker side of transportation (e.g., safety and danger, discrimination, inequality). I decided to keep this week as filled with light and happy as possible.

I watched The Muppets recently. The show and the movies were a fixture of my childhood so it was great to see the gang reunited. Jason Segel also redeemed himself (I just don't get the appeal of most of his films). In any case, I remembered that Kermit was often pedaling around on a bike. In The Great Muppet Caper, Kermit and Miss Piggy ride rented bikes through a park in London. 



Kermit rides a bike in from his swamp home in The Muppet Movie. He crashes his bike in the opening of Emmet Otter's Jug-Band Christmas.

In fact, there are so many bike-related Muppet moments that they're compiled on a Muppet wiki page. Puppeteer David Goelz explains the fascinating behind-the-scenes of shooting a frog using an alternative mode of transportation:
With The Muppet Movie, we had a very sophisticated bicycle rig that was a little radio-controlled car that was mounted in the bike between the front and rear wheels, and it had a mirror on it so it reflected the ground in front of the bicycle (as you saw from the camera's point of view), but it broke just before we had to shoot the bit, and so we ended up doing that with three strings from a camera crane, and there were many many takes and we ran out of time finally and never got it to work right. He was always kind of tilted on the bike -- if you look at the final take in the movie, he's not really riding a bike that's straight up and down, it's kind of tilted over to the side.

Metropolis II

I missed an installation called Metropolis II when it was here in Los Angeles at LACMA (Los Angeles County Museum of Art) a couple years ago. I took a peek at the exhibitions listings recently and was pleased to see it's back:
Chris Burden's Metropolis II is an intense kinetic sculpture, modeled after a fast paced, frenetic modern city. Steel beams form an eclectic grid interwoven with an elaborate system of 18 roadways, including one six lane freeway, and HO scale train tracks. Miniature cars speed through the city at 240 scale miles per hour; every hour, the equivalent of approximately 100,000 cars circulate through the dense network of buildings. According to Burden, "The noise, the continuous flow of the trains, and the speeding toy cars produce in the viewer the stress of living in a dynamic, active and bustling 21st century city."
Here's a short video showing the installation from some cool angles along with commentary by artist Chris Burden.



It looks really neat, though I don't agree with his idea about cars running free (they're not wild horses) and his suggestion that we'd be better off if they could travel 250 miles an hour (I hope he was being facetious). I do like his comments about modeling an urban environment that's on its way out. When he talked about the tension that comes from the constant and excessive noise of the piece, it reminded me that noise pollution and too much artificial light are apparently killing us slowly. Get earplugs and blackout curtains if you want to survive the modern world.

(via LACMA)

White like me

In the late 1950s, journalist John Howard Griffin disguised himself as a black man and traveled through the still segregated South. He chronicled his experiences in his book Black Like Me:
His indoctrination into black life began at a New Orleans bus station. When he politely asked a white clerk for bus times, "she answered rudely and glared at me with such loathing I knew I was receiving what the Negroes call 'the hate stare,'" he wrote. "This was so exaggeratedly hateful I would have been amused if I had not been so surprised." 
In another instance a white bus driver prevented the blacks on the bus, including Griffin, from getting off the bus during a rest stop in Mississippi. Griffin and the others waited in discomfort for the trip to resume.
Eddie Murphy goes undercover as a white man in a 1984 Saturday Night Live sketch that's a satirical take on Griffin's book: "I studied for my role very carefully. I watched lots of 'Dynasty'. . . .And I read a whole bunch of Hallmark cards."

When he ventures out into the world, he finds that strange and unexpected things happen on buses - things that give the term "choice riders" new meaning. (Bus scene starts at 2:35)


(thx Nick K!) (via NBC)

Falling up the up staircase

In a little piece of William H. Whyte-Jane Jacobs inspired fieldwork, filmmaker Dean Peterson gathered very interesting footage of people going up the stairs at a subway station he frequented in New York City. 


Apparently the MTA got right on it.

Rubber

Rubber is a film about a psychotic killer tire. Yes, a tire - as in Michelin, Goodyear, and Bridgestone:
Rubber is the story of Robert, an inanimate tire that has been abandoned in the desert and then suddenly and inexplicably comes to life. As Robert roams the bleak landscape, he discovers that he possesses terrifying telepathic powers that give him the ability to destroy anything he wishes. At first content to prey on discarded objects and small desert creatures, his attention soon turns to humans, especially a beautiful and mysterious woman who crosses his path. Leaving a swath of destruction behind, Robert becomes a chaotic force and truly a movie villain for the ages.
Here's Robert on a lonely highway pondering his next psychopathic move.




Andrew O'Heir reviewed the film for Salon. Much grittier than Cars. Sort of like Natural Born Killers meets Christine (minus the chassis) with some Carrie thrown in. If Javier Bardem's character in No Country for Old Men came back as a car part. . . .

Okay, I'm out of film/tire analogies. Nothing much more needs to be said about this other than it's awesome and it's bringing up all my tire trust issues. Oh, and that mobility is the key to his reign of terror. A violent side view mirror or fender just wouldn't pack the same punch.


(via Salon)

The people's Popemobile

There's been a lot of coverage in recent days about the new pope, and I've seen mention several places of the fact that Pope Francis took the bus to work with the Argentinean masses instead of using a chauffeur. This reminded me of a favorite quote by Lisa Simpson, animated observer of the world:
Ah! The ol' Number 22. Clean, reliable public transportation, the chariot of the people, the ride of choice for the poor and the very poor alike. . . .
Apparently, Pope Francis also took a minivan to the Sistine Chapel the other day with the cardinals rather than the private Popemobile.

The LA Times did a roundup of Popemobiles over the years. It's a mix of open vehicles and ones fortified with bullet-proof glass. I'm digging the Mercedes-Benz Popemobile.

(via NBC News, The Telegraph, LA Times)

Will Ferrell on the bus

Will Ferrell has made a series of goofy ads for Old Milwaukee. This especially odd one ran during the Superbowl this year, but reportedly only aired in really random places in Texas, Oklahoma, and Wyoming.


It left me kind of speechless. (That moustache!) I'll reiterate what I said earlier about the Starburst Korean bagpiper-zombie commercial: some things are only plausible on buses. Believe it or not, something like this transpiring on a bus would probably be completely ignored.

Ice Cube's musings on transportation

From October 2011 to April 2012, we had a special treat here in Los Angeles. Organizations across the city collaborated to put on "Pacific Standard Time: Art in L.A. 1945 to 1980." It was quite an amazing endeavor with things happening all over town (and even at places north, south, and east of Los Angeles proper). There was something to check out pretty much every weekend. Good times.

A short video called Ice Cube Celebrates the Eames came out as part of the Pacific Standard Time happenings He makes an interesting observation about race, class, and freeway geography after listing his favorite architectural sites:
The bad? The traffic. Each freeway has its own personality. The 405, bougie traffic. The 110, ha ha, that's gangster traffic right there. There's a difference. You gotta know where you at. Coming from South Central Los Angeles you gotta use what you got and make the best of it.
I loved Ice Cube before I saw this. I think he's incredibly talented as a musical artist, an actor, a producer, and a director, among other things. After I saw this, I added "edgy smartypants" to that list.
 
(via Pacific Standard Time)

Life in a parking lot

While I study transportation planning and policy, I'm really an ethnographer and sociologist at heart who's interested more generally in cultural insights about the world. I love the overlooked nooks and crannies of everyday life, and any attempt to delve into these fascinating realms warms my heart, especially if it's about social relationships, order, and conflict.

The Parking Lot Movie looks at the intricacies of social life in an ignored slice of the world, a parking lot in Charlottesville, Virginia:
Located nearby the University of Virginia and tucked in behind a number of bars, the assortment of overeducated attendants who work at The Corner Parking Lot have to deal with throngs of drunken frat boys, vandals, and SUV-driving jerks who either take off without paying or fight them over sums as low as $0.40. Fortunately in this establishment the normally agreed upon rules of customer service don’t exist. Disrespect the staff and face the consequences.
The interviewees are hilarious, but also overflowing with resentment, contempt, and sometimes subdued rage. At one point, a parking lot attendant tells the camera: "Maybe you shouldn't a bought your kid that Range Rover. Maybe you shoulda, you know, just thought about it a little while. . . cuz we see why your kid's a bastard."

There are lots of good clips and details on the film's site as well as on PBS's Independent Lens site. NPR also did a nice piece about the film and the parking lot's cast of characters. The Parking Lot Movie is available through iTunes or on DVD.

(via Independent Lens, NPR)

Acts of kindness on the Underground

I've talked to many people about my ethnographic work on buses in Los Angeles - it's a favorite topic at dinner parties. People love to tell me about their experiences on transit, and most often the tales that they share are about crazy, unpleasant, or awful things that happened. Much of the stigma around transit revolves around these often single experiences that define transit spaces for many people. For many non-users, it's a secondhand story or a pop culture reference that shapes their negative perceptions of transit, transit riders, and the experience of travel on transit.

In a refreshing change of pace, Artist Michael Landy asked people to focus on their positive experiences on the London Underground by recalling and sharing stories where strangers stepped beyond the boundaries of social convention to help, comfort, and connect with the people around them: 
Michael Landy’s project Acts of Kindness is a celebration of compassion and generosity, inviting us to notice acts of kindness however simple and small. The artist explains, ‘Sometimes we tend to assume that you have to be superhuman to be kind, rather than just an ordinary person.’ So, to unsettle that idea, Acts of Kindness catches those little exchanges that are almost too fleeting and mundane to be noticed or remembered.
There are pages and pages of accounts and looking through them always makes me a little teary-eyed (just a little):
On a Tube ride home one evening, I noticed a young lady had started to cry. Two women who I at first thought knew her, turned out to be two complete strangers who kindly sat next to her and comforted her. Sadly, the young woman revealed she had just been told she may have a life threatening illness. The two strangers did a great job at calming her down and being there for her, and offered their numbers at the end of the Tube ride to arrange a drink together. What's more, from out of the blue a young lad pulled out a pack of tissues which he then gave to the lady to dry her eyes. These strangers made all the difference to her day, possibly her life, all with 15 minutes.
I really love everything about this project from the concept to the outcome. And, while it's technically a narrative art piece, I think the stories reflect the kind of data that offer unique insight into the passenger experience - a perspective that is of value in the realms of both theory and practice.

Transport for London's Art on the Underground program has and continues to support all kinds of great contemporary art projects.

(via Transport for London)

Hurricane Sandy and the subway

After Hurricane Sandy hit in October 2012, the MTA in New York City made an effort to document the post-disaster impacts on the transit network. The agency was extremely proactive in getting real-time photographs out of the devastation and recovery efforts, but they'd started using social media to communicate with the public before the hurricane had reached the city:
Even before Sandy touched ground, the MTA began posting Flickr photos of the agency’s storm preparation: a tubular dam inflated at the West Side Yard, walls of sandbags stacked at MTA HQ, Grand Central and Penn Station evacuated and desolate. The first storm image came from a traffic camera inside the Hugh L. Carey Tunnel (formerly Brooklyn-Battery Tunnel), which revealed a road flooded with water. Posted on Oct. 29, the day of the storm, the photo is grainy but instantly powerful--one of the first images to reveal that Sandy was more devastating than anyone anticipated. With more than 144,000 views, it is the MTA’s most popular Flickr photo.
The MTA sent out a staff photographer to take pictures, but also asked employees to use their own devices to collect photos. It has has posted hundreds of photos of the hurricane's devastation on its Flickr feed.




The MTA's use of social media generally is quite impressive. In addition to Flickr, the MTA uses Twitter and has its own YouTube channel. Side note: A nice piece on YouTube called ONTIME: Grand Central at 100 highlights a collection of art pieces focused on the clock at Grand Central Terminal.

(via Co.CREATE)

Social drama on the quiet car

I've seen a number of articles and op-eds recently about quiet cars, such as Amtrak's offerings on a number of its routes. Much of the discussion is about violators of the quiet cars policies - policies that are kind of official, but not really, and sort of enforced, but not entirely. The relative vagueness of the boundaries and the enforcers has manifested itself in confrontations between passengers. In the New York Times, Tim Kreider describes an exchange between two passengers (the man being what some call quiet car "vigilantes"):
Not long ago a couple across the aisle from me in a Quiet Car talked all the way from New York City to Boston, after two people had asked them to stop. After each reproach they would lower their voices for a while, but like a grade-school cafeteria after the lunch monitor has yelled for silence, the volume crept inexorably up again. It was soft but incessant, and against the background silence, as maddening as a dripping faucet at 3 a.m. All the way to Boston I debated whether it was bothering me enough to say something. As we approached our destination a professorial-looking man who’d spoken to them twice got up, walked back and stood over them. He turned out to be quite tall. He told them that they’d been extremely inconsiderate, and he’d had a much harder time getting his work done because of them.
“Sir,” the girl said, “I really don’t think we were bothering anyone else.”
“No,” I said, “you were really annoying.”
“Yes,” said the woman behind them.
“See,” the man explained gently, “this is how it works. I’m the one person who says something. But for everyone like me, there’s a whole car full of people who feel the same way.”
Fred Jandt at Mass Transit describes his conflicted feelings as someone who appreciates the quiet car amenities, but not the admonishment that comes along when one passenger decides to enforce the rules of social order:
But here is the thing — most quiet cars allow you to speak quietly. They don’t demand silence. But other riders sure do. I know that I’ve been shushed into silence on a quiet car when I was having what I thought was a politely subdued conversation with the person next to me
These interactions are extremely interesting and I wonder if transit agencies will firm up the rules or start stricter enforcement. What I also think is interesting, however, is the class privilege aspect of this whole issue. This is happening on commuter trains and not, for example, on buses. While it is possible to designate a quiet car on a train because there are multiple cars (which is clearly not the case on buses), the attitude toward "amenities" is very different. We most often think of the physical amenities of transit (shelters, benches, easily accessible vehicles, etc.) and service amenities (on-time arrivals, minimal out-of-vehicle time, easy access to travel information, etc.), but less about social amenities. Yet these less tangible and less measurable qualities of transit travel contribute significantly to the overall travel experience of passengers.

I found in my own research that the looseness and tightness of social spaces (based on Erving Goffman's ideas about behavior in public places) varied significantly between local and Rapid buses, with local buses being much, much looser both in terms of the range of acceptable behaviors and the regulation of social order by others engaged in those spaces. The hierarchy of modes - with local buses at the very bottom - and the perceived stigmas (hence references to the bus as the "loser cruiser") mean that there would never be an attempt to develop the kind of rules on buses around noise that we're seeing on these trains. Nor would bus riders, particularly on local buses, feel compelled to police that space. It's just a reality that buses are where you'll hear about people's experiences with drug addiction, prison, relationships on the rocks, and unintended pregnancies.*

* All things I heard while conducing my fieldwork.

(via New York Times, Wall Street Journal, Mass Transit)

Insull transit posters

Samuel Insull, a Brit who came to the U.S. to work for Thomas Edison, became a major shareholder in the Chicago utilities and transit sectors by the 1920s.
Chicago’s transit lines had been doing advertising and even some poster designs since the 1910s, but there was no consistent graphic approach or what we now know to be “branding” in the direction of the marketing. This all changed once Insull took hold of the Elevated Rapid Transit System and the associated interurban lines. He soon assigned the poster project to the railroads’ president, Britton I. Budd, who later brought people like the North Shore Line’s Publicity Manager Luke Grant and Commercial Department Head John J. Moran, into the fold.
The design of the posters covered a wide range of styles. From the figurative work of artists like Willard Frederic Elmes and the young Oscar Rabe Hanson to the flat graphic interpretations of Ervine Metzl, many of the works produced were as strong and bold as anything being created simultaneously in the U.K. or Germany. The series not only utilized the talents of professional artists like Leslie Ragan, Elmes and Metzl, but also was a proving ground for newcomers like Hanson, and other art school students like Clara Fahrenbach and Wallace Swanson.



Sedelmaier's piece includes a treasure trove of poster images. The poster campaign ended in 1930 and, reports Sedelmaier, the posters faded from the forefront until Dave Garlter of Poster Plus in Chicago came across a bunch of unused posters 45 years later. He mounted and exhibited the posters and renewed interest in the Insull transit posters followed. 

(via Salon)