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)