Vélo Humain

With filing deadline postponed by pandemic, Tax Day arrived along with Bike-to-Work Week. Observed by viewing an energy alternative documentary, Planet of the Humans (Jeff Gibbs, dir., 2020), which stares down environmental issues and suggests Earth’s salvation rests in realigning lifestyles. “The path to change comes from awareness... Infinite growth on a finite planet is suicide... We must take control of our environmental movement and our future from billionaires and their permanent war on planet earth.” Good luck with that! If COVID taught anything, it’s that people aren’t easily cajoled to act on their own behalf, never mind community’s or planet’s. Following a year of furlough or work from home, drivers’ abilities and attention atrophied, bicycling risks were exacerbated, earnings diminished, and wealth inequality expanded.

Those who profited from technology caused problems, yet they remain convinced there are technological solutions into which they’ve heavily invested. Trying to eliminate fossil fuels and look carbon guiltless, they’ve created industries with equivalent toxic or tragic aftermaths, for example, burning biomass, which clearcuts life-giving forests for fuel, or solar panels, which combine rare earth materials out of devastating strip mines and defy recycling once failed after only a few years of use, even before mine land has been reclaimed. Power companies install innovations to justify rate hikes that they force users to pay. You’d think burning or gasifying garbage might work, or fusion reactors with no radioactive waste, but where’s the profit in it? It’s a complex issue made intractable by greedy capitalists and needy do-nothings.

Funny that Gibbs never mentions bicycling; even student protestors shown had sense to ride to rallies. Average cost of car ownership has risen in 2021 to $9,282/year, thousands more in 1st year, then gradually decreasing to half by 10th as costs, except insurance and maintenance, decline. An average of 13,500 miles are driven annually. This estimates about 70 cents/mile, not taking into account related cancer/crash deaths, shared cleanup costs, what’s consumed to afford this luxury, wars waged, and world destruction. According to industry analysts and confirmed personally, bicycling cost only 4 cents/mile with practically no environmental or geopolitical detriment. Paved roads are not even necessary, if you own an MTB, though do improve pedaling efficiency. Too many Americans prefer death, debt, and Dukes of Hazzard, although once popular NASCAR attendance had already dwindled before personal distancing seemed prudent.

Woke tree-huggers gravitate to new electric and hybrid vehicles and lambaste gas guzzlers, gross polluters, and pub crawlers. An honest statement aligned with nature can be made by riding bicycles and thumbing nose at busses, cars and trains. Beyond just Bike Month and for months at a clip, performing bands including Shake Your Peace, The Ditty Bops, The Ginger Ninjas, and This Bike is a Pipe Bomb used to ride by bikes between gigs all over North America. Bodies congregating and cooperating can even form a human bicycle side show act.

“Focusing on an individual’s carbon footprint is a useful mechanism that diverts attention away from the worldwide impact of global warming. Anti-global-warming PR often means deflecting global warming by re-locating the issue onto side issues. It prefers to blame global warming on individuals rather than corporate behaviour... Such campaigns blame those who highlight the impact of global warming by focusing on the messenger... Forbes magazine once suggested that [climate activist who crossed North Atlantic on a sailboat in winter to speak before UN] Greta Thunberg’s lifestyle may be one reason for global warming.” Norman Simms & Thomas Klikauer, May 20, 2021

Convincing his NYC family, Colin Beavan vowed to be No Impact Man (Justin Schein, dir., 2008) for a year by personally not contributing carbon exhaust from flying or motoring, coffee imbibing, conditioned air, disposable diapers, elevator rides, excess consumption, imported or take out foods, new purchases, paper trash, plastic packaging, refrigeration, subway use, taxi hops, television watching, toilet paper, and water toxins from detergents. For anyone to follow, they’d have to live his at-home author vegetarian lifestyle. For actual zero impact, you must also avoid work that consumes electricity. fuel or materials; compost food and human wastes; only ingest medicines you grow on windowsills; plant trees to offset carbon you exhale; self propel to farms to shop (shipping each menu ingredient averages 1,500 miles); sit at home in the dark; and skip as many meals as possible. Would miss cooked food and hot water. If everyone did only one, world would indeed be better off. But it’s Al Gore hypocrisy all over, profit driven drivel that says, Do as I say, not as I do.” After his Thoreau inspired trial, sole thing that stuck with Beavan was bicycling, since it proved the most economical and effective urban choice.

For 1 minute and 11 seconds in magic realism film 2:22 (Paul Currie, dir., 2017), multimodal commuter Dylan Branson (Michiel Huisman) rides his bike from his business district apartment to Grand Central Station to board a subway to his job as a JFK air traffic controller. As a bicyclist dodging midtown traffic, patterns come naturally to him, a skill that makes him great at what he does. One day at 2:22 PM, he’s suddenly stunned by universe crushing down upon him, and nearly causes an airline crash, which results in his suspension. This gives him days to explore a bizarre relationship with Sarah (Teresa Palmer), a repeating pattern of things that go boom at 2:22 P.M., and series of events based on fates of residents 30 years ago superimposed upon their current lives.

When Katja Şekerci (Diane Kruger) leaves her Kurdish husband and son at his office, she cautions a woman who’s leaving a brand new bike out front in Hamburg’s Turkish quarter that she ought to lock it up. In the Fade, aka Aus dem Nichts (Out of Nowhere, Fatih Akin, dir., 2017, German with subtitles) tells Katja’s story in the aftermath of this Neo-Nazi bike bomb, loosely based on events of 2004 Cologne. When courts are unable to convict couple responsible despite her testimony, Katja hunts down these terrorists.

Blood Road (Nicholas Schrunk, dir., 2017) tracks endurance mountain biker Rebecca Rusch and native guide Huyen Nguyen who pedaled 1,200 miles of Ho Chi Minh Trail to reach crash site and resting place of Rebecca's dad, a U.S. Air Force F-4 pilot who was killed when shot down over Laos 5 decades earlier during Viet Nam War. This documentary was nominated for or won a slew of film festival awards, though critics groaned that her emotional closure mattered more than permanent damage Nixon’s carpet bombing did in locations she visited. To their credit, filmmakers teamed with Nobel Laureate NGO nonprofit Mines Advisory Group to help de-mine along border and save innocent lives. Sick conservative tactics during 1960's made a lifelong impression on Labann.

Return to Earth (Colin Jones, Darren McCullough, Darcy Wittenburg, dirs., 2019) presents a joint Shimano and Trek vision of big air over Moab single track and Oahu volcanic moguls featuring star MTB riders.

In Brit rom-com Finding Your Feet (Richard Loncraine, dir., 2018), Lady Sandra Abbott (Imelda Staunton, known as draconian Hogwarts headmistress Dolores Umbridge in Harry Potter and the Order of the Phoenix) takes umbrage at husband’s secret sex affair. She decamps to sister Bif’s (Celia Imrie) housing project flat. Bif admonishes her, “It’s one thing being scared of dying, Sondra. It’s a whole different matter being scared of living.” She begins to drop her defenses and open herself to new experiences, like riding a London Boris Bike.

Ami-Ami, aka (Girl)Friend (Victor Saint Macary, dir., 2018) has Vincent (William Lebghil) move in with best friend Nefeli (Margot Bancilhon) and swear off romantic love. Then Vincent meets Julie, which he fears will complicate his open lifestyle with Nefeli riding Vélib' bikes daily around Paris along with ninety-thousand other residents and visitors.

While getting fresh air and sunshine in great outdoors at Rim of the World (Joseph McGinty Nichol, dir., 2019) camp, four awkward kids band together against an invasion of dinosaur space aliens. They’re getting around fine by BMX, but when they receive a key that could save world, they trade bikes for a GTO to traverse last 70 miles to JPL in Pasadena.

Entrepreneur stooge pair Manu (Grégoire Ludig) and Jean-Gab (David Marsais), previously mentioned as stars of La folle histoire de Max et Léon, team again to pull a heist in sun drenched South of France. After stealing a car, they discover a fly the size of a dog in its trunk. Instead of releasing it sensibly, they insanely decide to forego heist and train “Dominique” to rob banks, like a drone with Mandibles (Quentin Dupieux, dir., 2020), thereby hoping to become comparatively rich. Mayhem and mistaken identity find them shacking up with zany villainess Agnes (Adèle Exarchopoulos), where Manu races off on a unicorn lemon squeezer.

The Half of It (Alice Wu, dir., 2020) portrays enterprising teen cyclist Ellie Chu (Leah Lewis), who writes essays for other high school students. Lovestruck jock Paul Munsky (Daniel Diemer) approaches her to write a letter from him to lovely Aster Flores (Alexxis Lemire). Ellie doesn't expect to become his friend, or to fall for Aster. Sure, the girl geek rides a bike; maybe she knows more than all her peers.

PBS documentary Blood Sugar Rising (David Alvarado, dir., 2020) asks, “Why isn’t there a war on diabetes?” Nearly 450 million humans, including 35 million Americans (10%), diagnosed with either Type I (5% of total) and Type II diabetes (95%) face crippling strokes, extremity amputations, fatal seizures, heart attacks, and organ transplants at a collective cost of $350 billion per year. Alvarado covers blood monitoring, dietary changes, and expensive operations, but neglects root causes in sedentary lifestyles enabled by automotive convenience and other seated activities supplanting self propulsion. Ask yourself, “Why aren’t more people going everywhere by bike?”

Hallmark whodunit A Beautiful Place to Die: A Martha's Vineyard Mystery (Mark Jean, dir., 2020) depicts detective Jeff Jackson (Jesse Metcalfe), who was forced into early retirement after taking a bullet in his spine, returned to bike infested island life, that is, until a body washes up and his crime solving creed is challenged. MVPD neglects to compensate him after risking paralysis by battling suspects and solving case. 

La Bore, de Tour, la Bane

“Good news in today’s world is like a fugitive, treated like a hoodlum, and put on the run. Castigated. All we see is good-for-nothing news. And we have to thank the media industry for that. It stirs people up. Gossip and dirty laundry. Dark news that depresses and horrifies you.” - Bob Dylan, Nobel Laureate for being a Protest Poet, New York Times 2020 interview. Protesters he influenced shown cycling to convene recently for BLM in Oakland, CA. 

Labann interlaces facts, fancy terms, fantasies, rhymes and rhythms. Takes an insane amount of labor every day to be such a bane and bore, to lead readers into such a repulsive detour. Poetry and vocabulary can be off-putting, yet truths send people recoiling and screaming. Journalism can be a mirror that shows blemishes, cracks and wrinkles, and who wants that? Have lately, however, reported in line with B&C’s primary mission, to explore bicycling culture, not necessarily to advocate participation but embrace all aspects, minus and plus. Doesn’t misery love company? How you react is your own business. Feature films always seem to personalize pedaling to individual circumstances; viewers could claim they were entertained or complain they were cheated. If you can soon die alone by an invisible and vicious disease from an unmasked sneeze, you let a horrid lampoon fly, never question why, before you say your last goodbye.

Swan family’s three daughters, fetching fiancée Anna (Gretchen Mol), fierce feminist Karen (Martha Plimpton) and fully blind Nina (Jennifer Tilly), named after Tolstoy’s novel, all heed Music from Another Room (Charlie Peters, dir., 1998), which is how Danny (Jude Law) describes being in love in this romantic farce. Supposedly, if you are in love, no amount of noise can keep you from singing along in sync even when you can’t hear song during an extended distraction. After Danny loses his apartment, he elects to move into a flat over a bakery, where he delivers pastries by bicycle to defray rent while awaiting a gig as a mosaic artist. Danny’s personal association with the Swans goes back to when he was 6 years old and had to help his doctor dad deliver Anna. Fate had them meet again 25 years later, having crashed his bike when doored by a Mercedes driver, who turns out to be Anna’s brother Billy attending same party at parent’s home. Danny imposes on their lives, influences sisters, and introduces chronically fearful Nina to dancing, where she meets a Latin lover, Jesus (Vincent Laresca), who awkwardly buys her a bicycle. Remarkably, Jesus gets Nina to actually ride it by putting cards in his spokes and telling her to follow his clacking sound. He should have bought her a tandem, but, no matter. Anna Karenina, by the way, wasn’t a love story, rather Tolstoy’s warning against delusions of romance.

Monella (Tinto Brass, dir., 1998), aka Frivolous Lola (Anna Ammirati), is a teenager living with her widow mom in 1950’s rural Northern Italy. Lola is already engaged to Masetto (Max Parodi) but has an intense libidinousness to begin conjugal bliss, and torments town by riding her bicycle around incessantly in an immodest skirt and lace panties. This strains her Catholic relationship with Masetto, who insists upon virginity before their nuptials. Muslims believe likewise. Religions blame pandemic patients, interpret as God’s sign that they should die or suffer for their sins, particularly the one where they don’t tithe sufficiently. Primitive pagans professed something akin, sacrificed virgins to ensure successful harvests and hunts. Science shows zero correlation between earthly rewards and spiritual rituals. Doesn’t negate prayer as a positive influence or self improvement.

House of D (David Duchovny, dir., 2004) has Tom Warshaw (director Duchovny) on his son's 13th birthday recalling his own in 1973. Back then, young Tom (the late Anton Yelchin) has a friend in developmentally challenged Pappas (the late Robin Williams), and they pedal together on an ice cream vendor cart pranking pedestrians. For some reason this film was ticket bane, lost over $5.5 million. Although Duchovny's directorial debut, acting was good and New York location sets did show vehicles appropriate to period.

Dutch tragicomic adventure Ventoux (Nicole van Kilsdonk, dir., 2015) recalls 30 years earlier when five high school buddies climbed the infamous, practically sacred mountain repeatedly included on Tour de France stages. Upon descent, one dies. When remaining four meet again in middle age, they resolve to repeat this challenge in memory of their lost friend, though no longer in teenage shape, as have millions of cyclists from all over the world out of love for this sport. Old flame Maruschka Detmers shows up to complicate matters and resurrect jealousies. Ventoux is sort of a male sequel to Zadelpijn (Nicole van Kilsdonk, dir., 2007) in which seven females survive each others petty barbs on a week long bicycling tour of Normandy. Happiest woman in group is one who’s worse off, who has cancer and is likely delighted just to be able to belong on tour.

Brothers Hussin, Noah and Timothy, inspired by Dylan, Kerouac, and Thoreau, build bicycles from recycled components for themselves, then spend next 2 years tracing Southern border of USA for 5,000 miles from North Carolina to Los Angeles making a DIY crowdfunded documentary, America Recycled (Hussins, 2015). It answers question about where nation’s anarchists, commune dreamers, dumpster divers, freaks, hippies and libertines who’ve survived disappeared to: Homesteading and squatting off the grid, the only place where The American Dream isn’t yet dead.

Prizefight biopic Bleed for This (Ben Younger, dir., 2016) opens with a scene of light welterweight Vinny Pazienza (Miles Teller) riding a stationary bike in his bedroom while trainers enclose him in a saran wrap cocoon. Paz is desperately trying to loose a few pounds to qualify for his 1988 fight against Roger Mayweather (Peter Quillin), while organizers are on phone threatening default for not showing up for mandatory weigh-in. Bicycling is often associated with boxing, usually trainers riding alongside contender’s roadwork used to build leg muscles and overall stamina. They call a peloton racer who attacks solo and builds a sustained lead a baroudeur, meaning brawler or fighter, though term originated with foreign legionaries who settled differences with fisticuffs. 

An unrealistic Christian indie film called Baroudeur (Frans Cronjé, dir., 2012), aka Breakaway (not to be confused with classic often cited Breaking Away) has a laid-off family man taking up bike messengering, then, with encouragement of a local shop owner, ne’er-do-well brother, and professional cyclist, enters some races for prize money.

In seriocomic feature Baked in Brooklyn (Rory Rooney, dir., 2016), inept bicyclist David (Josh Brener) loses his consultant job, so resorts to pedaling around his New York neighborhood selling weed for a livelihood. He meet love interest Kate (Alexandra Daddario), who worries about him as demand proliferates and paranoia overtakes. More about cannabis sales later...

Ingrid Goes West (Matt Spicer, dir., 2017) to impose on beautiful bicyclist and Instagram friend Taylor Sloane (Elizabeth Olsen), “the coolest and most interesting person she ever met”. Ingrid (Aubrey Plaza) is an insane internet stalker that Taylor permits to become a constant confidante and mutual admiration companion. How can this end well?

Izzy Gets the F*ck Across Town (Christian Papierniak, dir., 2017) when she (Mackenzie Davis) finds out her ex-boyfriend Roger (Alex Russell) is having an engagement party to announce nuptials with her ex-best girlfriend. But her journey from Santa Monica across LA in a day requires several modes of borrowed transportation, one exasperating segment by bicycle. Izzy intends to cause havoc and crash bash, maybe get back boyfriend she trashed. Fact that she spends so much time riding sidewalks attests to LA’s lack of cycling infrastructure. As a gig worker Izzy would be eligible for unemployment, but free COVID handouts prove no good comes from redistributing treasury revenue. It's just a way to funnel taxes into creditors, insurers, mortgage holders, and tax assessors who send bills you can’t avoid due to extreme consequences including homelessness and starvation.

Marlo (Charlize Theron, Academy Award Best Actress) is an imperfect mom who births her third child and suffers from postpartum depression. Her brother-in-law and husband urge her to consider a night nanny, which she considers an extravagance. When things turn for the worst, she hires Tully (Jason Reitman, dir., 2018). Initially awkward, Marlo and Tully (Mackenzie Davis, who starred as Izzy, above) grow friendly, share intimacies, work through issues; they even plan to meet at a bar in Marlo’s old Brooklyn neighborhood. One night Marlo rides with her favorite barista (Emily Haine) though Bushwick, just the thing to shed 35 pounds the former model and 100 times nominated actress gained for this role. Wonderful how imagination can play a part in healing, isn’t it?

Postponed Tour de France finally underway, recall how HBO’s mockumentary Tour de Pharmacy (Jake Szymanski, dir., 2017) ridicules UCI racing in general and world’s premier race as tainted by unnatural biochemistry. Not about Amgen’s Tour of California despite name, a crew of celebrities, fans of cycling, join in, including avid riders Andy Samberg and Jeff Goldblum. Austrian cyclist Gustav Ditters (WWE champion John Cena) has a bit of a problem with ‘roid rage when reporters accuse five remaining competitors including him of “dogging it” during 1982’s race. TdF’s 69th edition was in fact won by Bernard Hinault, his 4th of 5 TdF victories, and 35 years ago last Frenchman to win a TdF. Ditters can ride faster, but gets disqualified just like rest of field, who were caught bribing UCI President Ditmer Klerken (Kevin Bacon). Americans are unaware that Tour de France, by virtue of being free for spectators, is the best attended sporting event ever, fifteen million in a typical year, with one billion television viewers, 10 times as many who tune in NFL’s Superbowl. Stamina to ascend mountains and endure 2,800 miles in 21 stages averaging 30 mph seems impossible to summon without special help. Top teams earn millions of euros, so profit motives push riders past sensible limits.

Argentine family of sensitive teen Lorenzo (Angelo Mutti Spinetta), who’ve decamped city for barren Patagonia, take in older, troubled teen Caíto (Lautaro Rodríguez), who hides secrets too delicate to reveal. For LoLo, Caíto becomes My Best Friend (Martin Dues, dir., 2018). Both learns things from each other on a bicycling/camping trek, while a same sex crush develops. In Spanish with subtitles, appeals mostly to LGBTQ crowd.

Callow bicyclist and comic book artist Enn, short for Henry (Alex Sharp), thinks he’s learning How to Talk to Girls at Parties (John Cameron Mitchell, dir, 2018), but Zan (recently mentioned Elle Fanning) is actually an extraterrestrial landed in 1977 Croydon, South London, for a conformity ritual. She admires Enn’s punk attitude and forms an alien bond. He’s grateful for a smidgen of physical stimulation.

Punk rebellion also stands out in The House of Tomorrow (Peter Livolsi, dir., 2018). Home schooled and socially isolated, geeky bicyclist Sebastian (Asa Butterfield) lives with his grandmother (Ellen Burstyn) in their aging Minnesota geodesic museum designed by futuristic architect Buckminster Fuller. In one visiting group, he encounters brother and sister Jared (Alex Wolff) and Meredith (Maude Apatow). A friendship grows and they form a punk band. As youth comes of age, it’s normal that they find their own way and overthrow past conventions, though this instinct seems to skip satisfied generations who place little value on individual innovations. That’s when fascism reappears, freedoms start to disappear, and some civil disobedience becomes de rigueur.

The Gentlemen (Guy Ritchie, dir., 2020) involves Mickey Pearson (Mathew McConnaughey), who’s an American pot grower operating in London trying to divest himself of that business, which triggers turf takeover by rival gangsters. When a bunch of hooligan bicyclists use cell phones to video a murder, Raymond (Charlie Hunman) and his proper gangsters confront them. Can’t come prepared for a knife fight when misjudged gentleman you want to intimidate pulls out a machine gun. Street scum scatter. Raymond’s crew chase them down on foot, as if decent riders could be caught by joggers, and convince them to turn phones over, in one case by dooring a fleeing loose end. Movie’s box office success derives from its vicarious appeal to criminally inclined minds. Economic downturns inspire renegade behaviors that conveniently overlook how they harm innocents.