Author Archives: admin - Page 2

The Lady from Shanghai

ladyfromshanghai

 

Despite all mirrors, sharp angles and Expressionistic undertones, I found Orson Welles’ “The Lady from Shanghai” to be lurching and vague.   Most of the reviews I’ve read on it are heavy on context: Welles and Rita Hayworth were in the midst of a divorce be because of his philandering, Welles was considered “finished” in Hollywood after the movie failed at the box office.  But for once I’ll take a movie on it’s face: I did not care about the characters, I thought the plot overcomplicated, and I did not find Welles at all convincing as a romantic lead or a tough guy.

Supporting actors Glen Anders and Everett Sloane are terrific; Rita Hayworth is luminous though simple (she lip-synchs wonderfully).   Since it’s a murder mystery from the same era, I kept thinking about how the film would have been different if Alfred Hitchcock directed it.   More shock, more icy energy, less of the romantic triangle.

Welles’ vaunted visual effects such as sea creatures magnified in aquarium tanks, and the famous “hall of mirrors” finale, didn’t do much for me, especially when paired with the relatively conventional and boring courtroom scenes.   Welles’ Irish brogue was unconvincing, even distracting, and I found his delivery to be “stagey”, even when delivering the most off-hand of lines.

It’s not a complete clunker, the cinematography during the yachting scenes is fluid in a way you don’t expect from a film made in 1948, and supporting performances are good – Glen Anders, as the half-crazy business partner adds some energy.  When the closing credits rolled though, I felt I had shanghai’d MYSELF by committing the time to see this movie.

Pleasing our mothers, our fathers

generation-war-1671546017

 

 

 

 

 

 

 

 

— SPOILER ALERT.  There are spoilers in this review.  —

“Generation War” is a 5 hour epic that follows the lives of 5 young Germans throughout the course of World War II. Originally titled “Our Mothers, Our Fathers”, it had a successful run as a miniseries on German t.v.

Reviews in the U.S. have been mixed.  David Denby in The New Yorker says “…it may be clunky, even embarrassing, but it’s certainly never dull.”  I’ve seen this same line of exculpation so many times in reviews, perhaps resulting from the desire by the reviewer not to come across as too negative.  Rarely are movies described in the opposite way “….graceful and meaningful but certainly quite dull”.

The main knock on “Generation War” in the U.S. has been that it sanitizes the German war experience avoiding difficult questions about what level of culpability ordinary German citizens had in the rise of Hitler and the atrocities that followed.

This criticism has been less apparent in Germany.  “Der Spiegel” magazine described it as “a turning point in German television”, and claims:

“Germany apparently remains eternally wounded, dependent upon the healing power of remembrance. Germans must live with their trauma and occasionally reopen the wound to prevent it from festering.”

“Generation War” does everything it can to avoid reopening the wound.    It focuses on the collective conscience of a group of 5 tolerant, young, liberal friends, while ignoring the national conscience and the national character that lead to the ascendence of the Third Reich.   The film uses the trope of good Germans versus bad Germans, creating sympathy for these ordinary people against whom so much is happening.

Here is our wacky, close-knit group of protagonists:

GW_black

 

 

 

 

 

 

 

 

 

Remind you of anyone?

friends_black

 

 

 

 

 

 

 

 

 

 

 

 

 

The level of character development remains on a “t.v.” level as well, as if there were just half an hour to get to know them rather than 5.  They fall into conventional types: the responsible upstanding one, the sensitive poet, the chanteuse, the “good girl”.   Yes, there is even a Jew.   To be played by David Schwimmer, perhaps, in the American version.

What follows is fairly predictable.  The sensitive one becomes a stone-cold killer (because of his sensitivity) ,  the good girl hardens, the chanteuse sells out, the responsible one becomes disillusioned, and the Jew survives (this is not “Shoah” after all).   In the end the remaining survivors gather at the bar where we met them in the opening scene, to toast their fallen friends.  Unlike “The Deer Hunter” they do not break out into patriotic song.

It’s a near-impossible task to capture the German experience of WWII.  The most successful German war film that I’ve seen is Wolfgang Petersen’s “Das Boot”, precisely because its scope is limited to the experience of life onboard a German submarine.  It should be noted that “Das Boot” too, pits “good” German protagonists against evil Nazis, the difference is that the characters in “Das Boot” begin disillusioned by war.   The opening scene also takes place in a bar, with nervous submariners drinking to the point of vomiting, not innocently clowning and posing for group pictures.   

“Generation War”, if done correctly, would evince a greater tragedy than “Das Boot”, look how far the characters fall, they are all compromised and disillusioned by the end.  But the script is so hackneyed, the direction so obvious (long draw on a cigarette = deep thinking) that we see the end hours before it arrives. The final scene in “Das Boot”, on the other hand, is truly shocking, and we empathize with the characters, despite their mordancy, partially because of the extraordinary plot device of being trapped in a submarine with them (just as being trapped in a stuck elevator would encourage commonality) but also because we have seen them be brave while knowing they are both doomed and compromised and so is everyone else.  There is an unforgettable scene where we witness the German sailors watching men jump from a ship they have just torpedoed, on fire and begging for help.   No one is innocent, and a redemptive story about the perpetrators of the second Great War must proceed from this fact as a starting point in order to be taken seriously.

“Generation War” has been praised for its war scenes: typically shakey-cam speeded-up jittery cuts.  These seemed to be done by a different director, not so of course, and while riveting (“certainly never dull”) this technique evoked that “Sopranos” strategy  of interjecting bursts of violence to “juice” the audience when things were getting heavy or dull.   It also reminded me of U.S. war movies – “Generation War” has been described as a German “Band of Brothers” – which function as action movies, shocking the moral reflection out of the viewer and pouring in platitudes about cameraderie.  The message is always “bad things happen to good people, but at least we have each other”.

In “Generation War” there is a sense that those “bad things” which “happen” include the protagonists own moral failings.  These are limited to a personal rather than societal scale.  When the good-girl nurse turns in her Jewish assistant we have no sense that she was capable of the betrayal,  that she had become morally compromised and had lost the memory of her Jewish friend, Ross, uh, Viktor.  Instead the focus is on how badly she feels afterwards.  The deed is later forgiven in one of the final scenes where the Jewish nurse’s aide  returns, improbably, as a Russian commanding officer, who not only conveniently spares the nurse from rape by the advancing Stalinist troops (something I don’t think the filmmakers wanted to address) but also provides the film’s redemptive dollop by stating, in effect, “this must end somewhere”.

With all its flaws, the best legacy “Generation War” can provide is to encourage us to look at the compartmentalization and moral relativism in our own war films.  Critical praise for movies like “Zero-Dark Thirty” demonstrate how difficult it is to come to terms with the moral failings of our own society.  As it stands “Generation War” is a slick apologia, an immaculately-wrapped present by dutiful German children to their (grand)mothers and (grand)fathers.

 

 

Expectation Breakers

james-franco-alien-spring-breakers

Who would have thought that Harmony Korine’s candy-colored fleshfest “Spring Breakers” would be so unsatisfying?  But that seems to be the point.  While watching the movie I kept searching for ways to “make it work” but couldn’t.  Not as a bacchanal – I found the quick cuts clinical and unsexy.  Not as a gangster movie – James Franco was more clown than crime boss.  Not as a parody – it’s too dreamlike and not funny enough. Not even as Korine’s standard detached documentary – the characters have no depth, there are no real connections.

“Julien Donkey-Boy”, a previous Korine film also featuring dysfunctional weirdos,  offers moments of real emotional connection.  There’s a touching scene where Chloe Sevigny is pretending to channel the deceased mother of Julien (Ewen Bremner).   But in “Spring Breakers” everything is detached and suspect, you can never quite believe what is happening onscreen.  Would four naive-seeming co-eds don ski masks and rob a restaurant with squirtguns and a mallet?  Would they exalt afterwards?

Throughout the film Korine has you asking such questions.  Every time you think the film is hewing to a narrative type (coming-of-age, redemption, documentary) you are thrown off base.  So James Franco’s “Alien” character initially seems ridiculous, then briefly menacing.  The next time you see him he’s jumping up and down on a bed while holding on to two machine guns saying “Look at my shit!” in a very non-menacing, non-gangster way.  This is not an organic change, it’s just an inconsistency.

Motion in this movie is created by the scrambling of these filmic conventions, rather than through character development.  This feels unsatisfying, and throws into relief the tacit agreement we ordinarily make with films: a willingness to trade the enjoyment that comes from having unspoken conventions met – for example the revenge narrative – in exchange for accepting poor writing, no semblance of real life, and a conventional, cowardly point-of-view.

Other disruptive films, for some reason I think of atmospheric French films, simply deny the viewer the usual pleasurable sign-posts.  Spring Breakers shows them in brightly-colored glory, only to have them fade and blur in close-up.

 

 

Phillip Roth – Masked

 

proth

Phillip Roth turns 80 today.  He’s quite a pleasant fellow, at least based on the recent documentary “Phillip Roth – Unmasked” which just wrapped up at the Film Forum yesterday. One doesn’t get a sense of how dark, sardonic, and satyric (is that a word?) his writing is.

Given that he’s faced a lot of feminist criticism, it’s interesting that most of the commentators in this film are women, including Mia Farrow, who we learn is a staunch friend.  I wondered whether Claudia Roth Pierpoint, another commentator, was related to the author, that’s never explained and I haven’t been able to find out online.

Although it’s not an in-depth view, I did learn some things about Phillip Roth:

 

  • He was extraordinarily handsome as a younger man and attracted women easily
  • He had a terrible first marriage and went into psychoanalysis 3 to 4 times per week, which he felt helped him
  • “Portnoy’s Complaint” was written using the model of an analysand speaking to a psychotherapist
  • He suffered from chronic back pain for years, which made him suicidal (I have since learned there is a character in “Everyman” who commits suicide due to back pain)
  • He fears death and is very discouraged by aging

So although this wasn’t a comprehensive biography, I found it refreshing to see a movie with intelligent conversation and at least a few insights.  I’m looking forward seeing “Andre Gregory – Before and After Dinner”

Herzog the Unnatural

Remember Werner Herzog speaking on the topic of nature while filming Aguirre, Wrath of God ?

herzogBWnature

 

 

 

 

 

 

 

 

 

 

 

 

 

(Click to see the interview on Youtube, it’s worth it)

In his latest film, “Happy People: A Year in the Taiga”, he’s done a complete about-face, creating a paen to nature:  a cross between a Leni Riefenstahl-style “Bergfilme” and a Disney documentary.

Let’s not forget, this is a director who created a definitive cinematic statement on man’s powerlessness against nature – “Aguirre – The Wrath of God” In that film nature is an irresistable force that causes only madness and death.

 

 

 

 

 

 

 

 

 

 

 

Even as recently as Grizzly Man there was an ominous undertone to his depiction of the natural world. Gradually though  (Cave of Forgotten Dreams, Encounters at the End of the World) his view has become much more sanguine. And by that I don’t mean “bloody”.

“The Happy People” features self-reflective, ethnic-Russian fur-trappers, musing philosophically as they conquer nature with a series of canny traps, self-made gadgets, dugout canoes, and home-brewed insect repellent (along with snowmobiles, chainsaws and plastic sheeting). I find this sort of thing very enjoyable, there’s a Robinson Crusoe-esque self-reliant quality that seems like a good antidote to the anxiety of modern life.

The problem I had with “The Happy People” isn’t want Herzog puts in, it’s what he leaves out. He barely touches on the indigenous “Ket” people of that region of Siberia, who are at the bottom of the social order.  They are plagued by alcoholism, and their culture and language are disappearing.

Ket

As you can see, these are not the “Happy People”. They are like the mythological Eris, left out of the wedding of Peleus and Thetis and it would have been more fruitful for Herzog to explore their discord. They in fact invented many of these canny traps and techniques that the Russians use.

But Herzog now seems to be beyond provocation and provocativeness.  He’s in a steady groove that ignores reality but garners good reviews all around. Kael’s comments on later Scorcese seem applicable:

“He has become a much more proficient craftsman… but the first films he did that I responded to intensely – Mean Streets and Taxi Driver had a sense of discovery. He was looking into himself and the world…. Even though Scorcese shows what he can do in some ways, he doesn’t shape the material.” (Conversations with Pauline Kael, p. 167)

I have some other quibbles. Could a man really travel 150 kilometers in -50F weather at night in a snowmobile? I don’t think “Survivorman” would try this with the best gear.  How would you survive if your snowmobile breaks down? How do you get out of bed when it’s that cold? How do you wash yourself? How happy a person are you when a tooth becomes infected?

Creative people often have a brief shining period of amazing originality, followed by years of reputation-coasting. It’s unreasonable to expect everyone to be Picasso.  Herzog has become a master emcee.  I’ll remember his earlier work.  I’ll remember Woody Allen’s “earlier, funnier films” too.

In the meantime, may I recommend the low-budget film “Alone in the Wilderness”, the story of a man who builds himself a log cabin in the Alaskan wilderness with just hand tools.  Think of it as  “The Happy People” without the quirky Bavarian voice-over.

alone-in-the-wilderness

 

The Tattoo Artist

This entry courtesy of Herbert P. Zornow, my Pop (text by myself).

The New Yorker magazine recently published a cover featuring Mitt Romney in a parody of Normal Rockwell’s famous painting “The Tattoo Artist”:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Here is the original:

 

The New York Observer pointed out that this parody had been done before, in 2005, in their article on Angelina Jolie:

Not so fast, said the St. Louis Post-Dispatch and editorial cartoonist R.J. Matson.  Although it came later (2005), this version, featured presidential candidate John McCain and is thus closer to being a direct rip-off:

 

 

 

 

 

 

 

 

 

 

 

 

As noted in a comment in the online version of the New Yorker, it is ironic that Romney “replaces American sailor in the original illustration, especially since Romney clan has no record of ever serving in the US military, including his five able-bodied sons.”

Marina Abramovic – The Artist is Absent (thanks to HBO)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It’s hard to decide which is more depressing: the state of American film criticism or the current quality of mainstream documentaries.  In “Marina Abramovic – The Artist is Present” HBO Documentaries and Matthew Akers have made a film that undermines the power of her seminal career, and that’s a considerable feat.

Critics are lauding “The Artist is Present”: Kenneth Turan of the Los Angeles times calls it “A riveting portrait”.  It’s easier for them to conflate subject with film, than it is to analyze what does and doesn’t work in this piece. The truth is that t.v. director Akers has cobbled together a couple of bad Lifetime t.v. episodes, called it a documentary and done Abramovic a disservice.

Marina Abramovic is a hard-core performance artist whose best work has brought “negative” elements such as stillness, grief, hunger, pain, and isolation into sharp focus, through works that often involve great endurance and physical suffering.

 

 

 

 

 

 

 

 

 

“In 1997 she performed Balkan Baroque at the Venice Biennale. It involved her scrubbing clean 1,500 cow bones six hours a day for four days and weeping as she sang songs and told stories from her native country” (Sean O’Hagan, Guardian UK).

In “Rhythm 0” she lay quietly next to 72 objects, including a loaded gun, scissors, and a whip, and let museum-goers do whatever they wanted to her.  As time passed the audience became more aggressive, cutting up her clothes and poking her with thorns.

“The Artist is Present” is organized around the event of her eponymous 2010 MoMA exhibition.  There she sat silent and immobile for 7 hours a day while museum spectators took turns sitting opposite her.  As the exhibition continued, Abramovic’s rock-star status began to grow – people would camp out overnight for the chance to sit with her.  Eventually she became so popular that tight controls were placed on spectators, they could only sit for 4 minutes at a time, whereas before the time was unimited, they could not make any gestures or sounds.  There is a touching scene where a young woman removes her dress as she sits down and is swiftly escorted away by the security squad.  This is jarring because most of Abramovic’s work involves her being nude, we get very familiar with her body.  Witnessing young fan shut down for that act of emulation is ironic and telling, but this goes unexplored.

Instead the focus is on the crying.  Many attendees tear-up when looking at the impassive queen-bee-like Abrmovoic, in her religious-looking smock.  The soundtrack repeats the sins of  “March of the Penguins”, a cloying musical score, telling us dummies that “it’s time to feel now”.  A montage of artfully-focused ethnically-and-age-balanced faces, in varying stages of composure, felt like a Benetton ad.  Akers should have been smart enough to realize that viewers can’t help but intuit the tarnished corporate halo in this aesthetic.  Too many t.v. ads are like this, especially ones for big “faceless” corporations.  It’s about as far from cleaning bloody bones as you can get.

Focusing on a singlular event feels like a panicky move by documentarians.  Sure there are some films where the event is the event (“The Last Waltz”), but here it’s used as a way to expose the artist, and honestly I did not know much about Marina after 2 hours than I did after 15 minutes. And the fact that the film literally ends with her final bow at MoMA makes me think that Akers didn’t have the curiousity to explore the question “What is it like to enter the normal world after that intense level of communication with thousands of people?”

As I’ve suggested before, the way to make documentaries interesting is to show themes, to then illustrate patterns within those themes, and then to identify when and why those patterns are broken.  That is all the event you need.  And indeed the audience wants something to happen in any performance.  Focusing on an orchestrated “happening” can cover up the actual personal changes that make for narrative.

What are some of those themes that could have been explored?  In the beginning of the film we see Marina in her huge NYC loft, also at her beautiful Hudson Valley farmhouse.  Later she enters a truck that she livd in for 5 years in Europe (it has been brought to MoMA as an exhibit) and begins weeping, saying that this was the simplest, happiest time of her life.    She is visited by her former lover, Ulay, with whom she lived in the truck.  He is deflated by her wealth, you can see he longs for that level of material success.

So to me a central question raised by the film was “What does success mean and what has it done to the artist?”  Is she less successful now that she is “successful”?  What is the significance of the change from allowing the audience to do anything they want  (“Rhythm 0”) to being prohibited from make a simple gesture (“The Artist is Present”)?

Another theme is artist vs. art. Marina admits to craving attention, to using performance as a way of getting the love she didn’t as a neglected child.  Does this minimize the value of her statements about war and suffering?  If she were to find love, would her art suffer?  She says that when her performances with Ulay were at their best, their personal relationship was at it’s worst.  What does this say about art?

There are many other areas in this artist’s life that would have been fruitful to explore.  Instead, by the end, I felt like an audience member denied my time across from Marina.

Down the River: The De-Evolution of Boy Scout Handbooks

 

 

 

 

 

 

 

 

 

 

 

I’ve always admired the austerity and simplicity of the 8th edition of the Boy Scout Handbook (1972-76), which I read during my harrowing time in the Scouts.  The subtle greens and no-nonsense font complement the inside illustrations, which are impressionistic line drawings:

 

 

 

 

 

 

 

There is a sophistication that works nicely with the simplicity of the Handbook’s messages: Be a good person.  Be a good citizen.  And the artistry of the  drawings – check out the tension lines on the boy’s pants above, how they meander outside border –  suggest a respect for the (young) reader’s imagination.  There’s a purposeful ambiguity at times: is the boy above Asian or White?  Hispanic?

Although I had a mostly-negative experience with Scouting, my Scoutmasters quit the troop and we disbanded, I continue to enjoy the magical aspirational quality that started with Baden-Powell.  The 8th edition captures this wonderfully.   The design style and artwork tell the reader “This is how things could be.” rather than “This is how things are.”   To any child growing up in the 70’s it was very apparent that the simple wholesome life portrayed by Scouting was at direct odds with the zeitgeist, which was suffused not only with the collapse of traditional values, but also with the collapse of 60’s idealism, which was an alternative set of values whose demise was particularly painful to youth due to its greater respect for children. I can remember when I very young, having “hippies” bending down to speak to me as if I were a person with an opinion, something the “straight” adults rarely did.

What a treat then, to be offered a world that both traditional values and alternative design.  And with a philosophy that looked hopefully to the future:

 

 

 

 

 

 

 

 

And in berets no less.  Yet never resorting to comic-book exaggeration, instead offering a reassuring adult sensibility.

 

Today’s Handbook, in comparison, is a 4th of July Happy Meal that someone has dropped on the ground:

 

 

 

 

 

 

 

 

 

 

 

The first thing you notice is that almost half of the cover is taken up by the patriotic tableaux of a confused looking bald eagle in front of a pixelated American flag.  The eagle looks anxious, as if the inflatable boat is about to come crashing down upon its head.  The Scouts are unidentifiable as scouts, they could be any campers or just kids out on a rafting trip.

This cover reflects anxiety.  The action is down, not up to the stars.  The visual metaphor that today’s youth are being sent “down the river”, that there is no solid ground under them.  And the demographic reality is that they will be forced to prop up the aging population, with few benefits or social safety net of their own.  The eagle has good reason to be anxious.

The imagery is realistic, like a photograph.  It says “This is how things are.” which undermines the beautiful (and useful) fiction that the 8th Edition captured so tenderly and  knowingly.

For something from the WWII era, check out this illustration from my father’s Boy Scout Handbook:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Here, the Scout, a Tenderfoot no less, is placed directly in the historical pantheon in between a Founding Father and an explorer.  It looks like an illustration from “Treasure Island”.   And although the collapse of civilization was a distinct possibility at the time, the tone is confident, the Scout’s identity secure.   As always though, I have to point out that the good old times were not so good for those who were different.   I doubt you will see many brown faces in these lovely drawings.

What then would a non de-evolutional edition of the current Boy Scout Handbook look like?   It’s a cliche, but today’s world is even more complex.  There is less direct disappointment than in the early 70s: you no longer see the flag-draped coffins on the evening news, there is no draft and no there are no protests.  Today’s youth are numb.

A solution would wake them up, and make use of the identity-strengthening archetypes, like the WWII edition did.   Another book from the 70’s that offered a way out from the turmoil was the “Whole Earth Catolog”.  It featured all sorts of interesting projects and facts that were clever and low-tech.   A new Scouting handbook would show kids ways to use their energy and resilience to turn reduced prospects for traditional prosperity into a positive rather than a negative.  You can see this with locavore and permaculture movements.  To get kids to turn away from the video game and build a lean-to is a daunting task.

I think a return to seriousness, as opposed to the current edition’s candy-apple style, might be a way of getting through to the younger generation.  A new type of handbook that would convey both “This is how things are” (Wake up!) and “This is how thing could be” (Use this for inspiration).   A darker, more brooding BSA Handbook is the only one that will be successful.

 

Jazz gets it’s ass kicked by Korean shaman who then dies

“Intangible Asset 82” is an independent film which chronicles Australian jazz drummer Simon Barker’s trip to Korea in search of grand-master shaman drummer Kim Seok-Chul.  The title of the movie refers to the fact that the South Korean government has declared Seok-Chul to be a national “intangible” asset.  I bought the dvd after seeing a recital by Barker and some traditional Korean muscians at Lincoln Center’s “Target Free Thursdays.”

At the recital Barker tells the story of first heard the grandmaster on a rare recording.  The person who played the recording for him said something like “this is an example of awful drumming.”  Barker’s reaction was that this was the best thing he ever heard in his life and he wanted to find out all about it.

This is a great start.  He likes what other people hate, this chaotic free-form improvisatory drumming.   As a jazz drummer he must have had a degree of freedom to improvise, but nothing like what he heard on the recording.  I find that jazz, in general, despite its reputation for creativity and freedom, can often seem bland and overly formalized.  Think of how much jazz sounds the same, or of the traditionalist spoutings of this guy:

I would rather hear Koreans banging on pots and pans than Wynton Marsalis hectoring me on the classicism of Louis Armstrong.

Barker visited Korea seventeen times before this final trip, where he meets Seok-Chul just days before the shaman dies.   Along the way we meet various other shamans and traditional musicians.  We are told that the apprenticeship for being a shamanic singer is to live in a hut by a waterfall for several years, and to shout at the top of one’s lungs for literally seventeen hours a day.  Have you ever tried to shout at the top of your lungs for 10 minutes?

I wished that Barker would have taken a more questioning approach to Korean music and culture.  For example, he often describes Korean rhythms as “incredibly complex”.   The point is made several times that improvisation is based on rigorous technique and years of study.  I didn’t hear this.   As an erstwhile drummer I didn’t hear time signatures being changed, or intersecting polyrhythms, I just heard pleasant banging.  But I liked the banging, and I like the traditional singing, which was most often  like a throaty wail.  It seemed highly improvised and honest.  I didn’t see the need to justify it.

Barker seemed blissed out for most of the film, like a Deadhead (another genre I don’t get) and the soft-focus cinematography reflected his mood.  Lots of sunrises and sunsets, lights blinking on, picturesque old men in the public square, little children running.  Like a K.A.L. commercial.   My reaction to this was that I was being sold something.    Perhaps he was trying to put a sweet coating on a challenging type of music that can sound harsh and simultaneously chaotic and repetitive.  I longed for a happy traditional Korean tune.

 

Fixie WHIMPS!

hipster on a bike

“Fixies”, or  fixed-gear bicycles, are still popular amongst a certain subgroup of NYC hipsters.  Part of the appeal is the danger, in addition to not having gears, many fixes don’t have brakes and instead require the rider to either apply reverse pressure to their pedals, or to hop their rear wheel up, lock it, and go into a skid.

OK so these are some brave hipsters right? NOT SO FAST.

Try going into a skid on one of these:

Men on penny farthings in Los Angeles, 1886

The first bicycles to, in fact, be known as bicycles are now known as “penny-farthings”.  The name is based on the similarity in the ratio of the back to front wheel size to that of an English penny and a farthing coin  The wheels were large to increase speed – without a chain or gears,  the size of the front wheel limited how fast one could go.

“Penny farthings were also highly dangerous, and crashes leading to serious injuries – or death – were common. Front wheels grew to gargantuan sizes, with the biggest specimens measuring about two meters in diameter. If a rider hit a bump or any other obstacle on the road, riders were sent flying over the handlebar, a type of accident known as ‘taking a header’ or ‘coming a cropper'” – A Short Illustrated History of the Bicycle By Carsten Hoefer

Penny-farthings were ridden by the hipsters of the 1880’s, typically young men who wanted to show how dashing and brave they were.  In fact a penny-farthing IS a fixie, albeit one where you can die if you accidentally tilt over.  Have today’s riders gone soft?  I think anyone who rides any kind of bike in New York City should get a medal for bravery.