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Even more impressively, he once cycled from the centre of Detroit to the suburbs, through, as he puts it in his inimitably understated way, "some funky but at least inhabited neighbourhood". He has even cycled though Baltimore, where he grew up, though, interestingly, there is nothing here about cycling in Dumbarton, where he was born. Once you have surrendered to Byrne's discursive style and lateral way of thinking, the book starts to make more sense.īyrne has cycled in Berlin, Buenos Aires, Istanbul, Manila and Sydney.
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These thoughts often lead on to deeper thoughts about, among other things, buildings and food. He doesn't tend to dwell on the actual journeys, though, but ruminates instead on the people and places he encounters en route. Later, he cycles along Oxford Street, one of the most hellish cycling streets on Earth. He measures his progress by using the city's monuments as markers. His first route is from Shepherd's Bush to Whitechapel, where he has a meeting with a gallery director. It may, though, make you want to buy a fold-up bike, which is Byrne's preferred mode of exploration when he is touring the world as a musician.īyrne's conceptual travelogue begins in London.
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This is not the place to come if you want to know how to fix a puncture or what kind of bike to buy, though the appendix does offer some cursory tips on security and maintenance. As anyone familiar with David Byrne's oeuvre might expect, it is not really a book about cycling per se, more a book in which cycling is, if you'll pardon the pun, the cog for Byrne's thoughts about architecture, music, art, travel, politics, religion, kitsch, decay and – a recurring theme – our "quality of life". Now, though, having cycled all over the world in the past 30 years, he seems equally interested in both.īicycle Diaries – the title may be an ironic echo of Che Guevara's The Motorcycle Diaries who knows? – is a deceptively straightforward book, an impressionistic glimpse of some of the cities that Byrne has explored on his pushbike. Then, as he acknowledges here, David Byrne was "more interested in irony than utopia". I n 1978, David Byrne's post-punk pop group, Talking Heads, released an album called More Songs About Buildings and Food.