the French iBike is the New Black

http://www.popmatters.com/pm/columns...the-new-black/
http://tinyurl.com/yrh4gc
(photo at bottom of page)

“I’ve got a bike, You can ride it if you like, It’s got a basket, A bell
that rings” – Pink Floyd and Kraftwerk had a vision of Paris. But did
they know about it? Probably not.

Just as every season fashionistas strut down to Harvey Nicks to discover
the new black, so pop culture aficionados scour the scene to discover
the new rock ’n’ roll. One year it was stand-up comedy; another it was
poetry. This time around another cultural institution has found itself
pushed to the fore, dragged into the limelight of trend-setting.

There’s no doubting Paris’ credentials as one of the world’s capitals of
culture and style. From handbags to glad rags, from nouvelle cuisine to
Nouvelle Vague, the French touch brings a sense of panache to our daily
lives – when the City of Light sneezes, the world catches a Gallic
shrug. Nonchalance the true sign of class. For anyone keeping abreast of
international news it should come as no surprise then, that this
season’s new rock ’n’ roll is public transport. Or to put it into
context: les transports en commun sont la nouvelle chanson française.

The foundations of this new development were laid before summer.
Bastille Day, France’s national holiday, celebrates the rallying of the
French people against a corrupt and unscrupulous monarchy. The
subsequent period of revolution proved to be a difficult labour, but the
resultant birth was that of the modern French state. This year, as if to
mark its 218th anniversary, the city of Paris launched its most
audacious campaign to date. As Parisians awoke on the morning of 15th
July with their retinas still questioning the worth of the previous
night’s fireworks, they folded back their volets to discover a brand new
dawn.

For some weeks previously, strange docking stations had been appearing
across the city resembling rows of futuristic chrome-designed bonsai.
Finally their purpose was revealed. Thousands of bicycles now populated
the city, offering themselves to the inhabitants like willing beasts of
burden, only with a handy basket welded to the front. And so Vélib’, the
public bicycle hire scheme, came to Paris.

Vélib’chic photo from Velorution.biz

Vélib’ chic photo from Velorution.biz
Vélib’ is a shortening of vélo en libre-service, self-service bike, and
is a system that had already been up and pedalling in the French towns
of Rennes and Lyon before it made its way to the capital. You may be
wondering what’s so new about this; we have, after all, been able to
hire bikes for decades. The main difference here is the scale and,
therefore, its relative low cost. With a bicycle rank every 500 yards
and over 10,000 bikes available, subscription rates go from 1 euro
(about $1.50) for a day to 29 euro for the year. The first 30 minutes of
your journey are free, but every subsequent half hour carries a charge.
But do not fear, to make life really easy you can pay by credit card at
the bicycle rank itself. And behold the bicycle thus becomes a linchpin
of Paris’s public transport network.

As in all major cities of the world, the obvious plan seems to be to
reduce the number of cars on the road. No doubt a sign of the times –
from the creation of new parks to the widening of the city’s bus
routes—Paris’s Socialist mayor, Bertrand Delanoë, has a very green
vision for the capital. The launch of Vélib’, coupled with the
proliferation of bicycle lanes, has definitely changed the face of
Paris. It is difficult to say if there are fewer cars on the road, but
as any motorist will tell you, there are definitely more amateur
cyclists. Except that they’re not only on the roads but on the pavements
as well, interlopers in the world of pedestrians.

This is not just the fault of the anarchic rider who, once they have
saddled up, believes that their bicycle comes with its own protective
force field that will deflect all motorised vehicles as they cycle the
wrong way down a one-way street, or, indeed, those who are fully aware
of the limited protection the open air offers and therefore prefer the
slightly more calculated risk of running into a pedestrian. Just like a
life-size version of Atari’s Paperboy arcade game.

No, the fault also lies on the drawing boards of those town planners who
believe that anyone not travelling encased in a metal sheath can be
clumped together with people who travel on foot. As in some double
dialectical homage to the minimalist aesthetic of Kraftwerk, the Paris
bicycle lanes are often simple manifestations within widened
pavements—sometimes with only a painted line to help you imagine their
materialisation. Ralf Hutter and Florian Schneider, the founder members
of Kraftwerk, are keen cyclists. Has the country of Le Tour de France
finally become the vision of their 2003 soundtrack?

Shortly after the 1983 release of the Le Tour de France 12-inch of the
same name Ralf Hutter had an almost fatal bike accident. The irony goes
beyond that of the simple living by the sword / dying by the sword
coincidence, because every attempt to cross the road in Paris – already
a foolhardy venture – comes with the added fear of having to cross the
bicycle lane. Imbued with the notion that they have been blessed with a
great task, any solidarity the pedalling enthusiast may have had with
the Brethren of the Shank’s Pony disappears with the realisation that
they have been ordained by the Mayor of Paris himself to save the
planet. The pedestrian stands no chance against the contagion of
self-propelled wheeled apparatus: the eco-cyclists, micro-scooters,
roller-bladers, and Segways (there’s always one show off exec).

Beyond the global shift towards all things environmentally friendly,
however, there is one cultural change that seems to have gone by
unnoticed. This is no minor adjustment and its implications are massive.
By January, the number of Vélib’ bicycles in Paris will have doubled.
Each bike weighs about 22 kilos, comes with an adjustable saddle, a
basket, gears, a light and the all essential go-faster reflector strips.

But all these accoutrements aside, no one seems to have questioned the
fact that all of these bicycles are women’s bikes. The website claims
these bicycles were adapted to fit both male and female users. Yes, but
how long did it take for someone to pipe up, “Let’s just go with the
women’s model”? There was a time not so long ago when young lads could
only get away without having that awkward middle bar, or ‘top tube’, by
riding around on a Grifter. And even then, Grifters still had a middle
bar, it was just a bit more laid back, thus providing room for a gear
stick. After all it was the Harley Davidson of push bikes.

Of course, it is completely logical to choose the woman’s model, it is
the most universal design and doesn’t discriminate against trouser,
dress, skirt and the growing contingent of sarong wearers (okay, you can
forget the last category). But unbeknownst to itself, the Vélib’ has
become a great leveller. How can you be macho when there’s no need for
athletic leg movements to mount the bike and when you can put your
briefcase in that natty front-mounted basket? (I know I keep coming back
to it but it is very practical and Syd Barrett would have loved it.) And
trying to shift your weight to the front of the bike in a racing fashion
immediately becomes a perilous exercise.

The real question remains: will these bicycles become objects of desire?
Will they rival the iPhone on the design front? Is this the iBike?
Recent political events on the French stage may have inadvertently
helped the Vélib’ become an iconic symbol of freedom.

Autumn has always been highly-coveted by market forces, the advent
period a particularly lucrative time of the year. It is also that moment
when France returns to work and unions wake up to the summer’s political
activities. The aim of last November’s national strikes by transport
workers was to bring the country, and especially Paris, to a halt. The
capital’s commuter belt is particularly impressive: the highly efficient
suburban rail network coupled with the TGV high-speed train mean that
you can commute to Paris from quite literally the other end of the
country. But that only tells part of the story.

Even if Paris is small as capitals go, once within the city walls you
still have to move around. With much of the bus and underground system
at a stand still for a whole eight days, people had to find other means
of getting into work. If this had been London, the media would have
talked about ‘the Blitz mentality’; in France people came up with their
own ‘Système D’ or DIY scheme. Driving into work wasn’t the most
time-efficient option, no matter how much people car-pooled. The
combination of traffic jams and road rage recalling images of Michael
Douglas in Falling Down – enough to forewarn any rational being.

This was when Vélib’ truly came of age. Under these conditionsm the
bicycles became everyone’s focus of attention: at what time should you
get up to ensure you could get your hands on a bike? How early did you
need to leave work?

There are a certain number of electronic safeguards in place to make
sure that the Vélib’ are not monopolised for long periods of time. When
you take a bike the docking station registers your credit card number
and will withdraw 150 euros from your account should the bike be
vandalised. Take one home with you and the risk is that it will be
automatically declared stolen. But buy yourself the cheapest bicycle
anti-theft device you can possibly imagine, or simply equip yourself
with a piece of rope and a granny knot, and you have yourself the
perfect untraceable Vélib’ reservation system. Système D, indeed.

A Vélib’/Pielib’ hybrid? Photo from Down Hill Nirvana

A Vélib’/Pielib’ hybrid? Photo from Down Hill Nirvana
Nicolas Sarkozy may have promised to introduce a minimum service quota
for public transport during strikes but with Vélib’+lock, you have your
own public-transport-minimum-service vehicle all to yourself. This
proved to be a real problem for users during the strikes but gave the
Vélib’ a credibility well beyond its initial status.

This left many Parisians where they had started: no public or private
transport. With the strikes costing something in the region of 150
million euro a day in Paris alone, there remained one solution for the
working population, the greenest means of transport par excellence:
Pielib’, or self-service feet.

It is well-known that whilst most urban dwellers can just about make it
as far as the corner shop without mechanical help, they are, for all
intents and purposes, unable to walk for any great length of time.
Living more than ten minutes away from a métro stop makes you a social
pariah and immediately devalues your property.

Thankfully, along came Sebastien Brochot, actor and creator of Pielib’,
to remind us that Paris can and deserves to be travelled by foot.
Hijacking empty Vélib’ docking stations by attaching different kinds of
footwear to them, Pielib’ offers solutions to those who leave home
wearing inappropriate shoes. Imagine arriving at your office in an
elegant pair of spats only to realise that it’s dress down Friday. All
you need do is head down to your nearest Pielib’ rank to hire a pair of
flip flops. Or worse still, imagine that you head out in a pair of
highly polished red patent shoes and then it hits you: the ‘80s were a
mistake. And let us not forget, Piélib’ also plays an important
sociological role by dampening the embarrassment of those who never
learnt to ride a bike.

Much like Vélib’, however, there are certain restrictions: keep the hire
shoes for more than the allocated 30 minutes and Pielib’ goons may turn
up out of nowhere and leave you barefoot in the gutter. Tourists beware.

Vélib may seem like one of those quaint European ideas. How eccentric do
you have to be to see bicycles as the future of public transport? As
eccentric as the inhabitants of Chicago perhaps? The third biggest town
of the United States looks set to follow in Paris’s footsteps – its
mayor, Richard M. Daley, signed a cooperation deal with Delanoë last
September, the aim of which is to improve public transport policies. The
environment has become an electoral sure thing when it comes to local
governance if the opinion polls are to be believed. Delanoë and Ken
Livingstone, the mayor of London, are banking on green policies to win
next year’s elections. Public transport definitely is the new black.

The real winner in all this, however, is not our planet or our health,
but the French billboard company J.C. Decaux. Not only do they “showcase
the world” with their advertising panels but they pretty much dominate
the “street furniture” market in France. And they hold the Vélib’
contract. And they already own the bus shelters of the Windy City.