Mutual contempt, but not symmetricalRachel Cusk said:These days, I often witness the sight of a man or woman on a bicycle with a child and heavy shopping strapped to the back, pedaling furiously through the rain while being overtaken by a stream of cars, or drawn up at a traffic light beside a large clean car with another parent and child sitting calmly inside. The difference between the two is striking without being immediately comprehensible. They might almost be said to represent a mutual criticism; alternatively, they could be seen as demonstrating fundamentally different attitudes to children. If it is true that the cycling parent’s behavior signifies at least the willingness to make greater efforts on behalf of his or her child, from the outside it can look like the reverse. The driver could even view the cyclist as irresponsible, for failing to adequately protect his or her child from the dangers of the driver’s own vehicle.
My mum had a beige citroen diane, aka "the sewing machine" due to the high pitched whine of the motor.My mum had a green Ford Cortina which was her pride and joy. My dad had a red Datsun Cherry: kids at school thought this was hilarious and would regularly rip the piss out of me for being related to someone who drove a 'paki car' or 'Southall special'. Worse, the old man eventually traded it in for a cream Lada Samara and I had to start walking everywhere.
I always imagined that was a bit of an American dream but I guess it's universal: car culture, the open road, setting off to drive "cross country" with windows rolled down and music cranked up, passing through every backwater town, Route 66. then you could collect all your adventures and write a book, "on the road".
https://daily.bandcamp.com/2019/01/28/lee-gamble-interview-2/At the heart of In a Paraventral Scale is “BMW Shuanghuan X5,” a mesmerizing track featuring the sounds of two doppler-shifting BMW engines that are eventually buried under the weight of Gamble’s mechanical synthesis. As the piece progresses, a lush string section mimics the sound of the engines until the two are nearly indistinguishable. Named after a Chinese car replication company, “Shuanghuan” is more than a clever use of texture—according to Gamble, who is the son of a mechanic, it’s a crucial symbol of the project.
“Cars are symbolic of late capitalism… because a car can relate to Fordism, mass production, the idea of ‘a car for everyone,'” he says. “They can be functional; they can be made to appear masculine or feminine, made to represent nationhood. They’re commodities that are close to environmental change, land grabs, and taxation. Cars fit into the idea of an object of desire that’s always spinning around in front of you, and [are] always being advertised to us.”