I felt like I was cheating myself of those communities and cheating the audience because I wasn't able to know them. That's what the bikes did, without me having to put any arbitrary philosophy on what it was supposed to be. It enabled human connection.
It's funny, people often ask me, "Why do you do bike tours where it takes three times the effort and you make one-third of the money?" My answer is that I'm trying to do it ethically. What does that mean, exactly? That conflict is a big part of my art.
I have a lot of intention behind what I put out there. The reason all this stuff I do works together, the environmental and social, collaborating with ballet companies to score a show, the bike tour - all of that stuff comes together through community building with music.
When we cut off access to certain parts of our cities to people on bikes or in wheelchairs, we're not only doing economic damage, we're also doing culture damage. New York is the culture capital of the world because people are running into each other on the street all the time. They are forced to engage in creativity and problem-solving.
For every show that we do, anyone that rides public transit, bikes, or walk, we offer them a $5 voucher at the merch table. It gets people using the infrastructure in the area. Hopefully, the venues where we play will lobby city council and say, we need bike paths, sidewalk repair. That stuff affects so many people's lives.
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