KCFreePress.com

When people hear the words "critical mass," they probably imagine a motley crew of cyclists drinking beer, slowing down traffic and generally getting in everyone's way.

While that assessment wouldn't be entirely inaccurate, it's tough to get the whole story until you actually take part in the monthly bike parade and experience Kansas City from a cyclist's perspective.

"I like Critical Mass because it brings people into cycling, and people can see that the bicycle is a viable form of transportation," said Corrina West, a longtime participant. "Some people don't like Critical Mass because it pisses off motorists, but we do belong in the streets, and making our own space in the world is important."

The monthly bike event, which began in San Francisco in 1992 and has since spread to over 300 other cities, holds a variety of meanings to its participants. For some, it's a reclamation of public space for something other than cars. For others, it's about engendering a friendly cycling community. For many of the 75 or so people who showed up for Friday's ride, it's all about fun.

"It's just a bunch of friendly folk riding around, having a good time," said Ryan Jones. Cyclist Chris Lee called Critical Mass "a real spirit-lifter."

Before the ride, a sense of spontaneity reigned in the rendezvous point at the Westport Sun Fresh parking lot. Cyclists showed off their customized cycles and played Johnny Cash and Sonic Youth tunes from a boombox while Kansas City Art Institute students Jenna Stanton and Matt Urlaub laid the groundwork for a participatory painting. The pair coated four different foam strips with tempera paints, which cyclists rode through onto a canvas of multicolored, criss-crossing cycle tracks.

"What I enjoy most is that Critical Mass encompasses riders of any sort of political background and skill level, and there aren't any specific rules," Stanton said. "We want to encourage people to get involved in the cycling community and the art community, too."

The ride moves at a pace that slower riders can keep up with, and red lights do not necessarily equal "stop." Outlying riders, or "corkers," post up at intersections to make sure cars don't disrupt the peloton, usually by waving thanks to the drivers and wishing them a "Happy Friday."

While disregarding traffic signals might seem like a dubious method of promoting safe biking, the movement certainly succeeds in making drivers reconsider who owns the roads. Critical Mass turns the traffic hierarchy on its head, as streets that might otherwise be dangerous for a lone biker become grand bicycling thoroughfares for a larger group. As cyclist Matt Lavigne states, "The mass is what's critical."

Responses from motorists varied along the way. On the Country Club Plaza, confused drivers stuck their heads out of their cars to ask, "What are you riding for?" On Troost, three white Cadillacs sped around the pack, prompting observant riders to urge everyone to consolidate into the right lane. ("I guess they had to get wherever they were going," one cyclist remarked.)

Pedestrians — especially along Prospect, which the route followed from 31st Street all the way to Independence Avenue — tended to be more positive; waving and shouting encouragement to the cyclists as they passed. Bikers visited with each other all the way from the starting point in Westport to the downtown refreshment stop and effective terminus, Grand Slam Liquors.

By 9 p.m. a smaller contingent of the Critical Mass crew rode the rest of the way to the river, stopping at the end of the pier to drink beers, make adjustments to tires, or scout out more private spots along the Big Muddy.

From that vantage point, it wasn't hard to imagine the "reclamation of space" principles of Critical Mass taking root in other planes of motion — a railroad ride-share, perhaps, or a stealth group of sailboats. But talk of "critical masts" would have to wait for another day. For the few remaining cyclists on the pier, there was still a lot of pavement left to pedal.

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