“Why do you watch this? It’s pretty repetitive.”
“I just kind of trance out.”
“Do you like it because it’s soothing and mellow?”
“Yes! It’s all about the scenery and especially the voices.”
“Okay..Can we watch Wimbledon now?”
When July rolls around, the world of professional cycling rolls into our apt, bringing the bright colors of the Tour de France peloton and the French countryside through the TV and straight into my imagination. I can watch it for hours. I have written before about the Tour, but this year my fervent watching and listening have reconfirmed one of the best things about the event: the commentary and voices of Phil Leggett and Paul Sherwen.
Leggett, who has been commentating for some forty years now, is the steady calm voice of observation. He talks as if viewing the proceedings from a perch at 10,000 feet above looking down, making easy notice of the scenery (“Here they are skirting the Camargue, which is famous for its wild horses and pink flamingos…”). But when the action heats up–a surprise breakaway from the peloton say, or an unexpected sprint finish–Leggett can find a higher gear, raising his voice abruptly and almost running out of air so long and continuous are his sentences that track the unfolding action in a feverish pitch.
Sherwen is a little more intense. There’s an urgent quality to his voice, and he often begins sentences by agreeing with his co-host, but then pointing out a potential difficulty ahead: “That’s absolutely right Phil, but [name of cyclist] has got to pace himself and be very careful here…”–with the emphasis always on the word “got.” Sherwen also has a lower verbal gear in which he recites facts about the passing landscape such the names of centuries-old churches and the precise height of their spires (in European metric). Great TV if you ask me.
As you watch the Tour and listen to Leggett and Sherwen’s commentary, you notice a clear call and response quality to it as their voices alternate back and forth just as reliably as the cyclists’ legs move up and down. Occasionally, when there is a brief (2-5 second) lull in the talk, you can hear the road hum of the bicycles buzzing up and around mountain ranges and the cheering of the spectators lining the course. When either Leggett or Sherwen return to continue weaving their real-time narrative, you realize how important their voices are to making sense of the Tour’s relentless repetition over thousands of miles. Without their voices describing and animating the action, it would just be a very long and taxing ride.