A Surprise During A Ride Without A Plan

Errands and things that weren’t so complicated that a politician or lawyer couldn’t further complicate them took up my morning.  

So, by afternoon, I wanted—and needed—to ride  I had no destination or route in mind.  I didn’t even know which bike I’d ride.  For some reason, Marlee sniffed around La-Vande, my King of Mercia. For some other reason, that was the reason I wheeled her out my door.

I zigged and zagged along waterfront promenades and side streets from my Astoria neighborhood to Williamsburg. From there, a detour led me into industrial areas of East Williamsburg and Bushwick where I found myself following a string of graffiti murals that seemed to unfurl like a videographic collage along my ride and led me to this:

The word “truck” over the window hints at the building’s former role as a tire shop.  Given the location, drivers or owners of those hulking industrial vehicles were no doubt most of their customers.

The new clientele, I imagine, are more likely to be fixing or fueling their psyches and, perhaps, accompanying friends, dates or partners than to be hauling steel stock or power tools.  The Bushwick Triangle—where Johnson and Scott Avenues intersect with Flushing Avenue—is a lounge.

Even with its new look and purpose, its shape reminds me of a much larger and more famous structure:  the Flatiron Building, often cited as New York City’s first skyscraper  Somehow, though, I can’t imagine it adorned with a mural like the one on the Bushwick Triangle—even if the Flatiron’s owners were inclined to, and the city allowed, it.

I am glad, however, to have encountered a fun and interesting visual surprise during a ride for which I had no plan.

A Journey Blossoms

 What would my younger self have thought?

My younger self was not only, well, younger, but also stronger, skinnier and perhaps sillier: Even after I’d given up on racing, I prided myself on riding like a racer.  Some of that may have had to do with living as male and riding, if not solo, then mostly in the company of male riders who were racers, ex-racers or wannabes.

Now I’m going to make a confession: While I sometimes rode just as hard and fast during my solo rides, on other solo rides—and only on solo rides, I’d stop to look at buildings, trees or flowers.

Which is what I’ve been doing lately.  In this part of the world, we are entering the peak of cherry blossom season and I’m becoming a blossom rider—or a cherry chaser?

If you’ve been reading this blog for a while, you know that few things make me happier, if for a moment, than those pink blooms.  (Lilacs, which should be showing up soon, are another.) 

It’s not just their prettiness that moves me.  I must say that I never understood haiku or Japanese art (or why it so inspired Monet and other Impressionist artists) until I paid attention to cherry blossoms.

You see, haiku isn’t just about the syllable count and Japanese painting isn’t only a style.  Both are about experiencing the beauty and intensity of something in a moment but appreciating that moment’s ephemerality. And that, I believe, is the reason why there’s so much respect for elders and ancestors in Japanese culture.

So…while my recent rides have been sensual and aesthetic experiences—which my younger self would have secretly embraced—they have also been lessons which, possibly, my younger self could not’ve understood.

Riding By A Canvas

The past few days have showcased, for me, some of the ways I choose my rides, especially familiar ones.

On Saturday, I pedaled to Connecticut because the conditions seemed perfect: a not-too-warm day with not-too-high humidity and a moderate breeze that I pedaled into on my way up--which meant, of course, that it blew at my back on my way home.

On Sunday, I felt really good and not in need of "recovery" from the previous day's ride. Still, I wanted to do something slightly less challenging, but still fairly long.  So I pedaled out to Point Lookout.

I also rode to PL yesterday, into a stronger wind than I'd experienced during my two previous rides.  Also, I was starting a bit later than on my weekend rides, and I knew I could ride at a reasonable pace and still get home well before the end of the day.  But the other day, Monday, I did a shorter ride, in part because I had to do a few other things.  But, also, I wanted to explore some nearby nooks and crannies I don't often see, their proximity to my apartment notwithstanding.

One of those enclaves is part of what we half-jokingly call "Astoria's San Francisco."  The streets in that area, north of Astoria Boulevard and west of 21st Street, are indeed hills, though not as steep as, say, Lombard Street.  They are also, like so many San Fran streets, narrow.

Another thing that makes that part of Astoria interesting is the mix of buildings.  Most are residential. Some are landmarked, including mansions which, as I understand, are still owned or even lived in by descendants of the families who built them.  But, a block or two away from such edifices, one can find a seemingly-typical New York bodega that was once a cafe which, as rumor has it, served as the major Mafia gathering place in the area.  Also in proximity to the grand old buildings, which ranging from the stately to almost derangedly rococo, are some old storefronts and warehouses that serve as canvases for local talent.

Through the decades, I've cycled for fun and health, physical and mental.  I've toured cities and countryside, in the United States and other nations.  I also raced, albeit briefly. And, of course, I have commuted to work and school on my bike. Sometimes I think that one of the things that keeps me riding are the sensory surprises and stimulations I encounter along the way.

A New-School Beat On An Old Ride

 You might be reading this post a bit earlier than you normally see my posts.  I'm headed out for an early ride.  I set out early yesterday, but today I wanted to get out even earlier.  

While our heat wave isn't quite as severe (yet!:  It just started) as the ones in Europe or the Western US, the weather is definitely hot.  The good news, for us, is that we are better prepared than the Europeans simply because, during most summers, we experience at least one multiday stretch of high temperatures around 33-37C (91-98.6F).  And we haven't been afflicted with the droughts that have parched the western regions.

So, yesterday I decided that as long as we're scorched, I will get out as soon as possible after waking up (which means:  after a cup of coffee and a "light bite") and get back by about 11 am.

Yesterday morning's ride was pretty random, except for one thing:  After zigging and zagging through various Queens neighborhoods, the Flushing Meadow-Corona Park paths and the Malcolm X Promenade (a.k.a. World's Fair Marina), I made my way to Kesso's to get enough of one of my favorite foods--the Greek yogurt they make on site--to take me through the next few days.

Alas, the man in charge wasn't in.  Sometimes I think he's one of those people for whom owning a business really means setting his own hours.  But, to be fair, I know he sells his yogurt and tzatziki to stores and restaurant and, since Gus retired, I think Spyros has become a one-man operation. 

Anyway, that was the only disappointment.  My ride, however, revealed a pleasant surprise.  I have pedaled around Flushing Meadow-Corona Park many times, but had never before seen this:

Turns out, the sculpture of LL Cool J has been there since January and will remain until November.  

I like the way his face is depicted. And, as one of the founders of "new school" hip-hop, it makes sense that his visage is perched on top of a  replica of a "boom box."  But that old-school (at least to us, in 2022) way of playing recorded music is not there merely as a token to represent his status as one of the genre's--and a generation's--definitive artists.  It actually works--by solar power.  It's programmed only to run from noon until 5 pm, however, and because of the heat, I hadn't planned to stay that long.  But I plan to return one day after the heat breaks, just so I can hear some of his work in a way I've never heard it before.

Maybe I'll discover something else new on another familiar ride. Whatever it is, I doubt it will have a beat like the ones LL Cool J--who grew up in Queens--makes! 

Riding The Divide For The Stories

Some of my best memories from my bicycle tours are the conversations and other interactions I had with local people.  

I'm thinking now of the old couple living by the point where the Garonne bends and begins its opening to the sea.  They took great pride in knowing the exact moments, twice a day, when the tide rolled in.  I'm also recalling my ride with You Sert, a PURE guide, that took us to Cambodian farms where one woman practiced traditional healing and her kids and their cat played with me, and another where a woman guided me through weaving grass for a roof.  

These encounters might be different from the ones that await Nate Hegyi. I feel confident, however, that whomever he meets and whatever he shares with them will be interesting.

A Public Radio-affiliated reporter in Boise, Idaho, Hegyi is embarking on a 900-mile bicycle trip along the Continental Divide.  He plans to visit eastern Idaho's ranching towns; Missoula, Montana; Wyoming's oil and gas areas and  the mountainous country of northern Colorado before ending his trip in Greeley.

Along the way he plans to file radio stories, post to an online blog and, in late October, release a podcast he will produce.  

"It's been a tumultuous year," Hegyi said.  "A pandemic grips the region and the economy is in freefall. But the voices of folks in the Mountain West's small towns and rural communities are often unheard in regional and national media outlets."  One purpose of the trip, he explained, is to "learn more about the area's residents and hear their stories."  

I am sure that whatever stories he hears aren't the ones one can hear from a car, tour bus or resort hotel!

A Field Without Dreamers

This afternoon I rode, again, to and around Flushing Meadows-Corona Park. On my way back, I passed CitiField, where the New York Mets play their home games.

Though I’m seeing more vehicular traffic on the streets, I encountered an empty parking lot that, at this time of year, would normally be full.

The reason is that live fans aren’t allowed to attend games.  The players are. Instead, playing before cardboard cutout figures.

It’s hard to imagine such figures lining the route of the Tour de France or Giro d’Italia!

A Ride Through Change

Whenever I look, wherever I tune in, someone is writing or talking about how the COVID-19 epidemic is changing, or will or could change, some aspect of the world.  

As an example, many people who still have jobs are working online.  It's hard not to imagine that some of those jobs will permanently shift online, or become hybrids, if you will.  On the other hand, many people who have lost their jobs have to wonder whether their jobs--or their employers--will return.


One benefit of this crisis, if you will, is that some people are starting to see the real inequities in the health care system. I am talking, of course, about the people who lost their insurance or never had it in the first place. I also mean that the epidemic is highlighting how people are treated differently by the health care insurers and providers based on their gender, race or other factors.  

(Also, actual and would-be authoritarians are using the crisis for their own ends.  Donald Trump is trying to do this; he's had little success--thankfully--because of the limited powers of the US presidency and his own ineptitude.  But other leaders have found ways to use the crisis to disenfranchise or oppress groups of people, as Viktor Orban of Hungary did the other day when he used the epidemic as a pretext for ending legal recognition of transgender people.)

The virus is indeed changing the world.  I find myself thinking about that as I ride, and see change all around me.

As I rode through East Harlem, I see the embers of a culture that once burned bright but has flickered away:

The area of East Harlem east of Third Avenue once held one of this city's--and nation's--largest Italian-American communities.  I must say it's odd, to say the least, to see an engraved sign for an Italian commercial bank over a 7-11.  Then again, it's still odd for me to see a 7-11 in a dense urban neighborhood.

I saw another sign of change a bit earlier, after I crossed the High Bridge from the Bronx into Manhattan and followed a path to a bluff.

That building in the distance, on the right--or what it housed--inspired one of the most famous films of the past 40 years.  It also helped to saddle the Bronx with a reputation its leaders are trying to shed.

Inside those walls was the Four-Four:  the 44th Precinct of the New York Police Department.  Its nickname became the title of the movie I've mentioned:  Fort Apache.  

While it's hardly an elite part of town, the neighborhood of the Four-Four isn't exactly the one in Fort Apache, The South Bronx.  Likewise, East Harlem isn't Little Italy, Uptown, and won't be what it is today for very long--whether or not COVID-19 has anything to do with it.

What will I see on a future ride?

Does This Bike Need An RU Screw?

When you ride your bike to work every day, certain sights become familiar.  Sometimes, though, they're not the ones you anticipate.

If you live in a city, you probably see bikes parked in the same places every day.  Some leave in the morning, on commutes to work or school.  But others remain in the same spot and start to look like street fixtures.

This Royce Union three-speed has been parked on East 139th Street for three years, maybe more.  I say two years because that's when I started riding along a route that includes the block on which the bike is parked.


The bike is from the mid-60s or thereabouts.  I know that because I had a bike just like it--actually, the diamond frame, a.k.a. male, version.  Also, mine was black and white.  It was lovely but, oh, I would have loved the color of this one. (That tells you something about the kind of kid I was!)

Royce-Union started in England early in the 20th Century.  Later, they started to manufacture bikes in the Netherlands and, by the 1960s, Japan.   Later they would make their wares in Taiwan.  I'm guessing that by now, their stuff is coming out of China or possibly Malaysia.  You can more or less trace the geographical history of bicycle manufacture from the company's timeline!

Not surprisingly, those '60's bikes--like the one in the photos and the one I had so many years ago--were imitations of English three-speed .  Whatever market existed for adult wheels in those pre-Bike Boom days was filled mainly by so-called "English Racers" from Raleigh, Dunelt and other British manufacturers and, to a lesser degree, similar bikes from Continental makers and Schwinn.

One detail of this bike I just love is the white saddle bag.  My bike had a bag just like it, in black.  The saddle was also like the one I see parked in the Bronx, but in black.


I also had to chuckle at the "RU" on the bag and saddle.  I attended Rutgers University many years ago.  Of course, many items pertaining to the school are emblazoned "RU", though in a very different style and color.  I couldn't help but to wonder, though, whether the Royce Union had any non-standardized parts.  In a way, I hope it doesn't, because I'd love to hear someone go into a bike shop and ask for an "RU Screw."

(You have to have gone to Rutgers to fully appreciate that one!)

A Market, A Canal, A Church And A Fountain

My bike ride today took me to alternative universes in Paris.  That's what they seemed to be, anyway.

I encountered the first one after riding some side streets near the Place de Clichy, I wandered up some cobblestoned streets (that were really more like lanes) and found myself at the Porte de St. Ouen.

If you are cycling, walking, driving or taking any other kind of ground transportation, you enter or leave the city through those "portes", which are usually passages under the Peripherique, a highway that rings the City of Light. The location of the "portes" are said to approximate the location of openings in the walls that surrounded the city itself and those outlying towns in earlier times.

Anyway, just after passing through the "porte", I saw a sign for "puces".  No, the French highway folks aren't telling you where to find fleas.  Rather, it's shorthand for "flea market" (marche de puces).  So, of course, I followed it.

I hadn't been to the St. Ouen-Paris flea markets in some time. The hyphenated designation isn't just marketing hype:  Although most of the market's stalls are indeed in St.Ouen, a whole section of stalls lies within the Paris city limits.

Notice that I used the plural:  "flea markets".  That's because there are in fact over a dozen different markets, each of them arranged along different streets of the city.  Or, you might say that the markets are like a city of open-air malls.   The only shopping experience that even remotely reminded me of St. Ouen is the Grand Bazaar in Istanbul.  Of course, they are very different because the GB is covered and, of course, because of the disparate cultures (even if some of the sellers at St. Ouen are Turkish). I don't know which is bigger, but they both dwarf any flea market I've seen elsewhere.

In both places, it's possible to buy just about anything, though there are certainly more antique and vintage-item sellers in St. Ouen than I recall seeing in Istanbul.  But St. Ouen made me think about the term "flea market", which is a direct translation of "marche aux puces". (The French usually call the markets "puces" for short.)  The term is said to have originated because the sellers in the original markets were often homeless, and covered with fleas.  According to what I've read, their practice began in the latter decades of the 19th Century, when much of the city was rebuilt under Baron Haussmann.  (He's the one who replaced the serpentine medieval streets with straight thoroughfares that radiated out from plazas and parks:  Think of the "Etoile" in which the Arc de Triomphe is located.)  As a result of this realignment, many old buildings were torn down, and their contents were left lying  in the streets--where they were scavenged.

Now, I must admit, some things indeed looked as if they were brought in by people (or even dogs or cats) with fleas.  But some other things certainly didn't.

And, while many of the structures that became stalls were old industrial facilites, others looked like they might have given a bourgeois lady or gentleman quite a view.

There are also some interesting contrasts, such as this:

I like it a lot, but it's kind of funny to see the kind of graffiti art you might see in Bushwick or Mott Haven on a building in which old paintings and prints are sold.

Speaking of structures, later in the day, at the other end of town, I encountered a church unlike any I've seen in this city--or anywhere else.

All right, from the outside you might think it's just another late-19th (or early-20th) Century church built in the Romanesque style.  And, in fact,it is, deliberately so:  It was built to replace another church similar in style--on the outside.

Once you get inside, the church still shares some characteristics with other Romanesque churches, including the high, vaulted ceilings--which, of course, are designed to get parishoners to look upward and be reminded of the vast power of God.  But then there's something you've never seen in any other Romanesque church--or, probably, any other church:

Steel girders!  If someone were to build a Romanesque church in Manhattan's Meatpacking District (when it was indeed a district where meat was packed) or Soho (when it was still industrial), I might expect something like this--maybe.

The girders inside the Notre Dame du Travail (Our Lady of Work) were taken from the Palais d'Industrie constructed for the 1855 Universal Exposition and torn down in 1891.  And the stone on the outside was taken from an earlier church that had become too small for the community it was serving.

Even though the city made a rather detailed historical marker for it, and the church offers pamphlets and other materials explaining the church's history, I guess they don't expect tourists to visit, as it is on the far southern end of the city, far from better-known sites.  Thus, the marker and the printed materials are only in French--which, fortunately, I can read, so I was able to write about the church (however sketchily) here. 

Along the way, I made other stops at interesting spots--and for a picnic lunch on the Quai de Jemmapes, by the Canal St. Martin.  And near the end of my ride, I stopped at Place Felix Eboue to hydrate:

Well, if I were my iPhone or laptop, I guess I could have hydrated there.  I enjoyed it nonetheless.  It's different and it's Paris, after all!