Leaving Waterloo

Sheldon Brown dubbed the quarter-century or so following World War II as the "Dark Ages" of US Cycling. Few adults cycled and nearly all of them were clustered around a few cities.  So, perhaps not surprisingly, high-quality cycling gear was difficult to come by, as nearly all American bicycle manufacturing consisted of bikes for kids.  Those tiny number of shops and mail-order companies that offered high-end parts and bikes, as often as not, ordered them for their customers from Europe or a few companies in the US.

As for the bikes:  Some frame builders, like Dick Power of Queens, New York (who, interestingly, sponsored and mentored female riders) and George Olemenchuk of Detroit, turned out some well-crafted machines that rode well. But they made small numbers of frames that rarely, if ever, were ridden by cyclists beyond their immediate environs.  Quite possibly the only nationally-availabe, US-made, world-class (Did I use enough modifying phrases?) bike was Schwinn's aptly-named Paramount. But you couldn't buy one of the showroom floor--unless, of course, your local Schwinn dealer stocked one (and if they did, the probably stocked only one) and it happened to be the right size for you.

1971 Schwinn Paramount

 

Then came the 1970s "Bike Boom."  High-quality racing and touring bikes from England, France, Italy and Japan appeared even in small-town bike shops.  Some might debate that they had ride qualities that the Paramount lacked, but few argued that the workmanship of those imported bikes was better. But they--especially the Japanese bikes--offered much better value for the money, as the Paramount's price doubled within three years.

More to the point, though, the newly-available bikes made Paramounts, as nice as the were, seem stodgy.  And, according to people in the industry, the Paramount's production facilities and methods were dated.  Moreover, by the end of the decade, a number of American custom frame builders like Albert Eisentraut and Bruce Gordon were turning out bikes that rivaled those of their overseas counterparts.

So, in 1980 Paramount production moved to a new facility in Waterloo, Wisconsin.  (Not long after, much of Schwinn's other production shifted from Chicago to Mississippi.) These changes occurred around the same time Schwinn ownership and management shifted to a new generation. But the company failed to keep up with changes in the industry--they were late to the mountain bike and very late to the BMX game--and declared bankruptcy for the first time in 1991.

In the wake of those developments, two members of that new management generation--Richard Schwinn and Marc Muller--took over the Paramount facility and started a company familiar to a generation of American bike enthusiasts:  Waterford.  It focused on building, essentially, updated custom versions of the Paramount:  hand-crafted lugged frames from Reynolds, Tange or other high-quality alloy steel tubing.  Later, they added another line of bikes--Gunnar--with TIG-welded steel frames that weren't available in custom sizes or colors.

A late-model Waterford

Last month, Schwinn and Muller announced that Waterford/Gunnar was closing up shop.  The reason, they said is that they and several other key employees are retiring. They fulfilled their remaining orders and sold the building.  This Saturday, the 24th, there will be a "farewell" ride beginning at the factory, where there will be an "open house."  On that day, an online auction will begin.  Running until 10 July, there won't be many frames or forks available for sale.  But it might be a good source for current or aspiring builders or manufacturers or a collector with "an interest in something from the legendary Waterford factory," according to the company.

In 1962, It Was Superior

It was what Sheldon Brown called "the Dark Ages of American Cycling."  Or it was the "dark before the dawn" of the North American Bike Boom that began, depending on whom you ask, around 1969.

I am talking about 1962: 60 years ago. At the end of Bob Seger’s "Night Moves," the reminiscing narrator is "humming a song" from that year: the Ronette's "Be My Baby,” according to Seger. 

That year, Algeria won its independence--at least, in name--from France as Jamaica did from England.  A certain English band was playing at the Star-Club in Hamburg, West (yes, it was West) Germany. And--what I am about to reveal might cause some of you to never read this blog again--my favorite baseball team, the New York Mets, made their lovably, comically inept debut. (Their manager, Casey Stengel, lamented, "Can't anybody here play this game?")

And, although there were custom builders who made frames for the small but enthusiastic cycling communities of New York, Boston, Detroit, Chicago and a few other American locales, the name most Americans associated with quality bicycles was Schwinn.

Their company's top model, the Paramount, was built by hand in a separate area from the other bikes.  I have heard, from more than one source, that Schwinn actually lost money on Paramounts.  That sounds plausible:  Similar British, French and other European bikes with Reynolds tubing and Campagnolo components cost less (1962 Paramount price:  $175.00), mainly because the labor was less expensive.  Supposedly, Schwinn continued to build Paramounts because they were the official bike of the U.S. Olympic team and Arnold Schwinn saw equipping the riders who represented his country as an act of patriotism.  It also helped to support Schwinn's reputation as the only American bike-maker of that time with even a pretense of quality.

In 1962, Schwinn's second-line bike was the Superior.  Its frame was similar to the model of the same name Schwinn introduced in 1976:  chrome-molybdenum tubing filet-brazed without lugs into smooth joints and forged rear dropouts.  Both bikes also had Weinmann centerpull brakes (the cool engraved version on the 1962 bike) and rims with Schwinn-approved large-flange hubs made in France, probably by Normandy.

Oh, and I love the stem and handlebars--made for Schwinn by Gerry Burgess (GB) of England.  I can't get over that "lugged" sleeve on the handlebar:

 

 

Beyond those features, though, the 1960s and 1970s versions were very different. While both had Huret rear dropouts, the older version was equipped with the Huret Allvit derailleur:  standard touring gear of that time.  

The later Superiors came with Schwinn-branded Shimano or SunTour rear derailleurs--with, interestingly, Huret front derailleurs and shifters.  While the Shimano and SunTour mechanisms shifted much better in almost any condition, they seemed to have an almost unfair advantage on the 1970s bike, a ten-speed with the Nervar crankset that used the Specialites TA Pro Vis 5/Stronglight 49D bolt pattern and a wide-range rear freewheel.  On the other hand, the Allvit had to wrap up the yards and yards (OK, that's just a slight exaggeration) of chain necessitated by this:

The 1962 Superior certainly had 15 speeds--exotic for that time.  To achieve it, Schwinn used something I've seen maybe a couple of times in all of my years of cycling and working in bike shops:  a triple (with three chainrings)  Ashtabula (one-piece) crankset. Made from solid forged steel, it probably weighed as much as the frame!

To be fair, there weren't as many cotterless cranks, or triples,  available as there are now.  Schwinn used three-piece cottered cranks only on their early Paramounts.  Even the heaviest cottered cranks were lighter than any Ashtabula cranks, and some companies like Chater Lea, Stronglight and Duprat made cranks with pencil-thin arms.  But, once Stronglight and Campagnolo came out with durable alloy cotterless cranksets, cottered cranks disappeared from high-end road bikes (though they would continue to be used on the track until around 1960).  

Still, even in light of what I've just mentioned, that Ashtabula crank seems so incongruous with the rest of the bike.  But, for most Americans in 1962, the Superior would have seemed as other-worldly as a spaceship.

By the way:  the Superior cost $132 in 1962.  That model was made for only another year and, interestingly, the price dropped to $126.50.  From 1964 until 1970, the Super Sport--basically, a ten-speed version of the Superior--was Schwinn's #2 bike behind the Paramount.  In 1971, the Sports Tourer would knock the Super Sport to #3 and become the new Superior in 1976.

For The Woman Who Had (Almost) Everything In 1951

What I am about to say is not a boast; it's a fact.

I don't know anyone who owns or rides a mixte frame as nice as Vera, my Mercian.  And the only person I know who rides a full-on women's frame (in which the top tube is dropped even further than the twin parallel tubes on the mixte) is Coline, who sometimes comments on this blog.  And I know her women's bike is as good as Vera because a.) it's a Mercian and b.) I used to own it.  I sold it to Coline only because I prefer the style of the mixte. 

Truly high-quality mixte or women's bikes have long been relatively rare.  In France and other countries, stylish and utilitarian bikes that don't have the "diamond" ("men's") configuration are relatively common.  Some are very good, but rarely does one see such a bike with a frame constructed of Reynolds, Columbus or Vitus tubing, or with components that rise above mid-level (though they are, for the most part, at least serviceable).  Certainly, one almost never see mixte or women's bikes that rise to the level of the best diamond-frame racing or touring bikes.

Such bikes have always been even rarer in the US--and they were probably rarer yet in 1951, during what Sheldon Brown has called "the dark ages" of cycling in America.  Who would have made such a machine?

One answer:  Emil Wastyn--or his son, Oscar.  If that name rings a bell, you are: a.) my age or older; b.) know more about the history of cycling in the US than 99.99 percent of the population;  c.) are a Schwinn geek or, d.) are from Chicago.

The bike in the photos isn't a Schwinn, but it could have been.  Oscar Wastyn built it.  His father is the one who convinced Frank Schwinn that his company should build top-of-the-line racing and touring bikes at a time when enthusiasm for six-day races  (which basically kept racing alive in the US during the Great Depression) was waning and the world was on the brink of war.  Those high-end Schwinns, known as the Paramount line, were built by the Wastyns from the marque's inception in 1938 until 1955.


Until the 1960s or thereabouts, the Paramount was the only true high-performance racing or touring bike built in the US, save for the few that were made by a handful of regional builders (mainly for the small-but-active cycling scenes in places like New York, Chicago, Boston and, ironically, Detroit).  Certainly, the Paramount was the only high-quality US-built bike one could buy or order from a local dealer anywhere in the US.  

From what I can see in the photos, the workmanship on the frame is meticulous and in keeping with the style of the times.  I don't know which tubing was used to make it, but I suspect that it was either Accles and Pollock (used on the original Paramounts) or Reynolds, which Wastyn would use when Accles and Pollock stopped making bicycle tubing. 

Also in keeping with the period is the Sturmey Archer three-speed hub.  American cycling at the time was, not surprisingly, influenced by the British, who had yet to embrace the derailleur for their high-speed and long-distance machines.  And, of course, the fenders and chainguard would have been found on any bike, no matter how high its quality, that wasn't a dedicated racer.

As for other parts on the bike, they are typical of the period--save, perhaps, for the front hub and cranks, both of which are "Paramount", the same ones used on Wastyn's bikes bearing that name.  To my knowledge, Paramounts from that period are the only American bikes besides those made by the aforementioned small builders (such as Dick Power and George Omelenchuk) to use three-piece cottered cranks.  Cotterless cranks were still relatively new and expensive, and were still not seen as durable or reliable as their cottered counterparts.  The front hub looks much like Campagnolo and other racing hubs of its time.

I don't know who bought that bike for whom:  Few American adults, and even fewer American adult women, were riding bikes--let alone top-quality ones--in 1951.  Whoever bought it, though, had taste and whoever rode it did so in style.  

Some History On EBay

Here's something the author of Disraeligears (no, not the Creem album) would love, or at least appreciate.  So would another one of my favorite bike bloggers, The Retrogrouch.  For that matter, I would, too.

Back in the mists of time, before the cycling world was ruled by Campagnolo, Shimano and SRAM, a bicycle component manufacturer was beginning its ascent in the Land of the Rising Sun.  They would enjoy dominion in the world of quality bicycles--save, of course, for Campagnolo's racing colony--long before most had heard of Shimano or SRAM was even a seed in the great plains of cycling.

(Can you hear Sprach Zarathustra in the background?)

That company's demise came in much the same way as the deaths of other empires:  through complacency, hubris and responding to a threat that really wasn't.  That is the reason why its beginnings are, if not lost in the mists of time, at least not remembered by many.

That company was called--ironically, in retrospect--SunTour.   In 1964, its chief designer created a derailleur with a design--called the slant parallelogram--that would change derailleurs for ever.  For about a decade prior, however, it would offer derailleurs that seemed to be derivatives, if not copies, of Huret mechanisms of that time.  

The SunTour 8.8.8 wide in the photo does, in fact, bear both mechanical and visual semblances to the Huret Competition from the same period.  The derailleur Louison Bobet, the first cyclist to win the Tour de France in three consecutive years, rode is a refinement (some say just a re-badging) of that derailleur. SunTour's version, on the other hand, has a longer cage and might be considered a "touring" version.

Both derailleurs are on eBay.  For $158, plus $12 shipping, you can have the SunTour sent to you from Japan.  The Huret "Tour de France", on the other hand, will set you back $999.52.  But at least shipping is included and, hey, not only is it associated with one of the greatest cyclists of all, but the seller claims to have received it as a gift from Tom Avenia, one of the folks who kept the torch burning during the "dark ages" of cycling in the US.

I'm a Francophile, and I still have a soft spot for SunTour, in spite of the blunders that led to their undoing.

A Curious Vehicle

You know you're getting old when you mention a name that was on everybody's lips when you were young--which doesn't seem all that long ago--and a young person has no idea of  who you're talking about.

That happens from time to time when I teach:  I might utter the name of a song, band, TV show, movie or anything that was part of the culture or news when I was young and my students look at me as if I'd started to speak Basque.  

Something similar could happen if I say "John Howard" to a cyclist who's, say, a couple of decades younger than I am.  Actually, the young 'unz might think he was part of the British Invasion or some white-bread politician. 

But if you're my age, or not much younger, you remember that he was part of that generation of cyclists that put the USA on the bicycle world's map. His star rose as American racing--and cycling--rose from its "Dark Ages" during the 1970s.  

It's hard not to wonder what he would have been like had he been born, say, a decade or two later than he was.  Greg LeMond was no doubt a talented rider, but coming along nearly a generation after Howard gave him the advantage of having faced better-trained competition than Howard had at home before he went to race in Europe.  But Howard did well in a greater variety of events, including the early Ironman triathlons.  Moreover, Howard held a land speed record that stood for a full decade--a geological age in the world of sports records.

He also was something of a philosopher:

The Racer's Edge: Dick Power

I am told very good tacos are made in this place:

I plan to return one day and find out.  

Recently I learned about something else that was made in this building, next door:

At first glance, it looks like just another storefront building on a block that gentrification hasn't yet found.   Its owners told me that sofas were once made within its walls.  However, they were unaware that something meant for a decidedly un-sedentary pursuit was also made inside its confines:

Dick Power track bike, 1963

About ten kilometers from my apartment is the hipster haven of Williamsburg, Brooklyn, where there seems to be a bike boutique (next to a bar that serves only craft beers, or course!) on every block.  I can recall a time when the area more closely resembled the environs of the taco restaurant and its neighbor:  a place full of blue-collar residents and immigrants, where few, if any, adults ride bicycles. 

 The neighborhood around Santa Fe Taco---Sunnyside, Queens--might well be on its way to becoming like Williamsburg.  Only four kilometers, in another direction, from my apartment, it was long known, along with neighboring Woodside, for the Irish bars and German saloons that served the blue-collar immigrants and first-generation Irish- and German-Americans who lived in the area.   (Both neighborhoods still have large Irish populations but also have perhaps the greatest concentration of Filipinos east of California.)  Sunnyside and Woodside did not suffer the devastation other blue-collar neighborhoods (like Williamsburg) endured, but nevertheless have experienced changes that threaten to erase some of their heritage.

A part of that heritage that is unknown to almost everyone who lives in the neighborhood involves the bikes that were made and sold in that unprepossessing building next to a Taco restaurant.  

Dick Power in front of his shop--in the building next to the taco restaurant!--in 1939.

During the "Dark Ages" of cycling--roughly the two decades or so following World War II--there existed in a few American locales, including New York City, a small but tight-knit community of racers and other adult cyclists.  Shops such as Thomas Avenia's in East Harlem and Kopp's in Princeton catered to them.  And there was a small but dedicated group of framebuilders, some of whom also owned and operated retail shops, who catered to those riders.  

Dick Power was one of them.  From his shop and frameworks at 4710 47th Avenue in Sunnyside, he turned out some beautifully-crafted frames that are prized by riders as well as collectors.  Power, who died in 1973, plied his trade and served as a coach and trainer from the 1930s through the 1960s.  However, the loss of his son--executed for his role in a robbery gone wrong that resulted in the death of a police officer--propelled him onto a mission to recruit and mentor young people into cycling.  

Among those he encouraged, and for whom he built bikes, were several female cyclists.  In the 1950s, the world of cycling, including racing, was even more of a male preserve than it is now.  Power's mentorship of those young women was seen as radical in his time.

I must say, though, that it must have been interesting, to say the least, for a young woman to be coached by a man with a name like "Dick Power".  Than again, those times were more innocent, I imagine!  

My Tour To Somerville

Memorial Day was cool and a bit windy.  The former part I like; the question was what to do about the latter.

Of course, if you're a savvy old cyclist, you plan a ride in which you're pedaling into the wind on your way out.  That way, the wind blows you back home. 

Plus, Arielle was begging not to go on just any old ride.  She wanted to see a race. 

 
Because she's been good to me, I granted her wish.  Actually, she granted mine, too:  I felt like taking a nice, long ride.

Where did we end up?

  
No, we didn't go to the hotel, as interesting as it is.  But we went to the eponymous county--out in West-Central New Jersey.

Said hotel is located in the county seat, just down the street from the courthouse.  The name of that town is Somerville.   If you're a bike racing fan, you've heard of it:

    
The Tour of Somerville Cycling Series is a three-day event that includes several races (including a women's race) andculminates with a Senior Men's 50-mile race on the afternoon of Memorial Day.  The series has run every year since 1947.  Actually, 1940 witnessed the first Series; World War II suspended it from 1943 to 1946.  The Senior Men's Race is  officially named the Kugler-Ross Memorial Tour of Somerville, in honor of the first two winners:  Furman Kugler (1940 and 41) and Carl Anderson (1942).  Both were killed while fighting the war.

For a long time--particularly during the Dark Ages of US cycling (roughly the two decades after World War II), the ToS was, arguably, the sport's biggest--or only--showcase in the US.   Whoever won the race was generally acknowledged to be the best American cyclist.  

Calling the race a "tour" in not some francophilic (or europhilic) affectation.  Rather, it was a legalism the race's founder pulled off just so it could be held at all.   At the time, New Jersey state law prohibited racing for prizes on highways.  Somerville's Main Street is State Highway 28.  So Fred Kugler (Furman's father) labelled the Somerville event a "tour".

As you might expect, many townspeople and residents of nearby communities turn out for the event, as there is no admission charge.  Also, because the races are held on a loop of closed-off street and are therefore fast and full of tight turns, they excite even non-cycling fans.

One of the more amusing aspects of the race is watching people cross the street after the peloton has passed--until the next lap, anyway.

 
They have to be quick:

 
 Otherwise, they could meet an unhappy ending:

 
 All right.  He didn't cross the path of the peloton. He wandered into US Highway 22, which I crossed en route.  Perhaps another race will be a memorial for him.

Seriously, everyone else seemed to be having  a good time. And, given the routes I took, I ended up doing a century.  I mean, an Imperial, not a Metric One.  101 miles, to be exact.