While His Fixie Gently Weeps

Sometimes I think that if Salvador Dali had composed music, it would’ve sounded something like the tune to  “While My Guitar Gently Weeps”.

Now, if he’d designed bicycles it would have been interesting, to say the least. While going to the store, I think I saw an example of what might’ve resulted:

For one thing, I was intrigued that this bike came from Biria, a company that’s been known—at least in the US—mainly for city bikes with upright bars.  Perhaps if Biria’s focus is indeed urban bikes, this model makes sense.  After all, I don’t think very many people in small towns in Wyoming or West Virginia are going to ride a bike like that.

Another thing that caught my attention is how close the rear tire comes to the seat tube:

And that’s with the wheel all the way back in the dropout:

What’s even more interesting is that other attempts to shorten the wheelbase (or, at any rate, the rear part of it) have included curving the seat tube, as on this KHS bike from the mid-90’s:

 

And Schwinn, in the mid-70s, offered a bike called the Sprint with a similar seat tube.  Like many other Schwinns of that era, it was an extremely strange bike:  Save for the curved seat tube and the short (at least relatively) wheelbase, it was no different from the Continental.  At least the KHS was based on something that bore some semblance to a track bike.

 

Then there was the Rigi, made in Italy during the early 1980’s.  I never owned, but I had a couple of opportunities to ride, one.  It certainly lived up to its name:  I can recall few, if any, other bikes that were more rigid and transferred power to the rear wheel as much as that bike did.

 

I would be really curious to find out what effect, if any, the curved top and down tubes have on the ride of the Biria I saw today.  Whatever its ride, I don’t think its rider has to worry about stopping power:  It has a coaster brake on the rear wheel and a caliper brake for each wheel!

There's Hope--Really!

While pedaling up a hill, I saw this:

Now, the hill wasn’t particularly steep or long, and I was riding Tosca, my Mercian fixed gear.  But right now she has a gear of 47x17, which isn’t high but isn’t exactly a climbing gear.  Still, I managed to get up that hill without getting out of my seat or breaking a sweat.  But I have to admit that I liked seeing “There’s Hope”—which is all I saw as I started the climb.  It was only about halfway up when I realized that the place was a barber- and beauty-shop.  Until I saw the subtitle, I thought it might be a storefront church or one of those centers where twelve-step programs meet—neither of which would have surprised me in that neighborhood.

I think it’s kind of funny that a barber- and beauty-shop would have such a name.  Perhaps I should have gone in and asked whether they’d make the same claim for someone who’s as completely un-photogenic as I am.

Anyway, after ascending that hill, I came to a garden.  Well, all right, the name of one—sort of:

Somehow I never associated Eden with mountains.  In any event, I’m glad the city created that green mall along Mount Eden Avenue, which traverses a low-income neighborhood that immigrants from the Caribbean, Latin America and West Africa call home.

A bit further up in the Bronx, I felt a bit like an urban archaeologist when I came upon this, across from the WoodlawnCemetery:

Here in New York, one occasionally sees advertisements that were painted on the sides of buildings decades, or even generations, ago.  Although almost nobody would consider them Fine Art (at least, not with a capital “F” and a capital “A”), some show a level of illustrative vividness—and pure-and-simple imagination and craft—one rarely finds today.  That is why I have respect both for whoever created, and whoever actually painted, those ads. I am sure those people are, unfortunately, long dead.

On the other hand, the graffiti “taggers” who painted their "signatures" on the building next door (which I wasn't able to photograph)  may be alive and well.  Perhaps they have become “legitimate” artists; perhaps they are doing things entirely unrelated to art.  Or—this being the Bronx—they also might be long dead.  Somehow it’s strange to see graffiti (at least here in New York) that seems almost as much an ancient artifact as a grotto unearthed by some construction crew building a hotel or office tower or parking lot in some city along the Mediterranean.

Speaking of history:  Believe it or not, in the Bronx, there’s a still-standing house that’s even older than this country.  This house was built sixteen years before the Declaration of Independence—and two centuries before I was born:

The Valentine-Varian  House is now home to the Museum of Bronx History.  Unfortunately, it wasn’t open when I got there.  But I’m going to make it a point to go there again soon, when it is open.

If that house is still standing—and I climbed some hills (by choice)—I feel that I can say, after all, There’s Hope!

P.S. Can you guess what this building is?

 

The Real Reason To Ride A "Flip-Flop" Hub!

When I converted a Peugeot U-08 into my first “fixed-gear bike” (I hadn’t even heard the term “fixie”!), hardly anyone else—and only one cyclist I knew—had ever ridden one.  Others had seen them—actually, track bikes, which are a slightly different species— in a store or trade show, or in a magazine or catalogue (Remember, there was no Internet in those days!) but could not conceive of riding them anywhere but a velodrome. 

Riding a fixed-gear bike, even with brakes, seemed like one of those things that someone like me would do.  You see, I was not much more than twenty, full of testosterone and other substances, some of which were produced by my body.  Most of the cyclists I knew then—including members of the club I sometimes rode with—were older and started cycling when there were even fewer adult cyclists, and thus less of a knowledge base, than we have now.  I would guess that none of them had seen anything with a fixed gear, let alone seen anyone riding such a machine, when they first took up cycling.

Now, of course, hipsters and all sorts of other people ride “fixies”, at least in places like New York.  A few ride real track bikes. Others are on bikes that came equipped as “urban fixies” or “singles” while still pedal converted ten- and three=speeds.  As it happens, I now ride one bike that’s made for single-speed/fixed gear use (Tosca, my Mercian fixie) and another (my LeTour) that was converted from a 1970’s ten-speed.

Even if there weren’t so many people riding single speeds and fixies, people probably wouldn’t look at me askance.  After all, I am now a woman of, ahem, a certain age who lives with cats.  I am more or less expected to be eccentric, just as nobody was surprised that I tried “crazy” things when I was a young male.

Anyway…There were some things even I didn’t know about when I was cranking down on the French-threaded bottom bracket lockring I used to secure my fixed gear to the Normandy hub that came with that Peugeot.   One was, of course, that track hubs had two sets of threads:  one on which the cog threads and another, threaded in the opposite direction, for the lockring.  It’s amazing that I rode my first fixie for as long as I did without unthreading it!  Another thing I didn’t know about is something that’s nearly ubiquitous now:  the “flip-flop” hub.  Almost all “urban fixies” and “singles” are equipped one; so are many conversions and even true track bikes that are ridden on the streets.

A few “flip-flop” hubs are made for a fixed cog on each side.  Usually, each cog is of a different size so a rider and “flip” the wheel to get a different gear.  But the more common configuration is a fixed gear on one side and a single freewheel on the other.  If you’re riding your fixed gear and get tired, you can “flip” over to the freewheel so you can coast for at least some parts of your ride.

But I discovered another practical reason for a “flip flop” hub yesterday, when I was running some errands on my LeTour.

I’d been pedaling through an industrial area of Maspeth, a part of Queens almost no tourist ever sees.  There, the streets are moonscapes or the Ho Chi Minh trail or whatever metaphor you want to use for something that has more potholes than smooth surface.  The reason for such road surfaces is, of course, the trucks that rumble over it.

I’d been pedaling at a pretty good pace when, suddenly, my rear wheel seized.  Since I was riding the “fixed” side, my feet, pedals and cranks stopped in unison:  On a “fixie”, if your wheels aren’t turning, neither are your pedals.

When I stopped, I discovered the cause:  The chain had popped off the cog and wedged itself in the gap between the right crank and bottom bracket shell.  When I got off the bike, I discovered that part of the chain had doubled over itself on the rear cog, which had unscrewed—along with the lockring—from the hub. 

That led me to think that perhaps the lockring had vibrated off before the “derailment”.  Whatever the cause, I knew I had a particular problem:   After reinstalling the cog and ring, I could tighten the cog easily enough just by pedaling it, but since I didn’t have a tool—or even a hammer and screwdriver or punch—I couldn’t tighten the lockring enough to prevent a similar mishap.

So—you guessed it—I “flipped” the wheel to the freewheel side.  And I was back on my way.

Now you know at least one reason why you should ride a “flip-flop” hub on your commuter or errand bike!  And you don’t have to be a crazy young guy or a woman “of a certain age” with cats to get away with it.  As Ru Paul says, it’s how you “work it”!

Dead Baby Downhill

Have you ever decided not to participate in a bike ride--or any other event--because of its name?

Or has such a name ever been so vile, repulsive and opposed to all of your values that you simply had to check out the event?

I've just come across such an event:  The Dead Baby Downhill.   

Now, to be fair, no babies are harmed or killed in the ride. From what I can see, there weren't very many babies anywhere near it.

The ride is sponsored by--you guessed it--the Dead Baby Club, which has been described as what a motorcycle club would be if its members rode bicycles.

One of the requirements for participation in the club and event seems to be tatoos.  Another seems to be a quirky sense of humor.  

The ride itself is really one event in the festival of--well, bikes, but also--shall we say--some creative costuming as well as food, drink and other things cyclists (and other people) enjoy.

One thing I would have loved to see is this

 


seven-human Monster Truck designed, engineered and fabricated by a boy-genius who calls himself Haulin' Colin.

A good time was had by all, I'm sure.  And they will tell their children and grandchildren about it.

The Safari Before The Bikecentennial

On resiste a la invasion des armees; on ne resiste pas a la invasion des idees.

 Even if you have no idea of what this means, you have probably guessed that it was written by Victor Hugo because, well, he is the first French writer that comes to most people's minds.

The literal translation goes like this:  One resists the invasion of armies; one does not resist the invasion of ideas.  I rather prefer it to the most common translation because it keeps the symmetrical structure and somewhat echoes the sound of the original.

But, as Robert Frost once remarked, in poetry, what gets lost in translation is the poetry.   So it is with the version of the quote almost every English speaker has heard: There is nothing so powerful as an idea whose time has come.

That second translation, though, came to mind when I came across some photos of something I hadn't seen in a long time:

The Safari is a fully-loaded touring bicycle Nishiki offered from 1972 until 1975:  as the 1970's Bike Boom in North America was waxing and waning.  The year after Nishiki discontinued the Safari, thousands of Americans rode all or part of the Bikecentennial.  However, euphoria about the transcontinental tour did not translate into large numbers of dedicated bicycle tourists.  So, had the Safari been made for another year, it might have translated into another year or two of production, but no more.

Julius, on his Safari re-fitted with upright bars

When the Safari was introduced, very few Americans had ever used classical bicycle touring equipment, or anything that resembled it.  So we were unfamiliar with canvas panniers and "handlebar" (more accurately, front) bags like the ones on French constructeur and English touring bikes.  As you can see in the photo, the bags that came with the Safari closely resembled bags made by Sologne, La Fuma, Karrimor, Carradice and other British and French companies.  And the Safari's bags--like the rest of the bike, made in Japan--were solidly constructed from canvas and leather, though the materials on the Japanese bags were thicker--and heavier.

Those bags were affixed to carriers attached to brazed-on fittings (rather than the clamps in use on most bikes of the time).  The carriers, made of steel, were solidly-constructed but, again, heavier than the British and French racks on which they were modeled. 

And, like the custom touring bikes of yore, the Safari came with a generator lighting set.  Strangely, the generator was clamped onto the front fork rather than a brazed-on rear stay fitting (or even one on the front fork).  But it was said to be a good, reliable set that gave, for its time, good light output.

If one were to take away the bags, racks, brazed-on fittings, generator light and other accessores (such as the pump), one would have been left with the Nishiki Kokusai (which became the International in 1974), a solid bike with a smooth ride and a drivetrain that shifted better than most others of its time (thanks in large part to the SunTour VGT rear derailleur).  The Kokusai/International sold well (I had one) but the Safari did not.  In fact, it was derided by some of the same people, including bike shop employees and owners, who touted the Kokusai/International.  

One reason is that most Americans had never seen, let alone used, touring bags like the ones on the Safari.  The state-of-the-art panniers and other bags  Kirtland, Eclipse, Cannondale and other American companies offered at that time were made from pack nylon and, later, Cordura. They were much lighter and didn't need the special racks and fittings the older canvas bags required.  Plus, the American bags could be had in a rainbow of colors.  (Isn't it funny that back then, nearly all bike components were silver--black was a big deal--but the bags were brightly-colored.  Now we can get neon-hued rims and such, but most bags come only in black!) 

Also, because most of the ten-speeds sold during the Bike Boom didn't have fenders, most new American cyclists came to believe that only clunkers and kids' bikes had them. We used to joke that you knew a "serious" cyclist by the mud stripes on the back of his jersey and shorts! 

But one of the real "nails in the coffin" for sales of that bike was its weight:  42 pounds.  It's actually not as bad as it sounds when you consider all of the equipment the Safari came with.  The Kokusai was a 31-pound bike--typical for its time--and the International shaved a pound or two off that.  To most people, though, buying a Safari meant getting the weight of a Schwinn Varsity at twice the price--even if it cost less than half of what other fully-equipped touring bikes cost.

All of those issues aside, a dedicated bike tourer would have found one other (easily remediable) flaw:  the gearing. In the 1970's, it was common to have "half step" gearing in the front to compensate for the wide gearing gaps between cogs on wide-range five-speed freewheels.  Said freewheel had gears ranging from 14 to 34 teeth--the widest range available at the time.  It was paired with chainrings of 48 and 54 teeth.  Yes, you read that right. The small chainring was 48 teeth--on a fully-loaded touring bike! 

Had that flaw been corrected, and had Nishiki shaved a bit of weight off the Safari, would it have sold better--and would Nishiki have continued making it? Could it have become an idea whose time had come?