The Forgotten Brooks Saddle.

Mention "Brooks saddles" to most cyclists, and the first model that comes to their minds is likely to be either the B17 or the Professional.  The former, as Brooks proudly states in its catalogues, has been in continuous production--almost unchanged--since 1898.  Very few bicycle products--indeed, very few products other than, say, foods made by secret family recipes-- have been made for longer.  A narrower version appeared after World War I and has been in production ever since. The Professional evolved from the B17 during the 1960s.

Other familiar models from the venerable saddle-maker include the B66, a sprung, double-railed model made since 1927, and the B67, which is a B66 made to fit modern seatposts with integrated clamps.  (The B66 comes with its own clamp, which fits only on plain-tube seat posts.) Similar in size and shape to the B66 and B67, the B72 replaces the straight rails and coiled springs of the "sister" models with rails that loop at the rear.  The B72--the saddle that came with many English three-speeds--offers a somewhat cushier ride than a B17 but not quite as boingy as the B66 or B67.

Other Brooks saddles have remained in production for decades and have loyal followings.  They include the Swallow and Swift.  The latter looks like a refinement of the narrow version of the B17, while the Swallow, with its cut-away sides, can be seen as a minimalist version of the Professional.  It was popular with track riders until lighter saddles with plastic bases were developed during the 1960's.

Then there are the super-heavy duty saddles one still sees on utility bikes all over the world.  An example is the B33, with its triple rails, rear coiled springs and front coils.  If you are installing one on your bike, just be careful not to drop it on your foot or your cycling season might be cut short!

Anyway, other Brooks models have been produced for a long time--or have been reintroduced-- and have their loyal riders.  Examples include the Flyer, introduced in 1927, and the stylish Colt--which, as the Brooks website slyly notes, was " first produced in 1979" but "discontinued amidst mysterious circumstances a few years ago".  Mysterious circumstances?  Hmm...was it "disappeared" by the MI6 during a covert operation in the Middle East?

Today, as I was browsing eBay, I came across a "forgotten" Brooks saddle:  the B68.

Brooks B68

I couldn't find information about its production history.  But I know that it had a leather top of the same dimensions as the B66, B67 and B72.  However, it did not have the coiled springs of the B66 or B67, or the looped rail of the B72.  Instead, it had the straight rails found on the B17, Professional and other road saddles.

Brooks 68, side view

That last attribute might be the reason why it was discontinued.  From what I've noticed,  most cyclists who want wide saddles like the B66, 67 or 72 want springs or some other kind of shock absorption.  And those who want cushy saddles aren't likely to look at any stretched-leather saddle.  On the other hand, if you ride a B17 or Professional (I ride bikes with both)--let alone a Swift or Swallow--you would probably find the B68 too wide.
  
That left the B68 with a market that's, at most, a niche:  People who ride in an upright position but don't want or need anything to soften the blows meted out by broken pavement and rocky trails.  Interestingly enough, it might have been a good saddle for fat-tire bikes.  With so much rubber between the bike and the road or trail, it's hard to imagine that a rider would need any additional cushioning from a saddle or any other part of the bike.  I could also imagine a B68 on a bike like the Surly Long Haul Trucker, particularly if it is set up with handlebars like the Nitto Bosco or the Velo Orange Left Bank.

I can recall having seen only a couple of B68 saddles.  But, from what I've read, the relative few who rode them loved them.  Perhaps Brooks will hear from those riders and the B68 will no longer be the "forgotten" Brooks saddle.

Don't Try This With Your Car

As I've mentioned in other posts, the bicycle is the progenitor of the automobile and the airplane.  It's no coincidence that the earliest inventors and innovators in the automotive and aviation worlds were bicycle mechanics, designers or makers.  After all, almost everything--including pneumatic tires and ball bearings-- that has made the car faster than the horse and the airliner more viable as a transoceanic and transcontinental form of transport than the ship or the wagon had its origins on the bicycle. 

So, it's both strange and makes perfect sense that bicycles and cycling should be used to sell cars.  The practice seems to have become more common in recent years.  I don't watch much TV these days, but I have seen commercials in which a paceline snakes along a road that rims seaside cliffs--with, of course, the car approaching and passing.

But I haven't seen a commercial with freestyle BMXers in it.  This video takes us behind the scenes as such a commercial was made:



I must say that after watching Bike Parkour, I'm not sure I'd want to buy the car that's being advertised. After all, even the most nimble motor vehicles couldn't make the jumps, hops, turns and stops the Parkour riders make on their bikes with 20 inch wheels.  I mean, driving almost anything would seem boring after that!

And no one could navigate the streets of New York  in any motor vehicle the way Desmond Rhodes does on his bike:





Now, there's proof that you don't need a car in the Big Apple!

More Signs (Of The Season, And Other Things)

The weather during the ride I took to Connecticut on Monday was a sign of Fall's impending arrival.  Today, during--you guessed it--another ride to Connecticut, I saw yet another sign the season will soon be upon us:

This trail, part of the East Coast Greenway, connects Pelham Bay Park, City Island and Orchard Beach with Westchester County.  Along the way, it passes by a horse riding academy, golf course and the shores of Long Island Sound before twisting its way through woodland that straddles the line between the upper Bronx and Pelham Manor.

Although the temperature was slightly higher (rising to 25C by mid-ride), it really didn't feel that way, in spite of the bright sunshine.  As I mentioned in my post about Monday's ride, the days are growing shorter, so the ground and buildings aren't absorbing as much heat as they did even two or three weeks ago. But, perhaps more important, the wind was even more brisk:  At times, it reached 40 KPH.  And, yes, I was pedaling into it on my way up.

The wind didn't deter these folks who were enjoying the light and vistas of Mamaroneck Harbor:

Back to the subject of signs:  When you ride, you see the kind I've mentioned as well as the ones posted on buildings.  I hope this isn't a sign of things to come:

All right:  The name of the bowling alley has nothing to do with firearms or survivalists.  Rather, it's located near the intersection of Gun Hill (great name, huh?) and Boston Post Roads in northern Bronx.  What amazes me is that the sign looks so pristine while keeping to the look of the 1950's or early 60's.  I don't believe it's anyone's attempt at self-conscious irony:  There are no hipsters in the neighborhood around it. (Most of the residents are Caribbean immigrants or their children; not long ago it was a blue-collar-to-middle-class Italian-American neighborhood.)  I think life throws enough irony at those people.

Seeing such a sign on an absolutely beautiful and bright day, as Fall knocks at our door, is plenty or irony for me.  I love it!

A "Breaking Away" Reunion

I'm not a religious person.  Not really.  I was raised a Roman Catholic and was--OK, here's my most shocking confession to date--an Evangelical Christian for a time, when I was in college.

Then I didn't go to church for more than three decades. (I went into churches, mosques, synagogues and temples to look at art, hear music and attend weddings, funerals and all of those other things most of us attend under duress.  That's not the same as going to church!)  Finally, about two years ago, after someone's suggestion, I started attending church again for a time.  I got over that.  Now here I am again, without religion.

I mention my history of faith--or, more precisely, lack thereof--because I still believe in the concept of sin.  To me, the US invasion of Iraq is a sin.  So is any other form of genocide.  I would add slavery and any form of personal mendacity (though I am not without guilt!) to the list.

Oh, and here are two other sins, at least in my book:  remakes and sequels.  At least, that's what they are most of the time.  Thankfully, no one has been depraved enough to try to remake Citizen Kane, The Godfather (The Godfather, Part 2 is one notable exception to what I've said about sequels), Casablanca, La Grande Illusion or Ladri di Biciclette.

Or Breaking Away.  At least, no one has mentioned the "r" word.  If anyone had mentioned it, surely it would have been heard at the Interbike show this week, where Dennis Quaid, Dennis Christopher and Jackie Earle Hayley--three of the four "Cutters" from the movie--reunited.  Daniel Stern, who played the goofy, lanky Cyril, was the only one missing.

Dennis Christopher at Interbike, 17 September 2015. Photo by Jason Ogulnik, published in the Las Vegas Journal-Review.

Although Quaid became, arguably, the most famous of the quartet, Christopher's character--the wannabe Italian bicycle racer Dave Stoller--is the most memorable of the film.  I'd daresay he's one of the most memorable characters in all of filmdom.

One way you know that Breaking Away is, in its own way, a masterpiece is that it resonated even with people who've never had any desire to ride a bike.  Some have compared it to Rocky (which, I think, is a better movie than most highbrow critics are willing to admit), but I think it's both sweeter and more complex.  For one thing, there are so many subplots--about social class, generational conflicts and about youthful dreams vs. parents' aspirations for their children.  It also showed, interestingly, Dave's parents rekindling their sexual lives in late middle age.  That might be an even more radical thing to include in a film today than it was in 1979, when Breaking Away appeared in movie theatres.

Steve Tesich is the screenwriter who wove all of those elements into what I believe to be one of the best screenplays ever written. How many other screenwriters have written something that became both a film and a movie, appreciated by film critics and movie reviewers as well as general audiences?

He died in 1996, at the age of 53.  Anyone who tries to remake Breaking Away will incur his wrath. (As if I would know about that!)

 

Andy Would Park Here: Tivoli On The Hudson

I think I've found Tivoli on the Hudson.  Or, at least, Tivoli on the East River.

It's not far from where I live.  In fact, I've gone there a number of times and passed by on other occasions.  There were always bicycles parked there, but never as many as I saw today:

That's just one bike rack on one side of MOMA/PS 1 in Long Island City, Queens.  (It's right across the Kosciuzcko Bridge from Greenpoint and Williamsburg, Brooklyn.  Are you surprised?)  Here's what the full contingent of parked bikes on the museum's north side looks like:

Directly across from PS 1, on 46th Road, is a fenced-in parking lot.  This is one side of the gate:

Here is the other:

I was impressed by the sheer variety of bikes.  Of course, the one I was happiest to see was this Cinelli:

It might not be a classic model.  But at least it's made from Columbus Spirit tubing in Italy:  It's not a new ersatz "Cinelli" that's poured out of a mold in China.

(I'm sorry I couldn't take a better photo with my cell phone, and without getting flattened by a truck!)

One of the strangest bikes had to be this:

In the mid-to-late 1970's, Raleigh's top-of-the-line racing bike was the "Team."  The bike in the photo is a "Team":  It's the "Team Record", a Record--then Raleigh's bottom-of-the-line "sport" ten-speed--painted in Team colors.

The frame was made of mild steel, as were most of the components.  However, someone fitted a carbon fiber fork and a Shimano aero wheel to the front.  And, of course, the bike was turned into a "fixie".

Somehow it makes perfect sense that it was parked near that Cinelli--and across the street from bikes with everything from Brooks saddles and hammered fenders to carbon fiber aero bars.  And it makes sense that they're all at PS 1.  If Andy Warhol rode a bike, that's probably where he would have parked it.

Would she have been the next Edie Sedgwick?: