Barelli: Raising The Bar On The Hill

Throughout my life, I've read various books, poems and other works of literature that brought me into other worlds.  Among them are, of course, Shakespeare's plays and Charlotte Bronte's Villette (which I liked even better than Wuthering Heights). Currently, I'm reading Colson Whitehead's Nickel Boys, which brings me into yet another world I can scarcely imagine.

While it wasn't a work of great literature, in its own way the Palo Alto Bicycle catalogue did something similar for me.  Its pages were filled with images and descriptions of equipment even more exotic--and less affordable--than Campagnolo's.  At that time, I probably could've counted, on one hand, the number of Campy-equipped bikes ridden by people I actually knew.  So, in perusing the pages of PAB, I found myself imagining, not only the components themselves, but the folks who rode (or simply bought) them.

Among those parts were pedals that, to this day, I have not seen in "real life" but recently came across on eBay when I was looking for another part. In the mid-1970s, it seemed that every other cyclist with an engineering background, or simply a lathe, was trying to improve in one way or another in what they were spinning in races or club rides.  Among those folks were Bob Reedy, the folks at East Rochester Tool and Die--and Geoff Chapman.

A member of Cambridge (Town & County) Cycle Club in the UK, Chapman owned an engineering firm in nearby Bar Hill.   He would use a near-anagram of that name, with an Italian touch,  for the brand of his products:  Barelli.

At that time, the North American Bike Boom had crested.  Many of classic British builders were still producing their legendary frames, but the country's bike component industry was in steep decline, in part  because some manufacturers didn't update their designs or factory equipment.  As an example, Williams, which made some of those pencil-thin cottered cranksets found on classic British lightweights, finally produced a cotterless crankset--years after Campagnolo, Stronglight, Specialites TA and other companies introduced theirs.   And Sturmey-Archer, which was all but synonymous with internally-geared hubs, was losing not only because derailleurs had become more popular, but also because the quality of its products was slipping. (SA 3-speed hubs made from about the mid-80s until 2000, when the company went into receivership and was bought by SunRace, are all but unrideable.)  

So it was interesting, to say the least, that someone like Chapman would not only try to improve upon the design of what he was riding, but would also produce something worthy, quality-wise, of a Jack Taylor, Bob Jackson, Mercian, Hetchins or Ron Cooper frame.

Barelli Supreme

Barelli B-10

He seems to have produced two models: the Supreme and B10.  The former looks like an amalgam of platform pedals like the Lyotard Berthet and traditional quill pedals.  The latter took a shoe cleat that fit into the body and was secured with a traditional toe clip and strap.  (Shoe cleats of that time typically had a slot that fit onto the pedal cage.)  The B10, perhaps not surprisingly, seems to have had some following among track riders because it had such a secure hold which some described as "impossible to get out of."

That might be the reason why Barelli didn't share the same fate as Reedy and ERTD, whose designs were used by companies like SunTour. While Reedy and ERTD were really just lighter and more aerodynamic versions of traditional pedals (albeit with sealed bearings and a nicer finishes), Barellis--especially the B10--might have been just too radical.  Or the difficulty of dismounting B10s might have reminded them of the Cinelli M71, often nicknamed the "suicide" pedal.

So, while I'd like to see some Barellis in "real life," and might buy a pair if I were more of a collector (or simply had more money), it's probably a good thing I couldn't afford them when they appeared in the Palo Alto Bicycle catalogue.

A Symbol Of....?

I don't often talk about my attempts to draw or paint, and I won't now. But I think that some of them, at least, were better than this:

I mean, I could draw a better bicycle--if that's what it's supposed to be--about the time I could pick up a pencil.  I could just see some archaeologist a thousand years from now (if indeed there are still archaeologists and stuff like this for them to find) chancing upon this and wondering whether it was a symbol for a fertility goddess--or a sketch for some sort of device or weapon. Or, perhaps, this future Indiana Jones muses, it might have been an emblem for some secret society.

Now, since it's next to an anthropomorphic shadow-figure, and I'm writing about it in this blog, you know it's supposed to denote the cycling side of a bike-pedestrian lane.  Perhaps not surprisingly, the lane, which winds its way through Maidenhead, a market town about 50 kilometers west of Charing Cross, London, is as bad as the drawing itself.  I'll admit that my perceptions were influenced by that photo:  It looks like cyclists and pedestrians are sharing two meters of space, if that, at that bend.  But some comments confirm my impressions about the lane.

Heck, I probably could do a better job of designing a bike lane--and painting or drawing its markers!

 

Entry, Late In The Day

Yesterday, for the first time in a week, we had more than a couple of hours with temperatures above freezing (0C or 32F).  Breezy still, the day refracted hues of sea and sun stretching into, and stretching, the end of the day.

A late afternoon ride along the North Shore meant riding home into the sunset along the Malcolm X pier between Flushing and LaGuardia Airport.  I think of passengers on descending flights and how some of them are coming to this city for the first time--and how the skyline they've seen in countless images is so close, but is still so far away--something as clear yet impenetrable as the window of a plane keeps it all even more distant from them, at least for the time being, than the lattice of tree limbs along the cold gray water.

Do they get to see the skyline as a reflection of the water that channeled all of us--from the Maspeth tribe to Milennial tech workers--into streets where we can get lost, or find ourselves?

He Understands The Value Of A Bike

Bicycles are extremely valuable pieces of equipment.  Quite often, they are more valuable than the motor cars their owners possess.

That insight comes from William Hart.  That is, Judge William Hart to you—and me.

The Bristol Crown Court magistrate made that observation in sentencing Michael Whatley and Steven Fry to 66 and 4O months, respectively, for charges that include stealing several high-end bikes from Friction Cycles in Bristol.

For that statement alone, I would be willing to sponsor Judge Hart were he willing to abdicate Her Majesty’s justice system and bring his wisdom to this land of anti-vaxers. Of course, it’s difficult to imagine why he’d want to do such a thing—or that he would need sponsorship from me, or anyone else.

I am guessing—or at least hoping—that such a wise and worldly person would understand that the value of bikes to their owners, whether intrinsic or relative to their cars, is more than monetary—especially for folks like yours truly who don’t have a car, or even a driver’s license.  

If nothing else, the Honorable William Hart merits my respect—and, I am sure, that of many readers of this blog—simply for understanding that bike theft should be taken as seriously as other kinds of crimes: something too few of his colleagues, or law enforcement officers, in the United States do.

My First View, From A Bike

Yesterday I rode Zebbie, my 1984 Mercian King of Mercia, through the brownstones and rowhouses of Queens and Brooklyn.  Such a ride could easily involve a trip across the Kosciuszko Bridge, now that it has one of the better bike-pedestrian lanes in this city.

And so it was yesterday.  Tourists on Citibikes almost always ride across the Brooklyn Bridge for the views.  But no longtime New York resident does that.  Rather, in-the-know Big Apple cyclists opt for the Williamsburg Bridge or, if we simply want a visually interesting ride, the Kosciuszko.

In the spring and summer, the view consists mainly of skyscrapers foregrounded by trees and the factories and warehouses along Newtown Creek.  But the denuded limbs of winter reveal a landscape of differing verticalities. (Does that sound like a geeky phrase or what?)

When I lived in Manhattan and Brooklyn, one of my worst fears was--moving to Queens.  Mind you, I took many good rides, and enjoyed other activities, in "the world's borough."  But my first glimpse of it came from my family's car, en route to visit relatives:

Tell me, how would you feel about a place if the first thing you saw in it was a cemetery?  I'm guessing that I probably saw it for the first time on a winter day like yesterday, with leafless trees screening, but not shielding, the tombstones.  

But I did eventually move to Queens--to Long Island City, not far from where I live now.  Since then, I've visited Calvary Cemetery.  I know that there are tours of some of this city's necropoli, like Greenwood and Woodlawn.  Anyone who has a taste for such things (which I do, sometimes) should also go to Calvary.  Largely before of it, there are--wait for it--more dead than living people in Queens. (Thomas Wolfe once claimed, "Only the dead know Brooklyn."  What would he have said about Queens?)  In fact, more people are buried in Calvary than in any other American cemetery--or than live in Chicago!

Like Greenwood and Woodlawn, Calvary is the final resting place for some famous and infamous people, as well as everyday New Yorkers.  Also in common with them, Calvary began after the 1840s cholera epidemic: At that time, most of Queens and the farther reaches of Brooklyn and the Bronx (the locations of Greenwood and Woodlawn, respectively) were rural. And there wasn't enough room left in Manhattan to bury the victims of that epidemic, so the city mandated that they be interred elsewhere. 

All of those cemeteries have chapels large enough for masses or services.  But Calvary has a full-blown cathedral (not visible in these photos) at least somewhat reminiscent of the Sacre Coeur in Paris.

It's ironic that those same trees I saw yesterday obscure the tombstones in spring and summer.  Could their lush leafage during those seasons be nourished by the "residents" of Calvary?