I Raced On This Bike: Colnago Arabesque

After reading some of my other posts, some might argue that the bike of which I'm going to write in this post is the best racing machine I ever owned or rode.

In future posts, I'll tell you why it wasn't--at least, not for me--and which bike was.  Still, it was a great bike and I sold it to buy my next racing bike (Mondonico) only because I thought it might be a better fit.

If I do say myself, though, it's hard to deny that my Colnago Arabesque was pretty, or at least had an interesting style. If nothing else, it didn't look just like other Italian racing bikes of its time.  Although it was essentially the same in geometry as the Colnago "Master", the Arabesque had a few nice touches the Master lacked:

Like my Mondonico, my Colnago Arabesque was constructed from Columbus SL tubing:  the lightest available from the company at that time.  Many other riders I knew, and rode against, at the time were convinced that bikes built from Columbus were stiffer than those made from Reynolds, Ishiwata, Tange or Vitus tubings.  That may well have been true, but I found that bikes with short wheelbases constructed from Columbus SL tubing gave a harsh enough ride that I might not have ridden as fast as I might have on, say, a Reynolds 531 or 753 bike. (853 wasn't yet available).

Plus, I have to say that while the bike's workmanship and finish were pretty good, they weren't quite up to the standards one might expect from other top-flight bikes. Given that the Colnago was my first elite-level Italian bike, I was surprised at how easily the paint chipped.

Still, I must say that the Colnago Arabesque was a fast bike and its harshness was mitigated at least somewhat by the tubular (sew-up) tires I usually rode on them.  Most high-pressure racing clinchers of the time rode harshly; tubulars were more resilient.  I used one of Vittoria's less expensive models for training rides on Mavic GP4 rims; for races and other fast rides, I rode some nice French Wolber "Course" or Czech Barum tires on Mavic GEL 330 rims.

Now, given the criticisms I've made of this bike, I still can't say that it's not the reason I wasn't a better racer!

I sold it to a guy who called himself Joneszy.  He was a bike mechanic who claimed that chrome-moly tubing was actually aluminum and called cogs "clogs".  Still, he knew enough to know that the Arabesque was a good fit for him, as he had a longer torso than mine.

I didn't see him again.  I didn't see the Arabesque for a few years until Tammy and I were walking along Flatbush Avenue near the Brooklyn Academy of Music.  A middle-aged black man stopped for a traffic light; his bike caught my eye.  Yes, it was my old Arabesque.

"You bought that from Joneszy, didn't you?"

"Yeah...How did you know?"

"I sold it to him."

Of course, he wanted to know how I knew it was the same bike. I pointed to a decal I placed on the downtube, just behind the head tube lug.  The paint chipped there; the silver and black decal--which came with someone's Huret Success titanium derailleur--was at least tasteful, and just big enough to cover the chip.

What were the chances of anyone else having a Colnago Arabesque with a Huret Success decal in the exact same spot?

It Wasn't Eddy's Bike

Ever since I started cycling, I've heard no end of debates about which frame tubing is "best." And, as long as I continue cycling, I'll probably never hear the end of such arguments.

Of course, for the first two decades or so I was a dedicated cyclist, nearly all frames were made of steel.  Even after other frame materials such as aluminum, titanium and carbon fiber first came onto the market, it took about a decade for them to appear in European pelotons.

So, in my youth, the Great Tubing Debate was mainly one of Reynolds vs. Columbus.  A few cyclists preferred Tange, Ishiwata or Vitus tubing, but nearly anyone who had a custom frame built--or simply had any pretensions of being a "serious" cyclist--chose Reynolds or Columbus.

Deep down, I always knew that it made only so much difference.  All of the tubings I mentioned are of high quality and can therefore be built into light, responsive and sturdy bikes.  The design and build quality of the frame matter far more than which company's metal is used.

The bike about which I am going to write today helped me to learn that lesson.

Back in the 1970's and '80's, a Mexican bicycle company called Windsor made a frame and bike called the "Profesional."  (Note the Spanish spelling, with one "s".)  If the decals were removed, most people would have had trouble telling it apart from the work of De Rosa, Colnago and other legendary Italian bike makers.

Like its old-world counterparts, the Profesional featured Columbus SL tubes (SP on the larger-size frames) joined with long-point lugs.  The Profesional even had the sunset-orange finish (which I have always liked a lot) of the De Rosas and Colnagos Eddy Mercx and his Molteni team rode to victories in the Tour de France, Giro d'Italia and just about every other race you can think of.

As a matter of fact, in 1972, Mercx broke the hour record on a Colnago painted in that color, but covered with Windsor decals.  That ride in the Mexico City velodrome probably was the first time cyclists outside Mexico knew that Windsor bicycles existed.

A complete Windsor Profesional bicycle with Campagnolo Record components could be had for about half the cost of a Colnago, DeRosa or other Italian iron.  The Profesional frame was available for about a third, or even less, than what one of those old-world steeds cost.

Not long after I bought my Colnago Arabesque, I acquired a somewhat-used Profesional frame with a seatpost and headset for $100, a good price even then.  It became one of my "parts bin bikes":  clincher wheels with Shimano 600 hubs, Sun Tour dearilleurs and Sugino cranks and, perhaps incongruously, Mafac 2002 centerpull brakes.

Aside from the fact that they were in my parts box, there was another reason I used those brakes:  They were gold anodized.  You can just imagine how they looked on the sunset-orange frame. And, oh yes, I installed a brown Ideale saddle and wrapped the bars with a brown leather tape Cannondale sold at the time.  That tape was one of two items I bought for the bike:  The bottom bracket that I used with the Sugino crank on another bike was made to fit an English-threaded bike, but the Windsor was built to Italian specifications.  

So how did it ride?  Well, this is where I come back to my point about frame tubing:  Although it was built from the same materials as the Colnago I'd just recently bought and the Gitane Professional I would later acquire, the ride did not compare with either.  The Windsor was at least as stiff as either but its rigidity felt more like that of a bike made of heavier materials.  In other words, it felt "dead" and not very responsive.  My perception didn't change when I swapped the wheels for the best set of tubulars (with sew-up tires) I owned at the time.  

I don't know why the ride was so unpleasant:  If I recall correctly, the wheelbase and angles were the same as (or close to) those of the Colnago.  As far as I could tell, the fit was about the same on both bikes, and I used handlebars and stems with the same dimensions as the ones on my Arabesque.  

For a season, the Windsor Profesional was my commuter and "rainy day" bike, though I did take it on a couple of long-distance fair-weather rides.  Some might say I needed more time to develop a mutually supportive relationship with the bike but the Colnago, Gitane, my Mercians and other bikes I've owned felt "right" to me immediately, even before I'd become acclimated to their particular idiosyncrasy.    So, the parts on the bike went back to my bin--for use on the next frame I would acquire--and I sold my Windsor Profesional for $50 more than what I originally paid for it.      

  

As Good As A Tree...Or A Colnago?

One of the most parodied (and most eminently parodyable) poems in the English language is Joyce Kilmer's "Trees."


Hmm...Even though I know it wouldn't have fit the meter or rhythm of the poem, it might've been better if he'd written, "I think that I shall never see/A bikestand as good as a tree."

Certainly a parking meter isn't quite as nice a stand--although it's a lot easier to loop a chain around it:

The paint job tells me someone was trying to make that bike unattractive to thieves.  However, if that was the owner's/rider's intention, something else on the bike counters it:

Now, if you're going to so much trouble to make the bike unappealing, why would you announce, in screaming red letters, that it's a Colnago?


Of course, the bike is not a Colnago. (I know; I owned and raced on one and have seen many others.) Could it be that it's some kind of post-modern irony (translation: a joke)?  Could this cyclist be saying, "Ha, ha, it's not a Colnago?"

Who'd've thunk it--putting the Colnago name on a bike would make it less valuable?  What if people put Mercedes-Benz stars, or blue-and-white BMW shields, on their 10-year-old Hyundais?  Would that make them less of a target for car thieves?  

Actually, the basket almost made me wish it was a Colnago. It reminded me of the bike someone I met once in Williamsburg (where else?) about ten years ago: a vintage Cinelli track bike (not the ones sold today with the Cinelli label), with equally vintage Campagnolo Pista components and Mavic SSC rims--and a flowered basket strapped to the handlebars.


None of those bikes, though, will ever have a stand as good as that tree on which I leaned Tosca today.

If You Have To Ask, “How Much?”

 In my youth (Yes, I had one of those!), I saved my pennies (OK, nickels, dimes, quarters and dollars, too!) so I could buy a Colnago.  Back then, many serious riders (and wannabes) saw it as the be-all and end-all of racing bikes. 

And, yes, I did race on mine.  How much of a difference did the Colnago make?  Well, I didn’t exactly make my fantasy come true:  My Colnago Arabesque would be the last bike (frame, actually) I’d buy.  Someone, i.e., a race team sponsor, would buy me my next bike, whether it were a Colnago or something else.

Of course, I can’t blame the bike:  I started racing later than those guys named Eddy and Jacques and Bernard. And I probably didn’t spend as much training because, you know, I had another job. For those guys, training was their job: They spent at least as much time at it as I did in my non-cycling employment.

Anyway, I am remembering how I saved my money for the Arabesque because I just learned that Sotheby’s is auctioning a Colnago.  No, not the one I rode. Is it the one Tadej Pogačar pedaled to the podium? (Ok, I was taking poetic license!) Well, almost: It’s the same model-V4Rs—but with a twist:  It’s gold-plated.

How many pennies would I have to save for that one?  Well, if I skip a few meals and museum trips and don’t buy any more bike stuff or clothes, I can afford…to go to the auction. It’s being held in Monaco. But once I get there, will I be able to afford to park my yacht?😏

A Professional Gypsy, Or: How Italian Was My French Bike?

For a few months, my post about my old Peugeot PX-10 has been among my most popular. I think it has much to do with the fact that the PX-10 was the first high-performance bicycle many cyclists of my generation rode or owned.

Riding it after pedaling any Schwinn bike besides the Paramount, or other popular ten-speeds like the Raleigh Grand Prix or the Peugeot U0-8—let alone three-speed “English racers” or the balloon-tired behemoths Schwinn, Columbia and other American companies made—was like getting onto a rocket after spending your life on a donkey cart.  I didn’t realize until later, when I rode other high-performance bikes, that the PX-10, while lighter than most of its competition, was also less stiff and “whippier” than other racing bikes with tighter wheelbases and angles. On the other hand, it gave a more comfortable ride over long miles.

The PX-10 was similar to many other French racing bicycles of the time.  Their designs hadn’t changed much since the days just after World War II, when many roads were damaged and racing teams, not to mention individual racers, had small budgets.  Those conditions made versatile bicycles that could be ridden in a variety of conditions necessary:  There wasn’t a lot of money available to buy different bikes for different conditions. 

The stability or stagnation—depending on how you see it—in French bikes was even more pronounced in the bikes’ components than in their frames.  When Huret introduced its “Challenger” derailleur in 1974, it was the Nantes-based manufacturer’s first significant design change in nearly three decades.  Likewise, Mafac’s center-pull brakes, better than anything else available when they were introduced in the 1940’s, seemed as outdated as whalebone corsets three decades later even if they were still more powerful than almost any others—including Campagnolo side pulls.

French bikes and components, long benchmarks by which others were measured, seemed to develop an inferiority complex, at least in the perception of racers and other high-mile cyclists. They, and wannabes, moved on to Italian or custom English or American bikes.  Even those who continued to mount their Gallic steeds would replace components, whether or not by necessity, with newer designs and more exotic finishes from Campagnolo and, to a lesser extent, Japanese manufacturers. 

Bike and component manufacturers operating sous le drapeau blanc, bleu at rouge would update their designs in the late 1970’s and 1980s.  Mafac and CLB, the two country’s two top brake manufacturers, finally developed professional-quality sidepull brakes as well as centerpulls with tighter clearances than their older counterparts.  Specialties TA and Stronglight made cranks with chainrings interchangeable with those from Campagnolo.  And, of course, venerable rim and wheel manufacturer Mavic came out with a gruppo of components that was more advanced in design—and, to some people (including yours truly), of higher quality and more beautifully finished—than the famous Italian components that had become de rigeur in European pelotons.

Even more important, French racing frame designs began to mimic those of Italian bikes like Colnago, De Rosa and Cinelli.  Wheelbases became shorter and frame angles steeper; around the same time, curly-edged Nervex lugs gave way to spear-point frame joiners.  And French bike makers started to employ the same kinds of paints and graphic schemes found on their well-known Italian counterparts.  By the mid-1980’s, some of us joked about “French bikes in Italian drag” and "Italian bikes in French drag".

Actually, a few “French” bikes were really made in Italy and had French decals applied to them.  But even more Gallic manufacturers followed a trend Motobecane started in the mid-‘70’s with their “Team Professional” frame.

(Aside:  Around the same time, Motobecane became the first European manufacturer to equip bikes—mostly entry- and mid-level—with Japanese derailleurs, freewheels and cranksets. Those bikes also looked more like English or Japanese than other French bikes available in those price ranges.) 

For a time, I owned and rode a French-made “Italian” bike:  a 1985 Gitane Professional.  I bought it seven years  after its was made from a man who owned a bike shop he sold during his divorce.  He told me he raced it, but the bike didn’t seem heavily used in spite of his not-inconsiderable girth. (In those days, I didn’t share that trait and could therefore note it without anyone accusing me of being a pot who called the kettle black, or however that metaphor goes.)

How Italian was my French bike?  Well, its nearly shared the geometry of the Colnago Arabesque I owned at raced at the time.  My Gitane was even made of Columbus SL (the company’s standard racing tube set at the time) with longpoint lugs and was equipped with Campagnolo components and Vittoria sew-up tires.  I believed my Colnago to be somewhat more responsive and Gitane to be a bit cushier (though not cushy). I may have had that perception, however, only because one bike was a Colnago and the other was a Gitane.

I bought the bike, frankly, because I couldn’t not:  The man took $200 for it. That was a steal, even twenty years ago. He was one of the first riders I knew who abandoned steel frames: “In ten years, they will be extinct,” he said.  If I recall correctly, he’d been riding a Cannondale and had just bought a Merlin titanium frame.

I bought his Gitane not long after a random stranger bought my Schwinn Criss Cross.  That summer, I put one of my sets of clincher wheels on the Gitane and took it on a tour from Paris into the Loire, Indre and Burgundy regions and back. I’d packed light, so the bike didn’t seem unstable; in fact, I liked its responsiveness, especially when I pedaled up hills. 

Somehow it seemed appropriate I was doing such a trip on a “Gitane,” which means “gypsy.”  I had not mapped an itinerary:  I bought a round-trip ticket to Paris and my only concrete plan was to visit a friend there at the end of my trip.

I probably would have taken more trips on that bike—to Italy, perhaps—had it not met its demise only a couple of months after I got home.  Some guy whose headphones rendered him oblivious to his surroundings sideswiped me and caused me to crash on a turn in Prospect Park.  I saw him a few times after that and, naturally, he pretended not to see me.

Had he been more skilled or careful, perhaps I might have owned and ridden a dozen or so fewer bikes than I have in my life.  Still, in its brief time with me, my Gitane left me with some pleasant memories.  But it got me to thinking about the expression, “When in Rome, do as the Romans do.”  Could my it be that my Gitane Professional, a French bike with Italian style, behaved like a Frenchman when it was in France?

He's Back, And He's Not Going Stealth

We don't know the names of the folks who painted the cave walls at Lascaux or told the stories that became the epic poem Gilgamesh.  For that matter, we don't know who invented the wheel.  

But we do have some idea of who made most wheeled vehicles--including bicycles--over the last 200 years or so. Even if the bike is made by a large company like Raleigh, checking serial numbers and dates can tell us, if not the person who brazed or painted the frame, then at least who was working in the factory at the time.  Thus, the search can be narrowed down to a few possible brazers, welders, painters or others responsible for making the bike.

The more expensive the bike (or car or whatever), the easier it is to know who worked on it.  Some custom bikes are branded with the builder's name (e.g., Bruce Gordon, Bob Jackson, Rene Herse), while other small builders like Mercian and Seven have a few people working for them, each of whom focuses on a specific task such as mitering the tubes or painting.  So, if you have such a bike, it's fairly easy to find out who was responsible for it.

A few small and custom builders' bikes, however, have gone "stealth".   Perhaps the most famous example was the machine Eddy Merckx rode for the hour record in Mexico City in 1972.  All right, it wasn't really "stealth":  Everyone knew it wasn't a Windsor.  The Mexican bike-builder's decals were slapped on the sunset-orange frame just before the Belgian Tour de France winner set off on his ride; the frame had actually been built (and some components modified) to Eddy's specifications by the revered Italian builder Ernesto Colnago.   Windsor used Merckx's successful record attempt to sell its bikes which, understandably, infuriated Signore Colnago, who never forgave Eddy.

At least Windsor made some pretty good bikes. (They bear no relation to the Chinese-made machines sold under the same name in the US.)  On the other hand, another "stealth" bike bore a brand that would never be associated with a bike shop, let alone Eddy Merckx, the Tour de France or an hour record.

Strip away the Murray decals, and this bike would look like a high-end racing bike from the 1980s:  Italian, perhaps.  Or American, probably from a custom frame builder like Ben Serotta.

There's a good reason for that: The "Murray" in the photo was indeed built by Serotta in his Saratoga Springs, NY workshop.  

So how did the bike end up bearing the name of a manufacturer of cheap bikes sold in big-box stores and pedaled off curbs by kids?  Well, Murray--which was as known for making lawnmowers as it was for kids' bikes--signed on to sponsor the US Olympic team that competed in the 1984 Los Angeles games.  To their credit, they sponsored the 7-11 Team, the first American cycling squad since the early 20th Century to challenge--and sometimes beat--the best of Europe and the rest of the world.  Some of its riders could boast, among other things, victories (or high placements) in the classics as well as individual stages of the Giro d'Italia, Tour de France and other multi-stage races.

The bike in the photo took Davis Phinney to a fifth-place finish in the 1984 Olympic road race. 

Now Ben Serotta, who started building frames in 1972, is re-entering his old profession.  His business grew; 40 years later, he partnered it with a company that, the following year, joined another company that would later go bankrupt.

Although I'm sure his new bikes won't look like the one he built for Davis Phinney, I am sure they will be nice.  He says he will build in steel as well as titanium and aluminum.  Any one of those materials--especially steel--will highlight his fine craftsmanship.  And they will bear his name.

My First Piece Of Jewelry: The Huret Jubilee Derailleur

When you get to be my age, you realize that had you saved the stuff you wore in your youth, you could sell it today as "vintage."  It seems that some people are trying to do the same thing with bike parts.  I find myself shouting things they don't teach you in French 101 whenever a Craigslist or eBay listing refers to a Simplex Prestige derailleur as "rare" or "vintage."

Whenever I see that testament to French plastic technology--or the Campagnolo Gran Turismo with its scimitar-like cage or the Huret Luxe Super Touring, which looked like a disjointed crane's neck made from steel plates--I think, "They don't make them like that anymore--Thank God!"  If those things are "vintage", I'm all for the present and the future

But there are a few no-longer-made components that can be called "vintage" without making me wince.  Such parts are, of course, sought out by collectors or even still used on everyday riders.  Such parts were not only "good for their time" but still are valid today because they have some feature or another that today's stuff lacks.

Sometimes that factor is aesthetic.  Let's face it:  Most bikes and parts from the past look better than almost anything made by anyone besides a custom builder or small-scale manufacturer today.  I admit that there are some things I own and ride for that reason alone.  But some of those same bikes and parts--and others--are designed in ways that are more practical or versatile, or simply "made better", than what you can buy today.

And, believe it or not, some old parts are actually lighter. A case in point is the Huret Jubilee rear derailleur.

I actually owned and rode two--a short-cage and a long-cage version-- for a number of years.  I raced, toured and even did some "rough stuff" on them.  And I even took a tumble or two on them.

My short-cage Jubilee adorned my Cannondale racing bike for a few months.  Then it graced my Colnago Arabesque--on which I raced and trained and did a number of long rides--for another half-dozen years.  I rode the long-cage version for a couple of years on a Bianchi that I turned into a light tourer, then on my Miyata 912.

On all of those bikes I shifted the Jubilee with what is, to my mind, the best non-indexed lever ever made: the Simplex retrofriction.  And I had the "teardrop" version--to my eye, the prettiest shift lever in history--on the Cannondale and Colnago. 

With those levers, the Jubilee shifted quite well, especially given the standards of the time.  It wasn't quite as easy or accurate as the SunTour Cyclone (or, for that matter, anything in SunTour's "V" series).  But I actually preferred the Jubilee to any other manufacturer's (besides SunTour's) top-of-the-line derailleur.  For one thing, it shifted as well--or, at least, not noticeably worse than--the Campagnolo Record series, Simplex LJ or Shimano Crane.  To be more precise, the Jubilee shifted about as quickly and perhaps a bit more accurately, and definitely more smoothly, than any of those mechanisms.

I bought my first (short-cage) Jubilee from Frank Chrinko, the proprietor of Highland Park Cyclery, where I worked for a time.  He thought well of them (and used the Success, Huret's other high-end derailleur) and said he hadn't noticed any problems among the (admittedly few) customers who used them.  On the other hand, I heard horror stories about how if you looked at it the wrong way, it would explode into a million little pieces.  Such fears, I found, were greatly exaggerated: Both of my Jubilees survived falls and continued to work as well as they had been working.

I think that Jubilees lasted longer than many people expected precisely because they were so minimalist:  There weren't as many ways it could be struck or snagged.  That is the reason why, interestingly, a few early mountain bikers and some cyclo-cross riders used it.

The Jubilee also holds the distinction of being one of the few rear derailleurs that was completely disassemblable for cleaning and maintenance.  Huret actually offered spare parts, though they weren't easy to find (at least in the US).  I'll admit that, once disassembled, it wasn't the easiest thing to put back together, especially if you didn't have a diagram (which was even harder to find than the spare parts).  

So how did the Jubilee get its name?  Huret was founded in 1920 and in 1970 decided to celebrate by creating the lightest derailleur ever made.  They succeeded--the short-cage version weighed only 140 grams (the long-cage version weighed 157).  Ironically, the later "drillium" version was five grams heavier!

The Jubilee was first introduced in 1972 (the same year as the Simplex Super LJ and SunTour VGT) and found its way to the US a couple of years later.  The Motobecane Grand Jubile came equipped with it and other high-quality French components; so did the Raleigh Competition.  In 1974-5, Raleigh's two-steps-up-from-entry-level Super Course, with a frame that had straight-gauge Reynolds 531 in its main tubes, came with a version of the Jubilee that fitted to the non-forged dropout with a "claw" hanger.  From what I heard in bike shops at the time, Raleigh was trying to offer the lightest bicycle available at its price point (about $175 at the time), and the Jubilee shaved those few grams that gave the bike its edge over whatever the next-lightest bike was in its price category.

Sachs took over Huret in the early 1980s and continued to produce the Jubilee until the end of the decade.  Later versions bore the Sachs-Huret logo, and later simply "Sachs", in the black-and-gold badge that sported the Huret name in the familiar cursive lettering for so long.

Late in the 1980s, Sachs (which had also taken over French component makers Maillard and Sedis) became part of SRAM.  It seems that around that time, the Jubilee was discontinued as all of the SRAM-Sachs derailleurs were modeled after the Shimano models with slant paralellogram bodies and two sprung pivots.

Now I'm The "Older Woman" Riding A Bike

Time was (How many posts have I started with that phrase?) back in the day (Or that?) when I could develop love interests only with people who were older than me.  Or, at least, I couldn’t get involved with people who were younger than I was.

Anyway, I was describing my old dilemma, if you will, to a friend.  She sighed knowingly.  “I understand how you feel,” she said.  “The young ones look good.  But finding one with whom you have much in common is difficult.”

“Forget that,” I retorted.  “I’m getting to an age where there are fewer and fewer people who are older than I am.”

She laughed.  “And, you know, when you look for men who are available and don’t have baggage, the pool shrinks even more,” she added.

I didn’t tell her that I wouldn’t limit my prospects to men.  If I can find a woman close to my age with whom I’m compatible, I could make the rest of it work, I think.

Why am I talking about these things?  Well, I found myself thinking about my concept of “older” the other day while riding home.  What triggered such a rumination?  

While riding to work, I saw two women who, from all appearances, were in the later stages of middle age. (No, they're not the ones in the photo!) One rode a Cannondale road bike with dropped bars; the other pushed pedals on a Specialized hybrid or flat-bar road bike.  Both looked as if they were dressed from the Terry catalogue.  

 Then, during my bike ride home, I saw a woman who seemed a few years older than the two women I encountered earlier.  She could have been a poster child for the AARP.  Her scarf very stylishly swirled a pastel paisley between her neck and breasts; her pants and blouse were tailored but un-self-conscious.  She was navigating the streets on what looked like a French mixte of some sort:  I couldn’t see the brand, but I knew it wasn’t Peugeot, Motobecane, Gitane, Ficelle or any of the other Gallic marques I know.

Later, as I dismounted my bike in front of my place, I saw a woman riding an English three-speed down my street.  That itself was not as remarkable as that she was, apparently, older than the other women I saw by at least a decade.  What’s more, she looked as if she’d been living in the neighborhood all of her life.  If that is part of her story, she is probably Greek or Italian (She looked the part) and, most likely, the wife of a blue-collar or middle-class worker.

Time was  (There’s that phrase again!), not so long ago, when a woman like her would not have been on a bicycle.  Nor would her husband or any other member of her family old enough to drive.  For that matter, I would not have seen women like the others I mentioned.  

As I’ve mentioned in other posts, when I was in my late twenties and thirties, I could ride the whole length of Vernon Boulevard, near where I live now, cross the Pulaski Bridge and ride down Kent Avenue and further along the Brooklyn side of the East River and New York Bay without seeing another cyclist.  Back then, most of the neighborhoods were blue-collar or lower middle-class, except for some then-low-income areas of Williamsburg and Sunset Park.  The culture of those places was much like that of the neighborhoods in which I grew up:  You simply didn’t ride a bicycle if you were old enough to drive a car, whether or not you actually drove one.

 

Furthermore, those rare adult cyclists I encountered were all male.  Most were close to my age; occasionally, I’d pass one who were older than my parents.  Usually, such an older male cyclist was an immigrant who never gave up the habit, so to speak, after settling in the New World.  But I never saw a female cyclist unless I rode into a neighborhood like Brooklyn Heights or the Upper East Side or out of the city into a suburban enclave.  The few I saw weren’t commuting or running errands; perhaps they were riding for fitness, but most likely, just to decompress.  

It was rarer yet to see “older” women ride.  Of course, at that time, my elders were in their late thirties or older.  I recall two simply because they were so unusual:  One, who was probably in her forties, wore a Chanel suit and slingbacks while riding a women’s Colnago--to this day, the only one of those bikes I've ever seen.  The other rode with my bike club; she was about the same age I am now.  Even more interestingly, her husband didn’t ride.

I’m her now, minus the husband.  That is to say, I’m an “older” woman, at least in the way I used to define it.  Although I like it, I often wish I could have begun my gender transition at an earlier age so I could have lived more of my life as a woman.  Then again, given the conditions of the time, would I have grown up to be that woman I so admired on our club rides?  Or the one I saw on the Colnago?  Or one of those women “of a certain age” I used to see riding to marketplaces, to parks, to stores and offices—sometimes to their jobs—when I was living in Europe?