What Have We Here? I'm Starting To Find Out

I haven't started to work on my estate-sale find yet.  I have, however begun to rummage through some components I have on hand and order a buy a few things (small parts) I need.

I did, however, begin to do a little research.  According to the serial number on the frame, and the information I found on the Vintage Trek website, my bike is probably a 1982 model.  The serial number pattern fits in with 400 series bikes made from 1980 to 1982, but the presence of a color band on the seat tube points to 1982.  On the other hand, the 412 pictured in the 1982 brochure has brazed-on brake cable guides and water bottle bosses, which my bike does not have.  Perhaps it's a 1981.5 model:  According to the VT website, the highest-priced Treks (Pro and 900 series), started to come with such bands in 1981. (The white bikes with blue panels are particularly nice, to my eye.) That feature "trickled down" to the 700 series bikes in the middle of that year (1981.5).  The 1982 brochures show 500 and 400 series models with it but, according to the website, some of those models came with color bands in late 1981.  

(Mercians, at least those made after 1970, are easier to track:  I had no trouble finding out Vera was made in 1994, as her original owner told me.  And, of course, I know that Arielle, Tosca and Helene are from 2006, 2007 and 2010, resepctively, because I had them custom-made in those years.

OK, so now I know the bike's origins, more or less.  Now I'm starting to learn a bit about the bike's quirks, aside from the ones I've already mentioned.  Actually, it's not a terribly quirky bike, from what I can see:  Threadings and other dimensions are standard, and in design it's much like other bikes of its type made around the same time, though perhaps somewhat better.

One quirk I found is in the componentry:  specifically, the Sakae crankset.  I know that some cranksets of that time were made with the 110 BCD chainring pattern, which is common today--and of which I have a few chainrings on hand.  I was hoping that the SR crankset--which looks rather nice--shared it.

Alas!  If you ever wonder what difference a few millimeters can make, you can see it here.  The black ring that I superimposed on the crank is a 110 made by Stronglight; the rings on the crankset have a slightly bigger bolt circle.  From the measurements I made, and Sheldon Brown's "crib sheet", it seems that the crank has the now-obsolete 118 BCD.  That means, of course, that I could find replacement chainrings only through swap meets and,  with luck, on eBay.

(My surprise is, I'm sure, mild compared to the frustration an owner of a Nervar Star crankset might feel:  Its 128 BCD, as close as it is to the 130 BCD of modern road racing cranks, still precludes interchangeability!) 

The rings on the bike don't seem to have much wear, so I think I'll keep them on for now:  They, and the crankset, look pretty nice.  (From what I can see, the arms are forged.)  The 52 tooth outer ring, standard for the era when the bike was made, is bigger than anything I ride now.  On the other hand, I am using 12 tooth rear cogs with my 46 and 48 tooth chainrings  (and a 17 with the 47 tooth ring on Tosca, my Mercian fixed gear):  something that didn't exist at the time the bike was made.  Then, most cyclists rode with freewheels on which the smallest cog had 14 teeth, which is what orignally came with the bike; racers sometimes used 13 tooth cogs.  If I use a freewheel with a 14 tooth cog, my highest gear will still be slightly lower than those of Arielle, Helene and Vera, my geared Mercians.  (Arielle, the road bike, has 48X12, while Helene and Vera have 46X12.)

One thing I have to say about the crank:  The bottom bracket--which, I believe, is the original--turns very smoothly.  I think someone recently overhauled it; still, I might take it apart if, for no other reason, to be sure that it has an intact protector sleeve.

Speaking of smooth bearings:  The headset feels good, but I might clean it anyway, just because I don't know when I'll do it again.  And I have a rear hub that I'm thinking of using.  The Phil that came with the bike is great, but it's 48 hole, and the rim it's laced to is 27 inches--which I'm not going to use, since I don't have a 27 inch front (The one that came with the bike wasn't salvageable.) rim, wheel or tire, and don't want to buy new ones.  The hub I have is pretty nice, though not quite as good as the Phil.

This is going to be an interesting project.  I'll probably start working on it in a couple of weeks, after classes have ended.

Arielle Is Ten; Tomorrow Tosca Turns Nine

Today marks an anniversary for me.

No, I am not secretly married in some other state or country.  And I am not talking about the beginning of some business venture, sobriety or any other milestone people mark in their lives.  

Actually, today is a milestone, for me anyway.  You see, ten years ago on this date, I got my first.  And you know what they say:  There's nothing like the first.

If you've been following this blog, you may have guessed what I am talking about:  my Mercians.

Yes, on 22 October 2006, I picked up Arielle--my custom Mercian Audax--from Bicycle Habitat in Soho.  My first ride with her took me through streets in the neighborhood, in the East and West Villages and other parts of lower Manhattan.  

You could say I fell in love.  Actually, that happened before I got the bike:  Hal Ruzal, the Mercian Maven at Habitat, let me ride one of his bikes.  And he seemed to understand what I wanted:  something responsive, but not necessarily a racing bike.  Something comfortable, but definitely not a fully-loaded touring bike, let alone a mountain bike or hybrid.  

Also, I wanted something beautiful.

He recommended getting a custom (my top tube is shorter than is typically found on bikes of my size) version of the Audax, a bike made, as he said, "for centuries and day rides."  And, as he pointed out, the horizontal dropouts with adjustment screws would allow me to shorten or elongate the wheelbase a bit, allowing a faster or cushier bike.

On that first ride, I could see that I had the best of both worlds.  I felt as if I were on a magic carpet that could dodge and outrun the taxis (yes, even New York taxis!) or anything else on the road.  The couple of times I stopped for traffic lights, strangers complimented my new steed.

I knew then, to paraphrase one of the most famous movies of all time, that my ride that day was the beginning of a beautiful relationship.

Today, ten years later, I've owned and ridden Arielle for longer than all except one bike I've ever owned.  And she's been in my life for longer than any lover (or my former spouse) and all except a handful of friends (and two cats) were.  She's also been with me for longer than I've stayed on any job or lived in any one place.  

Plus, she's led to some other beautiful relationships.  One year and one day later, I wheeled Tosca, my Mercian fixed-gear out of Habitat.  Helene, my first Miss Mercian followed almost three years later.  Another year later, I found Vera, my green Mercian mixte, on eBay.  

I've enjoyed many rides with them.  Some of them are on this blog.  They've all been great, beginning with the first, ten years ago--already!--today.

Get Well, Ely!

I was going to write another post about another Lovely Fall Ride.  Today's trek was different from yesterday's LFR in that I didn't leave the confines of the Five Boroughs. In fact, I traversed only two of those boroughs:  the one in which I live--Queens--and neighboring Brooklyn.  All of my ride covered streets that are entirely familiar to me but were accented by the clear mid-October afternoon accented by hints of the impending sunset and the crisp air.

Yes, I could write about today's ride which, while shorter and less varied than yesterday's ride to Connecticut, was still soul-satisfying.  Funny that I should choose such a term given that I wended along the side streets of the Hasidic enclave in the southern end of Williamsburgh.  Wooden booths enclosed balconies and building entrances; tents were erected in lots and alleyways:  I then realized that today is the beginning of Sukkot, or the Feast of Tabernacles.  People gathered inside those booths and tents to commemorate the Exodus; those structures are meant to invoke the gathering of people who, so often, have been dispersed.

But I am not going to talk more about a Jewish observnce, of which I have very limited knowledge and experience.  I also won't talk about my ride because, well, I can do that whenever I want to.  Instead, I want to tell you about someone who's been part of my cycling life over the past three years, even though I've never met him.

We've talked on the phone, exchanged e-mails and responded to each other's post on Facebook.  I made a promise, sort of. to come out his way and ride with him.  And, if he's ever out this way and he has time, we're going to take at least one of the rides I've described in this blog. 

(Once, about a year or so ago, he was here in NYC, but only for two days, and had a commitment with a relative.)

So, aside from his good cheer and inspiration, how else has he affected my cycling life?  Well, he's made some things that are on all of my bikes.  They have become some of my favorite accessories, ever.  And now that they're on my bikes, I can't imagine my bikes without them:  They work so  well for me and the way I ride, and they highlight the beauty of my Mercians.

I am talking, of course, about my Ruth Works bags:  The Brevet bags on the handlebars of Arielle and Tosca, my Mercian Audax and fixed-gear bikes respectively.  The Randonneur bag on Vera, my twin-tube Mercian mixte.  The clutch on the handlebar of Helene, my modern Miss Mercian.  The seat wedges on all of those bikes, and the shopping panniers I use on my commuter.  And a large seat bag I sometimes use, and the panniers he made but which I haven't used yet.

Ely Ruth Rodriguez made all of those bags for me.  After he made those first bags--the Brevets and seat wedges--I fell in love with his work. And those bags just seemed to belong on my Mercians.

Today I found out that he suffered a heart attack while out on a ride.  I don't have a lot of details, but we exchanged e-mails and he says he's resting now.   

I hope he recovers quickly and well.  After all, I want to ride with him and, well, I might ask him to make another bag for me when he's up to it. But most important, he's a nice, engaging person with a family who loves him.  

Vera's And Helene's Cousin?

And here I was, thinking that I rode the only Mercians with Velo Orange Porteur handlebars in New York City.

On my way home, I wandered, as I often do, through Greenpoint, Brooklyn.  It's just across the Pulaski Bridge from Long Island City, Queens--which, in turn, is just upstream (on the East River) from Astoria, where I live.

I was spinning the gears on Tosca, my Mercian fixed-gear, on Greenpoint Avenue, one of the neighborhood's main throughfares.  (I won't use the word "drag" because I don't want to create unintended connotations!)  Out of the corner of my eye, I tawt I taw, not a puddy tat, but an interesting bike.

My instincts proved correct.  Indeed, parked on the street was a Mercian.  Of course, I will find a bike interesting just because it's a Mercian, but this one--in spite of its classic panel scheme--would prove to be unique.

I wish a car weren't parked right next to it and that I had something more suited to close-range photography than my cell phone. I did the best I could by squeezing myself between the car and bike and doing my best imitation of Gumby.  At least I captured, I think, something of the bike's look, with its pewter-gray paint and its creme anglaise-coloured panels.  

The grips, I think, made those Porteur bars look like they belonged on the bike.  If I were building it, I would have gone with a honey or brown Brooks saddle, though I don't think the black seat looks bad.  I'm guessing that whoever put the bike together had that saddle on hand, possibly from another bike he or she had ridden.

One nice thing about the bike was that it looks as if it wasn't put together merely for looks or style.  For one thing, it is a Mercian, so it is built for a nice ride. (Why do you think I own four of them?)  The frame is constructed of a Reynolds 531 "Super Tube" set.  Reynolds 531, like other top-quality bicycle tubing, was made in different thicknesses.  The "Super Tube" sets combined different thicknesses. I suspect that, as the frame is a small size, lighter tubes were used on the top tube and possibly the seat tube. The components are all first-rate:  mainly Shimano, including Dura Ace hubs and rear derailleur. 

I was tempted to leave a note on the bike, in the hopes that its owner would contact me.  That is a risky thing to do here in New York (and, I suspect, in many other places).  So all I can do is hope that the bike's owner sees this post and contacts me.  I would love to know more about the bike--and, possibly, whoever rides it.  Perhaps he or she would like to meet Vera or Helene, my Mercian mixtes with Velo Orange Porteur bars!

Helene Dutrieu: She Did It Without A Corset!

For better or worse, everyone knows Lance Armstrong's name.  And, for a time, all Americans--whether or not they'd ever even touched a bicycle--knew about Greg LeMond, who won the Tour de France three times in the late 1980s.

And, of course, everyone who has even the slightest familiarity with bicycle racing has heard of a guy named Eddy Mercx.  For that matter, you don't have to be intimately connected to the sport to recognize names like Bernard Hinault, Fausto Coppi and Jacques Anquetil.

The fame of female cyclists, however, tends to be much more fleeting.  Most of what I know about them--including the ones I've written about on this blog--I learned by accident. 

Now I can add Helene Dutrieu to my list. Given her accomplishments, it's almost criminal that she's not better-known. 

She was born on 10 July 1877 in Tournai, Belgium--perhaps not coincidentally, the birthplace of Clovis I.  When she was a young girl, she moved with her family to Lille, in the north of France.  At age 14, she left school to earn a living.

I couldn't find any information about her first job(s).  But, at some point, her older brother Eugene inspired her to follow his career path:  bicycle racing.  In 1893, at age 16, she set the women's world record for distance cycled in one hour.  Three years later, she won the world women's track cycling championship and reprised her title the following year. 

Helene Dutrieu racing for the La Chaine Simpson team.

During that time, she won a twelve-day race in England and raced for the Simpson Lever Chain (La Chaine Simpson) team, immortalized in a Toulouse-Lautrec illustration.   In 1898,  she won the Grand Prix d'Europe.   Belgium's King Leopold II awarded her the le Croix d' St. Andre with diamonds in honor of her exploits as a cyclist.

Toulouse-Lautrec illustration of Constance Huret  in a pursuit race.

Her velocipedic virtuosity was matched by her daring:  She gained, perhaps, as much renown as a stunt cyclist, first on a bicycle and, later, on a motorcycle.  She created a stunt--a jump of about 15 meters on a bicycle--called "La Fleche Humaine" (the Human Arrow), which became her nickname.

In reading about her, I came away with the impression that she was, first and foremost, a performer.  In addition to her feats of athleticism and daring, she also gained renown as an actress, appearing on such stages as the Theatre des Capucines.  During that time--from 1903 to 1909-- she also was a stunt driver, first on motorcycles and, later, in automobiles.

Dutrieu in a Henry Farman-type two-seater, circa 1911.

That the public and press loved her didn't escape the notice of Clement-Bayard de Levallois, the company that sponsored her as a stunt and race car driver.  They were about to introduce their new aeroplane--the Santos-Dumont No. 19 Demoiselle.  Especially with a name like that ("Demoiselle", as you probably know, means "young lady"), who would be a better candidate to be its first pilot than Ms. Dutrieu.

In those days, flying was truly not for the faint of heart--or heavy of body.  Those machines didn't have much power and, thus, couldn't bring much weight aloft.  Naturally petite and trim--and fit from her years of cycling--Helene Dutrieu thus had advantages over nearly every other pilot candidate.  Though her first flight ended in a crash--not unusual in 1908-- she quickly developed a following that grew with the skills she developed as a pilot.  In fact, she was the first woman to fly an aircraft bearing a passenger, and would become the fourth woman (and first Belgian woman) in history to earn a flying license, which she would need to enter competitions.  La Fleche Humaine soon would be known as La Femme Epervier (the Lady Hawk).

One thing to remember was that in those days, in most of the world (including her native Belgium and France), women didn't have the right to vote, or many other rights.  And we were thought biologically incapable of doing many of the things we do today.  So, while the public loved seeing her fly, her sponsor was also capitalizing on a subtext of her exploits:  This plane is so easy to fly that a woman can do it!    

 

Gender norms in those days were more rigid, both literally and figuratively, in other ways.  So, while people were enthusiastic about Dutrieu's exploits, they expected her--as they would expect any other woman--to adhere to the standards of modesty of the time.  The biggest scandal about her, then, was not a result of  any of her daring feats, but in doing them--as the press discovered accidentally--without a corset! 

(Because she was so thin, I have no idea of how that terrifying fact was discovered!)

But that didn't seem to bother Pierre Lafitte.  He published Femina, one of France's most popular women's magazines.  An early aviation enthusiast, in 1910 he announced a prize for the longest flight--in both distance and time aloft--by a woman in an aeroplane.  Dutrieu flew 167 kilometers in 2.6 hours to win the title, which she defended the following year.  She would fly in the air-show circuit for another two years before retiring in 1913, after France awarded her the Legion d'honneur.



When Dutrieu won the Coup Femina in 1910, a woman named Marie Marvingt finished second, flying 42 kilometers in 53 minutes.  Interestingly, their careers turned in the same direction with the outbreak of World War I:  both became ambulance drivers!

So, like so many pioneers in the worlds of automobiles and aviation--and women's achievement--Helene Dutrieu started her revolution with revolutions--of her pedals.  Her journey ended in Paris on 26 June 1961, at the age of 83.

Deore DX: Will It Become Shimano's "Forgotten" Ensemble?

Last year,  I wrote about the Campagnolo Gran Sport gruppo that was made from 1975 until 1985.  It was Campy's "second line", behind the Record.  Gran Sport parts echoed, for the most part, Record's designs, but omitted a few convenience features (such as infinitely-variable quick-release levers on the brake calipers) and weren't as nicely finished.  That Gran Sport gruppo (not to be confused with the GS ensemble of the 1950s and early 1960s) was never terribly popular, at least here in the US, because top-of-the line Sun Tour Superbe and Shimano Dura-Ace components, which were prettier and lighter (and with derailleurs that shifted better) cost about the same as, or less than Gran Sport stuff.  Also, as  Brooks ("Retrogrouch") pointed out, Record components and gruppos could be had, via mail-order catalogues, for about the same amount of money as one would pay for Gran Sport in a shop.

Today, I am going to write about another "lost" gruppo.  This one began production a few years after Gran Sport ended. And, unlike GS and Record, the components I'm about to mention were not intended for road racing. Rather, they were designed for the then-relatively-new sport of mountain biking.

Daniel Rebour drawing of the original Deore touring ensemble, 1981

In 1981, just before mountain biking spread from its original enclaves in northern California and New England, Shimano made its first touring ensemble.  Now--again, I refer to "Retrogrouch"--it wasn't anywhere near as encompassing as Campagnolo's racing gruppos:  It didn't include, for example, brakes or a seatpost.  But it may have been the first attempt, however imperfect, at offering a coordinated set of drivetrain components for bicycle touring. 

That ensemble, though, didn't lead to a Shimano domination of the touring market.  Japanese manufacturers (and Trek) had been making good loaded touring bikes for several years, usually with a mixture of components like Sun Tour derailleurs with Sugino or Sakae Ringyo (SR) cranks, Dia Compe brakes and Sanshin hubs.  Some of those bike manufacturers started to use the new Deore derailleurs, but in companion with the other components I've mentioned.



1982 Shimano Deore XT ensemble.

So, if dominating the touring market was Shimano's intention, they didn't succeed.  However, mountain biking was about to take off, and that is where Deore components would find their niche.  The year after they were introduced, they were tweaked and hubs, brakes and new brake and shift levers were added.  So was the Deore XT, the first mountain bike group, born.

For the next four years, the Deore XT was Shimano's only mountain bike ensemble.  In 1986, other, lower-priced groups and parts were introduced--including the Mountain LX in 1988.  (Shimano had been making a road LX group.)  Then, in 1990, a new set of components that had most of the features of the XT--and an attractive look--first saw the light of day.

If the Deore XT was the Dura Ace or Campagnolo Record of the mountain bike world, then the Deore DX was its Ultegra/600.  It didn't take long for DX to appear on high-end mountain bikes from the likes of Trek, Gary Fisher and Klein, among other makers.  Like the Campy Gran Sport Gruppo, it offered performance that differed imperceptibly, if at all, from the top-of-the line parts--at considerably lower cost.



Deore DX group, from the 1991 Shimano catalogue

If anything, the DX might have been even closer to XT than Gran Sport was to Record.  For one thing, none of the essential or convenience features were sacrificed.  The DX finishing work might not have been, on close inspection, quite up to XT standards, but almost nobody thought DX stuff was ugly.  The chief difference, it seemed, was in weight, which had to do with materials.  For example, the same parallelogram and knuckles were found on XT and DX derailleurs, but the DX had a steel pulley cage, in contrast to the alloy one on the XT. 

Touring bikes were out of favor by the time DX came along in 1990, but the dedicated tourers that were being made (or re-vamped) by that time were often adorned with DX equipment.  So were tandems and cyclo-cross bikes. (The latter is one reason why Shimano made a short-cage version of the DX rear derailleur.)  Those who used DX equipment almost invariably praised it and, in fact, a fair number of  riders are still riding with DX stuff they bought twenty-five years ago. 

So why don't we see more of it today?  Well, Shimano stopped production of Deore DX components in 1993.  By that time, Shimano had upgraded the Deore LX lineup to the point that it was just about as good as DX, for about a third less money.  At that time, both road and mountain bikes were moving from seven- to eight-speed cassettes.  Shimano started to offer the LX with 8 speeds that year, but didn't "upgrade" the DX.  So, people who bought new bikes or components were buying 8 speed--which, of course, meant Deore LX.

Also, that same year, Shimano introduced its new "super" mountain group:  the XTR. With that addition, Shimano had ten different levels of mountain bike components (XTR, XT, DX, LX, Exage ES and LT and Altus A10, A20, C10 and C20).  I guess the company decided that for 1994, it simply didn't want to make that many lines of parts.  So, out went DX and the Exage and Altus lines.  In their place came two levels of STX and two levels of Alivio at the bottom of Shimano's mountain bike lineup.  The 8-speed Deore LX had, by 1995, firmly established itself as Shimano's "third" mountain bike line, roughly analogous to the 105 road group.

So...while Shimano produced Deore DX components for only three years, and production stopped more than two decades ago, many are still being ridden.  (I ride a short-cage DX rear derailleur on Helene, my later-model Mercian mixte, with a 9-speed cassette.) That, I think, is a testament to how well they were made.  Also, some of us simply prefer the look of them to what's made today.  

Still, aside from those of us who know and ride them, almost nobody mentions Deore DX components anymore.  Will they become Shimano's "forgotten" mountain bike group?

There's Nothing Like The First

Whenever I ride my Mercians, I find that I've actually ridden faster than I thought I was riding and, even when riding on rough stretches or climbing into the wind, I don't feel beat-up or worn-down at the end.  This is particulary true of Arielle, my Mercian Audax.

It's a bike meant for longer rides, hence the model name.  With such a purpose in mind, the bike is  designed with a somewhat longer wheelbase and slightly shallower angles than a dedicated racing bike.  On the other hand, its geometry is tighter than that of a full-load touring bike or even many randonneur bikes.   It also has, according to my specification, a shorter top tube than is typically found on touring (and even some racing) frames in Arielle's size (56 cm center-to-center) to accomodate the rather long legs and short torso I have for a person of my height.

When I was ordering Arielle--the first Mercian I bought--I was going to specify 16mm diameter seat stays.  At the time, Mercian was still offering 12mm on some models, including the Audax.  Hal Ruzal at Bicycle Habitat talked me into going with the 12mm, in part because that's what he has on one of his Mercians, which is very similar to Arielle. 

I'm glad he did.  Tosca, my Mercian fixed-gear, has 16mm stays.  It feels stiffer, but that may have to do with the geometry of the bike rather than the stay diameter.   Arielle, however, never felt flexy or noodly to me.  Yet those 12mm stays, I believe, absorb more road shock than the thicker stays, which--I'm guessing--is the reason why I never feel "beat up" after riding her.  

I also am glad Hal--and the folks at Mercian--convinced me to buy an Audax rather than one of the other models.  I didn't want a full-on touring bike:  If I ever do another multi-day tour, it will probably be with a light load.  On the other hand, I didn't want another racing-specific bike:  I'd owned and ridden a number of those and felt as if I were past being even a "wannabe", let alone an actual racer.

On this bike, I can ride fast when I want to, but--more important to me at this point in my life--I can simply enjoy the ride.  It has never felt like a "compromise":  It's simply a bike that fits well and feels good. 

Because Arielle fits and rides so well, specifying my next two custom Mercians--Tosca, my fixed-gear and Helene, one of my Miss Mercians--easy.  Tosca's geometry is just a bit tighter; Helene's dimensions were tweaked to allow wider tires and fenders. 

Vera, my other Miss Mercian, is the only one of my Mercians that wasn't custom-built for me:  I bought it second-hand.  So, while its fit is a bit different from that of the others (the imaginary top tube length is 15mm longer than on Arielle or Helene and 10 mm longer than on Tosca, and the chain stays are about 15 mm longer than the ones on Helene), my experience with my other Mercians served as a good guideline in helping me choose the right stem length and such.  Overall, it has the cushiest ride of my "Mercs" and, not surprisingly, Tosca has the stiffest and most responsive. 

All of them feel great, but, as the saying goes, there's nothing like the first.  And mine (at least in terms of my Mercians) is Arielle.

Bridges, Islands, Art, History, A Canal And Smoked Beef

Two days of cycling in Montreal and no one has beeped a horn in anger or aggression at me.  And no driver has cursed at me.  (Yes, I know when I'm being cursed at in French!)  And, where bike lanes cross into traffic, drivers actually stop for cyclists, even when there's no sign or signal telling them to do so.  

I guess all of this is remarkable to me because I've cycled so long in New York.  What's most telling to me, though, is that most Montreal drivers have no more experience of cycling than most drivers in New York, let alone the rest of the US, have.  The drivers in Paris were good, but I suspect a fair number of them, if they're not currently cyclists, recently rode bikes on a more or less regular basis.

One thing I can't get over is how, where the bike lane of the Jacques Cartier Bridge crosses the exit for Ile Sainte Helene, drivers not only stopped, they didn't creep into the intersection--or drive into it and expect you to pick up your speed and get out of their way--the way many New York drivers in New York, and the rest of the US, do.

Yes, I did ride over the Pont Jacques Cartier--to Ile Ste. Helene, as I mentioned, and from there to the South Shore of the St. Lawrence River.  This time, I took the east walkway/bike lane because, well, it was closest to where I had been riding.  One of the first things I realized was that I was rolling on an asphalt service; the last time I pedalled across the Bridge, my tires buzzed on the grating that separated them from the St. Laurent, 400 feet below.  

It was then that I recalled that the last time I rode across the bridge, I was on the west side.  No matter.  I was out to enjoy the ride, and the city.

The last time I saw the island--and its "twin", the Ile de Notre Dame--they seemed to be relics of the Terre des Hommes exhibit of Expo '67.  Since then, a lot of landscaping and other work--including, ironically, the building of the Montreal Casino an Notre Dame.  But it's far enough over on the island that it's possible to, if not notice it, at least not get too close to it.

Since I last saw the islands, the city has done, I think, a nice job with them--creating bike and walking paths, fixing eroded areas and creating botanical gardens and the Biosphere, among other things.

Today there were two events that closed off parts of the islands.  One was a cyclocross race.  I didn't mind that one:  The circuit, on dirt paths, didn't interfere with anything else. But the other event closed off access roads and made it dificult to get back on to the Pont.  But I, and others, managed.



Along the South Shore--mainly in the suburb of Longueuil--there's a series of bike lanes that takes you from the bridge, though residential neighborhoods, between a highway and series of railroad tracks (not as bad as it sounds) and through local parks.  

Then, after getting back into Montreal, I picked up some excellent Quebec goat cheese and something from France that seemed to be a cross between Brie and Camembert, with more of a grayish outer rind.  It was one of the creamiest cheeses I've ever eaten!  I washed them down with some little yellow grape tomatoes I picked up from a farmer's market.  Later after wending through some streets in Old Montreal and the area around McGill University, I would eat some succulent raspberries, purchased from the same market, 

Then I rode up Rue Amherst (How did a street in Montreal get a name like that?)  to a place called "l'Ecomusee du Fier Monde". Located in a former public bathhouse,  the Ecomusee states that, as part of its mission, it aims to teach people in the community about its history as a way of empowering them.

The upper level of the museum had a show describing the rise and fall of industry in the Cetre-Sud area of Montreal, and the lives of workers during that time.  It's interesting, even if you're not from the area.  The lower level, on the other hand, hosted a exhibit on "Art of Imagination". I liked the idea better than most of the actual paintings, which were a bit too New-Agey for my tasts.

After that, I descended la rue Amherst to Old Montreal and the beginning of a bike path along the Lachine Canal.  Said canal was built to avoid the rapids in the St. Lawrence River, and was thus one of the most heavily-used canals in the world.  The opening of the St. Lawrence Seaway and the rise of interprovince trucking caused the canal to fall into disuse.

This is where the canal rejoins the river:

   

When you look at how wide the river is, you understand why, at one time, Montreal was the second-biggest port city in North America.  

As you can imagine, all of the riding I've described made me hungry.  So I pedaled up Boulevard Saint Laurent for this:

We were all waiting to get into Schwartz's, renowned for its smoked meats, especially in sandwiches.  I got their signature item:  a smoked beef sandwich on rye bread with mustard.  It might be even more unhealthy than poutine, but it was worth every calorie and every globule of fat.  

Vera Goes Gran Fondo

You tell yourself, "This is it!"

You're not going to buy another bike, you tell yourself.  The bikes you have are "for life".

No more changes, no more upgrades, you say.  You're not going to buy another part unless you absolutely have to replace something that's worn out or broken.  You won't buy another bike accessory, no matter how great it looks or whether you really wonder how you've lived without it. And you absolutely swear not to go to any more swap meets, spend any more time hanging out in bike shops or while away your evenings looking at bikes and parts on eBay.

And you promise yourself you won't lift another allen key or screwdriver, or squeeze your oil can or grease gun, unless you're doing maintenance that absolutely must be done to keep your bike rolling.

But you know, deep down, you're lying to yourself: Once you learn how to tinker with your bikes, you won't stop--no matter how little mechanical aptitude you thought you had before you picked up that first repair manual, that first edition of Anybody's Bike Book.

You always find something to fix, even if it doesn't need fixing.  And there's always some experiment you want to try.

So it is with Vera.  Just before I went to Paris, I had an idea:   I'd turn  her gearing from a typical "compact" road setup (well, with slightly lower gears) to something I'd never before tried:  Gran Fondo gearing.

Turns out, I had everything I needed for the experiment. Well, almost.  The crankset that originally came with Vera--a Shimano Deore triple from the late '80's or early '90's--was sitting in a box, just begging to be reunited with her.  A BBG 46 tooth chainguard/bashguard, also sitting in that same box, would look good on that crank--and on Vera--I thought.   And I had a nice Stronglight 46 tooth chainring I'd been using with my the compact double as well a Shimano UN-52 bottom bracket that, according to the folks at Harris Cyclery and Velo Orange, would work. All I'd need is a 30T chainring with a 74mm bolt circle, which I found easily enough.

I installed the chainguard in place of the outer chainring.  The Stronglight ring, made to be an outer ring for a double or triple, went on the middle position.  And, of course, the 30T ring was bolted on the inside.  

I installed the Stronglight chainring with the logos facing out, as if it were in the outer position.  That meant the chainring fixing nuts wouldn't sit flush with the surface of the ring, as the holes for the chainring bolts are countersunk on the opposite side of the ring.  That didn't seem to matter.  I've ridden the setup about 200 kilometers and it doesn't seem to be coming loose--and the nuts standing proud of the chainring surface doesn't seem to affect the shifting.

In this image, you can see the countersinking of the holes for the chainring fixing nuts.  You can also see a segment of an example of drillium at its best or most extreme, depending on your point of view!

Speaking of which:  I've shifted, well, only to see how it shifts.  I haven't ridden on the 30T ring.  But part of my intention in setting up the gears as I did--and, by the way, I set up the gears on Arielle, my Mercian Audax and Helene, my other Miss Mercian--was to spend most of my riding time on the larger ring and to use the smaller one as a "bail out" gear.

In any event, the shifting was even smoother than I expected it to be.  The Shimano 105 front derailleur from the 8-speed group is made to handle, as most modern road front derailleurs are, a 14-tooth difference between the chainrings.  Part of the reason why I haven't had problems with shifting is, I believe, that I'm using a non-indexed downtube shifter.  I wonder how (or whether) the setup would work if I were using Ergo or STI levers, or even bar-end shifters.

The bottom bracket's axle is 127 mm long.  The crank is actually made for the old-style asymmetrical axle:  The original bottom bracket is what's known as "121+5":  In other words, 5 mm are added to the right side of a 121mm axle.  Using the modern bottom bracket doesn't seem to affect shifting or my pedal position"  It just leaves more axle showing on the left side than what you see with modern cranks and bottom brackets.  However, if I keep this setup, I might splurge (if finances permit) for a Phil Wood bottom bracket with the asymmetrical axle.

In reality, riding with this setup isn't different from riding with the compact double, as I am using the 46T ring nearly all of the time.  But I think that it will allow me a greater range of gears, should I ever want or need them.

Vera seems to like it.  Truth be told, I think she likes getting the nice old crankset back.

Family Portrait Day

Today is Family Day.  So you’re gonna see lots and lotsa pikshas.

In the previous sentence, my roots were showing.  I’m going to my hairdresser on Thursday.

Anyway…Now I’m going to show you some portraits of family members.  It’s a particular but close branch:  The Mercians.

Yes, I’m going to show you my bikes, after their winter makeovers and some riding.

First I’ll start with Arielle, the first Mercian to come into my life:

You’ve seen some photos of her already. But I wanted to show her after 500 miles, post-facelift (and overhaul):

I’m liking it more and more with the honey leather.  I think the bags have something to do with it:  The color of the canvas (“Nantucket Red”, which is really more like salmon pink) works with both the green and purple of the “flip flop” finish and the honey saddle, bar wrap and toe straps. What do you think?

As you know from a few previous posts, Tosca, my fixie (and the second Mercian I acquired) got a similar treatment.

I’m happy with the way the colors play off each other.  However, I wasn’t able to find a double track toe strap to go with the other leather accessories.  Then again, I guess the mismatch isn’t as noticeable as if, say, I wrapped the bar in a darker color.

The third Mercian to come my way is, I realize, one I haven’t written as much about lately.  Helene is a 2010 Miss Mercian with similar geometry (but with slightly more tire and fender clearance) to Arielle, which is a custom Mercian Audax.  

The rear bag is a bit larger than the one I use on Arielle and Tosca.  As you can probably tell, it was also made by Ely Rodriguez of Ruth Works SF. So is the handlebar bag, doubles as a clutch or shoulder bag when removed from the bike.

Finally, here is the last Mercian I bought. Ironically, it’s the oldest:  Vera, my “other” Miss Mercian.  It was made in 1994 and I purchased it in 2011:

Somehow the boxy randonneur front bag and larger saddle bag make the most sense—and look best—on this bike, although I could use them on my other bike.  Perhaps it’s because Vera has a longer wheelbase and is therefore the most stable with a load on it.  I wonder what it would be like on a longer tour.

She seems really happy to have those bags, and the Brooks B17 special.  So am I.  In fact, I’m happy with all of these bikes:  As similar as they might seem to someone who doesn’t know bikes or Mercians, each has its own character and personality.  Still, they all make me happy when I ride

Now, here’s the rest of my family:

 
La-Z-Boy, a.k.a. Max

 and La-Z-Girl, a.k.a. Marlee!