My First Fixie: A Peugeot U0-8 Conversion

Thirty years ago, the only people who rode fixed-gear bikes were racers.  Even messengers, for the most part, hadn't glommed onto the simplicity and "cool factor" or riding a "fixie."

That meant, of course, that very few people knew about building them and that parts weren't readily available.  Bike books, at the time, contained little or no information about how to build, maintain or ride a fixed-gear bike.  In fact, the authors of those books most likely never rode or owned a track or fixed-gear bike.  If I remember correctly, Bicycling! never had any articles about them.

Back then, I knew only one person who rode a fixed gear.  That is what he used for his winter training; sometimes, he'd take his "fixie" on rides with the Central Jersey Bicycle Club, of which both of us were members.  He was a bit of a gearhead as well as a fitness fanatic; he meant well, but his enthusiasm for fixed gears probably scared a few people off.

One of my few sources of pride is that I wasn't one of those people.  I figured that if he could ride a fixed gear, so could I.  And I couldn't help but to notice that his "fixie" wasn't a fancy bike:  If I recall correctly, it was a mid-level Italian road frame (a Legnano made from Falk tubing, I think) and the components, while good, were nothing special.

So I set out to convert a Peugeot U-O8 I'd been using as my commuter and "beater."  I don't have a photo of it, but when I started, it looked like this:

My U0-8 was the same color as the one in the photo and, from what I can see, the same size. Like most French bikes of its time, it came with French-threaded parts, including the Normandy rear hub.  I knew enough not to thread an English- or Italian-threaded freewheel onto such a hub.  So, I looked and I looked (Remember, we didn't have the Internet in those days!) for a track cog that would fit.  Finally, I located a source:  Mike Fraysee, who imported French bikes into the US and sold them under the name "Paris Sport", had a few. He also had the requisite lockrings.  A few days later, I had both and a Sedis 1/8" chain that Peugeot used on its three-speed bikes.

Although I had worked in two bike shops, I had never worked on a fixed-gear bike.  So, I had no idea that track hubs (or, at any rate, hubs made for fixed gears) had two sets of threading:  a right hand-threaded "step" onto which the cog was installed and, in front of it, a left hand-threaded "step" for the lockring.  That design "locks" the ring against the cog and prevents it from unscrewing when you decelerate or stop without hand brakes.

Well, I installed the cog and tightened the lockring as much as I could in a vice.  Before installing both, I coated the threads with LocTite.  

Believe it or not, I actually got away with riding that arrangement for a few months.  Then, one day, I locked my legs when a taxicab made a right turn from the lane to my left on Lexington Avenue near Grand Central Station.  Although I managed not to run into that cab, I toppled over when the ring and cog unscrewed.  When I got back up, I screwed them back on, but they wouldn't stay:  The threads stripped.

I got the bike to a nearby shop.  "Wut da fuck iz dis shit?," the grizzled mechanic growled.  "U coulda got yerself killed!"

He was right:  Not only did I have an unsafe rear wheel, I had a terrible chainline.  It's a wonder that the chain stayed on the chainring and cog, let alone that the cog stayed on that hub for as long as it did. 

And I wasn't wearing a helmet.  But a parked Mercedes broke my fall and kept my head from hitting the pavement.

I wouldn't repeat the fixed-gear experiment for another decade.  By that time, I had a real job and bought a real track bike.  That will be the subject of another post.

Bicycles On The Red Carpet

Normally, I don't pay attention to award shows.  I might glance at the day-after newsclips of them, just to see whether anyone wore anything particularly beautiful, interesting, outrageous or hideous.  Beyond that, I have no interest in the shows:  I don't care who wins what; I care only about whether or not I liked a movie or an actor's performance.

At shows like the Academy Awards (which, this year, is being called "Oscar," after the award), I prefer the walk to the talks.  The latter are usually banal and repetetive; at least, when some of them are in their gay attire, they look beautiful walking down the red carpet.

Would the Oscars or any other show be more bearable if the participants rode bicycles down the red carpet?

From M N S Photography

Saturday Night's All Right For Cyclin'

How much cycling have you done on Saturday nights?

I believe that when most of us think of a "Saturday ride" or "weekend ride", we're not thinking about riding after dark.  Even if we're not going on a date, to a show or for the other things we normally associate with the middle of the weekend, we don't usually think of cycling.

Don't get me wrong:  I have cycled on Saturday nights.  However, it doesn't normally happen by design:  I'm out after dark on Saturday because of an emergency or because my ride lasted longer for some other reason I didn't foresee.  

And, I'll admit, in my youth I went for rides that ended in my (and, sometimes, my riding buddies') getting somewhat intoxicated.  Believe it or not, I was once pulled over for CWI (Cycling While Intoxicated)!  When I was at Rutgers, I'd gone to a party in Highland Park, on the other side of the Raritan River.  The cops claimed I was weaving and wobbling as I crossed the bridge from Highland Park back into New Brunswick.  I didn't get a fine, but somehow I managed to convince the cops that I'd get home intact.  I don't remember what happened after that.

Anyway...If someone asked me whether there's a part of the week during which I ride least, Saturday night might be my answer.

Not so for this young man in Slovenia:

From Bike Park Slovenia Blog

Perhaps the lyrics to a certain Elton John song were mis-translated into Slovenian!

The Best Bicycle Parking In New York?

Today I was in Tribeca again.  I had some business at the Borough of Manhattan Community College.  Two weeks ago, I made one of my rare (since 11 Sep 01, anyway) appearances in that part of town, where I saw an interesting Frankenbike ridden by a librarian.

However, on this visit, I saw something even more interesting, and certainly more gratifying.  It's in Fiterman Hall, which is literally no more than a couple of pedal strokes away from the site of the former World Trade Center.  In fact, you can see the memorial from some parts of the building.

The college had another building called Fiterman Hall, onto which 7 World Trade Center fell in the wake of the attacks. The original Fiterman--a 1950's office building that was donated to the college in 1993-- was so badly damaged it had to be razed; the new building bearing the same name opened just this past August.

I found myself liking the new building:  It's spacious and full of light.  Best of all--at least to those of us who travel on two wheels--it has two bicycle storage rooms inside.  One of them was in use when I arrived.  They can be accessed only with a BMCC ID card, or if a security guard lets you in. 

Not bad, eh?  It's even better behind those doors:

Some swanky gyms don't even have such nice bike rooms.  For that matter, I can't think of any other colleges or schools with anything like it.

  It was cold and windy today; I wonder how many more bikes will be in that room come Spring, or on a Tuesday or Thursday.  On one hand, I'd like to see it full, just to know that people are cycling to the college and that the room won't be re-purposed.  On the other hand, if I need to go back, it'd be nice to know I'd have such a place to park Vera or whichever bike I ride.

Did I Wake Max From His Dream?

As you may have noticed, I've written fewer posts during the past week or so.  You see, I've been under the weather. I thought I was coming down with the flu, and I expected the doctor to chastise me for not getting a flu shot. Turns out, I didn't have the flu:  It was a low-grade upper respiratory infections.  As its origins are viral, he couldn't give me an antibiotic.  

I'm not coughing as much as I was a few days ago, but I've been feeling very tired.  Good thing I have company:

It seems that when I made my bed this morning, I didn't notice that Max had crawled under the cover.  As I was leaving, I found him lying where you see him now.  He'd dozed off, and taking his picture woke him up.

When I go to bed, I think it will take a lot more than that to wake me up!

To The Sea On An A-D

 Now I'm going to talk about another "parts bin bike" I built and rode.

I got the Austro-Damiler "Team" frame in the photo in a trade for one of my last sets of tubular (sew-up) wheels.  I don't recall which model it was, but I remember that it was made of Reynolds 531 tubing in the late 1970's.

As I understand, bicycles were sold under the "Austro-Daimler" name only in the United States. The company that made them was called Puch and marketed some bikes under their own name during the 1970's and 1980's.  With a name like that, you know why they felt the need to come up with another for their higher-end bikes!

My A-D had what many now call "old-school" road geometry--73 degree head and seat angles, and a somewhat longer chainstay and wheelbase than what are found on today's racing bikes.  Any number of racing bikes from the time had similar geometry:  think of the Raleigh "International" or "Competition," Peugeot PX-10E (and its descendants), and other rides from makers like Gitane, Falcon, Frejus and Fuji.  Racing bikes in those days were more versatile than they are now:  It's not uncommon to see them used today as randonneuring or even touring bikes.

As a matter of fact, I took my A-D on a tour:  In August of 1994, I pedaled from Paris to the sea near Bordeaux, and up the coast to Lacanau.  As I stayed in hostels and pensiones throughout my trip, I didn't pack camping equipment except for a sleeping bag.  Everything fit into a small set of panniers and a handlebar bag:  I'd guess that I carried about 15 kilos with me.  Still, the bike gave me a stable and comfortable ride.  The top tube was a bit longer than I have on my custom frames, but I still was able to use a stem with a reasonable amount of horizontal extension.  Thus, the steering was still pretty responsive, but not overly twitchy.

I probably would have that bike now, even after getting my Mercians, save for its unfortunate demise a few months after that tour.  I was running an errand a few blocks from where I was living (in Park Slope) when, in order to dodge an opening taxicab door, I ran into a chuckhole that seemed not much smaller than a manhole cover.  The areas of the top and downtube just behind the head lugs folded like accordions, but the sounds that came out of my mouth weren't as pleasing.

Bicycle Wheels: Tri-Spokes Came And Went, But Duchamp's Endures

No, the man in the photo is not a French bicycle mechanic. And he's not truing the wheel.  In fact, that wheel has remained in the stand, not having been touched by a spoke tool or cone wrench, for the past hundred years.

The man in the picture is indeed French, as his wheel most likely was.  He is long dead, but the wheel didn't end up in the hands of some rich Japanese collector.

In fact, it's in Philadelphia.  But, one hundred years ago, it was in New York.  I've ridden from New York to Philadelphia, though not on that wheel.

All right:  You may have already figured out (if you didn't already know) that the man in the photo is artist Marcel Duchamp.  And his wheel was indeed a wheel, but it's listed in books and catalogues as a sculpture.

One hundred years ago yesterday, it stood among other sculptures, paintings and other objets d'art in the 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets in Manhattan.  The building still functions as an armory and hosts various events, and is today surrounded  by some of Baruch College's buildings.

On that date, the Armory Show (as it's commonly known) opened.  Little more than two weeks earlier Grand Central Station began, the first travelers and commuters embarked and disembarked from trains at the new Grand Central Terminal, about a kilometer and a half uptown.  It's an interesting turn of history because GCT is, arguably, the last great monument to the Gilded Age, while the Armory Show did as much as any event to move American notions of art, aesthetics and public space away from Gilded Age, and even classical, notions.  Literally steps away from GCT is the Chrysler Building; between them and the Armory, the Empire State Building went up months after the Chrysler Building was completed.  The Chrysler and ESB could hardly be more different from GSC or, for that matter, the Armory; neither of the latter two buildings could or would have been built in the wake of the Armory Show's influence.

So why, you may ask, am I writing about these events on a bike blog?  Well, before the show, almost no American, artist or otherwise, would have thought to declare a bicycle wheel as a work of art.  In fact, very few Americans would have thought bicycles to be appropriate subjects for art, let alone used bicycles or parts of bicycles as materials for works of art, as Picasso and others would later do.

So, the next time you make, sell, buy or wear a bracelet made from a bicycle chain or earrings made from spokes, remember that the Armory show helped to make them possible!


N.B.:  Picasso's "bull" is in the Paris museum dedicated to his works.  Duchamp's bicycle wheel is in the Philadelphia Museum of Art.

Another Schwinn Criss-Crosses My Life

A couple of days ago, I wrote about my first Bianchi, a.k.a. The Bike I Lost At CBGB.

As I mentioned, it had become my commuter during my first year of graduate school.  Now I'm going to tell you about the bike that replaced it--as my commuter, anyway.

As old-school English three-speeds were out of production, and European (or European-style) city bikes were unavailable in the US, the bike I bought was probably about as suited to urban commuting as any new bike one could buy at the time.

The 1992 Schwinn Criss-Cross, in its own way, was brilliant.  It came with a good-quality lugged chrome-moly steel frame. That made it a tough little bike that was still fairly nimble. While it wouldn't handle like a racing bike with sew-up tires (I owned and raced on one at the time; a post on it is coming.), I had little trouble dodging and weaving through traffic on it, even when it was loaded.  

The components that came with them weren't fancy, but they weren't junk, either:  They all functioned as well as I needed and stood up to the thrashing they took on a daily basis.  (Being young and full of testosterone, I was harder on bikes than I am now.)  The only parts I changed were the tires and tubes.  The original tires were 700C knobby tires, which I rode through the winter. However, as the bike saw most of its miles on pavement, the noise and added resistance of the tires could be annoying when there was no snow or ice. So, in the spring, I replaced them with a pair of the best urban commuting and touring tires ever made: the Avocet Cross.

Back in those days, Cyclo-Cross bikes were almost as rare as Dutch-style city bikes in the US.  So, when the tire in question came out--and, for the matter, the bike about which I'm writing--most American cyclists understood "cross" to mean a hybrid bike, or anything related to it.

The Avocet Cross tires, like the Schwinn Criss-Cross bike, suited that kind of riding very well.  What made the Avocet Cross one of the most innovative tires ever made was its "inverted" tread.  In other words, it was a grooved rather than a ribbed or studded tire. Therefore, it offered traction that was almost as good as a studded tire but with a lot less rolling resistance.  Even more important, at least for urban commuting, its rounded edges offered the kind of cornering afforded by good road tires.  

Plus, they seemed to be more resistant to punctures than other tires I've ridden.  It may have been because the tread area was thicker, so that the grooves could be cut into it.  Others suggested that the tread pattern kept at least some debris from working its way into the tread.  

Anyway, the bike served me nicely as a commuter for a bit more than a year.  Then, one day, I was running an errand in Midtown when I stopped at a traffic light near Grand Central Station. An Australian tourist came up to me and complimented the bike.   He said that a magazine--I don't recall whether it was Bicycling! or some other--reviewed it very favorably, and he wanted one to bring back with him.  However, none of the shops he checked had it. 


I took the subway home that day.  However, after paying my fare, I was left with the cost of the bike, the accessories, the tires and another $50.  Considering that I'd ridden the bike for a year, that wasn't half-bad, I thought.

A Love Letter To An Old Friend

About four weeks ago, I wrote about the first anniversary of Charlie's death.

He was sweet, adorable and smart, and accompanied me through some of most intense and, sometimes, wonderful times in my life.  

Charlie came into my life on this date in 2006.  My friend Mildred rescued him a few months earlier from an area of metal fabrication shops.  There are a few houses among them; still, the area is usually deserted after dark.  That's why people--and I use that term quite loosely--dump animals there.

Millie told me that as soon as Charlie saw her, he scampered toward her.   That meant, of course, that he was not a feral cat; he must have had a home only recently.  The vet said as much, and determined that he was about six to seven years old.  

She wanted to keep him, but she had other cats in her house and yard.  I said I would take him as soon as I was ready.  She didn't rush me; she understood why I couldn't take him right away.

He is the reason why.  You might be thinking that he looks like Charlie.  In fact, he is Charlie--just not the same one I've been talking about.

The cat in the photo--let's call him Charlie I--had been in my life for nearly fifteen years, from the time he was a kitten.  Only members of my family and a few friends have had, or had, more years with me.  

In addition to being adorable and sweet, he was smart and, it seemed, prescient.  You know he's intelligent from that photo:  He's in front of an Oxford English Dictionary.  Some people might believe that he read more of it than I did!

Another way I knew he was smart was the way he looked the camera.  He seemed to realize that I was photographing him, but he also seemed to know that it was simply impossible for anyone--even  yours truly!--to take a bad photo of him.

When I first met him, he was with the other kittens in his litter.  He half-walked, half-waddled to me on his little legs and looked into my eyes.  Somehow, he seemed to know all about me, and that he was going home with me.  I didn't even have to make the decision.

What's even more interesting, though, is that he preferred women to men and girls to boys.  Whenever I talked with a woman on the phone, he was at my side.  When a woman came into my apartment, he simply had to meet her.  And he and Tammy got along famously.

Someone suggested that he acted as he did the first time I met him because he knew that I'm a woman, even though I was still deep into my boy-drag phase!  For a few months, around the time Charlie I was a year old, I shared my apartment with a fellow graduate student.  Late one afternoon, Charlie I made a beeline for the door as I turned the key.  My roommate joked, "Charlie, Mommy's home!"

So, Charlie I was with me for that part of my life, through graduate school and a few jobs, in five different apartments (including the one in which I lived with Tammy) and, most important of all, through my last, desperate attempts to live as a man and the beginning of my life as Justine.

Now, you may be wondering why I named Charlie II Charlie.  The truth is, he was already so named when I brought him home.  Millie had given him that name and I didn't want to change it.  And, even though Charle II had a slightly different personality from Charlie I, he was sweet and loving. He was, not a clone of, or replacement for, Charlie I, but a continuation of him.  Sometimes I think it's exactly what I needed.

Celeste, Rescued: My First Bianchi

Yesterday I wrote about a "rescued" bike.  Today I'm going to tell you about another one.  The difference is that the one I'm going to describe today is one I rescued.

It's also the first of four Bianchis I've owned in my life.  This is an old-fashioned made-in-Italy bike.  I'm not sure of the exact model, but I know that it was probably made in the 1970's or early 1980's, as the frame was made of Columbus "Aelle" tubing.  If I recall correctly, the dropouts, headset and seatpost were all made by Gipiemme, an Italian company that was influenced by, or copied outright, Campagnolo's desgins.  The name, interestingly, is the phonetic Italian pronunciation of GPM which, if I'm not mistaken, was the monogram of the company's founder.

The headset and seatpost were the only items that were on the frame when I got it from Toga Bicycle Shop near LIncoln Center.  I was friendly with one of the mechanics, a salesperson and with the owner, Len Preheim, to the extent that one could be friendly with him.  They were cleaning out the store's basement and unearthed the frame, which I got in a trade for, let's just say, something non-bike related.

I was glad that the seatpost came with the bike, as it was one of those non-standard diameter.  The headset worked after an overhaul; even if it hadn't, it wouldn't have been difficult to replace.  

Anyway, this became a "parts-bin bike."  By the time I got the frame, I had a pretty fair-sized trove of parts, most of which I stripped from bikes I had at one time or another.  

In its original iteration, the bike was intended as an entry-to-mid-level road bike.  Being made of Aelle tubing, the least expensive frame material Columbus made at the time, It was a bit heavier than the higher-level Bianchi road bikes.  So, perhaps, it wasn't quite as quick as a Columbus SL frame (of which I've owned two:  the Trek 930 and a bike I'll write about in the near future).  However, it gave a pretty stable and fairly nimble ride.

As you can see, I fitted a rear carrier to the BIanchi.  I rode the bike to and from work, and to classes during my first year and a half of graduate school.  I also took it on a couple of weekend trips in which I packed a change of clothes, a book or two, my camera and a couple of other items.

Although I rather liked the bike, it was too big for me: I think it was a 58 cm (about 23.5") frame, as measured from the center of the bottom bracket to the center of the top tube.  I normally ride a 55-56 cm, depending on the design of the frame.  

It size exacerbated another problem I had with that bike, and other road bikes I rode before I went for a custom bike: The top tube was pretty long.  That meant using a stem with a shorter extension than I might have otherwise used, which blunted the bike's handling. Later, I would try to solve the problem by going to smaller frame sizes (53-54 cm) and using a longer seat post.  When I did that, I missed the stability and the fullness of pedal stroke I could achieve with the slightly larger frames.

Anyway, I apologize for not having a better photo of the bike.  When I got it, the paint was in rough shape, though still unmistakably "Celeste".  

Because of its less-than-ideal fit, I was going to sell the bike.  However, someone got it for free when I parked it outside CBGB.  Hmm, maybe if I'd told Joey Ramone, he'd've done a song about it.