Barelli: Raising The Bar On The Hill

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

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

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

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

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

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

Barelli Supreme

Barelli B-10

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

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

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

A Symbol Of....?

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

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

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

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

 

Entry, Late In The Day

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

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

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