Riding By A Canvas

The past few days have showcased, for me, some of the ways I choose my rides, especially familiar ones.

On Saturday, I pedaled to Connecticut because the conditions seemed perfect: a not-too-warm day with not-too-high humidity and a moderate breeze that I pedaled into on my way up--which meant, of course, that it blew at my back on my way home.

On Sunday, I felt really good and not in need of "recovery" from the previous day's ride. Still, I wanted to do something slightly less challenging, but still fairly long.  So I pedaled out to Point Lookout.

I also rode to PL yesterday, into a stronger wind than I'd experienced during my two previous rides.  Also, I was starting a bit later than on my weekend rides, and I knew I could ride at a reasonable pace and still get home well before the end of the day.  But the other day, Monday, I did a shorter ride, in part because I had to do a few other things.  But, also, I wanted to explore some nearby nooks and crannies I don't often see, their proximity to my apartment notwithstanding.

One of those enclaves is part of what we half-jokingly call "Astoria's San Francisco."  The streets in that area, north of Astoria Boulevard and west of 21st Street, are indeed hills, though not as steep as, say, Lombard Street.  They are also, like so many San Fran streets, narrow.

Another thing that makes that part of Astoria interesting is the mix of buildings.  Most are residential. Some are landmarked, including mansions which, as I understand, are still owned or even lived in by descendants of the families who built them.  But, a block or two away from such edifices, one can find a seemingly-typical New York bodega that was once a cafe which, as rumor has it, served as the major Mafia gathering place in the area.  Also in proximity to the grand old buildings, which ranging from the stately to almost derangedly rococo, are some old storefronts and warehouses that serve as canvases for local talent.

Through the decades, I've cycled for fun and health, physical and mental.  I've toured cities and countryside, in the United States and other nations.  I also raced, albeit briefly. And, of course, I have commuted to work and school on my bike. Sometimes I think that one of the things that keeps me riding are the sensory surprises and stimulations I encounter along the way.

In 1962, It Was Superior

It was the "dark before the dawn" in what Sheldon Brown called "the Dark Ages of American Cycling."  Or it was the "dark before the dawn" of the North American Bike Boom that began, depending on whom you ask, around 1969.

I am talking about 1962: 60 years ago. At the end of Bob Seger’s "Night Moves," the reminiscing narrator is "humming a song" from that year: the Ronette's "Be My Baby,” according to Seger. 

That year, Algeria won its independence--at least, in name--from France as Jamaica did from England.  A certain English band was playing at the Star-Club in Hamburg, West (yes, it was West) Germany. And--what I am about to reveal might cause some of you to never read this blog again--my favorite baseball team, the New York Mets, made their lovably, comically inept debut. (Their manager, Casey Stengel, lamented, "Can't anybody here play this game?")

And, although there were a custom builders who made frames for the small but enthusiastic cycling communities of New York, Boston, Detroit, Chicago and a few other American locales, the name most Americans associated with quality bicycles was Schwinn.

Their company's top model, the Paramount, was built by hand in a separate area from the other bikes.  I have heard, from more than one source, that Schwinn actually lost money on Paramounts.  That sounds plausible:  Similar British, French and other European bikes with Reynolds tubing and Campagnolo components cost less (1962 Paramount price:  $175.00), mainly because the labor was less expensive.  Supposedly, Schwinn continued to build Paramounts because they were the official bike of the U.S. Olympic team and Arnold Schwinn saw equipping the riders who represented his country as an act of patriotism.  It also helped to support Schwinn's reputation as the only American bike-maker of that time with even a pretense of quality.

In 1962, Schwinn's second-line bike was the Superior.  Its frame was similar to the model of the same name Schwinn introduced in 1976:  chrome-molybdenum tubing filet-brazed without lugs into smooth joints and forged rear dropouts.  Both bikes also had Weinmann centerpull brakes (the cool engraved version on the 1962 bike) and rims with Schwinn-approved large-flange hubs made in France, probably by Normandy.

Oh, and I love the stem and handlebars--made for Schwinn by Gerry Burgess (GB) of England.  I can't get over that "lugged" sleeve on the handlebar:

 

 

Beyond those features, though, the 1960s and 1970s versions were very different. While both had Huret rear dropouts, the older version was equipped with the Huret Allvit derailleur:  standard touring gear of that time.  

The later Superiors came with Schwinn-branded Shimano or SunTour rear derailleurs--with, interestingly, Huret front derailleurs and shifters.  While the Shimano and SunTour mechanisms shifted much better almost any condition, they seemed to have an almost unfair advantage on the 1970s bike, a ten-speed with the Nervar crankset that used the Specialites TA Pro Vis 5/Stronglight 49D bolt pattern and a wide-range rear freewheel.  On the other hand, the Allvit had to wrap up the yards and yards (OK, that's just a slight exaggeration) of chain necessitated by this:

The 1962 Superior certainly had 15 speeds--exotic for that time.  To achieve it, Schwinn used something I've seen maybe a couple of times in all of my years of cycling and working in bike shops:  a triple (with three chainrings)  Ashtabula (one-piece) crankset. Made from solid forged steel, it probably weighed as much as the frame!

To be fair, there weren't as many cotterless cranks, or triples,  available as there are now.  Schwinn used three-piece cottered cranks only on their early Paramounts.  Even the heaviest cottered cranks were lighter than any Ashtabula cranks, and some companies like Chater Lea, Stronglight and Duprat made cranks with pencil-thin arms.  But, once Stronglight and Campagnolo came out with durable alloy cotterless cranksets, cottered cranks disappeared from high-end road bikes (though they would continue to be used on the track until around 1960).  

Still, even in light of what I've just mentioned, that Ashtabula crank seems so incongruous with the rest of the bike.  But, for most Americans in 1962, the Superior would have seemed as other-worldly as a spaceship.

By the way:  the Superior cost $132 in 1962.  That model was made for only another year and, interestingly, the price dropped to $126.50.  From 1964 until 1970, the Super Sport--basically, a ten-speed version of the Superior--was Schwinn's #2 bike behind the Paramount.  In 1971, the Sports Tourer would knock the Super Sport to #3 and become the new Superior in 1976.

How A Perfect Weekend Of Riding Began

 Yesterday I spun to Point Lookout on La-Vande, my Mercian Vincitore Special.  The day before--Saturday--I pedaled her "sister" LaVande--my Mercian King of Mercia--to Greenwich, Connecticut.  The riding was wonderful: For one thing, the weather was perfect:  dry air, clear skies and high temperatures of 27-28C (81 to 83F).  But I got my best photos from the "appetizer" ride I did Friday evening on Tosca, my Mercian fixed-gear.

On an all-but-perfect summer evening, the waterfront promenades of Williamsburg were full of picnickers, dog-walkers, families and people simply hanging out and enjoying the weather and light.  But somehow the spaces didn't seem so crowded.  Perhaps it had something to do with the nearly-clear skies, the expanse of river and the kind of sunset the cynic in me associated only with postcard images: