Posts Tagged ‘USA’

Harley Davidson Soars

Thursday, August 18th, 2011

 

Rain. Lots of rain. At night. Soaked through, 50-​​odd miles from my destin­ation and on a lonely road in the middle of bleak West Country moorland. My headlamp was pointing anywhere but at the road, mainly because it was off another bike and had been hastily lashed between the yokes with bungees, because three hours earlier the Harley-​​Davidson Sportster I was riding had vibrated its own bulb to pieces just as I’d left home. As road trips go, this was bad and I was proper fed up.

Then came the electric shocks…

That was over 20 years ago, but my first decent ride on a Harley-​​Davidson is still painfully fresh in my memory. It coloured the way I thought about all Harleys for more than a decade. OK, so I loved the look of some of the old models, and I still reckon that one of the most handsome engines ever made is a Knucklehead, like a motor turned inside out, all tubes and bosses and chunks of sculpted alloy. And of course having seen On Any Sunday I, like millions of others, couldn’t help being struck by the brutal beauty of a bucking, sliding XR750 flat tracker (below) in the hands of the majestic Mert Lawwill. But XR750s, even today, are rare beasts in Britain.

As for the stuff I rode though the ’90s – and I rode most of the then current models – well, it was like climbing onto a fairground ride in a provincial town. Waltzer-​​gaudy behemoths that shook the money from your pockets and wouldn’t stop when you felt sick and wanted to get off. Massive heavy things, under-​​powered and under-​​braked that made the dodgems feel like finely honed sports cars. Harley fans told me I didn’t get it. No I didn’t, and I didn’t want to either.

Then in 2002 something extraordinary happened. The Harley From Mars landed on Earth. The VRSCA V-​​Rod (above) dropped among us like a spaceship. Here was proof that the blokes in Milwaukee had not only heard of liquid cooling, overhead camshafts and effective braking, but had engin­eered it into one of their bikes. The V-​​Rod managed to mix contem­porary with custom with tradition with performance. And it does perform. I took an early one out for a blast in 2001 and when I gave it a fistful and felt 115bhp through my low-​​slung backside I laughed out loud, tickled to be so surprised.


Then 2008 finally brought something that echoed Mert Lawwill’s XR750. In the XR1200 (above), Milwaukee has given us a Harley suited to roads with those pesky things called bends. The styling reflects the dirt oval’s most successful race bike and has helped to boost an already growing interest in all things flat track. It’s a bike that combines the rorty chug of the old-​​style air-​​cooled pushrod V– twin with a feel that’s sportier than any street Harley before it.

Oh Mr Davidson, you’re spoiling us.

So do I get Harleys now? Well, I suppose I do, but then there’s more to get these days. But also, and you might call this age, I do find something comforting about, in the case of almost the whole Harley-​​Davidson range, a relat­ively basic motor­cycle shame­lessly showcasing proven old technology. Living history, you might call it. But then so is Bruce Forsyth, though I know what I’d rather be riding.

The Art of Andy Jenkins...

Monday, August 8th, 2011

Andy Jenkins draws bikes and cars nicely. But the other four wheeled vehicles he is inter­ested in are skate­boards. He was, after all the Art Director and founder member of Girl Skateboards.

Andy also digs the print medium, his self-​​published zine Bend having been a lead player in the cult of the under­ground print publication.

We caught up with Andy recently when these lovely little illus­tra­tions went on sale for a snip.

Skate versus Bikes/​Cars: what’s the relationship?
Here in Los Angeles, it’s simple. If you skate, you drive/​ride. There’s no other way to get around unless you’re bumming rides.

What do you ride/​drive?
I drive a hybrid… the powers that be here have all the nice cars. I used to commute on a Triumph Thruxton for a few years until I sold it to a coworker.

LA or San Francisco?
San Pedro! Get on the 110 freeway and head south from LA.

Dirtbike or Roadbike?
I love motocross and raced it for a few years. So I have an inclin­ation towards dirt. BUT, I loved my Thruxton as well.

Print or Digi?
Both. Print if it’s good, i.e. well designed and written. I tend to be a little more lenient about design if it’s online.

Concept Corner

Wednesday, May 25th, 2011

In a piece of quint­es­sential 1980s expan­sionism, Bertone, kings of angular audacity, decided to hit up the American market with the Ramarro concept (that’s ‘Green Lizard’ to you and I).

The Ramarro was based on a bog-​​standard 83 Corvette — and was we thing a misguided reach out to an American market hooked on the tradi­tional values of cubic inches and heavy steel construction.

Would the yanquis ever have gone ahead with anything like this fusion of Italian futurism with the straight­for­wardness of Detroit brutalism?

We doubt it.

Still, the Ramarro was an inter­esting exercise. The cabin was swathed in an acreage of glass — and the wedgy, louvred design was remin­iscent of the Alfa Carabo and other Bertone design studies. The interior featured lizard-​​like green leather uphol­stery and switchgear replaced gear shifters — a touch that in a sense foreshadowed Ferrari’s manettino system.

The Ramarro was unveiled in LA just ahead of the 1984 Olympic games — and though the design won many plaudits in the automotive press — stimu­lated no doubt by the surge of inter­na­tion­alism that accom­panied the games — no manufac­turers were inspired enough to hire Bertone’s designers.

Shame.

Film below features a period-​​correct soundtrack by Jean-​​Michel Jarre.

Ansel Adams's Cars

Friday, April 1st, 2011

He was the father of Landscape photo­graphy — an artist whose musicianship almost matched his artistry with the camera. He is one of the founding fathers of a funda­mentally American view of the world; But Ansel Adams also loved his cars.

And there’s no contra­diction nestling at the heart of this. Like many of us who love the hills, the rivers and the oceans: the aristo­cratic San Franciscan artist needed a sturdy vehicle to commune with his muse.

Adams spent decades exploring the great outdoors of America. He hiking, explored and documented the beauty of places like Yosemite and Yellowstone; from the soaring walls of El Capitan to the burbling miasma of Old Faithful — but as well as getting out there and getting amongst it, the gentle, bearded totem who created a whole art form used a series of usually large, often spectacular vehicles as platforms to steady his weighty equipment.

From cavernous De Soto limousines to hokey Ford Woodies and latterly Chevy wagons that would now be called SUVs– he always used the sturdy steel of Detroit-​​wrought Americana to create his art.

A beauti­fully produced little film (below) details his inspir­ation, kit and caboodle…

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Authenticity

Monday, March 21st, 2011

This morning we’ve been thinking about a phenomenon that’s been trawling its way through every aspect of our culture of late.

It’s all about authenticity.

In the boomtimes we’re always simply worried about the new: the cutting edge, the innov­ative, the next big thing. Bubble economies are inflated by this endless chase for the next way to turn around a pound note. It takes harder times and shrinking economies to wake us up to the enduring fact that the hand-​​wrought, the bespoke: the authentic are the things that really move your soul.

When all’s said and done, something that is abstracted from trends and flashes-​​in-​​the-​​pan; things that are rooted in things like hard-​​work, classic aesthetics and tradition — these are the things that bring you through the bad times.

The film below, that focuses on Liberty Vintage Motorcycles is a classic example of a focus on something that aches within us.

Now where did I put that adjustable spanner?

Faston Hanks and the Ultimate Barn Find

Saturday, March 19th, 2011

In your dreams you saw a glimpse of something inter­esting through a dusty warehouse window…you prised open the rotten old doorway..and there were 51. Yes 51 911s gathering the detritus of time and age.

Faston Hanks may be a literary creation — a fictional Automotive sleuth dreamt up in the fertile imagin­ation of writer photo­grapher Kevin Gosselin — but ye gads is this not the most unbelievable phenomenon?

If legend is actually true and this is not in reality some kind of grand and pointless hoax, this stash of Stuttgart steel was found in, of all places, deepest Wyoming

It may be stating the obvious that the vehicle of choice in said Western State is the Mack truck and the Mule — rather than the iconic german coupé. We’ve been staring at this story all day long and we still can’t work out how all these motors ended up here.

Answers on a postcard please!

Photos and full story by Kevin Gosselin
via A Time To Get

William Eggleston's Cars

Monday, January 24th, 2011

American photo­grapher William Eggleston was the first artist who used colour photo­graphy to be accepted as a ‘serious’ artist by the Art Establishment.

His coolly abstracted lens was taken up whole­heartedly by film makers like Gus Van Sant , Wim Wenders and others who seek to evoke something uniquely American about America.

He made it possible for images of every day life wrought in colour to be exmined as art — lifted from pop culture to something more considered.

And, in Eggleston’s frames, cars are often the most fully documented characters — the people often captured in profile, fleet­ingly and obliquely.

It’s as if he under­stands how powerful the image of the car is in the American identity. Cars are, for Eggleston, easier to under­stand, less shifting and less ethereal than Americans themselves.

We’ve always felt instinct­ively that cars are much more than simply tools and should be considered with that in mind. Looking at Eggleston’s work we’re convinced they represent something much more powerful than we ever thought.

Images Via http://www.egglestontrust.com/