Posts Tagged ‘Motorcycles’

Royal Enfield: handmade culture

Friday, August 12th, 2011

Whatever you feel about retro culture in general — and the various obses­sions car and bike heads have about all things vintage, you have to admire the crafts­manship repres­ented in this video.

It’s evident that not all Royal Enfield production bikes have hand painted tank and trim: but this Indian craftsman has a mind-​​blowing stead­iness of hand.

For us it makes sense to go retro if the simplicity and lo-​​tech embedded in these bikes would mean low maintenance costs and increased reliability.

We’re not sure if this is the case, but MCN certainly seemed to like the Caffish Royal Enfield Clubman (above).

But these practic­al­ities aside, if you knew that this sort of love and care went into every part of your new bike, you’d be tempted to trade, wouldn’t you?

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.

Godspeed Redux

Thursday, May 19th, 2011

Received a very welcome dispatch this morning from CICERO DEGUZMAN JR– bringing news of new collab­or­a­tions, new books and a very nice new blog format for his very delectable series of pictures that document vintage choppers, their builders, workspaces and the objects of their passion.

Its the tangible sense of love and exactitude with which Mr DeGuzman presents his beautiful photo­graphs that puts clear water between it and the mass of bike culture material coming out of the ‘States right now.

We suggest you visit the site and get on board. It’s a lovely ride.

Pics Courtesy Godspeed

Friday Bike Crush #3

Friday, May 13th, 2011

We’ve been obsessed with this bike for months.

It’s basically , a stripped-​​down Honda Dominator with the street tracker treatment — that amounts to a a sliced off rear subframe, a big headlight, some nice little extras and loads of extraneous plastic stuff stripped off.

There’s something about this Street Tracker style that’s captured out imaginations.

The fellow who built this particular beauty has been kind enough to stick a brief ‘how-​​to’ story on his blog so that the fettlers amongst you can take inspir­ation and do one of these for yourselves.

The ‘Elsinore’ moniker for the unini­tiated refers to the mentalist off road Grand prix held in Elsinore California (not sure if it still a regular occur­rence) and that featured so beauti­fully in the contantly referrred-​​to documentary on American bike culture On Any Sunday (below).

Dreaming of a sunny weekend…

YouTube Preview Image

Irving Penn's Hell's Angels

Friday, January 28th, 2011

Irving Penn is undoubtedly one of the true masters of the photo­graphic portrait. When he photo­graphed a bunch of Hells Angels for Look Magazine in 1968 all the classic Penn elements were there — there was the stark backdrop; the steely monochrome and the natur­alism of the sitter’s attitude and expression.

Wether or not Penn’s subjects were the rich and the famous or a bunch of hairy bikers he always managed to capture something lasting and resonant about the individuals involved. And these two prints manage to be incisive without resorting to cliché; revealing without being intrusive.

This is an incredibly sensitive portrayal of what must be one of the most widely hyped and misun­der­stood subcults in human history, from a time when the clubs’ notoriety was perhaps at its peak.

Once a Jolly Swag Man

Tuesday, January 11th, 2011

Once a Jolly Swag Man, the 1949 film directed by Brit bred Aussie émigré Jack Lee has all the stoney monochrome credib­ility of the best Ealing films. Throw in a subtle but dashing performance by Dirk Bogarde to the mix — as well as a rake of roaring motor­cycles by J.A Prestwich  – and you have a great way to spend a wet afternoon on the sofa.

A sketchy plot that draws in all the class-​​saturated clichés of the era is augmented by great racing scenes — and the piece on the whole is a fascin­ating insight into the place that motor­sport held in the life of the British working class of the WW2 era.

Speedway is perhaps the most accessible type of bike racing out there and the film evokes perfectly the blue collar character of the oval track. You can almost smell the grease and the Woodbines and the whiff of damp wool.

There is a refreshing absence of self-​​conscious style in the art-​​direction of the film and certainly none of the gritty glamour portrayed in racing movies of the sixties, but it’s a really inter­esting document for anyone inter­ested in how motor­sport is weaved into the fabric of the wider culture.

Order it here…

via Moto Freako

YouTube Preview Image

American Anglofailure

Thursday, December 16th, 2010

This might come as a shock, but we Brits do not have a ‘special relationship’ with the United States. Anyone involved in motor­cycling during the Fifties and Sixties, however, might have thought otherwise. Sure, British bikes flooded into North America as fast as the factories could ship them – but his was not the virile thrusting of manufac­turing in its potent prime, it was the final spasms of the British motor­cycle industry’s dying manhood.

All-​​American marketing knowhow played to the exotic in the heart of the Brit Empire

By the mid-​​Fifties, with Indian motor­cycles recently dead and buried, Americans had one viable choice of home-​​built bike – the Harley-​​Davidson, which even in its sportier forms was, frankly, a fat plodder. The post-​​war US fashion for bobbing motor­cycles (which entails ripping off tinware and bracketry and chopping short the heavy mudguards) helped to some degree. Bobbing was after all the birth of the custom scene as we know it. But sporting riders after light, quick, fine-​​handling machinery looked to Britain.

Well actually, they didn’t. Whether they knew it or not, they were looking to the major US importers such as TriCor, Johnson Motors and Berliner. Ran by switched-​​on blokes with bikes in their blood, these firms knew what the vast American market wanted and used their consid­erable leverage to squeeze changes and new models from England’s staid factories.

High-​​piped off-​​road exotica such as the Triumph TR6C and T120TT, Norton’s steroid-​​guzzling P11 or BSA’s Spitfire and Catalina scram­blers poured across the Atlantic along with lithe and hopped-​​up road burners.

In 1965 alone, TriCor and Johnson Motors brought around 15,000 Triumphs into the States and the Meriden factory was working full-​​tilt to turn out about 700 bikes a week, almost 600 of which were exported, mostly to North America.

So, the Sixties progressed and America’s racers took British iron to huge success in desert races, dirt track, scrambles and road racing, while blissed-​​out loafer-​​shod glitterati cruised the boulevards of New York, LA and San Francisco on Bonnevilles, Lightnings and Commandos.

Meanwhile, back home in Brum, sallow-​​faced youths raised on boiled cabbage and drizzle were hunched over the elusive bike porn of US sales brochures, wondering why they were saddled with more conser­vative UK models that lacked the vital glint of California sunshine.

And why were they? Because the British industry was being run with the panache of a drunken monkey riding a neurotic ostrich.

Yes, there were great devel­opment engineers, not least Doug Hele (above) and Bert Hopwood who worked on some of the best Norton and Triumph/​BSA bikes of the late sixties —  but management had become bloated with so-​​called experts from outside the industry, with heads full of bile-​​inducing managerial nonsense.

On the other side of the boardroom table sat the Old Guard, who still believed that British was best and that those funny Japanese could jolly well have the small bike market, because they simply couldn’t build big bikes. Well, small capacity they may have been, but the States were importing ten times more Japanese bikes than British, laying down a solid customer base and dealer network. To say that the success of Honda’s advanced, slick and desirable CB750 Four of 1968 came as a surprise would be laughable if it weren’t so pathet­ically tragic.

Americans by now thought of Triumph, BSA and Norton as their own so casual xenophobia held back the inevitable for a certain amount of time. But it couldn’t last. As pressure from the compet­ition grew quality control slipped. Loyal US importers were forced to spend increasing amounts of time correcting faults on British bikes fresh from the shipping crates just to make them fit for sale. Shameful.

The Brits simply hadn’t seen it coming. To say they were complacent is like saying the Ku Klux Klan is mildly provoc­ative. Some would call it criminally negligent to sit on laurels first won in the 1930s.

At its height of British dominance of the Motorcycle industry more than 12,000 people worked at BSA’s main Small Heath factory in Birmingham. It covered 250 acres and housed the biggest motor­cycle manufac­turer in the world. It takes talent to wreck a business like that.

But by 1973 it was all over, the factory levelled soon after. Triumph meanwhile struggled on at Meriden, but a debil­it­ating sickness of misman­agement, ownership changes and union unrest finally killed it in 1983. We should be thankful that the man who bought the Triumph name and manufac­turing rights, John Bloor, has gone on to create a sound company that turns out world-​​class bikes from a state-​​of-​​the-​​art factory. And this is a man who is very switched on to the American market.