Posts Tagged ‘Motorcycles’

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

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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.

Deus Ex Machina

Friday, November 26th, 2010

We have shared the love of Deus before. But the Sydneyside temple of bike and surf culture (taking in two of our passions in a fell swoop of cool), continues to impress with the quality of their vision and output.

Fresh news from down under is their beautiful book, which draws in the lovingly crafted pictures, illos and textures of a world of mechanical (and not so mechanical) pleasures.

Please, santa. I’ll be a good boy, honest.

But even if buying cool bike books is not your bag, it’s worth a visit to lust after the amazing bikes, surfboards and cycles they stock. They manage, somehow to join the dots between the appar­ently disparate worlds of motor­cycling, sliding sideways across the sea and spinning the cranks — something we have under­stood for a while.

It’s all about movement, after all…

It's Better in the Wind: 2011 Film Teaser

Thursday, November 18th, 2010

Had word from stateside photo­grapher Scott Toepfer this week. Scott tells us that he is working on a 2011 release for a short film related to http://www.itsbetterinthewind.com/, his inspir­a­tional photo project.

As Scott says: getting out there, away from the computer is what it’s all about. Stay tuned to the blog and MAKE IT HAPPEN!

Bike Crush No 1: Vincent Black Lightning

Monday, November 15th, 2010

When you look closely at this bike, it gets only more beautiful. There’s something in the combin­ation of chrome and dark steel; something about its exposed machinery — that tugs at the emotions.

We can’t claim to be experts on the Vincent HRD brand, but you can bet we are fully paid up, card-​​carrying devotees of its looks.

Apparently the Black lightning, all stretched out straightline form, magnesium alloy elements and such, achieved a Land Speed Record at Bonneville, piloted by Rollei Free (that’s Rollei stretched out in his trunks in the gallery). You can read about the details here.

But with a vehicle like this, it’s not about the statistics. It’s about the soul.

Look at the bearded fellah in the gallery above deep in the eyes. You can see what this machine means to him. it’s not about the sum total of pistons and pushrods, it’s about the emotions that are stirred up in the rider; it’s about the exper­i­ences that are shored up by riding a machine of such passionate design; it’s about something transcendent, something life-​​affirming in a thing made by human hands for consumption of the human heart.

If looking at this beautiful bike won’t brighten up your monday, then nothing will.

Norton Rebranded

Monday, November 8th, 2010

Twitter sometime shores up some inter­esting points. This morning came the news from Creative Review that London agency Carter Wong have under­taken the awesome challenge of rebranding totemic bike company Norton. And we like what we see.

James Lansdowne Norton, when founding the company in 1898, also appar­ently designed the inaugural logo, wth the help of his daughter. There’s been a steady evolution in the brand’s curvy niceness as you can see below. We think the new logo is working.

The two ‘o’s had an element of speed to them, both leaning at an angle to create this illusion,” agency head Phil Carter told Creative Review recently, of the original logo. “It was only after manip­u­lating these shapes that the correct amount of motion was achieved by turning the counters only – the inside shapes – rather than the whole letterform. By doing this we created the element of tension as in the original, just where these ‘tyres’ would touch the surface.”

Carter Wong were aided in the redesign of the identity by master typographer Geoff Halpin.

On a project such as this, looking back is always a sound place to start moving forward, and this proved a true revel­ation to us on a number of scores,” Carter went on. “The first was our initial idea of doing away with the double crossing of the “t” as we thought that the one provided by the dynamic swoosh should prove sufficient.”

The bike looks pretty cool, too, eh?


Grayson Perry Goes Biking!

Wednesday, November 3rd, 2010

Looking like something that might have been ridden by Penelope Pitstop gone bike crazy crossed with Chitty Chitty Bang Bang, the nine-​​and-​​a-​​half foot long bike commis­sioned by artist Grayson Perry is a sight to behold.

And it was on this highly modded ‘Kenilworth AM1 that the contro­versial Turner Prize winning artist recently took his childhood teddy bear ‘Alan Measles’ on a tour of the Europe of his child’s imagain­ation – via the Nordschleif of the ‘ring of course.

Whether or not you dig Grayson’s vaguely ironic brand of art — you’ve got to admire the man’s neck.

Listen to the details of artist, Bike and creation at the BBC.