Showing posts with label Museums. Show all posts
Showing posts with label Museums. Show all posts

September 28, 2012

2012 MOTORCYCLE CANNONBALL: THE ULTIMATE OLD BIKE TEST

Shot over the Teton Range in Wyoming, official Cannonball photographer Michael Lichter makes me look like a hero!
I've posted the 'wet plate' photos in Oily Rag, written online articles for Cycle World, and will shortly have print stories in MCN and Café Racers (France)... even the roving Vintagent has to make a living...but patient readers of The Vintagent get a different spin on the Motorcycle Cannonball Endurance Rally, an event I entered on a whim last January, well after the cutoff entry date, at the urging of a stranger, over dinner in Las Vegas, during the big motorcycle auction week.  Perhaps the odd circumstance of my Cannonball's genesis was a warning, as some riders spent fully two years preparing their machines for the ultimate Vintage bike test, as the last Cannonball was back in 2010.  After only a month's preparation, my ride was a brief and glorious 4 days through the Rockies -the most scenic roads, actually (read about it here on Cycle World online).
En route to the Tetons; Michael Lichter photo
I covered that first 2010 Cannonball from afar, not having a pre-1916 motorcycle; reliable friends who rode it were unanimous in their tales of difficulty and frequent misery, and the event's demands.  Daily rides of nearly 300 miles on Century-old machines sounded insane, and the Cannonball's premise, a reprise of 'Cannonball' Baker's cross-country forays back in the 'Teens, seemed ludicrous.  Baker's bikes were new when he rode them, when no roads traversed the US, whereas in 2010, the bikes were 100 years old, but the roads billiard-smooth(ish).
The magnificent Grand Tetons, shot in a lucky, and very happy moment, by Michael Lichter
One hundred years later, Baker's challenge was inverted.  Rumors soon circulated of 1915 Harleys gutted for new-and-improved internals; this would be a farcical competition between basically new vs. genuinely old motorcycles.  And so it proved, as stalwart antiquers like Pete Young (1913 Premier) and Shinya Kimura (1915 Indian) spent night after night battling mechanical demons in ugly parking lots, while a cabal of new bike riders adjusted chains for 10 minutes, then retired to the bar for an hour of joviality before retiring to an early bed.  To be sure, there's a place for every kind of motorcycling in The Vintagent's world, but the Cannonball wasn't a level playing field; two very different events ran concurrently - an outrageously difficult old bike tour, and a cross-country jaunt on new machines which looked old.
Geo Roeder tranforming a Panhead valve into a Velocette item...
What shone in the 2010 Cannonball were the riders of Real old machines who finished with perfect (or very high) scores, meaning, they'd conquered the damn thing!  Foremost among them, Brad Wilmarth (1913 Excelsior) and Katrina Boehm (1911 JAP single), deserve a special place in the Old Bike world.  This wasn't a test of a perfect restoration, which granted can involve years of determined parts scrounging and self-education, and it wasn't about rarity or fascinating provenance; none of that mattered in fact.
The very first mile in Newburgh, New York, en route to the Motorcyclepedia Museum
What those riders of genuine machines achieved speaks to very heart of The Vintagent, laid plain on the bottom of every page since the first day in October 2006, "Ride them as the maker intended."  And, having completed (sort of) my own Cannonball in 2012, the importance in this event to my motorcycling values overshadows the years spent as Concours judge and commentator and collector.  While I defend and expand our historical understanding of motorcycles in culture (laid plain in my 'mission statement'), motorcycles as static relics are ultimately dead things; I'm a rider first, and I prefer old motorcycles.
Doug Wothke, who camped with his Indian Scout most of the Cannonball, standing by one of 14 Excelsior-Hendersons entered
Every Old Motorcycle event is important to keeping the global vintage community healthy, but the riding events are the most important; a bike in motion is a live animal, gives its owner unique pleasure, and, because parts break or wear out, riding keeps vital spares in production. It also nourishes that ephemeral body of 'know how', the secrets and tricks which make maintenance easier, and good running possible.
Outside the Harley Davidson Museum in Milwaukee, with a posse of strangersT
The Motorcycle Cannonball Endurance Rally is the most important vintage motorcycle event on the planet.  Free of glamour, free of exclusivity, free even of decent food or coffee, the Cannonball has emerged as the ultimate statement of one's commitment to keeping old bikes alive - 3956 miles of riding the hell out of them.  No other Vintage event comes close; the Cannonball is the 800 pound gorilla of the old bike world, and it has already piqued global interest, with 14 different countries represented this year (South Africa, Japan, England, Ireland, Germany, Italy, Brazil, France, Poland, Australia, New Zealand, Canada, Texas, and the USA).
An exhibit of ghosts in the HD Museum...
In that vein, I have one suggestion for the next Cannonball, if there is one (always a question with old bike events run by individuals...vide the Legend of the Motorcycle show).  Keep the dates and rules the same; ban non-riding mechanics.   I think you know what I mean...
Riding over an 8500' pass into Yellowstone; a fantastic feeling
And how much does the Cannonball really cost?  Here's information you won't get anywhere else; an honest accounting of the expenses and sponsorship for a Cannonball run.
Making valves in the evening twilight...
Team Vintagent is in the USA, so can only speak to domestic entries; I had 3 souls included; myself, van driver/Vintagent manager Debbie Macdonald (who drove to New York and back!), plus Susan McLaughlin, my photographic partner for the 'wet plate' images taken across the country.  I spent ~$4500 completely rebuilding my ca.1930 Velocette KTT, which included parts (mostly from England) and some machine work, although vintage stalwart Fred Mork built my crankshaft without charge, as a sponsor and friend.  Thanks Fred!
Artist Jeff Decker and 'Fass' Mikey Vils
Transporting the Velo from the Vintagent warehouse in San Francisco to New York required 5 days of Debbie's fuel and hotel/meal expenses in my Sprinter van, ~$1600.  From Newburgh onwards, hotel, fuel, and meal expenses for the 17 days came to ~$3500; many meals were provided by sponsors/supporters of the Cannonball across the country, we only occasionally had to buy our own lunch or dinner, while breakfast, if you can call industrial pastries and crap coffee such, was usually gratis in our motel.  Entry to the Cannonball was $1500. Fuel on the return trip across the US was ~$750, one-way plane tickets to NYC from SFO were ~$250 each.
Chris Knoop's Invincible-JAP lost its sidecar (and his wife!) early on...too much strain on the weak Albion gearbox
During the ride, I required skilled hands and facilities to help make repairs, or modify parts.  The first angel was Steve McPhillips of Mac's V-Twin in Newburgh, NY, who helped sort a seized valve on my very first day, and charged nothing.  After another exhaust valve seized, Geo Roeder of Roeder Racing and Service in Monroeville, Ohio made a new inlet and exhaust valve for me on specs given over the phone as we approached the state, barely making it before his closing time.  Geo, a former flat-track racer and second generation champion, worked late on a Friday night to help me out, and didn't charge a penny.  I repaired my cambox using facilities at J&P Cycles in Anamosa, Iowa, with the help of Joe Sparrow and his brothers, who have earned my eternal gratitude, working late in the spirit of goodwill, also without charge.  Finishing my cambox machine work waited until Sturgis, South Dakota, where Lonnie Isam Sr opened the door of his Competition Distributing facilities; we had free access to all his machinery and even lifts, as well as his super-dry and crusty humor.  When I thanked him after rolling my Velo off the lift, he smiled and said, 'Get out.'  Lonnie and his mechanics stayed late for two nights, and charged nobody anything.  Amazing.
Debbie Macdonald, production manager at The Vintagent, and team driver
Totalling up, my expenses were approx. $12,500, and I reckon few could have done it cheaper; I already had the Velo, a van, and volunteer helpers.  One who did it for less was Doug Wothke, who rode his Indian 101 Scout from Alabama, and camped!  Always an option for the hearty, although the temperature did drop to 25 degrees in Yellowstone National Park.
Nice to run into Fritz Simmerlein, of Harleysons MC Germany, at the HD Museum
Who paid for it?  Much was from The Vintagent's pocket.  The photographic expenses (and half our hotel bills, plus my entry fee) were paid by Susan McLaughlin, who saw the value in such a unique photographic opportunity to take the 'wet plate' shots - stay tuned for a print project using our images. I was sponsored $3000 by 'Oily Rag' publisher Douglas Blain, hoping to use the Cannonball to launch interest in the new magazine, of which I'm editor in chief.  Please 'like' Oily Rag on Facebook here, and read it online here - it's good stuff, and most of my 'wet plate' photos are posted there.  Bonhams, my principal sponsor for The Vintagent website, gave $500.  Jared Zaugg at Bench and Loom asked the week before the ride if I needed good boots, and I did; he sent a beautiful pair of Tank Strap boots, which kept the oil off my socks, and didn't give me blisters!  Private White V.C. sent a gorgeous blue-with-copper trim waterproof jacket designed by Nick Ashley, which you can see in the sidebar ad; I didn't need to wear it as my ride was rain-free, but you'll see it on me in the future.  Les Ateliers Ruby provided my carbon-fiber Pavillon helmet; at least my head was swathed in luxury while the rest of me was often freezing over the Rockies!  Eternal gratitude to all my sponsors; I couldn't have done it without you.
Lichter captures the Pickle place...
Another Lichter photo; there's a lot of this across America...
The BMW invasion
Claudio from Italy on his lovely Sunbeam Model 5
Bill Buckingham and Chrys Pereira check over the JD...
Buck Carson on his 21st birthday.  After the piston melted on his BSA sidevalver, Buck pushed his mount across the Golden Gate Bridge; 'no way is my bike going across the bridge in the van!'  
Angel #2 Geo Roeder as a cutout...
The source of all my trouble...

I spent my 50th birthday in this exotic locale in Iowa...

Mike Wild on his Rudge
After a night of wrenching, the Rum.  Note 'Kum and Go' shorts....that's actually the name of a Gas station chain; amazing, had to have 'em.
Sean Duggan with morning coffee...
Team Vintagent/Oily Rag, stopped for milkshakes, somewhere in rural Pennsylvania
Shinya and Ayu
Shinya's 1915 Indian
Lots of soybeans across America... 
Angel #1 Steve McPhillips
Hilarious trailer of 'The Ochos'; Spanglish Cali nonsense...
South Dakota vignette...

Waiting for the morning's timed start; each class had a specific check-in time

The remarkably reliable 1913 Excelsior...

Brad Wilmarth, with his 1913 Excelsior, with which he's won both Cannonballs.  Brad is the Cannonball King.




December 15, 2011

GRAYSON PERRY AT THE BRITISH MUSEUM

The 'Kenilworth AM1' in the British Museum atrium
To the pantheon of gender-bending motorcyclists - the infamous, notorious, or hidden - we must add Grayson Perry, multi-talented artist, transvestite, Turner Prize winner, and dedicated biker.  I was lucky to catch Perry's show at the British Museum in London last week, 'Tomb of the Unknown Craftsman', and began smiling the moment I spotted the 'Kenilworth AM1', his custom Harley-Davidson Knucklehead, at the head of the grand curved staircase in the museum's atrium.
Grayson Perry with his H-D Knucklehead-based custom motorcycle
The smile never left; Perry's exhibit of selected Museum artifacts beside his sculptures, paintings, and quilts, weaves a thread of humor and unexpected meaning between the old and new artworks, as if all art ever created were, in his words, "the material culture of a bohemian diaspora, a global tribe whose merchants and witch doctors bartered with a wider population by selling artefacts invested with a special quality; the quality of art."
'Humility' and an air-cleaner wing-nut of Alan Measles' head
The 'Kenilworth AM1' is Perry's two-wheeled 'popemobile', a performance-art prop created to carry Alan Measles (Perry's 50 year old teddy bear/muse/alter ego/totem) on a pilgrimage to Germany, in a glass-sided reliquary mounted, naturally, on the 'sissy bar' of his custom Harley.  The AM1 is built and painted up much like Perry's trademark 'drag' outfits, using highly saturated colors and shapes reminiscent of 'Outsider' art.  The elongated pink-and-blue petrol tank is painted either side with 'humility' and 'patience', which Perry notes are the "opposite of rocker lifestyle texts."
'Patience' and 'Doubt'...
With a matched riding suit of bright yellow boots, an outrageous lavender Peter-Pan-collar jumpsuit, and spring-green helmet, Perry's riding ensemble creates a motorcycling image which borrows nothing from anyone or anything...there's simply nobody else on the road with the cojones to wear THAT outfit while riding THAT bike.  While custom shops, tattoo parlors, and clothing outlets are busy selling 'individuality', Perry has taken a brave and lonely path, to BE an individual.
Perry at a fair in Germany; the country was chosen for his 'pilgrimage' to atone for years of childhood fantasies casting Germans as evil enemies...
"One fact that every transvestite has to come to terms with is that a person dressed up in the clothes of the opposite sex is somehow inherently funny. I feel it has profoundly shaped my own outlook on life. I regard humour as an important and necessary aspect of art."  Grayson Perry explores, via humor and an 'innocent' surrogate, a whole range of difficult subjects; religion, violence, sexual politics, poverty, and the encroaching i-vapidity of our gadget-dominated culture.
Leather Alan Measles-head saddle, with 'Chastity' logo
Perry began as an art-world 'outsider' himself, as a self-described 'transvestite potter' and unlikely candidate for the prestigious Turner Prize; ceramics have rarely been considered worthy of inclusion in major museums, and like motorcycles, are dismissed as 'craft'. While Perry honed his skills as a ceramicist, he explored deliberately provocative imagery with his glazes, and gained a following for the brilliance of this juxtaposition - difficult subject matter with masterful craftsmanship.
Perry and his 'Cerne Abbas' leathers (Chris Scott photo)
Grayson Perry has always been motorcyclist; "I’ve never owned a car. I love motorbikes. I’ve got a Harley, which is perfect for summer when you want to go slow, pose and enjoy the scenery, and a KTM, which is brilliant for getting from A to B fast when it’s wet and cold and you want to feel safe. In 1989 my wife Philippa bought me a set of motorbike leathers – the first thing I ever had made for me. I designed them to be like the Cerne Abbas giant [see link - ed]. I used to wear them to art openings so I could go there on the bike but still feel dressed up.... Motorbikes aren’t manly. Look at mine. If a bloke has to prove his machismo with a motorbike, then he isn’t very macho.”"
Perry as his alter-ego 'Claire', his folk-art outfit, and a Kalashnikov...
Motorcycling, masculinity, and a therapeutic exploration of his childhood (Perry's wife Philippa is, incidentally, a psychotherapist) are clues to Perry's art at the British Museum.  His father, who left while Perry was very young, was an engineer and masculine amateur wrestler, and a biker. After he left, young Perry's teddy bear - Alan Measles, a gift on his first birthday - became a complex and psychologically loaded fantasy figure, the centerpiece of his play, the hero all his masculine fantasies; undefeated race car driver, fighter pilot, war hero.  The tour de force of Perry's new art is the elevation of Measles to the status of a God-in-the-Making, the centerpiece of a new cult, a future Deity to an uncreated religion.  The childhood stories of the bear's battles, injuries, and ultimate triumphs, have been transformed into a narrative arc of a fictional Prophet Hero, an immediately sympathetic character (who doesn't love a teddy bear?) imbued with the magical realism of childhood - that combination of keen observation with fantastic invention.

An early sketch of the 'AM1', taken from the exhibition catalog, available from the British Museum
The 'Kenilworth AM1' was sketched out by Perry, and built by 'chopper shop' Battistini's UK (who, curiously, don't claim credit for their work online, but do link to the exhibit in their blog); the project builders were Nigel Green, Anthony Foy, Adam Smith, Alan Smith, Dan Smith, and Tom Fuller.
'Pedestrian slicer' sculpture of Alan Measles as pilgrim on horseback
Note the stylized stainless steel 'Brooklands can' exhaust

'The Tomb of the Unknown Craftsman' runs through Feb. 19, 2011

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