Blue Skies from Pain

What is it like to ride here? I never quite know what to say. Because, you see, it is so distinct, and at the same time it is more about a feeling than about the landscape or the weather or the road conditions. If I close my eyes and try to evoke the experience of it, the thing that comes to mind is tunnels. The winding narrow farm roads with their tall hedges form a mazeat the edge of the Sperrin mountains, and navigating through it - always climbing or descending, always either going around a bend or just about to - is a unique form of meditation.There is a pressure and an intense concentration to it, and at the same time a release and a complete lack of focus.




The back roads here have some peculiarities, and one of them is the reverse dip. The road is convex, with the center forming a ridge and the sides sloping down toward the gutters. I have heard several explanations for why this is so. One is that the roads were made this way to begin with, to facilitate drainage. Another is that heavy farm machinery has deformed the surface over the years. Whatever the reason, one soon learns to keep off that central ridge - in particular while descending. The ridge is wide enough for a tire, but there is something wrong there - a slickness, or maybe some Twilight Zone force - that makes the bike behave unpredictably should you allow it to drift to the center of the road while cornering sloppily. This adds an extra layer of excitement to the already wild descents.






One of the things I love about Northern Ireland is the weather. People laugh when I tell them this, but I am not joking. Both physically and mentally I thrive in these damp, chilly, overcast conditions, under these temperamental skies. When I cycle over the mountain with the dark clouds so low I can almost touch them, and the mist so palpable the moisture gathers on my face, I can feel my mind emptied and my emotional palate cleansed and my limbs gone weightless and free. The road and I dip and rise and twist together, maybe even breathe together.Everything is at peace with everything else as I float, painlessly, through and over and under it all.None of this happens in the sunshine. It just doesn't. And so on warm sunny days I will, more likely than not, have a rest from the bike.




Yesterday was such a day, and in the morning I was walking home along a footpath through a wheat field at the back of the village. In the distance a tractor circled. Moving slowly and with an air of purpose, it gobbled up loose piles of hay, spitting out perfect round bales. The farmer was literally making hay while the sun shone, and maybe it was the scorching 20°C heat gone to my head after a week of bleak winter weather, but this realisation hit me so profoundly that I had to sit down to really take it in. I leaned my back against one of the hay bales, which was heavy and enormous and rough-textured. Then I went on a mountain bike ride through the forest, seeking shade and that soothing feeling I get from a place where everything is covered in moss.




On an overcast day, sometimes the sky will be dark down low, with patches of bright blue peeking out up higher. One afternoon I was pedaling up a tedious climb through a tunnel-like road and, about 6 miles in, just when I thought it was over I went around yet another bend only to find that the pitch grew steeper still. As I felt the intense pain in my legs, I looked up over the wall-like hedge and was blinded by a bright cerulean opening in the cloud cover. A light at the end of the tunnel.

Thoughts on Lugs, Then and Now

Those who love lugged steel bicycles arrive to that preference in one of several ways. Often they grew up with lugged steel. The look or concept of it either holds sentimental value or represents quality. Perhaps their dream bike - the one they'd see in the bike shop window every day on their way home from school- had distinct lugwork. Or else lugs are incorporated into a "they don't make'm like they used to" narrative. On the other hand, a person entirely new to bicycles might simply decide they like lugs - either for aesthetic reasons or perceived functional ones.




With me it was definitely the latter. I was born in 1979. The bikes of my youth looked like this. And as far as shop windows... Well, come to think of it, I don't even remember any bike shops around when I was growing up; bikes came from department stores.




I am trying to remember how I even learned what lugs were. I certainly did not know about them when I first got into cycling as an adult. Neither did I have an ingrained preference as far as frame material. Before I bought my first grownup bike, I rode a rentedaluminum hybridin Austria - which, frankly, I thought looked kind of nice. But it rode a little harshly, and when I mentioned this to the man at the rental place he advised that I buy steel - giving me a long, expert-sounding lecture about the benefits of steel over aluminum. This was among the things that sent me in that direction.




Fast forward a bit, and I remember standing at the Belmont Wheelworks bike shop, looking at a collection of hand-cut Peter Mooney lugs through the glass counterpane. Peter Mooney was the first custom framebuilder whose bicycles I saw in person, as well as the first builder whom I would meet face to face. I knew that the filigreed objects he made were those sleeve things I'd seen on some bicycles' joints. "Those are beautiful," I said. "Yeah, Peter makes his own lugs," replied the person at the counter. And I think that's how I learned what they were called.




So I went home and looked it up online. Until that point, the artist in me thought the sleeve things looked beautiful, but I had assumed they were entirely decorative - much like embellishments on furniture and porch railings. Now reading about them, I understood that they served as frame joints and were inherent to the frame's construction. I also found many articles and posts expressing the opinion that this lugged construction was "better" (stronger, more receptive to repair, requiring more skillful execution) than other kinds. This was even before I stumbled upon Rivendell(although it set the stage for Rivendell's appeal); this was coming from individual framebuilders and from vintage bike collectors, of whom I soon came to know a few personally. The argument seemed logical enough: Modern bikes, like everything else that's made now, were fragile and disposable. The traditional method was meant to last.And what made me particularly receptive to this argument was visiting bike shops and trying the different city bikes that were available at the time. The bikes that felt uncomfortable or seemed poorly made, happened to be welded.




This is all simplified of course. But it's not an inaccurate summary of how my preference for lugged steel came about. It wasn't a perspective I brought with me to the blog. But it developedpretty quickly within the first year of it.




Interestingly enough, the first stages of its unraveling had to do with aesthetics. I liked looking at bikes and spent a lot of time doing it, studying frames from different eras and different builders. I also live in an area where handbuilt lugged steel bikes are plentiful, which gave me in-person access to a lot of the custom work. One thing I began to notice, was that lugs and their various relations (fork crowns, reinforcer plates, dropout sockets, and the like) gave bicycle frames a certain aesthetic uniformity. Most framebuilders do not make their own lugs but purchase pre-fabricated sets, and there aren't many of those to choose from. And while some builders modify existing lugs to the point that the originals are not recognisable, most do not. Because of its visual distinctness, lugwork has a strong influence over a bicycle frame's aesthetic. And the more frames I looked at, the more I started to feel that the same generic details were dominating many framebuilds' work. I began to question what it was that I was actually appreciating: the creativity, the craftsmanship, or the pleasing shape of a $1 reinforcer plate? With fillet brazed and TIG welded frames I may not have cared for the look of the joints, but had to admit that the work seemed less constricted by pre-fabricated parts.




Around the same time that my thoughts started to flow in this direction, I began to encounter an increasing number of modern, well-made bikes that were not lugged and, in some cases, not steel. Demoingthe aluminum Urbana bike had a big effect on me. This excellent machine was nothing like the half-heartedly made bikes I'd grown weary of seeing in bike shops, despite using similar construction methods.The same could be said of the Paper BikeandPilenI tried soon thereafter, not to mention custom welded bikes by ANT, Geekhouse and Seven. The association I'd formed between construction methods and quality had been erroneous. The flimsy bikes I disliked were such because they were made and assembled poorly, not because they were welded.I still preferred the look of lugs, particularly unique lugs. But my appreciation for the other methods of frame construction grew.




The growth continued as I developed closer relationships with a handful of local builders and began to better understand their methods. With this, my sense of aesthetics shifted. When looking at a bicycle frame's joint, I now see it as an embodiment of the work and creativity that making it involved, of the opportunities and limitations that were created by the chosen method of construction. This does not so much overshadow the look, as it gives meaning to the look. And meaning informs our subjective judgments of beauty.




Having now tried my own hand at building a bicycle frame, my thoughts on lugs have gone through yet another iteration. When asked what I think of them, what comes to mind is that I appreciate them making brazing easier. I don't appreciate how time consuming they are to work with and the limitations they place on frame geometry. That reasoning is entirely devoid of aesthetic sentiment, which worries me a bit. I don't want to stop "seeing." And I don't think that I will; more likely I am just a little tired now, and still overwhelmed from having gone through the process so intensely and quickly.




I remember how, after welding two bits of steel together myself, I tried to pry them apart a couple of minutes later. The strength of the connection took me by surprise. It felt like fusion (which, of course, it was), whereas a similar joint, when brazed, felt more like it held together with very strong glue. This doesn't necessarily mean anything, I know. But I would like to learn more, and I would like to learn it firsthand.




Indifferent is a negative word, so I would not say I am now indifferent to lugs.I like lugs, particularly unique ones.One of my crazy dreams is to design and cast a lugset of my own some day. Until then... I sort of like it all, lugs included.

A Subtle Surprise: Brooks Cambium C-17

Earlier this year Brooks surprised their fans by announcing the release of a non-leather saddle: theCambium C-17. Selected to be one of the beta-testers, I must have been in the very last wave of recipients, because the saddles have been out for months now and mine arrived only last week. About to head back to Ireland, I threw it in a suitcase and, after several days of jetlag, have now finally managed to get a good look. I have not tried the Cambium on a bike yet, but wanted to post some shots and first impressions, figuring many of you are as curious as I was. And there is good reason to be curious: The Cambium is quite a departure for Brooks of England - a storied manufacturer whose very claim to fame is its leather saddles.






As Brook describes it, the Cambium C-17 is made "from vulcanized natural rubber and organic cotton enhanced by a thin layer of structural textile for added resilience." Considering this is a bike saddle, I'd assumed the fabric would be treated with something to make the surface smooth. But the surface has a distinct texture to it similar to that of artist's canvas or some types of denim. While it's been treated for stiffness and waterproofing, there remains a bit of tooth to it. For that reason I have to admit, I am reluctant to try this saddle with lycra cycling shorts - which can be delicate and abrasion-prone in the seat area. But I'll do it, and will let you know how it goes.






As far as looks, the one word that comes to mind in describing the Cambium is "subtle." This is a minimalist, low key saddle, not an ostentatious one. The colour of the cloth is half way between gray and taupe. In person, it can look either charcoal gray, ashy brown or even mauve, depending on what it's placed next to. This is rather nice, in the sense that it will match pretty much any bike. The brooks logo is stamped tone on tone into the rear of the undercarriage and is only noticeable close-up. The metal bits are matte, almost dull. The overall shape is somewhere between a Brooks B-17 and an '80s style vinyl racing saddle.




While the Cambium's "C-17" label suggests it has the same dimensions as the B-17 touring saddle, this is not the case: The C-17 is narrower (162mm across, compared to the B-17's 175mm), longer (283mm, compared to the B-17's 275mm), and has less height to it (52mm, compared to the B-17's 65mm). The Cambium should be suitable for a more aggressive bike position than the B-17. The weight of the Cambium is 415g (compared to 520g of the standard B-17). The ladies' version - the C-17S - is the same as the C17 in every way, except 18mm shorter and 10g lighter.






I did not receive any special insight into the Cambium's construction from Brooks, so I am just describing what I see. It looks like the undercarriage is modular, similar to Berthoud, with (rivet-shaped) screws instead of rivets.






The matte metal resembles titanium, but it is not labeled or described as such, so I assume it is cro-moly.






Stamped "natural rubber vulcanized in Italy," the saddle is extremely flexible - I can easily bend and twist it with my hands. I imagine Brooks was trying to replicate the hammocking/ suspension qualities inherent to their leather saddles, and this was the solution they came up with. I am eager to experience the feel of this on a bike - especially on bumpy roads, chipseal and gravel.





The surface layer of cotton fabric is cut to form and glued onto the rubber. While the construction looks to be top notch, one potential problem I can see, is that over time the edges might begin to lift. Only long term use can determine whether this proves to be the case.



As I see it, the potential appeal of this saddle is two-fold: Those who do not use leather for ethical reasons will welcome a non-leather option from Brooks. And those who dislike how much Brooks leather saddles change shape over time might prefer the stability of the Cambium's construction.It is also interesting how Brooks went with natural, rather than synthetic materials in constructing this saddle, in keeping with its usual aesthetics. The C-17 will look good on a wide range of bikes, classic and modern.



Well, that is all for now. I am going to try this saddle on a semi-upright pathrace-style bike, then on my roadbike, and report back in a couple of weeks. If you have any questions in the meantime about the construction, shape or aesthetics, feel free to ask. In fairness to Brooks, I would like to note that I was not asked to write about the saddle on this blog or to publicise it in any way; my role as a beta-tester involves only private feedback. I believe the Cambium C-17 and C-17S will be available for sale in September, as a limited edition release. You can see its full specs, as well as read feedback from those who were in the earlier waves of testers, here.

The End is Here!

Well, not the end, as in the end of the world, but rather the end of the Genea-Bloggers Games! It has been a challenging two weeks but worth every broken fingernail and every sore muscle, as well as all of the sleepless nights. LOL. In my book, each and every participant is a winner! It was interesting to me to see how each individual approached their tasks and how they were accomplished. Along the way I picked up a few ideas that can be incorporated into my research and organizational plans. Thank you very much.

A special "Thank You" and "Congratulations" goes out to the organizing committee consisting of Miriam Midkiff, Kathryn M. Doyle, and Thomas MacEntee. In addition, footnoteMaven is also to be commended for providing the logo and for creating the "medals" that will be awarded during the Closing Ceremonies.

My original goals for the games did not list each specific task to be accomplished but my intent was to compete in each category. (Retirement is Great!) So, how did I do? Quite well, thank you!

1. Go Back and Cite Your Sources! Bronze Medal.
This category is the weakest link in my research. Back in the "early days" when I first started using a program to record family information there was no sourcing option, so all of my source information was put in notes. I know where (most of) the information came from, it just isn't in the proper format. As I migrated to more modern software I never took the time to add proper source citations. I haven't downloaded the new version of Legacy yet but I understand their source writer will make the job easier and help maintain consistency. Anyway, bottom line is that yesterday I entered 15 or so "proper" citations in my database earning a bronze medal.

2. Back Up Your Data! The committee will have to determine the medal count for this category as tasks A and C were in place prior to the beginning of the competition.
A. Prepare a comprehensive backup plan for your digital research files and a security plan for your hard copies and photos. [Third Update]
B. Secure your hard copies and photos in waterproof containers. - I purchased several plastic totes and have put the "most important" documents and photos in them. I don't know how "waterproof" these containers are - I'm sure that they would fill up with water if completely covered. But they are certainly better than the cardboard "bankers boxes" that I have been using. It simply isn't feasible to store "everything" (20+ years of research) in plastic containers.
C. Backup all your data using a flash drive, an external drive, CDs, DVDs, or an online resource. [Third Update]

3. Organize Your Research! Platinum Medal.
A. Organize at least 20 hard files or ancestral items. [Fifth Update]
B. Organize at least 20 digital files into folders, add metadata, etc. [Fourth Update]
C. Organize at least 20 photos into photo albums, protective holders, boxes, etc. [First Day]
D. Organize at least 20 digital photos into folders, add metadata, etc. [Fifth Update]
E. Create at least 20 data entries in your database, or scan 20 photos, or scan 20 documents. [Third Update]
F. Create a master list of your files and notify your family members of where it is stored. Not completed - added to my "to do" list.

4. Write, Write, Write! Diamond Medal.
A. Write a summary of what your blog is about and post it on your blog. [First Day - What's it all about?]
B. Participate in a genealogy or family history related blog carnival. [Third Update - Say What? submitted to COG 54]
C. Prepare several posts in draft mode and pre-publish. [Fourth Update]
E. Sign up to host a future carnival. I will be hosting the October edition of Smile for the Camera.

5. Reach Out & Perform Genealogical Acts of Kindness! Platinum Medal.
A. Comment on a new (to you) genea-blog. [Second Update]
B. Join another genea-blogger’s blog network on Facebook Blog Networks. [Second Update]
C. Invite other genealogists to join Facebook. [Fourth Update]
D. Assist another researcher with a research request or lookup. [Third Update]
E. Participate in an indexing project. [Second Update]
F. Join a genealogical, historical, heritage or lineage society. [Third Update]

A Symbol of My Heritage

Stay tuned for the Closing Ceremonies to be posted by Thomas on Monday, August 25th, at Destination: Austin Family.

Sadness

On an incredibly somber note, the Seattle climbing community and Mount Rainier climbing program were rocked this week with the loss of a very close friend. While warming up for larger climbs in the Alaska Range, our friend fell to her death descending Mount Wake. At this time, we're withholding many of details until her husband can be notified. The press has picked up on the accident, as have many of the chat rooms (ST, CC); all are honoring the request for privacy until proper notification can be made. I'll post more information about the incident and this incredible person when the time is right. Here is picture of Mt. Wake provided by Mark Westman.

What happened to the Camp Muir Webcam?

April 14,

The webcam hasn't worked since a fateful day in late November.

I have it in my office in Longmire. I went up about two months ago with all the tools to fix it, but I was unable to make field repairs, so I dismantled it and brought it down the hill.

I have been able to connect to the on-board server, but the image doesn't come up in the admin tool. I will delegate this repair to one of the climbing rangers over the next few weeks. If we can't repair or make an easy adjustment, then we'll have to order a new one.

How did it get broken? Well, reports have come in from various places, but it appears that the webcam has been consistently been taking a good beating. Not by weather, but by people, well-meaning people, to be more exact. The webcam during storms gets rimed up and it obscures the view. It may stay like this for days. So when avid viewers are actually at Camp Muir and in a position to "fix" the rime on the camera, they either hit or scrape the rime off the camera.

The marks on the camera's protective dome seem to corroborate the circumstantial evidence and the hear-say. It definitely looks like dome has taken some pretty heavy blows with a sharp object.

It will still be a month or more until I can get it working again.

Sorry for the delay.

Speed, Lugs and Jewel Tones: a JRJ Grass Racer

Still active today, Bob Jackson Cycles are a British builder of classic steel bicycles that is well known around the world. Less commonly known is the name JRJ Cycles that preceded it. Bob (John Robert) Jackson began building bicycle frames in Leeds, England, in 1935, offering track and road racing (time trial) models. Part of Chris Sharp's collection, this particular bike is a 1950s grass track racer that once belonged to Leslie White of the Maryland Wheelers near Belfast. The owner raced it into the late 1960s, achieving numerous victories in Northern Ireland. He then hung it up, and the bike remained untouched for over 4 decades. Today it is preserved in as-raced condition.






The JRJ name, headbadge and transfers were used exclusively until the 1960s, and still appeared into the 1980s after the switch to "Bob Jackson."






The transfers included renderings of olympic rings, the full name on the downtube reading "JRJ Olympic Cycles." As with other English "lightweight" manufacturers of that time, there was a strong emphasis on performance and competition, which explains the olympic imagery. "Always first at the finish!" was the JRJ Cycles' slogan on advertisements from the 1950s.






Traditionally, English racing frames from this era tended to be painted in saturated, jewel-like tones, known as a "flamboyant" finish. Not quite the same as pearlescent paint, the flamboyant colours are foil-like, resembling the look of candy wrappers. Bob Jackson had his favourite signature shades, including the red and blue on this bike. The blue leans toward seafoam, and the red is a raspberry-like crimson.






White lining around the lugs and fork crown highlights the elaborate shorelines.





The bottom bracket lugs are especially interesting - there appears to be a reinforced lug of sorts connecting the chainstays to the bottom bracket.






The frame is Reynolds 531 tubing.





Though it has not been ridden in decades, the large shimmery machine is so marked by care and wear, that it feels alive with the owner's presence and energy. Seeing it leaned against the hedge on a rainy morning, I can't help but imagine the tall, powerful youth Leslie White must have been - his back stretched flat across the 58cm frame, his hands gripping the deep track drops, his legs pushing the monstrous gear in an all-out effort around a grass track.





Grass track racing is an interesting tradition in the British Isles. In an earlier post, I mentioned how a ban on road racing from the 1890s through the 1950s led to the invention of time trials. The ban also explains the emphasis on track cycling in the UK and Ireland: Races on enclosed courses were the only kind officially permitted during this time. The grass tracks were similar to velodromes in that they were oval. However, the surface was not banked. Often the track was a multi-use field, temporarily set up for the race.Grass track racing is still done in the UK today, its popularity revived in recent years. At a grass-roots/ community level, a race like this can be organised fairly easily, wherever a flat playing field is available.






The style of races held was similar to those on the velodrome, and the bikes were fixed gear machines with track style fork-ends.






Typically the fork crown was drilled for a front brake: The rider would remove it upon arrival to the race. The tires were of course tubulars - "sew ups." Too deteriorated to hold air, the ones on this bike are original.






Also original are all the other components. Most notable among these are the English-made Chater Lea crankset and hubs, quite rare now.






The Chater Lea pedals are fitted with Brooks toe clips and leather straps.





I can make out a faint Brooks stamp on the side of the saddle, but not which model it is. The saddle is long and very narrow - measuring just over 120mm across at the widest part.







The stem and handlebars are stamped with what looks like Cinelli; I did not want to disturb the patina by cleaning up the inscription.





When talking to Chris Sharp about the JRJ, I asked whether he plans to make it ridable. He has many vintage bikes, some of them quite old and storied, and he does not shy away from using them. But Leslie White's grass racer, he wants to preserve the way it is. Having met the bike's original owner, part of it is wanting to honor him. But part of it also is the history. In person, standing near this bike and touching it... There is just something so incredibly alive and exciting about how freshly used everything looks.I can readily imagine it all: a grassy field, a gray sky, a crowd of locals gathered to watch, and the riders - a blur of jewel tones against the overcast country landscape.

Wild Flowers in the Mountains

I hope I am correct on these names. Purple is Bee Balm, then a type of ragweed, cat tails both a new green one and a dryed one, black-eyed-susans on the fence and later with grasshopper on it, small white is Queen Anne's Lace, larger white is bind weed (wild morning glory),

purple thisle (a new one and one that is fully open), milk weed seedpot, and a cone flower.

After the Heat Wave

With July's heat wave becoming a memory, we look forward to cooler temps on the upper mountain. Freezing levels have dropped back down to ~12,000 feet. Check out the Route Conditions on your intended climb for updated reports.

Bull Skull

Yard Birds

There has been a flurry of activity at my bird feeders the past two days. The pine grosbeaks showed up yesterday and today they were joined by some blue jays. The blue jays always make such a racket when they are around. There were 6 of them in the big pine tree out in front of my house, but you would have sworn there were 3 times that many by how much noise they were making. The birds hung around for most of the afternoon, and I spent about an hour shooting images of them with my telephoto lens. I have also had flying squirrels at my feeders just about every night, but strangely there have not been very many "regular" ground squirrels at my feeders this winter.