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1930 RUDGE RACER

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A picture full of appeal; Vintage-era racing bikes are light and purposeful.

Manuel Parra of Spain sent photos of his just-completed restoration of a 1930 'TT' Rudge, which was originally raced in France under pilot Ric Felix Llamdo.  A French collector owned it for many years, and began the process of restoration, and on his death, Manuel purchased the Rudge, and finished the job.  There are quite a few unique features on the racer, added no doubt by the Llamdo during the course of his racing career, including the very FN-like 'pistol grip' fuel tank, and French tachometer and control levers.
The Rudge 4-valve pushrod engine; note ingenious method of opening two valves with a single pushrod.  The near-side rocker opens the far-side valve via a 'rocker arm' across the top of the cylinder head.  Simple and durable, as smaller valves need lighter springs, with consequently less load on the valve train.
The Rudge 'Ulster' was the top of the range model from Rudge's hottest years on the track; they dominated the Isle of Man TT in 1930, after many years battling with Sunbeam and Norton for supremacy.  Sunbeam had already won their last TT in 1929, taking first and second place in the Senior TT under Charlie Dodson and and Alec Bennett...while Rudge, Norton, Velocette, DOT, Cotton, and Montgomery filled the Top 10 that year, a veritable poem to a lost British motorcycle industry, once world-dominating, now largely forgotten.   In 1930, Rudge engineer George Hicks redesigned their signature four-valve cylinder head for more power, which worked well enough to relegate Jimmy Simpson on his Arthur Carroll-designed Norton, and Charlie Dodson on his Sunbeam, to third and fourth places.
Graham Walker after his second place the 1930 Isle of Man TT, having a well-deserved smoke!
Little did they all know in 1930 that the Isle of Man TT, the toughest and most prestigious road race in the world, would never again see a pushrod-engined machine win the prestigious 'Senior' race.  By the 1931 TT, Norton had sorted out their engine and chassis issues with the new 'Carroll' OHC motor, which would dominate racing for the next two decades, as the 'International', then the 'Manx Grand Prix', and finally, simply the 'Manx'.
Wonderful hand-numbered tachometer, which Manuel wisely kept 'as found'
The Rudge 'Ulster' and later 'TT Replica' models were still potent racers, taking many firsts in European road racing for years to come, and

Manuel included 'before' and 'after' photos...and isn't it a pity the machine couldn't be kept in the 'before' state?  Hard won racing patina is a mighty sexy finish...


ROBERT HUGHES: ART CRITIC, MOTORCYCLIST

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Art critic Robert Hughes in 1986
A champion of Motorcycling has died after a long illness; Robert Hughes, creator/host of the 'Shock of the New' television series and long-time art critic for Time magazine.  While artists and public television watchers knew Hughes for his acerbic opinions on art and artists (he once described the work of Jeff Koons as "so overexposed it loses nothing in reproduction and gains nothing in the original"), he was also a motorcycle fan.  More importantly, he was the most visible and well-known art critic to defend the inclusion of motorcycles in the Guggenheim Museum, at the 'Art of the Motorcycle' show.
Robert Hughes with the Honda CB750 he mentions in his infamous Time magazine review of the 'Art of the Motorcycle' exhibit at the Guggenheim Museum (photo -w/notes- from the Duluth Art Institue blog).  And isn't that jacket something!
The most famous art critic in the world 'came out' as an avid motorcyclist in his Aug 18, 1998 column in Timemagazine, 'Art: Going Out on the Edge':
"The fact that the great spiral of New York City's Solomon R. Guggenheim Museum is at present full of motorcycles has annoyed some critics. Not this one. If the Museum of Modern Art can hang a helicopter from its ceiling, why can't the Guggenheim show bikes? "The Art of the Motorcycle" may seem an opportunistic title until you actually see the things. Design is design, a fit subject for museum consideration, and in any case I'd rather look at a rampful of glittering dream machines than any number of tasteful Scandinavian vases or floppy fiber art."
Cliff Vaughs' 'Captain America' chopper, called by Hughes '...a distinctive form of American folk art."
The article laments the inclusion of only a single 'custom' motorcycle in the 'Art of the Motorcycle' show; the 'Captain America' chopper designed by Cliff Vaughs for the film 'Easy Rider': "...everything in [the show] is stock, so that it ignores the creative ingenuity that has gone into making the custom bike one of the distinctive forms of American folk art."
Of course, the international explosion of Custom motorcycles since this 1998 article has merely reinforced Hughes' opinion on their importance at the 'art' end of the motorcycle spectrum.
Robert Hughes in his motorcycling days, ca.1972
Hughes wrote of owning two Norton Commandos before moving on to Honda CB750s in the early 1970s, and to having a bad accident on a Kawasaki, which ended his biking career.  A fascinating and controversial writer, he drew from a deep reservoir of historical knowledge to support his arguments, whether or not you agreed with them.  More important to The Vintagent, that seminal Time article championing Motorcycles was read by millions, far more than than were able to attend the Guggenheim show itself, and helped usher a sea change in public opinion about bikes, as worthy subjects of study and exhibition.

For Hughes' obituary in the New York Times, click here.
For a selection of his scathing art criticism, click here.

'OLD BILL'

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'Old Bill' as she sits today
HandH Classics in England have secured the rights to sell 'Old Bill', the second most famous Brough Superior of all (the first being, of course, the bike on which TE Lawrence was killed).

Before we go on, a correction; their press release claims HandH Classics have sold the most expensive motorcycle at auction, which is simply not true by any calculus. That spot goes to MidAmerica Auctions, whose sale of a Cyclone in July 2008 hit $551,200; as the English Pound has never achieved a 2:1 ratio with the US Dollar, the £280,000 ($465,350 on the day) sale of a Brough SS100 in 2011 is hardly the greater sum. Let's get the facts straight, HandH; to keep abreast of the most expensive bikes sold at auction, follow my 'Top 20' here.
George Brough on 'Spit and Polish' with 'KTC' JAP engine, Druid forks, and 'dummy rim' brakes fore and aft.  1922
Back to the story!  'Old Bill' started life as 'Spit and Polish' (vernacular from the military 'spit shine' on boots), a specially built Brooklands racer noted for its ultra-clean appearance, starting a trend (Bill Lacey usurped George Brough's spot for the cleanest racers, with his entirely nickel-plated, immaculate machines).  While 'Spit and Polish' won success at the track with its specially tuned JAP 'KTC' 976cc sidevalve engine, from the talented hands of Bert LeVack (development engineer for JAP at the time, and rider of tremendous talent).  The bird really sang, though, when LeVack offered GB the prototype JAP 'KTR' racing sidevalve engine, which would become the basis for the Bough Superior 'SS80' model.  The crankshaft was radically lightened until a single 'spoke' connected the big end, mainshaft, and an outer flywheel rim, which gave the ultra-light machine the acceleration of a scalded cat.   The fully developed machine was reborn as a sprinter, and re-christened 'Old Bill', a character in Bruce Bairnsfather's WW1 comic book.
George Brough aboard the transformed 'Old Bill', and note the changes - new twin-camshaft KTR engine, a lower frame with extra struts, a drum front brake, and new Webb forks
While George Brough is best known as the manufacturer of Brough Superior motorcycles, and his prowess as a salesman and spinner of enduring ad copy has overshadowed his considerable skill as a rider.  Long before he built his own motorcycles (starting in 1919), George was winning trials and races on his father William Brough's machinery (Broughs, too, but not 'Superior'...although many consider his father's engineering superior to his son's, as he built his own engines - something George never did successfully).
A period postcard showing a young George Brough aboard a Brough motorcycle, after winning three London-Edinburgh trials in 1910-1912 (from the Brough Superior photo archives - worth a visit!)
'Old Bill' was George Brough's ultimate sprint weapon, and he bested the most famous sprinter of the day - George Dance on his Sunbeams - many times, winning 51 sprints in a row in 1922/23.  'Old Bill' crossed the finish line on race #52 in first as well, but George was elsewhere, busy scrubbing the flesh off his buttocks 100mph on gravel, 'Bill' having bucked him a few yards before the finish...an experience which ended his racing career, and meant several months of painful skin grafts in those pre-penicillin days...
Rider A.Greenwood aboard 'Old Bill' at the 1924 Doncaster Speed Trials
As the Brough Superior factory was hardly flush with cash, 'Old Bill' was stripped of its racing bits (ie, that crankshaft and those specially ported cylinders, plus the added frame struts), and rebuilt as a road bike...not exactly a 'race horse to cart horse' transformation, as it was still a Brough after all.  During WW2, the bike was damaged, but VMCC founder and arch BS enthusiast 'Titch' Allen purchased and restored the machine, with the help of GB himself and plant manager Ike Webb, to resemble its famous ca.1922 racing trim.  While GB gave up official motorcycle production during WW2 (he did assemble a few during the conflict, from leftover stock and bent machines) the precision engineering business he'd pursued during the War continued for many years, the business changing hands twice since then, first to the Card family, and now to the Mark Upham equipe, who are building brand new 'to 1927 spec' Brough Superior 'SS110's.
1962; the restored Brough, back to 'Old Bill' spec, with 'Titch' Allen aboard, George Brough behind  (smiling, with cap and goggles) and Ike Webb at far right
'Old Bill' passed from 'Titch' Allen to his son Roger, who sadly lost his life racing at the Isle of Man.  Roger's widow has displayed the machine at the Nottingham Industrial Museum since, and is now coming for auction on October 4th, at the Imperial War Museum in Duxford, along with the rest of the Roger Allen collection.
George Brough in 1962 having one last 'go' on 'Old Bill' at the very Clipstone 'track' (really the driveway to a private estate, paved in gravel!) where he last raced the machine in 1923.

WET PLATES ON A DRY LAKE

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Alain de Cadanet astride the 'Edgar' Vincent Black Shadow, on which Rollie Free made his infamous 'bathing suit' run at 150mph at Bonneville in 1948.  Alain was filming for the Discovery Channel, and brought a bathing cap and swimsuit!

The common wisdom of shooting collodion/wet plate is you need lots of water and mild conditions, neither of which applies to the harsh dryness of the Bonneville salt flats.  I don't know if anyone has shot tintypes there, but I brought my Chamonix view camera and a van full of chemicals, and set up a rough-and-ready darkroom in the brightest, whitest, shadelest spot on earth.   The reflectivity of the salt, the utter lack of clouds or greenery, made chaos of my exposures and nearly solarized any shots not made under a canopy.  And their blown-out quality catches something of the ceaseless glare of the place, and its harsh beauty.
Ana Llorente, an East Side Moto Babe, on her 175cc Motobecane
Jared Zaugg drove from Salt Lake City to say hi to the gang; here on Vincent Prat's 'Team Impossible' Triton, shipped from Toulouse
This '47 Knucklehead looked right at home on the salt; ridden in, ridden around.  The extreme light reflection from the white salt and bright sun makes exposure times tough to calculate, and plays tricks on the collodion
Artist Maxwell Paternoster of Corpses From Hell visiting the USA for the first time; straight to the salt!
Shinya Kimura wrenches on his HD Knucklehead special, 'the Spike', which had just done a 114mph run.  As there is no place to wash the tintypes after exposure (they need 10 minutes under running water to clear out the chemicals), they must sit in a tray of water after exposure and fixing.  The collodion substrate is extremely soft and vulnerable to scratching, especially when the photo is transported 600 miles in the back of my van before washing...
Southsiders Vincent and Olivier Prat with their 'Impossible' Triton, with which we could relive a bit of 'Wheels and Waves', but the ocean had receded, and we were left with salts of the long-vanished Bonneville sea. 
Willy and his fantastic T-bucket 'Krautliner'...which did 247mph...
Looking like an 1890s 'Wanted' poster, David Borras of El Solitario MC
Shinya and Ayu with their Knucklehead...

THE CROCKER STORY

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Crocker engineer Paul Bigsby with rider Sam Parriot at Muroc dry lake, 1940
The story of Crocker motorcycles has been obscured by tall tales and myths since the very day they were introduced, first as Speedway racers, then big V-twins, and finally a scooter, all built before official US involvement in WW2 put a halt to civilian motorcycle production.  Wading through the murk around this famous American name, one bumps against vested interests and fast-held opinions, but enough facts emerge to which we can anchor our tale.
Paul Bigsby, Sam Parriot, and Albert Crocker at Muroc dry lake in 1940; Parriot recorded  136.87 mph on June 19, 1940 with the 'parallel valve' engine
Albert Crocker, born in 1882, had an engineering degree from Northwestern University's 'Armour Institute', an engineering school.  His first job was with the Aurora Automatic Machine Co, builders of Thor motorcycles, and Crocker not only developed Thor engineering, he was a keen and successful racer during 1907-09.  In the natural course of a racing career, he met and conversed with the pioneers of motorcycle manufacture and racing in those early days, including Oscar Hedstrom and Charles Hendee, the chief engineer and owner of the Hendee Manufacturing Co, makers of Indian 'Motocycles'.   Al Crocker developed a friendship with the Indian camp, and soon joined Hendee.  While working at the Wigwam, one of his supervisors was Paul Bigsby; their roles were reversed many years later.
Paul Bigsby and his 1936 Crocker 'Hemi'
By 1919, Crocker had opened an Indian dealership in Denver, Colorado, and there met, and eventually married, Gertrude Jefford Hasha, widow of Eddie Hasha, a famous 'Board Track' racer involved in the most notorious motorcycle racing disaster of the era. On Sept.8, 1912, four schoolboys were killed (along with Hasha), and ten spectators injured, when Hasha's 8-Valve Indian went out of control, slid along the top safety railing on the banking, and clouted the four boys, who were craning their necks over the railing for a better look.  Spectator deaths generally mark the 'end of an era' for races (see also; Mille Miglia).  Crocker surely knew Eddie Hasha, given his employment at Indian at the time.  Gertrude and Al had one son (Al Jr), in 1924, the year they were married. 1924 was a big year for Al Crocker, with a new wife and infant son, he took over the Kansas City Indian dealer/distributor,  but by 1930, the call of the West could no longer be ignored, and he sold his dealership to 'Pop' Harding, and purchased the Freed Indian dealership at 1346 Venice Blvd in Los Angeles.  This address would become legendary as the home of Crocker motorcycles.
The Crocker 'conversion' engine, from an Indian Scout, in a Crocker speedway frame
In 1931, the legendary US speedway rider Sprouts Elder, who had been 'Thrilling the Millions' from England and Australia to Argentina, brought the sport of Speedway to the US, and it rapidly gained the kind of popularity it enjoyed in the rest of the world.  In response, Crocker put his engineering skills to the test, building a speedway frame to accept a '101' Indian Scout engine 45cu" (750cc).  This proved satisfactory, and in 1932, Crocker set about producing an OHV conversions for the Indian motor;  the bolt-on cylinder and head echoed Indian factory racing practice of 1925/6, when an OHV Indian '45' was timed at 126mph, running on alcohol. These first OHV conversions had a 500cc (30.50cu") capacity, and when tested in the Crocker-built speedway frame, proved satisfactory in power output, out-performing the Rudge engines which were then dominant in Speedway.  A few Crocker OHV kits were apparently sold to the public.
The Crocker 500cc OHV conversion for the Indian Scout motor
In 1933, Crocker and Bigsby developed a single-cylinder 500cc (30.50ci) OHV Speedway racer, undoubtedly in response to the lighter weight of single-cylinder engines vs. the Crocker OHV v-twins.  A side note here; while rumor considers Bigsby (later famous for inventing the 'Whammy Bar' or tremolo for electric guitars) to be responsible for the Crocker engine design, Al Crocker was a trained engineer who had worked in motorcycle engineering for decades with Thor and Indian, as well as being Bigsby's employer...and while Bigsby was known to 'blow his own horn', certainly the Crocker motorcycles had input from many quarters.
The 1934 Crocker Speedway catalog
The Crocker Speedway racer's first appeared on the Emerville CA speedway track on Nov 30, 1933, and won 9 of 12 heats in one evening, prompting The Motorcyclist (Dec 1933) to rave of their début, "...two spotless and keen pieces of racing equipment surely worthy of the best the country had to offer as their pilots. The first race was ridden by Jack Milne…speedman par excellence...and Cordy Milne....Two American-built night speedway racing engines swept the boards…9 first places and 3 second spots out of 12 starts…The call came suddenly for the builder, for Al Crocker who was in the pits…[He] came to the microphone. His speech was short, brief; just the sort of thing that the situation called for…He was glad that they [the bikes] were good…They would be better."
The Crocker Speedway racer of 1934
With limited production facilities, only 31 of the Crocker Speedway models were built; Crocker even built a pair of experimental chain-driven OHC engines in 1936, which were intended to counter the new JAP Speedway motor, with 42hp.  It was clear the Crocker Speedway engine would need further development to remain competitive, but rather than continue with Speedway racing, Al Crocker turned his attention to the project which would hammer his name in stone, the big V-twin.
Not a sanctioned Speedway outfit; the Crocker Speedway machine
Designed during 1935, the Crocker big twin was designed as a durable and powerful, yet fast and nimble machine.  Its 45degree V-twin engine had hemispherical OHV cylinder heads, and a nearly 'square' bore/stroke (3.25"x3.62" - 62 cubic inches displacement), and an incredibly robust 3-speed gearbox.  While Bigsby made the patterns, most castings were subcontracted, then machined in-house.  The first models (the 'Hemis') used HD valve gear, Indian timing gears and brake shoes, plus occasional HD or Indian headlamps and ancillaries, leading to later rumors that Crockers were built entirely from Indian or HD parts, which is of course untrue. The heavy steel gearbox formed part of the lower frame, its case being brazed in place, its 3-speed gears and shafts so overbuilt that damage is unheard of even today.  Their most unusual feature was a pair of cast-aluminum fuel/oil tanks, holding 2.5 gallons initially (the 'Small Tank' models).  Most ancillary parts were purchased from standard motorcycle industry suppliers like Autolite (electrics), Linker (carbs), Messinger (saddles), Splitdorf (magnetos), and Kelsey Hayes (wheel rims).

Introduced in 1936, there was no 'standard' Crocker, as every customer, echoing Brough Superior practice, could specify the state of tune and displacment of the engine; the cylinder barrels were cast with extra thick walls, and could be extensively overbored; engines were built from 1000cc, to 1490cc, in the most extreme case.  The 'typical' 62cu" Big Twin produced ~55-60hp, which exceeded the current sidevalve Indian and HD models by 50%.  So confident was Al Crocker in the superiority of his twins, he offered a money-back guarantee for any Crocker owner who was 'beaten' by a standard HD or Indian, and of course, no such buyback was necessary.  Crocker had built the fast production motorcycle in the US, with speeds over 110mph the norm.  Harley Davidson introduced their first OHV v-twin - the model EL 'Knucklehead' - 6 months after the Crocker, but was 15mph slower.
Rider Homer Wood at Muroc dry lake with his 1936 'Hemi' Crocker
If not the fastest production motorcycle in the world, the Crocker was certainly in the same league as the HRD-Vincent 'Series A' Rapide, and while the Crocker's 3-speed gearbox and rigid frame was technically inferior to the Vincent's advanced swingarm and 4-speeds, the Vincent's bought-in Burman gearbox and clutch were unable to cope with the v-twin's power.  Conversely, one cannot imagine a Crocker racing at the Isle of Man!  'Horses for courses', it seems...
The 1936 'Hemi' Crocker engine, with exposed rocker and valve gear
The first 17 Crocker twins had hemispherical combustion chambers and a lovely 'Crocker' embossed rocker arm housing.  Known as the 'Hemis', their performance established the Crocker legend, although there were problems with valve train wear, as the exposed valves/guides/springs were vulnerable to grit and dirt.  Crocker redesigned the cylinder heads with parallel valves and enclosed springs, and what is effectively a 'squish head' combustion chamber.  Crocker continually developed his cylinder heads, and two different 'Hemi' castings were used (even on such a short production run), with four changes to the parallel-valve casting over its 5-year run.
The 1940 'Big Tank' Crocker which sold at the Bonhams Quail Lodge Sale for $302,000
To give his Crockers an extended range, the size of the cast-aluminum fuel tanks was enlarged in 1938, making all earlier models 'Small Tanks', and later models 'Big Tanks'.  Crocker continued to develop his motorcycles through his limited production of perhaps 72 total V-twins, but eventually ran into problems with ancillary suppliers, as the US geared up for WW2.  By 1942, 'war work' restrictions meant Crocker could no longer produce his motorcycles, and Crocker didn't resume production post-war.

The Crocker has rightly become a coveted and very expensive machine, deserving of its place on the Olympus of Motorcycles, with the Brough SS100 and Vincent Series A Rapide, the world's first 100mph production motorcycles, all big and impressive V-twins built in small numbers for a small and discerning clientele...
The red 1937 'Small Tank' Crocker which sold at Bonhams, also at $302,000
Bonhams is auctioning 3 beautiful  Crocker V-Twins this week at the Quail Lodge sale; two 'Small Tanks' (both 1937) and one 'Big Tank' (from 1940), all with the parallel-valve cylinder heads.  It will be interesting to see just how far into the stratosphere these legendary machines have flown...estimates for each machine range from $240,000-370,000.  For comparison, $243,000 is the current 'entry point' for my Top 20 Motorcycles at Auction...so if each machine meets its reserve, there will be some shuffling at the top; two Crockers were recently 'bumped out' of this list by recent Brough Superior sales in England, and a couple of GP Ducatis88, but no Crocker V-twin has sold at auction since 2008.  Maybe this American legend will duke its way back into the top of the heap...[Note, all the Crockers sold near $300,000, and entered my 'Top 20' at Auction]
One of two 1937 Crocker 'Small Tank's for sale at Bonhams

HUGHES, GODFREY, AND THE RED BARON

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Oliver Godfrey, winner of the 1911 Isle of Man TT, with his Indian at Brooklands
The Vintagent's obituary of art critic Robert Hughes brought responses from far and wide, some from unexpected quarters.  One raised my eyebrow though... a roundabout connection, via an arc of sky-borne bullets, between Hughes, Lothar von Richthofen (the Red Baron's brother), and 1911 Isle of Man TT winner Oliver Godfrey.
Lothar von Richthofen
It took a memorial speech about Robert Hughes in the Australian Parliament to reveal a deeper story of the Hughes family, which included his father Geoffrey Forrest Hughes, an Australian ace fighter pilot in the Royal Flying Corps during WW1. The elder Hughes had gained fame by shooting down Lothar von Richthofen, less famous than his brother Manfred, but still plenty deadly, with 40 'kills' to his credit.  Lothar flew in his elder brother Manfred's Jasta 11 fighter group (the 'Flying Circus'), the unit which decimated 75% of the Royal Flying Corps' planes in 1916.
Geoffrey Forrest Hughes (right) speaking with Prince Albert in 1927
One of these RFC planes, a Martinsyde 'Elephant' bomber (yes, Martinsyde made motorcycles too), was crewed by none other than Oliver Godfrey, who had joined the RFC in early 1916, before new 'hunter' squadrons were organized by Oswald Boelcke of the German Imperial Army Air Service.  Only 5 years prior, Godfrey headed the Indian 1-2-3 victory at the 1911 Isle of Man TT, and became a hero for racing, but not shooting down planes.  Thus are the connections between motorcyclists revealed; Robert Hughes, the brilliant Australian critic on his Norton Commando, and Oliver Godfrey, the taciturn English TT winner on his Indian, via a pair of German aristocrat brothers with a talent for flying, in what was once the most likely opportunity for young men to visit far-off lands...War.
Critic Robert Hughes and his Honda CB750 ca. 1972

John Jennings, Velocette stalwart in Australia, forwarded the link from the website of Australian parliamentarian Malcolm Turnbull, who spoke at a memorial for Robert (Bob) Hughes (whose brother, Tom, is also in parliament), where this information came to light.  Red the full text here.

CANNONBALL: PREPARING 'THE MULE'

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The Mule; not afraid of dirt, although it played hell with the open cambox...
I've had my head so far inside my '28/'33 Velocette KSS/MkIV KTT hybrid, appropriately named 'The Mule', that I haven't had time to post all the photos from the magnificent Pebble Beach Week activities...patience! I thought I'd treat The Vintagent as a 'blog', for once, with a timely update on prepping an 80 year old, worn out motorcycle for a 4000 mile ride.
The Mule in 2005, on the notorious Wards Ferry Road, just outside Yosemite Nat'l Park
The Mule had sat since November 2009, when its gearbox literally split in half in front of 100 amused chopper riders, at the start of Max Schaaf's '69 Mile Ride'.  She fired up easily on the bump (no kickstarter - this is a race bike), and after a rev-rev to warm up, on engaging 1st gear the whole plot went clunk, and halted.  Due to 'massive life changes', July 2012 was my first chance to properly investigate the damage and repair The Mule, as she lives in a San Francisco warehouse, and I'd been in Paris, New York, and everywhere, as you've seen.   I wasn't expecting to ride the Velo on the Cannonball, as the engine is 1933, and I'd never found a frame number.  Dismantling the halved gearbox revealed a 1928 frame VIN, and voilá, I was no longer riding my '28 TT90 Sunbeam across the US... but The Mule still needed considerable work; a total tear-down was required.
The destroyed MAC gearbox, which objected to two gear shafts mating...

The Mule was built by Eddie Arnold, renowned Velocette restorer in SoCal, who died in 1981, and from whose estate I purchased The Mule plus garage contents (minus a MkVIII KTT, AJS K10, and other tasty restorations).   Eddie found her in the 1970s on the East Coast, where she started life, as the only Velocette KTT originally imported to the USA - to Mack Motors, who ordered only the engine, KTT 470, in 1933.  Clearly, the boys at Mack had a chassis to play with, which seems to have been a 1928 KSS, if in fact the current frame is the original Mack racing frame.  In 1933, US race tracks were all dirt, and The Mule would have been well acquainted with East Coast soil... but I have no record of her accomplishments.  Eddie Arnold decided the KTT would make a great Vintage race machine in the late 1970s, and after much development (he was the chief engineer of Mustang motorcycles in LA), she went from a mid-pack kicker to a consistent race winner.
Day 1; re-lined brakes, re-packed wheel bearings (adjustable taper rollers)
Sorting out Eddie Arnold's speed modifications required moto-forensics, and the starting point was obviously the gearbox.  Velo 4-speed gear clusters were used from 1933 to 1972 without much alteration (except the shape of the box they came in), and aren't known to 'blow up', but MAC 350cc gearboxes are fragile, as the gears are slimmer; second gear especially is known to shed teeth, which is exactly what happened with The Mule.  For whatever reason (most likely convenience), Eddie modified a MAC box to fit the KSS frame - not a huge change, but it required a bit of welding and machining of the gear case.  The MAC model was very popular in SoCal in the 50s, having won the 1953 Catalina Grand Prix under the helm of John McLaughlin; it was light, tuneable, quick, and very durable, as are all Velos.  The proper 1920s/30s 'Two Stud' Velocette KSS/KTT gearboxes were thin on the ground in LA, as Velos were never imported to the US at that time... The Mule is a singular beast.  She was part of a litter of around 80 MkIVs, so the several important parts which identify her pedigree are rare spares indeed.
Day 2: new bigend and mains, crankcases assembled
Luckily I'd amassed a lot of gearbox and other parts over the years, and had a proper '4-speed, Two Stud' KSS shell for The Mule.  The gear cluster is identical to a 1960s Venom or Thruxton, and within my warehouse lurked a small hoard of new old stock gearbox parts in their original Cosmolene (a thick waxy coating protecting machined parts for shipping and against corrosion).  So, the gearbox was at least a straightforward fix.
Day 3; the 'two stud, four speed' gearbox rebuilt and installed
Much less straightforward was the engine; I knew from letters published around 1980 in Velocette Owners Club magazines ('Fishtail West') that Eddie Arnold had heavily modified the KTT motor to arrive at the little beast's outrageous performance.  The flywheel had been lightened by 7lbs, a Manx Norton 79mm forged racing piston installed (giving a capacity bump to 400cc), the cylinder head was ported for a larger carb, and the camshaft was his own design.  That proved the most problematic part, as the camshaft lobes and rocker arms were completely worn out; nothing was standard.  I would either have to re-create Eddie's modifications, or repair his worn parts, or replace his handiwork with standard KSS/KTT items, losing the sparkling performance.  An indication of that performance can be found in John Jennings' test ride report from the Australian 'Fishtail DownUnder'. The Mule had been timed on the 2000 Moto Melée at 105mph and climbing, which is not bad for an 80 year old machine running on pump gas.  While I've had the great fortune to meet two gentlemen who'd raced MkIV KTTs at Brooklands - gaining the coveted 'Gold Stars' on them - those bikes had run on alcohol, which gives a 10% power boost, and cooler running.  The Mule is clearly a special creature.
Day 4; cylinder and head attached
Dismantling the cambox showed Eddie's thinking; he'd installed a MkVIII KTT cam (the 'K17/8' cam, introduced in 1938, whose profile is also used on the Venom and Thruxton models - it has a huge 'overlap').  But the cam form which won the 1949 World Championship wasn't good enough; Eddie separated the two lobes and re-positioned them to further lengthen the valve overlap, then added a bit of metal at the top to also increase lift.  The KSS/KTT cam is secured on its shaft by a keyway, and in splitting the lobes, the slots no longer aligned.  The tool used to create the slot inside a hole is called a broach, and these are notoriously expensive.  Eddie's workaround was simple; he brazed the lobes onto the cam-shaft...a little 'barnyard' perhaps, but it held fast from 1980 until 2009...and is still holding fast, making the whole cam setup scrap, unless I can find someone to restore the cam in situ.  He had also lengthened the arms of both rockers equally on cam and valve sides, which put pressure one side of the valve stem, causing valve guide ovality.  This mod is less easy for me to understand, and as the parts are worn, it will take some forensics, math, and graphing to sort out the valve timing he developed.

Time proved the decider on the camshaft dilemna; I'd have to 'make do' with standard parts in order to have The Mule ready in time for The Cannonball Rally.  Sad to lose The Mule's distinctive kick, she'll have to play pack-horse across the USofA; still fast, but not crazy fast.  As a speed-demon rider, I'll re-create the 'Arnold' cam system (and duplicate it; I have a bronze-head 1920s KSS special in the works), but that project will have to wait until after September 23rd, when I arrive back in San Francisco at the end of the Cannonball...
Day 4; cam and ignition timing sorted, engine complete
In the meantime, there were other issues to attend; a new bigend (easy, with help), a new clutch (easy, but getting it to work properly took 12 hours of frustrated parts swapping), new brake linings (difficult to find jobbers willing to do one-off shoes), a fresh magneto (BTH sent the wrong one, so the 1970s rebuilt item is on the bike, with the new BTH -when it arrives- as a spare), etc.  4000 miles is nothing on a new motorcycle, but it's a long way on a Vintage machine.
Day 5; looking like a motorcycle....
The Mule has a proper oiling system to its cambox atop the iron motor, but keeping the oil inside, and not all over the rider and rear tire, is difficult, as the sealing arrangements are crude. She's always been a filthy beast, and I'm trying to improve her continence.  My pal Fred Mork, vintage racer and AHRMA stalwart, rebuilt the crankshaft with a new MAC bigend from Grove Classics in England - many thanks Fred!  He'd rebuilt the crank on my '66 Velo Thruxton way back in 1989...  Hannan's cylinder head shop made new valve guides out of solid cast iron, and a new inlet valve from an HD Sportster.  You read it right - the Mule has Harley parts; let's hope there's no organ rejection.  Both Fred Mork and Hannan's supplied their work near gratis, as unasked-for sponsorship of my ride.  Motorcycle people are the best.
Ready for a few more thousand miles...

'OILY RAG' DEBUTS

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Last winter Douglas Blain, publisher of The Automobile (and founder of Bike and Car magazines), suggested I take the helm of a new magazine, online only at first, which would focus on all things unrestored, original, still in use, resplendent in their own juices, called Oily Rag.  The broad scope possible with such a title appealed to me, as I'm a fan of vintage cars, motorcycles, bicycles, architecture, art, film, tools, fashion...and a few other things too!  So, Oily Rag will include all those things, with a variety of contributors, and the hope that enough people (and advertisers) will support the concept to bring it to print.
Oily Rag is up and running; bookmark it in your browser, or better still, subscribe via email; its free, and as you'd expect, more than just a daily photo post, or yet another 'commandC/commandV' horror.  No reposting of press releases as 'news', no fawning media suckups to advertisers, just stuff we consider worth discussing.  Click here to check it out.

Fear not, The Vintagent will continue as always, and expand into new areas, with extra help from my new production manager, Debbie Macdonald (with 19 years' experience on Thunder Press), and maybe a boot from my new friends in the print world.  My adventures on the Motorcycle Cannonball will be mentioned here, but as Oily Rag is my principal sponsor, they'll get the bulk of my reportage. Stay tuned!


CROCKERS CROWD 'TOP 20'

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Test-riding one of the 3 Crockers which sold at Bonhams for $300k...
The recent Bonhams sale at Quail Lodge during Pebble Beach week, which included three Crockers sold near $300,000, has knocked The Vintagent's 'Top 20' list of bike auction sales on its ear.  American motorcycles now dominate the upper echelons of the old bike world...a situation which will undoubtedly change, as this battle of the titans continues; Brough Superior SS100s and Vincent Series 'A' Rapides versus Crockers and Cyclones.  Will the European racing fraternity (Gileras, MVs, Rennsports) chime in with an auction result?  Will Japanese GP exotica ever come up for public sale?  Stay tuned...

I've updated The Vintagent's 'Top 20' page, with full statistics by marque, price, date of sale, and auction company.  Whatever your thoughts on rising prices, it makes for provocative reading.  See the 'Top 20' here. 

CANNONBALL WET PLATES #1

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Shooting with two plate cameras; an 8"x10" and a 5"x7", the larger one an original 1890s model, the smaller a new Chamonix using an 1860s Petzval portrait lens.  Photos by Paul d'Orléans / Susan McLaughlin.  The top shot was taken with a just-coated plate which was accidentally dropped on the van floor (by me! Big plates are awkward to handle), but I'm a fan of the unexpected, so went ahead and made the shot; I love the unexpected chemistry.  The bike is a 1928 Indian 101 Scout, with 1940 Sport Scout barrels and heads.  It was recently purchased sight unseen on Craigslist, and is now being prepared/fettled during the Cannonball.  While all participants are a little bit crazy, some are braver than others...
17 Excelsior-Henderson 4-cylinders make up the second largest group of machines, after the mega-gang of Harley 'J' models.
Another shot of the charismatic Indian Scout, here with a full complement of tools and rags...
The Mule is the only overhead-camshaft machine on the rally, and the only Velocette, although there are two Rudges, a BSA, and a Triumph along...

CANNONBALL WET PLATES...

CANNONBALL UPDATE...

VINTAGENT IN 'CYCLE WORLD'

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It seems I'll be contributing more regularly to Cycle World online, and my most recent column is a discussion of the vicissitudes of the Motorcycle Cannonball.  Read it here on Cycle World.com.
A wet plate/collodion tintype shot in collaboration with Susan McLaughlin,  while prepping my Velocette KTT in Newburgh, New York, at the start of the Motorcycle Cannonball Endurance Rally

CANNONBALL WRAP IN CYCLE WORLD

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Check it out; I'm busy finishing articles for MCN in England, Café Racers in France, Oily Rag magazine, and of course, a special helmet-eye view of the whole thing for The Vintagent.  Gotta pay the rent, but loyal/patient readers get something special...

For now, my second installment for Cycle World can be found here.

2012 MOTORCYCLE CANNONBALL: THE ULTIMATE OLD BIKE TEST

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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.





CALIFORNIA DREAMING

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The '73 Triumph TR5T Trophy Trail purchased at the Bonhams Las Vegas auction last January...overlooking Bolinas Lagoon and Stinson Beach.
San Francisco doesn't fit the image of California, mostly because it's always cold in the summer.  Then again, it doesn't get cold in winter; it averages 57 degrees all year long, excepting a few days in the Fall, when a window of perfection opens up.  I happened to be in SF for one of those wonderfully odd, only in Cali kinda days.
Across the Golden Gate Bridge by Triumph
I've always lived in cities (SF, NY, Paris, London), but riding a motorcycle in the countryside is my release, which requires an hour's escape from the city limits on two wheels, battling the cages and creeps, one of whom will threaten to kill you, guaranteed, when you ease past those stuck on a slow-motion 'freeway'.
The Redwoods make for compelling and twisty riding, in deep shade...
San Francisco has become stupidly expensive in rents and real estate with the recent influx of well-paid techies from Zynga and Google, so don't get any big ideas about moving there.  I'm lucky enough to have basically grown up in SF, and enjoyed 25 years of local roads, which are unparalleled.  15 minutes from downtown, you'll cross the magnificent Golden Gate Bridge, which is a thrill every time; 10 minutes further up the road is an enormous swath of the state with very little development (some by gov't decree) which runs from the Bridge northward to the Cali border, meaning there's little traffic or population density (or gas stations), so hours and days of round-road riding is possible.
All Ruby'd up; Conrad is wearing his Ruby 'Lucky13' helmet, which he and Jérome Coste designed
If you have the freedom from work, a mid-week ride with a buddy in fine weather is just about the best thing cooking.  My pal Conrad Leach is in town, so we pulled my two Triumphs from the warehouse (the '73 TR5T purchased at the Bonhams auction last Jan, and the '65 Bonneville picked up en route to the Quail Ride, then hammered around Laguna Seca).  Susan McLaughlin came along to take photos; these are all hers.
Thanks for shooting, Susan!
After the ride, a Craigslist find; Bruce at Hobo Customs, my neighbor at Motopia (our industrial park), alerted us to a '71 Triumph TR6R for £1k, in the mountains near Sonora [don't let anyone tell you classic bikes are all too expensive; we found three 1960s/70s Triumphs and BSAs for under $2500 in a one-hour Craigslist search].  As Con wanted his own bike for an upcoming desert trip (to be featured soon in The Vintagent), we drove 2.5 hrs to meet Jeff Epps, and buy his serviceable Triumph.  I had my wet plate kit in the Sprinter, so captured it all the old-fashioned way...  and we've named it Project Desert Rat (Con's grandfather served in the 8th army under Montgomery... apropos!).  More on Desert Rat, and the TR6R, later...
At the edge of the world...1000' of cliffs and rolling hills down the Pacific
The Ridge Road on Mt Tamalpais in Marin County; no cars at all
Jeff Epps and his fantastic Ford flatbed
Conrad and Jeff seal the deal on the Desert Rat Triumph

Jeff and his 'new' truck...

'THE MASTER' AND THE MOTORCYCLE

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Joaquin Phoenix as Freddie Quell, riding what looks like a Norton 16H across a dry lake bed
Months ago the New York Times ran a story on Paul Thomas Anderson's latest film (starring Joaquin Phoenix and Philip Seymour Hoffman), 'The Master', a meditation on L Ron Hubbard, founder of the Church of Scientology.  The principal events of the story were carefully based on Hubbard's life, from the borrowed yacht on which he escapes his troubles, to the threats and intimidation used to silence critics, the school set up in England, and...a lust for motorcycles.
L Ron Hubbard aboard a BSA C15 in West Sussex, England, ca 1960
'The Master' is a difficult and beautiful film, with a pair of intense and fascinating characters who seem strangely bound to each other, exploring each man's nature while leaving open the question of their troubled bond.  Gorgeously shot, whether in a landscape, at sea, or in full-frame closeup,  PT Anderson is a renegade from digital film, using extraordinarily expensive 65mm stock, the reward for which is an old-fashioned look you didn't know you missed until you see it.  Cinematography by Mihai Malaimare Jr is achingly lush; he brings Dorothea Lange's dustbowl photographs to full-color motion in Salinas cabbage fields and in farmworker housing; when the camera's gaze rests for long periods on Joaquin Phoenix's face (playing Freddie Quell, ne'er do well), it revives the mesmerizing glamour of 50s Cinemascope close-ups.
Philip Seymour Hoffman as Lancaster Dodd, riding hard over the dry mud pan
In tackling the notoriously litigious Scientology founder's story, Anderson has, of course, used no 'real' names, but the parallels are abundantly clear to anyone who's swallowed the church's teachings, or read the numerous debunking websites highlighting the chasm between Hubbard's extravagantly self-promoting fantasies, and the truth of his back story.  'The Master' lands an axe into that chasm, and splits Hubbard in two; Freddie Quell, nearly an animal in his passions, a creature of id in his lusts, his alcoholism, his pain.  Freddie is the nobody seaman 'Elron' was in reality during WW2, while Lancaster Dodd (the brilliant Philip Seymour Hoffman), on whose yacht Freddie stows away at a dark moment, is the charismatic charlatan, spinning tales of 'trillions of years' with megalomaniac drama, creating 'the Cause' and its pseudo-scientific techniques for 'making you better', mostly by Dodd's 'making it up as he goes along', according to his son (who in real life was excommunicated from Scientology for being gay).
L Ron Hubbard uses his e-meter on a tomato
The two halves of Hubbard meet in a Venn diagram of common masculinity; drunkenness, lust, and violence.  Each man does his best to deny his basest motivations (Quell with lies, Dodd with spiritual/sci-fi hokum), but as Dodd's darkness is revealed in harsh bursts, the film finds the common ground of the two characters, halves of the same man who have forgotten themselves.  Dodd is fascinated with Quell, and vexed with 'Where have we met before?', never comprehending Freddie is his shadow, but attempting to control him as 'guinea pig and protegé'.  But the Shadow is uncontrollable, and in a pivotal scene involving, finally, a motorcycle, we see Freddie escape to face his own demons and truths, while Dodd finds the financial hookup he needs to create an unquestioning empire, with his Lady Macbeth (a ferocious Amy Adams) at his side.
Joaquin Phoenix and the 'Norton'
The dry lakebed scene with Quell and Dodd and a Norton 16H lookalike (apparently a BSA M20 with a Norton tank and fake check-springs on the forks!) is equal parts thrilling, dangerous, and liberating, stunningly shot with both Philip Seymour Hoffman and Joaquin Phoenix actually riding the bumpy and alligatored dry mudflat at a fast clip, the old Norton bouncing and clattering, the actors up on the pegs and giving it some stick, genuinely exhilarated.  The scene references Rollie Free's 1940s Bonneville runs, with a small entourage in perfect period gear and support car. Hoffman as Dodd is real rider, but a genteel fellow out for a moment of controlled thrill, needing the context of a 'process' to justify cutting loose on a bike, while Phoenix's Freddie at last looks natural and at ease and completely appropriate in cuffed jeans and boots.  Previously a shambling, nearly hunchback mumbler, he kicks the beast to life with skill, circling on the mud pan and accelerating over the dirt, until he's going 'really fast', by which point Dodd realizes he's lost the man, who has found himself, and freedom.
Saint Hill Manor in West Sussex, near East Grinstead, the Church's UK headquarters
In real life, 'Elron' indeed liked motorcycles, although I've only dredged up one evidentiary photo, from his days in Sussex, where he famously gave Scientology its first fixed address in an old school.  As part of his civic-minded participation local culture, Elron rode a BSA C15 in a sheriff costume (he was often photographed in Western gear) in a Sussex parade.  A few of Hubbard's excoriating biographers mention a Harley or two during the 1950s...but after digging through the the Church's muck online after that first NYT article, its a rabbit hole I'm happy to stay clear of.
L Ron Hubbard in his 'sheriff' costume...
The bike?  Somehow, the film's prop master (Justin at Glory - he seems to have all the moto-film-fun these days) made a BSA M20 look like a Norton 16H, making that still-humble machine look sleek, cool, and dangerous...no small feat!  For those who can't stomach an extended ramble into one man's darkness, I reckon 'that scene' will appear on Youtube sooner or later...

CATCHING UP WITH CROCKER

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Pd'O in a Wet Plate image; not as suspicious of the new machine as I look
Back in May at the 2012 Quail Motorcycle Gathering, I met Michael Schacht and had a good look at his new Crocker Big Tank, which he'd just completed.  The bike looked and sounded good, and I wrote a piece for Cycle World on its début.  Schacht invited me to test ride the machine next time I was in LA; last week that opportunity arrived, and I met him at the secret Crocker warehouse/assembly shop.  That first, unpainted Crocker sat with an Indian 101 Scout Schacht restored back in his 'Indian days', the prototype Crocker C4 futurismo mockup, and a frame table on which sat the makings of New Crocker #2.  [For a history of Crocker motorcycles, click here]
Cylinder barrel raw castings, with enough meat for variable engine capacity
On the mezzanine level, a wall lined library-like with casting patterns keeps company with racks of rough castings and core boxes; the makings of the next 15 Crockers, which Schacht says he'll build 'whether I have orders or not... I'm going to make them'. He's invested a huge amount of time and money, and staked his reputation on building real, functional motorcycles.  I only know one other such privateer motorcycle producer - he's making Brough Superiors - and they share a certain passion, a bit of blind faith, a lot of tenacity,  and an inspired vision of what they're contributing to the motorcycle world.  In Schacht's case, that vision would be nothing less than the resurrection of the Crocker marque.
Michael Schacht explains changes to the cylinder wall oiling on his barrel casting pattern
Shacht has become an expert in Crockers, as one must in order to replicate them, and I received an education on the various detail changes Al Crocker incorporated into his eponymous machines.  From 'hemi' head and Small Tank, to the later enclosed rocker, parallel valve Big Tank models.  It's amazing how many changes were made during the short, 1936-42 run of less than 100 machines.  Seeing how much attention Crocker paid to his improvements, and the level of customization he was happy to incorporate into paint jobs and engine spec, it's no wonder Crocker never made money on his Big Twin project.  He designed an incredibly durable, quality machine, with a steel gearbox casting acting as a lower frame lug, cast-aluminum fuel tanks, and heavy-duty everything.
Wet Plate image of the raw-metal prototype...
Al Crocker's could be forgiven if it were a little beastly looking, but as it turned out, the man had styling chops equal to the best.  The Crocker Big Twin is simply a gorgeous motorcycle, on par with any work of George Brough or Edward Turner, although in the American vernacular.  Custom motorcycle builders have tried to capture the tough elegance of his design for over 70 years; the man simply got it right the first time; the sweep of the fenders and tanks, that taillight (copies of which were seen on thousands of Harleys and Triumphs in later days), the big v-twin engine, it all sings together.   It's no surprise they've been coveted and collected since they were new; they're better looking, and better performing, than any other American machine of the day.
Easy to handle, light on the fingertips, well balanced.
That the Crocker was so good when introduced meant trouble from his competition, HD and Indian, the last two American bike builders left standing after the Great Depression.  It was faster and better looking than anything they had to offer, even trumping Harley's first OHV production v-twin, the Model EL 'Knucklehead', by 6 months.  The Crocker in 'base model' form (a mere 61cu.in) was easily 10mph faster than the 'Knuck', and big-engine Crockers simply rocketed away.  Al Crocker offered a money-back guarantee that his machine would outrun any Harley, and no Crocker owner ever collected, as they never needed to.
Michael Schacht warms up the big engine...
Schacht has gone to extremes to build a faithful replica of Al Crocker's machine, and has endured  harsh words from some of the Crocker faithful, whether for his business practices, his fallout with his first partner, or his cheek in buying the Crocker name, and daring to build a bike. Putting all that aside, there's a motorcycle to test, so let's take it on its own merits.
The man and his creation; it works.
Schacht copied collector Chuck Vernon's original Crocker engine dimensions, and this prototype machine clocks in at a whopping 1800cc.  I watched a good friend break his ankle kick-starting such a beast, and chose starter rollers for my test ride (I had a second road test, of the Falcon 'Black', to do next day, after all...).   The big beast started easily, and soon ticked over like a hotrodded twin usually doesn't, although the ground shook a bit with the near-liter explosions inside each jug.  Once warm, and in the saddle, the riding position was surprisingly comfy, with a big leather Meissinger saddle and typically Yank pullback 'bars.  Footboards for feet, foot clutch for gears, big knob lever on the tank side...all typical American stuff, and thank goodness this Crocker didn't have a 'suicide' clutch (ie, springs to engage it when you move your foot) like the last one I rode, during Pebble Beach Week.
In the background is the 'C4' Crocker modern prototype, as seen in the first Legend of the Motorcycle Concours
The clutch was smooth and light, and the gearshift was silent, as I slipped into first, and balanced opening the throttle with easing my foot back to engage the clutch.  With such a massive engine, even low rpms in first mean you're away fast, and the Crocker fairly launched itself forward with a loping, torquey gait.  The engine is smooth and silky, and shockingly powerful; really fast.  I reckon at 60mph in 3rd gear the engine is ticking over at 2400rpm, and at top whack the beast would easily top 110mph.  It seems to breathe well, but I didn't have a chance to really open her up at speed to find the character at higher revs.  I would feel completely safe doing so, as the bike is rock-solid, with completely neutral handling characteristics.  The only letdown is the brakes, which are crap.  Nobody expects much from the front, but the rear wasn't much better, and needs to be fixed - not a big deal, but it should definitely be sorted out before my next, high-speed run on open roads (hint!).

Taken on its own merits, the new Crocker is a gorgeous animal, with impressive performance even by modern standards.  Al Crocker built one hell of a motorcycle, and Michael Schacht has built a faithful re-creation, which is also a hell of a motorcycle.
Sponsors!  Helmet and gloves by Ruby; jeans by Edwin, sunnies by Allyn Scura
Questions of value have yet to be answered; is the public ready to drop $150k for this machine?  I can't make an assessment of whether it's 'worth' that, but if I was horny for a Crocker, the prospect of saving a few hundred grand is certainly appealing.  The upsides; it's all new, you can get parts, and it's half the price of a 1930s Crocker.  The downsides; it will never be as collectible the original machine.  If I had the money to play with, I'd probably try to break this new Crocker by riding it everywhere, hard.  I can't imagine too many bikes which give the visual satisfaction, the name recognition, and the performance offered here; it's a heady mix, and I'm game to try it again.

Many thanks to Michael Schacht for the test ride, an exclusive privilege for The Vintagent...

PROJECT DESERT RAT

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The concept; take two Triumphs out to the desert in southern Utah, for a little dirty fun.  I already have a '73 Triumph Adventurer for the trip; my companion Conrad Leach bought a '71 Triumph TR6R on Craigslist, and ended up swapping the engine for a '60s Bonneville lump, with a 750cc kit. Rough but good.

It took a few days to get to the canyonlands of Utah from San Francisco; we stopped in Winnemucca Nevada(after a blast up Donner Pass road), then Springville Utah (to visit Jeff Decker).  Today we made it to the Canyonlands, a unique place on the planet.

My favorite of the chain of National Parks strung between Nevada and Colorado is Capitol Reef, which is probably the least visited of the Zion/Bryce Canyon/Moab/Canyonlands continuum, but perhaps the most accessible if you don't want to be led by the nose to the 'beauty spots'.

We picked a motel in Torrey, the Broken Spur, which has just re-opened.  Nice folks, cheap room ($75 for two beds), mind boggling view of red cliffs banking the horizon in every direction. Best of all, it's only 6 miles to the entrance of the Park, and every mile is stunning.  We spotted a dotted line road on the map (Pleasant Creek), and our motel clerk said it was a really good 4WD road, and that we'd have fun on the bikes.
Too bad there's no attitude gauge on the Triumph; this hill was really steep, but smooth dried mud
Always listen to the locals; this road was 40 miles of challenging stream beds, soft red powder, deep rock-lined gulleys, and steep rocky climbs.  It took all of our motorcycling experience to navigate the treacherous 'road' in many spots, without coming to grief or damaging what are basically two road-going 70's Triumphs.  In short, we had a blast.  I encourage you to simply get out there with your motorcycle, and have some fun, wherever that may be, whether an epic desert exploration, or your favorite route to coffee.  Just ride it.
The first creek fording...
Tomorrow we'll head for Bryce Canyon, then Oatman AZ, then LA, where Conrad will leave his Triumph, and I'll head back to...more travel.
I didn't take photos of the worst bits; my hands were way too busy!
Hwy 12...a truly fine piece of motorcycle highway...
Pleasant Creek Road follows the creek itself for miles...you'll get wet.
Capitol Reef's amazing banded cliffs...and pink powder trails
After climbing a few thousand feet in elevation, we found the Aspens, and knew we were near the highway...

SHINY PEBBLES IN THE CALI SUN...

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[Somehow, my articles about Pebble Beach Week last August were all in print magazines...here's one from The Automobile, which has more of a four-wheel focus, but you get the gist...]
Leading off the week's parties; the McCall Motorworks Revival at the Monterey Jet Center has a compelling mix of aircraft, cars, and motorcycles
There’s no other word for it; surpassing all other superlatives you’re likely to hear about August’s Pebble Beach Week in Carmel, the most accurate is exhausting.  That’s no pun on the motoring focus, but is your likely feeling on Monday morning; tired, hung over, and with a mighty dent in your wallet.  What was once, many years ago, an exemplary Concours d’Elegance on a golf course overlooking Monterey Bay, has expanded to an automotive edifice, growing crenellations and turrets every year.  In the space of 6 days, one might attend 10 different shows, daily vintage races at Laguna Seca Raceway, three vintage tours, six major auctions – each taking more than one day – and countless parties large and small, from the buy-your-ticket Motorworks Revival at the Monterey Jet Center, to a dozen you’re-not-invited events at the big tents of Jaguar, Mercedes, etc.   I challenge anyone to do it all; I tried this year, and failed.
Jet Center; a Vincent Black Shadow keeps company with a Yamaha TZ750 and Ford GT40
The ‘institution’ events are well-known; the Pebble BeachConcours, the Quail Motorsports Gathering, the Monterey Historic vintage races; you, holder of this magazine, already know them.  These are the pillars of the week.  The ‘other’ events leverage the presence of thousands of vehicle-mad tourists eager to see More; more shows (German, Italian, Small Car, Novel Junque, etc), more swank parties, more Tours, more vehicles for sale.  That all these events are thriving in a ‘down’ economy indicates Carmel has not yet reached saturation, and undoubtedly, a Motorcycle-only show will soon appear, as will further ‘niche’ automotive events. 
Pebble Beach Concours; the moto-theme this year was Germany, and BMW obliged by shipping the unique R7 ....which won the motorcycle concours
A testament to the power of the big shows is their popular draw; while the Sunday Pebble Beach Concours is limited by fire dep’t order to 25,000 spectators, it’s an open secret they regularly sell twice that many tickets.  Other telling indicators are the myriad ‘what about mine?’ events during the week.   As an example, your Italian stallion – say, one of 2800 Ferrari 308s produced, and shiny as a waxed apple – will never be accepted on Pebble’s lawn, but the Concorso Italiano will be happy, for a small fee, to display it on a different golf course (right next to Laguna Seca!), in a lineup of 30 or 40 identical models.  The Concorso is the same Friday as the Quail, but you’re as likely to gain Quail entry as you are a Radiohead ticket for a small-venue concert; even at $400 a pop, the Quail sells out instantly.  The Concorso feels as uncrowded as the limited-access Quail (3000 tickets only), not due to limited attendance but by sheer acreage…the Italian show is Huge, and overwhelming numbers of Alfas, Maseratis, Lamborghinis, Fiats, Ferraris, and Isos are lined up like Mussolini’s troops on parade:  colorful, noisy, celebratory, and not nearly so battle-ready as they think.
Quail Motorsports Gathering; can a guy just eat his sushi without a Cobra chuntering off to Laguna Seca?
A similar story applies to the Legends of the Autobahn show, or the Little Car show, or the fantastic Tour of LeMons, the anti-concours People’s Pebble, a meandering parade of cringe-worthy Pintos, Pacers, and Gremlins, triple-victims of questionable design, the ravages of age, and poor maintenance.  No one could fail to smile at this cheeky send-up of the richy-rich pomp and circumstance of the ‘Real’ shows, where millionaire show organizers award prizes to mill-or-billionaire car owners.  Long may the LeMons wave…it nearly disappeared this year, but sponsor Hagerty Insurance, sensing a marketing opportunity amidst all the fun, stepped in with a check and saved the day.
Pebble Beach; the 3-2-1 winners of the Moto-Concours, with a Münch Mammut, BMW R68, and the BMW R7
And for the butts of this joke?  The Quail Motorsports Gathering is doing very well, thank you, and is widely considered the best event of the week… exactly why it sells out so quickly.  With limited ticket sales, the lawn of the Quail Lodge (and where would car shows be without golf?) never feels crowded; once you’re past security (one way or another – ‘gaming the system’ is a popular sport for the brave this week), the excellent catered lunch, oysters and champagne, desserts and cocktails, are yours to indulge while listening to live Japanese jazz or a Mariachi band.  It’s a wonder more attendees aren’t falling-down drunk and bloated like bowling pins, but the Quail atmosphere is so damnably pleasant, the urge for mayhem evaporates.  The cars are, of course, spectacular; themes this year included masterpiece pre-war Alfas and the 50th anniversary of Iso Automobili, complete with a wry interview with Piero Rivolta, son of Iso founder Renzo.  Favorite quote; “The marketing department said, ‘we need something more sexy, and faster’, so we designed the Grifo.”  And so it was.
Hail Brittania!
The 800 pound gorilla of the week arrives last, and if you’re not on the actual 17-Mile Drive of Pebble Beach by 7:30am, you’ll feel the week will never end, and you’ll never see the show.  Spectators are herded into parking lots hither and yon, along the side of the road and seemingly anywhere there’s shoulder room; from there (and you’d better remember ‘where’), you’ll stand in a line to board a shuttle to another parking lot, which, as per the Banksy film, you ‘enter through the gift shop’  (the Automobilia tent), trek across a hill, through the Lodge forecourt, past the port-a-potties and, eventually, to the beachfront grass.  Where, being summer, it’s foggy and cold…although the sun emerged this year for a maddeningly brief time, and everyone sweated before the fog again ‘crept in on little cat feet’, to quote Carl Sandburg.  Automotive categories you’ll see nowhere else are the norm at Pebble, this year including a long line of pre-1948 Rolls Royces, ex-Maharajah all, equipped with shotguns, mechanical spitting swans, exhaust-pipe organs, and even Actual Maharajahs themselves, who sat serenely in their family cars, smiling for the army of iphones stealing their souls. 
The Maharajah and his daughter, the Vintagent and his sweetie
Finally, the Preservation classes at Pebble are growing in numbers and popularity, along with a creeping awareness of the historical destruction wrought by restoration-mad concorsi, whose eagerness to see their reflections in paintwork has erased any trace of the original manufacturer’s intention.  FIVA’s efforts to de-legitimize modified vehicles are problematic, but their heart is in the right place to sponsor trophies for the original-paint brigade.  Drab these birds might be, perched amidst hyperglossy supercars, but there’s no denying their charm, and spectators seemed fascinated with the myriad ways Time, destroyer of all material and corporeal things, has altered the appearance of once-shiny exotica. In their alligatored paint, surface rust, and worn leather, we must surely see our own inevitable decline; let’s tip our hats to these rare survivors. 
Shiny enough?  Nary a ripple on the bodywork of this Alfa, reflecting yet another Alfa - an 8C 2500
Quail; wandering mariachis serenading hungry revelers
Quail; taking full advantage of free cigars and wine...
Quail; super rare Crocker speedway racer
Quail; goddess style...
At the MidAmerica tent; the Triumph X-1 streamliner, with twin T110 engines, in original patina
At the Motobilia tent; a slot car track installed in the body of a 70s Camaro 
The R7; despite photographic appearance of perfection, the restoration was true to its nature as a one-off design study.  The pinstriping and metalwork have crude athenticity
Pebble; in the Preservation class, this fab old straight-8 'golf cart', complete with clubs!
Mecum auctions tried to sell in a single lot the Gary Kohs 72-MV Agusta collection, but failed
Pebble; the business office of a Miller racer
Pebble; this early Mercedes racer has and under-dash flip-down manual lap counter...

Polish your car or bike?  Here's your guy; Mr Maguiar
Pebble; Lalique hood ornament makes the Rolls Royce 'spirit of ecstasy' look positively sexless...
Jet Center; Porsche 906 sports racer with infinite stripe
Jet Center; Yamaha TZ750 looking muscular, albeit overlooked by the car-mad crowd
Susan tries out a unique 1950 VW tradesmen's Trasporter
A pair of reapers; some classic insurance companies won't cover Corvettes, as they're #1 for single vehicle fatal accidents.  Whoa, hoss.
Lotus in America
Jet Center; private jet companies show their wares 
Bizarrini and turboprop 
Bonhams; Jared Zaugg and a 1921 Mars
Bonhams; original paint 1911 Pierce 4, which sold for $120k
Bonhams; Cosworth V8 with megaphones stolen from 8 Norton Manxes...imagine the noise!
Bonhams; 1930 Windhoff
Concorso Italiano; a sea of Ferrari Daytonas 
Concorso; pocket-size super adorable Fiat ragtop
Concorso; original paint early-series Iso Grifo
B25 'Mitchell' bomber and Porsche 356C convertible
Jet Center; a trio of red and white
Jet Center; Brittany recognizes the photographer! 
Jet Center; unique VW 1950 commercial van 
The Jet Center party iphone opt-out
Pebble; Ferraris as they should be; competition
Pebble; matching outfits for lady, half-blind poodle, and Mercedes cabriolet
Pebble Beach Tour; Franklin straight-8 racer in faux-patina condition; still fantastic
Pebble; gimme an Imme!
Pebble; esteemed judges pore over a 1925 BMW R32
Supercar, supergirls
Yours truly, marring the Mars

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