Sunday, May 31, 2009

BAVARIAN ROAD TEST #3; ZUNDAPP FOUR-CYLINDER

I can't say definitively that there are no 4-cylinder Zundapps in the US, but there can't be many. They were produced for a very short period, in small numbers, just before the War, as the once-great marque's flagship model. In common with BMW and DKW, pressed-steel frames were all the rage in Germany in the 1930's, although each of these manufacturers had finished their fling with the material by the end of the decade, BMW abandoning ship first. The advantage of the flat steel frame is the ability to mass-produce the components parts very cheaply, once the initial set-up is considered for the dies and bucks and special presses. It's basically automotive technology, and as these factories (especially DKW) were churning out huge numbers of motorcycles in this period, reducing the amount of specialist handwork required to assemble a motorcycle was an attractive proposition. Motorcycling is a brutal business, and the large companies which have survived all managed to reduce the amount of skilled labor necessary to make their products (see my review of 'Japan's Motorcycle Wars').

A by-product of this novel approach was a confluence of the inherent aesthetic of flat planes of steel connecting two wheels, and the dominant design movement of the day, Art Deco.

This Zundapp hasn't been consciously styled as a Deco masterpiece, but the period of its manufacture and the clean, rounded lines of the frame and engine covers, place it firmly within the boundaries of the movement; there is no mistaking exactly when this bike was made, unlike a tube-frame motorcycle, which could be from the 30's, or the 50's, with little clue barring the common use of telescopic forks by mid-century.

In its Deco-ness, Zundapp has shown great restraint, only adding curvaceous flourishes to the exhaust heat shield and the tank painting, which both stand out as the finest touches on the machine.

And what a machine, a flat-four, with 800cc sidevalve engine, and the legendary Zundapp all-chain gearbox. The cylinders are fed by a single carb, well hidden under all the smooth aluminum, and a shaft drives the rear wheel. It's not a lightweight, but is meant as a luxury tourer or sidecar tug.

The owner of the machine was in the mood for a long ride, so I followed in the Zundapp behind his Ducati Monster, doing my best to keep up! With four small pots, the bike was a doddle to kick over, and mechanically the engine was very quiet. The exhaust note was a subdued rumble as well, with a hint of sporting pretension. All controls were typical of the period, throttle in the right spot etc, but the gearchange took a bit of getting used to. As you can see in the photos, its basically a truck shifter, with a long rod and ball, and there is no 'gate' for guidance. The shift pattern is similar to a car, with 4 speeds. A big gap between second and third gear meant a bit of revving was necessary on the uphill slow bits, but the bike seemed happy to wind out; surprisingly, it has little grunt at low revs, but prefers a good spin-up before the power is strong enough to conquer the hills of Bavaria. Fourth gear seemed like an overdrive until I was truly able to stretch the machine's legs, at which point it became clear that a fast tour or autobahn cruise was entirely possible.

The handling was secure and un-dramatic, save the times I found the center-stand on corners, which didn't happen too easily; there's reasonable ground clearance, and despite the weight of the package, it was perfectly light to flick around s-bends. Somebody at the factory knew their geometry, and the very low center of the engine mass plus generally narrow profile (no heavy cylinder heads sticking out) makes for a lithe machine.

The downside? Well, the brakes were pretty poor, the front almost nonexistent, which might be endemic, or might be a lining issue. I'm used to riding 20's machines with no stopping power, but they are generally 100lbs lighter than this Teutonic bruiser, and I found myself sailing right past my host, anchors fully out, as he stopped for photos or to inquire as to my happiness.

I'm grateful for the opportunity to ride this and the other two 'Bavarian Road Test' subjects; many thanks!

Wednesday, May 27, 2009

BAVARIAN ROAD TEST #2; THE MAJESTIC

As regular readers of the Vintagent know, I have a 'thing' for unusual bikes, and a special place in my Pantheon for the Majestic motorcycle from France. I've already given several expository posts on the subject, which you can read here, but here in Bavaria, where all motorcycles seem possible to ride, a freshly restored 1929 Majestic with a 500cc ohv Chaise engine was proffered. My visit marked the premier startign event for this bike, and as the film below shows, the mechaniciƩn knew his stuff:

The Majestic is the physical embodiment of the Art Deco aesthetic, a streamlined torpedo which suggests Speed and Modernity, and although it fails to deliver in the former case, it was certainly and extremely forward-thinking design, an attempt at an 'ideal' motorcycle, whose formula has been echoed through the decades by modern factories such as Yamaha and Bimota.

Structurally, the 'New Motorcycle' (as it was called in prototype form) is built similar to an automobile of the era, with 'C' section steel channels forming the chassis in twin, low rails along either side of the power train, atop which is a shapely light-guage steel body of attractive and curvaceous line. Classic Deco stuff. The engine compartment is covered in a mesh, and the body is louvered along the sides to dispense with heat.

The true innovation comes with the hub-center steering, not unique, nor was Majestic the first two-wheeler to use such, but the execution is modern and works well. Suspension, as on a Morgan car, is via sliding pillars along either side of the front wheel - the rear is rigid. Conventional controls operate the machine, including a hand-shifter, which is a simple rotary device with a knob - no 'gate' for holding the lever in place, just a round boss with Roman numerals indicating the gear (there are III). Steering is via normal handlebar with a push-pull rod connected to the front hub.

So, the important question; what is it like to ride? Sitting astride the machine there is no sense of anything unusual, that one is atop a totally enclosed vehicle with hub-center steering, only the handlebars and extensive (smart too) instrument panel can be seen from the perch. Starting the Chaise engine is a doddle, and a typical 20's bonk emerges from the fishtail muffler. There is valve clatter below the perforated engine covering. So far, so normal.

Moving out, the steering is very light, and has no inertial sluggishness for such a long machine. As the speed rises, one notices a certain pendulum effect at the front wheel, and a light hand is required on the 'bars to prevent a weave. Even with a delicate touch, the front wheel seems, not hunting exactly, but not rail-like in steering - constant minor correction is necessary to keep the plot moving in exactly the right direction. I imagine that a little work perfecting the trail of the steering geometry would cure this minor effect; it's a very small matter for such a radical design, and the road-holding and steering feel true at all times and perfectly stable and safe. As the engine warmed up, I felt completely confident in swift cornering, and was rewarded with a very nice ride with zero drama.

What I wanted, though, was a different engine. The Chaise unit is, I'm sure, perfectly serviceable and totally conventional for the time, but such an innovative motorcycle cries out for a smooth and modern engine, with significant power output. A prototype of a 'New Motorcycle' with a Cleveland four-cylinder engine was shown at the 1928 Paris Motorcycle Show; this would have been a perfect combination of power and engine noise. Unfortunately, the prototype seems to have disappeared, so we'll have to settle for the 'what if'.

Tuesday, May 26, 2009

BAVARIAN ROAD TEST #1; BROUGH SUPERIOR AUSTIN 'THREE WHEELER' OUTFIT

A large collection of old motorcycles is often a depressing sight; the usual scenario is rows of desirable machines, which could best give pleasure if taken out on the road, yet are left to gather dust like a Chinese warrior army, holed up in someone's barn or warehouse, waiting for Godot...
But some collectors are different, and we're lucky (as in 'we' who care about how our favored cultural treasures are cared for) to find those who not only share their treasures via museum shows and track days, but can be seen near their homes on fair days, stretching ancient chains or belts through their favorite bends, a tell-tale grin on their faces. At the top of the heap are connoiseurs who allow guests to ride their machines as well! And these the Vintagent holds dear in his heart, for they allow him to experience in the metal the rarest and most intriguing of machinery ever produced for a rider to sit astride, to explore the exquisite countryside.

I think I'm having a good time, excuse the lofty prose, but you'll see why, as on this fair day in southern Germany, I've been allowed an extensive sampling of not one but THREE rare beasts, two of which are simply among the most unusual motorcycles ever produced. Imagine the scenario; the doors of a great barn (climate controlled and with a good alarm!) are thrown open, and your host says with a smile, 'It's an excellent Spring day, let's go for a ride. Which would you like to try first?' This is, of course, an unanswerable question... kind of like the day I took my daughter to the toy store and said, 'you can have anything you want, just choose', and she burst out crying. So, I allowed my generous benefactor to choose for me, as frankly any of his machines would be a scoop in the pages of the Vintagent.

The Brough Superior-Austin is well known to motorcycle afficianados as the 'three wheel motorcycle', as clearly it has two rear wheels, which are driven by a shaft between them to a final drive box, shared by both wheels, with no differential, just a bevel and crownwheel. Ridden solo (which I've done, a long time ago), the bike has an odd yawing feel, as the weight shifts from one wheel to the other... it's never dangerous, just strange, and the bike can be ridden 'normally'.

After several prior attempts to build a four-cylinder motorcycle (inline and a v-four), George Brough made a deal in 1930 with the Austin Motor Company to purchase a bored out 'sports' version of their infamous Austin 7 car engine; water-cooled, with a car-type gearbox (including reverse!), and driveshaft. The overbore only produces 800cc, not in SS80/100 territory, but the 'sports' aluminum cylinder head with better gas porting and twin carbs is a significant improvement over the car's anemic output. Priced new in 1932 at £188, for which you could have bought a nice house in the country, with a few acres of apple trees. Ten were made, perhaps 7 survive. This particular machine has been close to me for near 25 years, as it lived in Oakland in the collection of notorious drug lord Ben Kalka at his shop 'Goode Olde Days'. When Ben moved into San Quentin, the BS4 was sold to a Swiss collector...

I had read reports that the BS-Austin outfit was seriously underpowered, especially compared to the hotrod reputation attached to the Brough name. When I expressed this to my host, he raised an eyebrow and suggested we start our tutorial with me in the chair, for an exemplary ride.

The outfit starts with a push of the button (another legacy of automtive ancestry), and shortly settles down to a muted purr...but there's a hint of a rasp in the note too, a hint that this pussycat may have a little tiger in her. The gearchange is strictly pre-war car; no synchromesh in the gears (3 forward, 1 reverse), so timing and engine speed are crucial for a quiet gearchange, and even then, changes can't be rushed.

A note about the sidecar; this is the cataloged BS 'Sports' chair (I used to have one on my 11-50), a no-frills model, but extremely comfortable, as are all buggy-sprung chairs. It was a retrograde step for sidecars ever to gain a sprung wheel, for there is no imaginable comfort to be gained over floating above the bumps on gently flexing springs. No kidding; really relaxing.

It was clear from the get-go that Lord Austin's product had been breathed upon, for the BS has life and strength, and rapidly reaches a 50mph cruising speed, at which point the valves are singing merrily, the intakes making a pleasant whistle, the gearbox an unobtrusive whine, and the outfit as a whole feels solid as a rock and indefatigable. And remarkably calm. Here's the view from the chair; enjoy the ride:

So, now it's my turn. First, familiarize self with gearchange, which is a car shift turned to face forward - a strange pattern, but it makes sense once the beast is underway. Second, familiarize myself the the brakes... and I know from experience that the front is no 'stopper' - totally useless. The rear brake with 'BS' cast into the pedal is more reassuring, and hauls the heavy (700lbs?) four-wheeler down rapidly. Third, where the hell is the throttle? Indian-style, it's on the left 'bar, which will take a moment of getting used to, especially as the clutch lever is next to it. Luckily, there's a foot clutch as well, which becomes my preferred device - too akward to feather the clutch and open the throttle with one hand.

And suddenly, all the disparate parts come together and we're underway, the smooth purr of the engine pushing the plot forward rapidly. Not fast mind you, but rapid, and I for one have never trusted 'fast' outfits... they seem like a good way to finish upside-down in a ditch! How do I know that, you ask... well don't.

Curious about the ride? Take a spin yourself:


I can say, hand on heart, that this is the nicest motorcycle pulling a sidecar that I've ever ridden, and I've ridden all manner of outfits; German, English, Yank, Jap. There is a feeling of tireless solidity about the machine, the engine just feels very right, the handling is, well, Superior. George Brough was a great advocate and rider of sidecar machines, and all of his bikes work well pulling a mate, but this one is better. I'm not sure one can pinpoint exactly what makes it so good, but it is, for all of the novelty and rarity, an incredibly relaxing motorcycle to ride. There's no point in hurrying, as the ride itself is the point, and I think I just called this Brough Superior a Zen motorcycle. My expectations were completely overturned... unlike the outfit...


And what's better than a B-S Austin outfit? Two!

Saturday, May 23, 2009

JAY LENO'S VINCENT SPECIAL

Special to the Vintagent by John Joss
Jay Leno is exactly as he appears: a decent, straight-ahead, clever man with a lifelong passion for motorcycles. He invited me to his home in 90210 to interview and photograph him. Because I had to take a large camera case (Nikons, lenses, etc.) I had to drive in my antique Honda Civic. When I arrived he was waiting at his front gates.
"Jay," I asked, "is it okay to drive a Honda Civic in Beverly Hills? Will I be arrested?" He looked around furtively: "If we get it inside quickly they may not see you and you'll get away with it."

We entered the immense mansion and he led me into the living room, with 15'-high ceiling dominated by a huge TV screen. "Mavis is out," he said. "We can play a little." He put on a video of a Shuttle launch and cranked up the volume until the whole damn place shook. It was . . . terrific.

Then we went outside to see his latest (then) toy, his newly finished Vincent Special. I took a shot of it, several actually, and it's a gem. A Rapide engine tucked into a custom frame with Featherbed-like rear end, a Ceriani front fork with single big disk, and perfect paint. He kick-started it and it took first kick (he had not warmed it up), and grinned like a madman. The Vincent specialist in L.A. whose name I do not remember (old age, but someone who
reads this will know) created the machine and it is deeply desirable.

Leno the man is the guy you'd like to ride with, hang out with and talk to about bikes. His enthusiasm is 100% genuine and every time I see him he remembers me--time, place, bike, everything--even though he lives a life of intense and complex demands. Maybe we can have him cloned so that he can spend time with bikers AND enjoy his entertainment life. If anyone who reads this would like me to scan and post some of the other pix, about 20 in all, I will be happy to do so. (email John here)

Friday, May 22, 2009

SOUTHSIDERS M.C. #2: THE PYRENEES

Today we said goodbye to the coastline and headed into the mountains, on sinuous roads meant for motorcycles, blasting through 400-year-old villages with the combined boom of 16 big twins (and one triple, but it was new so we'll sweep it under the rug for now...). But back to the beginning, at a cafe on the cliff overlooking the surfers of Biarritz; there is an old building on a rock at the beach's terminus, which for all the world looks like a ghost of San Francisco's Cliff House, circa 1890. The Southsiders have pointed this out on their magnificent blog, but to see it in person is uncanny.

Nobody told me our meeting cafe was THE hookup spot in town - I was only looking for java, but pretty girls seem drawn to pretty motorcycles, and Shayne and Kelly ended up recreating those fabulous Norton posters from the 1970s; willing models but impossible passengers in those sandals...have fun in St. Sebastian, girls. And by the way, you're famous.

(As an aside, when the Southsiders came back into town that evening, the place was thronged with the young and beautiful.)

I was treated to the luxury of Daniel's modified Norton; to the rest of the world it looks like a Fastback model, but that's only the skin, and even this has been caressed into a new shape which he finds more attractive. A good look at the photos of this green beast will reveal much to the trained eye... and it's a highly civilized ride.

The Pyrenees don't rise dramatically here, but they do climb and drop into hollows and valleys, following rivers for a while or cresting a peak with expansive views of the countryside. It's all verdant and lush this wet/late Spring, but we were lucky and by lunchtime the sun had fully blessed our gathering... and as our stop was so long, it was no wonder; plenty of time for sol to part the clouds.

Near the Spanish border, a lineup of cars resembling Jean-Luc Godard's film 'Weekend' crawled along - the local trick is to buy cheap alcohol and cigarettes in Spain, and all those cars go only so far as the first village, which serves their needs. After that, free sailing.

We shortly entered a real 'pays Basque' town, can't recall the name, but the architecture is so characteristic of the area; lots of white stucco, tile roofs, exposed stonework, storm shutters, and Basque signs in a unique font - every local business, truck, menu, and town used the same lettering.

As mentioned, our lunch stop was a feast, as we over-ordered the jamon, patatas bravas, paella, and sandwiches, so had to sit long enough to eat it all!

But, we managed, with a little help from friends who appeared suddenly in their Bullitt-inspired '67 Mustang GT.

Daniel and I attempted a siesta in what appeared to be a local park, but turned out to be a schoolyard. The children's games were straight out of Borat; two boys ran around in oversize papier-mache Devil and African Man carnaval heads, swinging balls at other kids, while a little girl wore a black scarf on her head, a tied-on crooked nose, riding a straw broom, scaring the squealy girls.

So, we high-tailed it out of town and back into the mountains, this time following a river running its course to the sea, its mouth just shy of Biarritz. The Norton trumpeting gloriously, thrumming beneath me as we flashed through the trees.

SOUTHSIDERS M.C. #1: HONDARRIBIA, SPAIN

The Southsiders M.C. and friends (myself and Yves) converged on Biarritz for a ride into Basque countryside on their immaculate Nortons and Triumphs. I had thought to ride along the coast on Yves' '34 Velocette MAC, but as the other riders had 'big guns' (ie, hot Commandos and new Bonnevilles), it seemed prudent to accept Vincent Prat's offer of his everyday-ride '72 750 Roadster, which is basically box-stock, barring electronic ignition and a single-carb conversion (Mikuni, for you purists... it works).

Our meeting point was the Pop Racing workshop outside of town (above, with Ford Transit truck), where I got to sample a 1923 Monet Goyon two-stroke of 175cc; a two-speeder with a clutch and belt drive which went about the same as Keith Hamilton's Ladies' Model Velocette of the same vintage, ie burbled and bobbled along at moped speeds, sans brakes - the rear drive-rim brake is made of wood!

After much milling around and photographing each other, we set off south on a grey day towards Spain, and the surf-friendly coastline... the biggest wave in France is found near the town of St. Jean de Luz, at a spot called 'Belharra'. There is a narrow canyon underwater with a sudden rise towards shore, which creates a 50' tall monster wave in the right conditions, just like my local Maverick's... no way would you catch me in the water near either.

But, it was a calm day and the surfers were paddlers, so we pressed onwards, the coastline road looking for all the world like Big Sur and Highway 1 for about 5 miles, at which point I let the Norton have its head, and it felt like home... except the tarmac was in perfect condition. A perfect road for a fast Commando.

As we were riding during a big 3-day weekend, we had to contend with a LOT of traffic... and let me say it here; Vincent Prat is a hooligan, so I naturally followed his rear wheel closely as we passed traffic on the left, right, middle, wherever was more open than sitting at idle behind the endless queue of cars and trucks. I learned how deal with London traffic in the 80's by following the moto-couriers, so it all felt familiar, although it required razor sharp concentration certainly (above, Franck Charriaut and his wife Faizath).

A welcome lunch stop at St. Jean de Luz produced the news that Louis XIV had a small chateau here, and married Marie Therese in the local church, where they knocked a hole in the wall for a once-only entrance for the royal couple, then promptly bricked it back up. Louis' pad is a nice example of 17th century French construction in miniature, with nice overhanging lookouts on the corners. The town was famous for whale hunting until 1990, when the last baleine was harpooned; now the tuna is gone too from overfishing, so it's all anchovies and sardines... which I happen to like when fresh...

As the town has such interesting history and is a well-preserved town, there are hordes of tourists on a nice day like ours... the video below shows what happens when your filming with one hand and riding straight into a crowded pedestrian zone; drop camera, grab clutch! (better movies tomorrow, I promise..)

At the Spanish border, we were welcomed by unsmiling Guardia with Uzis, M16s, and shotguns, who were stopping small trucks, looking for weapon and drug smugglers. Although the Basque separatist movement, ETA, has been quietish for a few years (although they did assassinate a local several weeks ago), I have heard they've morphed into a typical bloated post-terrorist mafia, demanding payments from local merchants and smuggling drugs...

Hondarribia is a 16th-century town which is highly cultured, as evidenced by a great preponderance of bars and restaurants. During the evening, around 7pm, the entire town turns out for the passeo, in which whole families stroll through the central district, stopping at various eating or watering holes, noshing on tapas and drinking tinta rojo, catching up with the neighbors or a gaggle of hungry bikers who invaded the central square, leaking out oil and cash, but taking in delicious black cured ham (jamon iberico) and some of the local extra-dry cider (seriously acid - an acquired taste, but really good with manchego cheese and.. ham!).

We were joined at 8pm by Daniel Delfour (below), builder of the Norton Ala'Verde, an artisan of the olde schoole, as he makes violins as well. Daniel's green Fastback Commando has been tastefully modified, and is very far from standard, which is to be expected. What has he built since the infamous green Laverda-Norton hybrid? Let's just say it's a very special machine, and is 'branded' by a famous French name, down to the details... all will be revealed in good time, in an ad campaign near you.