Letters

LETTERS

Art on wheels

The Guggenheim Museum must have moved heaven and earth to assemble “The Art of the Motorcycle” exhibit (“Works of Art,” CW, October). I have no adequate words for how much I en-joyed the show and learned from it.

Although I’m glad Peter Fonda’s “Captain America” chopper was included, I do think the show missed Harley customs, particularly Evos, which have cultural and artistic significance for their resurrection of The Motor Company, plus fueling the Rolex-rider lifestyle movement, the parts aftermarket and the emergence of third-party manufacturers such as Titan. A slammed, billet-rich Softail with a 107-inch S&S motor from a top builder like Donnie Smith would have covered the genre. Still, I came away satisfied after seeing Editor Edwards’ Indian Scout bobber.

It’s hard to include everything in one exhibition and, anyway, King Carlos’ new Agusta F4 in the lobby pretty much says it all. I also can say that I touched a Britten (I got caught). Mick Mercier New Haven, Connecticut

Good to find that the Editor-inChief’s Indian Sport Scout was selected as one of the Guggenheim exhibits. The Varga Girl on its gas tank captures perfectly the American motorcycle spirit.

Izumi Kuremoto New York, New York

“Works of Art,” works of wonder. Being able to attend the Guggenheim Museum motorcycle exhibition might even make going to New York City worth the hassle. Almost. I’ll take that 1915 Iver-Johnson and one of those mega-cool retro-streamliner Majesties. Bad rides. Since it’s the only one left, I’ll just dream on about my very own Dollar V-4, but what’s up with the

American Indian motif? Neither it nor the name Dollar seem very française.

Michael Sevier Tucson, Arizona

As a mechanical engineer, I was impressed by the Guggenheim’s French-built Majestic 350-monocoque chassis, center-hub steering, fully faired, all in 1930! I doubt that it rode or handled well with a hard-tail suspension and no rake up front, but I see some unique ideas that could be elaborated greatly upon.

Anyway, thanks for showing it to us. I hadn’t seen one before.

Norman Bruce Desrosiers Oxford, North Carolina

Advocating that an Arlen Ness custom be included in “The Art of the Motorcycle” exhibit at the Guggenheim? Next you philistines will be demanding a LeRoy Neiman retrospective at the Louvre. Mark Jonas

Columbia, California

Actually, we re holding out for a Vel-

vet Elvis exhibition at the MOMA. In the meantime, “The Art of the Motorcycle ” travels to Chicago for a November 7-March 21 run at the Field Museum. If you can’t make it, order the show ’s extensively illustrated 432-page catalog, a treat for the eyes, with select essays by our very own Kevin Cameron, among others. Available in hardbound ($65) or softbound ($45) editions by calling the Guggenheim at 800/329-6109. Highly recommended.

Party time at Triumph

CPF’s negative response to reader Mitch Coleman in the October Letters section regarding Triumph’s allegedly broken lineage was not entirely accurate. When the “old” Triumph was sold in 1983, the name and manufacturing rights were acquired by John Bloor. However, the rights to manufacture aircooled Bonnevilles, Tridents and spares was licensed to Les Harris who continued building Triumphs up until 1988. While the Harris Triumphs were not sold in the U.S., that didn’t disqualify them as being brand-new production Triumphs.

You could say that Triumph was not in production during 1989, but the company was definitely in business during that time and hadn’t “died” as you claim. The company was very busy at work experimenting with the Hesketh/ Phoenix V-Twin prototype and developing the new Triumphs we all know today. In fact, there is an unbroken line that connects Triumph all the way back to 1889 when they started manufacturing bicycles in Coventry, although 1902 was officially their first motorcycle.

And lastly, the “new” Triumphs do have many things in common with the older ones. The inline-Triple, while not unique to Triumph, has been a trademark of the company since 1969. If today’s Triumphs bear a resemblance to successful Japanese bikes, it may be because all machines trying to push the mechanical “power/space” envelope will evolve to a similar point, hence inclined cylinders, water cooling, four valves and dohc. It’s a logical, contemporary and competitive design.

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While there are great names that have gone by the wayside and are attempting to return (Norton, Indian, Excelsior, BSA), take care lumping Triumph in with these. It has always been with us, even if only on life support at times. I join with Mitch in saying happy 95th, Triumph, and many more! Chris Coleman

Moorpark, California

Kiwi commentary

In October’s Race Watch, Kevin Cameron makes the case for one-liter, four-stroke unlimited GP bikes. Forget it. At most, four-strokes are fat, lazy, noisy, unreliable, expensive and make a big mess when they drop their guts.

I reckon a cheaper, lighter, more compact but equally powerful option would be to utilize existing snowmobile technology. Suzuki builds a production one-liter, 172-horsepower Triple for Arctic Cat. Would this be a basis for a wild Cycle World project bike, or what!? James Walsy

Auckland, New Zealand

Smoke signals

Oh, Editor Edwards, I’m so glad to have been put politically correct (“Up in smoke,” Up Front, October). The California Air Resource Board has now been exonerated-they’re not being too restrictive of motorcycles. The BLM was correct to save the tortoise, after all it was their desert first! The CHP is correct, there are too many people speeding on the highways and we need to lighten their pockets of any extra change. I’m sure you never speed. I’m positive you’ve never enjoyed riding dirtbikes in the desert. I realize how frustrated you must be that the FIM and AMA have kicked Anthony Gobert out of the country before the DEA could make him pay for flaunting authority.

The spirit of motorcycling ends with attitudes like yours.

Harold “Buck” Shull Phoenix, Arizona

A mind is a terrible thing to waste, eh Buck? Now, go have some munchies and try again next month.