Fuji S10-S: It Brought Japanese Bikes Out Of The Shadows

This has to be one of the best catalogue illustrations in history:

It appeared on the back cover of the 1971 Fuji Bicycle catalogue.  That year, Fuji--and Japanese bicycles--"came out", if you will, in the American market.

Although Japanese cameras and electronics were developing a good reputation in the 1950s, their bikes were still seen as inferior to those from Europe and America.  That perception was mostly deserved:  While many Japanese bikes and parts from that era were built to close tolerances and beautifully finished, the alloys (whether aluminum or steel) used to make them weren't as strong as those from other major bike-building countries.  Also, as Sheldon Brown points out, many bikes--like the Royce-Unions from that era--came in only one size.

By the 1960s, the quality of Japanese bikes was improving.  However, they were still mostly "under the radar", often sold under the names of familiar American and European manufacturers (like the Ross I wrote about yesterday)--or simply names that didn't sound Japanese.

The market for bicycles--for adults as well as children-- was growing, although not as explosively as it would during the '70's Bike Boom.  Still, even then, American manufacturers were having difficulty keeping up with the demand.  Three-speed "English Racers" and the few (mostly lower-end) European derailleur-equipped bicycles available in the US at the time often sold out because, althought they seem like tanks today, they were considerably lighter than almost anything made in America.

Then, when the Bike Boom exploded, even the British and European manufacturers, working overtime, were hard put to keep up with the demand.  (I recall waiting lists for Schwinns, Peugeots and Raleighs at local bike shops.)  This, of course, is one of the reasons why some ten-speeds of that era had workmanship that made Detroit behemoths of that time seem like pinnacles of Bauhausian design and craftsmanship.  I still shudder to think about some of the Raleigh Records and Grand Prixes, as well as low-level models from Atala, Gitane and other makers, I assembled and fixed when I was working in bike shops!

On the other side of the world, the Japanese were perfecting the quality control for which they would become famous in all industries.  Plus, plenty of people cycle in Japan, and more than a few of them are engineers and designers.  So, they came up with bikes and parts that, in many ways, were improvements upon (or, at least, departures from) typical European and American products of the time.

In the late '60's and early '70s, some nice Japanese bikes were being sold in the US under names concocted by marketing executives in the companies that imported them.  They tried to sound un-Japanese:  American Eagle, Centurion, Univega.  You won't find bikes with those names in Japan. 

Early Fuji S10-S, circa 1972

But in 1971, Fuji introduced its iconic S10-S model in the US.  You may have owned or ridden one; perhaps you still have (or acquired) one.  Reviewers raved about it, whether in the bicycle publications or Consumer Reports.  It remains, to this day, one of the best thought-out bikes ever made:  Its frame was built from double-butted high-tension steel, with clean brazing at the lugs.  The geometry was a classic 73 degree by 73 degree, found on racing bikes of the time but entirely appropriate for light (or even medium-load) touring.  It's no surprise, then, that S10-S and S12-S (its later 12-speed iteration) bikes have been raced, ridden on transcontinental tours, and used for just about every other kind of riding imaginable.

S-10S from 1978, its last year of production.  A 12-speed version was, by then available:  the S-12S

And its components were not fancy, but still very good and practical:  Sun Tour V-GT derailleurs  and shifters (Shimano on some of the early models), Sugino Maxy cranks, Dia Compe centerpull brakes, Nitto bars and stems and the very strong Ukai rims laced to Sunshine (Sanshin) hubs.  Plus, there was that legendary Belt leather saddle, which took longer to break in than almost any other, but was seemingly indestructible.  I've seen Belts fetch $200 on eBay!

Another early S10-S.  I always liked that shade of green.

This bike was an almost immediate best-seller.  For some riders, it was a "move up" bike: one purchased after racking up miles on a cheaper, heavier bike.  Others bought it as their first "grown-up" bike.  It also became one of the more popular mounts on the Bikecentennial.

One thing I find very interesting is that the bike was so successful in the American marketplace with an almost stereotypically Japanese name, albeit one most Americans could pronounce easily.  It also seemed to make no effort to hide its Japanese-ness:  The bikes were attractive, but seemed to make little effort to mimic their European counterparts. 

Ironically, later Japanese bikes sold in the American market tried to sound even more Japanese than the Japanese, if you will.  Bikes like Shogun and Lotus, while nice, were so named by marketing folks in the US.   And, when some people took umbrage over a Japanese bicycle called "American Eagle", its name was changed to Nishiki in 1971--the same year the S10-S came out. Kawamura Bicycles in Japan--which, to my knowledge, has never sold bikes under its own name in the US-- made Nishiki as well as Azuki, a lower-priced (but still nice) line of bicycles.   

Howie Cohen, the importer of Nishiki and Azuki, explained that the names were chosen because they were definitely Japanese, but easy for Americans to pronounce, and could not be translated or used in offensive ways.  Nishiki is a  gold thread woven into wedding kimonos, while Azuki is a sweet bean native to Japan.  To my knowledge,no bicycles have ever been sold under those names in Japan, although "Nishiki", like "Fuji", is a  brand name for a wide variety of products in that country.

On the other hand, there are Fuji bicycles in the Land of the Rising Sun.  Some models are different from those offered in the US and other places.  The same could be said for Panasonic bikes (which, nice as they were, never sold very well in the US) and Miyata, known as Koga Miyata in Europe.  Also, Bridgestone --probably the most un-Japanese-sounding of all--was successful in Japan before Grant Petersen turned it into a brand with a cult following in the US.  It was probably far better-known as Bridgestone--both in Japan and the US--than it was with the under the more Japanese-sounding names of Kabuki (not bad, but very strange, bikes) and C.Itoh (pretty bad) under which it was marketed in the US before and during the Bike Boom.

So, by the 1980s, Japanese bike manufacturers had come "full circle", at least in one sense:  They were flaunting, rather than hiding, their origins.  In other words, they no longer had to "go stealth" in order to sell:  The ride qualities and reliability of Japanese bikes and parts made them desirable, just as the quality of other Japanese goods (such as cars, cameras and electronics) made them preferable to their counterparts made in other countries.  

In brief,one could say that the Fuji S10-S did more than any other bike to show American cyclists that Japanese bikes and components were as good as--and, in some instances, superior to--what other countries were making. Japanese bikes became what you bought if you wanted something really good for your money, not what you bought because you couldn't afford "something better".  After the S10-S came along, you could buy a Japanese bike--whether a Fuji, Nishiki, Miyata, Centurion or some other brand-- without shame.

As The Sun Sets On Newtown Creek, A Ross From The Land Of The Rising Sun

In Greenpoint, Brooklyn, Manhattan Avenue--one of the neighborhood's main throughfares--dead-ends at Newtown Creek.  One recent year, the Environmental Protection Agency declared it the nation's most polluted body of water. (In other years, the Gowanus Canal has garnered that distinction.)  But when it doesn't win "the Prize", the Creek is almost always listed among the most polluted bodies of water in the nation.

Of course, I don't think about that when a late day ride takes me there and I take in the views.

There's a nature walk along the creek.  By its side, at the end of Manhattan Avenue, there's a green patch with a fence around it that's a popular place to lock--and, it seems, abandon--bicycles.

Sometimes the bikes left there are rather interesting in their own ways.  For instance, there was this Ross 3-speed:

Ross was known mainly for making "muscle" bikes like the Barracuda (which was intended to compete with the likes of the Schwinn Krate and Raleigh Chopper) and some of the early production mountain bikes.   Their factories were located in Rockaway Beach, NY and Allentown, PA, before production moved to Taiwan.

However, during the 1960s--on the eve of the North American Bike Boom--Ross imported three-speed bikes from Japan.  At that time, few Americans owned or rode bikes with derailleurs.  Thus, most adults who rode--and kids who wanted something lighter than the baloon-tired "bombers" made by Schwinn and other American companies--preferred three-speed bikes, which were called "English racers".

Most of those bikes were made by the likes of Dunelt, Sunbeam, Robin Hood and other companies--and, of course, Raleigh, which would later acquire most of those marques and all but monopolize the remaining market for that type of bicycle.

However, as demand grew, those old English manufacturers couldn't keep up.  Thus, bikes were imported from Japan. One of my first bikes--a Royce-Union--was one of those English-style Japanese three-speeds.   As you can see in the photos, bike-makers in the Land of the Rising Sun did everything they could to emulate, if only visually, the "English Racers" that were so popular in the US and elsewhere.

(When Centurion ten-speeds first came to these shores in 1969, they could very easily be mistaken for Raleigh Grand Prix machines of the same year--unless, of course, one noticed the SunTour or Shimano derailleurs, as well as a few other details.  At that time, most Raleighs came with Simplex or Huret derailleurs.)

Some Japanese bikes came with leather saddles, also made in Japan, that resembled the offerings of Brooks, Ideale and other British and European makers.  I don't know whether the bikes made for Ross came with them (I can find practically no information about the bikes), but somehow I doubt it.  Even if it came with a leather saddle, I doubt it would have been this one:

You probably think it's a beat-up Brooks B72:  the saddle that came with many British three-speeds.  It does indeed have the same looped under-carriage rails and saddlebag slots built into the saddle.  And the top is the same size, and has the same shape as the B72, with a couple of exceptions:

It is indeed a B18. The embossed floral pattern at the top is wearing down.  I don't know whether it's from use or abandonment.  Somehow I don't think it's an original-production B18 from the 1930s, worn as it is.  The design was resurrected about a decade ago, as classic-style ladies' city bikes became popular.  The curled front is designed to prevent a skirt from getting caught on the saddle.

Whatever the story, the saddle is a nice addition to the bike, though I think it deserves better than to have bird poop on it.  I have to wonder, though, how the bike rides with this bar and stem combination:

That extension of that stem must be about 120mm.  That makes the steering more sensitive.  And, of course, the bars increase leverage.  I would be curious to ride the bike just to see how a bike that's not made for quick cornering rides with touchy steering.  Maybe it's a good combination for riding in traffic.

Anyway, I hope the bike isn't abandoned.  It may not be anyone's idea of a "great" or "classic" bike.  But it certainly is practical (except for those bars!) and I am always glad to see a bike like it in circulation.  At least, I hope, it won't become part of the detritus in Newtown Creek!

Memory, In This Light

Have you ever tried to describe something you owned or used in your past and, no matter how hard you try, nobody has any idea of what you're talking about?

It seems that the ones who might have owned or used it have no memory of it, and younger people can't imagine it or think you're making it up.  Or, if you're about my age, they think you're just "losing it".

That happened to me a while back.  On my way home from a ride, I stopped in a shop I'd never visited before.  I got to chatting with the owner, who showed me some parts and accessories he accumulated over the years.  They were commonplace when they came his way; now they're considered vintage.

Among those wares was a Japanese generator headlight from, probably, the 1960's.   It was shaped something like the "bullet" lamps that are becoming popular once again.  What was really interesting about it, though, was that it had two differently-sized bulbs and a switch at the top.  He explained that as you built up speed, you powered the smaller "low beam" and, when you got up to your "cruising speed", you flipped the switch to the larger "high beam" light.

That light triggered a memory from my childhood.  The old Royce-Union three-speed my grandfather bought for me about three years before I was tall enough to ride it (and, sadly, only a few months before he died) had a very similar generator headlamp.  Mine also had two lights, I explained, but the larger one was a fluorescent tube.  At slow speeds, you rode by the light of the smaller incandescent bulb, but as you got up to your "cruising altitude", if you will, you flicked the switch for the fluorescent light.

The shop's owner, who's older than I am, says he never saw such a thing and couldn't imagine it.  Still, I couldn't get it out of my mind.  So, I tried Googling all sorts of search terms, including "fluorescent bicycle light", "dual bicycle lights",  "bicycle generator light made in Japan",  "bicycle lights 1960's" and "bicycle lights 1970's", but came up empty.

I actually started to wonder whether I imagined it--or whether some shadowy operative implanted a fabricated memory into my mind to drive me crazy. (No, I'm not a conspiracy theorist; I just know that the world is against me! ;-)) Then a name started to float through my mind:  Kaddomax.  Could that have been the brand name?  I tried several permutations of the spelling, including "cadomax", "kadamax" and, finally, "Kadomax."  I hit paydirt with that last one:

Someone in Greece is selling a pristine set that includes the headlamp, generator and taillight--just as I remember them--in a box that seems only slightly shopworn.    The asking price:  $200, plus $35 for shipping from the Hellenic Republic.

I'd love to know how the seller got his/her hands on that set, and where it was kept for the past four decades.

Of course, were I to buy such a set--or even if I found one in less virginal condition--I would not use it on my daily commuter.  Today's LED lights are lighter in weight, and less complicated and finicky, than the older lights.  I know that LEDs can be made to work with generators, but if I wanted a generator for my daily rider, I'd go with a modern one, as it would be more efficient.

But if I had some restoration project, or simply wanted to put together something unique, I'd buy the Kadomax. Heck, it's tempting, just for the memories it would evoke and preserve.

The Persistence Of Dropped Top Tubes

What if Salvador Dali were hired to design a bike frame--and he only did the top tube?

The result might look something like this:

I had never before seen such a frame sporting Bianchi logos.  But now that I think of it, I'm not surprised.  The Bianchi in the photo was made in Japan for Bianchi during the 1980's.  Back then, the most famous Italian bicycle manufacturer was rebranding bikes built by Panasonic, Bridgestone and, it was rumoried, Miyata, for the US market.

When you look at this Panasonic closely, you realize why Bianchi made such a move.  During the 1970's and early 1980's, Japanese makers like the ones I've mentioned, and Fuji and Nishiki, took over much of the entry- and mid-level market for road and touring bikes in the US. There were good reasons for that:  The Japanese companies were offering better bikes for the money than most of their  European and American rivals.  Their quality control was more consistent:  Highland Park Cyclery sold Miyata and Panasonic when I worked there, and I don't recall having to return one for a defect.  On the other hand, I saw braze-ons break off a Peugeot and Treks that had miscut threads and wheels that didn't hold up for very long.  

Perhaps the biggest "draw" of Japanese bikes was that their drivetrains usually shifted more accurately and (a major selling point with new cyclists) more easily than those on their European counterparts.  The Panasonic in the second photo was the lowest-level ten-speed bike the company offered at the time, but its Shimano derailleur outshifted all but the very top models made in Europe at the time.  The BIanchi is a few levels up from the Panasonic, and its Shimano gears were more accurate and less fussy, I would submit, than any others--except for the ones made by Sun Tour.  

Of course, BIanchi would not be the only company to re-brand Japanese bikes for sale in the US.  Some of the most famous examples of such bikes were the "Voyageur" and "LeTour" lines Schwinn sold; Raleigh, Peugeot and other companies would also offer bikes from the Land of the Rising Sun.  Other companies, like Motobecane, would continue to make bikes in their home countries but equip them with Japanese derailleurs, freewheels and cranksets--and, later, other components--for American cyclists.

But not all of those companies offered bikes with the frame design of the BIanchi and Panasonic you see in this post.  In fact, frames with top tubes so shaped were made for only a few years, or so it seemed.  A couple of years ago, Trek revived  a modified version of it on their "Belleville" city/porteur bike:

I have never ridden a bike with such a configuration, but I can see the benefit of it, particularly for cyclists with disproportionately short legs.  I would think that people who, for other reasons, want a frame that offers more clearance than the traditional diamond design but don't want something more rigid or stable than a traditional women's, or even a mixte, frame would also like such a design.


Here's what I always wondered:  If you buy one of those bikes, do you get a watch with it?  Or a bike computer:  Imagine if Salvador Dali designed those!