A Wrap From The Past

It came in a rainbow of colors and was, by far, the lightest product in its category.  It was easy to apply and use, and even easier to replace.  As delicate as it seemed, it actually fared as well--or, at least no worse--than any other item in its category.

Even at 25 cents, nobody wanted it.  So, in the first bike shop in which I worked, we threw it out..

Fast-forward a few years:  I'm working in another bike shop.  Everyone, it seemed, wanted the stuff we tossed out of the previous shop.  Some even grew irate when we didn't have the color(s) they wanted.

What happened?  Well, the '70's became the '80's.  Neon colors became all the rage in everything from ski wear to cycle gear.  ( I rode several winters in a hot pink-and-black Italian cycling jacket.)  Some riders wanted multiple colors to create all sorts of patterns and special effects.

What am I describing?  




It's something you may well have used if you're about my age.  Maybe you're still using it.  If you weren't born the first time it  was en vogue, you may have discovered it recently and think it's the coolest stuff you've ever seen.

I'm talking about a thin cellophane handlebar tape from Benotto. Almost no bar wrap was ever slicker or shinier.  I, like many other riders, wondered how that stuff could ever provide any kind of grip.



Truth was, it didn't.  And that was part of its appeal, especially if you were a time trialist or some other kind of super-fast rider. You see, its surface made it easier to change hand positions on long rides.  On the other hand (pun intended), the only thing resembling grip the tape provided came from the overlaps. 

I'll admit, I used a couple of sets myself.  On my black Cannondale road bike, I wrapped my bars with red Benotto tape; on my Trek 510, I used a rather nice set in a kind of shimmery café crème hue.



 The tape could be had in almost any shade imaginable, as well as in certain patterns, including the flags of Italy, France, Germany and other countries.




By the time customers were demanding it, the price had gone up to around a dollar. At that price, you didn't worry about tearing it in a fall or some other mishap!  And it took practically no time to rewrap a bar with new Benotto tape.

I don't know how long it stayed on the market.  From what I could tell, production seemed to have stopped some time around 1990.  These days, new-old-stock Benotto tape goes for as much as $25 (yes, for a two-roll set) on eBay.  And some company is making reproductions of the thin cellophane tape. 

Imagine that:  A "retro" product made of cellophane. 

How Does It Become "Retro?"

To see more about this bike, go to http://rhp3.com/Scwinn_Superior.htm

When she commented on my post from the other day, "Velouria" of Lovely Bicycle! raised an interesting question. She says longtime bike mechanics joke about Ross bikes and say things like "we couldn't sell them the first time around, but now kids are buying them second hand."  


So, I wonder, how and why does something become "cult," "classic" or simply "retro" when it was scorned, dismissed or ignored when it came out?


One example of what I mean is a Schwinn model that was sold as the "Superior" during the early 1960's and mid-to-late 1970's, and as the "Sports Tourer" during the intervening years.  Particularly in the final years of the bike's manufacture, it didn't sell well because other similar bikes from Europe and Japan were lighter, and to many consumers, its filet-brazed joints were indistinguishable from the flash-welds on Schwinn's less expensive models like the Varsity and Continental.


Now I see lots of "wanted" listings for Superiors and Super Sports.  I guess one reason why is that they're among the very few filet-brazed frames to be mass-produced.  And, although somewhat heavier than the bikes they're supposed to compete against, they were solid, and can be made into good, responsive bikes with modern tires, rims, derailleurs, cables and brake pads.  Even though they have long chainstays, and therefore longish wheelbases, they still have a "solid" feel in the rear, where many lightweight bikes (like my old Peugeot PX-10E) could feel whippy.  That is no small consideration if you install a rear rack and load it up. Plus, the Superiors and Super Sports had larger tire clearances than most current road bikes, which makes it easy to install fenders and convert the bikes to commuting and touring machines.


Some of what I've just said about those old Schwinn models apply to the Rosses--and, for that matter, many other bikes of their era.  Perhaps that's one reason why they're sought-out now.


But sometimes you just can't understand why some things aren't consigned to the dustbin of cycling history after being ignored or scorned the first time they came around. One example is some handlebar tape we threw away in the first bike shop in which I worked.  It was shiny; it was slippery; to most of us, there was no rationale for using it--at least then.


Fast-forward a few years.  I'm working in another bike shop, and we have to back-order that same tape because our order of it sold out within a day of our receiving it. The difference was that,by the time I was working in my second shop, the Seventies had turned into the Eighties.  And we all know what happened to bike finishes:  Those elegant silver Cinellis and constructeur bikes, not to mention the understated but meticulous work of American and British framebuilders of that time, was falling out of favor.  In its place came what we now call the "dreaded Eighties paint jobs":  lots of neon colors and fades.  


That tape we threw away at my first shop was now in demand because it was shiny and came in a lot of different colors.  Those of you who recall that time know that I'm talking about Benotto tape (which, by the way, was made in Mexico, not in Italy, as is commonly thought).  


Even when it became popular, it could be found for less than two dollars. These days, it sells for many times more than that on eBay.   If I'm correct,  it hasn't been made in some time, which might account for the prices people are paying for it.


Those Rosses, Superiors and Super Sports are no longer being made, either.  Yet there are other long-extinct marques of bikes and accessories that aren't sought-after these days.  And some of those other bikes and parts have some of the same attributes and assets I've described, as well as others that should make them attractive to somebody.  So why do they continue to languish in obscurity while other products, like Ross bikes, are sold within hours of appearing on Craigs List?