Showing posts with label bikes of my past. Show all posts
Showing posts with label bikes of my past. Show all posts

09 July 2017

Another "Postcard" From Helene

Helene promised to keep me tell me about her adventures in her new home.  She's definitely a lady of her word:

Hi Justine

I thought I would take this chance to dictate an update on life in my new home. Here I am out in the pale sunshine. It is nothing like as warm as it was when I was with you and here June has been the wettest since records began! 

Lots of people have been staying here with us and coming out to look at me, the last one was called Karin from Germany who was sad that I still have parts missing and hoped that when she next visits she can take me for a ride. She is over seventy which I am told is not too old in human years and still likes to take ten day trips by bike with friends in Germany and with her cousin in the US.

As you can see I have borrowed some wheels and have my own Brooks saddle which is still high waiting for the chainset to be able to set a final height. My Ms tress was silly when she got my new happy stem and forgot to get the spacers to let me grip the bars properly. She did get a leather tube protector to match the bars and saddle to protect my top tube from scratches this needs to be carefully sewn on. What is money? Ms tress keeps muttering about having bought money from visitors who had the wrong kind of money so does not have real money at moment. She says that money lets her get parts for me. I thought that you just brought them home as presents…

I really need some gear levers, the only ones in a box here are on a clip which would scratch my lovely paintwork. I have been promised more than seven sprockets at the back when I get my own wheels later in the summer and the levers might not work with them. I am so glad that it is not me who has to do all the planning and choosing. I hope my new bottom bracket goes on this week now that we have the fancy tool to fix me. Ms tress seems to be getting ready for even more visitors and doing work round the garden but promises to devote herself to me once they are gone.

Say hi to Max and Marlee, I am sure that they miss me.

Love Justine Helene Mercia xx


21 January 2016

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?  

Image result for benotto cello handlebar tape


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.

Image result for benotto cello handlebar tape

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.

Image result for benotto cello handlebar tape

 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. 

06 January 2015

The Real Pista

In an earlier post, I recounted my misadventure with my first "fixie" conversion:  a Peugeot U-08 on which I tried to lock down a fixed cog and lockring to the stock Normandy hub by the force of my youthful hormones.

Before that, I wrote about what might have been the wildest bike I've ever owned:  a KHS Aero Track.   Since then, you've read about my many adventures on Tosca, the fixed-gear Mercian I now ride.

While Tosca's frame has track geometry, more or less, I never intended it as an NJS-approved (or -approvable) velodrome bike.  Instead, I think of it as a cross between a track bike and the British "club" machines from the 1930s through the 1950s:  Something I can ride for a couple of hours, or more rather than the minutes or seconds it takes to sprint around banked curves.

And, yes, it has a "flip-flop hub" (as those club bikes often had) brakes (!) and water bottle braze-ons (!!)--and bags, even.  

But I once had a track bike that had  none of those things. It wasn't even drilled for brakes. (The KHS was.) It had a "flip-flop" hub--for fixed gears on both sides. The bike I'm going to write about was intended as a track machine, pure and simple.

It's a name you've all seen, but in an iteration you haven't seen unless you probably haven't seen unless you've been cycling for a couple of decades.

It's---drumroll--a Bianchi Pista.  But not the one that all of the hipsters in Williamsburg were riding around 2005.  That, while probably a decent bike, is a Chinese knockoff of the Pista I rode for about five years.



This BIanchi Pista was made in Italy, in the same factory as their other racing bikes.  Its tubes were Columbus Cro Mor, which were said to be stiffer than the SL tubes of my Colnago.  

Actually, given that and the tight track geometry, the Pista wasn't quite as stiff or harsh as I expected it to be.  Mind you, it's not what I'd ride on a hilly century, but I found I could put in an hour or two without feeling that my dental work was going to fall out.



Then again, I very rarely rode it on anything rough.  Most of my rides on the Pista were in Prospect Park, only a couple of blocks from where I was living (in Park Slope, Brooklyn) during the time I rode it.  For laps starting in Grand Army Plaza, the Pista was great.

But, eventually, I got tired of that and, if I recall correctly, needed some cash for some harebrained venture I came up with.  The guy who bought it from me had aspirations of actually becoming a professional racer. (I don't think he did, but that says nothing about the bike, really.)  He talked me down a bit in price because he didn't like the color (which, of course, I loved) but still preferred it to "Crest toothpaste green", as he called BIanchi's Celeste finish.

When I first got the Pista, I had my Mondonico--my first purple bike--and, by the time I sold it, I was riding my Land Shark--my first purple-and-green, and my first custom, frame. Also, at the time I bought the Pista, I was just starting to do some fairly serious off-road riding on a Jamis Dakota and, later, my Bontrager Race Lite.

03 December 2014

The Best Kind Of "Retro": Simplex "Teardrop" Shifters

Yesterday I wrote about what may have been the most jewel-like bicycle component I ever rode:  the Huret Jubilee rear derailleur.

Today I'm going to write about the part that might be a close second in the beauty contest.  I mentioned them in yesterday's post:  Simplex "retrofriction" levers--in particular, the "teardrop"-shaped ones. 



Most retrofriction levers in that shape were made to fit brazed-on lever bosses. I rode with those levers on several of my bicycles, including the Colnago Arabesque and Miyata 912.  The levers were also available in other configurations, including a "coke spoon" version made for Gipiemme.  



Simplex also made the levers in other shapes and colors for Mavic, Galli and other component manufacturers.  And, of course, there was the original version, which was usually attached to a clamp but was also available to fit braze-ons:




Although they all functioned in the same way, the Gipiemmes might have offered the best hand-feel.  (I am only guessing, as I never tried them myself.)  But whatever their shape, they offered the smoothest action of any lever I've ever used.  That is because they had a spring-clutch mechanism on the inside that kept the lever from slipping (and, thus, the derailleur from shifting accidentally) but allowed a shift with a lighter touch than was needed for other levers.  

Campagnolo and other friction levers, on the other hand, relied on nylon bushings and D-shaped screws to hold them in place--which made them more balky to shift.   The ratcheted SunTour levers were like Simplex's retrofrictions in that they,too, stayed in place when they weren't shifted but were easy to shift.  However, they had a clunkier feel and it was a bit harder to fine-tune shifts on them in much the same way that a one-bolt seatpost with notches is more difficult to adjust to exactly the right seat angle than one without notches, or a two-bolt post.

So, SunTour's "power" shifters tended (at least in my experience) to work better with wide-range slant-pantogaph derailleurs on which only the lower pivot was sprung like the SunTour's VGT or Cyclone GT.  On the other hand, Simplex's more nuanced action seemed to work well with just about every derailleur, with narrow-range racing or wide-range touring gears.  But they seemed especially well-suited to derailleurs that required smaller amounts of cable travel, such as the SunTour Cyclone S and Superbe, Campagnolo Record--and, of course, the Simplex Super LJ.

And, oh, yes, the Huret Jubilee.  It and the retrofriction levers seemed to go together like croissants and coffee.  The original Jubilee levers were made with a large drum that pulled too much cable for the Jubilee, which caused it to overshift.  Later, Huret made a lever with a smaller drum that was intended for both the Jubilee and the titanium Success rear derailleur.  But Huret's lever operated on friction, so Simplex's shifter was smoother.

If I were going to set up a bike with friction shifting, I'd definitely want the retrofriction levers.  However, that would mean using no more than seven cogs in the rear:  what made them so pleasant to use with derailleurs like the Jubilee is the small drum, which cuts down on the amount of cable the levers can wrap up.   In other words, even pulling the lever all the way back probably won't get it to shift onto an 8th cog.  (At least, it didn't on my bikes.)

But, of course, if I wanted to choose components purely on aesthetics, I would choose the Simplex retrofriction levers--and Huret Jubilee rear derailleur.

28 February 2014

When I Jumped A "Shark" Named Violette

I have "jumped the shark" many times.  Hundreds, in fact, if not thousands.

Of course, I didn't leap over Jaws or even accomplish the feat in the colloquial sense.  In fact, I didn't even "jump" my "shark":  I mounted it like a proper lady.





All right, I take that back. I mounted it in a way anyone who rides 20,000 km a year--as I was in those days--might.  But the ride could certainly be a "jump" sometimes.




My "shark", as you probably have figured, was a bike.  And it wasn't just any old bike:  It was the best (for me, anyway) racing machine I ever owned or rode.



Back in the '90's, Land Shark bicycles were extremely popular.  A few of my ride-mates rode them.   You could always tell one from pretty far off:  The lugless brazed joints were impeccable and the paint jobs ranged from the sublime to the unique to the bizarre to the hilarious.





As you can see, mine was fairly tame compared to most.  It looked like a purple lava lamp with green lava.  I saw another 'Shark in a similar pattern, but with different colors.  I asked for "something like it" in purple and green.




Most of the components came from the the Mondonico I rode for three years before ordering the 'Shark.  But the two bikes were very different.  For one thing, the 'Shark was a custom build--my first.  The Mondonico was supposed to be a criterium bike, but it almost shared the geometry of my Italian Bianchi Pista (not the Taiwan-made ones all the hipsters were buying a few years ago).  Since I was doing a lot of long-distance riding as well as racing, I decided on a more classical road geometery, with seat tube and head angles shallower (73.5 degrees each) than the ones on the Mondonico (74 head, 74.5 seat).  Also, I asked for something with a sligtly longer seat tube but a shorter top tube.  On my Italian bikes, it seemed that I was always choosing between one or the other:  If I got the longer seat tube, I also got the longer top tube, which meant that I rode a stem with a shorter extension and therefore sacrificed handling.  On the other hand, getting a bike with a shorter top tube meant a smaller seat tube, which made it harder to stretch my legs out. (A longer seat post just never felt the same to me.)




Also, my 'Shark was built from Reynolds 853 tubing, which was fairly new at the time. This made for a livelier ride than the frames with Columbus tubings, which, on some bikes, could feel stiff to the point of feeling dead (my complaint with the early Cannondale racing bike I had).  I could do a "century", or ride even more miles in a day without feeling battered:  whatever fatigue I felt was a result of sun, wind, or any other conditions I encountered while riding.




Although I rode the bike for a decade, I made few changes.  Of course, I replaced tires and such as needed.  But I made only minor deviations from the original Dura Ace/Ultegra combintion.  

The first came after  two years with the 'Shark, when  I started riding Mavic Helium and Cosmic wheels.  Heliums were probably the lightest road wheels available (in clincher, anyway) at the time, while the Cosmics had deep V-shaped rims and were stiffer but heavier than the Heliums.  About three years later, I sold those two sets of wheels and bought Mavic Ksyriums, which seemed to embody the best of both wheelsets.

I made the second change around the same time I got the Ksyriums:  I ordered a carbon-fiber fork--the first and only I ever owned--from Land Shark.   It certainly lightened the bike and absorbed some of the shock the straight-bladed steel fork transmitted.  The carbon fork came with a threadless steerer column, which meant changing my stem.  Fortunately, I was riding  a Chris King headset (which I ride on all of my Mercians), so I had to replace only the top part.

What I remember best about the 'Shark's ride is its climbing ability:  No other bike I've owned--and hardly any I've ridden-- was as nimble going up a hill.  It may have had to do with the oversized down- and top-tube.  If that's the case, then the bike's resilience is all the more remarkable: Oversized tubes are stiff, but often deliver a very harsh ride.

So why am I not riding it now?, you ask.  Well, a  little more than ten years after I took my first ride on the 'Shark--which I named Violette--it was stolen.  I thought about getting another, even thought the price of them had gone up considerably.  But I realized that my riding habits were changing, in part because of my age (I was nearing 50.) and the fact that my body was full of estrogen instead of testosterone.  Plus, by that time, I had ridden Hal Ruzal's Mercians and fell under their spell.  

I am sure that John Slawta, Land Shark's builder (and finisher) is doing work that's just as meticulous as what he did on my old bike.  But, from what I understand, he stopped building steel bikes several years ago and is working only in carbon fiber.  So, in spite of my fond memories of my Land Shark, if I buy another nice bike,  it will be a Mercian (as long as they are building in the traditional ways) or from other classic (or classically-inspired) builder of chrome-molybdenum or maganese-molybdenum steel frames.

P.S.  During the time I rode the 'Shark, I had several human companions.  However, these two remained constant:


Charlie I:  19 March 1991--16 October 2005; Adopted 25 May 1991


Charlie I preceded the "Charlie" whose passing I lamented in a post two years ago.  In fact, I adopted Charlie II just three months after Charlie I died.


Candice:  7 February 1992--17 January 2007; Adopted 5 January 1995.


Candice entered my life when she was three years old, four years after I adopted the two month- old Charlie I.

26 February 2014

Mon Post Millieme/Il Mio Post Millesimo

Today, Midlife Cycling has reached a milestone:  This is post #1000.

Some of you may think I've owned that many bikes during my life. Sometimes I feel that way, although the number is probably somewhere in the mid-double digits.  However, I may well have ridden (if, in most cases, only for a test run) that many bikes.
 
1000 Bicycles. From English People's Daily Online
I will soon write about some of them--the ones I owned, anyway.  And I hope to continue informing, entertaining and doing whatever else it is I do for you for another thousand posts, and beyond.  Thank you for reading.

20 February 2014

How A Windsor Became A Raleigh


Sometimes “parts bin bikes” become other “parts bin bikes”.

That’s how it seems to work for me, anyway.  In any event, that’s what happened to the Windsor Professional I built up.

As I mentioned in my previous post, I didn’t like the ride.  So I sold the frame and transferred the parts to another.

Back in those pre-Internet, e-Bay and Craig’s List days, we learned who was selling what by word of mouth, bike club newsletters and bike shop boards.  And, here in New York, we checked the board at the American Youth Hostels store on Spring Street.



It was on the latter that I saw a listing for a Raleigh Competition frame.  Built from Reynolds 531 tubing with “sport” geometry, it was, in concept as well as ride, similar to the Peugeot PX-10.  Actually, I’d say the Competition—at least the one I had-- was a bit stiffer, but not harsh.

I’m not sure of whether Raleigh sold only the frame.  During the 1960’s and into the late 1970’s, it was equipped with quality French components such as the Specialtes TA three-pin crankset, Normandy Competition hubs, AVA tubular rims and Huret Jubilee derailleurs. The brakes were Weinmann centerpulls, as they were on all derailleur-equipped Raleighs except the Professional. In the late 1970’s, the wheelbase was shortened a bit and, possibly, the angles were tweaked a bit to make it stiffer.  At that point, Raleigh started to equip the Competition with Campagnolo Gran Sport components and Weinmann Carrera side-pull brakes.  The rims were switched to narrow Weinmann concave clincher rims.

In both incarnations, the frame was finished in glossy black with gold lug linings and graphics.  The lettering and other elements of the graphics were updated when the Raleigh changed the specifications.  My frame was the later version, from 1978.

I liked the ride quite a bit:  not quite as aggressive as the Colnago I owned at the same time, but stiffer and quicker-handling than my old PX-10. And it didn’t have the hard, dead ride of the Windsor Pro it replaced, or of the Cannondale I rode a couple of years earlier.
Actually, it was like the Romic I mentioned in an earlier post, and a slightly less aggressive version of my current Mercian Audax Special, a.k.a. Arielle.

So why did I strip and sell it?

 If I recall correctly, the frame measured 58 cm or 23 inches.  Normally, I ride 55 or 56 cm, depending on the design of the frame.  I believe that by the time I bought the Competition, Raleigh stopped making it—or, at least, they were making a very different bike  and calling it the “Competition”.  Also, around the time I bought the frame, Raleigh had shifted most, or possibly all, of its production out of England.

More important, even if I could have found another used Competition, it probably wouldn’t have fit me.  You see, Raleigh had this habit of sizing their bikes in two-inch (five-centimeter) increments.  So, if the bike was offered in a 23” frame, the next-smallest would be 21”.  I probably could have ridden that size with the seatpost extended.  However, other proportions of the frame might not have been right for me.

I know someone—whom I mentioned in an earlier post-- who has a Raleigh Competition just like the one I had.  He turned it into a Randonneuse, with fenders, racks and an Acorn handlebar bag.  He loves it.

19 February 2014

It Wasn't Eddy's Bike

Ever since I started cycling, I've heard no end of debates about which frame tubing is "best." And, as long as I continue cycling, I'll probably never hear the end of such arguments.

Of course, for the first two decades or so I was a dedicated cyclist, nearly all frames were made of steel.  Even after other frame materials such as aluminum, titanium and carbon fiber first came onto the market, it took about a decade for them to appear in European pelotons.

So, in my youth, the Great Tubing Debate was mainly one of Reynolds vs. Columbus.  A few cyclists preferred Tange, Ishiwata or Vitus tubing, but nearly anyone who had a custom frame built--or simply had any pretensions of being a "serious" cyclist--chose Reynolds or Columbus.

Deep down, I always knew that it made only so much difference.  All of the tubings I mentioned are of high quality and can therefore be built into light, responsive and sturdy bikes.  The design and build quality of the frame matter far more than which company's metal is used.

The bike about which I am going to write today helped me to learn that lesson.

Back in the 1970's and '80's, a Mexican bicycle company called Windsor made a frame and bike called the "Profesional."  (Note the Spanish spelling, with one "s".)  If the decals were removed, most people would have had trouble telling it apart from the work of De Rosa, Colnago and other legendary Italian bike makers.

Like its old-world counterparts, the Profesional featured Columbus SL tubes (SP on the larger-size frames) joined with long-point lugs.  The Profesional even had the sunset-orange finish (which I have always liked a lot) of the De Rosas and Colnagos Eddy Mercx and his Molteni team rode to victories in the Tour de France, Giro d'Italia and just about every other race you can think of.

As a matter of fact, in 1972, Mercx broke the hour record on a Colnago painted in that color, but covered with Windsor decals.  That ride in the Mexico City velodrome probably was the first time cyclists outside Mexico knew that Windsor bicycles existed.

A complete Windsor Profesional bicycle with Campagnolo Record components could be had for about half the cost of a Colnago, DeRosa or other Italian iron.  The Profesional frame was available for about a third, or even less, than what one of those old-world steeds cost.




Not long after I bought my Colnago Arabesque, I acquired a somewhat-used Profesional frame with a seatpost and headset for $100, a good price even then.  It became one of my "parts bin bikes":  clincher wheels with Shimano 600 hubs, Sun Tour dearilleurs and Sugino cranks and, perhaps incongruously, Mafac 2002 centerpull brakes.

Aside from the fact that they were in my parts box, there was another reason I used those brakes:  They were gold anodized.  You can just imagine how they looked on the sunset-orange frame. And, oh yes, I installed a brown Ideale saddle and wrapped the bars with a brown leather tape Cannondale sold at the time.  That tape was one of two items I bought for the bike:  The bottom bracket that I used with the Sugino crank on another bike was made to fit an English-threaded bike, but the Windsor was built to Italian specifications.  

So how did it ride?  Well, this is where I come back to my point about frame tubing:  Although it was built from the same materials as the Colnago I'd just recently bought and the Gitane Professional I would later acquire, the ride did not compare with either.  The Windsor was at least as stiff as either but its rigidity felt more like that of a bike made of heavier materials.  In other words, it felt "dead" and not very responsive.  My perception didn't change when I swapped the wheels for the best set of tubulars (with sew-up tires) I owned at the time.  

I don't know why the ride was so unpleasant:  If I recall correctly, the wheelbase and angles were the same as (or close to) those of the Colnago.  As far as I could tell, the fit was about the same on both bikes, and I used handlebars and stems with the same dimensions as the ones on my Arabesque.  

For a season, the Windsor Profesional was my commuter and "rainy day" bike, though I did take it on a couple of long-distance fair-weather rides.  Some might say I needed more time to develop a mutually supportive relationship with the bike but the Colnago, Gitane, my Mercians and other bikes I've owned felt "right" to me immediately, even before I'd become acclimated to their particular idiosyncrasy.    So, the parts on the bike went back to my bin--for use on the next frame I would acquire--and I sold my Windsor Profesional for $50 more than what I originally paid for it.      

  

17 February 2014

A Professional Gypsy, Or: How Italian Was My French Bike?





For a few months, my post about my old Peugeot PX-10 has been among my most popular. I think it has much to do with the fact that the PX-10 was the first high-performance bicycle many cyclists of my generation rode or owned.

Riding it after pedaling any Schwinn bike besides the Paramount, or other popular ten-speeds like the Raleigh Grand Prix or the Peugeot U0-8—let alone three-speed “English racers” or the balloon-tired behemoths Schwinn, Columbia and other American companies made—was like getting onto a rocket after spending your life on a donkey cart.  I didn’t realize until later, when I rode other high-performance bikes, that the PX-10, while lighter than most of its competition, was also less stiff and “whippier” than other racing bikes with tighter wheelbases and angles. On the other hand, it gave a more comfortable ride over long miles.


The PX-10 was similar to many other French racing bicycles of the time.  Their designs hadn’t changed much since the days just after World War II, when many roads were damaged and racing teams, not to mention individual racers, had small budgets.  Those conditions made versatile bicycles that could be ridden in a variety of conditions necessary:  There wasn’t a lot of money available to buy different bikes for different conditions. 


The stability or stagnation—depending on how you see it—in French bikes was even more pronounced in the bikes’ components than in their frames.  When Huret introduced its “Challenger” derailleur in 1974, it was the Nantes-based manufacturer’s first significant design change in nearly three decades.  Likewise, Mafac’s center-pull brakes, better than anything else available when they were introduced in the 1940’s, seemed as outdated as whalebone corsets three decades later even if they were still more powerful than almost any others—including Campagnolo side pulls.



French bikes and components, long benchmarks by which others were measured, seemed to develop an inferiority complex, at least in the perception of racers and other high-mile cyclists. They, and wannabes, moved on to Italian or custom English or American bikes.  Even those who continued to mount their Gallic steeds would replace components, whether or not by necessity, with newer designs and more exotic finishes from Campagnolo and, to a lesser extent, Japanese manufacturers. 



Bike and component manufacturers operating sous le drapeau blanc, bleu at rouge would update their designs in the late 1970’s and 1980s.  Mafac and CLB, the two country’s two top brake manufacturers, finally developed professional-quality sidepull brakes as well as centerpulls with tighter clearances than their older counterparts.  Specialties TA and Stronglight made cranks with chainrings interchangeable with those from Campagnolo.  And, of course, venerable rim and wheel manufacturer Mavic came out with a gruppo of components that was more advanced in design—and, to some people (including yours truly), of higher quality and more beautifully finished—than the famous Italian components that had become de rigeur in European pelotons.


Even more important, French racing frame designs began to mimic those of Italian bikes like Colnago, De Rosa and Cinelli.  Wheelbases became shorter and frame angles steeper; around the same time, curly-edged Nervex lugs gave way to spear-point frame joiners.  And French bike makers started to employ the same kinds of paints and graphic schemes found on their well-known Italian counterparts.  By the mid-1980’s, some of us joked about “French bikes in Italian drag” and "Italian bikes in French drag".


Actually, a few “French” bikes were really made in Italy and had French decals applied to them.  But even more Gallic manufacturers followed a trend Motobecane started in the mid-‘70’s with their “Team Professional” frame.


(Aside:  Around the same time, Motobecane became the first European manufacturer to equip bikes—mostly entry- and mid-level—with Japanese derailleurs, freewheels and cranksets. Those bikes also looked more like English or Japanese than other French bikes available in those price ranges.) 

For a time, I owned and rode a French-made “Italian” bike:  a 1985 Gitane Professional.  I bought it seven years  after its was made from a man who owned a bike shop he sold during his divorce.  He told me he raced it, but the bike didn’t seem heavily used in spite of his not-inconsiderable girth. (In those days, I didn’t share that trait and could therefore note it without anyone accusing me of being a pot who called the kettle black, or however that metaphor goes.)







How Italian was my French bike?  Well, its nearly shared the geometry of the Colnago Arabesque I owned at raced at the time.  My Gitane was even made of Columbus SL (the company’s standard racing tube set at the time) with longpoint lugs and was equipped with Campagnolo components and Vittoria sew-up tires.  I believed my Colnago to be somewhat more responsive and Gitane to be a bit cushier (though not cushy). I may have had that perception, however, only because one bike was a Colnago and the other was a Gitane.



I bought the bike, frankly, because I couldn’t not:  The man took $200 for it. That was a steal, even twenty years ago. He was one of the first riders I knew who abandoned steel frames: “In ten years, they will be extinct,” he said.  If I recall correctly, he’d been riding a Cannondale and had just bought a Merlin titanium frame.



I bought his Gitane not long after a random stranger bought my Schwinn Criss Cross.  That summer, I put one of my sets of clincher wheels on the Gitane and took it on a tour from Paris into the Loire, Indre and Burgundy regions and back. I’d packed light, so the bike didn’t seem unstable; in fact, I liked its responsiveness, especially when I pedaled up hills. 



Somehow it seemed appropriate I was doing such a trip on a “Gitane,” which means “gypsy.”  I had not mapped an itinerary:  I bought a round-trip ticket to Paris and my only concrete plan was to visit a friend there at the end of my trip.



I probably would have taken more trips on that bike—to Italy, perhaps—had it not met its demise only a couple of months after I got home.  Some guy whose headphones rendered him oblivious to his surroundings sideswiped me and caused me to crash on a turn in Prospect Park.  I saw him a few times after that and, naturally, he pretended not to see me.



Had he been more skilled or careful, perhaps I might have owned and ridden a dozen or so fewer bikes than I have in my life.  Still, in its brief time with me, my Gitane left me with some pleasant memories.  But it got me to thinking about the expression, “When in Rome, do as the Romans do.”  Could my it be that my Gitane Professional, a French bike with Italian style, behaved like a Frenchman when it was in France?