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.      

  

I Bought It Anyway

Even though I have never, ever wanted what this ad promised, I bought the product. In fact, I bought it several times, for several bikes. 

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?