In 1976, I was riding a new, black Raleigh Competition -
but I longed for a more distinguished mount.
The Raleigh was a “neo-pro” as we called entry level
racing bikes in those days. It was a mix of Reynolds tubing varieties as most
bikes were then; deciphering the various Reynolds decals was an art of no
particular usefulness, like reading bar codes at Safeway.
Though my Raleigh rode and handled just fine, and
exhibited no vicious habits, I felt I should have a bike befitting the rider I
intended to be: a faster, stronger, tougher, more graceful version of the
adequate club cyclist I was. Ah, vanity.
I made that longing known to Tony Tom, then (as now)
proprietor of A Bicycle Odyssey in nearby Sausalito. I told him I could not
afford to buy a new Masi or Ron Cooper, desirable as they may have been.
Instead, I wanted to buy a used frame to build up with
parts I’d remove from my Raleigh. Weeks later, Tony showed me a homely old
Bianchi, its paint stripped off in preparation for a new finish that had never
been applied.
Oh my, a Bianchi, I thought: A bike for the cobbles of
Paris-Roubaix, for the hairpin turns of Alpe d’Huez, for the bike path from
Sausalito to Mill Valley...
Ugly and unready for prime time as it was, the old
Bianchi was romantic. And it was cheap. Tony looked at me, knowing I was
imagining the jerseys a guy with an older racing Bianchi might wear – and the
embroidered shorts. He smiled.
I bought the frame. I never saw it with a square inch of
original paint on it. Nearly 30 years later I can’t remember if I even knew
what color the factory painted it. Not green, I remember that much.
We guessed that it dated from the early ‘60s, so it
probably needed paint by 1976. It was a Specialissima, Bianchi’s top model.
Made from Columbus tubing, far heavier than today’s featherweight tubesets, it
was entirely conventional except for the “integrated” headset, much like those
of today.
Unique to Bianchi for years, the old headset design had
long been abandoned by the mid-’70s. The headset in the frame was trashed. I
searched and found a new one at an old shop in Berkeley, last old-style Bianchi
headset in the world, it seemed. Luckily it never wore out in the years I rode
the bike.
I took the frame home to my apartment. On my tiny patio,
I removed the rest of the paint with foul-smelling liquid stripper. I sanded
and sanded the frame, which was entirely chrome plated. The areas of chrome
that had not been painted were polished. Areas that had been covered by paint
were not.
I decided I’d have it painted sand-and-sable, light brown
and chocolate brown, a color scheme common on older British automobiles. The
lugs and a panel on the down tube would be tan. The rest would be a
rich-looking chocolate. Sounds lovely, huh?
That’s exactly how it turned out. Lovely.
I couldn’t find old-style Bianchi decals so I thought I’d
have the name hand-painted on the down tube and the emblem hand-painted on the
head tube.
I found a painter, and he got it dead right: Having never
seen a Bianchi emblem, he painted an eagle on the head tube that was nearly
perfect, its head facing in the proper direction. He got the script perfect on
the down tube sides, too.
I began building up the bike with the parts from the
Raleigh. I realized that from the time I began dismantling the Raleigh until
the Bianchi was complete, I had nothing to ride. Gave me a sense of urgency I
might not have had.
I had to buy a few new things. I bought a larger diameter
seat post to fit, and a new Italian bar and stem; I just couldn’t imagine
anything steering my Italian thoroughbred but Cinelli or TTT.
When I got the bike together, it rewarded me for the
effort. Solid and long from axle to axle, it glided down the road, steered
flawlessly and gave me confidence on twisty descents.
It felt deluxe, if you’ll forgive the old-fashioned word:
smooth, expensive, capable, unflappable.
At that point, I had only one pair of wheels, built on
the low-quality French hubs from the Raleigh. I had the French TA 3-pin crank;
a Brooks B-17 Narrow saddle; Huret derailleurs and shift levers from France and
spongy Swiss Weinmann centerpull brakes, all from the Raleigh.
In a matter of months, all those parts went away. I bought
Japanese sidepull brakes because I couldn’t afford Campys. I could however
afford a used set of high flange Campy hubs. I bought them cheap and replaced
their bearing races. Tony Tom built me my first set of handmade wheels.
I bought a worn-out Campagnolo Nuovo Record rear
derailleur and put a new spring and new pins and bushings in it. I bought a
Cinelli Unicanitor saddle.
I learned a lot as I built up that Bianchi and as my
relationship with it evolved. I learned to trust Campagnolo: the old two-bolt
seatpost, the everlasting hubs and pedals, and eventually all their parts.
I learned how to wrap cotton tape, and how to break and
re-rivet chains. I learned how to ride a pace line and sprint for city limit
signs. I learned to stop for coffee after rides. I learned how much I enjoy the
company of cyclists.
I was preparing for my writing career, but I thought I
was only having the time of my life.
I rode the Davis Double Century on that Bianchi, the one
and only time I did it. I began racing on it, met a long-term girlfriend while
riding it and made dozens of friends while I had it who remain my friends
today.
I wonder who has that old Bianchi today... Perhaps YOU
have it, and don’t realize your old two-tone-brown Specialissima meant so much
in one cyclist’s life.
If you do own that bike, let me know through the folks at
the Bicycle Paper. I’ll come visit. Be good to say hi after all these years.
END