CLASSIC:
A CASE OF ACKNOWLEDGED EXCELLENCE
Central to the biking life, the type of bike selected naturally meets the demands of its intended use. Beyond any sport, or customising hobby, the archetypal machine is often the preferred one. Over the years, some of these have fallen into veteran (up to and including 1914), early vintage (1915 to 1924), late vintage (1925 to 1930), post vintage (1931 to 1945), post war (1946 to 1960) and post 1961 (‘61 - rolling on over 25 years old) periods. Throughout these times, certain British, French, German, Italian and American machines among others came to the fore. In the 1970’s, the term classic came into regular use, and usually referred to something post-war onwards from any such camp. Much later, this has come to include some Japanese models, and classics can be identified from any period. Of these, the road-going machines are perhaps the most popular choices, and among many Bikers, a classic is the machine to have. It has looks and performance to satiate most burning desires. But along with the arrival of the term, much confusion has arisen.
There’s no point getting into an argument you can’t win. But we often do, because we can’t agree to disagree. Especially over abstract concepts, like defining the classic. In the classic debate, mention any particular bike - or period - and the issue is clouded. Like art or music, classicism is flexible, largely in the perception of the beholder. But there is a definition of the genre that should keep us all happy.
Motorcycle marques are like families, whose siblings are defined as models. Classic status begins with whoever builds the bike, when their design attempts to make it exceptional in some way. The degree of success usually begins with how well the bike is received.
Models also fall into categories, which are the bike species - like racer or roadster. What distinguishes the classic from other bikes of the same species is their allure. That arises from their prowess in their own particular field, in how they live up to - or even exceed expectations. This earns them popularity. So before they’ve attained any great age, they have gone beyond categorisation, and become part of a genre.
A genre embodies all-encompassing yet exclusive characteristics. These characteristics are the defining qualities, such as those found in classicism. It is a broad field with extremes. In trying to define this, many theorists have plumped for the stereotype, even archetypal. Not always wrongly, but the different families and categories allow bikes with diverse characteristics to be classic. Some caution is necessary, as the terms classic and characteristic can be substituted for typical. A typical 1960’s bike, for example, is the parallel twin. But not all of them were classics.
Our tastes naturally divert our opinion. Whatever tastes and desires we have, they often include some retrospective admiration. However, this can give rise to fallacies. In retrospect, some people chase after lame ducks, regarding them as classic, perhaps because of their rarity, when they are merely ‘collectible’ as items of fascination. Collectibles may have characteristics, but not necessarily the defining qualities of the classic.
And the idea of a timeless classic is undermined by dated classics. The classic is not of any particular era. It is the machine’s quality and appeal that are timeless, in that they can be appreciated regardless of the date of their manufacture.
Enter the contemporary classic. Despite any niggles, that machine’s ability to please will invoke desire among the lovers of its category - whether or not it earns respect among others. The future classic, however, doesn’t really exist. If a machine is viewed as ‘future’ rather than ‘potential’, it merely means that it might eventually be collectible; not necessarily a definitive classic.
Classicism isn’t just in performance - though it’s an important factor. It’s not just in appearance - carbon fibre is alien to naked metals. Nor is it just in the handling - the rigid tail vies with the mono-shock. And neither is it in commanding respect - which can be bestowed on a tiddler or a commuter. The classic manifests in the way all the bike’s characteristics commingle into a charm - which some call magic. Its distinguishing qualities, both aesthetic and mechanical, create an essence of spirit - which sometimes, only a few might appreciate. This spiritual essence stirs an emotion that goes beyond excitement. It infuses us with adulation and desire - even if our penchant is for a style of riding not possible on that type of machine.
The classic bike has soul. Regardless of any other quality a bike can embody, soul is something we can detect, in how it looks and rides. The classic, soulful bike, exceeds the archetype or ‘popular’. It also exceeds stereotyping, curiosity, obscurity and even uniqueness.
A classic bike has nothing to prove. It just is, no matter who loves or loathes it. The classic bike has character and personality, but is no mere mortal. It inspires not just acclaim, but worship. So to find a classic, among those machines often extolled as such, we must ask: Do I worship it, or is it just, somehow, amusing?