THE CLIFF VAUGHS STORY

'Easy Rider'; Peter Fonda and Dennis Hopper on the choppers built in Watts

Thanks to a bit of prompting from a reader in New Zealand, the dormant-but-brewing story of the 'Easy Rider' motorcycles continues, following revelations in the 'Black Chrome' exhibit in Los Angeles that the designer and builders of the most famous motorcycles in the world were, in fact, black men, and further, the implication that the 'Chopper' (extended-fork, elaborated customs) was invented by black bikers in Los Angeles.

If the chopper was indeed born in Watts, as suggested, then we are 50 years overdue for some acknowledgement.  The story resonates with Rock n' Roll's 'invention'; as Elvis Presley shook his way through Big Mama Thornton tunes, created a movement, and struck it rich, Big Mama got nary a nod, nor did any of the artists whose work Elvis mimicked, borrowed, or covered.  Which doesn't detract from Elvis' genius, but it does bring up some nasty cultural baggage which was too uncomfortable to address, back in the day.

Elvis Presley with his H-D Panhead

Similarly, swastika-emblazoned '1%er' bikers in the 60s and 70s were flirting with or embracing the ragged edge of white supremacist ideology, and unlikely to praise the likes of Cliff Vaughs and Ben Hardy as inspiration for their choppers.  It wasn't just bikers of course; the whole of the 60s Hippie counterculture has been criticized by black civil rights activists for 'dropping out' of the struggle for an end to the violence against black men in the South, or any political involvement beyond saving their own skin from being shipped to Vietnam.

From Rich Ostrander (Dr Sprocket), via Occhiolungo: two riders in LA, ca.1950; that's Lucius P. Dawkins on the Vincent.  Any i.d. for the HD rider?

Many young black men were motorcyclists before the WW2, and after military service, had a similar experience to other two-wheel enthusiasts in SoCal; 'gimme a bike, and some room to ride'.  The adrenaline and/or amphetamine rush of the War (with the US, Britain, Germany, and Japan handing out 'speed' like candy to their soldiers - another subject needing illumination) was best substituted with the physical thrill of riding a bike.

An LA rider in the late 1940s, from the 'Black Chrome' exhibit

Over time, black bikers modified their machines and formed gangs, in chronologic parallel with their Anglo counterparts.  'Bob-jobs' (whose rear fender was 'bobbed' short) were lightened for better performance, but over time, and as tastes changed, customized bikes became more elaborate and decorated, with 'raked' frames (increased steering head angle) and extended forks; the 'Chopper'. The question of 'who did it first' is interesting, and I'd like to see the photographic evidence for a proper history of Custom motorcycle development.


CLIFF VAUGHS AND 'EASY RIDER'; MORE THAN JUST THE BIKES:

The origin story of the 'Easy Rider' motorcycles, 'Captain America' and 'Billy's bike' (as they're now known), has been clouded by the very fact of their fame, the absence of their creator, and the odd, at times haphazard circumstances of the making of the film.  Credit has at times been given to Dan Haggerty ('Grizzly Adams'), and many web and print stories repeat this misunderstanding; Haggerty did some repair to the machines and was their 'handler' at times, and possibly even re-created the 'ER' bikes, after they were used in most of the filming, and stolen before the movie was complete.  [The Vintagent posted the story of Ben Hardy and the building of the 'ER' bikes, in March 2009.]

Cliff Vaughs today

Credit for the design of the 'Easy Rider' bikes (and other important aspects of the film, including the title!) is claimed by Cliff Vaughs, a civil rights activist, filmmaker, and biker (in the Chosen Few MC - a racially integrated club since 1960).  Vaughs was a member of the SNCC (Student Nonviolent Coordinating Committee), a direct-action civil rights group, and a figure in many of the famous sit-ins, freedom rides, and marches in the 1960s South.  He participated in, and photographed, many of the legendary civil rights confrontations of the era, although he missed the March on Washington because he was "building a chopper" in his backyard. Vaughs was also a documentary film maker, and made "What Will the Harvest Be?", about the rise of Black Power in the South, which included interviews with Martin Luther King, Stokeley Carmichael, and Julian Bond, and was aired on ABC-tv in the mid-60s.  From documentaries, he moved into film production by the late 1960s. He was also, clearly, a motorcycle nut, and considered Ben Hardy his mentor in building, maintaining, and riding his machines.

Cliff Vaughs being dragged by National Guard troops at Cambridge, MD, May 2, 1964.  Incredibly, this photo was taken (and c.) by photographer Danny Lyon, whose photo essay of time spent with the Chicago Outlaws MC is documented in his fantastic book 'The Bikeriders'.  I look forward to exploring the story of these two 'outlaw' bikers, one black one white, in the civil rights movement of the 1960s.

When asked about his involvement with the 'Easy Riders' choppers, Cliff Vaughs sent the following statement to The Vintagent:

"I was working in the News Department at KRLA when Henry Fonda’s son, Peter, was arrested for possession of marijuana. I was mildly amused that so much interest was engendered by the incident, considering the number of citizens detained and incarcerated for smoking “pot".

Peter Fonda with his father, Henry.  It must be the the late 60s; Dad has a paisley shirt.

We chatted for a while at the courthouse and I called in my story. He was interested in my hobby: designing and building motorcycles. It turned out that we lived in the same neighborhood, West Hollywood. I told him I was usually found in my back yard enjoying my hobby.

He came by a few days later accompanied by Dennis Hopper, whom I hadn’t seen since his performance in “Rebel Without A Cause” with James Dean. We talked and I learned that they [Fonda and Hopper] had been planning to develop a movie that centers on motorcycles. I agreed that the themes of the western were careworn but an American adventure with the protagonists riding motorcycles instead of horses was apt. We adlibbed a story line: two friends (not quite “bikers”), traveling across America seeking adventure. I offered the name “Easy Rider”, taken from the Mae West performance of “Where Has My Easy Rider Gone”, in the production “She Done Him Wrong”… The title had been an adornment of my house, on the wall; a tapestry with a hidden message sent to me by Susan Mansour, erstwhile friend.



We had several discussions about the project at my home in West Hollywood and agreed that we would have to develop interest in the movie outside my parlor. We were not particularly known well enough to raise interest or financing. Peter and Dennis had a long background in the industry; they would raise the money. I would design and build the motorcycles and develop the visual themes. Captain America and Bucky [Captain America's sidekick], costumes, colors: red-white-blue. I was accorded the title of Associate Producer. We named our company Pando.

Captain America and his sidekick, Bucky, the original name for Dennis Hopper's character, before it was decided that trouble with Marvel Comics was best avoided

 Through Pando, I was instrumental in hiring Baird Bryant as Director of Photography and agreed to have Paul Lewis as Production Manager. Subsequently, Les Blank, Virgil Frye, Karen Black, Seymour Cassel, Francine Reid, Larry Marcus, were included.  Jack Nicholson was hired after the New Orleans “shoot”.  I never met Raphaelson and Snyder (?) who backed the film.  Neither did I formally meet Terry Southern, credited with the screenplay. From my apercus the production proceeded admirably until the New Orleans shoot when there was a dispute about how much film was being used by the Director, Dennis Hopper. I was summarily fired from the production. The critics praised the film. Dennis was awarded “Best New Director” for ER.

There were no African Americans in the film as actors or participants in the production.

I didn’t have any contact with the production long after 'ER' was released. The casualty rates on motorcycle accidents were so high that I asked Peter Fonda for a letter of intent to fund “Not So Easy”[1973], an educational film on how to ride a motorcycle safely. Filmfair financed the film with full support of Harley Davidson. Harley Davidson provided Evel Knievel, who was under contract to them at the time. I had Evel Knievel’s Coliseum jump on film, and a performance by the LAPD motorcycle drill team. Two of my cronies from Hollywood Chosen Few appeared on film: "Rabbit", and “Billy Diamond” (deceased). It was required viewing at judicial traffic school for quite some time.

The [ER] motorcycles were designed and built by me in my back yard. My longtime friend and mentor Mr. Ben Hardy assisted me wholeheartedly. We had met when he taught me how to wire my first motorcycle, a 1947 “knucklehead” in 1961. He had contacts developed over years of repairing motorcycles in his shop on West Florence Ave. Jim Magnera of MC Supply was a valuable asset. He had arranged to act as my agent when Harley Davidson sold me an unnumbered engine (shovel head) which required a new law from the California Legislature. Mr. Magnera was also active in financing the burgeoning black motorcycle enterprise in South Central Los Angeles. Mr. Magnera and Mr.Hardy were instrumental in my relationships with motorcycle specialists in Los Angeles.

The 'Captain America' bike, designed out by Cliff Vaughs, built by Cliff Vaughs, assisted by Ben Hardy

In the creation I had: Buchanan for frame fabrication, Dean Lanza, art work, Larry Hooper, upholstery, LAPD junk yard engines: rebuilt by Mr. Hardy. I don’t remember the chrome shop. Mr. Hardy also designed and constructed one of the fine points on the motorcycles. I had wanted something unique and he built the curved tail light brackets. I don’t remember the shop that tailored the leathers for ER.
After I had completed the construction of the machines, the registration (pink slip) was in the name of Pando Company. I asked Mr. Hardy to assemble the two disposable motorcycles in his shop. I was simply too busy with the daily task production of 'ER' at the time to complete them at home.

Ben Hardy on his H-D Panhead

I have never actually seen 'Easy Rider'. It represented only a few months out of my 74 years. I had a lot of fun with the bikes and with the talented people I met while working on the film. I have special regard for Mr. James Magnera a man with foresight, who personally helped aspiring entrepreneurs in South Central Los Angeles. Mr. Ben Hardy who worked for me as a mentor and skillful craftsman on a dozen designs of my own motorcycles. Mr. Buchanan, the man to go to for excellent frame modification.
Mr. Dean Lanza, The Artist: Brilliantly designed my marijuana plant on candy-apple petrol tank. Mr. Larry Hooper, ever a fugitive…the best leather craftsman ever.
Mr. Larry Marcus knows more about tools than anyone.
Mr. Dennis Hopper, Director, underlined my contribution to the production of “Easy Rider”.
There has been a remarkable marketing of “custom motorcycles” since ER.
Items and modifications I worked out with Mr. Hardy et al are now manufactured on a production line. Harley Davidson had “Low Rider“. Innumerable entrepreneurs have made a good living popularizing and promoting the so called “chopper“.
I missed my fifteen minutes of fame…..

Clifford A. Vaughs
Tuesday 29 March, 2011
Portobelo, Panama

PS: As an addendum to ER:

The fiery ending is an example of art imitating life. I was riding my "chopper" on the highway between Pine Bluff and Little Rock; pursuing an assignment for SNCC to initiate a school boycott there.  I had with me a staff member of the Arkansas Project, a Miss Iris Greenberg. A pickup truck passed us going in the opposite direction; stopped and turned around. They took a shot at us from behind and missed. They didn't pursue us any further...so I lived to tell this tale.

The genesis of Captain America theme may be found in comics of WW II. Captain America had a sidekick named Bucky. Captain America's ride was a motorcycle."

'Choppers' from May 1969

In an interview with writer Bob Garcia from Ed Roth's Choppers magazine in 1968, before 'Easy Rider' was released; Vaughs gave these views on film and motorcycling:

'WHAT IS YOUR RELATIONSHIP TO THE WORLD OF CYCLING?
“In terms of my own relation with my own motorcycle, it’s the final romantic expression that is left in this country. Obviously the frontier is gone. The cycle is the one thing that you can build from nothing—just a basket, and make something very, very beautiful and really put yourself into it. This goes from a simple question of chrome, to developing new designs, sissy bars, new ways of riding and things like that.”

Cliff Vaughs in 1968

 HOW DID YOU FIRST BECOME INVOLVED WITH A CHOPPER?
“Certainly bikes attract a great deal of people who have basically been frustrated in their life. I haven’t been frustrated but I do view my bike as another way of relieving a lot of tension from myself. I have been riding since 1962. I even missed the March on Washington because I was building a chopper. I like my bike and I like Choppers and I’m very concerned about the restrictive legislation that is coming out from most states against the rider. Laws that are trying to keep Choppers off the road, and I think that a Chopper is a typically American expression.”

Vaughs' motorcycle in '68, from the Choppers mag interview

WHAT IS THE ROLE OF THE CHOPPER IN YOUR NEW FILM?
In “Easy Riders” the cycle is just a vehicle to get around on. It’s like the horse from the old days. What we are basically doing is psychological western. We have two guys who have problems and are into their own bag. They are good friends, they’ve made one big score and are off to Miami to retire. Now in the course of the film a number of things happen to them on their trip. These are things that could happen to a guy if he were driving a car, flying in an airplane or riding on a train—except for the fact that being on a bike—they are more vulnerable to what’s going on.” 

Bikers as modern-day cowboys

Chopper asked Vaughs if the movie was going to say the same thing its predecessors from American International have said again and again. 

“This is not what we are into. I think we can change the image of the cyclist, and make a significant contribution to changing the development of the cycle image. I don’t feel that Hollywood today is producing anything of much significance. And I think that this is the time to make the change, because the western has been the major success in this country. If we can change the vehicle from a horse to a cycle—and still develop good stories and good concepts then I think we have made a significant and artistic contribution to bikes and films.”
We asked Vaughs if any fulltime chopper rider could be trained by Hollywood into a Fonda role:
“No Peter and Dennis are very heavy into a lot of cultural things. They are in a position to be very, very socially aware of what’s going on. A lot of bikers just don’t know what’s going on because the whole weight of having to deal with everyday situations or hustling to live precludes any awareness of other problems. I mean, theirs is a hunting and gathering culture. You must remember that most bikers are not in a medium where they can project anything. Even if an average rider went on ”Meet the Press,” he would give the same rap about oppressed bike riders, patriotism, etc.”
He stated that before the film was started he indicated that one of the main things “Easy Riders” should do was break down the whole idea of black and white motorcycle clubs. “Because my investigation showed that white clubs had restrictive clauses and it’s only the blacks that are integrating. The Chosen Few has been integrated for a long period of time.”

The Chosen Few MC in the late 1960s

“In this film", said Vaughs "we have a situation where the two main characters are riding across country. Their bikes break down and they run into about 50 black cyclists. They are very, very up-tight, scared and shaken up. But, it works out very well because the black cats just say, “Can we help you get some gas?” Everything is very groovy. And that to me seems a real situation.”“I maintain if that situation can happen and it does in real life there is still some hope. There are many, many people that maintain that it can happen. “But I’ve seen it happen this way.”
Does Vaughs feel this situation is only confined to the cycle world? Naturally he answers in the negative.
“The cities are still going to burn despite the fact that these black cats stopped to help these white cyclists on the road.”
That baby is reality.'

JEAN DEPARA

Sharp dressed man on a Vespa 180 Sprint

There's been a recent shift in Fine Art photography with African subject matter; instead of being wholly photos OF Africa by outside professionals, several photographers FROM Africa have finally gotten their due.  The most famous of these is Malick Sidibé, who worked in Mali from the 1960s onwards, documenting street life and capturing the fashions and moods of Mali in his portrait studio (Studio Malick).  Included in his many portraits are a few props from his subject's lives, which often meant small motorcycles and mopeds, with sharp-suited young men or whole families draped over their hard-earned mounts.

Jean Depara in a self-portrait

Congolese photographer Jean Depara (1928-97) is having his first full retrospective, at Maison Revue Noir in Paris, until Feb. 18, 2012.  While his ouevre is similar to Sidibé, although his 'Jean Whiskey Depara photo studio shots were less interesting than photographs of the world he preferred to inhabit; the happening nightclubs and bars of Leopoldville (later, Kinshasa).  Depara bought a camera (an Adox 6cmx6cm) in 1950 to document his wedding, but he became enthralled with image-making, and the interaction of photographer and subject.

Young woman on a Velosolex moped

Leopoldville was named after nightmare King Leopold II of Belgium - his mother Louise Marie d'Orléans may be a distant relation of mine - who used the famous explorer Henry Stanley (the inspiration for Conrad's 'Heart of Darkness', and Coppola's 'Apocalypse Now') to lay claim to the Congo as his private property, brutalizing and killing millions of Congolese in the process of extracting valuable rubber.  The Democratic Republic of Congo gained independence in 1960, and in 1966 Leopoldville was renamed Kinshasa (after a local tribe who inhabited the area when Stanley established his settlement in 1881), an 'Africanization' process common in formerly colonized countries after liberation. [Only Brazzaville retains the name of a European founder - for more on that, read my article from Men's File #4.]

Late night ramblings around a moped...

Depara was in the thick of a cultural explosion in the mid-60s, as the country experienced an exhilarating wave of energy after independence.  Kinshasa was musically the heart of Africa in the 60s, and Depara spent much of his time around the hot bands and night clubs, where his talents were noted by the famous Franco (Francois Makiadi Luambo), who needed an official photographer.  This suited Depara, who by this time had honed his technique with the camera as an image-maker, and as a tool for seduction of women!

Jean Depara captured an era of curious integration of American culture as well, as local sapeurs (sharp dressers) sometimes wore cowboy outfits - the 'Bills' - and these make an interesting contrast with the work of Swiss photographer Karlheinz Weinberger and his 'Halbstarke'.  Mods and cowboys, women in (or out of) gorgeous dresses, Vespas and mopeds, Depara gives us a glimpse of a very hip world we in 'the rest of the world' didn't have a clue existed. 

The 'Bills', as in Buffalo Bill, with rolled-up jeans and flannel shirts, near the equator!

In the mid-1970s, as revolutions, coups, and communist takeovers swept Africa, Depara was offered a secure position as official photographer of the Congolese parliament, which he held until retirement in 1989.  Uninterested in color photography or the declining profitability of the genre, he hung up his camera afterwards, and lived a comfortable existence with his 'villa and a convertible'.  His work was published outside Congo only after his death in 1996, and is now appreciated by a global audience.

Electrified African music; Kinshasan 'mother of invention' amplification created a completely new genre - Congotronics!

BENELLI FOUR-CYLINDER RACERS

The supercharged, water-cooled, four-cylinder Benelli 250cc racer of 1940

As the technological high points of 1920s motorcycle racing began to look, and perform, like the antiques they'd become by the 1930s, the Benelli brothers took stock of the obvious trends of Grand Prix racing; chiefly, more power from multi-cylinder, supercharged engines.  Moto Guzzi, Gilera, BMW, DKW, NSU, and even AJS and Velocette in England were racing or developing such engines by 1938.  As champions in the 250cc racing class, Benelli set about designing a new 250cc racer, with four cylinders, twin overhead camshafts, a supercharger, and watercooling.  Trends in chassis development were also attended, and as sketched, the new machine would retain the hydraulic-damped girder forks and rear swingarm suspension of their singles, plus large-diameter alloy brakes to manage the inevitable blistering speeds to come from such an engine, given Benelli's expertise with tuning small engines, especially in cam design, intake porting, and carburation.

The 1940 Benelli 250-4 as it exists today

The gem of an engine designed by Giovanni Benelli produced in 1939 had a short stroke (42mm stroke x 45mm bore), with 12:1 compression pistons, and spun to 10,000rpm, at which point it cranked out 52.5hp, enough for 146mph on test runs - the fastest 250cc racer by a long shot, fully 16mph faster than their nearest rival, the brilliant supercharged 250cc flat-single from Moto Guzzi.  With such devastating performance (exceeding by 20mph the factory 500s of Norton and Velocette!), Benelli were confident of another European Championship, but the little 'four' wasn't ready for the 1939 racing season.  By the time the 'engine bugs' were sorted, it was 1940, and the competition was no longer playing nice.

The new 250cc double-overhead-camshaft four-cylinder Benelli racing engine, introduced in 1960

Lacking martial confidence in their native Italy, Benelli race chief Vincenzo Clementi stashed the entire racing fleet in rural areas away from Pesaro; purportedly their precious new 250cc 'four' had its engine hidden at the bottom of a dry well, while the chassis slept under a haystack, inside a barn. Their decision proved wise, as during 1940 and '41, Pesaro was bombed heavily; the Benelli factory had been converted to aero engine production (Daimler-Benz and Alfa Romeo types), and when the Allies advanced northward in Italy, all the precision machine tools were moved by the German army to more secure territory inside Austria and Germany.

The new Benelli '4' racer at the press launch in 1960

While the company returned to single-cylinder racers postwar (netting them a World Championship in 1950), by 1960 Benelli's line of small-capacity motorcycles was selling very well, and funds were allocated for the design of a new four-cylinder racer. Race chief Ing. Savelli and Giovanni Benelli designed an entirely new engine which bore resemblance to the 1938 design, but in truth, by 1960 a DOHC four with gear-driven cams had become the accepted pattern for a racing engine, having been developed by Gilera (from the original CNA/Rondine 'fours' dating back to 1926!), copied by MV Agusta, and then again by Honda, who won the 250cc World Championship title in 1961.  The new 'four' used a short stroke (40.6mm stroke x 44mm bore), a 6-speed gearbox, weighed 264lbs, and gave 40hp at 13,000rpm (oh, how supercharging was missed!  This was 12.6hp less than the blown 1939 design).  The completed machine was revealed with great publicity in June of 1960, but wasn't ready to race until 1962, and Silvio Grassetti had only one 'win' that year, at Cesenatico, but it sounded a bell at Honda, as both Jim Redman and Tom Phillis were bested on their Factory Honda 4s.  MV had withdrawn from 250cc racing the year before, to concentrate on retaining their 350cc and 500cc dominance.

Tarquinio Provini on the 250cc Benelli 4 in 1965; note the 7" dual disc brakes.  These are American Airheart brakes from Go-Kart racers, and were possibly a first in GP racing, but proved inadequate on at 143mph, especially in the wet.  While the concept was sound, the brake pads hadn't yet evolved for serious high-speed use.  Benelli used them only in '65, retreating to reliable racing drums...

Tarquinio Provini, a veteran racing star with two World Championships, joined Benelli in 1963 to develop and race the new 'four'. He shortly increased power to 52hp at 16,000rpm, with a 7-speed gearbox, and 141mph top speed. A new frame lowered the center of gravity and pared weight down to 247lbs.  Years of ignition troubles with the high-revving engine were finally cured by fitting an American racing magneto...from a Mercury two-stroke boat engine. Provini won every race in the Italian championship in '64.  Benelli shocked the world by out-running the Japanese opposition at the super-fast Monza GP in 1965.

Provini hard at it in 1966

By '66, the Four had 8 gears, and a larger version with 322cc was introduced to compete in the 350cc GP events, going head to head with the 'big boys', MV Agusta, Honda, and Yamaha.    Provini had a bad crash at the Isle of Man TT that year, and injured his spine enough to retire from racing.  Benelli had never fielded a 'team' of professional riders who came and went with lucrative contacts; the family business had close bonds with the one or two racers they supported, and Provini's injury took the steam out of Benelli's race dep't for over a year.

The immortal 'Paso'; Renzo Pasolini

Benelli re-entered the racing fray with rider Renzo Pasolini, who won second place in both the 350cc and 250cc classes at the 1968 Isle of Man TTs, and dominated the Italian Championship in both classes the rest of '68, giving Giacomo Agostini and his MV and excellent view of the Benelli's tailpipes all year long.  In 1969, Kel Carruthers joined Pasolini, and the pair made an unbeatable team, each winning three GP victories that year, giving Benelli their second World Championship title.

Pasolini leaping Ballagh Bridge at the 1968 Isle of Man TT

Kel Carruthers joined Yamaha in 1970, but Pasolini took third place in the World Championship that year.  The Benelli family sold the factory and name to Alejandro de Tomaso, more famous for his automotive exploits than two-wheeled savvy, and support for developing the racers waned.  Still, Jarno Saarinen was hired in '72, and won his début races at Pesaro in both 350cc and 500cc classes.

Renzo Pasolini with Kel Carruthers

Both Saarinen and Pasolini left Benelli for '73 (for Yamaha and H-D, respectively), and Walter Villa became their #1 rider.  With horrific irony, Villa's 350cc Benelli was blamed for leaving a trail of oil during his race at Monza, which was then not cleaned up for the 250cc race, in which a multi-machine crash killed both Saarinen and Pasolini.  The details of the accident have been debated ever since, although it seems a catastrophic seizure of Saarinen's Yamaha (not an uncommon occurrence) may have led to the chain-reaction melée.

Kel Carruthers at the 1970 Isle of Man TT

Benellis interest in racing plummeted when new FIM rules limited 250cc racers to two cylinders and six speeds, which guaranteed an unstoppable rise of two-stroke racers, as their double-time combustion could only be opposed by outrageously sophisticated four-stroke engines, such as the Honda 6-cylinder, and the Benelli 250cc V-8 which was under development...which would certainly have put Benelli on par with Moto Guzzi as masterful creators of racing exotica.  The FIM, in their wisdom, preferred the crackle of two-strokes to a technical war of miniaturized-miracle racers, a decision which eventually killed Grand Prix motorcycle racing, and led to the birth of MotoGP.

Jarno Saarinen...with wife Soeli giving pit signals

Bonhams is selling a replica 350cc four-valve Benelli four-cylinder, of the type Kel Carruthers took to the World Championship in 1969, at their Jan 12 sale in Las Vegas.