A Revell-ation: Louis Lopez' Triumph

A craze for custom motorcycles were the hottest two-wheeled trend of the early 1960s, when the youth of America discovered the infinite coolness of custom vehicle culture.  The writer Tom Wolfe did a superb job of discussing the scene in his essay ‘There Goes (Varoom! Varoom!) That Kandy-Kolored (Thphhhhhh!) Tangerine-Flake Streamline Baby (Rahghhh!) Around the Bend(Brummmmmmmmmmmmmmm)…’ published in Esquire in 1963 [read it here], which became the title of his first book (1965), ‘The Kandy Kolored Tangerine Metalflake Baby’, a pioneering example of New Journalism and a work of genius.  Wolfe was not originally a custom car fan, just a journalist on assignment by the New York Herald Tribune sent to cover a show in New York City.  He submitted his story, but knew it didn’t do justice to the vibrant new scene, so approached Esquire with the idea of a long-form essay that truly captured the vibe of a ‘Teen Fair’ in LA.  He references the rigid codes of teen fashion, language, and music, and interviewed George Barris and Ed Roth for their thoughts as the revered elders of a new subculture.  It’s a must-read.

Press around the Kustom Kulture scene made artists like ‘Von Dutch‘ and ‘Big Daddy’ Ed Roth superstars, and custom bikes and cars were so hot that corporate America decided to cash in and give the kids what they wanted.  Revell Models, founded in 1943 by Louis Glazer as a plastic modeling company, started out building HO scale train sets – and their associated infrastructure, buildings, people, etc – turning to  car model kits in 1950, which by ’56 included custom cars, starting with George Barris’ Lincoln Futura with bubble canopy.  Revell hired Ed Roth in 1962 to design a line of outrageous custom car kits, some with monster drivers, including his famous Rat Fink alter ego.  Roth was paid $0.01 per kit sold, which amounted to $32,000 eventually, a considerable sum in the mid-1960s.  Roth was dis-employed by Revell in 1967, when he began hanging around with the Hells Angels, and selling posters of noted members of the club through his Choppers Magazine.

In the meantime, Revell also sold model kits of some very cool custom bikes, sometimes lifting designs directly from the pages of Peterson Publishing magazines like Cycle World, Car Craft, and Hot Rod.  These were 1/8 scale kits in high quality, with great graphics on the boxes to entice kids too young to buy or build a real motorcycle, and adults wanting a little Kustom Kulture on their shelf.

In January 1964, Cycle World  featured the superb custom pre-unit Triumph of Louis Lopez, a show-winning customizer with a long track record of cars before tackling two wheels:

“Spectacular indeed is Louie Lopez’ ’46 Triumph show bike, from its gold-chartreuse metalflake paint job to its quilted black leather seat with black fur trim.  Features include metalflake cylinder head, sculptured tank, dual side-by-side front headlights, 21″ front wheel and 19: rear, lucite footpegs, chrome oil tank with metalflake scallops and black striping.”

Not to be left out (and to use some of the photography by Petersen Publishing staff), Car Craft followed up with a story on Louis Lopez’ Triumph:

“Bikes continue to capture the imagination and attention of auto enthusiasts and it was never more apparent than at the car shows, where cycles are appearing in ever increasing numbers. This custom ‘46 triumph was built by 23-year old Louis Lopez of Bell Calif., following up a chain of customized four wheelers that included a ‘59 Cad, ‘58 Impala, and a ‘57 Thunderbird which won three shows. Lopez spent six months and $1500 converting the rig and obviously succeeded and putting more ‘Umph’ in the Triumph.  Gold hardware from the top tricks in the West include first places at the ‘63 Winternationals and at Larry Howard’s show of custom bikes, as well as sweepstakes at the Trident sports arena spectacular. The lime metal flake beauty is chromed except for the rear fender, forward frame section and tank. Paint was applied by Junior’s House of Color, the tailored seat stitched by Martinez; Both of Lynnwood. Foot pegs, starter crank and foot shift lever are colored plastic. With assists from Gary Connor and George Foster, Lou developed a masterpiece that will go as well as it looks. The vertical twin engine is bored to displace 45 cubics, and has been fitted with 1 5/8” valves, alloy push rods and lightened rockers, a Jim Lemon Special cam and MC 12:1 pistons with Grant rings.”

Show vehicles of the 1960s often disappear into the mists of history, and rarely survive intact to the present day.  For example, Mike Vils’ multiple show-winning Triumph custom ‘The Brute’ was continuously modified by him over the years, and kept on winning in each iteration, until his interests moved on and he eventually sold the bike, which was parted out and vanished.  Luckily, some show bikes were treasured and survived; such is the case with Louis Lopez’ ’46 Triumph, which was discovered by Revival Cycles‘ owner Alan Stulberg in amazingly original condition, a rare ‘barn find’ show-winning custom motorcycle of the 1960s.

The Triumph has changed a bit since it was built: gone are the dual chrome headlamps, custom dual seat, and long-taper megaphone exhausts. A long sissy bar has been added, a Bates solo saddle with p-pad, and gold paint added to the chromed oil tank and battery case.   But the distinctive chartreuse metalflake paint scheme and sculpted fuel tank remain, as do the chromed fork covers, drag ‘bars, and bobbed rear fender.  It’s clearly the same machine, but different, as any show bike was changed over an evolving career.  But if you caught the Lopez Triumph leaning against the wall at the recent LA Handbuilt Show, you know the bike retains its period cool, with further aesthetic flavors added by time and oxidation.  It’s a remarkable machine, and one crazy streamline baby.