Tag: BMX

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Generation BMX: New ESPN Piece

I finally have a new piece up on the ESPN BMX site. This one is about the generational differences between first and second generations of riders. Heraclitus once wrote that generations turn over every thirty years. Well, it’s about that time.
You’re right, Roy, you’re hopeless. Hopelessly obsessed with a time in your sport that died a long time ago… — McGoo
Roy Christopher executes a Backwards Elbow Glide at a Jacksonville NBL contest circa 1990. (photo by Peter Cowley)
Here’s an excerpt:
The experience of a BMXer today is much more likely to be mediated by technology than it was in the ’80s. Given the proliferation of technology into every aspect of our lives, that’s not much of an insight, but hear me out. In addition to the lack of dope video games, the riders of thirty years ago were also missing out on the parks. There were like three ride-able skateparks in the whole country. Now there are at least that many in every city of any size whatsoever. Where the past was spent riding curb cuts, banks, walls, streets, and backyard ramps, today the terrain consists of those as well as many human-made options. It makes for different riding, different tricks, and different values.
The full piece is up today. As always, thanks to Brian Tunney for the opportunity and for coordinating these things.

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The BMX-Files: A Brief History in Two DVDs

In the June, 1987 issue of FREESTYLIN’ Magazine, underground BMX rider and zine-maker Carl Marquardt described a ramp trick he called a “flakie”: a backflip fakie air. His friend and fellow rider Paul Mackles had offered him $100 if he pulled it. Three years later, Mat Hoffman did the damn thing at a contest in Paris. In his usual methodical style, Mat worked on it in secret in Oklahoma for months beforehand. As he puts it in The Ride of My Life (Harper-Entertainment, 2002), “To make it, I needed at least six feet of air so my head would clear the coping. It was the kind of stunt that required 100 percent conviction each time. I practiced them every day until I had the flip fakie pretty wired, landing high on the transition rather than jarring into the flat bottom Then, I got invited to France.” The photos of Mat’s first public flip-fakie landed on several magazine covers, including the July, 1990 issue of Go: The Rider’s Manual (the publication that combined FREESTYLIN’ with its forebear, BMX Action).

Mat Hoffman burst into the BMX mass mind via the letters page of FREESTYLIN’. Masquerading as the then thirteen-year-old Mat, his mom sent in a picture of him blasting a nine-foot air on his driveway quarterpipe. In his response, editor Andy Jenkins’ described the air as “not normal,” and I think everyone — myself included — knew we were going to see a lot more of this high-flying kid in the coming years. Even so, little did we know…

More than once, Mat Hoffman has been called the “Michael Jordan of BMX.” As Tony Hawk — who could be considered Mat’s equivalent in skateboarding — puts it in The Birth of Big Air (Team Marketing, 2010), “If you know anything about BMX, you know who Mat Hoffman is. And maybe that’s all you know.” This movie illustrates why that’s the case. He’s paid the price for his place in BMX lore — with his body. “There’s not an extremity he hasn’t broken in a violent manner,” says Mat’s orthopedic surgeon, Dr. Carlan Yates. Mat’s basically dedicated his physical form to the advancement of BMX. There have been smoother riders, there have been people who’ve done it longer, there are people finishing things Mat only started, but no one — no one — has pushed the limits of vert riding on a BMX bike more than Mat Hoffman has. No one. Ever.

“Let’s just say it would’ve sucked to have been born a hundred years ago or a hundred years from now because I would’ve missed out on all of this.” — Dennis McCoy

If you have any doubts about the pedigree of BMX as a sport, Joe Kid on a Stingray (Bang Pictures, 2005) will put them to rest. Its twisted and dirty 1970s roots are exposed and explained. Watching grainy footage of Stu Thomson winning races on a Schwinn Stingray is as sketchy as it is sick. Any story of people sitting on the verge of something that has become as big as BMX has is inspiring, and Joe Kid… is no exception.

“Ask anyone, ‘who invented freestyle?’ Bob Haro!” — Ron Wilkerson

From imitating motocross riders to emulating skateboard tricks, BMX evolved from racing to freestyling (all of which is just called “BMX” these days). Bob Haro was bored with racing and started doing tricks between motos. Eventually, his wheelies, endos, and 180s lead to actual sanctioned freestyle shows at the races. Through touring and innovating, Haro, R.L. Osborn, Mike Buff, Pat Romano, and Ron Wilton made trick riding into something to be taken seriously.

“Maybe that’s our problem. Maybe we just never grew up.” — Bob Osborn

It would be remiss to document the history of BMX without mentioning Bob Osborn. Through BMX Action and FREESTYLIN’ (and their aforementioned combined form, Go), Osborn, his son R. L., and his daughter Windy created the look of BMX media and brought the sport to the world. They also acquainted the world with Andy Jenkins, Mark Lewman, and Spike Jones, who have all gone on to create other great things in art, movies, television, skateboarding, and advertising. Trusting the youth is often difficult for adults to do, but Bob did, and the world is much better for it.

In the late 1980s, I was street riding with some friends in Huntsville, Alabama. One of them, Dave Nash, was wearing these Airwalks held together with duct tape. Someone there asked him why he didn’t just get some new shoes, and he responded, “Because I don’t want to spend any more money on this sport.” It was one of the most depressing things I’ve ever heard anyone say. The initial decline of BMX was a scary, strange thing to witness as a kid, but it was actually a positive move. Just as skateboarding had done before it, BMX changed hands from the companies to the riders.

Speaking of, anyone know where Chris Moeller was during the making of this movie? In many ways, S&M Bicycles, along with the efforts of Hoffman, Wilkerson, and the Plywood Hoods, represents the largely unsung part of the bridge from what BMX was in the 1980s to what it is now.

Anyway, big props to Jeff Tremaine, Mark Lewman, Johnny Knoxville, and Mark Eaton for documenting the history of our sport. If you’re a hardcore BMXer of any era, these two movies are your history. If you are bike-curious but know nothing about the sport, these two movies will give you a pretty in-depth crash course.

I don’t know if Mat Hoffman ever collected Paul Mackles’ money for doing Carl Marquardt’s “flakie,” but he was in the same issue of FREESTYLIN’ Magazine, along with another youngster Scotty Freeman, in a piece called “Little Giants.” He was fifteen years old.

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Here’s the official teaser for Joe Kid on a Stingray [runtime: 3:25]:

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Special thanks to Brian Tunney for additional reporting and fact-checking.

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Word Power: Watch What You Say

When I was six years old, I propped a 2×4 up on a brick in our driveway and jumped my Evel Knievel Signature Schwinn Stingray a few inches less than a foot off the ground. My grandfather saw me trying to achieve escape velocity and told me to keep it up, that it would “earn me some money one day.” Well, I’m still pedaling toward inclined planes attempting to leave the earth’s surface, but I’ve never earned a dime doing it. The point is not my inability to parlay my propensity for doing dumb stuff on my bike into a career, but that the things we say to each other often have long-lasting impacts we could never anticipate. The smallest utterances can shape a person’s life.

Language leaves lips for lines and spins through circuits
We send and receive and talk in circles
When we leave and the circles are broken
What happens to all the words we’ve spoken?

Riding BMX got me into making zines. I saw an article on them in FREESTYLIN’ Magazine and decided I wanted to do one. When I wasn’t riding my bike, I’d be in my room with photos, Sharpies, and gluesticks, cutting and pasting my visions on half-folded eight and a half by eleven pieces of paper.* During one of those sessions, my dad told me I should work for a magazine. I ended up doing just that (and the web equivalent) for several years.

If I were forced to pick a single answer to the question “what do you do?” I would probably say I’m a writer, though I never did well on writing assignments in school. In spite of my placement in advanced classes, I scored poorly throughout high school on writing-related projects. Hell, I made C’s in both English 101 and 102, but In my second-to-last semester of undergrad, one of my instructors complimented my writing. We had done several in-class essays in her Abnormal Psychology class, and one day she pulled me aside and told me what a good writer I was. This came as a surprise, given my previous track record and the fact that I’d been an Art major for my first three years of college. Regardless, it stuck with me. I took a class on writing for social science research the next semester, and though I barely made a B, I felt more at home researching and writing than I ever had trying to do traditional art. I give the credit for my newfound confidence to my Abnormal Psychology teacher.

When I moved away from Seattle the first time, I used to keep in touch with local cable access celebrity the Reverend Bruce Howard (you can find clips of his ranting on YouTube). Once, during a long-distance phone conversation with him from Alabama, he interrupted himself and told me out of the blue that I had a great speaking voice and that I should use it. I’d never really thought about it because, as you know from hearing your own voice on recordings, I thought I sounded weird, but coming from such a dynamic speaker, it made me rethink it. I have since become an instructor and a regular public speaker. Part of my having the self-assurance to make this leap was Rev. Howard’s comment.

These are all positive examples, but it works both ways. In communication studies classes, we teach that communication is irreversible. Once you put something out there, you can’t take it back (I always think of the courtroom scenes where they strike something from the written record even though everyone in attendance already heard it). As the above examples illustrate, in butterfly effects of the word, even the smallest comment can leave a lasting impression. Be careful what you say to your friends, family, colleagues, coworkers, and others around you. Your words can have impacts you never imagined.

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* So fervent was my zine-making that I got a copy machine for my high school graduation present. I still have one, and I do still make zines once in a while.

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The Rules of the Road

I was walking to class today, and I was almost mowed down by a guy on a fixed-gear. I was crossing a street, in the crosswalk, where I clearly had the right of way, but he rang his bell and blew by right in front of me, running the stop sign on the corner. I’d already been conceiving this post in my head and that was the last straw. Being a frequent rider of bikes on the streets of many cities, as well as a frequent pedestrian, I have come to realize that people aren’t just inconsiderate (don’t get me wrong, some of them are), a vast majority of us — whether on foot, behind the wheel, or in the saddle — simply do not know what to do when confronted with each other on the road. So, I hereby give you the Rules of the Road.

On a Bicycle:

1. Assume You are Not Welcome: No matter what the signs or laws say, motorists do not want you on the road. Keep this in mind and ride accordingly. Obey the laws, observe the lanes, be aware, and keep in mind that they can kill you.

2. Do Not Switch Roles: If you cross in a crosswalk or “become a pedestrian” for any reason, do it for real: get off your bike and walk it. This simple move could save your life.

3. Respect the Pedestrians: Remember that in most cases, sidewalks are for walking. In areas of high pedestrian traffic, bicycles should react as such (see rule #1).

4. When in Doubt, Get off the Road and Walk.

On Foot:

1. Beware of Bicycles: A lot of people on bicycles don’t know that they’re not supposed to ride them on the sidewalks and in crosswalks. They just don’t. To me, the hierarchy of the road goes Feet, Bicycles, and then Cars, but not everyone agrees with me. Keep this in mind. Also remember that sometimes cyclists are just trying to get away from speeding cars and out of harm’s way. Often the sidewalk is the only (somewhat) safe place to be.

2. Obey the Law: The laws for pedestrians are more clear-cut and better-known than those for bicycles. Follow them and keep yourself safe.

3. Stay Off the Roads Whenever Possible: Cars will kill you. They won’t mean to, but you’ll still be dead. Stay away whenever possible.

In a Car:

1. Assume Cyclists are Idiots: Give them as much leeway as you can manage. In a lot of cases, they know not what they do. Just treat all of them like the loose cannons some of them are and remember that you can kill them with one misstep.

2. Slow Down: In most situations where you’re likely to meet a cyclist or a pedestrian in your car, you shouldn’t be going very fast. As a frequent pedestrian and cyclist, I find cars careening frighteningly fast through neighborhoods, near institutions with frequent and abundant pedestrian traffic, and cyclists in the mix as well. Slow down, especially in these cases.

3. Know the Law: Right of way is a lost art. In most cases, you’re the last in line, but will be yielded to by others (i.e., cyclists and pedestrians) because you’re driving a lethal weapon. Keep this in mind when you mingle with the unprotected.

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These few ideas don’t cover everything, but they do address a lot of the issues I’ve confronted trying to get from A to B on foot and on wheels. Let’s keep an eye out and try to keep each other safe out there.

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I originally scribbled this little piece over on my bicycle site, HEADTUBE.

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Sandy Carson: Paradise Has Relocated

Longtime BMX homie and amazing photographer Sandy Carson has a show on display here in Austin at Okay Mountain Gallery. The opening on October 23rd was a bicycle scene reunion. We all gawked at Sandy’s photos, and geeked out on bikes, parks, and trails. A good time was had by all.

Here’s what the Okay Mountain site says about the show:

“Paradise Has Relocated” attempts to capture the lifeless remains and emptiness of a once thriving and historic island devastated by Hurricane Ike in September of 2008. Ike was the third most destructive and costliest hurricane to make landfall in the United States, destroying and flooding 75% of homes and landmass. The project deals with the physical dead space and ghostliness of Galveston- post hurricane. Each image whispers of an ordinary past lost to the ravages of Mother Nature. The everyday objects left behind in haste suggest former human inhabitation. The unoccupied landscapes, fractured structures and mundane interiors I have carefully composed compel the viewer to look beyond cultural stature and financial complexities, and question geographical location.

The geographic anonymity of my photographs prove that such devastation is not reserved for the third world but stand right on our doorstep. This is important to remember given the current state of world climate change. Unfortunately some believe that this may be the final blow for Galveston. With an already anemic economy and population decline that predates Ike by 50 years, survivors who are re-building or relocating, feel that their mythical land never fully recovered from the first Galveston Hurricane of 1900.

Sandy’s book Paradise Has Relocated is available from Blurb (where there’s also a full preview!). A percentage of the sales will go directly towards Hurricane IKE relief, so do good and buy a copy.

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Return to Oz: McGoo Interviews Bob Osborn

Bob Osborn, owner of Wizard Publications, which published iconic magazines BMX Action (née Bicycle Motocross Action), FREESTYLIN’, and briefly Homeboy, as well as the book The Complete Book of BMX (1984), is a the kind of person the world could do to have a few more of. His free spirit and eye for talent indirectly influenced the course of my life. By hiring younger, kindred spirits on little more than a hunch (e.g., Andy Jenkins, Spike Jonze, and Mark Lewman), he changed the face and voice of BMX bicycles, as well as the lives of many who rode and read about them from the mid-70s to the early-90s.

McGoo McGruther, no stranger to the small but influential world of BMX, recently interviewed Osborn for Chop Cult, and I’m happy to report that his spirit is as free as ever, and he’s still rolling tough on two wheels.

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Russian Circles in DIG BMX

DIG 072My recent feature on Russian Circles for DIG BMX Magazine has hit the stands. It’s in issue #72, if you’re interested. Also be on the lookout for their new record, Geneva (Suicide Squeaze), which hits the stores and sites on October 20th.

The full text from DIG is as follows:

The subgenre of instrumental post-rock has grown into its own over the last several years, and many of the bands emerging to represent the subgenre sound remarkably similar. The inherent irony of classification is that even as the category grows (i.e., the more bands there are that sound enough alike to lump together), the harder it gets to stand out (i.e., to be considered a part of the group, but to distinguish your work from the rest of that group). As My friend Max Bristol might say, Explosions in the Sky is a band — not a genre.

“I suppose it means there are quite a few more reference points,” says Brian Cook, who’s also done time in Botch and These Arms Are Snakes, “both for us as artists and for our audience. It means that we’re somewhat self-aware of what we do, and for the audience it may be tempting to weigh the merits of what we do against other bands and artists instead of judging it on its own terms.” Russian Circles stand out from the crowding in with sheer brut force. They are a power trio with the emphasis on power. Where other groups’ slow builds often leave one dissatisfied with the release, these guys drop it like it’s too heavy. They can simmer with the slowest of boilers and riff it up with the most metalest. It’s a difference difficult to describe but easy to hear, leaving many writers — myself included — sounding stupid.

At the time of this writing, Mike Sullivan (guitar), Brian Cook (bass), and Dave Turncrantz (drums) were just finishing up in the studio with Brandon Curtis (of Secret Machines) behind the boards, working on a follow-up to last year’s massive and majestic Station (Suicide Squeeze). “We were less concerned with perfect takes and more concerned with perfect tones,” Cook says of their studio time. “We switched up a lot of ideas as we were recording and we were less concerned with making sure we could replicate the material live as we were with making a compelling album. both Enter (Flameshovel, 2006) and Station were pretty faithful to how we play live, so we felt we could get away with doing an album where we elaborate on the material a bit more.” Apparently, the new album will incorporate strings and brass, as well as a howling dog — none of which they’re planning to take on tour.

“The new album is a bit longer than we had planned,” Cook continues, “but all the material made sense together. We don’t want to overstay our welcome, so we feel that six or seven songs is about the extent of material people can put up with in one sitting.” Of course, six or seven songs, an EP for most bands, for Russian Circles is an epic, album-length amount of time. Knowingly, Cook adds, “We’ll take our chances that our ADD-afflicted culture can put up with our self-indulgence.”

Upon seeing me ride my bike one day, jumping curbs and such, a friend of mine commented that while I was out learning to ride BMX, he must’ve been in his room learning to play his guitar. The same might be said of Cook. “Once upon a time,” he says, “my friend was packing me on the handlebars of his BMX. He went off a really big curb and my foot slid in between the spokes of the wheel. I was barefoot. I broke eight of the spokes with my foot and flew headfirst into the asphalt. Remarkably, I didn’t break anything, but that was the last time I’ve been on a BMX.”

So, no more bikes for Russian Circles, but they are planning to thin out the instrumental post-rock competition. “On a side note,” Cook concludes, “I am starting a ballot initiative that would require people to apply for a license before they can buy a delay pedal. That should help stymie the popularity of this brand of music.”

Russian Circles in DIG BMX

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A New Level

Level MagazineThe old Level Magazine was one of those titles that put the Life in “lifestyle” magazine — and it’s back online starting today! Editor/publisher/leader Chris Noble invited me to contribute, so I’ll be posting bits over there on a regular.

Here’s the history of the magazine direct from Chris:

In 1999, the magazine Level was born. Brothers Mark and Chris Noble, publishers of a BMX magazine and a core MTB magazine, got bored of going into their local newsagent and seeing nothing on the lifestyle shelves for them or their like. The US had produced Grand Royal, a happy-go-lucky hobby, more or less, of The Beastie Boys, and Mark and Chris felt that there was a gap in the UK market for something along those lines.

How hard could it be?

After several months of masterminding, almost-disastrous back-and-forth wrangling with the bureaucracy of WH Smith (the main wholesaler/retailers in the UK), designing and redesigning and getting editor Chris Quigley on board, Level quietly appeared on magazine shelves across the UK and beyond.

With the contributions of various luminaries—some of whom grace these web pages—and a remit of “All Things Good”, Level went down well. Unhindered by strict genres or target niches, it really did fill a gap. The talk was underground but very complimentary. Issue 01 picked up the UK’s inaugural Magazine Design Awards’ “Best Designed Consumer Magazine” prize.

From then on, the only way was, well, neither up nor down. The high-budget, low-moral advertising vultures of the London-based competition had a stranglehold on the ad spends of the rich and famous brands. Despite an increase in promotional spend and advertising sales strategy, Level, without a desire to sell its soul, found its pages to be a hard sell. Only the most discerning of brands supported the magazine, and it just wasn’t enough. The brakes came on in November 2000, after only eleven issues.

But it’s always been there. Gnawing away in the back of our minds, especially that of publisher/designer Chris Noble. The brothers parted ways with the publishing company at the end of 2006, but Chris saw to it that he took Level with him.

Since then, Chris has had more time to think about bringing the magazine back in one way or another, and during the first half of 2009, he dove head-first into the world of web code which he had so far largely managed to avoid.

And the rest is browser history.

level screenshot

Many thanks to Chris Noble. I am damn proud to be a part of the new era of Level.

Check it out.

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“The Revolutions Will Not Be Televised” on ESPN

My first column for ESPN, entitled “The Revolutions Will Not Be Televised,” in which I reminisce and ruminate as to why BMX flatland television coverage disappeared.

Steamroller in Red Square circa 1995 [photo by Eric Black]

Here’s an excerpt:

When I started riding flatland BMX, there were only a handful of flatland tricks to learn, and it was easy to see where to start if you wanted to learn even the hardest of them. Curb endos, 180s, rollbacks, the core of the sport’s repertoire didn’t even require pegs. This changed quickly as the sport progressed. By the late ’80s, there were hundreds of tricks, many of which involved rolling around in either direction on either wheel, and many of which I can’t do to this day.

At the same time that flatland for the beginner was approaching impossible, dirt jumping and street riding were becoming viable aspects of competitive BMX. This is not to say that hucking yourself over gnarly doubles or down doublesets of stairs is easy. It is to say that one can see where to start if one wants to do one or the other. If I hadn’t started riding BMX in 1984, I wouldn’t have ever started. Have you seen what those guys do these days? It’s insane. Once the barriers to entry for flatland were raised too high, new blood was scarce. A species that stops reproducing itself endangers its existence.

Here’s the full article.

Mad thanks to Brian Tunney for setting this up.

[That’s me steamrolling across Red Square on the University of Washington campus in Seattle during the dark days of 1995. Photo by Eric Black.]