PODCAST:
BMX Breakdown:
Jeff Zielinski – BMX Smorgasbord
by Mike Hinkens
April 28, 2019
April 28, 2019
In this edition of the Imprimatur BMX Podcast, Mike Hinkens sits down with renowned BMX filmer, photographer, and rider Jeff Zielinski for an in-depth discussion of multiple topics, including: longevity in BMX, the origins and development of the East Coast street style, the tension between ramp and street as well as tech and gnarly, and the illegality of street riding as a whole.
Comments:
May 13, 2019 - Butterlegs
Your recent podcast with Jeff Z really triggered a stream of consciousness in me.
During the podcast in question, both you and Jeff touched on creativity in BMX riding, which I’ve always thought to be an interesting topic. To be frank, when the topic first surfaced, I expected you both to take the default position that street is inherently creative. Needless to say, I was pleasantly surprised to hear you both agree that some aspects of street riding are basically equivalent to riding a plaza. It’s this point that I’d like to expand on.
I think we’re probably all in agreement that riding something that isn’t intended to be ridden does have an innate element of creativity in it, I know I certainly acknowledge it. Forgive me if I am repeating your example, but a feeble hard 180 on a perfect, albeit non-skatepark ledge, or a tailwhip down stairs in 2019 requires almost no creative thought. This is behaviour that has been seen and replicated for decades, and in my opinion is analogous to a tailwhip on a box jump. Now, don’t get me wrong, I am not dismissing either kinds of riding; it’s definitely difficult and I don’t think I’ll ever do any of the three tricks mentioned. My point, I suppose, is that cookie-cutter tricks with rudimentary spot use is no more or less creative than any other kind of riding.
There are fantastic examples of creativity across all realms of BMX, even if it isn’t readily apparent. Trails, for example, may not seem creative on the surface; but if we dive a little deeper we find creativity manifest itself in the construction of lines. Manipulating the lay of the land, taking cues from the location of immovable objects and finding a way to include it in the line, or maintain the flow despite a detour. We see a prime illustration of this in Hazelwood in Pittsburgh, at Eastside in Austin or at Mt White in Australia. These spots, especially when juxtaposed against the basic set up at dirt jumping contests.
Similarly, a skatepark does not seem like it would lend itself to creative riding. Indeed, the easiest and most obvious option would be to let the ramps dictate how you use them. However, the ramp riders I find most interesting and ultimately have the most profound long-term impact don’t let themselves be limited by the guidelines laid out by the ramps. These riders have been prolific throughout the mid and new school eras, riders like Ruben Alcantara, Taj Mihelich, Gary Young, Mike Aitken, Chase Hawk and more recently, Corey Walsh and Kevin Peraza are all exemplars of creativity in ramp riding.
I’ve often thought BMX culture is a microcosm of society and culture at large; and in BMX much like the population at large, creativity doesn’t exist within a particular facet of life. It isn’t limited to the canvas, or the musical instrument or any activity at all. Creativity is a state of mind. A creative person will always exude creativity, and make the ordinary extraordinary.
Regards,
Butterlegs
Your recent podcast with Jeff Z really triggered a stream of consciousness in me.
During the podcast in question, both you and Jeff touched on creativity in BMX riding, which I’ve always thought to be an interesting topic. To be frank, when the topic first surfaced, I expected you both to take the default position that street is inherently creative. Needless to say, I was pleasantly surprised to hear you both agree that some aspects of street riding are basically equivalent to riding a plaza. It’s this point that I’d like to expand on.
I think we’re probably all in agreement that riding something that isn’t intended to be ridden does have an innate element of creativity in it, I know I certainly acknowledge it. Forgive me if I am repeating your example, but a feeble hard 180 on a perfect, albeit non-skatepark ledge, or a tailwhip down stairs in 2019 requires almost no creative thought. This is behaviour that has been seen and replicated for decades, and in my opinion is analogous to a tailwhip on a box jump. Now, don’t get me wrong, I am not dismissing either kinds of riding; it’s definitely difficult and I don’t think I’ll ever do any of the three tricks mentioned. My point, I suppose, is that cookie-cutter tricks with rudimentary spot use is no more or less creative than any other kind of riding.
There are fantastic examples of creativity across all realms of BMX, even if it isn’t readily apparent. Trails, for example, may not seem creative on the surface; but if we dive a little deeper we find creativity manifest itself in the construction of lines. Manipulating the lay of the land, taking cues from the location of immovable objects and finding a way to include it in the line, or maintain the flow despite a detour. We see a prime illustration of this in Hazelwood in Pittsburgh, at Eastside in Austin or at Mt White in Australia. These spots, especially when juxtaposed against the basic set up at dirt jumping contests.
Similarly, a skatepark does not seem like it would lend itself to creative riding. Indeed, the easiest and most obvious option would be to let the ramps dictate how you use them. However, the ramp riders I find most interesting and ultimately have the most profound long-term impact don’t let themselves be limited by the guidelines laid out by the ramps. These riders have been prolific throughout the mid and new school eras, riders like Ruben Alcantara, Taj Mihelich, Gary Young, Mike Aitken, Chase Hawk and more recently, Corey Walsh and Kevin Peraza are all exemplars of creativity in ramp riding.
I’ve often thought BMX culture is a microcosm of society and culture at large; and in BMX much like the population at large, creativity doesn’t exist within a particular facet of life. It isn’t limited to the canvas, or the musical instrument or any activity at all. Creativity is a state of mind. A creative person will always exude creativity, and make the ordinary extraordinary.
Regards,
Butterlegs