Specialization and the Myth of the All-Around Rider
(PART 2)
by Mike Hinkens
October 24, 2016
October 24, 2016
Note: This is the second half of a full piece. The first half can be found in an earlier post on the site HERE. In order to understand this piece, you will need to read (or maybe RE-read) PART 1. Thank you for reading and enjoy the rest of the piece…
BMX conservatism in the face of Specialization
Conservatism, the idea of preserving the way things “used to be” and limiting change, is rampant in BMX right now. It is almost exclusively focused on a return to the late mid-school era -- the same era I discussed earlier. I think it is very obvious that part of the opposition to specialization in BMX is centered around specialization’s contradiction to the champion of the golden era: the “all-around” rider. Many people, for reasons we can only touch on here[1], have a longing to return BMX to the state it “used to be” in. Regardless of the reasons many wish to take BMX back to that era, it is not surprisingly that those same people dislike the way BMX has changed. That change, namely specialization, clashes with the ideal of that bygone time period. Yet, like most conservative movements, the past is often glorified, distorted, misunderstood, and taken out of context. Rider Nick Ferreira, when asked in an interview on The Fancy Island about the “whinging about ‘the state of BMX,’ replied with: “There’s some straight up offensive stuff going down but it’s fine, kids are doing what they want just like kids did what they wanted in the 00’s. It’s easy to look at the past with rose-tinted glasses but people hated on so much shit in the early-to-mid 00’s that is ‘cool’ now… e.g. Ratboy.”[2] The golden era may not have been that golden to everyone after all and, in addition, much of what people are calling for cannot exist in the present time. The low-hanging fruit of BMX has been plucked. Its getting harder to invent something new when thousands have tried before you. And it’s difficult to imagine a BMX rider being able to grab both flip-double down whips and crank-hard 360’s from the top of the tree at the same time.
Regardless of people’s reasons for wanting BMX to go back to the “way it used to be,” we must look at the facts of history, understand the path that brought us here, and move forward utilizing the past as a strong base, yet accepting that change is inevitable. Simply put: Embrace inevitable change, and make it work to our benefit.[3] This seems to be the perennial message of liberal politicians and one thing that can be said for them is that they usually want to include everyone in their club as opposed to excluding those different from themselves. But, remember, this isn’t politics, this is freestyle. It is a diverse and multi-cultural array of people and I assume many of us started riding because we wished to pursue an activity without coaches, with very few rules, and open to creativity. Yet, Ryan Worcester’s statements mentioned earlier embody the contradictory condition of modern BMX culture: Make BMX awesome in this certain way, but also do what you want to do. In reality, we do not all have the same idea of what constitutes awesome. And thankfully, we all do different things to achieve awesomeness. It is that diversity of ideas that drew most of us to BMX as well as allowed BMX to grow, evolve, and stay strong. There is no doubt, as seen in article after article, and interview after interview, that what draws people to BMX and what holds them in for decades is the freedom and creativity of BMX. Yet, in the end, we all ride for different reasons, so who is allowed to tell us what BMX is or is not? BMX has been loosely defined in disciplines for years, but even when the all-around rider existed, individuality was paramount. Tricks and style were, and continue to be, up to the rider and even within each discipline the variety of riding styles is amazing. For example, just because someone is a “ramp-rider,” does not mean they are not allowed to or do not actually ride street. There are no rules about this.
At its simplest, freestyle BMX is people doing tricks on 20-inch bicycles. From manualing through the rollers or blasting across a huge double. From launching off a bump in an alley to bombing a 20 stair rail. From carving a deep bowl to double trucking a box jump. All of these and everything in-between are BMX. And if there is one rule in BMX that is for certain, it is: do whatever the hell you want and for whatever reason you like. Take it from the legend who invented the turndown amongst much of BMX in general: Dave Voelker. In his recent DIG Podcast, he said “And that’s the way Freestyle started. It was a family. It didn’t matter what you did. If you sucked, it didn’t matter… you were riding. It didn’t matter. It was a family.”[4] Some people ride because they like to master a skill, yet others ride because they love the rush. And for every shade of grey in-between, there is a rider who claims “that’s why I ride.” The moment we tell people that one way of riding is better than another or that one style is not “truly” BMX, is the moment real BMX dies. Sometimes a name captures something so perfectly, and in the case of “Freestyle BMX,” it could not be anymore dead on. We have the freedom to choose how we interpret and create art on our bikes; the freedom to ride what we like and how we like. BMX is not defined by the the level of risk it involves nor by the tricks that are done. It is not defined by the styles we have or the vision we follow. It can be anything we want, but it also doesn’t have to be anything anyone else wants. Some riders wish to risk it all every time they ride, while others play it safe. Your motivation can be glory and the rush or accomplishment and perfection, but the freestyle nature of BMX culture encompasses all of these.
In the effort to maintain the status quo, many BMX conservatives point to a specific snapshot of the past and claim it as “true BMX.” That snapshot, as discussed above, is exemplified by the all-around rider. That same snapshot is of a time where technical riding was less than popular. In addition to call for a return to the era of the all-around rider, there are calls to a return to when BMX was “badass.” A time when riders were seen as daredevils and stuntmen. Mat Hoffman’s contest series was name the CFB – Crazy Freakin’ Bikers. At that time, flatlanders seemed to be overlooked (as well as tech mini-ramp riders). Contests often became a measure of who could do the craziest transfer or who did the most tricks over the box-jump. There is nothing wrong with how things were then, and there is nothing wrong if people want to ride like that today, but there is something wrong with the idea that BMX is defined by those styles of riding. As our culture continues to forge its path and is piloted by diverse and specialized riders, we cannot forget that there is no “true BMX” style of riding. Yes, taking risks and breaking conventions have been at the base of almost all BMX riding, since its inception, but there has always been a diversity of style and motivation within our culture. In defense of the foot-tall ledges, I am also defending vert. Now seen as a dying discipline of aging stunt-men, vert riding has many defining and differentiating characteristics, but in the end, it is doing tricks on 20-inch bikes. And if that inaccessible and narrowly focused discipline of BMX is too be respected, then tech-ledge riding must also be respected. It too is doing tricks on 20-inch bikes regardless of the motivations behind it. BMX is called freestyle for a reason, let’s not forget that.
Of course, we do need some common ground in order to maintain some collective understanding and comradery within the culture we inhabit. Though we are talking specifically about freestyle, it is part of broader human culture to set norms and standards to help bring cohesiveness to a complex and chaotic world. As you may have gathered, I do not believe that setting standards for disciplines is necessary, yet there are lines that we—as a collective—may not want to cross. For example, riding with seven-inch long pegs is generally seen as “cheating,” yet the line is hard to draw as people often argue about whether plastic pegs are acceptable in BMX. I do feel that tricks, like disciplines, are best left open to choice and freedom, i.e. freestyle, but it is in our nature to include and exclude. Over the years, the collective body of BMX has decided on what tricks look good and how tricks are done best. The collective body has set some standards or norms for what is “acceptable” versus “unacceptable.” Here we can look at a recent phenomenon to show the complexity, as well as the thin line, of setting collective standards/norms. We must be careful not to stifle creativity and limit diversity as before. Even within disciplines, some people wish to exclude or standardize at the cost of creating a negative environment. The infamous Rodeo Peanut crew has even gone so far as to write out specific rules:
1) No double dribble tailwhips. 2) No grass landings 3) No dry icepicks. 4) No pivot 180s. 5) No ABDs. 6) No pull up tricks. [5]
The actions taken by the people behind the propagation of rules and internet shaming also exist in mainstream culture; all levels of culture impose standards—or socialize—people within culture in order to maintain norms with some level of continuity, quality, etc.[6] Though “freestyle” implies and embodies the idea of “freedom of action,” sociologist Marc Ross states that “All cultures, of course, provide specific, but not always explicit socialization, regarding in-group and out-group distinctions. Cultural learning involves messages about groups’ motives, their behavior, and how one is to act toward members of each category.”[7] Without some set of norms/rules, a culture cannot exist; it becomes a chaotic and disconnected set of actions doomed to be assimilated or destroyed.
Through humor, and even outright bullying, Rodeo Peanut attempts to perform a service that all cultures need. Most often though, people do not use bullying to teach these norms. For example, when a toddler is taken to the playground for the first time, parents must help the child understand where to play, how to play, and many other basic social norms. Kids are taught to share equipment, go down the slide and not up, and to swing forward and back as opposed to side-to-side on the swings. Breaking these unwritten, and often unspoken, rules will cause conflict and problems for the child. As such, the parents serve as cultural teachers in order to maintain cultural standards. Problems arise when the standards to which an educating –or policing–force hold others are not fully accepted by a majority of the community or are applied in areas that could be considered subjective, i.e. artistic. If the toddler wishes to use equipment in a creative and new way, the rules may need to be bent or re-examined. As stated above, “motives” exist behind the creation and teaching of norms. We must examine or expose people’s motives to make sure that the norms we set are positive and beneficial to the culture as a whole. As for the toddler, the rules are usually designed for safety and avoidance of conflict, yet in a culture named and defined as “freestyle,” there certainly is room for flexibility of standards and norms; especially when things done within BMX culture are often done for the sake of art, for the representation of oneself, or for personal profit. Do we accept certain actions as creative or do we dismiss them as opportunistic? Do we make rules for our own aspirations or for the betterment of our culture as a whole?
In my opinion, experimentation and creativity are two of the most important pillars of cultural growth in BMX and should be protected. In other situations, such as formal competitions, this issue becomes problematic and more apparent. Fair judging in the face of diversity of ideas/styles and specialization has been, historically, a huge issue. The issue that DIG has brought up regarding Simple Session is as old as BMX. And many, in their conservative or short-sighted perspectives, point to controversies such as judging contests or the arguments about cultural norms as evidence that we have strayed from what “BMX is all about.” On the contrary, BMX has been evolving and cultural norms/standards need to evolve as well. How they will evolve is not the issue, but that they should evolve is what is important. Contests, comparisons, expectations, norms, and standards must adapt to reflect what the people within the culture are doing. This happens in almost all cultures on our planet. In our case, new riders pick up BMX bikes every day and with them new styles and ideas are born just as quickly. It is our duty to socialize those who come after us, but we must do so with a clear understanding of what is happening around us as well as what came before us. We must know the past, be in the present, and look to the future. If that is too much for you, then don’t get involved, don’t complain, and don’t criticize. Be a bike rider but stay away from making rules, calling people out, or challenging change. Just like in politics, those in power ideally should be representing the majority of people in their society or not be in power. In addition, they need to realize that power, position, or seniority do not make them the absolute authority on defining a culture and its direction. As with evolving disciplines in BMX, older riders must remember, just because it is new or different, does not mean it is not BMX. And at the moment, if you think specialization is different from the way things “used to be,” then you have a misunderstanding of our shared history. Embracing and understanding inevitable change for the benefit of BMX as a whole can begin with embracing the idea that started this discussion: specialization is a fact of the world and BMX.
The Benefits of Specialization
As I stated earlier, specialization within BMX culture is not a unique phenomenon nor is it a new one; rather, it is a reflection of human culture at-large, an indisputable element of BMX history, and, most importantly, a positive mechanism of progress. In this section I wish to discuss how progression within BMX is only possible through specialization. Not everyone is concerned with progression and that is fine. If you want to ride everything, more power to you, that is your choice in freestyle, yet unless you are one of our “exception riders,” you must realize you most likely will not be at the forefront of BMX. Again, for many bike riders, being the best and changing the course of BMX is not on their agenda; yet for those who wish to invent tricks, do what has never been done before, or break barriers—AKA, progress the sport—specialization is a necessary reality.
A few experts have been cited in this piece, but I think it is commonly understood idea that to be good at something, you need to practice it. Even more, to be great at something, you need to devote large amounts of time to it. As the well-known author Malcolm Gladwell stated, “To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fischer got to that elite level in less than that amount of time: it took him nine years.) And what’s ten years? Well, it’s roughly how long it takes to put in ten thousand hours of hard practice. Ten thousand hours is the magic number of greatness.”[8] We can all strive to be great like Bobby Fischer (of chess or of Standard Country) but there are a few realities: 1. We are not all prodigies (such as Fischer or Garret Reynolds) and 2. We have limited time. Bobby Fischer, aside from being a prodigy, devoted himself to playing chess; not Checkers, not Scrabble, not Candyland, and not poker. He specialized within the culture of games and devoted huge amounts of time to become one of the best at one specific game. Later in life he could have pursued other activities, but I am sure he had little time to become an expert in all games. The same holds for all things in life. From the fantasy of James Bond to the demise of the Renaissance man, BMX is no different. As stated above, the idealization of the all-around rider was a historical anomaly and we know that in contemporary BMX culture, each discipline of BMX is far too developed to be mastered by one person. Street riding and park riding are so far away from each other in the skills and tricks that are required to master them that the idea of devoting ten or even five thousands hours to both of then at the same time seems ludicrous and borderline impossible. Take into account that while one rider may be attempting to do just that, and effectively taking longer to arrive at the magic number, another rider is focusing on just one of those disciplines and will arrive at the cusp of the edge of BMX progression in their discipline long before the other diversified all-around rider does. And when that diversified rider arrives at the magic number, BMX as a whole will have moved beyond that point yet again. Pay attention to the “if” in the statement that follows: If one desires to push the activity of riding BMX past its present boundaries, one will need to specialize in one discipline. The all-around rider as a style of riding still exists and certainly encompasses many of the people within BMX culture. It is a natural state of being open-minded, curious, and well-rounded in a fun and complex activity; yet, the idea of the all-around top professional rider in modern BMX is an anachronism. It is simply not possible for the “normal” rider to achieve this (excluding “exception” riders).
Interestingly, though many decry the specialization of BMX, we developed tools, techniques, and physical locations to aid specialized riders many years ago; for example: the foam pit. On one hand, a safe way to learn any trick, basic or complex, the foam pit has actually contributed to the progression of ramp riding by allowing a narrow focus on learning jumping tricks. That narrowing of focus is a characteristic of specialization. Riders choose to pursue, in depth and with singular determination, a certain set of tricks that cater to a certain discipline of BMX. They did not build a foam landing handrail (well, Woodward did recently) and thus they were specializing only for jumping or airing. Some faulted these people with cheating, yet many of the mind-boggling and ground-breaking tricks that contemporary riders do today are directly connected to use of the foam pit. The—now real—foam-landing hand rail is an extension of this idea, yet long before it existed, street riders were specializing on other obstacles. From small rails that served as practice for large rails, to “foot-tall ledges” as stepping stones to 8-stair out-ledges, most BMX riders have always learned on the small and taken it to the large. At first, these tools and techniques were use to allow for safer and easier learning processes. Now, however, these tools and techniques are the base points for specialization and progression. For example, when people complain that rider X (let’s call him “Dave”) is riding too slow or too small at spot Y (let’s call it “baby ledge”), the response often given—and often ignored—and of utmost importance is: “trick ‘Z’ may only be possible at this speed and at baby ledge.” Read that again, one more time. Now, think, ten other tricks done at the slow speed and on that location may be possible at other speeds and in other locations, yet if trick Z has never been done before and will help progress the sport, then choosing to go slow at baby ledge makes sense. The average rider may like to do a simple feeble at baby ledge and then say, I can do that same trick on a much bigger ledge, so why would I always ride baby ledge? But, the rider looking to progress his discipline will say, I am not here for a feeble, I am here to use baby ledge to its fullest and to do something never before done that can only happen on this spot and in these conditions. As stated above, we can agree that the speed at which one does a trick does not discount it from being a trick. In addition, the actual tricks you choose to do are up to you. So, Dave certainly can do whatever he wants, and, in fact, him doing it in a fashion that makes the trick possible is for the greater good of the progression of the sport. After all, the trick may never happen if not done in a certain way and on a certain spot. If that means going slow at baby ledge, then so be it. If we did not do certain tricks because of arbitrary rules like “you must go a certain speed” or “ride a certain spot to do all tricks,” then we would be limiting the tricks we can do and limiting the free nature of BMX as a whole. And I think we can all agree, freestyle should have no such limitations. Whether it be a foam pit, a lake jump, a foot-tall ledge, or resi-landings, these locations and these tools have allowed many bike riders to change and influence our culture in unique and creative ways.
Don’t be threatened!
We are diverse and that is our strength, not our weakness. BMX can work for everyone in some way. For some, they crave the solitude of the woods. While others, the hustle and bustle of the streets. Thankfully, we have a place for all types of riders. At the moment, one place—street riding—can seem to be all that anyone cares about. Companies are focused on street products, street videos, street styles, and the list goes on. Media coverage both inside and outside of BMX leans heavily towards street as well. Let’s be honest though--companies and the media do have ulterior motives. Though they are often rider-owned and do give back to BMX, it is not wrong to remind everyone that they must make money to survive. And in the quest to make money, they often listen to the consumer and follow trends.[9] There is no fault in trying to survive. If we look back in history a bit though, it wasn’t that long ago (the early 2000’s) when technical ramp riding was the trend and products and videos reflected that. And even before that—when trails and aggressive riding were all the rage in the beginning of the mid-school era—brands, products, and media catered to that style of riding. Styles/disciplines and tricks ebb and flow. Yet, the popularity of one discipline over another is not a threat to other disciplines. Going back to the Nick Ferreira interview, “People don’t have to like every aspect of BMX and no one is going to come after your prized tabletop.” Limelight and attention come and go for each discipline but this can change when riders within that discipline work hard to do something different and to progress their discipline.
Two examples come to mind, both in different stages of their ebb and flow. TheComeUp.com is often credited with bringing technical street riding to the forefront in BMX.[10] There is no doubt that numerous brands and crews were pushing and representing this style of riding through their own videos, events etc., but the boom in technical street riding certainly coincides with the advent of The Come Up and its daily sharing of multitudes of web videos. Prior to The Come Up, street riding was often left out of videos and contests as well as trivialized by brands and the media. Much of that changed with the effort of the owner of The Come Up—Adam Grandmaison—who happened to identify with that discipline. Ten years later, it seems as if the scale has tipped towards street riding. For those riders who felt slighted during the reign of ramp riding, their time is now. Yet, to remind you not to feel threatened, look at the state of BMX as a whole: there are skateparks popping up constantly[11], many strong trail scenes[12], plenty of ramp contests on unreal courses,[13] and flatland events that draw riders from almost every continent.[14] In addition, new projects are being born in our culture in reaction to perceived lack of attention to a discipline. In an obvious reaction to the ebb of ramp riding popularity, companies are being started to cultivate progress in specific disciplines and address their specific needs. The new company Tall Order BMX is a prime example of this and they know it. From their website:
We have seen BMX evolve naturally into street riding being the predominant style of freestyle BMX but for me although I enjoy riding street and using my pegs I have always had a bigger passion for riding transitions whether indoors outdoors, wood, dirt, cement or brick the feeling of trying to go faster, higher and land smoother has always been my thing, you like what you like I guess.[15]
The reality is, all disciplines are alive and well because there are thousands of kids out there riding bikes in so many different ways, yet some people focus on certain aspects of our culture and blind themselves to the reality that BMX is more than its media representation. The spirit of BMX is much more than marketing strategies and product design. It resides in that metaphysical realm that “true BMXers” tap into when they ride their bikes with their friends and create “freestyle” on a daily basis. Tall Order BMX provides an example of those characteristics and their idea can be a model for all of us: If you want to see something happen in BMX, then do it. With the clarity of two years of solitary self-sufficiency in the forest, the famous thinker Henry David Thoreau summed up the same ideas found in our BMX DIY cornerstone “… if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.”[16] The re-birth of BMX in the early 1990’s—as well as almost all of our history since then—is proof of this. If this seems to be a dark hour for other disciplines of BMX, it is not because you are not shining bright, it is just because street is shining a bit brighter at the moment. If you are unhappy with where you are in BMX, first ask yourself this: why do you care? Motivation is paramount. Do you want the limelight? Do you want to have fun? From the looks of the heavy media coverage, street riders are out there everyday having fun on their bikes. Are you having fun? I have a feeling almost every other type of rider is. Enjoying what we do is evidence that the spirit of BMX is present and you are “true rider.” If you are unhappy, it may be time to make things more awesome for yourself and your friends. Don’t blame it on the popularity or shine-time of one discipline; go make something happen.
Conclusion: Let’s be honest with ourselves.
A few times in this piece I have referred to the idea of “true BMX” and the way people often seem to have a monopoly on defining what that is. The concept of “true BMX” certainly implies that there is a spirit or core meaning within BMX that ties it all together. It is here that I depart from facts and agree that there does exist a “spirit” within BMX. At its most basic, BMX is riding a 20-inch bicycle in a unique fashion. That definition is broad and uninspired, yet, thankfully, all-inclusive. And at face value, it means that almost anything can be considered BMX. Yet, the spirit that many—including myself—refer to, is what takes bike riding from a basic athletic activity and transforms it into a rich and complex culture. Countless magazine articles have been written about the more metaphysical aspects of BMX and you typically read that BMX is “more than just bikes,” and instead it is: creativity, passion, art, dedication, experience, comradery, motivation, salvation, and more. The list goes on and on because BMX as a whole has, in most ways, embraced the idea of “freestyle.” Our culture is diverse in who makes it up and what they believe. Male and female riders roll together alongside transgender and handicapped people. Skin color is just as irrelevant to riders as the country you are are from. Riders who eat meat and party travel the world with the drug-free vegans. And I would say that almost every rider shouts out “yeah!” when any other rider pulls a trick --ugly, with style, new, old, slow, small, huge, normal, or whatever. It is so strange, then, that there exists a general disdain for riders of certain styles that is creeping into our culture and evidenced on the internet in comment sections.
This whole piece is predicated on the idea that there is a misunderstanding in BMX regarding how it “used to be” and how it is now. The condescending ways in which people have begun to call out others as not “truly riding” BMX is a direct contradiction to the metaphysical spirit of BMX that I would like to think still pervades much—if not all of—our culture. I do not believe it is done maliciously, though it is contributing to the rise of a negative environment that needs to be stopped before it poisons our community more. As the long history section of this article explained, the call for an all-around rider is based in a conservative belief that BMX has changed and that change is for the worse. I think I have shown that BMX has changed, but not in the way that many believe. The conservative movement within our culture seems to have missed how complex our history really is and how it is not a history where specialization and disciplines were a negative aspect of our culture. And it follows that the specialization we see now in BMX is not a negative aspect of its present condition, either. In addition, this specialization is directly in line with the “spirit” of BMX. It not only allows for, but also encourages creativity and dedication. It allows for the perfection of art through the application of motivation. It continues to allow for unique experiences as well as personal salvation. And, most importantly, it does not hinder comradery, it just redirects it. If anything, people’s misunderstanding of specialization and their ill-informed conservatism are a direct attack on the comradery of BMX. It is true that when everyone rode everything (i.e. in the late 1990’s-mid 2000’s) crews were larger and more diverse; but, geography is about the only change brought on by specialization that we must overcome to maintain that comradery. Who cares if I one rider chooses to ride in a parking lot while the other chooses the woods? Or if one is in an alley while another is at the skatepark? If freestyle is a free space where all tricks and styles should be embraced by all, why can’t street riders, ramp riders, trail riders, and flatlanders respect each others’ diverse tricks and styles? If you believe in the spirit of BMX, then you believe that what we do is beyond tricks, or spots, or styles, and thus most of our differences don’t really matter. BMXers can connect on the much more important and meaningful levels listed above as the “spirit” of BMX. Is the only reason we are not connecting because we are in different locations that we utilize a bit differently? Since when has location been a challenge for BMX? Travel is one of the cornerstones of BMX and varied topography and a little distance between spots should not mean that we cannot respect each other. Sadly, though, the gap is growing. Comradery is being replaced by misunderstanding. Misunderstanding is breeding disrespect. And disrespect is manifesting as stereotyping and bigotry. Suddenly, riders aren’t understanding the small natural differences between them and they begin to make fun of each other’s styles and tricks. Crews are splitting apart and seeing their differences as reasons to ridicule and dislike others that seem different from them. And historical inaccuracies are perpetuated through generalizations such as riders not being “true BMXers” because they aren’t being things that don’t even exist, i.e. the all-around rider.
The spirit of BMX is what really matters in the end. It is what has allowed us to survive the changing world around us as well as the forces of modern society that pressure many of us to move away from BMX. Nowhere in the definition of BMX—nor the idea of the spirit of BMX that I gave—does it say what you can or cannot ride. Nowhere does it say what BMX really is and, therefore, no where does it say what BMX is not. Freestyle BMX is free. It is free to be shaped by all those that are a part of it. In the end, I would think that the spirit of BMX we all love so much would remind us that with no rules and a strong spirit, we must accept that BMX is what everyone makes it for themselves.
Instead of hiding behind bigoted ideas of who really is a “true” BMXer and outdated concepts of what bike riders “should be,” we need to continue our tradition of striving to progress. Not just to progress in our craft, but also in our thinking. Intelligent and mature discussion, be it written, spoken, or recorded, needs to continue and grow in our culture. We cannot understand who we are and where we are if we do not have the ability to discuss and debate it.
Most of the things written in this piece are based on my 21-year understanding of a culture that is over forty years old. I have done my best to look back into our history and utilize the information available to me both on the web and through my own experience. If I claimed to be entirely correct, I would be speaking in contradiction to one of the main themes of this piece: we are free and growing, yet do not fully understand ourselves. I hope that this piece sparks discussion about what it means to be a BMXer as well as how we can continue to make BMX a great place for everyone involved. Any contribution, idea, or correction is welcomed.
- Mike Hinkens
NOTES:
[1] Possible future topic: “Conservatism in BMX: The search for the way things were.”
[2] https://thefancyisland.wordpress.com/2016/05/26/interview-nick-ferreira/
[3] Future Topic: Maintaining the good in BMX in the face of inevitable change
[4] http://digbmx.com/dig-this/the-dave-voelker-podcast
[5] https://www.instagram.com/rodeopeanut
[6] Carrithers, Michael. 1990. “Why Humans Have Cultures”. Man 25 (2). [Wiley, Royal Anthropological Institute of Great Britain and Ireland]: 189–206. doi:10.2307/2804560.
[7] Ross, Marc H. 1997. “Culture and Identity in Comparative Political Analysis.” In Comparative Politics: Rationality, Culture, and Structure, eds. Mark I. Lichbach and Alan S. Zuckerman, 49. Cambridge: Cambridge University Press.
[8] Gladwell, Malcolm. 2008. Outliers: the story of success. P. 49. New York: Little, Brown and Co.
[9] Possible future topic: Companies as leaders or followers.
[10] http://thecomeup.com/bmx/
[11] http://www.concretedisciples.com/index.php/skatepark-directory
[12] http://canyoudigitbmx.com
[13] http://www.fise.fr/en and http://xgames.espn.go.com/xgames/
[14] http://www.bmxflatlandworldcircuit.com/nc/
[15] http://tallorderbmx.com/welcome/
[16] Henry David Thoreau, Walden Pond, Online Edition: http://www.gutenberg.org/files/205/205-h/205-h.htm
BMX conservatism in the face of Specialization
Conservatism, the idea of preserving the way things “used to be” and limiting change, is rampant in BMX right now. It is almost exclusively focused on a return to the late mid-school era -- the same era I discussed earlier. I think it is very obvious that part of the opposition to specialization in BMX is centered around specialization’s contradiction to the champion of the golden era: the “all-around” rider. Many people, for reasons we can only touch on here[1], have a longing to return BMX to the state it “used to be” in. Regardless of the reasons many wish to take BMX back to that era, it is not surprisingly that those same people dislike the way BMX has changed. That change, namely specialization, clashes with the ideal of that bygone time period. Yet, like most conservative movements, the past is often glorified, distorted, misunderstood, and taken out of context. Rider Nick Ferreira, when asked in an interview on The Fancy Island about the “whinging about ‘the state of BMX,’ replied with: “There’s some straight up offensive stuff going down but it’s fine, kids are doing what they want just like kids did what they wanted in the 00’s. It’s easy to look at the past with rose-tinted glasses but people hated on so much shit in the early-to-mid 00’s that is ‘cool’ now… e.g. Ratboy.”[2] The golden era may not have been that golden to everyone after all and, in addition, much of what people are calling for cannot exist in the present time. The low-hanging fruit of BMX has been plucked. Its getting harder to invent something new when thousands have tried before you. And it’s difficult to imagine a BMX rider being able to grab both flip-double down whips and crank-hard 360’s from the top of the tree at the same time.
Regardless of people’s reasons for wanting BMX to go back to the “way it used to be,” we must look at the facts of history, understand the path that brought us here, and move forward utilizing the past as a strong base, yet accepting that change is inevitable. Simply put: Embrace inevitable change, and make it work to our benefit.[3] This seems to be the perennial message of liberal politicians and one thing that can be said for them is that they usually want to include everyone in their club as opposed to excluding those different from themselves. But, remember, this isn’t politics, this is freestyle. It is a diverse and multi-cultural array of people and I assume many of us started riding because we wished to pursue an activity without coaches, with very few rules, and open to creativity. Yet, Ryan Worcester’s statements mentioned earlier embody the contradictory condition of modern BMX culture: Make BMX awesome in this certain way, but also do what you want to do. In reality, we do not all have the same idea of what constitutes awesome. And thankfully, we all do different things to achieve awesomeness. It is that diversity of ideas that drew most of us to BMX as well as allowed BMX to grow, evolve, and stay strong. There is no doubt, as seen in article after article, and interview after interview, that what draws people to BMX and what holds them in for decades is the freedom and creativity of BMX. Yet, in the end, we all ride for different reasons, so who is allowed to tell us what BMX is or is not? BMX has been loosely defined in disciplines for years, but even when the all-around rider existed, individuality was paramount. Tricks and style were, and continue to be, up to the rider and even within each discipline the variety of riding styles is amazing. For example, just because someone is a “ramp-rider,” does not mean they are not allowed to or do not actually ride street. There are no rules about this.
At its simplest, freestyle BMX is people doing tricks on 20-inch bicycles. From manualing through the rollers or blasting across a huge double. From launching off a bump in an alley to bombing a 20 stair rail. From carving a deep bowl to double trucking a box jump. All of these and everything in-between are BMX. And if there is one rule in BMX that is for certain, it is: do whatever the hell you want and for whatever reason you like. Take it from the legend who invented the turndown amongst much of BMX in general: Dave Voelker. In his recent DIG Podcast, he said “And that’s the way Freestyle started. It was a family. It didn’t matter what you did. If you sucked, it didn’t matter… you were riding. It didn’t matter. It was a family.”[4] Some people ride because they like to master a skill, yet others ride because they love the rush. And for every shade of grey in-between, there is a rider who claims “that’s why I ride.” The moment we tell people that one way of riding is better than another or that one style is not “truly” BMX, is the moment real BMX dies. Sometimes a name captures something so perfectly, and in the case of “Freestyle BMX,” it could not be anymore dead on. We have the freedom to choose how we interpret and create art on our bikes; the freedom to ride what we like and how we like. BMX is not defined by the the level of risk it involves nor by the tricks that are done. It is not defined by the styles we have or the vision we follow. It can be anything we want, but it also doesn’t have to be anything anyone else wants. Some riders wish to risk it all every time they ride, while others play it safe. Your motivation can be glory and the rush or accomplishment and perfection, but the freestyle nature of BMX culture encompasses all of these.
In the effort to maintain the status quo, many BMX conservatives point to a specific snapshot of the past and claim it as “true BMX.” That snapshot, as discussed above, is exemplified by the all-around rider. That same snapshot is of a time where technical riding was less than popular. In addition to call for a return to the era of the all-around rider, there are calls to a return to when BMX was “badass.” A time when riders were seen as daredevils and stuntmen. Mat Hoffman’s contest series was name the CFB – Crazy Freakin’ Bikers. At that time, flatlanders seemed to be overlooked (as well as tech mini-ramp riders). Contests often became a measure of who could do the craziest transfer or who did the most tricks over the box-jump. There is nothing wrong with how things were then, and there is nothing wrong if people want to ride like that today, but there is something wrong with the idea that BMX is defined by those styles of riding. As our culture continues to forge its path and is piloted by diverse and specialized riders, we cannot forget that there is no “true BMX” style of riding. Yes, taking risks and breaking conventions have been at the base of almost all BMX riding, since its inception, but there has always been a diversity of style and motivation within our culture. In defense of the foot-tall ledges, I am also defending vert. Now seen as a dying discipline of aging stunt-men, vert riding has many defining and differentiating characteristics, but in the end, it is doing tricks on 20-inch bikes. And if that inaccessible and narrowly focused discipline of BMX is too be respected, then tech-ledge riding must also be respected. It too is doing tricks on 20-inch bikes regardless of the motivations behind it. BMX is called freestyle for a reason, let’s not forget that.
Of course, we do need some common ground in order to maintain some collective understanding and comradery within the culture we inhabit. Though we are talking specifically about freestyle, it is part of broader human culture to set norms and standards to help bring cohesiveness to a complex and chaotic world. As you may have gathered, I do not believe that setting standards for disciplines is necessary, yet there are lines that we—as a collective—may not want to cross. For example, riding with seven-inch long pegs is generally seen as “cheating,” yet the line is hard to draw as people often argue about whether plastic pegs are acceptable in BMX. I do feel that tricks, like disciplines, are best left open to choice and freedom, i.e. freestyle, but it is in our nature to include and exclude. Over the years, the collective body of BMX has decided on what tricks look good and how tricks are done best. The collective body has set some standards or norms for what is “acceptable” versus “unacceptable.” Here we can look at a recent phenomenon to show the complexity, as well as the thin line, of setting collective standards/norms. We must be careful not to stifle creativity and limit diversity as before. Even within disciplines, some people wish to exclude or standardize at the cost of creating a negative environment. The infamous Rodeo Peanut crew has even gone so far as to write out specific rules:
1) No double dribble tailwhips. 2) No grass landings 3) No dry icepicks. 4) No pivot 180s. 5) No ABDs. 6) No pull up tricks. [5]
The actions taken by the people behind the propagation of rules and internet shaming also exist in mainstream culture; all levels of culture impose standards—or socialize—people within culture in order to maintain norms with some level of continuity, quality, etc.[6] Though “freestyle” implies and embodies the idea of “freedom of action,” sociologist Marc Ross states that “All cultures, of course, provide specific, but not always explicit socialization, regarding in-group and out-group distinctions. Cultural learning involves messages about groups’ motives, their behavior, and how one is to act toward members of each category.”[7] Without some set of norms/rules, a culture cannot exist; it becomes a chaotic and disconnected set of actions doomed to be assimilated or destroyed.
Through humor, and even outright bullying, Rodeo Peanut attempts to perform a service that all cultures need. Most often though, people do not use bullying to teach these norms. For example, when a toddler is taken to the playground for the first time, parents must help the child understand where to play, how to play, and many other basic social norms. Kids are taught to share equipment, go down the slide and not up, and to swing forward and back as opposed to side-to-side on the swings. Breaking these unwritten, and often unspoken, rules will cause conflict and problems for the child. As such, the parents serve as cultural teachers in order to maintain cultural standards. Problems arise when the standards to which an educating –or policing–force hold others are not fully accepted by a majority of the community or are applied in areas that could be considered subjective, i.e. artistic. If the toddler wishes to use equipment in a creative and new way, the rules may need to be bent or re-examined. As stated above, “motives” exist behind the creation and teaching of norms. We must examine or expose people’s motives to make sure that the norms we set are positive and beneficial to the culture as a whole. As for the toddler, the rules are usually designed for safety and avoidance of conflict, yet in a culture named and defined as “freestyle,” there certainly is room for flexibility of standards and norms; especially when things done within BMX culture are often done for the sake of art, for the representation of oneself, or for personal profit. Do we accept certain actions as creative or do we dismiss them as opportunistic? Do we make rules for our own aspirations or for the betterment of our culture as a whole?
In my opinion, experimentation and creativity are two of the most important pillars of cultural growth in BMX and should be protected. In other situations, such as formal competitions, this issue becomes problematic and more apparent. Fair judging in the face of diversity of ideas/styles and specialization has been, historically, a huge issue. The issue that DIG has brought up regarding Simple Session is as old as BMX. And many, in their conservative or short-sighted perspectives, point to controversies such as judging contests or the arguments about cultural norms as evidence that we have strayed from what “BMX is all about.” On the contrary, BMX has been evolving and cultural norms/standards need to evolve as well. How they will evolve is not the issue, but that they should evolve is what is important. Contests, comparisons, expectations, norms, and standards must adapt to reflect what the people within the culture are doing. This happens in almost all cultures on our planet. In our case, new riders pick up BMX bikes every day and with them new styles and ideas are born just as quickly. It is our duty to socialize those who come after us, but we must do so with a clear understanding of what is happening around us as well as what came before us. We must know the past, be in the present, and look to the future. If that is too much for you, then don’t get involved, don’t complain, and don’t criticize. Be a bike rider but stay away from making rules, calling people out, or challenging change. Just like in politics, those in power ideally should be representing the majority of people in their society or not be in power. In addition, they need to realize that power, position, or seniority do not make them the absolute authority on defining a culture and its direction. As with evolving disciplines in BMX, older riders must remember, just because it is new or different, does not mean it is not BMX. And at the moment, if you think specialization is different from the way things “used to be,” then you have a misunderstanding of our shared history. Embracing and understanding inevitable change for the benefit of BMX as a whole can begin with embracing the idea that started this discussion: specialization is a fact of the world and BMX.
The Benefits of Specialization
As I stated earlier, specialization within BMX culture is not a unique phenomenon nor is it a new one; rather, it is a reflection of human culture at-large, an indisputable element of BMX history, and, most importantly, a positive mechanism of progress. In this section I wish to discuss how progression within BMX is only possible through specialization. Not everyone is concerned with progression and that is fine. If you want to ride everything, more power to you, that is your choice in freestyle, yet unless you are one of our “exception riders,” you must realize you most likely will not be at the forefront of BMX. Again, for many bike riders, being the best and changing the course of BMX is not on their agenda; yet for those who wish to invent tricks, do what has never been done before, or break barriers—AKA, progress the sport—specialization is a necessary reality.
A few experts have been cited in this piece, but I think it is commonly understood idea that to be good at something, you need to practice it. Even more, to be great at something, you need to devote large amounts of time to it. As the well-known author Malcolm Gladwell stated, “To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fischer got to that elite level in less than that amount of time: it took him nine years.) And what’s ten years? Well, it’s roughly how long it takes to put in ten thousand hours of hard practice. Ten thousand hours is the magic number of greatness.”[8] We can all strive to be great like Bobby Fischer (of chess or of Standard Country) but there are a few realities: 1. We are not all prodigies (such as Fischer or Garret Reynolds) and 2. We have limited time. Bobby Fischer, aside from being a prodigy, devoted himself to playing chess; not Checkers, not Scrabble, not Candyland, and not poker. He specialized within the culture of games and devoted huge amounts of time to become one of the best at one specific game. Later in life he could have pursued other activities, but I am sure he had little time to become an expert in all games. The same holds for all things in life. From the fantasy of James Bond to the demise of the Renaissance man, BMX is no different. As stated above, the idealization of the all-around rider was a historical anomaly and we know that in contemporary BMX culture, each discipline of BMX is far too developed to be mastered by one person. Street riding and park riding are so far away from each other in the skills and tricks that are required to master them that the idea of devoting ten or even five thousands hours to both of then at the same time seems ludicrous and borderline impossible. Take into account that while one rider may be attempting to do just that, and effectively taking longer to arrive at the magic number, another rider is focusing on just one of those disciplines and will arrive at the cusp of the edge of BMX progression in their discipline long before the other diversified all-around rider does. And when that diversified rider arrives at the magic number, BMX as a whole will have moved beyond that point yet again. Pay attention to the “if” in the statement that follows: If one desires to push the activity of riding BMX past its present boundaries, one will need to specialize in one discipline. The all-around rider as a style of riding still exists and certainly encompasses many of the people within BMX culture. It is a natural state of being open-minded, curious, and well-rounded in a fun and complex activity; yet, the idea of the all-around top professional rider in modern BMX is an anachronism. It is simply not possible for the “normal” rider to achieve this (excluding “exception” riders).
Interestingly, though many decry the specialization of BMX, we developed tools, techniques, and physical locations to aid specialized riders many years ago; for example: the foam pit. On one hand, a safe way to learn any trick, basic or complex, the foam pit has actually contributed to the progression of ramp riding by allowing a narrow focus on learning jumping tricks. That narrowing of focus is a characteristic of specialization. Riders choose to pursue, in depth and with singular determination, a certain set of tricks that cater to a certain discipline of BMX. They did not build a foam landing handrail (well, Woodward did recently) and thus they were specializing only for jumping or airing. Some faulted these people with cheating, yet many of the mind-boggling and ground-breaking tricks that contemporary riders do today are directly connected to use of the foam pit. The—now real—foam-landing hand rail is an extension of this idea, yet long before it existed, street riders were specializing on other obstacles. From small rails that served as practice for large rails, to “foot-tall ledges” as stepping stones to 8-stair out-ledges, most BMX riders have always learned on the small and taken it to the large. At first, these tools and techniques were use to allow for safer and easier learning processes. Now, however, these tools and techniques are the base points for specialization and progression. For example, when people complain that rider X (let’s call him “Dave”) is riding too slow or too small at spot Y (let’s call it “baby ledge”), the response often given—and often ignored—and of utmost importance is: “trick ‘Z’ may only be possible at this speed and at baby ledge.” Read that again, one more time. Now, think, ten other tricks done at the slow speed and on that location may be possible at other speeds and in other locations, yet if trick Z has never been done before and will help progress the sport, then choosing to go slow at baby ledge makes sense. The average rider may like to do a simple feeble at baby ledge and then say, I can do that same trick on a much bigger ledge, so why would I always ride baby ledge? But, the rider looking to progress his discipline will say, I am not here for a feeble, I am here to use baby ledge to its fullest and to do something never before done that can only happen on this spot and in these conditions. As stated above, we can agree that the speed at which one does a trick does not discount it from being a trick. In addition, the actual tricks you choose to do are up to you. So, Dave certainly can do whatever he wants, and, in fact, him doing it in a fashion that makes the trick possible is for the greater good of the progression of the sport. After all, the trick may never happen if not done in a certain way and on a certain spot. If that means going slow at baby ledge, then so be it. If we did not do certain tricks because of arbitrary rules like “you must go a certain speed” or “ride a certain spot to do all tricks,” then we would be limiting the tricks we can do and limiting the free nature of BMX as a whole. And I think we can all agree, freestyle should have no such limitations. Whether it be a foam pit, a lake jump, a foot-tall ledge, or resi-landings, these locations and these tools have allowed many bike riders to change and influence our culture in unique and creative ways.
Don’t be threatened!
We are diverse and that is our strength, not our weakness. BMX can work for everyone in some way. For some, they crave the solitude of the woods. While others, the hustle and bustle of the streets. Thankfully, we have a place for all types of riders. At the moment, one place—street riding—can seem to be all that anyone cares about. Companies are focused on street products, street videos, street styles, and the list goes on. Media coverage both inside and outside of BMX leans heavily towards street as well. Let’s be honest though--companies and the media do have ulterior motives. Though they are often rider-owned and do give back to BMX, it is not wrong to remind everyone that they must make money to survive. And in the quest to make money, they often listen to the consumer and follow trends.[9] There is no fault in trying to survive. If we look back in history a bit though, it wasn’t that long ago (the early 2000’s) when technical ramp riding was the trend and products and videos reflected that. And even before that—when trails and aggressive riding were all the rage in the beginning of the mid-school era—brands, products, and media catered to that style of riding. Styles/disciplines and tricks ebb and flow. Yet, the popularity of one discipline over another is not a threat to other disciplines. Going back to the Nick Ferreira interview, “People don’t have to like every aspect of BMX and no one is going to come after your prized tabletop.” Limelight and attention come and go for each discipline but this can change when riders within that discipline work hard to do something different and to progress their discipline.
Two examples come to mind, both in different stages of their ebb and flow. TheComeUp.com is often credited with bringing technical street riding to the forefront in BMX.[10] There is no doubt that numerous brands and crews were pushing and representing this style of riding through their own videos, events etc., but the boom in technical street riding certainly coincides with the advent of The Come Up and its daily sharing of multitudes of web videos. Prior to The Come Up, street riding was often left out of videos and contests as well as trivialized by brands and the media. Much of that changed with the effort of the owner of The Come Up—Adam Grandmaison—who happened to identify with that discipline. Ten years later, it seems as if the scale has tipped towards street riding. For those riders who felt slighted during the reign of ramp riding, their time is now. Yet, to remind you not to feel threatened, look at the state of BMX as a whole: there are skateparks popping up constantly[11], many strong trail scenes[12], plenty of ramp contests on unreal courses,[13] and flatland events that draw riders from almost every continent.[14] In addition, new projects are being born in our culture in reaction to perceived lack of attention to a discipline. In an obvious reaction to the ebb of ramp riding popularity, companies are being started to cultivate progress in specific disciplines and address their specific needs. The new company Tall Order BMX is a prime example of this and they know it. From their website:
We have seen BMX evolve naturally into street riding being the predominant style of freestyle BMX but for me although I enjoy riding street and using my pegs I have always had a bigger passion for riding transitions whether indoors outdoors, wood, dirt, cement or brick the feeling of trying to go faster, higher and land smoother has always been my thing, you like what you like I guess.[15]
The reality is, all disciplines are alive and well because there are thousands of kids out there riding bikes in so many different ways, yet some people focus on certain aspects of our culture and blind themselves to the reality that BMX is more than its media representation. The spirit of BMX is much more than marketing strategies and product design. It resides in that metaphysical realm that “true BMXers” tap into when they ride their bikes with their friends and create “freestyle” on a daily basis. Tall Order BMX provides an example of those characteristics and their idea can be a model for all of us: If you want to see something happen in BMX, then do it. With the clarity of two years of solitary self-sufficiency in the forest, the famous thinker Henry David Thoreau summed up the same ideas found in our BMX DIY cornerstone “… if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.”[16] The re-birth of BMX in the early 1990’s—as well as almost all of our history since then—is proof of this. If this seems to be a dark hour for other disciplines of BMX, it is not because you are not shining bright, it is just because street is shining a bit brighter at the moment. If you are unhappy with where you are in BMX, first ask yourself this: why do you care? Motivation is paramount. Do you want the limelight? Do you want to have fun? From the looks of the heavy media coverage, street riders are out there everyday having fun on their bikes. Are you having fun? I have a feeling almost every other type of rider is. Enjoying what we do is evidence that the spirit of BMX is present and you are “true rider.” If you are unhappy, it may be time to make things more awesome for yourself and your friends. Don’t blame it on the popularity or shine-time of one discipline; go make something happen.
Conclusion: Let’s be honest with ourselves.
A few times in this piece I have referred to the idea of “true BMX” and the way people often seem to have a monopoly on defining what that is. The concept of “true BMX” certainly implies that there is a spirit or core meaning within BMX that ties it all together. It is here that I depart from facts and agree that there does exist a “spirit” within BMX. At its most basic, BMX is riding a 20-inch bicycle in a unique fashion. That definition is broad and uninspired, yet, thankfully, all-inclusive. And at face value, it means that almost anything can be considered BMX. Yet, the spirit that many—including myself—refer to, is what takes bike riding from a basic athletic activity and transforms it into a rich and complex culture. Countless magazine articles have been written about the more metaphysical aspects of BMX and you typically read that BMX is “more than just bikes,” and instead it is: creativity, passion, art, dedication, experience, comradery, motivation, salvation, and more. The list goes on and on because BMX as a whole has, in most ways, embraced the idea of “freestyle.” Our culture is diverse in who makes it up and what they believe. Male and female riders roll together alongside transgender and handicapped people. Skin color is just as irrelevant to riders as the country you are are from. Riders who eat meat and party travel the world with the drug-free vegans. And I would say that almost every rider shouts out “yeah!” when any other rider pulls a trick --ugly, with style, new, old, slow, small, huge, normal, or whatever. It is so strange, then, that there exists a general disdain for riders of certain styles that is creeping into our culture and evidenced on the internet in comment sections.
This whole piece is predicated on the idea that there is a misunderstanding in BMX regarding how it “used to be” and how it is now. The condescending ways in which people have begun to call out others as not “truly riding” BMX is a direct contradiction to the metaphysical spirit of BMX that I would like to think still pervades much—if not all of—our culture. I do not believe it is done maliciously, though it is contributing to the rise of a negative environment that needs to be stopped before it poisons our community more. As the long history section of this article explained, the call for an all-around rider is based in a conservative belief that BMX has changed and that change is for the worse. I think I have shown that BMX has changed, but not in the way that many believe. The conservative movement within our culture seems to have missed how complex our history really is and how it is not a history where specialization and disciplines were a negative aspect of our culture. And it follows that the specialization we see now in BMX is not a negative aspect of its present condition, either. In addition, this specialization is directly in line with the “spirit” of BMX. It not only allows for, but also encourages creativity and dedication. It allows for the perfection of art through the application of motivation. It continues to allow for unique experiences as well as personal salvation. And, most importantly, it does not hinder comradery, it just redirects it. If anything, people’s misunderstanding of specialization and their ill-informed conservatism are a direct attack on the comradery of BMX. It is true that when everyone rode everything (i.e. in the late 1990’s-mid 2000’s) crews were larger and more diverse; but, geography is about the only change brought on by specialization that we must overcome to maintain that comradery. Who cares if I one rider chooses to ride in a parking lot while the other chooses the woods? Or if one is in an alley while another is at the skatepark? If freestyle is a free space where all tricks and styles should be embraced by all, why can’t street riders, ramp riders, trail riders, and flatlanders respect each others’ diverse tricks and styles? If you believe in the spirit of BMX, then you believe that what we do is beyond tricks, or spots, or styles, and thus most of our differences don’t really matter. BMXers can connect on the much more important and meaningful levels listed above as the “spirit” of BMX. Is the only reason we are not connecting because we are in different locations that we utilize a bit differently? Since when has location been a challenge for BMX? Travel is one of the cornerstones of BMX and varied topography and a little distance between spots should not mean that we cannot respect each other. Sadly, though, the gap is growing. Comradery is being replaced by misunderstanding. Misunderstanding is breeding disrespect. And disrespect is manifesting as stereotyping and bigotry. Suddenly, riders aren’t understanding the small natural differences between them and they begin to make fun of each other’s styles and tricks. Crews are splitting apart and seeing their differences as reasons to ridicule and dislike others that seem different from them. And historical inaccuracies are perpetuated through generalizations such as riders not being “true BMXers” because they aren’t being things that don’t even exist, i.e. the all-around rider.
The spirit of BMX is what really matters in the end. It is what has allowed us to survive the changing world around us as well as the forces of modern society that pressure many of us to move away from BMX. Nowhere in the definition of BMX—nor the idea of the spirit of BMX that I gave—does it say what you can or cannot ride. Nowhere does it say what BMX really is and, therefore, no where does it say what BMX is not. Freestyle BMX is free. It is free to be shaped by all those that are a part of it. In the end, I would think that the spirit of BMX we all love so much would remind us that with no rules and a strong spirit, we must accept that BMX is what everyone makes it for themselves.
Instead of hiding behind bigoted ideas of who really is a “true” BMXer and outdated concepts of what bike riders “should be,” we need to continue our tradition of striving to progress. Not just to progress in our craft, but also in our thinking. Intelligent and mature discussion, be it written, spoken, or recorded, needs to continue and grow in our culture. We cannot understand who we are and where we are if we do not have the ability to discuss and debate it.
Most of the things written in this piece are based on my 21-year understanding of a culture that is over forty years old. I have done my best to look back into our history and utilize the information available to me both on the web and through my own experience. If I claimed to be entirely correct, I would be speaking in contradiction to one of the main themes of this piece: we are free and growing, yet do not fully understand ourselves. I hope that this piece sparks discussion about what it means to be a BMXer as well as how we can continue to make BMX a great place for everyone involved. Any contribution, idea, or correction is welcomed.
- Mike Hinkens
NOTES:
[1] Possible future topic: “Conservatism in BMX: The search for the way things were.”
[2] https://thefancyisland.wordpress.com/2016/05/26/interview-nick-ferreira/
[3] Future Topic: Maintaining the good in BMX in the face of inevitable change
[4] http://digbmx.com/dig-this/the-dave-voelker-podcast
[5] https://www.instagram.com/rodeopeanut
[6] Carrithers, Michael. 1990. “Why Humans Have Cultures”. Man 25 (2). [Wiley, Royal Anthropological Institute of Great Britain and Ireland]: 189–206. doi:10.2307/2804560.
[7] Ross, Marc H. 1997. “Culture and Identity in Comparative Political Analysis.” In Comparative Politics: Rationality, Culture, and Structure, eds. Mark I. Lichbach and Alan S. Zuckerman, 49. Cambridge: Cambridge University Press.
[8] Gladwell, Malcolm. 2008. Outliers: the story of success. P. 49. New York: Little, Brown and Co.
[9] Possible future topic: Companies as leaders or followers.
[10] http://thecomeup.com/bmx/
[11] http://www.concretedisciples.com/index.php/skatepark-directory
[12] http://canyoudigitbmx.com
[13] http://www.fise.fr/en and http://xgames.espn.go.com/xgames/
[14] http://www.bmxflatlandworldcircuit.com/nc/
[15] http://tallorderbmx.com/welcome/
[16] Henry David Thoreau, Walden Pond, Online Edition: http://www.gutenberg.org/files/205/205-h/205-h.htm
Responses
7.30.18 - A Response from "Orange"
I just wanted to make the point the specialism or diversity is not always a choice. I ride what is in front of me and at different times I've lived in different places with limited options of things to ride and I've had to either adapt to what is available or just give up. A lot of the riders I met in these places weren't able to travel much and so specialized in riding what they had. The Wheelers, mentioned in another article, are an example of specialization arising (in part) out of economic necessity. Also is developing the skills to ride any terrain just another specialization? Do you just end up specializing in those tricks that are the most widely applicable?
I just wanted to make the point the specialism or diversity is not always a choice. I ride what is in front of me and at different times I've lived in different places with limited options of things to ride and I've had to either adapt to what is available or just give up. A lot of the riders I met in these places weren't able to travel much and so specialized in riding what they had. The Wheelers, mentioned in another article, are an example of specialization arising (in part) out of economic necessity. Also is developing the skills to ride any terrain just another specialization? Do you just end up specializing in those tricks that are the most widely applicable?
11.15.19 - A Response from Andy Kent
I want to explore how the all-around rider is not a myth and moreover why they should be celebrated. As BMX bike riders we are all artists in our own right. Sticking with the artist analogy for a moment I pose this question: Why would you purposely exclude other mediums or styles?
This question really highlights why being an all-around rider or artist is a tremendous asset, not liability. Even in sciences where specialization is necessary due to the complexity of the problems these same specialists look outside their field for inspiration or even suggestion when they get hung up on problems. If your only goal was progression in a field, why choose to remain ignorant to other overlapping fields?
Now to get back to BMX. Not learning to jump, air a quarter pipe, grind a rail, etc. will not make you a better rider. I would argue that true progression of BMX has always come from all-around riders. By true progression I mean not a new ledge combo or a new box jump combo, rather I mean a style or mentality that transformed BMX across multiple disciplines.
This is self-evident in BMX. I doubt anyone would argue that Van Homan who grew up racing and became a factory pro dirt jumper didn’t fundamentally change the way we ride or look at street riding. Or even Ruben Alcantara, a guy that decided to draw from his diverse background and change the way people look at the world in relation to what is actually rideable.
Below is a quote from “SPECIALIZATION AND THE MYTH OF THE ALL-AROUND RIDER.”
“There is an unspoken issue that needs to be addressed, though, to put these achievements as well as classifications in context. Before that can happen though, we must be realistic and discount the certain riders from this discussion. Like Michael Jordan in basketball and Freddie Mercury in music, there are certain BMX riders who are exceptionally and uniquely talented. Those riders deserve their own category as exceptional and rare. Those riders do fit the all-around bike rider description simply because they are some of the best to ever touch a BMX bike. I will call them the “exception” riders because they are obviously the exception to the norm. Instead of pointing to those 10-15 “exception” riders then and today who “can ride everything” and asking why everyone doesn’t model themselves after them, we need to realize that these riders are rare cases.”
This is a gross underestimate of BMX’s history and slightly offensive to a lot of legendary riders. Here is a list of “exception” riders. This list is in no way official and there’s probably hundreds I missed. These are all top pros who can shred anything. In some cases, even ride flatland decently.
Matt Hoffman, Jay Miron, Scotty Cranmer, Dave Freimuth, Van Homan, Brian Kachinsky, Ruben Alcantara, Joe Rich, Taj Mihelich, Josh Harrington, Rob Darden, Ryan “Biz” Jordan, Rob Wise, Garret Reynolds, Cory Martinez, Drew Bezanson, Morgan Wade, Dennis Enerson, John Heaton, Brian Castillo, Jason Enns, Chad Degroot, Kevin Porter, Nate Wessel, Kris Bennet, Chad Kerley, Chris Doyle, Alistair Witton, Sergio Layos, Brad Simms, Jeff Klugiewicz, Chase Hawk, Seth Kimbrough, Matt Beringer, Dan Foley, Aaron Ross, Gary Young, Dennis McCoy, Matt Ray, and my personal favorite Dave Osato.
I believe I just listed 40 off the top of my head that could pull off a “banger” at any spot you bring them to. These type of riders are not the exception they are the norm and being able to shred everything is what makes them TOP PRO’S! Furthermore, in any other sport having a deficiency in a certain area of your discipline is considered bad and something you actively work at to get better. Could anyone imagine a basketball player in the NBA saying fuck it I dribble I don’t shoot?
Specialization and progression.
Here is another quote from the Mike Hinkens article.
“In this section I wish to discuss how progression within BMX is only possible through specialization. Not everyone is concerned with progression and that is fine. If you want to ride everything, more power to you, that is your choice in freestyle, yet unless you are one of our “exception riders,” you must realize you most likely will not be at the forefront of BMX. Again, for many bike riders, being the best and changing the course of BMX is not on their agenda; yet for those who wish to invent tricks, do what has never been done before, or break barriers—AKA, progress the sport—specialization is a necessary reality.”
I want to address this specific topic two ways. First I want to refute the premise of progression only being possible through specialization. I would bet my life the best way to progress the sport of BMX is not to specialize and further fragment BMX into categories. The best way is being more open to all influences this includes outside influence from other sports. In no other sports or disciplines is ignorance a virtue.
For example, riders A, B and C pedal up to a “Spot.” Rider A is a ramp guy, Rider B dirt guy, and Rider C street guy. In my experience of 20 years MORE progress will happen for BMX as a whole on this “Spot” with 3 guys that may have a primary focus in a discipline but are “all-around riders.” Each rider viewing the “Spot” through a different perspective and drawing on their background will push riders A, B and C further by showing each of them another way to view or ride a spot. All 3 riders are better for it and have had their eyes opened to a new way. This example is where REAL progress is made.
Again to me real progress in BMX isn’t a new ledge combo or a different jump variation. Real progress is made when the riders view changes on how an obstacle can be ridden. If this happens, inevitably the tricks will follow.
Secondly, and perhaps more of a controversial opinion: Equipment…I would argue the evolution of the tool we use to express ourselves has had just as much to do with progression as any kind of “all-around rider” collaboration I am advocating for. Here are a few examples I would like to highlight:
- The modern day gyro and 990 brake type.
- The use of wax and plastic pegs.
- 2.5” wide tires front and back.
- Axles that rarely bend.
- 25lb bikes that don’t break.
- Overall geometry - tall and wide bars, steeper head tube angles, higher bottom brackets, short rear ends and shorter cranks have allowed our bikes to become more scooter like.
Please don’t kill me for saying that and I don’t mention it to discredit anyone or anything. It is part of BMX’s evolution. However, these changes to the bicycle have in no way made riding them more difficult.
Conclusion
The purpose of this little rant isn’t to shit on anyone or tell someone they’re wrong. In fact, Mike Hinkens and myself have been friends for 20+ years. I respectfully disagree with Mike here and want to offer a different perspective on what pushes BMX forward. It also occurred to me that Mike and I may just disagree on what each other calls progress.
Ultimately my main purpose for writing this is to offer some push back on an “all-around rider” being a myth and something unattainable for the average guy or gal. I would say this to anyone young or old on a BMX bike…
Ride everything! You are learning a new skill whether you realize it or not. Bike control on any obstacle will only make you better in the long run no matter what your first choice of riding is. Furthermore, stepping outside your comfort zone and accepting a new challenge is a GREAT LIFE SKILL on or off your bike!!!
I want to explore how the all-around rider is not a myth and moreover why they should be celebrated. As BMX bike riders we are all artists in our own right. Sticking with the artist analogy for a moment I pose this question: Why would you purposely exclude other mediums or styles?
This question really highlights why being an all-around rider or artist is a tremendous asset, not liability. Even in sciences where specialization is necessary due to the complexity of the problems these same specialists look outside their field for inspiration or even suggestion when they get hung up on problems. If your only goal was progression in a field, why choose to remain ignorant to other overlapping fields?
Now to get back to BMX. Not learning to jump, air a quarter pipe, grind a rail, etc. will not make you a better rider. I would argue that true progression of BMX has always come from all-around riders. By true progression I mean not a new ledge combo or a new box jump combo, rather I mean a style or mentality that transformed BMX across multiple disciplines.
This is self-evident in BMX. I doubt anyone would argue that Van Homan who grew up racing and became a factory pro dirt jumper didn’t fundamentally change the way we ride or look at street riding. Or even Ruben Alcantara, a guy that decided to draw from his diverse background and change the way people look at the world in relation to what is actually rideable.
Below is a quote from “SPECIALIZATION AND THE MYTH OF THE ALL-AROUND RIDER.”
“There is an unspoken issue that needs to be addressed, though, to put these achievements as well as classifications in context. Before that can happen though, we must be realistic and discount the certain riders from this discussion. Like Michael Jordan in basketball and Freddie Mercury in music, there are certain BMX riders who are exceptionally and uniquely talented. Those riders deserve their own category as exceptional and rare. Those riders do fit the all-around bike rider description simply because they are some of the best to ever touch a BMX bike. I will call them the “exception” riders because they are obviously the exception to the norm. Instead of pointing to those 10-15 “exception” riders then and today who “can ride everything” and asking why everyone doesn’t model themselves after them, we need to realize that these riders are rare cases.”
This is a gross underestimate of BMX’s history and slightly offensive to a lot of legendary riders. Here is a list of “exception” riders. This list is in no way official and there’s probably hundreds I missed. These are all top pros who can shred anything. In some cases, even ride flatland decently.
Matt Hoffman, Jay Miron, Scotty Cranmer, Dave Freimuth, Van Homan, Brian Kachinsky, Ruben Alcantara, Joe Rich, Taj Mihelich, Josh Harrington, Rob Darden, Ryan “Biz” Jordan, Rob Wise, Garret Reynolds, Cory Martinez, Drew Bezanson, Morgan Wade, Dennis Enerson, John Heaton, Brian Castillo, Jason Enns, Chad Degroot, Kevin Porter, Nate Wessel, Kris Bennet, Chad Kerley, Chris Doyle, Alistair Witton, Sergio Layos, Brad Simms, Jeff Klugiewicz, Chase Hawk, Seth Kimbrough, Matt Beringer, Dan Foley, Aaron Ross, Gary Young, Dennis McCoy, Matt Ray, and my personal favorite Dave Osato.
I believe I just listed 40 off the top of my head that could pull off a “banger” at any spot you bring them to. These type of riders are not the exception they are the norm and being able to shred everything is what makes them TOP PRO’S! Furthermore, in any other sport having a deficiency in a certain area of your discipline is considered bad and something you actively work at to get better. Could anyone imagine a basketball player in the NBA saying fuck it I dribble I don’t shoot?
Specialization and progression.
Here is another quote from the Mike Hinkens article.
“In this section I wish to discuss how progression within BMX is only possible through specialization. Not everyone is concerned with progression and that is fine. If you want to ride everything, more power to you, that is your choice in freestyle, yet unless you are one of our “exception riders,” you must realize you most likely will not be at the forefront of BMX. Again, for many bike riders, being the best and changing the course of BMX is not on their agenda; yet for those who wish to invent tricks, do what has never been done before, or break barriers—AKA, progress the sport—specialization is a necessary reality.”
I want to address this specific topic two ways. First I want to refute the premise of progression only being possible through specialization. I would bet my life the best way to progress the sport of BMX is not to specialize and further fragment BMX into categories. The best way is being more open to all influences this includes outside influence from other sports. In no other sports or disciplines is ignorance a virtue.
For example, riders A, B and C pedal up to a “Spot.” Rider A is a ramp guy, Rider B dirt guy, and Rider C street guy. In my experience of 20 years MORE progress will happen for BMX as a whole on this “Spot” with 3 guys that may have a primary focus in a discipline but are “all-around riders.” Each rider viewing the “Spot” through a different perspective and drawing on their background will push riders A, B and C further by showing each of them another way to view or ride a spot. All 3 riders are better for it and have had their eyes opened to a new way. This example is where REAL progress is made.
Again to me real progress in BMX isn’t a new ledge combo or a different jump variation. Real progress is made when the riders view changes on how an obstacle can be ridden. If this happens, inevitably the tricks will follow.
Secondly, and perhaps more of a controversial opinion: Equipment…I would argue the evolution of the tool we use to express ourselves has had just as much to do with progression as any kind of “all-around rider” collaboration I am advocating for. Here are a few examples I would like to highlight:
- The modern day gyro and 990 brake type.
- The use of wax and plastic pegs.
- 2.5” wide tires front and back.
- Axles that rarely bend.
- 25lb bikes that don’t break.
- Overall geometry - tall and wide bars, steeper head tube angles, higher bottom brackets, short rear ends and shorter cranks have allowed our bikes to become more scooter like.
Please don’t kill me for saying that and I don’t mention it to discredit anyone or anything. It is part of BMX’s evolution. However, these changes to the bicycle have in no way made riding them more difficult.
Conclusion
The purpose of this little rant isn’t to shit on anyone or tell someone they’re wrong. In fact, Mike Hinkens and myself have been friends for 20+ years. I respectfully disagree with Mike here and want to offer a different perspective on what pushes BMX forward. It also occurred to me that Mike and I may just disagree on what each other calls progress.
Ultimately my main purpose for writing this is to offer some push back on an “all-around rider” being a myth and something unattainable for the average guy or gal. I would say this to anyone young or old on a BMX bike…
Ride everything! You are learning a new skill whether you realize it or not. Bike control on any obstacle will only make you better in the long run no matter what your first choice of riding is. Furthermore, stepping outside your comfort zone and accepting a new challenge is a GREAT LIFE SKILL on or off your bike!!!