V017

The Temple of Speed

Ascot Park: 1957-1990

Words by Mark Gammo | Photography by Rob Pryce


Archive photos courtesy Ascot

What do Chuck Norris, Ronald Reagan and Steve McQueen have in common? The reverential yet forgotten Southern California racetrack known as Ascot. A nationally known institution, Ascot Park can be spoken in the same breath as Indianapolis and the Daytona Speedway as one of the most famous oval tracks in history. Ascot cultivated more rising car and motorcycle racer careers than most, and even launched Evel Knievel’s daredevil ploys on ABC’s Wide World of Sports. This half-mile track drew out thousands of race crowds, five days a week amid a hunger for speed, Americana and spectacle you cannot replicate.

The story has been told and retold many times over about the fastest racetrack in the country. It’s been said that anyone who wanted to get recognition and prove race credibility needed to win at Ascot. Celebrities and blue-collar fans alike would come see the races, sitting elbow to elbow in a packed house. There were no VIP sections or box seats for the elite; all that was available were the stretched wooden bleachers that wrapped around the track. 

You’re probably scratching your head, or paused to Google, “Where is Ascot now?” The inconvenient truth to the matter is that this ghost track has been dead for the last thirty years. But yet, it still haunts us with those short-lived memories from the past.

 

Today we have the unique opportunity to enter the facility and get a glimpse into a page of forgotten history. I was warned by a colleague before entering this space that the things I was about to see have never been open to the public. The Agajanian family who owns the racetrack have always cherished their privacy. With that said, we enter the Temple of Speed with discretion and elation as if we’re discovering an Egyptian tomb for the very first time. 

As the door to the building cracks open, I am greeted by Chris Agajanian himself, along with his very alluring smile and kind eyes. A first gaze around his space reveals the endless photos, trophies and memorabilia that fight to fit on the walls of this 6,000-square-foot, two-story garage-office-showroom.

 
 

At a brushing glance it’s difficult to focus on just one photo or just one memento. But soon the faces start to emerge that I quickly recognize. Tucked in among the frames is Steve McQueen photographed with James Garner in an intimate moment that is left to hold space of the frame it’s hung up on. Then just to the right of it, a young Gene Romero and Kenny Roberts soaked in mud, dirt and all. They are grinning ear to ear, and next to them a tall, handsomely dressed man in a cowboy hat hunching over whispering into their ears as if the joke was on us. From Sylvester Stallone to the Beatles’ George Harrison, an endless array of photographs decorate these walls. One continuous figure throughout these portraits was the man in a cream-colored suit and his Stetson cowboy hat. This man was Chris’s father, J.C. Agajanian.

As we continued our tour of the facility we turned to Chris to council us on what his family left to preserve the heavy history of a forgotten legacy. We continue walking the space as he randomly points out photographs, jerseys, bikes and trophies, and follows each one with an interesting story behind it. And yes, he also has an Indy race car in the garage, along with the pace car for that year, to boot. Walking through the halls, stumbling past tattered old race suits and vintage motorcycles held together by rusted nuts and bolts, I could feel the motorsport souls speaking through ephemeral voices from the track. I knew right then that I was not writing a story just about a racetrack, but the story of a family influential in commercializing the Southern California race culture, if not the whole country. 

 
 

Chris reminiscently tells me, “Everyone came down to the track and wanted to experience it firsthand. It was about Southern California, and it’s Hollywood. Celebs would come, and we didn’t have VIP sections; so they’d sit in the grandstands or get into the pits with everyone else. SoCal just became a hotbed for racing. There were builders that built race cars for the Indy 500, hot rods, and innovative designers like Caroll Shelby that fed the brewing generations of young kids that all they’d want to do is go fast. Then there was the Friday night motorcycle flat track series. During those years from 1957 all the way through, was just the most phenomenal time. The place would be sold out – it was like a national championship every Friday night, because all of the great riders would come out and race on this amazing dirt track. With all these Harleys, BSA Gold Stars, Triumphs, Ariels, Velocettes, and all these different motorcycles. These guys were daredevils, man; there wasn’t a hay bale to be seen and a couple of bobbles or high sides and that was the end of your career.”

Ascot was known as the fastest half-mile dirt oval in the States. That dirt was a special kind of dirt. The track became so sticky and tacky it would pull the shoe right off your foot. Riders would say it was 90 percent traction all the way around the track, and to be able to hold that throttle wide open and blip it no matter where you were – you could go wide to the top and race full speed.

Aside from being the fastest, that track was also known as the busiest racetrack in the country because there were five nights of racing a week. The dirt track hosted all kinds of races during its 33-year existence. Sprint cars, midget cars, stock cars, motorcycles, dune buggies, ATVs, motocross, Go Karts, figure 8 races, destruction derbies and many more were held there. From 1957 until 1990 the Ascot Park resided in Gardena, CA. Once called the berry-growing capital of Southern California, Ascot race track was cultivated out of a local motorcycle club and thus started a flat-track revolution.

 
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When asking Chris if he thinks Ascot Park could ever be resurrected from its ashes and gain a new crowd of spectators, he told me, “Of course it could! The reality is, environmentally there’s a lot of challenges that we’d have to face. Especially with light pollution and noise pollution, which I think surrounding neighborhoods would throw a fit. I still get people nowadays who tell me they would hear the races roaring all the way from their house as far as Manhattan Beach. Now think about that in this day and age. It was a different era back then, and people really enjoyed it. It was more like gladiators back then; the races were real, and the racers put it on the line every time.”

The Little Things

Kiana Clay: No Excuses

Words by Andrew Campo | Photography by Jimmy Bowron


I had just wrapped an hourlong interview with 25-year-old motocross racer and snowboard athlete Kiana Clay, and the emotion following our conversation was both complex and powerful. My heartstrings were ripping apart when hearing about her struggle, but her endless perseverance and positivity was so inspiring. 

After taking a few days to let things soak in, it finally hit me: I can’t tell you the full story because it’s far from over. However, what I can do is introduce you to an incredible young woman and talk about how she’s overcome adversity, with the hope that her experience can give you some perspective to throw your excuses out the window and be better in your own life.

Kiana Clay works as a graphic designer at a small print shop in Frisco, Colorado, living paycheck to paycheck. She grew up devoting most of her childhood to a life on two wheels with her father. She now spends most of her time preparing to represent the United States in the 2022 Paralympics in Beijing, China, in both boardercross and banked slalom events. She trains at Copper Mountain with the Adaptive Action Sports Team and is striving to be the first upper limb impairment female to represent the U.S. in the Paralympics. She is doing this all of her own accord, and she’s the last person to complain about the struggles life throws her way. Funding the road to Beijing and back is not cheap, and support at that level has yet to come to fruition for Kiana. But she has hope and wants nothing more than the opportunity to represent our country.

Kiana began riding motorcycles at age seven, after her parents brought home a Yamaha PW80. It wasn’t long after that before she began racing local events and eventually setting her sights on the Amateur National motocross calendar. She was obsessed with the thrill of speed and had found a true passion in racing motocross. Kiana was determined to become setting her sights on becoming one of the next top professional women in the sport.

On November 18, 2006, Kiana was racing at Freestone County Raceway in Wortham, Texas. It had rained the day before, so the track was muddy and deep. During practice, she crashed on the back side of the finish line jump as a result of her back tire sliding out. She was landed on by another rider who was close behind her, with the front end of the other racer’s bike landing directly on her neck, avulsing her nerves and resulting in a complex neck injury called brachial plexus. As she awoke from being knocked unconscious for roughly four minutes, Kiana noticed that she couldn’t move her arm whatsoever. After visiting three different hospitals, she finally received her diagnosis at Children’s Medical Center Dallas: full paralysis in her dominant right arm. 

“I will never forget waking up on the stretcher, trying to move all my limbs and realizing that I couldn’t feel or move my right arm. It was the most terrifying moment of my life,”

she recalls. “I had no idea how to react other than to scream. I will be honest, that first week, I never wanted to see a dirt bike again. I hated the idea of motocross and everything about it. It took away one of my limbs and made my life beyond challenging from that point on. Anger was all I felt.

“After some time, getting adapted to being disabled and grasping the hard truths of my new reality, my anger went away, and I started to miss racing. It’s all I wanted to do, despite my outcome. I tried out for everything you can think of in middle school and high school. I felt so out of place and unhappy being handicapped in everything I pursued. I thought, ‘I’m going to have to settle with this. This is my life now.’”

Kiana and her family set out to find a brachial plexus specialist in hopes of reconstructing nerves and giving her arm a chance to recover. Surgery to repair brachial plexus nerves should generally occur within six to seven months after the injury. Surgeries that occur later than that have lower success rates.  

Unfortunately, about a month after her racing injury, Kiana and her father were involved in a car accident. Their vehicle flipped multiple times after being struck by a drunk driver. Because of complications from that accident, she had now lost all chances of regaining use of her arm. Her dreams of racing to the top had come to an end, and doing the same things as before was no longer an option. But what she didn’t know at the time was that life had handed her a gift, although it did not come easy. 

“I remember after my wreck, back in middle school and high school, how much I hated taking photos with my arm showing because of how different it looked. Even wearing bikinis, T-shirts and tank tops where my arm showed, I felt beyond uncomfortable,” she says. “It was my biggest insecurity for a long time. Now, I embrace it and I love it because it makes me unique. Different is good. Can you imagine how boring the world would look if we all looked the same?”

About three years ago, her personal life took a huge turn, to the point where she has lost pretty much everything. Family issues arose, and Texas became a toxic place for her to live both mentally and physically. In search of new beginnings, Kiana visited Colorado for a mini vacation to snowboard and refocus. 

“I kept reflecting back to my parents and multiple doctors that kept telling me that I will never be in action sports, let alone race dirt bikes again. But one day I decided: It’s my life. I’ll make the call of what’s ‘impossible,’” Kiana says. “Fast-forward a few years, and here I am. I’m happy I chose to get back on the bike. I proved to myself what I am capable of, and better yet, I’ve been able to help people in my own unique way.

I’m no longer angry at the sport, but rather I am grateful. It has given me so much more opportunity and happiness than any desk job will ever give me.”

During that time, her current coach offered to train her full time and presented the opportunity to compete in the Paralympics and to chase the dream of competing as a professional athlete. She had zero desire to stay in Texas, so she packed her belongings and moved up to Silverthorne, Colorado, with only $180 to her name. There is a saying in Summit County, “You either have two houses or two jobs.” Kiana ended up getting three full-time jobs and trained full time while competing, traveling, and living either out of her truck or couchsurfing until she could afford decent housing.

Today, Kiana is fully independent and supports herself, working two full-time jobs and managing most of her training regimen herself. Kiana heads to the mountain every morning, Monday through Friday, to ride as much as possible before work. She builds out her nutrition plans and works on meal prep on Sundays, goes to the gym every night after her shifts. She participates in serving her local community through “Snowboarders for Christ” in her church community group. When you break down her schedule, it sounds like a fun and adventurous road, but this is by far the most challenging road she has ever been on. When you have to hustle this much, you can become quite isolated, which can lead to severe depression even though it is extremely rewarding.

“Everything that is worth having takes hard work, hustle and a lot of determination, sometimes with a side of therapy,” 

One thing that most people don’t know about paralysis is the constant pain that comes with it, called neuropathy pain. In summary, it’s basically like you’re constantly being electrocuted. A combination of throbbing, bee-sting and stabbing sensations. Kiana never knows when it’s going to kick in, and it could be minor or extreme. It comes and goes when it pleases. When the neuropathy pain is at its most severe, it can send her into a neurological shock, which can make her black out and experience seizures. This pain affects her life tremendously. When it’s bad, she can’t train, or even get out of bed. “Sometimes I scream into my pillow for hours and can’t sleep,” she explains. “The worst part is that there is no cure. No magic fix. You just have to toughen up and deal with it until it passes.” It’s a lesson Kiana seems to have carried into other aspects of her life.

Last year, Kiana decided to get a therapy dog after experiencing her second seizure episode while driving. He is in training to be able to help Kiana during difficult times, but she tells us “it’s so nice to have someone to come home to and snuggle with.” Kiana is by herself 99 percent of the time, so her dog helps significantly with her mental health. He loves going to the track, riding shotgun in her truck and traveling everywhere with Kiana. She named him Harley after Harley-Davidson, because he loves motorcycles! She is beyond thankful for him.

“When I look back over the last seven years of being back into action sports, I wouldn’t be on the road that I am on without motocross,” she adds “Getting back on the bike led me to Moto Sports Adaptive, where I met Mike Schultz. He then introduced me to Daniel Gale, who is the director of Adaptive Action Sports. Daniel is helping me on this road to the Paralympics, to make history and pave the way for other future upper-limb females. There is not much of an upper-limb category because of the lack of females showing up. Because of that, I have an awesome opportunity to make a future for disabled upper limb women, and that is all thanks to motocross.”

When she was a kid, she had big dreams. However, when looking back, it seems her injury has opened more doors for her than if she were a fully abled person. Kiana’s first motivational speech was a TED Talk four years ago. She was also invited to speak at the ESPN W event in California, where she represented the adaptive community, snowboarding and disabled women, as well as the motocross community. She got to speak at the Children’s Medical Center gala, where she was first diagnosed; she encouraged the employees by sharing how much their job matters, and she visited kids in multiple trauma units. She passed out old racing jerseys, wrote letters, and got to share her story with them to help encourage them to keep fighting.  

“It was so cool meeting other women who said that they never met a woman motocross competitor before, let alone a disabled one,” she says.

Kiana wouldn’t want her life any other way. She is grateful for what her disability has shown and has taught her. She says she wouldn’t be who she is today without it, and encourages others to learn to love everything about yourself, because that’s what makes you, you.

“Always look at what you have rather than what you don’t,” she shares. “What I have still lets me pursue my dreams and it’s what’s makes me, me.

And that’s enough. These challenges have really humbled me to be grateful and thankful for the little things.

Captain Tom

Riding the Lines Between Adventure and the Page

Words by Ben Giese | Artwork by Tom Pajdlhauser


Tomas Pajdlhauser, aka “Captain Tom,” is an artist and creative director based in Ottawa, Ontario, Canada. For the last 15 years, Tom has worked as an illustrator and designer in the cartoon industry, and currently works as an Art Director for animated TV shows and movies, with clients like Disney, Warner Bros., Nickelodeon, National Geographic and Mattel. Outside of his day job, Tom somehow manages to find the time and energy to integrate his passions into how he lives his life. 

Tom grew up skateboarding and still loves skating to this day.  That lifelong interest has resulted in the skate shop that he co-owns in Ottawa, called Birling. Tom loves the rush he gets from skateboarding, but as he gets older that rush is becoming harder to maintain, and bikes seem to fill that void. Tom also has a passion for travel that has inspired various motorcycle trips across the globe, where he documents the journey with beautiful illustrations in a sketchbook that he carries along.

The first time Tom brought a sketchbook with him on a trip was in Vietnam in 2012. This is when a light bulb went off, as he discovered the connection between riding motorcycles and capturing moments in sketchbooks. He tells me, “There’s something about the raw energy and sensory overload of riding bikes through new and exciting environments that paired so well with stopping and taking the time to sit down, focus and capture something that caught my eye.” Taking that time to stop and illustrate a scene is an opportunity to be truly present in that moment. It’s a way of appreciating all of the little details that would otherwise go unnoticed. But Tom’s sketches don’t just capture a place and a moment. They capture a feeling, and I think that’s what makes them so special. These moments on the road with a sketchbook are when he feels happiest. 

When I asked Tom how long he’s been a professional artist, he corrected me: “I never really became a ‘professional artist,’” he says. “I create art for myself, first and foremost, and rarely sell originals or have exhibitions. My art is documenting lived experiences in sketchbooks, particularly while on the road. But to answer your question, I’ve been doing that for 8 years.”

A perfect day for Tom would include waking up outdoors with the sun; packing gear onto his bike; riding with his pals (especially off-road); exploring new places; performing roadside repairs; stopping to sketch for an hour or two; and setting up camp somewhere new. Tom lives a unique life, riding the lines between the adventure and the page. I’m thankful for people like him, because they provide the rest of us with a refreshing reminder that you can design a life around the things that make you happy.

A View From the Moon

A Letter to the Human Race

Words by Chris Nelson | Photo by Aaron Brimhall


The only love I have in this forsaken universe is suffering at your hands, and still you look up at me and smile. The little hope I have left for you—the supposed miracles of my Earth—I hold onto because she asked me to, because no matter how badly you hurt her, she still believes in you.

I am the Earth’s lost heart, and she and I were inseparable until a splitting rock forced us apart. I remember the fear that overcame me in that moment, knowing I would shatter into millions of pieces and hurtle off through space and never again see my Earth, but she held onto as much of me as she could, and she kept me close and helped me coalesce into a body of my own. We knew we’d never again touch, and she said that our breaks and wounds would heal, and that our molten scars would cool, and that we would dance around the sun until the day it burned out.

Something had changed in her, though, and I watched her as she turned from red to blue, like she was sick with something, and I struggled to help her stay upright and stable. Still, we had each other, and I learned to play in her ocean so we could feel closer again. I remember how we laughed when hard crust first rose up out of her waters, and I remember the pain I felt when ice first crawled down her face. I remember how she looked different when she thawed, cut apart by glaciers and the shifting plates beneath her skin, and I remember not knowing how to feel when she told me something new was growing within her.

I often wonder how it would be if she hadn’t given birth to life. As adorably simple as those first creatures seemed, we soon saw the tangled webs of energy inside of each and every organism. Before we knew it, plants flourished and flowered, and fish crawled from her waters to walk on land. In awe we watched birds take flight, and in horror we watched mass extinctions, one after another, and through it all she smiled and said, “Life will find a way to go on.”

She told me you’d be the best of them, and for a while I believed her, but then I watched as your fires turned into sleepless cities of electric light, your crude machines coughed poisonous gasses into her air, and your weapons of hubris marred her perfect face. I saw how your irrepressible avarice had convinced you of a perfectly myopic understanding of existence.

She doesn’t talk now, and she stopped smiling long before that. I am terribly selfish for wanting her to freeze over again, because then at least her neglect would feel right to me, and because then maybe we’d be rid of you. Instead I watch as the little ice she has left draws back into nothing. When I play in her waves, I smell only oil and death; when I look down at my yellowing love all I see are thousands of satellites orbiting just outside of her atmosphere, choking her.

I hear echoes as you talk about coming here, and from here into the far beyond, and when I hear your words I look longingly into space for a rock to come from nowhere and blow me apart, because then maybe you wouldn’t leave my dearest Earth to die. I see now that you haven’t known Earth as I have—that you unfortunate creatures occur for only a few moments, flash-burning through a lifetime before you fizzle and return to her—but even now that you understand the pain you’ve caused her, you choose to flee. I ask that you don’t, and that you please save my Earth, as she once saved me. Love her as much as I love her and she loves you.

Electric Dreams

A Parallel Reality

Words by Hugo Eccles | Photography by Aaron Brimhall


Hugo Eccles is co-founder and design director of Untitled Motorcycles, a company based in San Francisco and London that designs and builds custom motorcycles for both private clients and factory brands like Ducati, Moto Guzzi, Triumph, Yamaha and Zero Motorcycles. He’s also a professor of industrial design. Below, he examines the design approach to a recent build for Zero Motorcycles.

When Zero Motorcycles approached me with a potential project, we’d been dancing around each other for a while. I’d moved to San Francisco in 2014, and soon after began reaching out to electric motorcycle companies like Mission, Energica, Alta and Zero and asking for test rides. Northern California, after all, is the epicenter of the electric vehicle industry in America. Riding the Mission R, Alta Redshift, Energica Ego and Zero SR were the first truly new motorcycle experiences I’d had since the groundbreaking Honda CBR900RR Fireblade ushered in the era of the superbikes in the early Nineties. The experience ignited a burning obsession to build an electric motorcycle.

One morning in May 2018, I received an enigmatic email from my contact at Zero: “We may be entering a window of opportunity to work on something unique and cool. ...” I don’t think it really hit me until I was being escorted through a series of security doors to the workshop at the heart of Zero’s Scotts Valley headquarters. They were offering me exclusive access to their SR/F, two years into development, and still some ten months from public launch. I would be the first and only designer-builder in the world to get their hands on Zero’s brand new motorcycle.

Fuck yeah.

My background is somewhat unusual for the motorcycle world in that I’m neither a trained mechanic nor an automotive designer. I studied industrial design at the Royal College of Art in London and have worked on everything from consumer electronics for household brands to watches for TAG Heuer and Nike, to concept cars for Ford. My design training informs my approach to building motorcycles. For starters, I’m conscientious about not being dogmatic about what a build is going to be until I’ve got a clear idea of what I’m working with. Typically, before I do anything – sketches, study models, anything – I’ll strip a motorcycle down to its rolling chassis of frame, engine and wheels. That done, I can study the lines, understand what relates to what, see where there are natural intersections, and get a sense of the spirit of the machine. I’m asking the motorcycle what it wants to be.

Once I’ve got a handle on this, I can begin to reshape the motorcycle by what I add back. This approach works well with combustion machines because, inevitably, there are a number of elements that you have to replace – fuel tank, carbs, exhaust and so on – and these are all opportunities for redesign and reduction. An extreme example of this was the process of designing the Hyper Scrambler, which I’ve only half-jokingly described as continually removing components until the motorcycle stopped working and then reinstalling that last part. It’s not that far from the truth. Lotus Cars founder Colin Chapman said it much more eloquently: “Simplify and add lightness.”

However, as I soon discovered, this isn’t necessarily a useful methodology with an electric motorcycle. Once I’d taken off all the SR/F’s plastic parts, I realized that none of them were truly required to make the motorcycle function. An electric motorcycle doesn’t need any of those traditional elements since there’s no fuel and no exhaust. There’s a “gas tank,” but it’s really just a storage compartment and not essential to the functioning of the machine. So, if you don’t need any of these things, what do you need? Had I just intellectualized myself out of a project?

In my 25 years as a designer, I’ve never met a problem I couldn’t solve, but I’ll admit there was a moment when I thought, “I’m going to have to go back to Zero and tell them, sorry, there’s nothing meaningful I can do here.”

Then it dawned on me: I’d been looking at the problem all wrong. I didn’t need to redesign the SR/F – I needed to un-design it.

Our ideas of motorcycles are based on the constraints of the internal combustion engine. With the introduction of electric, those constraints and those “rules” disappear. It’s no longer a matter of technical limitation but of a belief limitation. I could rewrite the rules. It was a unique opportunity – maybe a once-in-a-lifetime opportunity – to completely reimagine a motorcycle from the ground up.

Although I didn’t yet know what I did want to do, I had a clear idea of what I didn’t want to do. Most electric builds that I’d seen mimicked traditional combustion motorcycle tropes, which seemed to be a redundant exercise. Why put a “gas tank” on an electric motorcycle? Why make an electric bike look like a gasoline motorcycle at all? It made no sense to me. Style-wise, electric motorcycle concepts generally seem to fall into one of two camps – either retro-nostalgic or expressive-sculptural – and I wanted to avoid both because, to my mind, they’re merely superficial styling exercises that sacrifice functionality for esthetics. So much more is possible.

One thing I knew for certain was that the end result had to be unmistakably electric. It would celebrate what makes an electric motorcycle unique instead of hiding it apologetically behind bodywork. I wanted to use an industrial designers first principles approach to create an entirely new visual language for this new category of electric. With most electric motorcycles, little of the form prepares you for the very different experience that you’re about to have.

If the motorcycle resembles a conventional motorcycle, you’re naturally going to expect a conventional riding experience.

But nothing could be further from the truth, and I felt that the visual language needed to communicate that this was going to be a very different experience.

When people think about electric they naturally think about the future, but I started my design process by looking backward. From the mid-1880s onwards, there was an explosion of ideas about motorcycles – no industry standards had been established, and every motorcycle company had their own opinion on what this nascent technology should be. This set me thinking about a modern motorcycle from an alternate reality where, instead of developing gasoline motorcycles for the past 140 years, the industry had been developing electric motorcycles. What would an electric motorcycle from this parallel 2020 look like? Dragged across from one timeline into another, it would simultaneously be both familiar and unusual. That’s what I set out to create with the XP – not a future reality, but a parallel one.

Without the limitations and constraints of internal combustion, a motorcycle from this parallel 2020 could be much simpler, with fewer components. This parallel reality would be constrained by the same rules of physics, not to mention similar economic realities, so things like conventional forks would remain for expediency and practicality.

I’d had a couple of test rides on the pre-production SR/F and was blown away by the sensation. The linear and continuous delivery of power – the SR/F makes an astounding 140 foot-pound of torque and has no gearbox –

[it] felt like piloting a small jet, so trying to embody that experience felt like a good design direction. 

Earlier experiments had confirmed that almost no traditional bodywork was necessary on an electric motorcycle apart from surfaces that the rider could grip with their knees for control. That insight started me thinking about “control surfaces” – both human and machine. Human control surfaces would be typical things like foot pegs, heel guards, seat, knee pads and handlebars. Machine control surfaces would be aerodynamic panels, venting and so on.

Guided by this concept, I gathered and organized hundreds of images of experimental aircraft, WTAC cars, Moto GP bikes, winglets, canards, diffusers – anything and everything that inspired me around ideas of control, speed and aerodynamics. After a few weeks of intensive work, I had approximately five hundred pages of sketches and an overall design direction I was happy with. The motorcycle would consist of two main visual elements: an electric core comprised of the batteries, motor, controller and charger; and an analog chassis supporting the suspension and body panels. The seat would be integrated into the central powertrain to give the rider the impression that they were literally sitting on the “engine” of the motorcycle. The structural frame would feature “floating” aerodynamic panels held away from the tubework. The XP would be, literally and figuratively, a deconstructed motorcycle.

In parallel to developing the physical form, I also continued to develop the motorcycle’s story. If it was from an alternate present, it would also, logically, have an alternate past. The aerodynamic influences suggested that it might have a racing history – perhaps a retired track bike that had been retrofitted for regular road use. This idea of retrofitting gave me latitude to attach roadgoing elements in a more natural manner, not unlike the way headlights are installed on endurance racers. Similarly, the tradition of painting prototype race bikes in plain colors started to sync with an emerging idea of using an aerospace-spec coating to reflect the motorcycle’s experimental nature. I eventually settled on Aerospace Material Specification “Ghost Gray,” a government-standard color assigned to U.S. Navy experimental aircraft.

Paint colors aside, there’s something inherently ghostlike about electric motorcycles. Although on the surface a small difference, the dual nature of electric motorcycles – simultaneously both analog and digital – fundamentally changes the essence of the motorcycle. No longer is the motorcycle just a passively inert machine, but actively animate technology. I wanted to create a distinct and recognizable difference between the XP’s inactive and active states. When inactive, the almost monochrome motorcycle appears colorless and “dead.” When approached, the motorcycle recognizes its rider, illuminates its panel edges, and becomes “alive.” I suppose it’s an occupational hazard, but

I’ve been thinking a lot about the future of the motorcycle industry. I wonder about the direction it’s headed, and who will be the ones to steer it there.

Some traditional motorcycle manufacturers seem dangerously complacent, repeating the same old methods but somehow expecting different results. Exploring new territory inevitably upsets the status quo, and potentially customers in the short term, so most manufacturers aren’t willing to take that risk. When the original iPhone launched 14 years ago, nobody could have anticipated that an untested phone from a company with no telecoms experience was about to change the world so dramatically. Fourteen years forward from where we are now is 2034 – a time when many analysts predict that autonomous electric vehicles will be the predominant mode of transport. It’s possible that smaller, more nimble electric companies like Zero will lead the way, or perhaps, like in 2006, an adjacent industry will once again disrupt the orthodoxy with entirely new thinking.

So far, the response to the XP has been overwhelmingly positive. It’s taken a while to get here, but more riders are coming around to electric and many, like me, are excited to see where it can go. The “XP” moniker comes from the idea of an “experimental platform” – a fully functioning prototype capable of being developed for production. As well as being a technical platform, the XP is also intended as a figurative platform  for dialogue about the future of electric motorcycle design. Ettore Sottsass once stated that “design is debate,” and, in that spirit, the XP isn’t supposed to be the final word but the opening of a conversation. Is the XP what electric motorcycles should look like in the future? I don’t have the hubris to assume that I can answer that. What I can say is that the answer is far less important than the fact that the question is finally being asked.

Soul Crafted

Passion, Purpose & Freedom

Words by Derek Mayberry | Photography by Josh Perez & Levi Tijerina


A film by Daniel Fickle

Over the past few years, the River North Art District (RiNo to locals) in Denver has become a creative hub, with an array of talented craftsmen and women who hone their skills through daily discipline in their chosen trades. To many, the word craftsman brings about visions of an expert tradesman steadily focused on their work, in a harmonious state with their subject, a perfect marriage between lucid awareness and a trained subconscious. We recently spent some time with a few of our friends, including a creative director, a hairstylist, a metal fabricator and an artist to explore what it means to be a craftsman and find the common thread of creativity between their respective crafts and two-wheeled passions.


Josh Wills

CREATIVE DIRECTOR

Josh’s creative roots began in an urban landscape; skateboarding and graffiti art formed the foundation that would eventually lead to his role as a creative director.  He fell in love with design as an art student, where his focus was aimed at T-shirts and skateboard decks. “I was drawn to design because of the passion I saw in designers, passionate about what they were doing; I could tap into that,”  Josh says, recalling a sense of anxiety in the early stages of his design career, along with the uncertainty of paying his way.  He shared the story of how a teacher suggested he settle as a children’s book illustrator, which only fueled his desire to perfect his craft as a creative designer.  Even today, though, there’s a degree of fear and anxiety –  the relentless pressure social media puts on the design community, “you’re only as good as your last piece of work.”

When asked what keeps him motivated, Josh cites the problem-solving aspect of design for hire, and the idea that commercial design work is objective in nature: “It isn’t art, but it can be artful.  It serves a function; it has to work.”  Being able to shape the way people look at a brand or business is another source of motivation, “pushing and pulling levers in people’s minds.”  Josh says design work is not without its challenges, and that it becomes a struggle when trying to develop a shared vision with clients, where there’s a difference of interpretation and things just aren’t connecting. 

Josh grew up in a working-class family. His father hung out with motorcycle clubs, and Josh wasn’t initially interested in riding because he didn’t care to associate with the motorcycle culture he had experienced as a kid.  That all changed when his wife bought him a Harley as a Father’s Day gift.  Josh quickly taught himself how to ride and wondered why he hadn’t done it sooner.  When asked how riding ties into his craft, Josh recalls the places his bike has taken him: old towns, abandoned buildings, and the unique architecture and topography he’s stumbled upon.  “That inspiration gets pulled back into the work I do day in and day out.  When things are clicking in design or out riding a motorcycle, things feel light, free, and effortless.”

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Grace Penhale

HAIR ARTIST

When she’s not riding the streets of Denver on her Sportster, Grace can be found behind a stylist’s chair at her Holistic Salon in RiNo’s Zeppelin Station. Grace’s first real vision of what she wanted in a salon came to her while working with a nonprofit in Spain; she attributes the inspiration to Spain’s culture and the importance they place on living authentically.  Grace feels divinity had a hand in her path as a salon owner/operator, as well.  After completing beauty school, Grace worked at a salon in the Cherry Creek area of Denver and began developing her own business plan for Holistic.  Grace put everything she had into fulfilling her goal of being a salon owner. She hustled, working multiple jobs to make ends meet. She says the hardest part was figuring out the logistics of running a business, including a workable plan and addressing finances.  

She wasn’t always a fan of the Salon’s name, Holistic; however, it aligned best with her desire to provide a space for women to be themselves, and to send them off with a sense of their true beauty, value and identity. 

It’s interesting how the salon business and riding bikes relate for Grace: “It’s the women-inspiring-women aspect.  Encouraging each other to take that leap of faith, even when it’s a little scary.”


Bonnie Gregory

METAL FABRICATOR

Bonnie’s exposure to metalworking started when she was a teen hanging out with her grandfather, who worked on cars.  “I was around a lot of metal. I started welding when I was 15.”  Growing up in a rural community, she was always surrounded by motorcycles and 4-wheelers, and there was always something in need of repair.  Bonnie started out fabricating props and constructed railings, but it was when she worked as an apprentice creating furniture that she felt most creative.  Bonnie says she experiences a calm feeling when welding, a sort of meditation: “The trade attracts the kind of person who appreciates the quiet and wants to still their mind – it’s a place where I want to be; I seek it out.”  She still has the same curiosity and excitement about it as she did when she first began fabricating, and it also helps that she loves the smell of metal.  

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When asked what her biggest challenge has been, Bonnie felt it was the times she’s had to go back to the basics, because “it’s humbling.”  She shared with us the best advice she’s received: “It’s not that you won’t make mistakes; it’s how quickly you stop making them and change your behavior.”  As for her more recent challenges, “Sometimes you can get into a loop in your head being alone, need to take a walk, a drive, a ride, There’s something about moving that helps me figure out the puzzle.” Riding motorcycles and working on metal is an outlet, as it brings her back to her happy place.

Like many, Bonnie’s first experience on a motorcycle was on the back as a passenger, but once she had her hand on the throttle, she knew riding motorcycles would be a big part of her life, because “being in control of a motorcycle, you’re completely free.  Just you and the bike, you and the machine.”  Describing how metalworking relates to riding, she says, “At the end of a work day, going for a ride completely resets stress. I work through puzzles when I ride and think of things in a new way. The feeling I get from my work is wholeness and the feeling I get from riding is freedom.”


Pedro Barrios

ARTIST

Born in Miami and raised in Venezuela, Pedro’s love for art began at an early age. Exposed to different cultures when he was young, Pedro attributes the influence for his artistic style to his multicultural background.  The Denver street artist began taking art more seriously around the age of 19, after backpacking through Europe.  Travel is a big part of where Pedro finds inspiration for his work, and nowadays there’s more intention behind seeking out art wherever he goes, “not just to be inspired, but to also learn about art and color. There’s a lot of influence from all over the world.” Recalling his early days creating art, Pedro started out mimicking the Old Masters, noting what inspired him in finding his own form: “Once you develop your own style, it’s very exciting.”  

Pedro lived in Vail, where he had friends who would travel down to Denver, to a studio called The 400. That’s where he met friend and fellow artist Jaime Molina.  After connecting, trading art, and establishing a mutual respect for each others’ craft, Pedro and Jaime began collaborating regularly. Because each artist brings their own style and influences to the project, Pedro never knows what the final product will look like. “It’s a new experience every single time we paint together. The process is so exciting and fulfilling.”

However, becoming an expert in your craft isn’t without its challenges, and each new project presents unique hurdles. Pedro recalls a mural project he and Jaime completed for New Belgium Brewing.  Painting an intricate mural in the dead of winter on a wall that never receives the warmth of direct sunlight, Pedro and his partner endured frigid temps for a grueling two months to complete the piece. Pedro adds, “No matter how many walls or places I’ve painted, it’s always a new experience, a different texture, substrate, or weather condition. Always a new challenge.” Like all true craftsmen, Pedro is able to appreciate what he gets in return: “I can stand back and truly feel a sense of pride behind it.  That’s my main motivator, one thing that makes me truly happy.”

Pedro grew up around bikes, but it wasn’t until he was older that he took an interest in a motorcycle of his own. When describing the commonality between art and motorcycles, Pedro says it’s the sense of freedom and originality, something he finds common across the motorcycle culture.  “When you get a motorcycle, you instinctively want to make it your own to reflect who you are. Like art, it’s an extension of myself and who I am.”  Like his artwork, Pedro says there’s a shared sense of solitude and focus he gets from riding, because “when I’m painting, I’m concentrating and not really thinking about anything else, except for what I’m doing, and I get that same feeling when I’m riding a motorcycle.”


It can be said that a craftsman’s passion for their work is rivaled only by their desire to experience the freedom it affords. Freedom through focus, creation, and being present in a given moment. When we train our attention on what we love – be it design, fabrication, art, or riding motorcycles – we free ourselves from overthinking and allow ourselves to tune out the static of everyday distractions.  How we pursue our passions is a big part of what defines us, because performed with conviction, they allow us to be free to experience what we truly love.  

Dylan Gordon

Crafted for Adventure

Words by Ryan Hitzel | Photos by Dean Bradshaw


Directed by Dean Bradshaw | Produced by Ben Giese & Dustin Hinz | Edited by Scott Middough

I often wonder what constitutes a “cowboy.” Is it a state of mind, in the blood, just a job, or something learned? Probably all of the above. But we need more of them — they’re loyal, skilled, masochistic, independent and imperfect. In other words: Dylan Gordon.

I first got to know Dylan, or “Doggy,” as it were, on a trip to Northern Vietnam in 2014. He was a gifted photographer with a reckless abandon that fired me up. Born on a horse ranch in San Luis Obispo, California — just far enough away from the hoopla of Southern California to be grounded, but close enough to seek something more — Dylan is a rarity. That was something I admired about him from the get-go and sort of wished I had grown up  under similar circumstances, because it was clear very early that Doggy had a different playbook. Drink more, stay up later, ride faster, and still get the shot type stuff. And if we were real lucky, he’d try to fight someone, or perhaps console them. Cowboy shit.

Life on the ranch for Dylan wasn’t dull, though. His father was a classically trained tinkerer. Always curious, the senior Gordon was influential to Dylan, the kind of guy who could identify problems and solve them with little to no initial knowledge on the subject. From helping to develop the JPG to pioneering live video streaming tech online, his father’s collection of projects was eclectic, to say the least. 

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In his teens as a renowned downhill skater, Dylan was was having gear problems, so his dad chipped away at some modifications to the downhill skateboard and started a company so that Dylan had the best equipment for his pursuit. But the family business was actually training and breaking horses, so Dylan learned the difference between independence and conformity; well-trained horses were both by nature. It was something that also connected him to the outdoors in more profound ways, as all good cowboys are. A connection that would guide him into surfing, motorcycles and adventurism. A landscape where he’d begin to take photos of his and his friends’ antics.

Dylan’s work is somewhat complex. It’s documentarian and honest, but dark and romantic.

It reminds me of Louis L’Amour novels. He seeks the truth relentlessly, but adds his own touch of narrative, enhancing the depth of each moment. His style is evident, whether the subject is a cactus at dusk, a surfer drawing a line somewhere between awkward and revolutionary, or the silence of friends surrounding a bonfire on a lonely beach. If you want something commercial, however — don’t hold your breath. “Making money is sorta lame, not my goal,” he has told me. We’ve spoken extensively on the subject and what it takes to be an uber-successful commercial photographer. Dylan’s take is unique. He’d rather forego the riches of large, prepackaged commercial shoots than abandon his own approach. And it’s not that he couldn’t be successful on a Ford shoot, but he’d be forced to compromise his vision. Indeed, the business of photography can’t break him, much like a wild horse. Because of it, his work is in high demand from the right clients, like his newest partnership with Firestone Walker. Surely, a big part of Dylan’s success can be traced to the sheer passion he has for the subject matter. In order to capture the moment honestly, you have to be part of it, virtually sewn into the fabric of what’s happening, unbeknownst to the cast. It’s the only way Dylan works.

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It’s not surprising that he lives this way, too. Doggy resides in a proper warehouse in Ventura, essentially a massive space portioned into a gallery, darkroom, motorbike garage and living room. Save but a few walls, the space blends together seamlessly: art and photography mixed into a solid library of vinyl and books, a ’76 Triumph t140, a ’66 BSA 441, a KTM 450, a KTM 300 2smoke, a ’98 Harley 113cu, an old espresso machine and an eclectic quiver of surfboards. If you’re wondering, I haven’t skipped over the bedroom; it’s just that he banished it into his Airstream, which sits in the side yard under an avocado tree. Sure, his warehouse could fit the Airstream comfortably, but that would be far too easy and expected.

In some ways, his bikes have taken the place of horses from the days of yore.

He retrains old ones and breaks unwanted traits from new ones. They appear cobbled together and are often loyal only to him. There’s always a touch of Mad Max to his builds, but each bike is always fast and reliable – at least if he’s riding them. It’s hard to believe that Dylan doesn’t channel his Pops when he’s modifying his exhaust or re-skinning a seat with sheep’s wool. If anything, his work is a reflection of himself.

But after traveling with Dylan for a number of years, shooting in places like Vietnam, India, Argentina and Russia, I asked him if he’d like to become an ambassador for our company, Roark, and join the ranks of guys like Jamie Thomas, Jeff Johnson, Alex Andrews and Parker Coffin. On the road, but on both sides of the lens. Initially, his response was vintage D. Gordon, “Thanks, but ambassadors are fake, or at least I’d be, if I was in the shots.” After some convincing, I reminded him that our crew was pretty real, and that he wouldn’t be traveling all over the world shooting, drinking, crying and laughing with the gaggle if it weren’t authentic. It took a few attempts, but Dylan couldn’t be a more candid representative of the brand for such a reluctant ambassador. 

The thing is, Doggy isn’t a contrarian; he just has unwavering principles that steer the ship, even if they brush him up against dry reef every once in a while. He’s a mild masochist with a nose for the hard yards. A month ago, I asked him if he might be interested in joining me and a few friends on a rip from Tijuana to Cabo. Nothing too gnarly, more of a cruise to enjoy the scenery and fruits of the peninsula. He was all in until I revealed that there was a chase vehicle. “Oh dude, that’s pretty soft; I’m out,” he said. “Soft?” I replied. “A thousand miles in the desert on a motorcycle isn’t tough enough? You don’t even have to use the thing!”

Nope, he was out, it wasn’t remotely close enough to his waypoints. I finally had to agree with him, “Yeah, we’re soft.”

A few years ago, Dylan picked up a stray dog in Northern Baja and hasn’t looked back. Bruno travels almost everywhere with him. Riding shotgun, he’s seen more road time than most people I know. The little legend doesn’t leave Dylan’s side and is just as comfortable in the dirt as he is in the Airstream. The added responsibility seems serendipitous, as it paved the way for the birth of Dylan’s daughter, Lenora, last summer. I asked him if having a baby has changed his approach to life? Dylan says that he wants to show Lenora that life can be lived unconventionally and that one doesn’t have to conform to the norms. But he was quick to add that once she needs him to come off the gas, he’ll oblige.

Dylan was raised well, so his life’s direction is purpose-built and grounded. A few months back, I found a note from him in a jacket pocket that was written about a year ago. It came with a bottle of 20-year single-barrel Strathisla Scotch and thanked me for believing in him as a photographer and man. It reminds me that we’ve taken Dylan around the world 8 times over the years, and surprisingly, he’s the only one to have bought me a beer (or whisky) at the end of a trip. A small gesture indeed, but one that hasn’t gone unnoticed.

I’ve seen him pick fights with legends, surf better than the people he was shooting and cry in a lightning storm after missing a shot, just because he didn’t want to let us down. Dylan Gordon runs hot, but never stalls.

Some people draw outside the lines just to break the rules, but he finds beauty in the result.

You see, he’s a cowboy out there on the range just doing his job, but he does it while searching for something greater past the horizon — happy, lonesome and free.