Full Circle

A FATHER AND SON’S TWO-WHEELED JOURNEY

Words by Jason Hamborg | Photography by Christos Sagiorgis

A film by 6ix Sigma in association with Tourism Prince George

 

I could see how a person would make the argument that no sane parent would buy their kid a motorcycle. It’s basically a two-wheeled ticket to the hospital. However, as someone whose parent made that exact mistake, I could argue the opposite. A motorcycle is a gateway, not just to the physical world, but into your psyche. To better understand the limits of yourself and those around you. 

Of course, very few of those manic parents bringing home that first bike have any sort of existential motivation. In my case, I’m pretty sure my old man just wanted to give me an opportunity that he never had as a kid. Plus, it was a way to keep me busy, out of my mom’s hair while she did the bookkeeping for the family logging operation. 

 
 

My dad was always cool like that. I remember my first major riding injury: a broken collarbone after trying to impress some random kids at a sandpit on my PW50. He came home with a SEGA and a fresh copy of “Sonic the Hedgehog” to entertain me while I healed. Similar to his PW purchase, he didn’t know the first thing about video games but knew damn well that he would have loved one at 6 years old.

That 1994 Yamaha PW50 changed everything. My dad tied a rope to the back fender and chased me around the yard as I learned the ins and outs of throttle and brake control. Within a couple of years, he made the mistake of taking me to watch a local race. Up to that point, I had only seen motocross in static images in magazines. Seeing the riders hitting jumps and hearing the sounds of 250 two-strokes racing up and down the hills was all I needed. Kiss your weekends goodbye, Dad, we’re going racing! 

 
 
 

It started slow, with local races and the odd overnight trip out of town. But quickly things progressed. Three races a year turned to 5, turned to 10. Soon we were gone nearly every weekend. My brother, my dad and I, the three amigos, would load up on a Friday after school and come home late Sunday night. Like clockwork. My parent’s business, the logging operation, was 4 hours north of my hometown, meaning it wasn’t uncommon for my dad to get back home on Sunday at 10 p.m., drop the trailer and continue north so he could make a meeting with the mill for the next morning. At the end of the week, he would get as much done as he could on a Friday morning before driving back home, hooking up the motorcycle trailer and driving to wherever the next race took us.

As a kid, you don’t really recognize that sacrifice. You’re blind to it, sleeping most of the drive or looking out the window dreaming about the race weekend to come, all the while your parent is burning the candle at both ends. It’s funny, if I would have taken a moment to pay attention to all of this, I could have realized there was more going on than “chasing the dream.” Say whatever you want about my dad, but one thing for certain is that he’s a realist. In his mind, there was no “dream” to chase. He certainly wasn’t blind to the fact his kid was getting 4th place at some rinky-dink motocross race in rural British Columbia. 

 
 
 
 

Looking back at it now, I realize that all those hours, all those arguments and trips to the hospital meant one very important thing. A chance to spend as much time as possible with his kids. A chance to watch them grow up, guide them and, most importantly, make up for the lost time from being gone in the bush for weeks at a time. Was it perfect? Hell no. But it was our way, and in a lot of ways, that’s all you can ask for. The only problem is that until recently, I didn’t really appreciate what it gave me.

I stopped racing in 2008. Real life was starting. I was graduating from high school and working at the local Suzuki dealership, and the prospect of parties and girls was getting more and more attractive. I stopped riding for nearly 6 years, and as much as I hate to say it, that is probably the time that I have the least recollection of spending quality time with my dad.

I graduated from university in 2013 and finally had the itch to ride again. I bought a used bike that needed some maintenance, so I called up my dad and brought the bike up to his place to work on it. Both of us were years out of practice, but we managed to wrestle a fresh tire onto the rim, only pinching one tube, and we sat in his garage sharing a mix of frustration and pride as we stared at the tire. For the first time in a long time, we had an opportunity to spend genuine quality time together. Over the subsequent years, bikes helped us rekindle our relationship. Discussions about rides, maintenance or new motorcycles gave us talking points well beyond basic family conversations. 

 

In 2018, hell froze over, and my dad who was always the observer finally became a bike owner himself. His buddy convinced him that they should do a trip across the Southeastern U.S., and that a Harley Street Glide was a perfect tool for the job. The old man started riding, and riding a lot. He even rode that Street Glide down 200 miles of dirt roads in Baja. I was now the one giving words of encouragement. Taking time out of my days to talk about the latest trip or offer advice on parts for his bike. That’s when it all clicked. Nearly a decade removed from our racing days, I realized that the roles had reversed. Bikes would now become my way of spending time with my dad, cultivating our relationship and ensuring we had more to talk about than the weather and politics. 

In the summer of 2021, I began planning a ride from my hometown, Prince George, British Columbia, heading east into the Robson Valley at the edge of the Rocky Mountains. The ride would feature a small portion of Highway 16, and a motorcycle route called Route 16: a stretch of highway totaling 600 miles from Valemount to Prince Rupert, BC. I have driven the highway multiple times over the last several years, but this was going to be my first time experiencing the journey by motorcycle. But I needed a partner to make this trip truly enjoyable, and after several foiled attempts to organize a trip with my old man, our schedules aligned, and he was going to be able to join me on the journey. 

 
 
 
 

We set out from Prince George early in the morning, and I realized quickly that this was our first true “trip” on bikes together with a mission and some actual ground to cover. We found our groove naturally, with my dad leading, and me chasing just behind. The highway immediately leaving Prince George is straight and open, with lots of room to daydream. But slowly the topography changes, as the once-distant mountains begin to dominate the sky. Eventually, we were engulfed by stands of cedar as the highway carved a path through the mountains, running parallel with the mighty Fraser River. The first stop on our journey was the Ancient Forest/Chun T’oh Wudujut Park, part of the world’s only temperate inland rainforest. Walking through the forest and being dwarfed by the ancient trees, it’s easy to forget the pressures of the outside world. The feeling of being completely present in the moment. The same feeling Dad and I had hanging out in those dusty racetrack parking lots growing up.

We continued east along the highway, carving through the terrain like the river beside us until we turned north, off the beaten path to explore a “shortcut” along the south side of the Fraser. This was my first time seeing my dad ride on the dirt since he had crashed my brother’s bike in 2006 and given himself a goggle-shaped bruise across his forehead. Fortunately, we transitioned from the asphalt with no issues, and like a proud parent, I smiled under my helmet as we pushed our way through mud and sand, slowly climbing up from the valley and farther into the mountains. 

 
 
 

Day two was reserved for exploration within the Robson Valley. We had lofty ambitions in the morning to set our sights on Mount Robson, but with the weather we were struggling to see through the fog past our handlebars, let alone see the top of the Canadian Rockies’ tallest peak. So, we made our way back into Valemount to explore the many forest access roads, climbing out of the valley and into the alpine. Valemount sits at the foothills of the Cariboo, Columbia and Rocky Mountains and makes for an ADV rider’s dream.

By midday, my dad was sick of his traction control and was determined to find a way to shut it off so he could “do some burnouts.” Just like the days when my dad found the blind confidence to coach me through hitting a new jump at the track as a kid, I was now blindly coaching him through a KTM menu screen I had never seen before. It’s funny to travel hundreds of miles just to compare each other’s ability to spin the tire around a corner. 

 
 
 

Pulling up to our final destination on the shoreline at the northern tip of Kinbasket Lake, I paused with reservations about my dad riding in this deep sand. But without hesitation, he clanked passed me on the big 1290, and we had come full circle as I watched my dad push his way up the shore, confidently displaying all the skills he spent years ragging me about. Feet on the pegs, looking ahead and standing up. In that moment I couldn’t have been prouder. That’s when it hit me: the sleepless nights, the hospital visits, the broken bikes and bones. It was all just leading up to the time when we could switch roles and have an opportunity to share a moment like this.

Dust to Dust

AN EVENING WITH DIMITRI COSTE

Photography by John Ryan Hebert | In Collaboration with The Equilibrialist

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Legends are Built in the Shadows

VOLUME 026 / SUMMER 2022

Words by Ben Giese | Photo by Ankit Sharma

 
 

The deathly talentless bow to their accolades, and the fools are fooled again. Everybody wants to be famous, but chasing the dragon of popularity is a dark tunnel with no light at the end. The deeper you go, the more hopeless it becomes. Still, we stumble forward like zombies guided by the glow of small screens, desperate for more attention, more views, more likes, more clicks, faster, bigger, better, now. 

But what do you do when the screen goes dark? Who are you in the quiet hours when the limelight fades away? This is where the outsiders thrive. 

Rodney Mullen comes to mind. Nicknamed the “Godfather of Skateboarding” and considered by many to be the most innovative skateboarder of all time, he usually skates late into the night. Alone. Until the early hours of the morning while the rest of the world sleeps. This is where the progression happens. Away from the crowds and without witness, for the pure, authentic joy of doing what he was born to do. 

Legends are built in the shadows. 

 
 

Cover photo by John Ryan Hebert

Like Kurt Cobain, whose genius poured out behind closed doors into guitar notes and scribbled lyrics in a spiral notebook that would eventually become an album that shook the world and changed the landscape of rock music forever. He hated the fame and accolades that came along with the success of his band. That’s not why he was doing it. He was an outsider, and he created music because it’s what he was born to do.

We need those outsiders, and that’s why this issue is dedicated to them. The ones who refuse to follow the crowd or jump on the bandwagon. The ones who don’t fit into a box. Who do things not because they are cool, but for the intrinsic value of the experience. The ones who push the envelope and choose to see the world from a different perspective. Who live their passions with reckless abandon and find the beauty of life bleeding out in the raw moments behind the scenes. The ones who don’t give a fuck about popularity and would rather pursue greatness. The outsiders. Living in the shadows and doing what they were born to do.

Top of the World

A WORLD RECORD FOR THE HIGHEST ALTITUDE ON A MOTORCYCLE

A film by the Echevarría brothers | Starring Pol Tarrés

 
 

Pol Tarrés always dreamed of riding his motorcycle to the top of the world. In a record time of three months, that prophetic dream grew into a creative project for the Trece Racing Society and The Who production company. To find a few weeks in Pol’s racing calendar was already an achievement in its own right. To leave home having zero experience with mountains or high altitude is another story. Plus, the engineer who tuned the bike for the thin air, said no way it would be possible. The team was in great need of some luck, and as fortune favors the brave, they got plenty of it. This is only the beginning for Pol Tarrés.

 
 
 
 
 
 
 
 
 
 
 
 
 
 

Three Stones From the Sun

AN EXPLORATION OF OUR CONNECTION WITH THE NATURAL WORLD

Photography by John Ryan Hebert | Featuring Todd Blubaugh

With quotes by Alan Watts

 
 
 
 
 
 

You are an aperture through which the universe is looking at and exploring itself.

 
 
 
 
 
 
 
 
 
 
 

You didn’t come into this world. You came out of it, like leaves from a tree or waves from the ocean.

 
 
 
 
 
 
 
 
 
 
 
 

If you go off into a far, far place and get very quiet, you’ll come to realize you’re connected with everything.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

We are all as much an extraordinary phenomenon of nature as trees, clouds, the patterns in running water, the flickering of fire, the arrangement of stars and the form of a galaxy.

 

Josh Hill: Unplugged

FROM SUPERCROSS TO SKATEPARK AND EVERYTHING IN BETWEEN

A video by Fox Racing

 
 

Over a decade after winning at the highest level in AMA Supercross – Josh Hill continues to innovate on his dirt bike and create his own personal art form. Regarded by many as one of the most naturally talented riders to ever touch a bike, Josh has found his modern day place in the sport. From the forests of the PNW, climbing mountains in Montana, and sessioning skateparks in Florida - every form of riding keeps him inspired to push further. Hill's creative interpretation of riding comes to the forefront for anyone lucky enough to see it.

The last year of Josh’s life has consisted of filming and riding around the World, but he still takes the opportunity to race when he can. He even made his return to AMA Supercross in early ’22 before suffering a nasty injury at Anaheim 3.

Take a look into his life – from Redbull Imagination in Kansas, Kona Skatepark in Jacksonville FL, and at home in North Carolina for some SX prep before heading over to Paris Supercross in November of ‘21.

 

Golden Age

CHIPPA WILSON FINDS HIS FUTURE IN THE PAST

Words by Travis Ferré | Photography by Nick Green

 
 

Chippa Wilson looks good inside an old bar. Especially at noon, tucked into a Naugahyde booth that’s a bit sticky from years of booze and salt spilling over it. The dark windows shield us from the bright noonday sun of your average California Wednesday, while Wilson’s thorough and ornate tattoo work proudly signifies his commitment to the art. He even has plastic wrap covering a fresh piece he had done yesterday by Nathan Kostechko in Los Angeles. Wilson’s been in town getting his knee looked at following a recent tweak and couldn’t leave without getting some work done by the acclaimed artist.

 
 
 

We’re at the Reno Room in Long Beach. It’s an old dive, and they say Charles Bukowski frequented it when he was living in nearby San Pedro, playing pool on the notoriously crooked table in the back. He liked the hours (Reno Room famously opens at 6 a.m. and doesn’t shut until 2 a.m.) that cater to the local longshoremen community servicing the port, along with your usual all-hours barflies. And us. We don’t look entirely out of place here.  

They recently fused a Mexican food spot called Cocorenos with Reno Room, joining two California institutions into one magical beacon of respite from the workaday world: dive bar and Mexican food, together at last. Wilson is wearing a black T-shirt and white denim with a freshly buzzed head, and he perks up every time a loud bike rips past the busy intersection outside. Because it’s located on the corner of East Broadway and Redondo Ave, it’s not uncommon to hear the rattle of a vintage Harley pulling into the alley out back. Wilson glances outside to get a peek at each one. 

 
 
 

“I crave margaritas, man,” he says, looking at the menu. “Where I live you can get beers off tap two minutes down the road, but no margis.” He speaks in a one-of-kind drawl, fusing a subtle lisp with a more “country” Australian accent than his surf pals. His voice comes to you in offbeat rhythms full of kindness.

“The states and California are crazy, man,” he adds. “The amount of culture around here. Motorcycles, surfing, art, music, cars. I love it.” Wilson’s an American-made motor man and just recently sold a signature green 1963 Chevy C10 truck that had become synonymous with him. 

Today, we’re not far from Scotty Stopnik’s Cycle Zombies shop in Huntington Beach, a place that’s inspired Wilson for years. He admits to peppering Stopnik with endless questions about bikes and even bought his first one — a  ’64 Harley panhead — from Stopnik.

 
 
 
 

“Thank fuck for social media,” he says. “One good thing about it: I had my blinders on being a surf rat my whole life, and I’ve been playing catchup on hobbies. Scotty has been an inspiration for me for a long time. His lifestyle is sick. Surfs every morning, skates, has his crew and his family all there building old Harleys. I follow him and learn a ton that way.” 

The TouchTunes machine — one of the modern updates adopted in the Reno Room — kicks up and Interpol’s “The Rover” comes on. Wilson orders the house margarita with a basket of chips and salsa. Our dark-eyed waitress asks about some of his tattoo work before walking away to get our drinks. He vibes with the music and says, “This song could be a really sick part in a surf video.”  

 
 
 
 

Filmmaker Kai Neville once told me he thought Chippa Wilson was the most recognized surfer he’s ever traveled with. Foreign shores, airports, bars, coffee shops and parking lots, Wilson catches the eye, and surfers all over the world have grown to obsess over his video parts. During filming for Neville’s movie Cluster, kids in the Canary Islands would follow the crew around to spots hoping for glimpses of him. Wilson’s run in Neville’s now-classic surf films — Lost Atlas, Dear Suburbia and Cluster — were an obvious fit and have become the standard to which all progression is held. His surfing was exactly what excited Neville about his generation and what he felt inspired to showcase. “Consistency is the thing with Chippa,” Neville says. “To land things as big and technical as he does with the consistency he has is unreal.” 

Wilson’s gold eyes (the late Andy Irons famously called him the Gold Lion) and tattoos do catch the eye, but his surfing is what keeps the jaws on the floor. His creativity and ability to tweak and manipulate his board in ways surfers have only dreamed of while maintaining his signature style has always been his point of differentiation in the water.

“He looks so good on a board,” says filmmaker Michael Cukr, who spent a lot of time following Wilson around before the pandemic, crashing with him for three months straight in Australia to film him surfing. “Nothing looks unnatural. And his whole vibe is a throwback; skaters like him, bikers like him, surfers love him.” But it wasn’t always like that. 

 
 
 
 

Wilson didn’t follow the same path many professional surfers do. He was a late bloomer and remains one of the most refreshing overnight success stories the surf industry has ever produced. In 2009, Wilson was surfing and working construction back home in Cabarita Beach, Australia — a sponsored local pro but not recognized much outside the town limits. Stab Magazine created a contest called “Little Weeds” that Wilson entered. The internet clip competition offered surfers, filmmakers and photographers the chance to submit their work to be voted on in one of the first successful online comps in the surf industry’s rush to figure out the internet. Wilson’s segment, edited by Riley Blakeway, was a tour de force of holy-shit proportions and is probably still one of the greatest discoveries of the internet age. He went from local ripper in Australia to international star with that clip nearly overnight. It led to a signature film in 2010 (Now), new sponsors — including one with Kustom shoes, which put him on the first Kustom Airstrike trip, a contest that put up $50,000 for the best air of the trip. Kai Neville was on that trip and remembers its being the turning point. “I knew after that trip he was one of the best in the world,” says Neville. “His technique was way beyond what I thought, and he stomped everything he tried.” 

 
 
 

Surfing had just seen Neville’s debut film Modern Collective shatter the old guard, launching a progression push that would consume the next decade of surfing. Wilson was quickly snatched up and put into the crew thanks to his technical aerial surfing, easygoing demeanor and throwback look of full-body tats, shaggy blonde locks and freckles. He quickly became a crowd favorite.

In the past, most surfers who injected skate tricks into their surfing did so at the expense of style or success rate — often ushering themselves into obscurity or tiny niche pockets of surfing. Wilson shattered that stereotype by doing tricks no one had seen before and did so with a style that was easy on the eyes.

“As a grom, I tried all this stuff and never pulled it much, which is why I did so bad at contests growing up,” he says. “I found doing shuv-its much easier than winning.” But his surfing drastically improved after that and his make-to-attempt ratio skyrocketed, while his aerial surfing became elite, freaking out and inspiring a generation of surfers along the way. 

During his first official magazine trip to France, Wilson tagged along with the legendary presence that is Nathan Fletcher — surfer, skater, snowboarder, motocross rider, icon — and the admiration was instantly mutual. Wilson paddled around the French beach breaks on that trip with all the big names of surfing who were in town to compete. And the part that freaked him out the most: They were all in awe of him. The late Andy Irons paddled right up to him on the first day he was there, saying, “Yeah, Chippa! The only dude I know with gold eyes!” The entire lineup, a who’s who of surfers including Irons, Dusty Payne, John John Florence and Jordy Smith all made sure to say what’s up to the most exciting addition to surfing in that time.  

 
 
 

A decade later, Wilson has appeared in every surf movie that matters, adding tricks and his approach to the pantheon of surf progression. While rehabbing the tweaked knee and wading his way through the pandemic years, Wilson posted up in Tasmania, the rural, often chilly and isolated Australian territory with his partner Brinkley Davies, a marine biologist and adventurer. They’ve got their dogs and a garage full of toys: Motorcycles, surfboards and all the odds and ends you can think of to keep him busy in the isolated space. “Brinkley keeps me young, man,” he says of his partner. “She’s always swimming with sharks and whales and seals. Always up to something. I just try to keep up now and tinker on the bikes when I can.” 

I ask him what got him into motorcycles, and he quickly lights up. “My old man has always been bike-oriented,” he says. “He was always sitting up late at night watching speedways and motocross, and I remember he had photos of himself when he was young on all the enduro trials bikes, ripping around, so that’s always been an interest and inspiration. I would have got into it earlier, but surfing took a pretty good chunk of my hobby life for many years.”

 
 
 

But now, with his home set up in Tasmania, a good decade of game-changing surfing in the can, and plenty of opportunity on the horizon, he’s focusing himself on the garage.

“My mate Coco put me on my first Harley Davidson panhead with a jockey shift,” he says. “He just told me, ‘Go for gold!’!’  and off I went down the road all jenky and all over the place, not skilled at all. It’s the weirdest way to ride, but I came back with the biggest smile on my face and got into building one of those straight away.” 

The bike, famously known as “Scorch,” is Wilson’s first moto-child. “It’s a ’54 panhead with a springer front end. It’s super mechanical and old school. The clutch rod is linked by an old rusty chain, it has a crazy sissy bar and looks like it might blow up beneath you, but it’s so sick. It’s my first Harley and definitely the one that got me hooked on riding.”

 
 
 
 

The Tasmanian landscape is vast and rural and old. It’s full of winding roads, lonely petrol stations and isolated nooks and crannies — the perfect place for riding and exploring. With a garage full of vehicles — from bikes to surfboards to trucks and jeeps — Wilson has plenty to tinker on as he prepares for the world to open back up. 

“Anything old, I’m drawn to,” he says, which makes me chuckle. It’s funny that one of the world’s most progressive surfers — a guy who’s spent his life living ahead of his time — has stopped in Tasmania to let us all catch up and dig into his obsessions from the past. He’s like the addition of a TouchTunes machine in an old bar. It doesn’t feel right until you learn how to make it work for you.

 
 
 
 

Back inside the Reno Room and into our second round of margaritas, Wilson whips out his phone and starts putting music on through the TouchTunes app as he tells me he’s recently bought his first new car.

“I just got a regular car the other day,” he says. “My first new car ever. I got a Jeep Gladiator, American, ‘ute’ type of thing. I can’t even work it yet, it’s too modern.” He smiles and finally makes his musical choice, and the TouchTunes fires up the classic Social Distortion tune called Telling Them. As it kicks in, I look over at the newly updated pool table, hoping to see the ghost of Bukowski stumbling around in the back, but I only see two college girls skipping class to drink margaritas and play pool. 

 
 

Things have changed here. You can get Mexican food, the pool table isn’t crooked anymore, and it requires quarters; the juke box is connected to the internet but somehow, if you squint your eyes and the song is right, you realize this place hasn’t changed a bit. The rare spot where the past, present and future all mingle together in a swirly modern vintage union that makes perfect sense. Sometimes it happens in a rural Tasmanian garage full of vintage bikes and progressive surfboards, and sometimes it happens on the corner of East Broadway and Redondo when Chippa Wilson is in town. 

The House That Built Me

THE TYLER BEREMAN STORY

An 805 Beer Film

The story of Tyler Bereman is one about acceptance, in a sense. He keeps an open mind, and he’s full of passion for everything that involves being on two wheels. As a former supercross racer who pivoted to free riding, Tyler’s covered all his bases. Whether it was while he was a member of The Salinas Ramblers Motorcycle Club or while flying toward an X Games gold medal, he hasn’t limited himself to one style of riding. A lethal combination of style, speed, and the most precise bit of technical prowess, all baked in to produce the well-rounded athlete that Tyler is today.

The House That Built Me highlights Tyler’s small-town origins in Templeton, on the Central Coast of California. Featuring interviews with Tyler’s family and industry legends like Robbie Maddison and Jeremy “Twitch” Stenberg, the film unearths who he really is, and all the people and events that have shaped him along the way.

A Burning Desire

A LETTER FROM A PYROPHYTE

Words by Chris Nelson | Photography by Steve Shannon

 

The faint smell of smoke woke me. For a moment I thought I had dreamt it, because as the wind blew through my dew-soaked branches, there were only hints of rose and sagebrush, both faded in the overpowering stench of sulfur. The delight drained from me until I smelled the smoke again, and then distant in the northwest I saw it: a white wisp of burn floating through the summer sunrise, blurred behind the mist of the prismatic hot spring.

 
 

Typically, fires like this burn once every few centuries, so I felt blessed to see it in my lifetime. I watched with joy as the flames drew nearer, engulfing hundreds of thousands of acres of lodgepole pines, day after day, month after month, and I imagined with glee the moment when the searing heat would become so strong that the pitch resin spreading over my serotinous skin would begin to melt. Slowly I’d feel the cones on my branches spreading wider and wider apart before breaking open, and in an instant I’d be resurrected in a shower of small, winged seeds that would float down through the smoky air.

My offspring would bury themselves in the ground as the fires raged above, destroying me and the community of trees I once knew – but there is no pain in this, because as foundations of the forest we know it’s just part of death’s carefully choreographed dance with life. When the thin-barked trees turn black and crumble, they are swallowed by the forest floor and fed back into the carbon-rich soil, which is then bathed in unbroken sunlight, and soon my seedlings would sprout from the bed to restart the cycle of growth. Without our sacrifice, the forest cannot be renewed, as nature intended it to be.

 
 
 
 

Yellowstone Fires, 1988 | Photo by Mike Lewelling, National Park Service

 

Every night as the flames spread, I dreamt about what the ground might feel like, or how tall my offspring could eventually grow, but one morning I awoke to the strange sound of giant silver birds soaring just above the tree crowns, spraying white dust in every direction. They came in flocks and slowly forced the blaze to retreat, but thankfully the swirling inferno refused to surrender. I watched in disgust as the birds flew through the red sky, and I wondered what motivation they had to try and control our natural cycle. I held onto hope, but only until snowflakes began to fall from the firmament, and then the silver birds disappeared as the fires finally died, and with them died my budding dreams.

It’s been more than three decades since those flames went out, and I still wait and wonder if my time will ever come. In those first few years after the fires, I envied the young pines growing in the charred remains of their parent plants and prayed for a lightning strike to ignite the decay at their roots so that my young could have their opportunity to branch out. I fought off poisonous thoughts that by the time the fires returned, my seeds would already have soured, or that the fires wouldn’t return at all, and my existence would be for nothing.

 
 
 
 

Now and then I’d catch a whiff of smoke and be momentarily overwhelmed with anticipation, but to my dismay I saw nothing come through the forest veil. Until five years ago, when a blaze erupted and raged, with flames once again kissing the clouds. Unfortunately, though, any hope I had was again drenched by the giant silver birds and their white dust. I damned their invasive hubris and inability to understand this natural process of death and rebirth.

Eventually my thoughts shifted when for the first time I questioned the consequences of my pyro prayers. Looking down at the young lodgepoles around me, I realized they hadn’t matured enough to grow full seed banks, so if they burned, their life cycle would end in vain and ash. The intentions of an outside encroachment no longer mattered to me once I realized the dangers that my forest now faced. 

 
 
 
 

Yellowstone Fires, 1988 | Photo by Jeff Henry, Yellowstone Digital Slide Archives

 

Fires have become far more frequent, and their artificial suppression happens quicker than ever, and as the farthest edges of the forest are pushed inward by a hungrily ambitious species, the underbrush tinder piles higher. It seems the intent of nature no longer matters, and when the fire I once admired returns, it will likely be sparked by those creatures, and I will feel no delight. The blaze will be larger, move faster, and burn hotter than anything before it, and it will grow so intense that nothing will be spared, as the resin on my skin boils and my few viable seeds wither to dust.

There is peace in accepting one’s fate. I am certain now that I will never be born again, and I no longer dream about how tall the next generation might grow. I recognize that there is no stopping the outside influences who come to my home to snuff out nature’s intentions. I used to pray for fire, but now my only prayers are for the fledgling pines, and that those hungry creatures will not spark the next blaze. I do still wonder what the ground feels like, and hope that one day soon I’ll know.

The Desert Said Dance

HEAVEN AND HELL IN BAJA

Words by Forrest Minchinton | Photography by Mojave Productions

 
 

In order to be victorious, a desert racer must master the art of pain and suffering, and there’s no off-road race where that’s more evident than the SCORE International Baja 1000. Since 1967 the legendary race has been hosted on the Baja California Peninsula, a formidable place that has shaped my approach to life.

 
 
 

My father first took me to Baja as a young boy. It was shared with him by his mentors, as theirs had done for them. The location is not secret, but the lack of modern comforts, the threat of banditos, and the harsh desert environment discourage most fair-weather travelers. But for people like us, it’s a paradise hiding in plain sight, where you can surf waves in solitude and ride free on the endless unspoiled terrain.

Dad fostered in me an appreciation of the rugged locale and the rewards of a demanding existence, where you must learn to appreciate the joys of eating dirt, bracing winds and plucking barbed cactus from your foot with a rusty set of pliers. If you can’t fall in love with the suffering of Baja, then there is little that you will find attractive about this place or the legendary event that inspired our feature-length film, The Desert Said Dance.

 
 
 
 

It’s the story of four men who understand and appreciate the uniquely intoxicating anguish of Baja. Each of us has different motivations, backgrounds and varying levels of success in our racing lives: The Champion, Colton Udall. The Ironman, Derek Ausserbauer. The Racer, Nic Garvin. And me, The Dreamer. All of us underdogs from humble beginnings, united by motorcycles and bound together through an incredible experience— a brotherhood that could be formed and strengthened by a common goal and shared suffering.

Leading the team, Udall is a five-time Baja 1000 champion who was sidelined and semi-retired after a debilitating back injury. In search of redemption and a chance to relive his former glory, he shared his wealth of knowledge and experience with us, and our hero has now become our mentor. 

 
 
 
 

Ausserbauer’s love for two wheels started at roughly 2 years old. He has entered the Baja 1000 for the past four years, coming up second on multiple occasions. But when a race team didn’t pan out, he decided to have a go at it solo as an Ironman and won the Ironman championship. This time, he’s going for the win with our team. 

Garvin is our third team member and shares in that illusive dream of victory in Baja. Everything in his life is dedicated to racing, and he craves that championship more than anything else. He was introduced to Baja when he watched Robby Bell and Udall in the San Felipe 250 and rode the track the day after the race. For him, Baja represents freedom – and racing through those landscapes in isolation is his true happiness. 

 
 
 
 

The cost of attempting this race is exorbitant, but the ultimate test of man and machine is what inspires people to spend their life savings to give it a go. Our passion came before any paycheck, and all four of us had a singular mission: to win. But we would soon be reminded that Baja always wins; if you try to beat it, it will crush you. Anyone can enter the Baja 1000, but not all those who do will finish. Some are not tough enough, others are not prepared enough, and sometimes Baja finds a way to take down the best of us, regardless of effort. 

Unfortunately, some individuals pay the ultimate price and leave this world in their attempts to conquer it, but still, every year, people keep coming back for the challenge. To survive this race you must dance a very fine line between triumph and disaster, and only those who balance that line correctly will succeed. Those who can turn pain into enjoyment can carry on day and night, through the toughest of challenges, and those who do the dance just right might have a chance to win in glory.

 
 
 

The Desert Said Dance is about the subtleties of performance, the art of the machine, and the mammoth task of racing the longest, nonstop, point-to-point off-road race in the world. To the uninitiated, it will be a breathtaking introduction to the spectacle and sublime wonder of the Baja 1000, and the people who endure enormous hardship in a landscape like no other. With director Lincoln Caplice, producers Harrison Mark and Jam Hassan, cinematographer Andy Gough and editor Lucas Vasquez, we had the perfect band of misfits to make this incredible film. Our collective patience was tested and friendships were strained, but ultimately we emerged from the rawness of the desert with the biggest and best project of our lives, and memories that we will never forget.

Heaven Is Two Wheels

FINDING BLISS IN BIG SUR

Photography by Jack Antal | With quotes by Marcus Aurelius

 
 
 
 
 
 

Nowhere can man find a quieter or more untroubled retreat than his own soul.

 
 
 
 
 
 
 
 
 
 
 

Confine yourself to the present.

What we do now echoes in eternity.

 
 
 
 
 
 
 
 
 
 

Your days are numbered. Use them to open the windows of your soul to the sun. Dwell on the beauty of life. Watch the stars and see yourself running with them.

 
 
 
 

Riley Harper: Cool-Side

THE ENVIABLE LIFE OF RILEY HARPER

Words by Seth Richards | Photography by John Ryan Hebert

 
 

The danger of living an enviable life is that one day you may wake up and envy your own past. 

The danger is greater still when your job is to document this life, to hold it in your hand and see it like so many pearls in a strand slipping through your fingers one opaline memory at a time – distinct yet connected until the strand ends, and the pearls transform from idyll to idol.  

“Living in the past is really bad for you,” says Riley Harper. “But I fucking love it.”

 
 
 

Harper, a Hollywood stuntman, photographer, and accidental influencer, may run the risk of ruing his glorious past, but only because he’s made an art out of living in the moment. 

Race week at Monaco. Negronis on a moonlit veranda. Aston Martins in Portofino. Triumphs in Tenerife. Sailing the Tyrrhenian Sea. Lipari. Cefalù. Corfu.

It makes flipping cars a grind. 

Handsome, lucky, talented: You want to hate a guy like Harper for the gifts conferred on him by fortuitous fate, but you can’t begrudge him for making the most of them. A life so glamorous would seem a fiction, but where Hollywood’s unreality ends, Harper’s reality begins.

Growing up in Los Angeles, the son of a Hollywood stuntman and racer, Harper was raised on movie sets and in racing paddocks. 

“I grew up watching On Any Sunday instead of cartoons,” he says. “I was in that kind of a household.”

One of his first big films was the cult classic Old School. In one of its most memorable scenes, Frank the Tank (Will Ferrell) shoots himself in the jugular with a tranquilizer dart at a children’s birthday party. Before toppling into the pool in a drugged-out stupor, he stumbles through a crowd of kids, sending one of them flying out of frame with a shove to the noggin. That was Harper, age eight or so.

His father was stunt coordinator on the film, so it was only natural Riley and younger brother Reid—who also grew up to be a professional stuntman—were enlisted for the scene.

 
 
 
 

Besides, Harper had been racing motocross since he was four years old, so he was accustomed to taking the occasional knock to the head. What’s a little push from a beloved Hollywood funny guy?

By the time he was a teenager, Harper had years of racing experience that equipped him for a future in stunts, to say nothing of genetic predisposition.

“Growing up racing, you have a certain way of how you think and how to take on things in a very fast-paced way,” Harper says. “That’s what you have to do with stunts. You have to make very rational decisions – motocross gives you that.”

Harper graduated high school at 16 and began booking stunt gigs straight away. 

While his old schoolmates were sneaking out of the house at night to get a taste of freedom, Harper was away from home for months at a time, returning only for a few weeks out of the entire calendar year.

Since then, he’s traveled to more than 50 countries and appeared in around 200 productions, mostly big-budget films, including many of the Marvel films and the Dark Knight franchise. He’s worked with household names and legendary directors. 

While doing stunts has been his ticket to the movies, so to speak, the attraction wasn’t merely in profiting from an adrenaline rush or from being part of the spectacle. 

 
 
 
 

“I’ve always had a fascination with cameras. Still and motion,” Harper says. “I just loved shooting photos as a kid. I discovered [the photography of] Slim Aarons at a really young age. I saw the photos of American celebrities he was taking in the ’50s, ’60s and ’70s in Europe, and those were the coolest images. It opened up a whole new part of my brain.”

Aarons famously said his work depicted “attractive people doing attractive things in attractive places.” His photographs are endlessly evocative and sumptuously stylish. His subjects, captured in the moment, live lives of leisure that look too perfect to be real.

Aarons’ influence on Harper is immediately recognizable in the images populating his Instagram profile, @lifeof_riley. 

“Originally, it was a creative journal,” Harper says of his Instagram content. “I would look back at stuff from 2014 or something and say, ‘Man, I’ve done some cool stuff.’” 

“[I work with] these old-school guys who are legends in the stunt and film industry and they didn’t understand what I was doing. They were like, ‘Why would you show this?’ It’s just fun for me. It’s fun to showcase creativity and what I think is cool. It’s a personal thing.”

 
 
 
 

Even before Instagram existed, Harper was borrowing friends’ cars and shooting photos for the fun of it. But what started out as a simple platform to share his photographs has morphed into something far different. 

“Instagram opened up this world of opportunity,” Harper says. “Now, I have to divvy up my time and turn down stunt jobs that maybe aren’t ideal to do jobs that are personally more gratifying. I get to be creative, build relationships with really cool brands, and be my own boss. With stunts I’m just showing up and doing someone else’s vision. I’ve done that for so long and now this is a lot more fun for me. I love doing both, and I’ll never give up doing stunts, but it’s a really cool mesh of the two that I enjoy.”

Harper currently has 275,000 followers on Instagram and has worked with iconic and wide-ranging brands in the automotive, fashion, hotel and lifestyle industries. 

When Aston Martin sets you up with wheels for a week, Tag Heuer gives you time to kill, and Polo Ralph Lauren thinks you make its tweed and chambray look good, you know you’re doing something right.

It’s plain to see why some of the coolest brands are itching to work with him. Harper wearing Ralph Lauren doesn’t make him look any cooler; it makes Ralph Lauren look cooler. 

 
 
 
 

The Life of Riley is glamorous and daring and free-spirited. Riley jumping cars on the set of a major motion picture. Riley catching waves in Baja with his suntanned friends. Riley in the snowy Italian Alps riding a vintage Husqvarna with studded tires. Riley looking handsome in every damn shape of sunglasses he puts on. Riley on a yacht with his topless girlfriend, who’s a model. 

None of that would be worth much to anyone if Harper didn’t have such a strong aesthetic. It’s not just about knowing how to capture it but having the eye to understand what to capture in the first place. 

“I don’t care about girls with thongs on,” he says. “I want to see a really cool old house on the Mediterranean somewhere. It’s the sexiest thing you can see on Instagram.”

Harper’s subject matter brings back Slim Aarons. And with him comes the ineffable romance and glamour of the midcentury with which he’s associated. 

“I’m a hopeless romantic,” Harper says. “I always have been. I don’t watch action movies; I watch weird Woody Allen movies. I love that shit. I chase the feeling more than the visual. I love seeing fat Italian dudes in Speedos on the beach playing checkers. That’s the coolest thing ever. That’s the stuff I stop for.”

 
 
 
 

Aarons brilliantly depicts the beautiful: the young, the affluent, the bare-chested countess reclining by the sea. Whatever the opposite of schadenfreude is, that’s what Aarons gives us: the pleasure of viewing someone else’s good fortune. Sort of the anti-Robert Frank, Aarons’s camera offers no critique.

In his presentation of the subject, the photographer has the choice, like Aarons, to remain silent, or, like Frank, to offer a perspective. 

By often making his own life the subject, Harper enters the photograph’s meaning, forfeiting any hope of silence. When a photographer snaps a picture, it’s because he thinks the moment is worth recording. When he steps into the frame, it sets the photo up to be interpreted differently, as if he’s saying, “look at me.” The nature of Instagram as a medium means that viewers can choose to interpret that as phony or boastful – or something else entirely beyond Harper’s intention.

For another thing, it’s hard to imagine that a lot of people wanted to be Slim Aarons. But who wouldn’t want to be Harper? 

He knows that people compare their lives to his. It’s only natural in our digital age. He’s sympathetic.

“This is a highlight reel,” Harper says. “I think some people seem to forget that. I always tell them, ‘Comparison will kill you.’ You’re only seeing the good shit. You don’t see the days where I’m on a movie set and I’ve knocked myself out and I’m in the ER getting stitches.”

 
 
 
 

“In the beginning of COVID I broke my back and collarbone. I was mountain biking with Troy Lee and Cole Seely. I was in ten weeks of physical therapy rehabbing my back and shoulder, and I didn’t post a single thing about it.”

For every one person who needs a reminder that what they see on Instagram is both real and not, Harper meets two who naturally discern his motives and take his content at face value.

Sitting at the coffee shop he goes to each morning near his home in LA, he’s approached by a stranger who says, “Are you Riley? Dude, you’re one of my biggest inspirations. I picked up photography because of you. I got my first motorcycle because of you.”

“That’s the coolest part, because I’ve used so many people for inspiration in my life,” Harper says.

Undoubtedly, the dude knows how to live. And what we see of his life, what he intentionally presents, is fodder for inspiration. @lifeof_riley is how-to-live porn. How to dress, where to go, how to relax, what to drink (Negronis. Always Negronis). 

Knowing how to live a beautiful life and having the ability to achieve it, however, may not be what makes Harper most inspirational. It’s his perspective.  

 
 
 
 

Looking at Aarons’ work now, it’s not so much the beauty that’s as striking as the feeling of nostalgia it provokes: Women are more elegant, men are more self-assured and upright, the parties are more glamorous, and all that was seems more real than all that is. 

Nostalgia, in that light, is seductive and dangerous: What seems to be true rarely is, and the feeling it inspires is as fleeting as the illusion itself. 

“I understand nostalgia is technically a bad thing, like in Woody Allen’s Midnight in Paris,” Harper says. “I never used to think of it that way. I love looking back at things. Who doesn’t like reminiscing? About an old relationship, an old friend, an old fling, a place you’ve been.

“My way of thinking is: Take the inspiration from something you did before, kill it, move on, and use it for what’s right in front of you.”

In the digital realm, that’s the spirit behind his other Instagram account, @nostalgia.killer, which he uses as a personal inspiration board. Plastered with photos of McQueen in old Porsches, graciously set tables on the terraces of Italian villas, and lesser-known Aarons shots, one imagines Harper sees it the same way he hopes others look at @lifeof_riley. 

Kill it. Move on. Use it.

 
 

Maybe he isn’t so much a nostalgia killer as much as a nostalgia conqueror. He can look through the lens of a romanticized past, evade its snare of sentimentality, and cast a vision for living in the present. More than everything else, maybe it’s this ability that makes Harper’s life so enviable.

It’s all a matter of perspective. 

The number of followers doesn’t matter. Comparisons are meaningless. 1960 isn’t more real than 2022. 

“You are the hero of your own story. You really are,” Harper says. “That’s fucking life. If Instagram goes away tomorrow, I’m doing the same thing.” 

Trendsetting in Top Siders. Night rides in the Santa Monica Mountains.  Bonnies from ’69 and Porsche 912s. Taormina. Sanremo. Gréolières.

VAHNA SP/22 Collection

META-Morphosis

VOLUME 025 / SPRING 2022

Words and photo by Ben Giese

 
 

the winds of change are eternal

as mountains rise

and fall back into the sea

with the tides of time

strangers, visitors, passengers

for a moment under the sun

until the wind blows

to make room for something new

the caterpillar must die

so the butterfly can spread its wings

and drift off into new dreams

vibrant, rare and beautiful

a new flame

a summer bloom

the next great horizon

and the wind will blow

 
 

The Desert Said Dance Trailer

COLORADO SCREENING | MARCH 22, 2022

In association with Mojave Productions, Monster Children and Garage Films

 
 

The Baja 1000 is a race like no other. It is the longest non-stop, point to point, off-road race in the world. Anyone can enter the Baja 1000, but not everyone will finish it.

This is the story of four men whose passion come before any paycheck. Each with motivations of their own. A motley crew united by motorcycle, with the common goal of proving to themselves and the world that they are alive and that the dance must go on.


For those already in the know, it's a chance to connect with the subtleties of performance and the art of the machine. For the uninitiated, it is a breathtaking introduction to the spectacle and sublime wonder that is the Baja 1000, and the men who endure enormous hardship in a landscape like no other.

 

Fleeting Moments

SEASONS OF NATURE AND LIFE

Words and photography by Steve Shannon

 
 

Chug-chug-chug. Chug-chug-chug. Nothing. I wipe the frost off my seat and wait for the battery to warm up a bit more. The sun is out, but the chill in the air and fresh snow on the distant peaks mean winter is not far off. Eventually the bike starts, and we’re off for what might be our last ride in the high country for the season. 

 
 
 

With cooler days, beautiful light and the alpine snow finally melted out for maximum access, these are the days I live for. It’s a fleeting season where the mornings are cold, the days are short, and everything has to come together just right. One storm can end it all, so when the conditions are right, you know it’s time to drop everything and get out for a ride.

Exploring the Columbia Mountains is a special treat. Mostly hidden from the general population, these towering peaks are lesser known compared to the Rockies to the east or the coastal mountains to the west. I prefer it that way. It takes more planning. Hours of poring over maps, searching for the elusive mining claims staked a century before, in hopes of finding a route that isn’t completely destroyed by time and weather. Luckily some of these old routes are still intact, providing the perfect gateway into the high country. And like most things in life, the extra effort is worth it.

 
 
 
 
 

The farther we gain elevation, the more the trees and foliage slowly reveal a colorful spectrum. Vibrant hues only found during a few short weeks of the year. From low-lying valleys filled with golden stands of aspen, we climb through mature fir and spruce until we approach tree line, where we were greeted by unrivaled splendor. Larch trees during the autumn season are truly magical. Though they are a conifer, their character is more deciduous, as their needles turn vibrant shades of orange before falling off for the winter. Riding through this magnificent forest is like something out of a dream, and knowing that it only lasts for a moment every year, it makes me think about the fleeting nature of life.  

 
 
 
 
 
 
 
 

My dad was the one who got me into motorcycles when I was a kid. He took me on adventures and supported my passion for racing. He instilled a love for the outdoors, and a respect for the mountains and has supported me through the numerous peaks and valleys of life. He’s always had my back, encouraged me to follow my dreams and has helped pick me up when I’ve fallen down. 

Unfortunately, his kidneys are failing, and days are numbered. He’s still able to ride, though I don’t know for how much longer. Roles are reversing, and now I’m the one picking him up when he falls down and taking his bike through the really hard sections. I cherish rides with him, as I know someday soon it’ll be his last.

 
 
 
 

Above tree line, the views opened up to show rugged alpine peaks and glaciers. The road crumbles apart into nothing more than a rocky path as we continue to climb. We’re in the heart of the Columbias, surrounded by some of the highest mountains in the range. With steep, craggy peaks draped in broken glaciers, the views are stunning. After a steep, loose climb up a scree field, we reach the top and are greeted by views of the neighboring valley. From the ridge top, we’re able to connect right to the toe of a nearby glacier, its blue ice a stunning contrast to the autumn colors in the valley. The exposed ice is melting rapidly, and as annual temperatures continue rising, this glacier’s days are numbered as well.

 
 
 
 

Watching the glacier melt tumble over polished rock into the valley below, I lose myself in thought once again. Why is it that these beautiful things can’t last forever? The melting glacier. My aging father. I’m not ready to lose him yet. We’ve had many adventures and great times, but there’s still more I want to share with him. Family has always been a pillar in my life, but I’ve yet to start one of my own. How much longer can I wait?  

A cold breeze snaps me back as the autumn sun is quickly fading behind the peaks. A chill in the air means this is likely my last trip to the alpine for the season. It’s time to head home. As I descend back into the warmth of the valley I realize that instead of fighting it, I just need to accept the fact that time is limited, and it’s fleeting moments like this that make it all so special.

No Dreams Left Behind

THE CLOCK IS TICKING, THE TIME IS NOW

A film by Dylan Wineland & Gareth Leah

Featuring: Gareth Leah | Director of Photography & Editor: Dylan Wineland | Color: Jensen Vinca | Assistant Camera: Samantha Cockayne, Bruce Wilson & Clark Aegerter

 

Icannot think of anyone in my life that does not possess a dream of some kind. For many, realizing those dreams often becomes a tug of war between everyday commitments and the chastising fear of failure in the pursuit of said dream. Lofty goals of climbing Everest, becoming a pilot, or building their own house, car, or motobike are often cast aside because “I don’t know how to” and are labelled as pipe dreams.

As a boy, my dream was to ride motorbikes. My parents didn’t much like the idea. They were “death machines” in their eyes. My dad had lost several friends to riding and recovered from a handful of bad accidents himself. One day I built up the courage to ask my Dad if I could have one. He told me “If you’re man enough to own a motorbike, you’re man enough to move out of home”. I understood the somewhat cryptic message he was telling me and not wanting to push the matter further, I locked the dream away in the back of my mind. That was until the morning of my 34th birthday.

That day, I sat down in my front room, closed my eyes, and tried to envision which of my dreams had I accomplished, which ones were left, and how long I had to accomplish them.

A sense that my time was escaping me consumed my thoughts. Life suddenly seemed finite. I felt that if I was to accomplish any of my dreams, I had to cast aside doubt, lack of knowledge, and apprehension, and lean into the unknown, just as I had as a boy.

No dreams left behind.

 

Kelly McCaughey: See You In the Dirt

KELLY MCCAUGHEY’S PURSUIT FOR WOMEN’S RIDING

Words by Kirsten Midura | Photography by Jenny Linquist

 
 

The morning fog begins to dissipate as trailer after trailer lines up along the gravel entrance. Tents of every color bloom across the vast field. The slap of two-strokes reverberates through the clear August sky, and in due time, 200 women gather around a lone, unassuming brunette.

Microphone in hand, Kelly McCaughey begins: “I’d like to start by thanking all of you for coming to the fourth annual Over and Out.” Her words are met by an enthusiastic wave of applause from people who either know her or know of her. The crowd comprises a range of attendees; first-time riders stand alongside professionals such as Rachel Gutish, recently returned from winning gold at the International Six Days Enduro (ISDE) race in Italy. The nerves among the crowd are palpable, whether from fear of the unknown or from an anxiousness to get out and play in the mud. We listen with bated breath to hear the routes, the rules, and our cue to ride. 

 
 
 
 
 

Kelly finishes her safety talk, and we each grab a trail map from a nearby table. We have been asked not to show these to anyone outside of the event. The routes were created for us alone, and they will change with the next event to avoid being overriden. I look down and see sinuous lines of green, yellow, and red twisting across the laminated page, indicating easy, medium, and difficult trails. A woman leans over to me, eyes on her map. “Sadie’s Big Adventure,” she says with a smile. “She named that route after my dog.” 

The women disperse. Some venture out in groups of two or three, ready to take to the trails. Some ready themselves for a day-long guided dual sport ride. Others stay where they are and wait patiently for classes to start: beginners at 10, intermediate at 12, advanced class later in the day.

I join a small group that has been assembled by my friend from Brooklyn. We are taking part in the “Trail Boss Challenge,” a competition reminiscent of The Great Adventure, with ruts to be ridden and riddles to be solved. Until today, I have known my teammates only by their Instagram handles. We follow each other’s lives from afar, and it is good to finally put names to faces. To suddenly have riding friends across the country. We gear up and follow a muddy trail deep into the Pennsylvania woods.

 
 
 

THE MISSING LINK

In the last four years, Over and Out (OAO) has become one of the premiere women’s off-road riding events in the United States. Run by founder Kelly McCaughey, the annual, weekend-long campout invites women of all levels to come together to revel in their shared love of moto. There are marked trail rides of varying difficulties, trainings and guided tours, challenges, a raffle, and a nightly bonfire where women can share their proverbial war stories. This year, OAO even incorporated a mountain biking clinic. Some select men are invited to work the event as “trail dads,” including the crews from WLF Enduro and the Delaware Valley Trail Riders (DVTR). Otherwise, this event is run entirely by women, for women.

To an outsider, Over and Out seems effortlessly executed. But Kelly has spent years meticulously curating this event. She pays close attention to every detail, from the classes offered throughout the weekend, to the routes and staff, to merchandise and raffle prizes. “I think about everything and everyone’s experience,” Kelly says. “Everyone who comes to my events should feel like they’re equally included and here to have fun.”

 
 

Kelly herself did not find her way into dirt biking until she was well into adulthood. In the farmlands of rural New Jersey, she grew up in a family who rode everything except motorcycles. Her father used to train and break horses, her uncles and cousins raced dirt-modified stock cars. For Kelly, motorcycles were always just out of reach. As a child, she lusted after the bikes that she saw in ’80s movies: Karate Kid and Footloose taunted her with their casual cameos of Honda XL 600Rs and Yamaha DT 125 enduros. But as a rule-abiding youth, she heeded her parents’ warnings of the dangers of riding. It was not until she was 30 that she first threw her leg over a bike.

It was a warm summer morning when Kelly’s now-husband, Dan, lent her an XR100 and gave her her first lesson. Dan had been racing motocross for 30 years, and Kelly had only recently signed up to take her first basic rider’s course. They started in a grassy field, and Kelly took to it with ease. “On the way out there, I remember saying ‘I feel like I already know how to ride,’” she recalls. Her childhood years spent on mountain bikes and horseback had given her a natural feel for the movement, and shifting and braking came effortlessly. It was a smooth, if not uneventful, beginning. That is, until they hit the trails.

 
 
 
 

“I didn’t expect it, but my brain lit up,” Kelly said. “All these connections sparked; it felt familiar. I kept thinking, where was this all these years? Why hasn’t this been in my life all along?” She hurled herself through her first-ever singletrack, and a joie de vivre awakened in her that had all but faded in her life. She had finished high school with straight As; had played on her high school field hockey team; had gone on to study primate biology, film, and evolutionary anthropology at Rutgers; had taught herself jewelry design and small business management through her work; and ultimately had landed a corporate job at Macy’s. But despite her eclectic repertoire, Kelly admits, “By that point I’d spent a good five years feeling like I didn’t have a passion I was living for. With dirt bikes, it happened organically.”

For Kelly, transitioning into dirt bikes was relatively seamless. Relatively. Perhaps because she had started in her thirties, her shrewd emotional intelligence and innate attention to detail allowed her to manage the frustrations that most new riders face. Her control over her own mental state had been honed through practice, reinforced by countless hours listening to sports psychology podcasts. Her communication skills were refined from years of navigating relationships with friends, family, and coworkers. She knew that she worked best when focusing on hyperspecific areas of improvement. Move her hips back an inch. Push two strokes higher into the RPMs. And she had discovered a secret to maintaining a “PMA,” or Positive Mental Attitude. “It’s not easy sometimes,” she confesses, “but saying things out loud is a really powerful coping skill.”

 
 
 
 

Kelly found herself riding every weekend. She tested her limits on challenging terrain alongside her partner and group of male friends. “I came home every time and even after hard, exhausting days or bad falls, not once did I ever want  to quit,” she recounts. But even as she expanded her riding network, something was amiss. “I kept thinking, it’d be really cool if I had one other girlfriend who’d want to come do this with me.”

She looked for other women like her, but there were few. Were they there? Did they not have access to the bikes, the gear, the trails? Did they even know that trails were an option? Or had their views of motorcycles been shaped, as hers had, by the movies? Portraying only the open road. Limited only to asphalt. Ridden only by men. After all, she notes, “If no one’s taken you to a super-remote off-road trail, you don’t even know it exists.”

Kelly wanted to understand why women weren’t a central part of this sport. And she wanted to change it.

 
 
 

A SPARK IGNITES

Our team descends down a steep, rocky pass. Fist-sized stones span the width of our path, and they lurch and settle as our knobby tires press them into the ground. At the base, the road offers a brief respite of level grass before we dip back into the forested singletrack. The yellow sign ahead reads, “Vegan Loop.” Sunlight flickers through the trees, and my eyes light up when I see water shimmering across the trail ahead, inviting us into a long, flowing water crossing.

 
 

A humble, guided trail ride marked the beginning of what is now a staple in the women’s dirt bike circuit. It was 2016, and the first OAO hosted only 15 riders. Attendance was limited to women who had the appropriate bikes for the trails that Kelly had chosen. It was a success, but for Kelly it was not enough. A lifelong champion of inclusion, she had grown up in a household where she could only host sleepovers if she invited all the girls in the class. She needed to find a way to include everyone.

As Kelly ruminated on how to grow the women’s riding community, the space in which to do so was diminishing. “We have a shortage of public land for dirt bikes,” Kelly explains about the Northeastern United States. This is, in part, due to the widely held perception that dirt bike riders are environmental menaces. We tear up the forests’ delicate biocrust, and leave trash and exhaust in our wake. Whether unfounded or not, this limitation on land has necessitated riders’ protectiveness over our beloved trails. “When you find a new place to ride,” Kelly says, “you’re careful about who you tell. You don’t want it to be a secret, but it has to be.” 

 
 
 
 

Kelly compares the nuncupative nature of the dirt bike scene to that of the early days of skateboarding, or even the ’90s punk rock and hardcore factions. If kids heard about an abandoned pool, news of it would travel by word-of-mouth. If there were underground shows, you’d maybe find a flyer at a local record store. If there was a new trail, you learned about it from your riding friends. Once you’re in that world, you’re in the know. But if you drop out for a while, you lose that lifeline. “It’s totally community-driven.” Kelly says. “That’s why I use the tagline, ‘See you in the dirt,’” a play on the punk scene phrase, See you in the pit. “It means that sooner or later you’ll see them because you’re part of the same lifestyle.”

But to foster this lifestyle, Kelly needed a place to do so. A year after her inaugural trail ride, she had found just the spot: a large, privately owned plot of Pennsylvania land, rich with wide, grassy fields, remote singletrack, rocky hill climbs, river crossings, and a quarry-bound lake promising the most refreshing swim at the end of a long day’s ride. This property has become home to OAO for the last three years, and Kelly’s team has worked hard to keep it as such. “We’re not going to be part of overriding land,” she says, “That’s something we’re super aware of as an organization, and that’s what everyone should be doing – giving the land a chance to grow back. If you abuse something, you lose it.”

 
 
 

FROM RIDER TO LEADER

We arrive at a fork in the road. To the left, a dappled, sylvan trail stretches invitingly before us – the continuation of our yellow route. To the right, a menacing red sign stakes its claim, holding tight as water rushes around it. “Ralph’s Ramble,” it reads, pointing into the riverbed. The four of us stop and exchange an inquiring glance.

 
 

The year 2021 is the first that OAO’s attendance has broken 200 registered riders. Both the event and Kelly have come a long way in the last four years. “One of my biggest challenges was allowing myself to be the ultimate voice in charge,” Kelly admits. A team player at her core, Kelly learned through trial and error to put her foot down in times when decisions must be made. “I had to get used to the idea that if something is yours,” she says, “it comes down to you and your gut.”

Part of being a good leader, Kelly found, was finding a team that supports your vision and trusts your choices. And the cohesion of her team is evidenced by how smoothly the weekend is run. “We often talk about being a good leader,” Kelly says with respect, “but it’s just as important to learn how to follow. 

The people I have close to me know how to lead, too, but they definitely know how to follow.” Naturally, Kelly’s guiding principle is none other than inclusivity. “I’ll never do something that leaves people excluded,” she explains. “I get that from my mom.” Indeed, every facet of her events is a means of leveling the playing field for women, and sharing technical knowledge that used to seem all but off-limits. “That information is the stuff that people get from riding coaches,” she says, “but the average rider doesn’t get that. I think women in general need more information. Then they’re that much more ready, prepared, and psychologically at ease.”

 
 
 
 

But even with an open invitation, some women are reluctant to take the plunge. Decades of imagery reinforcing riding as a “man’s sport” have conditioned us toward skepticism. “There’s a mental boundary that some women have,” Kelly explains, “How we’re approached by someone else can completely change whether we take advantage of an opportunity.” When Kelly encounters hesitation from women, she approaches it in a way that is groundbreakingly simple: “I love when I get emails from girls who say, ‘I’m new to riding,’ or ‘I’m coming by myself, and I don’t know if this is for me,’” she says, “My favorite thing to do is to respond with so much positivity that it changes the whole energy with which they are approaching it.” 

 
 
 

THE REASON WHY WE RIDE

I leave my experienced team members to their own devices and gladly take the road more traveled. Enjoying the casual dips and turns of the yellow route, I practice my form and revel in the tackiness of the rain-soaked soil. Eventually, the curtain of foliage lifts, revealing my destination. I dismount and shake off my gear, and take a deep, relaxed breath.

In the field before me are thirty women on thirty bikes. Under the guidance of professionals, the women ride in turn toward a massive log. With newly acquired ease, each woman pops her front wheel over it, followed by the back. No one falls. No one yells. There is a pointed lack of bravado amongst the group. These women are relaxed, focused, confident. Concerned only with themselves and their own improvement. Each one is beaming with pride. I can’t help but think, “This is what it’s about.”

 
 

“I associate every win or loss with my own self-worth,” Kelly says frankly, speaking literally of each and every OAO. “I’m very Type A. My car ride home is thinking about the thing that went wrong, thinking about how to fix it for next year.” With everything running so smoothly, it’s difficult to imagine what she could be referring to. 

True to form, Kelly is thinking not of the big picture – she has that dialed in by now – but rather of the experience of the individual. She recounts an example from the year before: A woman had traveled out from Michigan on her own, and she did not know who to ride with. Kelly’s husband, Dan, ended up riding sweep for her throughout the weekend. “Had I known, I would have gone out and ridden with her,” Kelly says with genuine remorse. “That was my biggest regret after the last event. I need to get out and ride with people more.”

Most organizers would not reflect on their work with such granularity. But then, Kelly is no typical organizer. While OAO is her seminal event, she has begun to flesh out a program series dedicated to women, adding to the lineup a dual sport retreat, an MX event, and specialized clinics. With all these annual events to juggle, Kelly emphasizes the importance of savoring the small wins. While her capable team is off carrying out her events to perfection, Kelly has finally begun to schedule time to simply observe people enjoying themselves. She even makes time to go out and ride.

 
 
 

These moments allow Kelly to remember why she started all this in the first place. Why she stands her ground in the face of adversity, and why she thinks through every scenario and every person’s experience before making a decision. “It’s so similar to riding,” she reflects. “Everything you go through, that you feel – the challenge and the relief at the end, the excitement, the negatives – it’s all part of it, and without the lows you don’t have highs.” 

She pauses to reflect. “It’s like that quote,” she says, paraphrasing the adage from mountaineer Greg Child: “Somewhere between the beginning and the end of a trail is the reason why we ride.”