Archive

Death Acre

WHERE THE DUNES MEET THE SEA ON THE COAST OF ANGOLA

Words by Adam Lyman | Photography by Archie Leeming

 
 

Ican’t do this, man.” I sat on the hard mattress of the dingy border-town hotel room and said the dreaded words. Silence. Archie Leeming, looking tired, calmly paused his packing. We were both exhausted. I was at my wit’s end. I had to break the news; I couldn’t take the intensity of this trip anymore. It had been a wild journey already, fraught with frustration and challenges. And yet the “real” trip had yet to begin. The Death Acre in Angola — the southern African nation officially known as the Republic of Angola and an adventurer’s dream — was still ahead of us. But we had been met with relentless struggle already, and I didn’t think I could be a good travel partner if we continued. 

 
 

A strained conversation ensued. We were both a bit upset. The trip wasn’t supposed to end this way. We had been planning it for nearly nine months and had been so eager. At this point it felt like it was supposed to happen. But I couldn’t seem to change my feelings. By choosing not to go, I threw Archie’s entire trip off. The Death Acre is not a place you go on your own, so without a travel partner, his dreams of exploring the coastal dunes of Angola were dashed. We packed the rest of our gear in silence and trudged out of our damp, shabby room with dusty panniers slung across our shoulders. A three-wheeled motorcycle with a covered cargo bed putt-putted into the courtyard to take us and our gear back to Angolan customs, where our bikes had been stuck overnight. 

The Death Acre is a 50-mile section of coastline in Southern Angola. Here, mountainous dunes rise immediately from the sea’s edge, ending in towering peaks of sand. There is no beach, no border between the wall of sand and the ocean. Normally, there is no way to cross this section by land. However, at certain times of the month and according to moon patterns, the tide recedes to reveal a temporary passageway wide enough to pass between the sea and the dunes’ edges. But after a window of a few hours, the ocean returns to the foot of the dunes, swallowing your tracks and any vehicle that remains. This is what we had come to explore. But the thought of doing so was very foreboding.

 

To even be at the Angolan border was a feat of its own. Two weeks prior, Archie and I had met in Windhoek, Namibia, after journeying several thousand miles each to get there. I was coming down from Northern Zambia, and he up from Cape Town, South Africa. And what a journey it had been. For months we had poured our hearts and souls into our old, classic Honda motorcycles for this trip. I had completely rebuilt my 750cc Africa Twin from the frame up, and Archie had freshly rebuilt his engine and carefully customized his XR600R for the long-range adventure. We lived and breathed old bikes, and our trip to the Angolan border had been a trial by fire, as it was the first time both bikes had been ridden fully reassembled. 

Naturally, Murphy and his law had it out for us the entire time; anything that could go wrong seemingly had. Mechanical failures. Electrical failures. Engine problems. We quickly occupied any garage space across Southern Africa that we were allowed into. Some people would call it “chaos,” but to us it was just standard procedure. It seemed like there had already been at least two separate trips within this trip. I was beyond exhausted. We had chosen our hill, and the odds weren’t looking good. I was ready to surrender before that proverbial death. 

 
 

I gazed out the back of the three-wheeler, watching the chaotic road scene unfold as we plodded toward the border. People in flip flops drove small motorbikes in every direction on a packed road, zigzagging every which way. Crowded storefronts lined the street. A cow stood alone in the middle of a grassy roundabout. I was still going back and forth in my mind about my decision. We had been committed to this trip together for a very long time, and as we get older these opportunities are getting harder and harder to come by. There was a lot of momentum riding on this trip, but at this point I felt like we were pushing a rock uphill, knowing full well we may get crushed by it if we kept it up. Then the putt-putting of the three-wheeler slowed, and I snapped out of it as we stopped in front of customs, where our bikes had been held overnight.

Technically, the border was closed due to COVID-19. We weren’t even supposed to be here. Everyone in Namibia had told us crossing was impossible. Until we convinced him, the Namibian immigration officer was not going to stamp us out of the country. The day before we had failed to cross into Angola because the immigration officer in charge of processing our visas was at church. So, stranded and destitute without passports, motorcycles or money, we were forced into a dodgy, humid and mosquito-infested hotel room near the border. Stranded and destitute was the last sign I needed to tip my decision-making scales.  

 

As we trudged back up to Angola immigration, the officer in question came bursting out of the door holding our visas over his head, beaming with excitement. He spoke good English and had been very helpful so far, completely unphased by the border closure. “Are you guys ready for Angola?” he asked cheerfully. I countered with my somber news: We would be turning around and heading home. He looked very confused, almost concerned. “But Angola needs you!” he pleaded. I saw Archie cracking a smile in my periphery. The officer was in his corner — the last-ditch convincing effort he needed. “I’ve already processed your visa; everything is ready to go!” We were silent. Archie was gleefully holding back from piling on with convincing remarks. So, the officer continued for him, “There is nothing to worry about, where you are going it’s so beautiful. Just come, don’t worry.”

I smirked and shook my head. This situation was so absurd. I looked at Archie, and he was laughing. The tension between us was broken. I looked at the bikes. Then toward the locked gate at the end of immigration and customs. We had come all this way. 

 

We excused ourselves for a minute. I walked around the building and sat on the curb next to the bikes. Several possible scenarios flashed in my head — some realistic, some fear-based. What if the trip takes longer than we expect? What if the bikes break down (again) and it becomes a massive undertaking to extract? What if the COVID situation changes and Namibia or Angola locks down their borders? I looked at the bikes. Back at Archie. Back at the gate into Angola. I could hear the voices of all the reasonable people in my life saying how terrible of an idea it would be to go through that gate. “Real Africa” was behind it — anything was possible once we stepped through. My head was in a fog from our night of battling mosquitoes and heat. On top of being road weary. We hadn’t had a proper meal in days. I was blank. Several moments passed.

 
 

“All right, let’s fucking do this.” I stood up confidently. Archie beamed, and we hugged. It was on. Tension turned into teamwork. Back around the corner the immigration officer stood excitedly waiting with our passports in his hands. He might have been as excited as we were when he heard the news. All of us cheered. A few stamps and papers for the bikes later we passed through the gate and were on the road into Angola.

Everything changed as we crossed the border – the language, the people, the culture. We switched from driving on the right to the left. People, animals and other random objects poured into the streets. There were abandoned, rusted tanks sitting along the side the road, their turrets pointed south toward Namibia, remnants of the devastating civil war that had occurred mere decades ago. Empty hotel and housing projects sat idle. It felt strangely eerie, like driving through a documentary of the Soviet Union in the ’80s, but this was Africa. European architecture and pastel-colored buildings dotted the roadside, making things even more confusing. But everywhere we stopped, the warm, relaxed nature of the people we met immediately shattered the artificial cold projected by these historical remnants.  

 

Our route took us northwest from the border along the single tarmac road headed toward the town of Cahama. There was hardly anything there, just a handful of small shops along the road for a few hundred miles. A horde of small bikes crowded around a large above-ground fuel tank. We pulled in. Eminem was blasting on a cheap Chinese stereo. We filled up all fillable containers we had with fuel and water — from here on out there wouldn’t be any official fuel stations. There may be fuel in the villages, but there was no way to tell. I scrounged up some grocery supplies. We would not see another tarmac road until the end of the trip, several days and nearly 1,000 miles later. Well, we weren’t exactly sure what we would see.

There is something so enticing about heading into the unknown in a totally different country, with a completely unique landscape and culture. We pointed our fully loaded bikes into the sunset over the scrubby, bushy scene before us. From here, we’d head west toward the ocean across several hundred miles of remote bush track before reaching the start of the Death Acre. For us, the Death Acre was the proverbial summit of the trip. The last, most difficult task lying ominously at the end of the challenging track to get there. That morning’s drama slipped far into the background as we started off into the dying sun looking for a place to sleep in the bush.

 

Dusty roads. Cool mornings, and hot days. Spirits were high — the riding was incredible. I danced on my foot pegs to the Grateful Dead blasting in my helmet as we weaved in and out of the rocky track flowing up and down through the bushy desert that slowly turned mountainous. This. This is why we do this. Exploring the far corners of the world with a good friend, loaded up on bikes we had transferred part of our souls into. We were firmly in the ever-elusive “zone.”  Things were coming together. All memories of past suffering faded away. What was up next? When was the last time a foreigner had been down these roads? Months? Years? Each small town we came across felt like an oasis. There weren’t many, but every few hours a village would appear out of the dry, barren landscape. Over the next few days, the villages became smaller and smaller, farther and farther apart down more aggressive roads. Only a few hundred more miles to the ocean. 

Iona National Park was the beginning of the endless sand. Deep sand. We trudged through the ruts of 4x4 tracks that had gone before us heading for a ranger station. This would be our last checkpoint before the open desert and the start of the Death Acre. We didn’t know what we would find at the station, so both Archie and I were completely loaded with water and fuel. A 23-liter tank of fuel, plus six more liters in an auxiliary bag.  Eleven liters of water. I could feel the weight of the Twin, now very top-heavy, shifting from side to side violently in the sand. We were both tired, but all remaining energy reserves were focused on keeping things upright and moving fast enough to maintain balance, and not get sucked into the bottomless fluff. Every now and then I’d break concentration to remind myself to take in the increasingly rugged, unearthly scenery unfolding around us.

 
 

Around midday we pulled into the ranger station in Iona. It was a simple camp, consisting of a few rows of block housing where we were offered to stay the night. We looked at each other. A real bed? Indoors? Behind the station was a sea of infinite desert. The mountains were no more — it was nothing but sand between us and the ocean. As we parked under the shade, I could see heat waves rolling off the surface into the horizon. Around sunset we hiked up a nearby mountain. From the top we had a 360-degree view of our surroundings. The geological shift was clear. There was no one else here. It was quiet. Barren. Isolated. Majestic. Ominous. 

From the ranger station, we still had to cross the 60-mile section of desert plain that lay before us. There was no official road here – just open desert with faint two tracks in the windswept sand. Eventually they would lead to the Foz do Cunene, or “Mouth of the Cunene,” which was the border between Angola and Namibia. There was a small police post guarding the border, nestled in an abandoned colonial settlement from the 1800s, amongst the dunes. Next, we’d ride along the brooding, desolate coastline for about 60 miles north from the police camp, where the Death Acre would begin. The whole area was wildly remote. Nothing but sand, wind and water for hundreds of miles. Cell signal had stopped four days ago. 

 

We went flat-out Dakar Rally-style, pinning the bikes racing side by side like ink pens drawing a route on the surface of the blank virgin sand. Archie had the coordinates on his GPS, and we followed that line along with some faint tire tracks in the sand. We couldn’t afford to get lost out here. The conditions were too harsh; the stakes too high. 

As we got closer to the ocean, the flat desert turned to dunes, gradually becoming larger and larger. The sand shifted back from hard pack to soft beach. This is where Archie’s XR600R was at its best. I, on the other hand, with a fully loaded Twin, was pumping the throttle to keep the ship afloat. If we stopped at the wrong spot — at the bottom of an incline, or the middle of a loose sand rut — we could get very stuck. So, we had to keep the speed up so that the bike could remain afloat above the sand — but not too fast, because the dunes were laden with treachery, oftentimes concealed. Most common was a hidden ridge: A dune face that appeared to gradually slope down the other side could drop off unexpectedly, leaving a sheer drop. Depth perception among the dunes was difficult to ascertain, so it was hard to tell which ridges dropped off and which ones didn’t. 

 

Archie stopped and looked down at his front tire. It was flat. We were already pressed for time, and this was an unfortunate setback. There was no shelter out here, and we really needed to make it to the river mouth if we had any chance of crossing the Death Acre the next morning. A puncture two hours before sundown, in the middle of the desert, with little backup options available, was the worst-case scenario. Here we go — this is what we had trained for on all our previous trips. We went through the motions of changing Archie’s tube as the late-afternoon sun beat down and the wind whipped sand across our face. I could smell the sea in the intense wind blowing from the coast, which still must have been many dozens of miles away. 

The sun set over the dunes, and the sea mist rolling in from the ocean was fogging up my goggles. We still couldn’t see the ocean, but the smell and heavy air was unmistakable. As we got closer to the ocean, more and more rocks appeared, hidden in the dunes. There was more wind here, too. We were so close, but that didn’t really matter. Each mile had potential for danger and getting very lost. Things were getting dicey now as darkness set in. We were pushing. Up and over the dunes, one after the other, going faster and faster with a sense of urgency. Eventually we crested a rolling dune and saw the ocean in the distance. I was in disbelief that we were actually here after all we’d been through. But there was no time to celebrate, as we had to find our camp. 

 
 

An eerie, abandoned settlement rose out of the desert to greet us in the dusk. Tucked into the dunes and set back from the sea was a smattering of concrete block houses. Their paint had faded years ago and stood as gloomy gray dwellings in an already bleak landscape. Most of the houses were rundown and ramshackle, with roofs falling in, or filled with sand that had blown into their open doors and windows.  

Guards appeared out of the block houses near the entrance to the village. People. There were people here. How was that possible? Their cheer and friendliness immediately cut through the town’s eerie darkness that at this point was both quite literal and figurative. We were welcomed by the guards, who took our details, effectively checking us “in” to the abandoned village. 

 

In the last remaining light, we rode our bikes across town over to the ramshackle pump house at the edge of the river where we would sleep. Busted-out windows and graffiti added to the ghostlike feeling. Large pipes twisted in various arrangements were still scattered throughout the house, which looked directly over the river, which was something of an anomaly itself. A wide ribbon of fresh water winding its way through the dry, sandy desert, eventually dumping into the ocean. We later found out the river was packed full of crocs and a variety of sharks, adding to its exotic appeal. 

There wasn’t much time to take in how incredibly peculiar the whole settlement and situation was because we had to begin preparing for tomorrow. Our attention turned to the task at hand. I could feel the weight of the following day when we would make a go at the Death Acre.

Archie’s alarm pierced the early-morning stillness. It was 4:30. Coffee, oats, a few quiet moments by the river. I looked for crocodiles. Nothing. The sun crested the top of the dune opposite the river. Time to go. 

 

If all went well today, we would be camping in the middle of the Death Acre section. Archie had GPS coordinates to meet up with a group for a tour from a place called Flamingo Lodge going to Baja dos Tigres tomorrow and camping in the dunes for two nights. Our plan was to meet up with our guide at their camp and join the tour. If we made it on time. Through a variety of satellite communications Archie had arranged an hour window to meet them between 11:30 and 12:30. 

Both Archie and I had been on a lot of trips to obscure places, but there was something different about today. I could feel it. This was serious. Countless things could go wrong very quickly and easily. Seamless execution was dependent on our skill, focus and preparation. Past images of sunken Land Rovers and motorcycles being hauled up a dune away from the incoming tide crossed my mind. Stories of experienced motorcyclists going headfirst over a dune and breaking bones surfaced. If anything went wrong, help wouldn’t be easy or guaranteed. Definitely not fast. Things were serious. 

 
 

We started off. There was roughly 60 miles of challenging coastline to cover before the official start of the Death Acre. But there was no road. It was up to us to choose the right line, which was nearly impossible. Each line has its own perils. Near the ocean, riding was flat, but occasionally saturated sand would become quicksand, instantly stopping us in our tracks. Or a rock outcropping sticking into the ocean would block our path, and we had to go up and over the sandy bank to gamble on the inland line. Once inland, we were faced with deep beach sand and dunes with huge whoops, boulders and drop-offs. Rock chunks that could easily take out an engine case were hidden by the sand. The sand was anything but flat. Ramping off a dune, or diving into a hidden crevasse, seemed inevitable. One mistake and we’d go over the handlebars, breaking the bikes or ourselves. My adrenaline and focus had never been higher. Sure enough, both of us eventually dumped our bikes down a false dune side, luckily avoiding any critical damage or injury.  

After many hard-fought miles, we reached the start of the Death Acre — marked by the towering dunes appearing out of the desert plain. Fortunately, the conditions made the famed Death Acre riding much easier than what we had just completed. The sand in front of us, recently covered by water a few hours prior, was hardpacked and gave us no issues. It was a calm, sunny day. We made good time. The scenery was beyond epic, unlike anything I had ever seen in my life. We were happy and smiling, and we had plenty of time to mess around and shoot some photos. 

 

And then I got lost. Archie and I were separated for nearly an hour. I made a wrong turn into a false lagoon created by ocean currents. What appeared to be coastline eventually disappeared into the ocean. I didn’t have the GPS, or any way of knowing where I was, or where Archie was. I didn’t realize I was lost and waited for Archie to catch up, not knowing he had already passed me farther inland. Maybe he was having mechanical issues again, I thought. I waited. Nothing. Meanwhile, unbeknownst to me, Archie was completely panicked. He drove up and down the coast searching everywhere for me, writing notes in the sand, worried I had been lost and then backtracked. By the time we finally met again, he was rattled, and another hour was gone. We were pushing time again, putting our meetup window in jeopardy. 

We continued riding up the coast. Dune ridges, towering over the ocean, wound northward as far as we could see. Past the lagoon, riding was easy again, as we flowed in and out of the curvature of the dunes. We made good time again, although still wary of our past hindrances. 

 

Eventually Archie stopped abruptly on the coast. “This is it, the GPS coordinates. Camp Relief should be a few hundred meters that way.” He pointed at the massive dune to our right. Finally! We were in a celebratory mood — the highest of highs. Archie was beaming. The apex of our trip! We had done it! There was still sand in both of our helmets from when we had dumped our bikes over dunes earlier this morning. I had several near-misses with boulders. But we had made it. Months of planning and prep and hardship resulted in this moment. The trials and tribulations to get here were substantial. Just a week ago I had reached my wit’s end, and nearly turned around. But here we were. 

Time for a tea and snack by the ocean. I dug out the last bits of biltong (cured meat strips) and dried mangos — luxuries I had saved from Namibia. This was a real celebration. I suggested we move the bikes down to the water to create a makeshift shelter to protect us from the hot midday sun and slight offshore breeze. Still chuffed, we walked to our bikes to move them. 

Thwap, thwap, thwap. Archie looked at me with a horrified face. His kicking intensified. Thwap, thwap, thwap. Nothing, not even a single fire. He kept kicking in denial. Several minutes passed. This might be one of the worst places for the bike to give up. Both our minds were racing. What if it actually didn’t start? What if we were stuck in the middle of the Death Acre with a bike that’s not working and no backup on the way? Thwap, thwap, thwap. 

 
 

I suggested we go have that cup of tea, cool off, enjoy the surroundings a bit and not think about it right now. But it was too late. Archie had already begun spiraling — as one would — when you may be stranded in the middle of possibly the most remote desert location in the world. After 2 p.m. that day, the tide would come in and then no one could reach us by land. Our high had crashed immediately. The mood was again one of frustration and hopelessness. 

We had our tea. Archie was visibly upset and disgruntled. I tried to provide some comfort and be a steady voice of reason, but even I could tell that the situation looked a bit bleak. Eleven-thirty turned into 12:30, which turned into 1:30. What if we waited too long, then missed our window to get out of the Death Acre? Do we camp here for the night? Will Archie’s bike start again? What do we do if it doesn’t? 

 

I took another sip of tea and stared out over the ocean. In front of us to the north, the coastline swooped around, jutting out to a point. I fixed my eyes on that point. If our guide comes, it will be around that point. No sign of a vehicle yet. Meanwhile, our surroundings didn’t seem to care about our internal turmoil. Everything was still. A calm, turquoise colored sea gently lapped the shore. Periodically the wind picked up across the sea, blowing bits of sand up and over the lonely dune peaks. Seagulls rode the thermals, hovering just over top the mountain of sand. Their shadows danced across the face of the dune below. A jackal sat completely still halfway up another dune, looking at us curiously. I broke the silence with another attempt at keeping the optimism up. We had the essentials. We had prepared for this. There was enough food and water for an emergency overnight. It might not be ideal, but it was fine. My words seemed empty, hardly comforting in the void that was our current environment. There was nothing left to say, so we sat in silence, both running scenarios about what might unfold.      

 

“What’s that?!” We strained our eyes toward the point like stranded sailors desperate for rescue. Nope, that was just a dark rock I hadn’t seen yet. We eventually gave up and walked back to the bike to inspect it. Seat off, tank off, luggage spread everywhere. Standard procedure. We checked the spark plug, and sure enough the spark was weak. It was yellow. Sometimes. Other times there was no spark at all. Without a multimeter we couldn’t pinpoint the problem exactly. All we could do was hope there was enough spark for enough of the time to get us out of the Death Acre.  

We were nearing complete devastation. The whole trip had been a roller coaster of emotions, constantly going from highs to lows. But this was a new level of low. Archie was especially upset — he had put so much time and effort into painstakingly preparing the bike for the trip — and now we might be stuck for real. The uncertainty and anxiety that came with it was crushing. 

 
 

I periodically peered up from Archie’s bike, looking toward the point. Nothing. Wait, there was movement. I squinted against the sun. Oh my god. A Land Cruiser came flying around the corner in the far distance with a long boat on a trailer wagging behind it. I did a double take. Even from this distance the cruiser was moving seriously fast. He must have been going nearly 70 mph along the beach, with a boat in tow. It was a sight to see. We could hardly believe it! Excitement flooded both our faces.  Our guide pulls up and hangs out the window, greeting us with a wry, mischievous smile. The simple presence of another human washed away all the darkness of our anxiety and stress. We were saved!

Archie put the bike back together and started kicking. Thwap, thwap, thwap. Somehow, in a seeming act of God, the bike eventually fired, springing back to life. It was on.

We asked our guide where a camp was. He pointed at the massive dune rising behind us and said, “Just behind there.” We looked at each other, then back at him, confused. I was speechless. How could a camp be back there; there was a dune in the way? How were we going to get there? “Follow me,” our guide shouted as he drove away. Archie and I stood there, still in shock, as he looped around and charged up the side of the dune in the Land Cruiser with the boat behind him, the turbo screaming the entire way up. Up and over — the cruiser disappeared behind the dune. Not wanting to get lost again, Archie and I quickly saddled up and followed the guide through the mysterious portal into the campsite. Sure enough, over the first dune was a small relief surrounded by towering dunes where several basic camping shelters stood. 

 

Archie and I got off the bikes completely chuffed. Archie was laughing. The darkness was over. The guide brought out cold drinks. Lunch was being prepared. Near total desperation turned into what felt like a relaxing beach holiday. A gazebo was popped up. French expats working in the oil and gas industry in the capital city of Luanda showed up in a second Land Cruiser that reeked of a burnt transmission. Both vehicles had problems on the way, delaying them for hours. We sat in the shade, enjoying cold drinks and each other’s company. The afternoon was spent swimming in the warm coastal water and wandering along the tops of the surrounding dune ridges. The high was back. Later that night we enjoyed a massive meal of hot food, huddled from the desert cold in one of the basic wooden shelters. 

I slept so hard that night, underneath the desert stars in the open-air shelter. So hard that when I woke up I had to remind myself where I was. We were on holiday! Not broken down and clinging to life on the side of a dune. I smiled. I heard the sounds of breakfast being prepared, and smelled bacon cutting through the pre-dawn stillness. Unreal. This could be a dream, as far as I was concerned. That morning we toured Baja dos Tigres with our guide and the group. The island was one of the most bizarre locations I have ever been to, a large fishing ghost town located on a tiny strip of desert surrounded by ocean and impassible desert. We walked around as tourists, excitedly exploring the ruins of 19th-century buildings. What a difference a day can make. Twenty-four hours prior it had felt like we were fighting for survival. 

 

With ultra-high spirits, our entire group left the camp in a convoy. Archie and I on the bikes led the way, with the Land Cruiser behind us, speeding across the coast. Archie stopped and threw up his hands at the official end of the Death Acre. We really had made it this time. The town of Tombua appeared on the horizon. This was our first large town since leaving Cahama a week before. Motorbikes buzzed everywhere. Large Portuguese buildings and architecture sprawled throughout the city, painted in pastel colors. We finally arrived at the Flamingo Lodge just in time to see the sun set over the ocean. We recovered here for the last few days of the trip, eating well, resting and soaking in the beautiful surroundings. 

A few days later, Archie and I went our separate ways. I was headed back to Cape Town to start a new project, while Archie continued north on his motorbike along the West Coast of Africa, with his sights set on Europe.

 
 

It was in the quiet moments near the end of the trip that I could reflect and make sense of what had happened the past few weeks. This had been by far the most adventurous trip I had ever been on. I thought about that. Adventure. In a world of visual, manicured media, the way adventure is communicated has changed. The hardship involved in these types of trips is often lost, traded instead for one-sided glory or glamour. For us, adventure meant enduring some of the lowest of lows and the highest of stresses, and difficulties we had ever seen before. It meant more grit than glory. But, amid the troughs — no matter how low — there was always a peak. Perhaps it’s the sheer difference in potential between the highs and lows that makes this type of travel so addicting. As the sun went down on that night and the rest of the trip, I was completely knackered and ready to head home. But I knew I would be back at some point. True adventure has a way of calling. Until next time.

Dark Hours Outsider

MIKEY OJEDA: BLEACH DESIGN WERKS

Words by Seth Richards | Photography by John Ryan Hebert

 
 

It’s after hours in Los Angeles. From the Hollywood Hills, the lights of endless sprawl underpin the gray horizon, and from the heights of this American Olympus, the gods of celebrity, culture and money invent themselves. It’s here that Mikey Ojeda had a revelation.

Ojeda and his friend, the pro skateboarder Nyjah Huston, are leaving an afterparty. As the evening’s revelry disperses in the night, Huston, in a T-shirt and white Nikes, climbs on the murdered-out KTM 500 EXC-F Ojeda had just finished building for him, thumbs the starter, and sets off. Huston glances over his shoulder at the Uber full of women giving chase and pulls a heraldic wheelie, pronouncing his place in the world.

 
 
 

As the blast of the KTM’s exhaust cuts through the perfume of sagebrush and spilled champagne, the party’s din fades in the air, and Ojeda begins to realize the significance of his custom dual sport.

That night and others like it became the inspiration for Ojeda’s custom house, Bleach Design Werks. Based in Los Angeles, Bleach specializes in building custom dual sports with an LA-inspired aesthetic. It’s quickly attracted a celebrity clientele and sparked collaborations with Deus Ex Machina, Harley-Davidson, Alpinestars and Dunlop. And that’s just the beginning. Remember the name. Bleach Design Werks is about to blow up.

 
 
 
 

 “In the beginning,” Ojeda says, “I didn’t even like the idea of dual sports. I didn’t understand them.”

Given his background, it’s no wonder they seemed so alien. Ojeda grew up in Los Angeles and started racing motocross on a KTM 50 SX, practically learning to ride in the crucible of competition. A motorcycle was a tool for competition, not something to be ridden to the corner store for a carton of milk and a laugh.

Spending much of his childhood at the track prepared him for a career in the industry: first as an athlete manager for supercross and motocross racers, then as marketing director for an online motorcycle gear retailer.  

When Huston, with whom he shares a love of skateboarding and motocross, said he wanted to customize a dirt bike to fit his style like he does with his cars, Ojeda figured he could help negotiate a deal with Kawasaki, given Huston and Team Green’s mutual association with Monster Energy. Huston had other ideas.

 
 
 
 

Ojeda recalls the conversation: “Nyjah said, ‘I want a dual sport. I want to ride it on the street. I want a KTM 500.’”

“I said, ‘We don’t ride those bikes. We ride dirt bikes!’ I remember arguing with him about it and was like, ‘You’re crazy. They’re not cool.’ But he was so persistent.”

Next to a purebred motocross bike, a dual sport is a compromise—and looks it. A larger tank, cheapo turn signals and a bulky license plate bracket diminish the form-follows-function look of a number-plate-and-knobby off-roader. They’re slower and heavier, too. The engines often have lower compression ratios for improved street-ability, larger radiators to cope with city riding and revised chassis geometry. To pass muster with the Feds, they have catalytic converters, charcoal canisters and quiet exhausts. In the process of becoming reliable, street-legal and socially acceptable, dual sports lose the purity that makes a motocross bike the most badass machine on a showroom floor.    

Huston was undeterred. After picking up the KTM at Three Brothers Racing in Costa Mesa, California, he shocked Ojeda again by tossing him the keys. 

 
 
 
 

“Nyjah said, ‘All right, take it home,’” Ojeda recalls. “I was like, ‘What for?’ He said, ‘Build it.’ I told him, ‘I don’t do that. I don’t build bikes.’’’ 

Ojeda remembers thinking, “Once again, I’m getting talked into something I don’t do.” 

“If I can style this dual sport as closely to a moto bike as I can,” he remembers thinking, “it might be cool. I’m going to take factory brakes from a motocross bike; I’m going to set the suspension up like a motocross bike; I’m going to be able to ride it on the track.”

He tore down the brand-new engine to have it Cerakoted black, gave the front suspension a black diamond-like coating, installed a slender motocross tank, added a bunch of titanium hardware, and gave it a signature graphics treatment. It set the formula for every Bleach Design Werks motorcycle since. 

 
 
 
 

After riding it, he realized this new breed of dual sport was no joke. “Ten years ago a dual sport was an XR650,” Ojeda says. “Now these KTMs and Husky and Hondas are so close to a motocross bike.”

“The way I saw Nyjah use that bike really became my whole concept behind the brand,” Ojeda says. “I use the analogy of a Ford Raptor. It’s fully capable off-road, but 90 percent of them will probably never see dirt. People want to go to the club, or go to dinner, or go on a date with their chick and be in this off-road vehicle. There’s this cool factor of it being this urban thing. Can I build the Ford Raptor of bikes?” 

Consciously or not, by understanding a motorcycle’s implicit cultural message and its role in symbolic behavior, Ojeda has fit the machine toward man. Replace for a moment the image of Huston wheelieing away from that afterparty on his Bleach KTM with a 200-horsepower superbike, and the impression it leaves takes on a different meaning. On a superbike, that wheelie comes across as gratuitous and self-serving, an indictment of tact. A superbike’s superlative performance is subjugated to its relation to the rider who will never be its master. It’s too serious a thing to use as a playful prop. But on a lightweight single-cylinder off-roader producing less than 70 horsepower, that wheelie blithely tips its cap to braggadocio. The rider looks like he’s having fun, not like he’s desperate to impress.  

 
 
 
 

It’s no easy trick to express one’s sense of self-assurance and self-gratification so convincingly, and yet such symbolic messages are critical to the way we interact with each other. The clothes we wear, the vehicles we drive or ride, and the places we choose to be seen devise the identities in which we find succor and confidence. In one form or another, finding meaning and social position can be attributed to the way we style our lives.

“Style is everything,” Ojeda says. “Style creates a feeling. There’s no standard for style. My style is what makes me get up and feel the way I want to feel in the morning. I think there’s style in everything.

“I take a lot of inspiration from fashion. Riding these bikes in the city, you’re not wearing motocross gear; you’re wearing normal clothes. The bike is an accessory that belongs with the way you look.”

Bleach motorcycles look like LA pop culture and reflect the style of its celebrity clients, including Justin Bieber, rappers Ty Dolla $ign and Arizona Zervas, Ben Simmons of the Brooklyn Nets, skateboarders Leticia Bufoni and Boo Johnson, and Ojeda’s childhood friend, motocross racer Cole Seely. 

 
 
 
 

As much as the Bleach look is an expression of Los Angeles, riding dirt bikes on the street has strong associations with broader urban culture. Dudes were riding CRs and YZs on the streets of Baltimore long before Ojeda Cerakoted an engine black or Bieber made it cool to suburban kids. 

So, in a sense, a Bleach custom is a designer take on urban style. Exclusivity makes Bleach motorcycles the fare of rappers and basketball players, but the trickledown effect is what most excites Ojeda. 

“I see the bikes almost being the smallest piece,” Ojeda says. “How can we touch the demographic of people who can’t afford the bikes but want to be inspired by the way they make other people look?”

 
 
 
 

Bleach is rapidly expanding into the fashion world and is developing capsule collections with several big-name brands. One such collaboration is with Harley-Davidson. It puts him in good company: H-D’s latest fashion collab is with menswear giant Todd Snyder. Undoubtedly, Harley-Davidson wants a piece of the Bleach demographic.

Bleach’s current residency at Deus Ex Machina in Venice, California, further emphasizes Ojeda’s vision beyond two wheels. Ojeda sees it as an opportunity to invite people into the processes of building a bike and developing a line of made-in-LA clothing.

During the launch party of the residency, Ojeda opened the Deus workshop and began to tear down the KTM, maneuvering around the lift while guests drank beer and chatted. 

“We built the shop out like a clubhouse,” Ojeda says. “I wanted it to feel like when you hang out with friends in your garage. The workshop used to have a one-way mirror looking into the retail store, so no one could see in. The first thing I wanted to do was blow that whole window open.” 

“The days of hiding everything are just dead. Creating transparency is so important. Everyone wants to feel a part of something, like they belong.”

 
 
 
 

While the motorcycle community is connected by common interest, it’s also divided by overt symbolic behavior that delineates who’s part of the club and who isn’t. The perceived barriers of gender, race and social class are just as evident in the motorcycle world as they are anywhere, and are even amplified by the distinct expressions of motorcycling’s subcultures. Marketing success is contingent on a brand’s ability to play to the right crowd. To transcend a specific niche requires a broader appeal. 

Bleach bikes aren’t easy to categorize. They don’t fit easily in the custom scene, and performance aside, their LA-at-night style is a departure from the motocross and off-road scene from which the bikes are derived. Consequently, Bleach’s demographic has come more from outside the motorcycle world than from within. So, despite Ojeda’s deep roots and connections within the industry, Bleach can come across as an outsider. 

 
 
 

“I submitted one of my first bikes to a motorcycle publication, and they denied it,” Ojeda says. “They said it’s not really a custom bike. I was bummed, thinking I’m not doing it right. Then I took a step back and realized I had a different place to go. Now, seeing my bikes in all these different publications that have nothing to do with bikes—that’s where I want to be. That’s where I belong. We take in ‘Nos’ as if they’re always bad, but sometimes ‘Nos’ are the biggest ‘Yes.’ You gotta find where you fit.” 

Ojeda looks beyond the insular subcultures of motorcycling to glimpse a world far larger. He has his eye on Paris Fashion Week, Vogue, and a culture in which two wheels are usually invisible. And in Los Angeles, where culture invents itself in the waning hours and outsiders become the in-crowd, Ojeda is on the brink of introducing Bleach to the world.

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.

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.

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.

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.”

Same As It Ever Was

NOTES FROM THE ROAD

Words by Alex Foy | Photography by Tal Roberts

I awoke the day of our departure with a healthy dose of hype churning in the gut and questions percolating that only the road could answer. Was my gear all dialed in? How efficiently could I pack a van? And where in the fuck is my spare socket wrench set?    

Thoughts like these seem inevitable before a trip and hold some value before you hit the road. Best-case scenario they make you consult and reconsult the checklist, but left to run rampant, these questions will leave you rudderless and intimidated. Moral of it: Triple-check your gear and then burn it down the asphalt – your questions will be in the rearview as soon you hit 60.

After packing up I headed over to my friend Willis Kimbel’s spot to link with everyone. Pulling up at 10 a.m., I wasn’t surprised to see that the front yard was already divided into tidy rows of camera gear, camp items and quivers. The bike trailer was parked neatly next to the curb. 

We had an all-time crew consisting of skateboarders Willis Kimbel, Jeremy Tuffli, and me, accompanied by videographers Elias Parise and Chris Varcadipane, and photographer Tal Roberts. Piper, Kimbels’ border collie, would also join for good measure. There wasn’t a dude in the van whom we hadn’t known for more than a decade, and that friendship certainly made chomping down the miles that much more enjoyable. 

We weren’t skimping on the toys, either. Final count totaled at three dirt bikes and 12 skateboards in a variety of shapes and sizes to cover any terrain we might find on the road. The tiedowns were locked and double-checked, Piper’s vest was buckled, and the coolers had ice. We budgeted two hours to pack, we expected three, and were on the road to a bowl in the hills of Klamath Falls just before noon.

 
 
 
 

It’s a coin toss if the body and mind will cooperate on your board after a five-hour drive, but the terrain had everyone hyped to skate. Built in the early 2000s by Dreamland Skateparks, the deep moonscapes, one-of-a-kind features, and endless pool coping have made this place a must-hit for two decades now. The temperature also dropped below 90 degrees for the first time that day, and the music blasting out Willis’ speaker amplified the hype. We rolled until the sun went down and the transitions became gray and shadowed. Any more grinds would ha’ve been greedy.

A dropped pin and some enigmatic texts from an elusive old friend, Rye Clancy, led us through a dark, winding road to his homestead above Klamath. That night after setting up tents on his property, we wandered through his little slice of paradise with head lamps adorned, and in the shadows, we found two bowls built into the steep land, along with several small structures and sculptures. It’s his own personal playground, and it contains everything he needs to be happy.

 
 
 

By 7:30 a.m., we could already tell this day was going to be even hotter than the last. I rolled out of my van sweating like Ace Ventura crawling out of the rhino, and we knew we had to get the session going quickly before the heat passed into the triple digits. 

Clancy’s bowls were rawer in the daylight. Traditionally bowls have either circular steel or pool coping on the edge of the transition. Clancy, however, bucked the system and cemented river rock into the bowl’s edge for his coping. Each grind raddled and ripped across the rocks, with debris flying out on each turn. When the rocks started flying, Kimbel got a strange idea. Gathering some spare stones from the property, he placed several on the rim of the bowl. His next frontside turn sprayed rocks across the ground like a surfer slashing through the edge of wave. In fact, some waves would have felt good in that moment as the sun continued to scorch down on us, so we jumped back in the van to crank the A/C and continue onward toward Mammoth.

 

A bit before the gas started burning on this trip, Kimbel caught up with his pal Jamie Lynn and rinsed a pint over recent travels and rambles to be, and Lynn gave Kimbel some hints for turns to take on this route. It’s impossible to give someone like Lynn a title. Artist? For sure. OG Pro Snowboarder? He’s done that. But Kimbel thinks of him more as a Renaissance man living life in a savage purity. He said meeting Vic Lowrence, aka “Sick Vic,” was a must-stop in Tahoe, and that was all we needed to hear to crank it west and make another detour.

Tahoe was never a part of the itinerary, but when Lynn made the connection and Lowrence hit up Kimbel about skating his private ramp in the woods, we just had to go. Traveling has taught us one rule that never ever seems to fail: Skateboards are the skeleton key to cool shit. I can’t even count the number of times I’ve encountered the most amazing people and most protected scenes simply because I had a skateboard and sense enough to bring some brews. And it’s no coincidence I’ve met my very best friends through skateboarding. 

 
 
 
 

“Stay wherever we land and we’re good” was always the plan, and when Vic and his wife Sarah Lowrence gave us their yard for the night, we all felt the unspoken code of the road. There’s an understanding that goes both ways when you find people who share a common passion for what you do. A basement floor or a bit of grass might as well be a 5-star hotel after cramming a month of fun into one exhausting day. And the people who extend that hospitality know it just helps us along to the next realm of good times.

Lynn told us that Lowrence is a doer of all things fun and fast, and he’s gnarly as fuck at it all. Sure, he scaled the pro snowboarding ranks, but we soon came to find that he can hold his own on any type of board, bike, or sled. We had planned to crash with him that one night only, skate his ramp in the morning, and then head south that evening, but that piece of grass under the balcony and Lowrence’s lust for life kept us around wanting more. Two days later, we finally found ourselves saying goodbye to them after multiple backyard ramp and pool sessions, river dips, and late-night stories. I took a step back as we sat fireside laughing our asses off with our new friends and realized that this trip was kicking into high gear. Meeting people like this is why keeping rolling down these roads.

 
 

We arrived at the high-elevation oasis of Mammoth late that evening. It was a long and lonely road from Tahoe, but FuBar clips and two-way radio banter kept us pushing through the dark. Despite pulling into town close to 1 a.m., our next host and friend, Tom Weniger, met us outside the motel he manages as soon as we pulled up. People in the know, know Weniger. Beside managing the motel where he hooked up rooms for us, Tom is a central figure in the Mammoth skate scene and recently started a project called Mental Illness Orange (MIO) to bring skate communities together to turn off the phone and talk about mental health.

The parking lot the next morning was a melting pot of hype and good friends. Scott Blum pulled up first. Kimbel has known Blum for over 20 years through surfing, skating, snowboarding and everything else in between. He’s a renowned snowboarder known for everything from the steepest backcountry powder lines to lip-sliding 40-stair handrails. Blum was followed by Creature Skateboards Brand Manager Jake Smith and a few other friends tagging along from Yucca Valley, and we were all ready to hit Mammoth.

 
 

Volcon Brothers Skatepark in Mammoth takes days to study and learn. Sure, you might get in some grinds and maybe a line you think is tight in the moment on your first day, but to really make the park work it takes days of false starts, lightbulb moments, and building up your bravado to step to the 13-foot-plus transitions. The park doesn’t give out freebies, and you’d best believe you’re going to smoke at least one pair of pants during a session. And it’s all worth it. There’s really no other park on Earth that has a combination of organic flow, massive concrete walls and unique features quite like Mammoth. The park is also a reflection of its geography; instead of flattening the rocks, earth, and trees from the space, the builders poured the concrete around and onto the landscape that has resided there for millennia. 

With the initial skate session being a success, we were all itching to unload the bikes and check out the endless trails surrounding us. We met Scott a ways outside of town at one of his local spots. It had rained earlier in the week, making the dirt soft and not too dusty, and Scott toured us around some singletrack trails he’s been saving in his back pocket for years. We were about 20 minutes out when we heard the first ping of hail bounce off our bikes, and soon we found ourselves laughing hysterically as we tried to find our way back in the onslaught of ice and cold. My iPhone was a casualty to the storm, but I’ll just chalk it up as one less distraction.

 
 
 
 

Our next camp area was nestled outside Mammoth in the surrounding Inyo National Forest. Scott clued us into the area, and it was far enough off the beaten path to provide the freedom we desired. Our camp sat in the middle of a large, wide berm with trees that could accommodate hammocks and provide shade during the long afternoons. Over the berm was a soft, sandy hill that dropped us onto miles of fire roads and singletrack.

Now that most of the skate footage was collected from the multiple, many-hour Mammoth park sessions, we turned our attention to ripping the bikes around the trails. One morning we even started connecting the dots between the bikes and skateboards with a bit of rope. A quick knot around the frame and a couple of ‘“hold my beer”  jokes later, I found myself holding the line behind Jeremy’s bike waiting for the slack to kick. Turns out that getting towed behind a dirt bike on a dusty trail is just as fun and as dangerous as it sounds. It’s the soft dirt that will get you, but with some momentum and a little hubris, you can ride straight through the rocks and roots. The key to riding skateboard wheels on these dirt roads is to lean heavily on your back wheels and commit lightly to every turn. Having the crew there to fire you up with every careening turn doesn’t hurt, either. It was an epic ending to our time in Mammoth before we said goodbye to Scott.

 
 
 
 

Three hours south of the Oregon state line, my van sat idling at the summit of another high-desert pass as Jeremy shared tales of an empty pool in an abandoned trailer park that was victim to last year’s rampant wildfires across the state. Heading southwest, as opposed to our current northern route, would add another day to our two-week mission, but we all knew what could come of that detour. Skateable empty pools in the Northwest are scarce, and you have to wade through the rumors and fool’s gold to fine one that’s worthwhile. So, when Jeremy told us it was special, we knew it was a no-brainer to head south again to check the pit.

The pool sat in the middle of a scorched, flattened land, and we knew its days were numbered. There were no signs of the mobile park that was once here. The surrounding area was littered with construction equipment encroaching the pool’s edge, and within a couple of days they would sink their steel jaws into it. The capsule-shaped pool was really good — not just good for the Northwest, but good by any seasoned pool rider’s standards. The surface was fast with smooth transitions. The coping was flush with the tiles, and the death box and ladder were in the right spots. We caught grinds and lines until dusk fell on the scalded concrete. 

 
 
 

Across the field from the pool, cars flew by to destinations unknown, and nobody paid any attention to the group of degenerate skateboarders hanging out in the bordering field. But if they did see us, they would have seen a group of best friends and a day we won’t soon forget. We go on trips like this seeking memories that we can preserve for the future, like the ones we captured at Mammoth Park or Ryes, or by getting towed down the dusty trails behind a dirt bike – where we missed the turn and wound up somewhere better – and the ones that leave us doubled over in laughter. Now that it’s all over, we know we can always find those moments, faded and folded in our back pockets, ready to revisit for years to come.

Road to Rooibos

SOUTH AFRICA’S ROOIBOS HERITAGE ROUTE

Words and photography by Simon Pocock

 
 

The Cederberg mountain region of Western South Africa is home to the magical rooibos plant, and it’s the only place in the world where it can grow. The name rooibos translates to “red bush,” and the plant has been used by the Khoisan, or indigenous, people for over 300 years to create herbal teas with a number of health benefits and homeopathic medicines with reputable healing properties. Simple and subsistence farming has been the way of life in that region for hundreds of years, and to this day rooibos is still harvested by hand and processed by the people who live and work along the small tracts of land found in the remote mountains South Africa.

Feeling inspired to explore that unique history, we embarked on a motorcycle journey along the Rooibos Heritage Route, a road that winds north through the mountains from Wupperthal up to the arid plateau of Nieuwoudtville in the Northern Cape. This route connects sparsely populated villages and farms that still harvest the rooibos plant, and the overlapping mountains and deserts along the route are lined with stunning views of wildflowers as far as the eye can see. This lesser-known part of the world has an early frontier-like feeling to it, and the sight of donkey carts used to move between the small villages is common along the old trade route north. The region is packed full of history and beauty, and it made for an incredible experience to explore on two wheels.

Our plan for the ride was five days on the road, leaving from and returning to our homes in Cape Town. I was joined by two of my good mates: Dan Walsh and Paul Boshoff. We’re a small and nimble crew, all self-sufficient and capable of efficiently blasting across the desert and moving like the wind through the mountains. We would camp wild wherever the day drew to a close, and our goal was to keep the plan loose and allow the adventure to reveal itself with the passing landscape. We were on our own, in the middle of nowhere. Disconnected. No cell signal and nothing but open country and inspiring history ahead of us. It’s exactly the kind of escape we were looking for, and exactly where we wanted to be.

 
 
 
 
 

The Northwestern region of South Africa has an endless allure for me, and even more so with the spectacular wildflowers that come during the spring months.

 
 
 
 

The towns are remote and sparsely populated, yet somehow always full of interesting personalities.

 
 
 
 

We moved past wild rooibos fields and humble villages all day, each one supporting the micro-industry in their own unique ways.

 
 
 
 
 
 
 
 

It’s not all romantic travel, however, and our resilience was tested several times throughout the trip. We faced a variety of water crossings, locked gates and mechanical failures along the way, including a broken exhaust we fixed with an old tin can.

 
 
 
 

We pitched our tents wherever the day would draw to a close, and Dan would cook up a delicious veg curry for the lads - a simple and effective meal on the road for a bunch of vegetarian travelers.

 
 

Ghosts Of New England

A MAD DASH TO THE EDGE OF AMERICA

Words by Ben Giese | Photography by John Ryan Hebert

Filmed & Edited by Kasen Schamaun | Produced & Directed by Ben Giese

 

The sky was dark and ominous above Grand Isle, Vermont, as my younger brother Mike and I geared up to head east across the old colonial backroads of New England. A bitter cold mist settled on the jet-black pavement as we layered up to stay warm for the rainy evening ahead. We had 72 fast and furious hours to slice through the neck of America, and 450 beautiful miles of lush rolling hills, charming historic towns and endless golden foliage ahead of us.

 
 
 
 
 

The plan was to zigzag our way to the great Atlantic coast of Maine, then turn south along the quiet shores of New Hampshire and Massachusetts to our final destination in Boston. 

Within the first few miles we passed by some old farmhouses decorated with pumpkins and Halloween skeletons, and it was just the kind of October scene I had always imagined. I’ve dreamt of a motorcycle trip like this for many years now, and my long-lost fantasy to experience fall in the Northeast was finally happening. We were officially on our way, off into the autumn wonderland on two brand-new Royal Enfield Continental GTs, with all the miles ahead and all the things to see. I could hardly wait, and having my brother here with me just made the trip that much more special. 

 
 
 
 

We’ve been riding together as long as I can remember, but we’ve never taken an adventure quite like this. And now that we’ve become adults living in different cities across this great big country, these opportunities and this time together feels a lot more meaningful. 

Dusk began to creep in and the gray skies darkened as we passed through some dreary little East Coast towns. Dim lights illuminated the sleepy streets, and sad old homes with chipped paint were tucked away in the trees, hidden in the hills and forgotten to the world. These lonely towns radiate a kind of sadness, but not the depressing kind you might imagine. It’s more of a beautiful and poetic sadness, with a palpable sense of nostalgia that can only be found in these older parts of America. 

 
 
 
 

Darkness came quickly and the freezing rain followed, so it was time to seek some food and shelter to warm our bones. We shivered into a cozy restaurant in an old brick building and laughed with joy at our newfound comfort, celebrating with a feast of smoked brisket and delicious local microbrews. Our shelter for the evening was just down the road in a cabin in the woods, where we lost our minds in a swirl of music, laughter and card games late into the night before falling asleep on a dusty couch to the soothing sound of rain on the old metal roof. 

The dark clouds followed us that next morning, and we prepped for a cold and wet day ahead, but the gods of New England were kind and we managed to stay dry the entire ride. We were blown away by the beauty and charm of rural Vermont, so we took the longest way possible to Portland. We followed the backroads south, and then north, slowly creeping toward our destination in the east. We stopped frequently to take in the sights, but never for too long. We had to keep moving. There was too much to do, too much to see, too far to go, and we wanted it all. So we just kept going and stopping and going in a frenzy of excitement for the road ahead. 

 
 
 
 
 

The hours melted away with the greenest rolling hills we’d ever seen, and we lost all sense of time and direction wandering the canopied forest as amber leaves rained down on us from the heavens. There were classic old trucks parked in front of big red barns, and little shops in small towns selling Vermont maple syrup. We were surely behind schedule to make Portland by dusk, but it didn’t really matter. There was a fairytale happening all around us, and we never wanted it to end. 

New Hampshire blessed us with more beauty as the sun was getting low and pastel cotton candy clouds gleamed off the endless glassy lakes surrounding us. By this point, we started picking up the pace to make up for lost time, making it to the border of Maine just after dark. We crossed the entire state in blackness, like ships in the night through a daze of darkness and delusion. 

 
 
 
 

I could see the lights of cottages flashing by in the woods, and I could smell fireplaces and cooking coming from inside. I imagined families at home, resting in their islands of comfort and warmth, with no sense of the crazed riders outside on a mad dash into the cold black abyss. Ghosts from the West, invisible to the world, sailing east through the haunted October trees of Maine.

We never saw the sun in Portland because our madness for the road ahead was pulling us forward to something more spectacular. And as we crested one final hill, the great Atlantic Ocean revealed itself, reflecting the deep-blue early-morning glow of a sun yet to rise. We made it to the end of the earth, 2,000 miles from home at the edge of the American continent, just in time to watch a new day begin. The world was still asleep as we stood on a cliff near the historic Portland Head Lighthouse. Waves crashed on the rocks below, and the sun slowly rose from behind the horizon, and all those crazy miles behind us were well worth the view.

 
 
 
 
 
 
 

It would be a much more mellow and relaxing day on the coast of Maine. We could finally shed some layers as the temps warmed up and a salty ocean breeze lulled us along the shore through dreamy beachside communities and quaint fishing villages. We made a few detours to check out some lighthouses along the way, and of course we had to try some lobster rolls for lunch, because that’s what you do in Maine. 

When we finally reached the North Shore of Boston, we got tied up in the mania of rush hour traffic, with all the people coming and going, to and from the business of their lives. The defeated faces of Boston workers trying to get home on a Wednesday evening told the story of broken dreams and the search for cheese in a rat race that never ends. I felt badly for those people, and as the sun went down over the Massachusetts Bay, I contemplated how lucky we are to be here. To have this unforgettable experience with my brother, and to escape that mad way of living for a few days. And when I stop to think about the whole point of this whirlwind adventure, I realize there never really was one to begin with. It was simply about seeing a new place. Smelling it and tasting it and experiencing it for all that it is. 

 
 
 

I used to sit and wonder what autumn in the Northeast might be like, but now I can dream about those rolling hills of Vermont and the wise old lighthouses on the coast of Maine. The trees and the farms, the glassy lakes and salty ocean breeze, the briskets and beers, and the sad towns and dark nights. I’ll remember all the little roads between, and all the things we saw along the way. Like ghosts of New England, invisible to the world, passing through for one moment and gone the next. Eyes fixed on the road ahead. The only road we’ve ever known.

The Last Wilderness

A PLACE WHERE THE DREAMS NEVER END

Words by Chris Nelson | Photography by John Ryan Hebert

Filmed & Edited by Daniel Fickle | Soundtrack by John Ryan Hebert | Produced & Directed by Ben Giese

 

The dreams don’t end after we open our eyes. First, we taste the thick morning air that drips through the mesh of our tents, and in the tree branches above us we watch the tangled strings of pale green moss hanging down like long, bony fingers coaxing us to climb out of our sleeping bags. As we walk through the small, dank campground we see a thick brown slug slime its way up the side of an empty can of Rainier Beer, breathing through an open stoma on the side of its body. Then a deep voice cuts through the quiet dawn: “The water is warmer than the air is,” Noah Culver says as he stands knee-deep in Lake Quinault, which sits at the bottom of a glacial valley on the southwest corner of the Olympic Peninsula in Western Washington State.

 
 
 
 

Known as America’s last wilderness, the 3,600-square-mile Olympic Peninsula is home to rugged alpine mountain ranges, primordial beaches, salmon-filled rivers, and vast temperate rainforests that stretch from the Pacific Coast to the Strait of Juan de Fuca, which separates the northernmost edge of the U.S. from Canada. The Olympic Peninsula is now visited by over three million people annually, but native tribes had thrived in the formidably beautiful paradise for millennia prior to the arrival of European settlers in the 1500s, who came to poach otter pelts and strip the forest of its timber.

It wasn’t until 1897 that the area received its first national designation, Olympic Forest Reserve. Forty years after that, President Franklin Roosevelt visited the Peninsula and gave his support for the establishment of a national park in order to protect its natural resources, as well as the cultural histories of its Native peoples. Today, eight Olympic Peninsula tribes recognize a relationship to the park based on traditional land use and spiritual practices, and one of them, the Quinault Indian Nation, claims ownership of the water that Culver slowly wades through.

 
 
 
 
 
 
 

A Hollywood-based producer who has brought to life some of television’s most addictively and mindlessly entertaining shows, Culver shuffles his feet across the pebble lakebed with a steaming mug of instant coffee in hand. The ripples in the water break the still, mirror-like surface blanketed in an opaque layer of fog, split in the middle like an over-risen loaf of bread, and through the break we see the silhouettes of grand houses tucked into the trees on the far side of the lake, bathed in citrus sunrise. Suddenly another man, Mike Burke, bursts forth from his cheap, child-sized tent and runs into the water, until he trips and plunges down with a violent splash. When he stands up, he looks back at the shore with a wide, wild smile as water pours out from his snarled beard.

 
 
 
 

Burke owns a company that does large-format digital printing, and he and Culver were invited on this adventure by their friends Alan Mendenhall and Thom Hill of Iron & Resin, a Ventura, California-based clothing company. None of the four men had ever visited the Olympic Peninsula and thought it would be an idyllic location to ride motorcycles and photograph a lookbook for Iron & Resin’s newest collection. They invited META along to document their two-day ride north from the lake along the lone road that loops around the Peninsula, U.S. Route 101, to explore as much as possible before ending the trip at the top of Mount Olympus on the edge of the Peninsula’s largest city, Port Angeles. 

Once everyone finishes their coffees, the guys saddle up on an eclectic collection of motorcycles: Burke has his Yamaha WR450, Culver rides a Honda XR600, Hill brought his Ducati Scrambler Desert Sled, and Mendenhall has a Harley-Davidson Sportster 1200 that he recently transformed into a Baja-worthy, scrambler-style bobber. They ride in a tight pack through the morning mist as small leaks of sunlight shimmer gold against their wet waxed-canvas jackets. After 30 minutes, they arrive at Kalaoch Campground, which is perched on rocky bluff above a sandy beach that is home to “The Tree of Life,” a large Sitka spruce tree that continues to green despite the ground around its roots having eroded long ago, making the tree appear to float in the air.

 
 
 
 
 

We set up camp at a first-come, first-served site before getting back behind the handlebars and riding an hour inland to the Hoh Rainforest, one of four temperate rainforests on the Olympic Peninsula. We wade through the mile-long Hall of Mosses trail loop, which can be one of the quietest places in America. We stare up at the lush green canopy created by the huge, knotted branches of big-leaf maples, cedars, spruces, hemlocks, and firs, with bright-yellow leaves falling through beards of clubmoss and swaying epiphytes. Underfoot is a soft, soggy forest floor of mosses, lichens, and ferns that Burke can’t help but jump up and down on, amazed by its sponginess. Culver quips that it looks like the Hobbit home of the Shire, and asks, “Did anybody else’s feet just grow a few inches, or is it just me?” 

 
 
 
 

On the way back to camp, we decide to stop at Ruby Beach, where massive sea stacks stand sentry just offshore, bald eagles nest in the bluff trees, plum starfish crawl through the coastline tide pools, and huge piles of driftwood collect on the shingly beach, the bones of the rainforest picked clean by the sea. Burke jumps up onto a long-dead tree trunk and starts pushing his feet forward, riding the driftwood down the beach like a professional log roller. 

He loses his footing just before reaching the water, but then out of nowhere, Mendenhall jumps on and finishes the job. Unfortunately, the fun was short-lived, because Instagram fame turned this once-untouched beach into a destination for van-life influencers and misguided couples who force their camera-shy dogs into self-indulgent engagement photos, and before long our patience wore thin, our bellies moaning for dinner and beer.

 
 
 
 
 
 
 

Back at camp, Willie Nelson plays through a Bluetooth speaker as we build a campfire and watch Hill plop sausages into a beer-filled crock, cutting potatoes into wedges and wrapping them in aluminum foil lined with butter and garlic. For whatever reason, food is more satisfying when cooked over an open flame. We spend the rest of the evening sharing stories, telling jokes, and laughing under the moonlight. 

The forecast had called for heavy rain throughout the night and into the following day. Most of the Olympic Peninsula is typically wet and rainy, especially in the shoulder seasons and winter, so we had figured it would likely be unavoidable. As we head north the following morning on the 101 through the now-famous town of Forks – where Stephenie Meyer’s Twilight book series is based – the gloomy scene still feels like a dream, but one that at any moment could turn into a nightmare: darker, drearier, more ominous and foreboding, yet still undeniably captivating. Thankfully we get to enjoy a short break in the weather as we ride around Lake Crescent, a deep, glacially carved lake in the northern foothills of the Olympic mountains.

 
 
 
 

The rain falls in cold, whipping sheets as we start up Hurricane Ridge Road, a steep, 17-mile stretch of smooth pavement with tunnels, chicanes, and long corners that climbs to an elevation of over 5,200 feet. On a clear day the peak offers incredible panoramic views of Olympic National Park, but all we can see are dark silhouettes of pines set against the faint outlines of distant mountaintops. All four guys tremble with cold in the dripping wet, but they can’t help but smile. Burke says, “It’s about enjoying these moments, no matter what. Even riding through this pissing rain, I don’t care that my legs are cold, and my hands are frozen ... it’s clarity, it’s freedom, it makes me feel alive and brings value to my life.”

We all crack open beers and offer cheers to the Olympic Peninsula, which we agreed is one of the most fantastically inspiring places any of us has visited. Though it is no longer untouched by modernity, the Olympic Peninsula remains a sanctuary for those seeking asylum from the pressures of contemporary living, and its wiles are best experienced from the seat of a motorcycle. 

Culver puts it best: “We live in this world full of complication, where you’re constantly having to choose your words carefully and negotiate this crazy world we live in, but anytime you get out into a place like this, it’s full of honesty. If it’s cold, you’re cold. What you see is what you get, and there’s no complication to it. You get to be in this situation where all of those complications are gone, and as humans we crave that kind of honesty.”

 

As much as we want to descend into the town of Port Angeles and find somewhere to warm our bones, none of us moves an inch, unaccepting of the impending return to normality and life’s complications. We let the rain slap against our skin as we search through the darkened trees to find grazing blacktail deer and squint to find the massive blue glacier at the peak of Mount Olympus, and in that moment, we shared the significance of standing in one of the most awe-inspiring places in America. We never would have been able to leave if we didn’t believe that when we lay down in our beds that night, the dream would continue even after we closed our eyes.

Desolation

A Beautiful Wasteland

Words by Steve Shannon

Photography by Lindsay Donovan & Steve Shannon


 

The Columbia River is one of the most dammed rivers in the world. From its headwaters near the Rocky Mountains in British Columbia, nearly all of its 1,243 miles are now controlled by a series of 14 dams. In Canada, these dams and reservoirs are used for water storage, to control flooding and store water for downstream power generation. This results in wildly fluctuating reservoir levels, up to 150 vertical feet. At the peak, these reservoirs create beautiful lakes, but as the water supply is used over the winter to heat the Pacific Northwest through hydroelectricity, the reservoirs are slowly drained to completely empty by spring.

It’s during these early spring months that a brief opportunity exists to explore these reservoirs. A once-lush landscape full of flourishing old-growth forest and productive farmland, now reduced to a barren, desolate wasteland. Stumps, old buildings and roads, and an array of unique patterns and textures offer a glimpse into a habitat that has been erased in the name of cheap electricity. 

But what is the actual cost of that power? Just three of these Canadian reservoirs cover nearly a quarter-million acres. We’ve cut down entire forests that will never regrow to their former splendor. We’ve destroyed fisheries and pushed several species to the brink of extinction. I hope these photos will not only inspire people to get out and ride, but to think about how we can continue to move toward a future in greater alignment with nature.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Northern Dreaming

An Unforgettable Adventure to The Great White North

Words by Matty Chessor | Photography by Steve Shannon


 

The darkness of midwinter gloom and a failing relationship fueled the planning. But what started out as a distraction wound up becoming an unforgettable dream adventure north to the Yukon. My good friend and talented photographer Steve Shannon and I would be riding dual sports with hard seats, no fairings, and knobby tires. It wouldn’t be comfortable or glamorous, but it would no doubt be glorious. 

 

From our homes in the Kootenays, British Columbia, we trucked our bikes 700 miles northwest to the small town of Smithers. From there we would unload the bikes and leave the truck behind, beginning a mostly dirt route that would guide us from British Columbia through the Yukon, into the Northwest Territories and over to Southeast Alaska, returning down the Inside Passage on the state-of-the-art 1960s Alaska ferry fleet. Our plans were loose, our gear was tight, and we had three weeks to burn before our ferry date. This is the highlight reel.

Unfortunately, our first leg of the trip on the once-dirt Stewart-Cassiar Highway had now been sealed in asphalt, but the awe of the surrounding wilderness and amazing scenery remained, and the challenges that inevitably come with any motorcycle adventure would ensue regardless. We quickly encountered our first flat tire around Meziadin Junction. A small speed bump to start off with on day one, but the payoff would come from the next 40-plus miles riding west through the jagged mountains and glaciers into the small town of Stewart. 

Stewart is the southernmost access point into Alaska and is rich in exploration history — an outpost for early pioneers and modern two-wheeled explorers like us before leaving the pavement behind and venturing farther into the Great White North. Pack some provisions, fuel up the bikes, and spare your first-born here because it only gets tougher the farther north you go.

A few hours later we found ourselves riding above the spectacular Salmon Glacier, and the breathtaking views left me thinking I was back living on the West Coast of New Zealand. We were on an old mining road that was perched up 300 meters, with the powerful glacier slicing through the valley below. Life was good in these moments, and these were exactly the types of experiences we had desired all winter.

The following day we made it to the small village of Dease Lake, where we scooped up a few six-packs that balanced on the seats between our legs and some Chinese takeout that flapped around in plastic bags hanging from our handlebars. We found a nice campsite by the water and enjoyed a few cold ones and an everlasting sunset on a perfectly still night. The haunting call of loons echoed across the water, and the sunset was perfect. It was 11 p.m. In a fleeting moment, Steve thought he would miss the sunset shot and called out for another camera lens with haste. The quickest way there was the KTM, barking back at the loons to the water’s edge. From that moment on the old girl has been affectionately named The Loon.

Farther north we finally crossed the border into Yukon and onto the Canol Road. The Canol project was both an engineering masterpiece and a blunder by the U.S. army during World War II. Built to provide a secure oil supply to Alaska, the Canol project throttled crude oil through a 4-inch pipe over 600 miles, from the town of Norman Wells through Ross River and Johnson’s Crossing into the refinery in Whitehorse. It operated for only about 14 months before being abandoned, and the harsh environment has since eroded the unmaintained bridges across major rivers, making the route nearly impassable. What’s left is a beautiful, unpopulated land, tarnished only by the remnants of past oil and mining projects left to rust when the markets declined. Nature has slowly reclaimed the land, and the porcupines are delighted, left to chew on the tattered remains of abandoned shelters. 

The southern stretch of Canol Road is well maintained and made for some excellent riding surrounded by broad valleys, frigid lakes, expansive vistas, and copious old mining routes to explore. By this point of the journey, our spirits were high, but we realized our fuel was running low.  We had to turn the engines off and coast downhill, slowly lugging the bikes uphill, valley after valley trying to sip as little fuel as possible, eventually rolling into Ross River on fumes. 

The small, unincorporated community of Ross River sits on the banks of the Pelly River, with access to the North Canol across a cable-driven ferry. Unfortunately, we showed up five minutes late, and we learned the hard way that ferry service ends strictly at 5 p.m. So, we settled in for the evening with some warm hospitality from the locals and camped out on the banks of the Pelly River until we could cross in the morning.

The farther you go into the wilderness, away from civilization, the stranger the encounters with other humans seem to become. After 50 rough miles up the North Canol Road, we stumbled onto a scene that only Quentin Tarantino could conjure up: a man standing there in the road, next to his two-wheel-drive Rokon with a sidecar, German-style army helmet on, dressed in all black, pump-action shotgun in hand, glaring us down as we rode toward him. What do we do? After stopping for a chat, we ended up talking with him for a couple of hours. He said his name was Winter, a fitting name for a man living out here in the wild and frigid North. He lives a reclusive life out here and told us about the secluded camp he had built — his own version of paradise, hidden in what we affectionately deemed the “true middle of nowhere.”

When we crossed the border into the Northwest Territories, the roads quickly degraded into rough tracks, and we were now well past the point of any maintained roads. It began to feel more and more desolate, and more and more dangerous. We pushed on until a moment of reckoning, when we eventually arrived at a snow-covered river crossing 170 miles from the nearest sign of civilization. We decided to spare our lives and call it, so we turned around and started heading back south, eventually stumbling on Winter’s hidden camp. We waited there for a few hours until our ears perked up to the sound of his Rokon bumbling up the trail at midnight. It was the summer solstice a few degrees south of the Arctic Circle, and we all watched the endless sunset dance across the peaks around us. We swapped stories around the campfire, and the sun melted into sunrise without ever dipping below the horizon. Low on sleep but high on life, we packed up and made our way west toward Alaska.

The Top of the World Highway west of Dawson City, Yukon, is a little over 65 miles of dirt road following scenic ridgelines that lead to the Alaskan border. After a thorough interrogation by the border patrol, we were reluctantly let into the US of A, and the beautiful smooth tarmac felt like one hell of a greeting. It was a short-lived 7 miles of relaxation before an abrupt change back to the potholed dirt roads we had become accustomed to. We continued down the winding road into the port town of Skagway, Alaska, where we would catch our scheduled boat back to the south.

Alaska ferries run like a broken Swiss watch, with aging vessels and a care for time not felt back home. Motorcycles below, a bag of wine on the sundeck, the next few days melted away with bliss. With over 3,200 miles of seat time already, this downtime was a welcome break. We stopped at several stations on the way down, and even got off to explore at some of them. 

Sitka and Juneau were both beautiful stops that granted us some limited but fun time for exploring. It was the Fourth of July in Juneau, Alaska’s capital, and it was an American cultural experience I was not expecting. We rode off the ferry in style, illuminated by a fireworks show that lasted a full 8 hours in the sky above. Then, at the seaside town of Sitka, we quickly explored the limited road network (all 14 miles of it) and took another small boat to neighboring Kruzof Island, home to Mount Edgecumbe, a dormant volcano. With our limited time, we blasted around some trails and rode up to the rim of the cinder cone. We then played around on a deserted beach before catching the return boat to Sitka.

Upon arrival at our final stop in Prince Rupert, British Columbia, just as the sun set, we quickly navigated one final border crossing before one last fleeting ride into the fading daylight. After three weeks of never-ending light, it was a surreal feeling to watch darkness enshroud the land. Or maybe that was just the dim joke of my 2006 KTM headlight. During one final night camping along the shores of the Skeena River, we listened to the crickets chirping as the river gurgled us into a short-lived sleep. 

No matter where life takes us from here, this was an adventure that Steve and I will never forget. It’s a time that will live on forever indie of us, to look back on with fondness and fuel more adventures to come. We both feel so lucky to be alive in this moment, and as we arrived back at the truck in the early morning, the abrupt end to the trip was a shock to my system. Just like that, it was all over, and on that long drive home I just kept wondering if it was all a dream.