Chapter 1 — Why

Before we started Supercross BMX, we had a little company called TECH BMX Products. Some of you who've been around the sport for a while may remember it, but if you came up after about '92 you probably don't, because that's when Supercross started taking up more and more of our time and TECH just kind of faded into the background. TECH was a number plate and racing pant company, we made Racing Pants for Haro, Redline, L&S, Cyclecraft, Brackens, S&M, and many others, and we had a small factory team: Glen Pavlosky, John Gonzalez, Brian Lopes, Kiyomi Waller, and Billy Harrison. Most of you will know those names from BMX history, and you'll definitely know Brian's from the MTB world.

Since TECH was a numbers and pants operation, we were working with a few frame manufacturers to get our riders dialed — SE, Free Agent, Diamondback, MCS and Elf at different points for different riders. The problem was getting AA Pro Billy Harrison a frame he actually felt comfortable on. We heard that Elf had made a batch of Boss frames that got rejected for bad chrome and was just sitting on them. So we had this idea: grab those Boss frames, repaint them, sell them under a different name, and use the money to fund Billy's racing. Except when we actually got one in Billy's hands, he hated it. Plan A was dead. But the whole exercise did get the wheels turning about building our own frame from scratch.

The original idea for Supercross wasn't to build a frame company and get rich. It was to get an excellent quality frame under a great rider, and if it helped pay for his entry fees and put some cash in his pocket while he went to college, so be it. TECH was paying its own way at the time. This was going to be a frame for the riders, by the riders. We figured if we ever sold a couple hundred of them that would be great. Nobody expected we'd sell thousands of them over the next decade — and then tens of thousands more over the three and a half decades that followed.

Chapter 2 — The Frame

Once we decided to build our own frame, we didn't just sit down and sketch something out of thin air. We got input from everybody: Billy Harrison, Brian Lopes, Kiyomi Waller, John Gonzalez, Jon Agnew, and a handful of the regulars who hung out at the shop. Billy Griggs's input in particular stands out as probably the most technically useful of the bunch.

At the time, practically everyone was riding a Free Agent Limo. It was the dominant frame — people loved how it let you stretch out up front and really move the bike. The only two complaints that kept coming up were that the rear tri was a touch too short and the head angle was a little too quick. So the starting point for our frame geometry was the Limo, with those two concerns addressed.

Once we had the geometry sketched and finalized, we wanted to do something structurally unique — something that wasn't just cosmetic. We kept thinking about it, and one day during a gate session behind the shop it hit us: we were watching the rear ends of frames flex up to a quarter-inch when riders were snapping out of the gate. That flex is wasted energy. All that stored energy should be going into forward momentum, not into bending the rear triangle. So we set out to stiffen the rear end without adding significant weight, and that's when the secondary seat stay design was born. It took about fifteen sketches before we landed on something we were happy with. Then we drove it right over to Elf to build us a prototype.

This wasn't a gimmick. This was a real engineering solution to a real performance problem. People gave us grief about it for years, and then — funny enough — not long after we released it, other brands started showing up with their own versions of reinforced rear ends. We just nodded and kept building.

Chapter 3 — The Name

We had the geometry. We had the design. We just needed a name. We sat on it for a while, going in circles, and then at about 2:00 a.m. one Saturday night, Billy Harrison called from a national — can't remember which one — and just said, "I've got it. Supercross." That was it. Done. Billy and I had been discussing names for a few months, and I had always thought Supercross would be great because it was the ultimate form of Motocross racing, and after all , what is BMX but emulating Motocross on your bike. He said he started a conversation with Greg Hill and a bunch of other Pros talking about what would be the coolest name for a BMX frame, and Supercross was the unanimous answer. Hard to argue with that kind of R&D.

Now we had a name and a design. We just needed Elf to actually build the prototype. After six months of waiting, Brent Shoup came to the rescue. Brent was a fast A Pro and the son of Brad Shoup, the main welder and owner of Free Agent at the time. He came over, looked at our drawings, and made a deal: he'd weld up our first prototype in exchange for a KHS mountain bike frame we had in the shop and a set of SR MTP-110 sealed bearing pedals. More than a year after we first started on this, it looked like we were finally going to get our frame made.

Chapter 4 — Brent the Hero

Brent went to work and within a day, we had it in our hands. The night he called to say it was done we rushed right over. It was beautiful — black raw cro-mo tubes, fresh rainbow weld beads, still a little warm. We took it back to the shop, put it together, and took it for a lap around the parking lot. Everything fit perfectly. We stayed up all night riding it in the dark at the local jumping spot.

Around 4 a.m. we decided it was time to paint it. We cleaned it up, tore it down, primed it, and laid down a coat of black. Then we grabbed a can of neon green paint and hit the rear stays and dropouts to really make the secondary seat stay design pop. (Side note: the dropouts used on Supercross frames from 1988 through the last of the 1999 models were all GHP dropouts — a quiet homage to a great BMX racer and a thank-you for input on the name.)

By 6 a.m. the paint had dried and Todd Anderson and I started putting it back together. Word had gotten out overnight, and we had a few visitors waiting outside when we opened up that morning.

Chapter 5 — It's Done

One of the first people through the door that morning was Billy Griggs. He didn't say a word — just looked over, grabbed the frame, and took off for a thirty-minute spin. When he came back, his only comment was that it rode like his bike. That was all we needed to hear. We knew we had it right.

We called Harrison to let him know it was done. And before he ever got to ride it, he practically killed himself in a mountain bike race — blew up his helmet, cracked his skull. After that, he decided to hang up his racing career for a while. We had gone through all of that work building the frame for him, and he never raced it once. That's BMX for you. You go through the work, you get the bike done, and life happens.

So now we had Interbike coming up, the fall nationals, and the Grands — but no team. The question was, do we can the frame project and stick to pants and number plates, or do we get some new riders and go full bore? Obviously, we chose the latter.

Chapter 6 — The First Supercross Team

The first rider we signed was Rayner Matthews, a super fast 18X out of the East Coast who had been riding for L&S — Carlo Lucia's offshoot of Boss — and wasn't happy there. We had been supplying pants to that team, so we knew Rayner was looking. We worked out a deal: his first race for us would be the ABA Grands. For the fall nationals, we looked no further than Brian "Lil Pepe" Hernandez — local, fast, a great jumper. His signing upset his previous sponsor S&M quite a bit, which probably tells you everything you need to know about how the BMX industry worked back then.

Brian raced the falls for us in 17X and did well. We had a few other local riders flying the flag too: Tommy Robles, John Agnew, Paul Parks. Then Parnell Haley from Texas came calling about riding Pro for us. Things were starting to move fast. Orders were trickling in from Interbike. And then the phones started ringing with the kind of calls that make you question your life choices.

Chapters 7 through 14 — The Chaos Years

We needed someone to actually manufacture the frames. Free Agent was too busy with their own production. Elf was out — the moment we had shown up with our first frame, he started making a bike called the "Doublecross." (At least he had the decency to name it what it was.) So we went to B&E. Mike at B&E was ready to go, we drove over, put down a few thousand dollars, and we were in business. Frames in production, team ready for the Grands. Set, right?

Not exactly. Rayner decided to turn Pro and take an offer from MCS. Then Brian Hernandez got stuck in Tijuana at 4 a.m. on a Sunday with no money and no clothes and they wouldn't let him back across the border. We drove down to help. His dad had already beaten us there. Brian never raced for us again. We were two weeks out from the Grands.

We pulled it together. Parnell Haley locked in for Pro. Ray Luscombe — "The Denver Destroyer," a name coined by Daily while we were over at Go — The Riders Manual — came aboard for amateur. Ray and his brother Ryan were super fast and the bike suited Ray's powerhouse style perfectly. The Denver Destroyer became our guy. He loved the bike, the magazines liked him, it was a natural thing. His sidekick would be AA Pro James Prichard, who had just come off GT, fresh out of Texas, and was possibly the funniest human being in the history of BMX racing.

James and Ray were the opposite of each other in almost every way, and that was the whole point. James was a promoter and an entertainer as much as a racer. We literally drew cartoons of the two of them for our ads. We weren't taking the serious sponsorship route — we had a great frame and some great riders and we just wanted to have fun with it. We also had one other key asset: the Mystery Machine.

The Mystery Machine was a 1970 Ford Econoline van purchased from a moving company called Starving Students for $200. It couldn't break 45 mph. Jon Agnew's dad built custom cabinets and sleeping quarters in the back. Billy Griggs, who was deep into the So. Cal mini truck scene at the time, painted it Supercross Blue — that same Cyan blue we still use today — in his parents' driveway because we couldn't afford a spray booth. He also donated his old stereo system, which cost more than the van. Jon's dad swapped in a set of rear gears from a Lincoln Town Car and suddenly the thing had a top end of 110 mph, even if it couldn't get out of its own way at the start. James, Ray, Ryan Vanderveen, Jon Agnew, and little Richie Carrero loaded up with $60 for gas and headed out on tour. BMX history had a new chapter.

Meanwhile, the manufacturing situation wasn't much better back home. B&E was building frames for S&M, White Bear, Brackens, and us — all out of the same adjustable fixture. Which meant our frames weren't actually our frames. We made them cut up the bad batch. After months of daily hounding, they finally delivered 50 correct frames. We had 100 sold. They said they were done doing bike work. We needed a new builder.

Brad and Yvonne at Free Agent pointed us toward John "WFO" Sevrin, who had a welding setup behind Bush Polishing and was ready to go. John built many, many frames for us and we were always proud of the quality. With WFO, we got Pro sizes into regular production, started the 24" Pro Cruisers, and kicked off the LWR series of smaller bikes — the first Supercross Juniors. We also signed Todd Steen and Kevin Gentry, and the team was building momentum.

The first cranks came together around 1990. We called them the Supercross Strongarms — five sets of hand-built cro-mo arms. Todd Steen ran a set, BMX Plus! tested a set, and Ken Cools got a set. (Yes, that Ken Cools — currently the Canadian national BMX coach and older brother of our future Olympian Samantha Cools.) The cranks were the first expression of what would become a long-running obsession: Frame, Fork, Bar, and Cranks. That was always the plan, from the very beginning. Build the complete performance package from the gate to the finish.

Chapter 15 — Growing Up: The 1990s

The 1990s were a period of growth, survival, and reinvention — sometimes all three at once. The SX series (SX125, SX250, and their variants) became our production backbone through the first half of the decade. The SX250 Pro XL became the biggest-selling Supercross frame of all time by sheer numbers — a cro-mo race frame that riders were loyal to in the way people are loyal to a band. You either rode Supercross or you didn't, and the people who did tended to never leave.

We started doing our first aluminum frames — the AMX series — using high-ceramic 6013 and 6061 aluminum blends, which was a significant departure from what most of the industry was doing. The industry was beginning to make the move away from cro-mo, and while we never abandoned steel entirely, we knew that if we were going to compete at the highest level we needed to be moving with the materials science.

Bill Ryan, who had been working at GT since before Supercross was born, had watched that company go from ten employees to becoming the General Motors of bicycles under Rich Long. Rich Long's philosophy — "cradle to grave," keep kids on bikes at every age — was something that stuck. When GT and Schwinn eventually collapsed in the early 2000s, it shook confidence across the entire BMX industry. But it also opened space for brands like Supercross to grow.

The team during this era included standouts like Todd Steen (who Bill describes as one of the most honest and reliable test riders the brand ever had), Kevin Gentry, the Luscombe brothers, and a rotating cast of some of the most colorful characters in BMX history. We were never the biggest operation — five people in a shop in Southern California — but we were building the best bikes we knew how to build, and the people who found us tended to stay.

The SE Connection — A History That Runs Deep

The story of Supercross BMX is also, in a real way, the story of Southern California BMX racing itself. Bill Ryan started working at SE Racing at age 13 — stickering frames, sweeping floors, packing boxes, eventually working his way up to driving the van to the powdercoaters and heat treaters, and finally getting onto the phones to handle sales. Scot Breithaupt, the founder of SE, knew Bill's situation at home and gave him a shot. That kind of mentorship leaves a mark.

When GT bought SE's equipment in the mid-eighties and SE closed its doors for the first time, Bill went to work at GT — employee number ten or somewhere close to it. He ran the Robinson division there, had a hand in frame design, team programs, and dealer development. His relationship with Rich Long was contentious and productive in equal measure. Rich Long had a vision for what the bicycle industry could be, and Bill Ryan was young, opinionated, and absolutely convinced he knew what was right for the riders. They were both right, in different ways.

The SE Assassin frame came directly out of that period — Bill worked on the design and geometry for that frame while running TECH and helping Mike Devitt try to restart SE. When Billy Harrison kept cracking the frames and supply dried up, it was the gate-start video sessions behind the shop that changed everything. Watching frames flex a quarter inch under load on every single snap out of the gate, Bill sat down and drew the first Supercross secondary seat stay design. The Assassin was the last frame he designed for someone else. Everything after that was Supercross.

The Aluminum Era — G6, S7, and the Envy

By the early 2000s, aluminum had taken over BMX racing. Supercross was in the mix, doing the G6 series out of three weld shops in Southern California. The G6 name stood for "sixth generation" of our frames — we just thought it sounded a lot racier than "Sixth Generation," and we were right about that.

Then came the 2008 Beijing Olympics. Samantha Cools — older sister of Ken Cools, who had tested our first Strongarm cranks back in the early nineties — was going to be on the Olympic start line representing New Zealand. That meant we needed to build her the best possible frame, full stop. The rules at the time required a production frame that had been on the market for at least two years. So we started working with Easton, whose Olympic heritage in materials science goes back to the early 1900s. Their hot material at the time was Scandium — a high-performance aluminum alloy that was lighter and stronger than anything else available for BMX. After testing with Randy Roberts on his backyard trails and race track for two solid years without failure, we were convinced. The S7 frame was born.

The S7 was, at the time of its release, the lightest production BMX race frame in the world. It was also, honestly, too expensive for most of the market — we eventually got it up to $800 MSRP, which was extreme for BMX even though it was cheap by road or MTB standards. So we went back to Easton, worked with some of their former engineers, and developed a custom tube specification using their ULR (Ultra Light Race) 7005 series aluminum, with custom wall thicknesses, shapes, and tapers specific to BMX racing rather than road or mountain applications. That became the Envy — within 50 grams of the S7's weight, at roughly half the price. It's been our flagship aluminum platform ever since, winning the USA BMX Golden Crank "Bike of the Year" award eight times in total across the Envy lineage and, later, the Vision F1.

The Envy RS7 — RACE SERIES 7 — is what the Envy has evolved into today. Triple-butted 7005 ULR aluminum, custom taper-wall tubing, and a geometry that has been refined over more than 35 years of BMX racing. It's still built with a threaded Euro BB because that is still, unapologetically, the best and most universal bottom bracket standard for BMX racing. We're not chasing trends for the sake of it.

Carbon — The Long Road to Getting It Right

We were actually the first company to introduce carbon fiber to BMX in the 1980s. We've never been shy about saying that. We were also the first to learn firsthand about the catastrophic failure mode of early carbon technology — it worked great for racing, but the moment you pointed it at a dirt jump or a trail, it didn't like the stress cycles involved. Carbon wasn't ready. We set it aside and moved on.

We looked at it again in 2001, and again in 2005 when we started working with Easton on the S7 project. Both times, the materials science wasn't quite where it needed to be for what we wanted to do in BMX. In 2010 we began a serious research and development project with Toray — one of the world's leading carbon fiber manufacturers — using new Nano Alloy and Nano Elastomer resins and new high-density, low-void construction methods. The technology had finally caught up with where we needed it to be.

Even then, we refused to rush it. We had field failures. We revised molds. We did more FEA (finite element analysis), more lab testing, more real-world riding. We passed EN BMX standards not just at the basic level but at three times the required level. The Envy BLK — our first production carbon frame — launched when it was genuinely ready and not a day before. Maris Strombergs, a two-time Olympic gold medalist, chose to ride it over offers with bigger dollar signs because he wanted to. Anthony Dean rode it. Our factory team rode it. And when Maris posted photos of the raw frame before the announcement and the internet went sideways trying to figure out what brand it was, we just let it cook. The reveal was worth it.

The Envy BLK 2 followed, incorporating Toray Titanium/Carbon in the dropout and headtube layups — evolutionary improvements driven by the same obsessive bike-geek mentality that started with those sketches behind a shop in Southern California in 1989.

The Vision F1 — Monocoque. No Joints. No Compromises.

In 2021, we launched the Vision F1. After 18 months of testing and design, it represented the biggest leap forward in our carbon platform since we first started working with Toray. The Vision F1 uses monocoque construction — meaning the frame and fork are each made from a single, uniform piece of high-modulus carbon fiber. No joints. No welds. No bonding areas. This is the same construction philosophy used in Formula 1 chassis and fighter aircraft, and it's the most structurally efficient way to build a carbon fiber component.

The material is TORAYCA T1100-KS for the frame and T700S Nano Alloy Resin for the forks. T1100-KS reduces frame weight by another 6% compared to its predecessor while simultaneously increasing stiffness and power transfer. It is used on fighter jets and Formula 1 cars. Now you get to ride it at your local BMX track, and that's just a beautiful thing.

The Vision F1 won the USA BMX Golden Crank "Bike of the Year" — adding to the eight total Golden Cranks Supercross has now won across our product line. That's a record in BMX racing. We're proud of it, and we're not done.

The Vision F1x — A Material Revolution

In early 2026, following the record-breaking 8th Golden Crank win at the 2025 USA BMX Grand National, we launched the Vision F1x. This isn't an update. It's a material revolution built on the proven monocoque platform of the F1.

The F1x integrates a proprietary blend of Toray M40x and M46x Prepreg Carbon Fiber — the same materials trusted by the Red Bull Formula 1 Team for their chassis and used in critical aerospace applications. Historically, carbon fiber engineering has faced a fundamental trade-off: increasing stiffness means losing durability. The M46x fiber in the F1x breaks that rule. Using nano-level control of the graphite crystallite structure, M46x is approximately 20% stronger than previous high-modulus fibers while maintaining extreme rigidity. For the racer, this translates to one thing: the launch.

Elite team riders Kye Whyte and Oli Moran — among the best BMX racers in the world — have described the F1x as feeling like the bike "jumps" forward the moment they engage the gate. That's not marketing language. That's what happens when 35-plus years of engineering knowledge meets the best carbon fiber materials available on the planet.

As Bill Ryan put it: "Winning that 8th Golden Crank was a massive honor, but we aren't the type to sit back and rest on our records."

The Team — A Family That Keeps Growing

The Supercross team has never been built on the biggest paydays or the flashiest signings. It's been built on relationships, on riders who actually love the product and love the sport. From Billy Harrison and Brian Lopes to James Prichard and the Denver Destroyer in the early days, through to Todd Steen, Randy Roberts, Jan Baltzersen, Tim Kneip, Samantha Cools, Kris Fox, Courtney Tomei, Mike Brabant, Bubba Harris, and into the modern era with Felicia Stancil, KJ Romero, Kam Larsen, Anthony Dean, Maris Strombergs, Kye Whyte, Oli Moran, Annabella Hammonds, Vineta Petersoneva, and Spencer Cole — the thread that runs through all of it is the same.

These are riders who are at the track because they love racing, who help the younger kids, who sign autographs and give advice and build the local program, who show up because they want to be there. We've never been able to offer the biggest check in BMX. We've always been able to offer the best bikes we know how to build, and a genuine partnership with a team that treats you like family.

Bubba Harris — three-time ABA number one Pro, UCI World Champion, People's Champ — is probably the best example of what that looks like. Bubba raced cro-mo when the entire elite field was on carbon and came within a whisker of winning, because he loved the bike and he loved racing. He's still part of the Supercross family as a coach, rider, and the face of the Sprint complete bike program aimed at getting more kids into BMX racing at an accessible price point.

Samantha Cools made the final at the Beijing Olympics on a Supercross frame — the S7 we developed specifically with that moment in mind. When she went down in a crash in the main, we were heartbroken with her and proud of her in the same breath. That's BMX. That's what this sport is.

And then there's Maris Strombergs. Two Olympic gold medals. One of the greatest BMX racers who has ever lived. He turned down more money from other brands to ride the Envy BLK because he wanted to. He is riding the same frame you can buy off our website. That is not nothing. That is everything.

Apple Valley — Home Turf

For a long time, Supercross was based in the Santa Clarita Valley — a great place to run a BMX company, with two good local tracks and plenty of open space. But the business kept growing, the family kept growing, and eventually Bill made the move to Apple Valley in the high desert of San Bernardino County. Clean air, good schools, lower crime, and better dollar value on a property that could house both a shop and, eventually, a private UCI-replica test track out back.

The Apple Valley BMX Moto Park became part of the Supercross operation — an ABA sanctioned public track in a city park. When we took it over, it had five or six riders showing up and two motos on a practice night. Within a few years it was running 50 to 60 riders and 12 to 15 motos every practice session. We've put on state races with food vendors, bike shop vendors, Pro poster signings, radio stations, and local newspaper coverage. When Mike Redman came out for one of our state races and said "dude, this is like a mini national, this is rad" — that was the whole point. Give the local riders a show. Give the sport the respect it deserves at every level.

Riders who have come out of the Apple Valley program and made their mark on the world stage include Brandon Crain, Bella Hammonds, Jeremy Rommel, Kris Fox, Jared Garcia, Mike Brabant, and others. Build a good, challenging track and the riders will rise to meet it. That's always been our philosophy. The comfort zone is not your friend.

The Cranks — Because Frames Aren't Enough

From day one, the plan was: Frame, Fork, Bar, Cranks. That was the product vision we had in 1989 and it's the product vision we have today. The first five sets of Strongarm cranks were hand-built cro-mo bent-arm designs inspired by a conversation with Pete Loncaravich about leverage physics at the Orange Y track when Bill was a teenager. Pete's LRP cranks had this banana-bend shape that he explained gave a longer lever for gate acceleration while maintaining a shorter spin circle. We built five sets and tested them. Ken Cools got a set. Todd Steen swore by his set except for the occasional snapped spindle.

Production constraints meant the cranks got shelved while our welder focused on frames and forks. We came back to them in 7075 billet aluminum with a 1" diameter spindle — massively oversized for the era, designed to eliminate the flex that plagued aluminum cranks of the time. We sold those for about five years and moved significantly more of them than we ever moved frames. When the market shifted and our machine shop took an aerospace job building landing gear for fighter jets, we lost our production partner. We literally stopped a mid-run job rather than put out cranks that weren't up to our standard. Boxes of unfinished arms sat in the shop rather than get shipped as inferior product. That's just how we operate.

The Sinners came next — a two-piece hollow cro-mo design running on the 24mm Mega Exo-style spindle for better power transfer. About 800 units sold before a heat treatment issue with a batch supplier led us to pull them. We'd rather kill a product than hurt someone on it. Today the Strongarm line continues, updated and refined, and riders from Aaron Johnson to Randy Roberts still run them because they work.

Speedline Parts — The Other Side of the Coin

When we launched the complete bike program in 2007, we also launched Speedline Parts. The concept was simple: high-quality BMX parts at an accessible price, for riders who might be on a different frame brand and couldn't run "Supercross" branded components without causing brand conflict with their sponsor. Maris Strombergs ran Speedline parts when he was on Free Agent. That's the whole idea — a neutral, quality-first parts brand that any rider can trust regardless of what frame they're on.

Speedline has grown into its own operation with carbon rims, cranks, hubs, stems, and braking systems. The Speedline Slasher carbon rims are tubeless-ready, forward-thinking components built with the same obsessive attention to material choice and construction that drives everything we do. The carbon cranks, the Pro Disc cassette hubs — all of it is built to the same standard as the Supercross frame line. No half-measures. No 80% products shipped out the door to make a deadline.

Where We Are Now — And Where We're Going

Supercross BMX is still, at its core, the same company it was in 1989: a small operation in Southern California run by people who are absolutely obsessed with building the best BMX racing equipment in the world. We are not a division of a larger corporation. We are not chasing investors. We are not running a brand; we are living one.

The current product line spans the full spectrum of BMX racing — from the Vision F1x monocoque carbon chassis at the top, to the Envy BLK 2 carbon, to the ENVY RS7 aluminum in 17 sizes from Micro to 24" Cruiser, to the Vision RSX affordable aluminum platform, to the SX450 cro-mo "fun machine" that Bubba Harris races and takes to the skatepark in the same afternoon. We have complete bikes, components, lifestyle gear, and a Vision that no other brand can claim.

We own and operate Apple Valley BMX Moto Park, an ABA sanctioned public track that has developed elite riders and given hundreds of local kids their first BMX experience. We support approximately 28 grassroots teams around the world. We run a factory team that includes some of the fastest BMX racers on the planet, and they ride our bikes because they want to — not because they're the highest bidder.

The sport of BMX racing is in our DNA. It is not a category for us. It is not a market segment. It is the reason we come to work every day. Bill Ryan got his first real BMX job sweeping floors at SE Racing at 13 years old. Five decades later, he is still designing BMX frames, still at the track, still trying to build something faster and lighter and better than whatever he built before. That doesn't change. That's who we are.

We promised we'd finish writing this story. One day we will. Right now we're too busy still making it happen.