Reading Cycles: the Culture of BMX Freestyle Wade Gordon

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Reading Cycles: the Culture of BMX Freestyle Wade Gordon Reading Cycles: The Culture of BMX Freestyle Wade Gordon James Nelson Department of Art History and Communications McGill University, Montréal August 2006 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Wade Gordon James Nelson 2006 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-32226-0 Our file Notre référence ISBN: 978-0-494-32226-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada ABSTRACT This dissertation draws from and contributes to many traditions within the (interdisciplinary) discipline of communication studies. Serving the two primary objectives of the examination of the figure of the BMX freestyle cycling Pro and the analysis of the role of the magazines within this particular culture or field in the construction and maintenance of this figure, this project brings together studies of cultural intermediaries, magazine history, advertising history and theory, subcultures, audiences, commodification, cultural industries, celebrity, stars and professional athletes. The culture of BMX freestyle cYcling is an interesting and heretofore unexamined phenomenon, and a focused examination allows the exploration and investigation of larger questions within the discipline. As such, this dissertation provides an informed interpretation of the culture of BMX freestyle, allows the examination of a number of other issues concerning the mediation of cultural practices, and suggests a theory of the special-interest magazine, thus contributing substantively to various literatures. Special-interest magazines are a part of a larger system and industries within which the ultimate goal is the sale of commodities. At the same time, they function as a site of credibility within a larger field, both conferring star status on particular individuals and approving particular commodities that are being offered to the readers. Special­ interest magazines construct and sell audiences to advertisers, create star systems, propose candidates for stardom, help build image careers, contribute substantiallY to a "star currency" within the particular field, negotiate (i.e.; mediate) tensions between the advertisers, the stars, and the readers, help organize the time of a culture and work to 11 infuse it with a sense of vitality through the punctual and ritualistic appearance of novel content, assist the consumer with their desires for commodities and stars by standing as catalogues of commodities (serving to educate newcomers in the protocol of the culture), provide new financial opportunities (such as the commodity form of the photo contingency), and in their complicity with the needs of those that provide their primary source of revenue, give more value to the advertising dollar in the construction of editorial content that could be seen as advertising. 111 RÉSUMÉ Cette thèse s'inspire de et contribue à plusieurs traditions au sein de la discipline (de l'interdiscipline) des études en communication. Répondant à deux objectifs principaux, l'étude de l'image du professionnel du cyclisme BMX freestyle d'une part et l'analyse du rôle que joue les magazines au sein de cette culture ou de cette discipline particulière dans la création et dans l'entretien de cette image d'autre part, ce projet propose à la fois une étude des intermédiaires culturels, de l 'histoire du magazine, de l'histoire et des théories de la publicité, des sous-cultures, des lecteurs, de ce qu'il est maintenant convenu d'appeler la commodification (de la culture), des industries culturelles, de la célébrité, des stars, et des athlètes professionnels. La culture centrée sur les vélos acrobatique BMX freestyle est un phénomène intéressant qui n'a à ce jour jamais fait l'objet d'une étude sérieuse et dont l'analyse approfondie offre la possibilité d'examiner et d'explorer des concepts encore plus vastes au sein de la discipline. À ce titre, cette thèse présente une interprétation détaillée de la culture BMX freestyle, permet d'examiner un certain nombre d'autres questions concernant la médiation des pratiques culturelles, propose une théorie s'appliquant au magazine spécialisé, et contribue ainsi de façon substantielle à la littérature de plusieurs disciplines. Les magazines spécialisés font partie d'un réseau plus vaste et d'industries dont le but ultime est la vente de produits de consommation. En même temps, ils représentent une vitrine crédible au sein d'un champ d'activité plus vaste, conférant à la fois le statut de star à certains individus et posant leur sceau d'approbation sur certains produits de consommation présentés aux lecteurs (dans leurs pages). Les magazines spécialisés IV fabriquent et vendent des auditoires aux annonceurs, ils créent une culture du vedettariat, ils proposent des candidats qui se hisseront au rang de stars, ils favorisent la création de carrières fondées sur l'image, ils sont en grande partie responsables du fait que dans une sphère d'activité donnée certaines célébrités puissent devenir monnaie d'échange, ils sont médiateurs (Le. négociateurs) lors de situations conflictuelles entre les annonceurs, les stars, et les lecteurs, ils règlent la cadence d'une culture en prenant soin de lui instiller une certaine vitalité grâce à la présentation ponctuelle et protocolaire d'un nouveau contenu, ils comblent les besoins du consommateur avide de produits de consommation et de célébrités en posant comme de véritables catalogues de produits de consommation (qui servent aussi à initier les nouveaux arrivants quant au rituel de la culture en question), ils représentent de nouvelles opportunités financières (exemple: la forme de commodité que représente la photographie prise sur le vif), et dans leur complicité et leur désir de satisfaire aux besoins de ceux qui représentent leur première source de revenus, ils procurent aux annonceurs une plus-value pour chaque dollar investi dans la publicité, en concevant un contenu éditorial s'apparentant en tout point à une publicité "traditionnelle." v ACKNOWLEDGEMENTS 1 am most grateful for and have greatly benefited from the supervision of Dr. Will Straw. Indeed, he has been instrumental in any success that 1 have enjoyed during my tenure within McGill's Department of Art History and Communication Studies. Dr. Sheryl Hamilton and Dr. Jenny Burman made helpful early contributions to this project. Conversations with Dr. Grant McCracken and Dr. Rowland Lorimer were inspiring. Dr. Charles Acland's contributions at the proposaI stage were much appreciated, as were those of (False Consciousness' star first baseperson) Dr. Jonathan Sterne. Several fellow graduate students played a role in this work: Ger Zielinski and the members of the Dissertation Writing Group, Jason Morgan, Claudette Lauzon, Kenneth Werbin and Candis Steenbergen. And 1 just like Nicholas Greco a lot. 1 appreciate the support of particular cultural intermediaries (BMX freestylers who are also BMX industry players): Jamie McIntosh, Ken Paul, Mark Noble, Mark Losey, Brad McDonald, Brian Tunney and Eric Rothenbusch. Other BMXers that deserve thanks include Brett Middaugh, PK Ripped and Adam Guild. Finally, the magazine-scanning and cuddling skills of Laura McFarland were critical to the completion of this project, and are greatly appreciated. VI DEDICATION This work is dedicated to my brother, Scott Warren James Nelson, who was my first BMX Bro. vu TABLE OF CONTENTS Page Abstracts 11 Résumé IV Acknowledgements vi Dedication vii Table Of Contents viii Introduction 1 Chapter One: Research Problematic and Literature Review 10 Chapter Two: A History of BMX Freestyle: Bicycle Stunt Riding Until 1990 59 Chapter Three: The Comeback: BMX Freestyle Since 1990 88 Chapter Four: A History of BMX Freestyle Magazines 119 Chapter Five: Chase BMX Magazine 161 Chapter Six: Ride (US) BMX Magazine 214 Chapter Seven: Ride (UK) BMX Magazine 260 Conclusions 305 Bibliography 319 Appendix 1: Images 329 Appendix II: Non-English BMX Magazines 376 V111 1 INTRODUCTION "What inspired you to ride earlier on? Magazines, always. BMX Plus, BMX Action, Action Bike. Back then, that was our only contact with what was going on in the rest of the BMX world. 1 used to read them coyer to coyer 10 times over; building imaginary dream set ups from all the parts in bike shop adverts and dreaming of what it must be like to ride in places where the sun actually shone.
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