Original comment: Lee Musselwhite is a Professional BMX Flatland rider, current 2x UK Flatland Champion & Guinness World Record Holder who competes and performs shows at the highest level all over the world. Lee is renowned for dedicated his years of riding to pushing boundaries, inventing countless signature moves and building his own unique style. He is regarded by many as one of the most creative and original riders out there!
Lee is also the managing director of inspireshows.com the UK's Premier alternative entertainment and action sports shows provider doing in excess of 400 individual shows a year!
With Lee's event organising skill he also got married on the hit TV shows "Don't tell the Bride" and put on the worlds First " Extreme Sports wedding"
Original comment: In July I traveled to San Francisco to seek advice from Pete Brandt--one of the world's most indomitable flatland riders, and someone who has innovated and redefined the state of the art for over twenty years. He's also one of only a select few worldwide who can do blenders. A rider's spot is more than just a parking lot or an empty court; it's the landscape that helps define his or her riding and shapes people's perception of said rider. The Plywood Hoods had the Pit, Austin has the OG, Martti had the sterile basement; Pete's spot at the Embarcadero Clocktower is equally legendary and is one I dreamed of being able to session at ever since I started riding a decade ago.
My quest for the blender still continues on, but riding with Pete at the Clocktower and hearing him personally tell me I'm close might prove to be the motivation I need as I enter my 11th year of riding.
These are The Clocktower Tales.
Original comment: The culmination of my best riding from November to February just before I left back to China.
Probably my best riding documented so far as a rider. I'm very proud of this one and I'm sure there are a couple NBD's in here. During this edit I changed bike set up a few times allowing me to venture into different styles. So this video is fairly comprehensive of some set-up-specific tricks
Right before the explosion in Tianjin I learned a trick I've always wanted to learn but never have. I think that was a pivotal point for me, something clicked in me and suddenly I was open to a world of possibilities I deemed impossible. Well after that moment I went into the greatest progression period of my life lasting about 6 months. I filmed numerous edits after that all with brand new material and tricks and styles.
Like those videos the trick development for this video was completely organic. I just go out with no expectations and let my mind and imagination wander and much of what you see arose. Or maybe I'd go out with an idea only to be diverted into a new direction into something totally different. Then from those new ideas I see how far I can push them, what can I add on, tweak or link up. I just go with the flow of ideas and see where it takes me.
Many of the tricks here I had never thought of trying even a week before I did them, it's almost like these tricks manifested themselves, it's like they've always been there, lurking in the corners of my mind just waiting do be discovered.
From here on out are tricks and some explanations. If you don't want a spoiler watch the video first then read this. but this explains some of my favorite tricks in this edit and the stories behind them.
For a short time I messed with stationary brake tricks. The one I'm most proud of is the switch hand oppo whip barflip to hitchhiker back up to land. That's a trick I devised in Tianjin last year but wasn't at the level to pull it at that time. when I put brakes back on I went for it and got it in about 20 minutes. Super psyched on that one.
There is a trick filmed in a parking lot that's like a messiah with my leg through the frame, fantastic way to snap a leg. that was a trick I've envisioned doing for a long time but wanted a large perfect area to do it on and someone there for safety in case I do snap my leg and also to film. I wasn't going to attempt that without filming it. That is more of a stunt than a trick.
I learned how to decade in early January. Finally about time. Also in that time learned how to finally lock in pedal steamrollers. within 2 weeks of learning decades I pulled the pedal steam to decade. The clip where I dance and hug my friend was the first one ever pulled.
about 2 weeks later I learned how to SF pedal steam, then the decade from that was born. second to last clip was the first time that trick was pulled.
The final trick was my primary entry into the Master of Creativity Contest. I wanted that line more than anything and wanted to pull it before I left for China. I pulled it 2 days before flying out. I was relieved to pull it more than anything.
There is so much in here I'm proud of, every trick has a story.
In the beginning of one's journey as a rider creativity has a lesser part, first we must learn the basics and master them. Once one has learned more and has a pretty good tricktionary we start linking and tweaking and the creative process takes a better grasp of what we do, but is it doing enough?
I believe there is a tipping point to this, where in the beginning we are limited by our skill levels and creativity has a lesser role. Inversely once one reaches a farther level and have developed their skill sets, they aren't as limited. Although what is limiting at that point is the imagination, what we haven't thought of. Like I said before many of these tricks I discovered I had, they just happened fast, it's like I've always had the ability to do them, I knew the motions, but I simply didn't think of it yet. That's what I meant by organic. My signature trick the solar flair happened this way. Within a week of putting on brakes I learned it, I never had brakes before that, that was in 2009. This discovery aspect of riding has always been prevalent for me since the beginning, it's like I literally never know what I'm going to come up with next. Another reason I like to change bike set ups.
Our bodies are tuned for certain motions, what if by tuning them for those movement they are also being tuned for others we just don't know. That's what I set out to discover, what can I do that I just don't know I can do.
There is so much we can do, more than we know, we simply have to discover what we know.