Brian Deegan

Brian Deegan came out of the privateer trenches with speed, resentment and no interest in waiting for the factory world to invite him inside. When freeriding began producing real paychecks, Deegan saw another road, one where riders could control their image, their money and their future.

His point of no return came after winning the 1997 Los Angeles Supercross 125 main event. Approaching the checkered flag, he stepped off and sent his motorcycle sailing riderless through the air. The AMA took his prize money. Deegan got something more valuable: an identity.

Alongside Larry Linkogle, he built Metal Mulisha around riders who felt discarded by the system, black gear, metal spikes, heavy music and two middle fingers aimed squarely at corporate moto. Deegan draws the line in MOTO NINETIES between the sport’s polished past and its rebellious future.

When Travis Pastrana arrives as freestyle’s smiling all-American hero, Deegan willingly becomes the villain. “Travis was good. We were bad.” That rivalry gives television a story, gives fans sides to choose and helps turn freestyle into a global spectacle.

Deegan wasn’t necessarily the most technically gifted freestyler. He was the personality the revolution needed.