Lifestyle
Zip, zoom and soar in L.A.'s extraordinary new playground for bike riders
On a rainy Sunday morning in Inglewood, while most of the sprawling Edward Vincent Jr. Park was empty, one area was alive with action: the Inglewood Pumptrack. On the wavy, asphalt track that almost looks like a modern sculpture emerging out of a grassy field, kids and adults on bicycles zoomed around, showcasing tricks and testing their endurance.
Since it opened in September, the site — billed as L.A.’s first pump track — has quickly become a safe haven for bicyclists to ride, connect with others and, most important, have fun.
“This has been a game changer,” says Corey Pasowicz, who brings his 12-year-old daughter, Alexandria, to the track at least two times a month to practice her BMX and mountain biking skills. She rides on a factory team for Black Crown BMX.
A pump track is a playground for bikes filled with undulating hills, rollers, banked curves (often referred to as “berms”) and shallow jumps. Instead of pedaling or pushing the bike forward, riders do an up-and-down pumping motion with their body to maintain momentum. There are roughly 10 pump tracks in Southern California; for many years, the closest ones to L.A. were in Temecula and Thousand Oaks.
BMX athletes ride along the Inglewood track, which opened in September.
(Alisha Jucevic / For The Times)
The idea to build a pump track in Inglewood came to Eliot Jackson, a top 10 downhill mountain bike racer and top performer in the World Cup circuit, in 2020, when he started reflecting on his childhood.
Growing up in Oklahoma, Jackson and his older brother would build dirt jumps in their backyard. When the family moved to L.A., there was no place to ride that was away from vehicles, so Jackson’s mother would drive the boys to a biking track about 45 minutes away.
“A bike lane is not a safe place for kids and a lot of times sidewalks aren’t [either],” says Jackson, 33. “So I think for us, a pump track represents that first step to permanent cycling infrastructure — a place where I can say, ‘This isn’t going anywhere. … I have a place where I can go every single day, there’s community there, it’s safe [and] my parents are OK with me going there.’”
Visitors can also take Metro trains to get to the track, as it’s walking distance from the Downtown Inglewood and Fairview Heights stations.
Eliot Jackson, a pro mountain biker, showcases his skills at the Inglewood Pumptrack.
(Alisha Jucevic / For The Times)
Jackson also hoped to help remedy the lack of diversity within the professional biking industry by building the track. Throughout his decade-plus long career, he was often the only Black person — or person of color — at the starting line at competitions. In August, after he retired from World Cup competition, Jackson launched the Grow Cycling Foundation, which is dedicated to making cycling more inclusive.
“I just thought about my life and all of the serendipitous things that led up to that,” says Jackson. Like his family “happening to move to California, where there’s mountains [and] my friend happening to take me up to Whistler Mountain Bike Park and introduce me [to downhill].”
“You start to think about the lack of opportunities that exist there, and I said, ‘What can I do?’” adds Jackson, who’s the chief executive of Grow Cycling, as well as a mountain bike expert for Red Bull.
The Inglewood Pumptrack, which cost $1.2 million, was fully funded by the cycling community for the cycling community with more than $300,000 in donations from individuals. The rest came from founding partners, including such brands as Yeti Cycles, Ride Fox, Pinkbike, Santa Cruz Bicycles, the Rapha Foundation and Adidas, Jackson says. (Jackson is also an ambassador for Santa Cruz Bicycles, Rapha and Fox.)
Jin Morita, 13, rides on the World Championship Track, one of two tracks at Inglewood Pumptrack at Edward Vincent Jr. Park in Inglewood.
(Alisha Jucevic / For The Times)
Constructed by Velosolutions, the site features two asphalt courses: The Woodlands and World Championship tracks. Woodlands, which is smaller and surrounds a host of trees, has smaller rollers and is designed for slower speeds. Whereas the colossus World Championship track, which is wider with large rollers, was built in a mirrored design so two riders can race in opposite directions at the same time. The design and name for this track was intentional as Jackson plans to host world championship competitions there. (Between both tracks, roughly 300 to 400 people were riding at the same time on opening day.) Both tracks are open to all ages and levels.
The Inglewood Pumptrack was specifically built with bicyclists in mind; for years, they were pushed out of skate parks and weren’t welcomed by the skateboarding community, says Joi Jackson, Eliot’s mom and the president of Grow Cycling.
They wanted to set a more inclusive precedent for bike infrastructure, so there are bike priority days at the track. Other wheels such as skateboards, longboards and rollerblades are welcome on specific days of the week. (A sign near the track entrance includes more details on this and other rules for the track.)
People who use wheelchairs or adaptive bikes can also utilize the track. However, no scooters or motorized vehicles such as e-bikes, hoverboards or electric scooters are allowed.
Ameri de Vera, 9, who rides BMX on a factory team for a company called Answer BMX, goes to the Inglewood Pumptrack at least twice a month with her older sister.
“I was scared at first because you have to get used to how it sways,” says De Vera, who was preparing for the BMX world championships on a recent Sunday. “It sways in different directions and there’s some sharp turns too. So you have to keep your eye on those, but it was really fun once I got used to it. And you can ride your skateboard on it.”
Eliot Jackson rides the Inglewood Pumptrack with BMX athletes, Ameri de Vera, 9, left, and her sister Vida de Vera, 11, center.
(Alisha Jucevic / For The Times)
For first-timers, she recommends gearing up and wearing a helmet for safety “because the first time, you’re probably going to fall.” She also encourages people to be aware of their surroundings and pay attention to what others are doing to avoid accidents.
Although there’s a skate ramp at the park, Erik Barnes, 50, says he prefers to ride on the pump track.
“There’s a proliferation of skate parks here, but none like this,” says Barnes of West Adams, who’s been an avid skateboarder since he was a teen. He sometimes brings his teenage son to the track with him.
“I meet a lot of guys my age or us older skaters who are just falling in love with this place. Everyone’s like, ‘It’s reignited skateboarding for me. It got me back into it,’ and that’s definitely the case for me.” Barnes frequents the track at least twice a week, usually before work.
What Barnes loves most about the track is that “you don’t have to be really good to enjoy this park.”
“You can kind of get yourself into a really fun zone of just cruising, which is a really pleasurable, fun thing to do,” he says. “It’s not exceedingly difficult.”
He adds, “You can just get into a nice flow. It’s rhythmic. It’s meditative and it’s a really good workout because you’re basically just doing squats the whole entire time.”
After not seeing many rollerskaters at the Inglewood Pumptrack each time they visited, Bily Ruiz, 26, started a weekly meetup called K.h.a.o.t.i.c Quads. The group, whose members range in age from 1 to 50, meet there on Sunday mornings.
“I love the community that [the track] is creating, because at some parks, the culture can be very standoffish or they don’t really talk to each other,” says Ruiz. Whereas at the Inglewood Pumptrack, “since everyone’s so excited, everyone’s like ‘What’s up? Hi. I see you. Good job.’”
“I look forward to it every weekend,” Ruiz says about about the group. “It’s so exciting, and every time we meet up, it fills me up with so much energy.”
“We built something that people love and that makes me the most happy,” says Eliot Jackson.
(Alisha Jucevic / For The Times)
The parents of young BMX athletes take a photo of them with Eliot Jackson, center, at the Inglewood Pumptrack.
(Alisha Jucevic / For The Times)
The Grow Cycling Foundation has also donated permanent bike fleets to nearby in Inglewood elementary and middle schools , which they use for education programs. The organization views the pump track as the first step in a long-term mission to make cycling culturally relevant in the city.
In the meantime, though, Jackson says he’s enjoyed seeing kids who may have never seen or heard of a pump track before get to experience one for the first time — or simply fall back in love with riding bikes.
“We built something that people love and that makes me the most happy,” he says. “I just think about us as a family when we were growing up and my mom would’ve taken us every single day, and look at where I am now?
“And that will happen. There will be a kid who goes on to be better than I ever could because they got to discover a bicycle at this place.”
Lifestyle
How does the Kennedy Center board make decisions? This legal filing sheds some light
The Kennedy Center, the facade of which remains covered with a tarp, is seen in Washington, DC, on June 28, 2026. A US federal judge asked on June 24 for an explanation for why a tarpaulin continues to cover the facade of the Kennedy Center where President Donald Trump’s name was recently removed. District Judge Christopher Cooper gave the board of trustees of the performing arts venue until the end of July to explain “the purpose for and status of the tarp and scaffolding that Defendants have erected on the front portico of the Center.”
ALEX WROBLEWSKI/AFP via Getty Images
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ALEX WROBLEWSKI/AFP via Getty Images
More than two weeks ago, President Trump’s name was removed from the Kennedy Center facade though it is still covered by a tarp and the legal battle continues.
On Monday, a U.S. Department of Justice filing on behalf of the Kennedy Center included some surprises. The document was submitted in response to issues raised by lawyers for ex-officio board member Rep. Joyce Beatty of Ohio who is suing to remove President Trump’s name from the center and stop its closure for renovations.
Among the revelations, the Kennedy Center admitted that, during a board meeting on December 18, 2025, Beatty had been “muted and prevented from speaking.” It was at that meeting that the board voted to add President Trump’s name to the center. The filing later acknowledges the congresswoman was “prevented from voicing her opposition.”
The John F. Kennedy Center for the Performing Arts is a living memorial to its namesake. The guidelines for how the theatre complex spends federal dollars are very specific. Among other rules, it states that “no additional memorials or plaques shall be designated or installed.” Beatty argues adding Trump’s name runs afoul of those rules and that any change requires approval from Congress.
According to one of Beatty’s filings, “There was no advance notice in the agenda that the Board would be considering a name change,” a statement the Kennedy Center now does not deny. The center admits that, prior to voting, there was “no discussion about potential risks or downsides of the vote to adopt a secondary name for the Center.” Nor was there a board discussion “about any potential conflict of interest that might result from the vote.”
The center’s lawyers previously contended that if Trump’s name were to be removed, it would “lose money from donors who support” him and “impede the Center’s fundraising efforts.”
Closing for renovations
Earlier this year, Trump announced on social media that the Kennedy Center would close for two years for renovations. He wrote that he made the decision after “a one year review” with “Contractors, Musical Experts, Art Institutions, and other Advisors and Consultants.”
But, according to the center’s lawyers, Trump’s announcement “was made without presenting any plans, analyses, timelines, or funding information to his cotrustees and without any Board vote.”
The Kennedy Center has long denied reporting by The Washington Post that ticket sales plummeted after President Trump became the Center’s board chair. In Monday’s legal filing, the Center admits that, by October 2025, “nearly half of the Center’s tickets were going unsold.”
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Lifestyle
‘Dead but Dreaming of Electric Sheep’ is full of beautifully written grotesqueries
Paul Tremblay has made a career of pushing the horror genre – and the novel format – in strange and exciting new directions.
In his latest, Dead but Dreaming of Electric Sheep, the author offers an amalgamation of genre elements that can be best described as psychological-dystopian-science-fiction horror. It’s a mouthful, but the narrative does all of that and more in a way that defies categorization.
Julia Flang is a former semiprofessional gamer working two mediocre jobs she dislikes and living in a modest ranch house in a San Fernando Valley suburb with her retired uncle, whom she calls Uncle Fun. Julia likes movies and gaming but there’s little else going on in her life, so when her estranged mother, the CFO of a large tech company, contacts her with a possible job offer – a “once-in-a-lifetime thing” that pays handsomely just for doing the interview – she hesitantly agrees.

The job is relatively simple and perfect for someone with gaming skills: using a controller built into a phone to get a man, who is stuck in a vegetative state, from California to the East Coast. It will require her to learn how to control his body – walking, moving, sitting, standing, using his arms – so she can maneuver him out of the facility where he is located and into cars and planes and through crowded airports. A fan of movies, Julia decides to call the man Bernie – after the movie Weekend at Bernie’s. When the ethics of the job start to bother her, Julia realizes it’s too late and she must go through with it. However, she’s soon contacted by people interested in sabotaging the whole thing, people who, like her, don’t align with the shady interests of conglomerates and those set to make “gobs of money” from this new, somewhat inhuman technology.
As with every Tremblay novel, any synopsis barely scratches the surface. The novel’s chapters alternate between Julia and you (yes, you). Julia’s chapters are “normal” in the sense that they obey a chronological order and have action, basic descriptions of movement and places, and dialogue. The chapters in second person are like fever dreams from a shadow world; the desperate experiences of a man trapped inside his own body with no control of it, no clue what’s happening to him, and only a few fragmented memories of his life. Also, Tremblay uses a similarly fragmented style of storytelling (including words and sentences trapped in boxes and/or “moving” on the page) to keep things interesting but also confusing and creepy.
This novel operates on several different levels and – planes of existence? Bernie has a head full of AI that controls his body, but his consciousness is still there and struggling to regain control, struggling to remember things. There are monsters, leeches, mysterious rabbits, and eerie shadows in his world, but the true horror comes from the lack of control, from being moved around against his will and having no clue what comes next. Bernie is the embodiment of losing control to AI, and when taken together with the commentary of creativity and AI and the meta interludes in which the author takes a wrecking ball to the fourth wall and addresses readers, this is the best anti-Generative AI story horror has produced so far.
Despite the horror of it, this is a very funny novel. Julia is sarcastic and struggles to keep her comebacks in line, but the conversations she has and messages she writes are always entertaining. However, the humor is far from the crown jewel here. That title belongs to a plethora of big ideas Tremblay juggles. The nature of life, death, and consciousness, the evils of conglomerates, inhuman practices in the name of capitalism, and AI, and even what it means to be human are all explored here: “Is Bernie alive? Is he feeling pain? Is he experiencing everything as a prisoner looking through the bars of his body? Has his consciousness been winnowed to a metaphysical keyhole? Where does consciousness begin or end?” There are no definite answers here, but the way Tremblay infuses humanity, love, the importance of relationships, and humor throughout the narrative provides the kind of answers that can’t and don’t need to be spelled out.
A genre-bender full of big ideas that constantly switches between a world full of real or uncomfortably plausible nightmares and a bizarre hellscape in which loss of self, memory, and autonomy are only the tip of the proverbial iceberg, Dead but Dreaming of Electric Sheep is a horrific and terrifyingly disorienting novel that invites readers to consider a future that already started. Tremblay has always been an innovator, but this beautifully written collection of real and imagined grotesqueries cements him not only as one of the most original and exciting voices in horror but also as one of the smartest, most engaging authors in contemporary fiction.
Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.

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