Jimmy-Plumer

Jimmy Plummer, 1979

George-Wilson

George Wilson, 2nd Gen Boyz
from Florida, 1979

SEQUENTIAL OVERDRIVE OR DOG'S EYE VIEW
SHOOTING THE RAPIDS

The skaters included everyone who was anyone in Dogtown, and a few who were not. The talk centered around looking for Brucie. Everyone's waitin' on him to come up and lay down some lines so that they can settle it like men.

  The equipment employed offered radical departures from the mass-production line technologies. Jay Adams has his well-advertised fiberglass chassis approach. James Muir and Wes Humpston are riding their hand honed hardwood rise tails, with sophisticated rocker-edge contours and fully transitional volume. Tony Alva features a multiple laminate design with a layered wood core that has a drilled-out center, and is surfaced with fiberglass skins. The entire unit is heat and pressure bonded. Among the boys, three-quarter pound blanks are the new rule.

  "Dead weight is lost energy."— James Muir.
  "The lighter, the livelier."—Paul Constantineau .
   "Keep your heights heavy and your skates light."—Wentzle Ruml IV.

  To realize what it all means to performance, weigh your current blank.

  The skating is reality therapy, with each move surpassing all previous ones. Biniak head-checks a newsreel cameraman, and Palfreyman asks if he got the shot. Tropical madness overcomes all. It's total dementia in the deep end, ranging from complete upside down aerial assaults to four-walled off the lips. The crowd is going through the changes as they strain their necks trying to follow the action. The skate troopers continually put the heads of the watchers in new places. Most of the beholders wear the look of someone trying to understand something they've never seen before.

  On the vertical lip, Alva and Muir are hitting airborne frontsides, and making them, while their anonymous looking camera accomplice records the act at 500 plus frames. The newscaster comes up and attempts to talk to the photographer, who remains silent behind the high-pitched shrill whine of his mechanized camera. The work done, Alva comes up, and the news guy begins to interview him. Eventually he indicates to the mute high speed man, and tentatively utters, "Tony, I don't think I caught your friend's name." Alva replies, "That's probably because he didn't give it." The news gatherer again approaches the photographer and inquires, "That is a very interesting device there; just what exactly are you doing?" The speed cameraman wearily replies, "We have divided the peak of action plane into 12 cubic sectors, and are using this machine to analyze each of these in terms of speed, velocity, depth and distance traveled." The photographer stalks off, leaving the commentator, who blankly gazes at Alva. Tony now offers in clarification, "That camera is 100 times faster than a typical motor drive . . . it's the only one fast enough." Alva departs, leaving the newscaster standing alone with the look of someone trying to understand something that he cannot see on his face.

  The boys were dealing with things too rapid to be observed, the kind that are so quick that they are felt rather than seen. The documentation must be done in sequential overdrive . . . faster than the speed of life, it's the dog's eye view. "You should have been here yesterday" has become "you ought to be here tomorrow."

SkateBoarder Magazine vol.3 #5 June 1977

dog10

Wentzle Ruml, atop Sierra
Wave's 17-foot bowl, 1978


FRONTIER TALES OR ANY RESEMBLANCE TO ANY PERSONS LIVING OR DEAD IS PURELY COINCIDENTAL

STATE OF THE ART; THE FALL OF 1976

Much mass media attention. Publications like Rolling Stone and New West play up the “outlaw as skater” aspects, Youth Sport, Boy’s Life and International Recreation emphasize the clean cut, safe, sane approach, while Time and Sports Illustrated report on skating as big business. Bill Lancaster, the screenwriter who authored Bad News Bears, drafts a wide-screen epic of cement savagery based on assorted interviews, and hanging out with the Logans.

Each major television network has run a skate special, with the tube’s finest moment being Walter Cronkite’s explanation of a “skateboarder’s fracture” X-ray on prime time.

Even the Beach Boys use a pool-skate session to reinforce their TV special (definitely the high point of the spectacular, which included blondes driving T-Birds, numerous sunsets, the entire cheer leading staff of Hawthorne High, assorted seagulls, a birthday party and climaxed with Brian Wilson being dragged screaming into the surf off Malibu Canyon).

Robin Alaway, Tony Alva and Stacey Peralta do a demo for their part on the Tony Orlando and Dawn Show, with Alva pulling off a headstand spinner to wow the fat, cigar-chewing corporate execs. (Alva’s comment, “I only did it for the money.”) On the same day elsewhere in Tinseltown, Fred Astaire, age 77, broke his wrist falling off his 29” kicktail in the courtyard of his palatial manor. (Fred’s comment, “I practice everyday.”)

Bob Dylan kicks the “kid” and company out of the new pool being constructed at his Point Doom home. But the neighbors say Bob skates it alone at night. (Dylan’s comment, “to live outside the law, you must be honest.”)…

So what does it all mean—probably nothing… except that here in the Seventies, a lot of outsiders are recognizing skating as a way to commercial profit. Writers are terming it the youth movement of the time, while inside the skate sphere itself, it is a time of flux and indecision. Professionalism is very much in evidence. It seems that there is a team for everyone, and someone for every team. Attacking professionalism is easy, due to it’s non-purist orientations. Professionalism tends to breed organized stagnation. On the positive side, professionalism allows the skater to make money to further his other interests. Professionalism also promotes product development. Products at present are of a much higher quality than of the past. Two years ago, a 50 MPH run was heavy, now it’s common place. Why? Primarily due to equipment advances. Quality equipment is now within everyone’s grasp.

Skateparks are frequently touted as the future of skateboarding. While fine for what they are, the parks in general have so far failed to surpass many quality, already existent skate spots. Have you yet seen a park as radical as the best pools?…

Somewhere beyond the formalized spectrum, street skating reigned supreme. On the banks, drainage ditches and streets of the land, it’s coming down hard and heavy. Flying lines are being drawn down blacktop hills in manners that the civic planners could never conceive of. Street skating does set the standard. While the cops and government are busy closing down spots, the street skaters find new places to ride or new ways to ride the old places, working the Amerikan concrete technology for all it’s worth. While the old flatlanders flounder in their parks, the boys are down below going upside-down in the sewers. While the Highway Patrol hides in the bushes of the canyon, looking to catch speeders, the Mad Dog and the Bullet are passing the cars at speed. The Patrol takes one glance at the Dog and the Bullet, and knows the situation is totally beyond all control. Guts skating, as always is the final frontier. It’s going to go as far as you are willing to take it, and the only way to know for sure how far you can push it is to lose it. The one certain thing is: when you hit the pavement at 70 plus, it’s not gonna’ matter who you ride for, or what your name is. The future is now; get on it.

SkateBoarder Magazine vol.3 #2 December 1976


contents | 1 | 2 | 3 | 4 | 5 | 6 | G.E.F. Early Dog Days