Touchdown - 62 BPM. Playing Through The Changes: Anthology Apache - 91 BPM. Spencer Davis Group - "Mr. Cartwheel Rag - 57 BPM. Message From The Stars. Average White Band. Why - 92 BPM. Cloudy - 66 BPM. How Sweet Can You Get? Overture - BPM. Soul Searching - 85 BPM. Goin' Home - 95 BPM. Everybody's Darling - 94 BPM. The Message - 93 BPM. Imagine - 70 BPM. MB 09 Jul 21 Soundtracks. Memories From Earth 2.
Nogymx - "Awakenings" - 68 BPM. Prithvi - "Leaving" - 80 BPM. Foli - "Exodus" - BPM. Foli - "Home" - BPM. Refeeld - "Distance" - 70 BPM. Refeeld - "Signpost" - 70 BPM. Tibeauthetraveler - "Souvenir" - 76 BPM. Goson - "Departure" - 74 BPM. Shame - 99 BPM. Scarabus - 86 BPM. Money Lender - BPM. Twin Exhausted - 87 BPM. Mercury High - 82 BPM. Second Sight - BPM. Roller - BPM. Mr Universe - 86 BPM. To hopefully expand their minds.
Murf: You were there when it all started with pool skating and the boys were innovating. What was it like being in the scene when that went down? But the creativity and the attitude of skateboarders back then. Murf: Yeah. Who did Tony Alva look to? Yeah, these people were innovators. They took stuff from surfing moves, then things developed on flat ground and then they took it to vertical walls. It was just so out of the realm of their reality of skateboarding.
Then, when Alan Gelfand came around four years later and did that ollie air. How do you explain that to someone? I know people who used to ride pools and do one wheelers barefoot with no grip tape. The evolution of the sport is just something you can barely explain. It just kept on evolving every day. Will he even know what style is? How can you call yourself a skater without knowing how to carve? Murf: Hell, yeah. You just hate to see people become followers.
Skateboarders were leaders before. They did their own thing and had their own style and had their own boards. Everyone used to make their own board. Putting a board together was an all-night affair. Now you just buy bearings. Precision bearings were probably the biggest jump there ever was after the urethane wheel.
Once you were able to get precision bearings, people were able to invent different types of wheels and have them out on the market in weeks rather than years. Later, all you had to do was pop out a wheel model and then throw in the bearings. Back in the day at the old contests, if you broke a cone or your truck fucked up or your bearings came out, you were fucked.
Skateboarding has definitely changed a lot but the original attitude is still alive in a lot of kids who do their own thing. If they knew what was involved, it would probably be the most interesting story they ever heard. One day when he was a kid, Alva was trying to get a ride to Malibu, hitchhiking with his board at the foot of the Santa Monica pier.
A woman stopped and picked him up. Her son was in the car with her, a scorching bundle of rat energy named Jay. Naturally, the paths of Tony Alva and Jay Adams first crossed while they were embarking on a common mission, and that mission was to surf, by any means necessary, on land or in the sea.
As a kid, Alva became typically obsessed with surfing, but early on he realized that he was gifted with a supernatural talent for skateboarding. He was a good surfer, but he was a great skateboarder.
When skating he innately manifested the ideal surf style, effortlessly locking into a technique that evolved into something approaching perfection.
By the time skating entered the vertical realm, Alva was channeling the very essence of 70s surf, and his aesthetic was pleasing in the highest artistic sense. But there was far more going on in his skating than mere stylish posing.
Danger provided the foundation on which Alva and the Z-Boys separated themselves from the rest and revolutionized skateboarding. As the original pool ruler of the 70s, Alva followed the example set in the surf by Barry Kanaiaupuni at Sunset Beach and Gerry Lopez at Pipeline by meeting extremely treacherous situations with grace, poise, and finesse.
Skating rolled away with its new identity and spread inland like a flood tide, and no skater played the rock star as well as Alva. He built his public image with a debauched flamboyance mirroring the decadent worlds of rock, glam, and punk. I felt like Muhammad Ali at the time, like unbeatable. So I lived that skateboarding rock star kinda life for a long time. Prelude to the Revolution The prelude to the rise of Alva and the Z-Boys happened when Frank Nasworthy innovated the urethane skateboard wheel around Nasworthy was just as frustrated with stiff, slow surfboards as he was with dangerous and unforgiving clay and metal skateboard wheels.
Landlocked in the Washington DC area at the time of his urethane wheel breakthrough, he spent eight months skating blissfully around the city on wheels that now felt so close to the actual act of surfing that he barely missed the ocean. In fact, the speed and traction of the new wheels allowed him to draw lines on pavement that he could only dream about in the water. When he finally did return to the beach in Florida in the spring of , the first thing he did was scrap his conventional single-fins and buy a short, wide, dualkeeled fish surfboard.
He wanted a surfboard that rode like his new skateboard, and this deliberate and radical board change by Nasworthy marks a pivotal moment in surf history. Suddenly, a skateboard was guiding a surfer into the future and making him crave new equipment to ride waves in new ways.
By the time Nasworthy brought Cadillac Wheels to market in California and Hawaii in , the conditions in the lineup and on the street were absolutely perfect for an explosive revolution in skateboarding, and the effects this had on surfing are still being felt to this day.
But when the urethane wheels came out? That was like all of a sudden we had juice. All of the things we ever wanted to do on a skateboard and on a wave just started to happen overnight. The Zephyr surf and skate team was already taking shape, following the example of the great LA clay wheel skate teams of the 60s, like the legendary Makaha team. But while the 60s LA skate scene was mostly longboard-influenced sidewalk surfing, kids like Alva, Adams, Stacy Peralta, Allen Sarlo, and Nathan Pratt were coming of age during and immediately after the shortboard revolution.
Their clay wheel skate style was strictly shortboard influenced. When urethane entered the picture everything was in place, and the kids transferred their latent shortboard energy and consciousness onto concrete with spectacular results. The other major influence on the birth of modern skating came from Hawaii. At the time the urethane wheel was introduced, Ben Aipa and Larry Bertlemann were in the process of electrifying the surf world with their uniquely Hawaiian style of new-school surfing and design, and this was exerting considerable influence on the Zephyr scene.
Bertlemann was already a skateboarder, having learned on clay wheels in Hilo before moving to Oahu. He jumped on urethane wheels, got really into skating, and translated his surf moves onto concrete without missing a beat.
For the next few years, his surfing and skating fused into one stylistic form that was distinct, readily identifiable, and highly contagious. Bertlemania had spread to the mainland, and his urethaneskate-influenced surfing became a major inspiration to the Z-Boys.
Alva epitomized the symbiotic relationship between shortboard surfing and the birth of urethane wheel skating. His style was the synthesis of multiple influences.
He appreciated their radical approach to surfing and identified with their brash attitudes. The streets and surf spots Alva frequented in LA were not soft places. Skating was done in street clothes in the city, and Alva and Z-Boys had style. When photographs began to appear in SkateBoarder magazine, the effect on the youth of America was potent. Empty pools were more like punk stages than surf spots, and skaters like Alva and Adams were the boys in the band.
It struck land-locked kids in a way that surfing never could. Alva spent long periods with Bunker in Hawaii and California, and the two were tuned to the same frequency in music, surfing, skating, and life. Everything he was into is so much a part of my surfing, and surfing in general, right now. He was there as a fill-in substitute art director for a couple of issues of Skateboarder — when we were both pretty young, although he was much older than I was of course.
He was probably just learning the ropes back then, or perhaps just paying his dues. I personally like to read my articles, I like to see my pictures, and I like to have high quality designs working with the words and photos, not battling them. I take photographs — they tell the story on their own. At one point before Raygun he [David Carson] became the actual art director of Surfer Magazine when they went through their big re-vamp. I actually had a lifetime free subscription to Surfer due to my history at SkateBoarder , and I always loved reading it because the photography was so good, but I thought that redesign was so bad that I asked them to cancel my free subscription.
I had to protest. I no longer wanted it in my house. I thought it was so detrimental to the photography and to the words that people wrote. People at magazines and websites are looking for content just to fill in space between the ads. When computers and the internet gave everyone the capacity to be a publisher of something that looked decent, all of a sudden everyone could publish.
G: My mom was an artist and designer and she exposed me to art at a young age. When I was a little kid putting together my own pictures on the walls I would always do it a certain way so it all looked neat and balanced. I always appreciated good photography from National Geographic and Sports Illustrated even before I was a teenager and those really helped guide me.
Those magazines have some really great photography. But, at the same time, back then it was just a given that you would care about the composition.
G: I know very little about the technical aspects about photography. I just go by my gut, my heart, and my eye. They might not just be that cool on their own. G: Someone once did, and they were pretty serious. It was obviously someone who was not too secure. G: It depends. In the later years I definitely scouted locations a little more.
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