Words by: Nick Hartman
There is a big story to this. My philosophy on skating was always four down. In urban cities part of being an amazing skater is how you see the lay of the land in front of you. Curbs, walls, stairs, traffic, ledges, gaps, cobblestone, you name it, travelling at high speed, adapting to your immediate environment was the true calling of a great skater. Not driving to a spot to skate a handrail for an hour. Everyone on fr embodied the idea of city fluency. Think Dave Ortega. So ahead of his time, so part of his environment, so alive and balls out. His idea of skating was all day skating from spot to spot where the in between moments defined you.
Dave Ortega rockin’ his signature ‘Cock Rings’
What people don’t realise that the ability for a skate to turn is something called a creep theory. It’s the even spacing between wheel that lets the skate turn smoothly. Under a microscope, the unified space between the wheels, the shaped quadratic profile of the wheel, all lend itself to never feel that the wheels are actually slipping. The softness of the urethane and rotational speed hide these million slips happening without or our awareness. When you ride anti-rocker the skate behaves like a fire truck with a second driver controlling the back wheels. My preference was to always design wheels to be four down.
I wanted to tell our story with a greater scope than the usual small slice you’d see of a hyper-specific time and place. I wanted to share the objective history and take the audience on a ride through the unfolding of our particular subculture’s roots, and I wanted to do so visually.
– Victor Friedman
Words by: Victor Friedman
Andy Strahan, soyale. Picture by: Javan Makhmali Read more