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Thursday, January 6, 2011

Jim Fitzpatrick interview, Part I: 1948 to 1957. From early Childhood to Surfin’ USA

Jim Fitzpatrick exclusive interview, November 2010- January 2011
"This is the great thing about having one photograph of myself skateboarding;
it doesn't change. It becomes iconic in and of itself. Jams from Dave Rochlen;
Sperry Todsiders; Makaha with clay wheels; Brentwood Elementary school
on San Vicente Blvd in West Los Angeles. At a certain point it didn't get much
better than that in 1963. We would skate there as much as we could." JFitz

In April 2009, after 30 years of separation, the ex members of the Banzai Team, the first French professional Skateboard team, finally gathered in Los Angeles with Jean Pierre Marquand, Joel Boisgontier, Thierry Dupin and myself. Jose DeMatos politely declined to participate to the trip.

In conjunction with Claude Queyrel, we had decided to take advantage of the reunion to interview for another lost member: Pierre Andre Senizergues. We had shared so many memories with PAS in the past that, even if he was not on the original team, his career in skateboarding was eventually way better than ours and we wanted to dedicate him this reunion. Claude liked a lot the interview we made, so after the interview was posted on his web site, he asked me if I would agree to interview Jim Fitzpatrick. Are you kidding me? Jim is the guy who imported the first skateboards to France and by the same token he imported skateboarding from California to France and subsequently to the whole European continent. That was way back in the 60’s. Jim is the guy who was instrumental to Joel & Arnaud de Rosnay’s first French skateboard zine. My father bought one issue of the zine and suddenly the whole family got into skateboarding every week-end on the slopes of deserted parking lots of Rungis, in the outskirts of Paris. I remember watching the pictures of Arnaud for hours before taking my skateboard and riding my clay wheels on the rugged slope of the “Ecole Elementaire Eugenie Cotton” in Vitry-sur-Seine, where I was living. You could almost say that I got into skateboarding because of Jim Fitzpatrick, so being able to interview my forefather 40 years after the facts was akin to a Pastor being able to interview the Messiah! So, we contacted Jim who agreed to the interview, but because of a lack of logistics and follow up, the interview never materialized.

Flash forward to a couple of weeks ago, when I posted Ray Rae Goldman’s interview on isTia. Ray Rae is a Jimi Hendrix fan, a longtime guitar player, the dilettante photograph of Venice skate park and he is making awesome skate pictures. Somehow, Jim Fitzpatrick got hold of the interview, read it on my web-site and posted kudos on my Facebook page:

Halleluiah the connection was made again. I contacted Claude and we talked about the old dream to interview Jim. The French version would be published on Claude’s website and the English version on isTia. Jim was as positive today as he was two years before: whatever it takes, let’s do it he said in an email.

The JFITZ Facebook Post that started all...
The interview is extensive and has 5 parts:

Part I (10 pages) 1948 to 1957: From early Childhood to Surfin’ USA
1 Topanga Beach
2 Are you experienced in surfing?

Part II (14 pages) 1957 to 1969: The first wave of skateboarding
1 Early skateboarding: do it standing up
2 The legendary Makaha Team
3 The boom of the 60’s
4 European Surfing Holiday
5 Vacations in Biarrtiz
6 European Skateboarding Holiday
7 The crash of the late 60’s
8 The 2 year recovery: 1968/1969

Part III (8 pages) 1972 to 1991: the rise and fall of pool skateboarding
1 1972-1978: The golden age of urethane
2 1985-1991: The Bones Brigade years

Part IV (8 pages) 2000 onward: From Hazardous Recreational Activity to the rebirth of the skateparks and vertical skateboarding
1 International Association of Skateboard Companies
2 The new skate park craze

Part V (8 pages) Food for thought: Vietnam, Politics and Education
1 The rebel years
2 Education in America

Feel free to read the same interview translated into French on Claude Queyrel’s site:


From 1957 to 2011, the short story of 54 years of skateboarding with Jim Fitzpatrick

When JFitz started skateboarding in 1957, skateboards simply did not exist.
So, he had to craft his own board with “a steel-wheeled roller skate nailed to a board”. His first skateparks were the parking lot at La Jolla Shores or other spots around the family home in Bird Rock. In 1960, he moved with his family to a house on the beach at Topanga Beach and surfing immediately became his second passion after skateboarding, and like Kilgore once said: “If I say it’s safe to surf this beach, Captain, then it’s safe to surf this beach! I mean, I'm not afraid to surf this place, I'll surf this whole fucking place!” Then, while he was still living in Malibu, Bill Cleary handed him an early prototype of a Makaha Skateboard with clay wheels and open bearings that he got from Larry Stevenson. He instantly became one the first pro of the history of skateboarding. By 1964, JFitz and 12 Makaha boards were roaming Europe to plant the seeds of the European skateboarding and JFitz took advantage of the trip to befriend people like Joel and Arnaud de Rosnay (R.I.P) and Jo Moraiz (R.I.P) an active French surfer in the French southwest town of Biarritz. But in 66, skateboarding became like “that fella back home who fell off a ten-story building. As he was falling, people on each floor kept hearing him say, "So far, so good." The early skateboard days where just like this: “Heh, so far, so good.”

When he returned to Europe 25 years later, it was with Bones Brigade skateboarders under the umbrella of Powell Peralta.

Leaving Powell Peralta in 1993, JFitz founded IASC (International Association of Skateboard Companies) and became its first executive director while championing liability law changes in California. Eventually succeeding in having skateboarding added to the HRA (Hazardous Recreational Activity) list he managed to convince municipalities that public skateparks were the way to go. Now, more than 2500 skateparks have sprouted throughout the United States and it seems that one skatepark is opening every day. There is no doubt that the rebirth of skateparks in the USA can be traced to Fitzpatrick’s untiring efforts to challenge California’s liability laws.

Still active in skateboarding, JFitz proudly founded Santa Barbara Montessori School, where he is still the Head of School. He authored several skateboard books, including bios on Tony Hawk and Shaun White, as well as other books on Skateboarding, Surfing, and Snowboarding.

This is the story of Jim Fitzpatrick in his own words. An exclusive interview for and isTia realized in November, December 2010 and January 2011.

Part I: 1948-1957 From early childhood to Surfin’ USA

isTia: Where and when where you born?
Jim Fitzpatrick:
I was born in San Diego, CA, February 10, 1948.

isTia: What were your parents’ job?
Jim Fitzpatrick:
My father was a survivor of WWII; he fought in the Philippines and was captured twice by the Japanese forces and escaped both times. He was an artist, illustrator and writer, and eventually became a motion picture writer and director, and ultimately had his own production company in Hollywood, CA where he made documentary films.

isTia: Where is your family coming from? What are their ties to California?
Jim Fitzpatrick:
My father was born in Oklahoma, where the Fitzpatricks at one time had enormous land holdings in the mid 1800s because of Irish immigration and the land rush.

My mother was born in San Diego, her parents had seen San Diego as a land of opportunity, and my grandfather scraped together a living, but during the Great Depression he had started his own business, a wholesale fruits and vegetables distributor and he secured the contract for supplying the US Navy, which became very lucrative for him. At one time he owned several real estate properties in the San Diego area, and he taught me a great deal about property management—do the work yourself and save money!

isTia: Do you still have family ties with Europe?
Jim Fitzpatrick:
We’ve traveled to Ireland a few times over the past decade and we’ve managed to locate ancestral connections. There’s an interesting phenomena that’s been discussed recently about the whole migration in an excellent book, “Ancestral Links.” The point is that when the migration took place there was a psychological separation that took place, and those that stayed behind didn’t want to know about the success of those that left, and those that left were leaving Ireland for a reason, and they didn’t want to think about the old country and its problems. That seems to be the case in our family. The Fitzpatricks we’ve found in Ireland are more or less, “Yeah, that’s nice, so what?”

isTia: Do you have brothers or sisters?
Jim Fitzpatrick:
Two sisters, younger than I, both school teachers, too. One is retired with her husband in central California and the other lives in Colorado with her son who recently returned from a brief time in Iraq.

isTia: What were your childhood games?
Jim Fitzpatrick:
I was passionate about traditional sports. I was going to be a professional baseball player, and a professional football player. One of my mother’s friends and co-worker was married to an LA Ram football player, and he occasionally visited our home and that was very cool. I played all traditional US games (soccer didn’t exist in the US then).

isTia: What was your education? Were your parents permissive or tight?
Jim Fitzpatrick:
Typical all-American 1950s best public schools in the world education that more or less worked for me. I was bright and hyper-active and without drugs to monitor my behavior I was often times ‘in trouble’ or causing trouble. But it was fine. I loved school because my parents didn’t give a shit whether I succeeded, or not. Wait, that’s not true, I did well enough in school that they accepted it. They knew I could achieve more, but they had other things to attend to.

My upbringing was very liberal. My father once said to me, “Hey, you’re alive, and I’m alive, and there were times in the war when I knew I was going to die, and I didn’t, so as long as we’re alive we’re doing OK“.

isTia: Did you receive a religious education?
Jim Fitzpatrick:
Not really. I went to a Sunday school with my sisters when we were 10, 7, and 5, but I soon discovered if I made sure my sisters were in their class then I could just bolt out the back door and go across the street to the park and play basketball, and eventually I would skateboard there. I had / have friends who were very religious. Catholic, Jewish, Bhuddists, and I’ve now studied religions for years.

Topanga Beach

isTia: Where did you live during your childhood?
Jim Fitzpatrick:
We lived a block from the beach in Bird Rock, which is part of La Jolla and one of the nicest places in the world to live. It’s now very exclusive and expensive, in the 1950s our entire neighborhood was middle class families living on $5000/year, and almost every family had parents working at Convair Aeronautics building airplanes and rockets and missiles. My father’s work was to produce the documentary films of the rocket and missile launches, my mother was in the secretary pool.

Our house on Waverly Ave in Bird Rock was an All-American home. Safe and secure, but our street was the only one for miles that still had a dirt surface—during the 1950s it was still dirt, and when we moved to Malibu in 1960 it had only been paved for about 6 months.

That’s when my life took a major turn because we moved to a house on the beach; on the sand, at Topanga Beach in Malibu, CA.

isTia: How often did you move?
Jim Fitzpatrick:
That one move was the only one that really mattered, when I was much younger we had lived in one other place, it was the move to Topanga Beach that changed everything.

isTia: You have experienced the emergence of the teenager in American society as an actor of a culture and economy?
Jim Fitzpatrick:
What a fucking amazing time to be alive is all I can say! My father’s early work in film production in the 1950s really put him and us in an unusual position—he befriended people in Hollywood, which is why we moved to Topanga Beach, and with surfing and skateboarding and movies and actors and actresses around the whole experience just exploded, for me, and for all of those around us.

An example would be the TAMI Show which took place across the street from my high-school. The Rolling Stones, the Beach Boys, and James Brown all on the same stage, and NONE of our teachers knew what was happening.

I had amazing opportunities. My dad began doing short films for the BBC’s Tops of the Pops television show featuring American rock and rollers, so we did shows with the Mamas and the Papas, and the Beach Boys, and Gene Pitney, Otis Redding, and many others…these are the people I was working with, and actors, too.

Elizabeth Taylor’s son was a friend, Lee Marvin was a friend of my father and his son a friend of mine. I played Little League baseball with John Fante’s son, Jimmy—we still play golf together today.

Bands. Music. Drugs. Sex. Vietnam. It was an amazing time, and I’m glad I was part of it.

isTia: This youth movement creates new idols in the music and film. Who were your heroes?
Jim Fitzpatrick:
James Bond. Ian Fleming put it together for me when I was 14. He might be responsible for my becoming interested in reading anything! But then the “Magnificent Seven” was a real experience for me. Style.

Later a great friend, she even lived with us for awhile, was Sharon Peckinpah, the oldest daughter of director, Sam Peckinpah. “The Wild Bunch.” Steve McQueen. Bullet.

Everything was so raw and so important. Bob Dylan. The Rolling Stones. Cream. The Who. When I was 12 I visited the set of the Ozzie and Harriet Show, starring all the Nelsons, including Ricky Nelson. Elvis. Ricky Nelson, Fabian, and then The Beatles and The Rolling Stones. Within 24 months the entire music scene changed, we went from the Kingston Trio to the Fab Four.

isTia: How did you experience the Kennedy assassination?
Jim Fitzpatrick:
It was brutal. It changed everything. Truly. Hope and youth and someone to admire for not being old and not being from the generation older than my parents, and then he was gone, and with his death the promise of what he represented and presented.

Kennedy was shot and I was in the audience at our high school. The world’s fastest keyboard typist was performing on the stage. He could “play” songs on the keyboard while typing the lyrics to the song, he was insane, and 2000 kids are sitting there watching this guy bang away on the typewriter’s key board and the school’s vice principal walked out and announced, total deadpan, “The president of the United States has just be killed by an assassin in Dallas, TX.” Everyone freaked out and headed out of the auditorium.(Good example of my weird world: Santa Monica High School’s vice principal was Porter I. Leach, the brother of Archibald Leach, the actor known as Cary Grant.)

2- Are you experienced in surfing?

"The individuals are getting pushed out and the masses are taking over..." Miki Dora. Photo courtesy of
isTia: How and when did you get in touch with surfing?
Jim Fitzpatrick:
Surfing came to me in 1958 when a friend, Danny Diven, bought his first surfboard (balsa wood) and began hauling it to the beach in the back of his mom’s car. I went along. She would drop us off at the beach and then pick us up later. Often times she wasn’t available so Danny and I would carry his board to the beach, a mile walk. Sometimes there were more than just the two of us. If you helped carry the board you got to ride a few waves.

At the time I had a canvas surf mat, which could be blown up with a high pressure pump at the gas station—the pumps used for car tires. The mat was so rigid we could get up on our knees, and even stand up for short distances.

isTia: What was the magnitude of the surfing movement at that time in the United States?
Jim Fitzpatrick:
Surfing in 1958? Were there a dozen surfers? Of course there were, but “no one” surfed in 1958. Very few young people surfed because the boards were still very heavy; most surfers were young men, and many of them were not ‘mainstream’ guys…they were lifeguards or somehow involved with the beach, and surfing was part of what they did---fisherman, sailors, people living on or close to the beach.

Keep in mind that gasoline (petrol) cost $0.19 / gallon…life was inexpensive, but the surfboards were made of wood and it took a ‘real’ man to carry them to the beach.

isTia: At that time, what was the segment of the population that practices surfing?
Jim Fitzpatrick:
Very very limited.

isTia: Is surfing going hand in hand with a certain marginality in society: the bohemian side, influenced by the Beat Generation?
Jim Fitzpatrick:
Right, many early surfers were living on the “fringe.” They didn’t have regular jobs, they were hanging out at the beach and making ends meet, thus their lifestyle was simple, but filled with blue skies, good waves, and as a result they were tanned, handsome, physically fit, and often times very attractive to young women. Life was good.

"I did meet the Beach Boys and worked with them on several different levels". JFitz
isTia: How did you feel the onset of Surf Music in the early 60's? Is it far from the culture of the (real) surfers?
Jim Fitzpatrick:
Surf Music was stupidly appropriate. It was silly, and it contrasted completely with what the Beatles and Rolling Stones were putting out, but the Beach Boys created something that went beyond the beach.

isTia: You mentioned the Beach Boys. Did you ever meet Dennis Wilson, the only Beach Boys that was a surfer?
Jim Fitzpatrick:
That's funny, yes I did meet the Beach Boys and worked with them on several different levels. In 1963 my father started working on "Tops of the Pops" which was an early rock and roll show. My father's responsibility was to provide film content of the British chart's number one American rock and roller—which ever performer or band was the most popular in England that week was meant to be captured by his crew and then sent air-express for broadcast on the BBC. The whole experience eventually involved four of us working with my father, including George Van Noy (who I would later work with on a Roger Corman feature movie). In the early 60s we worked with Diana Ross and The Supremes, Len Barry, Otis Redding, and eventually the Beach Boys.

"Good Vibrations" was one of the Beach Boy songs we filmed on location in Santa Barbara. We spent two days surfing, and there was a memorable moment when driving from Santa Barbara to Hollister Ranch with Dennis riding a motorcycle. As we passed alongside him he stood on the seat leaning over the to handle bars, and when he released the throttle the bike began to slow he managed to keep his balance and stand upright on the bike's seat! Essentially surfing the motorcycle. He was a thrill seeker, which was his undoing in the end. Broadcast weeks late on the BBC the film, including the edited version and out-takes, was later taken by a producer from the film vaults where they were stored in Hollywood. He was producing a television special on the Beach Boys and found out about my father's footage. I'm still, 20 years later, trying to get those films back from him!

Last year I was on a flight from Washington, DC, and noticed Brian Wilson sitting in first class. I spoke with has travel companion, an attorney, and when we deplaned the attorney introduced me. Brian, for a moment, was very clear and every bit a gentleman as I described our shared experience from the 1960s, and then as other people gathered behind us he reassumed a different posture and walked off with the attorney.

isTia: I have the feeling I can ask you about anything or anybody and you get the answer ! I want reach your limits! Who else have you met? The Pope ? Elvis ? Marilyn ?
Jim Fitzpatrick:
Mother Teresa. She and I were in the hospital together. I had gone to Scripps Hosptial in La Jolla, CA with a terrible sinus infection from the ocean, and while waiting behind a curtain for the doctor I heard the sound of a helicopter landing outside. Suddenly every medical person in the building was rushing outside, and then there was incredible scurrying down the hallway and when I pushed back the curtain there was Mother Teresa, on a gurney rolling by, her prominent nose directed toward the ceiling with her signature 'habit' draped about her.

The Pope we saw in Rome in April, he was driving by in the Pope-mobile.

Elvis. We had a friend in high school who was a dedicated Elvis groupy who actually spent time with him at the Ambassador Hotel, but she was never able to get us to be able to meet up with him. I was in Memphis during Dead Elvis Week 15 years ago, it was incredible! There were Elvis imitators everywhere! My son and I interviewed as many as we could and I wrote a funny piece for a magazine.

Marilyn. President Kennedy was at the beach house of Peter Lawford in Santa Monica, that's where he met up with her. His being there was supposed to be a secret, but we all found out because Lawford lived next door to Davey and Steve Hilton's parents house on the beach in Santa Monica. There were Life Magazine photographs published with President Kennedy on the beach, but I didn't make it into those photos.

isTia: Did you meet with Neil Young in Topanga when he was recording “After the gold rush“ in his basement studio ?
Jim Fitzpatrick:
No Neil Young. Despite my admiration for his music it wasn't until we lived in Santa Barbara, when David Crosby's daughter was in our school, that I ended up close to crossing paths with Neil Young. Crosby did a benefit concert for our school with his friend, Jackson Brown. A great night of music, and a gréât benefit to the school.

isTia: OK, let’s return with the sound of the Ocean… On what board did you start surfing?
Jim Fitzpatrick:
In 1960 my family moved to Malibu’s Topanga Beach into our house on the sand at a right point break that became “mine,” for several years. My first surfboard was a “Lyman” and it was perfect for me although it was a terrible board.

Perfect because it was foam, lightweight and had an incredible rocker nose to tail. It was 8’, which made it ‘small,’ and I was small and skinny and lightweight, so it was just what I needed.

isTia: Did smaller boards for young surfers exist in the 60s?
Jim Fitzpatrick:
The only small boards were those that people cut down, or random boards like my “Lyman.” There were so few young people surfing that the board makers didn’t have a market for smaller surfers.

isTia: Would you say the surfboards evolved more during the 60’-70’s or now?
Jim Fitzpatrick:
Funny, because the evolution of board shapes has now taken us all the way back to small little planks without fins! Now shapes are far more sophisticated and technical, and with machines and moulds board shapes can be standardized as never before, and there are mover varieties of shapes for different waves and conditions, but it’s always still about surfing, right. Riding the wave.

In the 60s everyone seemed to have one board. There were surfers from Hawaii who came to Topanga Beach and they brought with them modified ‘guns’ that were almost unrideable in small surf. I had one board that I rode in every condition or every size wave, whereas today ‘quivers’ are what most surfers have, right?

Sidewalk Surfing was never a phrase or term used by us, it was a
Jan and Dean (Beach Boy-like) lyric for their song
and it was stupid then, and stupid now.

isTia: Have you ever shaped a board? Give particulars to a shaper so you can have your own customs board?
Jim Fitzpatrick:
Yes, before I went to school to attend the Montessori institute in Italy in 1971 I worked for Dewey Weber Surfboards. I was the glosser; glossing boards shaped by Harold Iggy and glassed by Tak Hasekawa. I shaped two boards for myself; one a longboard and one short. They were stolen from my house while I lived in Italy. I’ve shaped boards since, and my longtime friend, Craig Angell, who has been shaping boards for more than 20 years, spend most of our time together talking about boards, shapes, and what to do about the next board he makes.

isTia: Who did you surf with?
Jim Fitzpatrick:
In the early 1960s I surfed with Bill Cleary on a regular basis. As editor of Surf Guide Magazine and later Surfer Magazine, Bill attracted lots of other “known” surfers who would end up in the magazines. But there were other surfers at Topanga Beach, too; Wes Armand, Mike Gaughan, Norm Ollestad, and then our younger generation, too: Woody Woodward, Joey Saenz, Eddie Saenz, Nick Saenz, and Felix and Juan and Michael Saenz. Bruce Bernstein and Nick Stansbury.

isTia: Who are the surfers that you admired at that time?
Jim Fitzpatrick:
Bob Cooper was an early influence. Mike Gaughan, and Mike Waco had an incredible style that really captured me. He was tall and skinny, and I had the skinny thing down too, and then there were all the photographs. Mickey Munoz. Phil Edwards.

isTia: Teenager, you surfed with Mickey Dora…
Jim Fitzpatrick:
My relationship with Miki was very special. For 10 years he came to my house to go surfing. Not too many people had that relationship with him. He used to sit and drink tea with my mom. Seriously. He could be a very charming gentleman, and he knew how to succeed with different situations at several different levels.

We always had a great friendship and I always was glad to see him. After my wife and I were married in 1969 we left Hawaii and traveled in Europe for three months. We drove from Portugal to Biarritz so I could show her where I had been in 1964. We were staying in the same hotel (Bernache?) and when I needed to use the toilet I went to the end of the hall and opened the door and there on the toilet sat Miki!

“Hey!” I said, “Miki, what the fuck?” He says, “Hey, man, how are you? Could you close the door and I’ll talk to you later…”

We spent three days together, but INTERPOL was looking for American drug smugglers, and we left. Miki went to Spain and we went to Paris and on to London.

isTia: Did you have to impose you on the spot as today or to defend a territory? In short, was localism already in the water?
Jim Fitzpatrick:
Localism is very intense in Santa Barbara, now, and it always has been. Growing up at Topanga Beach we guarded our waves. We sabotaged cars and surfers who snuck into our private beach. When the surf was poor we didn’t care; we would let surfers come down to the beach and then go looking for the treasures in their parked cars. When the surf was good we’d be all over “our” waves, and typically there were enough of us to protect and defend each other.

For nearly ten years I believed the waves at Topanga Beach were mine. I believed each wave was mine to decide if I would ride it, or not, and most of the time I rode the wave I wanted. For a skinny kid I was a good surfer, and could arguably believe I was the best in the water—I was really obnoxious, but my surfing ability often times dictated I could walk the walk in addition to talking the talk!

Now? I’m OLD, and if I can catch a wave then you’d better get out of my way. I do not care if you take off in front of me, but DO NOT make me slow down, because I won’t wait for you. Miki helped me with that. Today, if I catch it first, it’s my wave, so get the hell out of my way!


No man is an island, entire of itself...
This interview could have not been done without Jim Fitzpatrick, of course, but behind the scenes, a lot of people helped. Claude Queyrel meticulously crafted the questions with his broad knowledge of the history of skateboarding. Claude’s role was instrumental in the success of this interview.
I guess I owe you one board…

Also, thanks to Jim Goodrich, Steve Potwin, Ray Rae for the pictures and Heidi Lemon for the comments.
Visit to see more pictures of the Venice Skatepark.
Feel free to read the same interview translated into French on Claude Queyrel’s site:

Click on the links below to read the rest of the story:
Jim Fitzpatrick interview, Part I: 1948 to 1957. From early Childhood to Surfin’ USA
Jim Fitzpatrick interview, Part II: 1957 to 1969. The first wave of skateboarding
Jim Fitzpatrick interview, Part III: 1972 to 1991. The rise and fall of pool skateboarding
Jim Fitzpatrick interview, Part IV: 2000 onward. From H.R.A. to the rebirth of the skateparks and vert skateboarding
Jim Fitzpatrick interview: Part V. Food for thought: Vietnam, Politics and Education

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I skate therefore I am: skateboard pools, pipes, parks, bowls and vert, daily skateboarding news...
posted by Xavier Lannes @ Thursday, January 06, 2011 

Anonymous Hans said...

It was great to read this interview.
I was inspired by Pierre-André Senizergues and José DeMatos when I visited Paris in the early 70's. They were both excellent freestyle and slalom skaters, and José was able to high-jump over a car and then land on his board ...
Keep up with the good interview-work and I'll forward it to the freestyle skateboard mailinglist with over 800 members world-wide(to join the list, send empty mail to wfsa-join @
Hans - The Netherlands

January 9, 2012 at 7:36 AM  

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