Related Posts Plugin for WordPress, Blogger...

Skateboarding News

Thursday, January 6, 2011


Jim Fitzpatrick interview, Part III: 1972 to 1991. The rise and fall of pool skateboarding

Part III 1972-1991 The rise and fall of pool skateboarding

Tony Alva at Wallos in 1975 at a time when pool and vert skating were stil to be developped.
Pool skating is not only a Southern California Phenomenom. Photo Skateboarder magazine.

People usually think that the Mecca of skateboard is Southern California, but if you take a city like Santa Barbara where Jim Fitzpatrick is living, it has a very colorful skateboarding history.

A lot of skateboard companies started there. Sims Skateboards, for instance, was started in Santa Barbara by Tom Sims back in 1975. Barefoot skateboard also originate from this area. George Powell started the Quicksilver and Quicktail skateboards in 1976.

Eventually, Sims was sold to Vision around 1979, while Powell Peralta became Powell Corporation when Stacy left in 1991, and the company is still located on La Patera Lane in Goleta. There was also Santa Barbara Skateboards as well as Stanton Skateboards, which was started by Bob Stanton around 1975.

Early skateboarding notables from this area included Doug DeMontmorency, Marc Hollander, Lonnie Toft, Gordie Lineman, and Edie Robertson (just to name a few), all of whom rode for Sims. And of course, there was Jim Fitzpatrick who moved to Santa Barbara in 1976. Little did he know that this move would mean a big change in his life.


The Cadillac Wheels that revolutionized skateboarding
(2010 Re-issue)
1- The golden age of urethane: 72/78

From the mid 60’s until 1972, people still skated using clay wheels for their boards, which was extremely dangerous and hard to control, to say the least. But in 1972, Frank Nasworty revolutionized the skateboarding industry by applying a new resin called urethane to skateboard wheels. Cadillac Wheels was born and the invention sparked new interest in skateboarding among surfers. Thanks to the increased stability, maneuverability and speed allowed by the urethane wheels, skateboarding began to grow again. At the same time, advancements were made in board construction. Mass-produced skateboards were offered in a wider variety of shapes and materials, such as wood, plastic, aluminum and fiberglass.

In 1976, a drought in California resulted in many emptying their swimming pools. A couple of skateboarders would use this new concrete playground and skate inside the empty pools creating unforeseen radical styles and maneuvers. Skateboarding was no longer just for flat ground as skateboarders were now curving on vertical walls and performing aerial tricks above the coping. 1976 also marks the year when the first skate park was built in Florida to accommodate the new skateboarding style. The sky was the limit…

After JFITZ planted the seeds of skateboarding in France in 1965, a couple of magazines, teams,
contests, brands sprouted but quickly died. It was not until 1976 that skateboarding really
developed in France with the Banzai team (Thierry Dupin, Jose DeMatos, Xavier Lannes).
In May 1978 Thierry Dupin was the host of a live TV show on national TV at prime time.
The show featured jumping, slalom and mini-ramp and the last installment (of 4) had to be
extended by 45 more minutes of live TV after the telephone lines exploded with the viewers’ calls.
The 4 installment show drew several million viewers and was a milestone for skateboarding in France.
Thierry is a skateboard milestone and a legend by himself! He still skates in bowls at 52.
Ph Loubat. This cover is the 1978 issue of Thierry Dupin interview by Xavier Lannes for Skate France.
isTia: How did you redirect professionally in the seventies?
Jim Fitzpatrick:
I was working in Hollywood for Roger Corman as an assistant editor to George Van Noy who had worked for my father at one point. My work in Hollywood was all dependent on who I knew and where I could find work, and it was very moment to moment; I wasn’t in a union, I didn’t have strong connections with large productions, so all of my free-lance work was dependent upon me finding it. It was unsettling.

My wife Frances began working at a Montessori school in West Los Angeles, and eventually we planned what turned out to be our future career. We applied to the center for Montessori studies in Bergamo, Italy, and even though we hadn’t finished our college degrees we were accepted on the basis of our work and life ‘experience.’

We graduated in 1972 and returned to the states where we began teaching in San Francisco. I didn’t own a skateboard, and with Frances already pregnant and our first child being born in Feb. 1972 I had little time for anything other than being a new father and a new teacher.

isTia: When did you first hear of urethane wheels? Was it the "Cadillac Wheels"?
Jim Fitzpatrick:
Not until I lived in Santa Barbara in 1976 did I even know of the existence of urethane wheels. Picking up my neighbor’s boy’s Sims skateboard was the beginning of the end of my not knowing anything about modern skateboarding. I was back!

YisTia: ou lived not only the revolution of urethane wheels but also the passage of the wheels of steel wheels in clay. Tell us how it was to go from steel to clay?
Jim Fitzpatrick:
Clay wheels are what were on the Makaha skateboard given to me by Bill Cleary. Not only were the wheels more forgiving, but there was a sort of ‘truck’ that had a bit of cushion to it, and it was actually possible to turn by leaning in one direction or the other.

There was no turning a steel-wheeled board. None whatsoever. The first time on the Makaha board was astounding, because it was possible, instantly, to turn. It really was sidewalk surfing in that moment because I could turn and turn and turn, within minutes I was carving turns down the Topanga Beach Road. It was a huge transition.
Original ad for the Cadillac wheels. Note that the skater is still barefoot at that time...
isTia: What did you get from steel to clay and clay to urethane? What new tricks could you do with each evolution?
Jim Fitzpatrick:
When I returned from Europe in 1964 I had two Makaha skateboards, but I also became very involved with girls and with football and baseball at my highschool. I still surfed nearly every day, but skateboarding was beginning to fade for me.

Meanwhile, down the road at Woody Woodward’s house, he and Torger Johnson, and Danny Bearer, and John Fries and Joey Saenz were skateboarding almost every day. I was in high school and could drive my VW Bus, and they were in junior high school and skateboarded all the time.

By the time I was getting ready to go to Africa in 1965 they were getting ready to enter the USA Skateboarding championships, which Woody won as a 12 year-old, and I didn’t even know there was a contest…I was working in Hollywood, earning as much as $150/day, and had little use for skateboarding. I left for Africa in June and didn’t return until September, and then it was off to college for me.

All of that was happening on clay wheels. Woody. Bruce Logan. By 1968 my father died suddenly, and I was running his company, and then in 1969 we were married, and my life without skateboarding was developing quickly.

In 1975 we moved to Santa Barbara after starting the school here, and we lived on Humphrey Road by Miramar Beach (Jack Johnson lives there now). We had two children and we were living on welfare, and one day the kid next door skateboarded by on a SIMS with Cadillacs. I thought, “What the hell? Why is that so quiet?” “Hey, can I try your board?” I asked.
Daren Ho. Photo Jim Goodrich
Wow. That was my first urethane experience and I could not believe what was happening to me. A couple of months later the boy’s father came over and asked for the board back. “Hey, man, have you seen my kid’s skateboard?”

isTia: At that time, Is Skateboarding only a California trend? Would you say skateboarding is an American sport or a Southern Californian sport?
Jim Fitzpatrick:
I never felt like skateboarding was a phenomenom thing for others, it was phenomenal for me; it separated me from others, and made me feel special, but it was always more the sense that others were asking,
Doug Saladino by Jim Goodrich.
"Jim Fitzpatrick is considered a kind of founding father of skateboarding, and has contributed more to our sport
than most people know. I feel gratitude and great affection for Jim, though I don't know him personally.
We have talked on occasion, but I don't recall if we've ever met". Jim Goodrich
“How in the hell do you do that? Hey, Honey, come look at what this kid is doing! Look at that, will ya!!!”

It the beginning it may have been a California thing, but by the early 60s there skateboarders in Texas and in Florida, New Jersey…any where that surfing was starting up there were skateboarders beginning to put it together, too.

isTia: Have you been to "Carlsbad"? Big O, Marina, Other parks?
Jim Fitzpatrick:
I went to Del Mar with Tony Hawk, Stacy Peralta, and Craig Stecyk after Del Mar was closed. The whole park was still intact, and could be skated, but it had been shut down for several weeks. We went just to check it out and
Steve Caballero, Del Mar Kidney Pool, 1980. Pic:Grant Brittain.
videotape Tony about his experiences in there.

Carlsbad became the site of Mike McGill’s later park which had wood ramps built on top of the cement elements. I was part of video shoots at McGill’s but never saw the original park as it had been designed.

In Santa Barbara there were two parks, one which was fairly close to the downtown area, and another, Sparks, closer to Isla Vista and UCSB. For years Sparks was closed and not destroyed but simply covered with sand; there were feeble attempts to go out with shovels and uncover the bowls…eventually the sand was removed and it was finally destroyed.

isTia: Did you have responsibilities in the business of skateboarding during this second wave?
Jim Fitzpatrick:
Not really. I wasn’t too involved until 1987 when I visited Powell Peralta and then ended up being hired to work on their publications.

2- 1985-1991 The Bones Brigade Years (Powell-Peralta)

Twenty-five years ago, Animal Chin was released and instantly became a myth. Even in 2011, Animal Chin is still recognized as one of the best skate video ever. Directed by Stacy Peralta and produced by Powell-Peralta, Animal Chin featured the Bones Brigade team: Steve Caballero, Lance Mountain, Mike McGill, Tommy Guerrero and skinny little Tony Hawk. Animal Chin was then the biggest-budget skateboarding movie. It was the first to feature a plot and some scripted lines. “Everybody agrees that whatever writing there was, I did it,” says poet and artistic laureate Craig Stecyk.

The core Bones Brigade team was made up of the best skateboarders in the world. As Vuckovich remembers, “The Bones Brigade was the ultimate team. In skateboarding, the word ‘team’ is a sort of oxymoron. But the Bones Brigade came across as a tight-knit group of individuals, unlike any other skate team at the time. They were so different in their personalities and styles of skating, but they seemed to get along so well. And their personalities fit together somehow.” On top of the videos, the Bones Brigade team made appearances at skate parks and ramps around the world. “If a demo came to town, it was your one chance all year to actually see the guys you emulated and maybe even skate with them,” Vuckovich says. “Skate demos completely broke down the barrier between your average skater and skateboarding’s elite. It was part performance and part meet-and- greet.”

Tony Hawk
But, by the early 1990s, the Bones Brigade was depleted of most of its major stars. Stacy Peralta himself left the company in 1992. McGill says, “After our reign came to a screeching halt in 1991, the original Bones Brigade went their separate ways, and the era of money hungry Steve Roccos set in for a while.” Powell adds, “By the end of the ‘80s, ‘Rocco’s revolution’ had affected our senior team members too, and they all wanted to be Stacy and me and start their own companies. It was during those times of great fame for Powell that Jim Fitzpatrick joined Stacy Peralta in the promotion and marketing departments while Todd Hastings becomes the primary team manager of the Bones Brigade team. Skateboarding on the whole was a more concentrated phenomenon in the 1980s. There were not as many companies making equipment, and there were not as many pro skaters to promote the gear. Today, with so many pro model boards for sale, the market has been diluted. But back then a top company—like Powell-Peralta—could sell tens of thousands of their pro boards in a month. This was a big deal to the skaters because it meant royalties.
The Bones Brigade
 isTia: How did you become acquainted with George Powell?
Jim Fitzpatrick:
There was an advertisement in the newspaper for a ‘creative writer to work on video productions for a recreational products company.’ I was surfing at Rincon with my friend, Craig Angell, who said, ‘Hey, I saw an ad in the paper you should respond to.”

When I looked at the ad I recognized the company as Powell Peralta because a few weeks before I had arranged to take one of my students to the factory to show him how a skateboard was manufactured. So, I called the number, they asked me to send them a resume (CV) but I didn’t have one, so I sent a letter that basically said I had started skateboarding on steel-wheeled boards in the 1950s, had worked on ‘music videos’ when I was younger, and could write my way into and out of any situation.

George’s assistant, BJ Danetra, called me and asked that I come for an interview. I did. I sat outside George’s office for two hours, “Uh, I have to go...” BJ arranged times for me twice more and I never met George. “Then she called asking, ‘What are you doing for the next couple of days/?’ ‘Well, I’m teaching school.’ ‘Could you travel to Savannah, Georgia to work with Stacy Peralta on a video production he’s doing?’ ‘I don’t know, I’ll have to call you back.’

"Dennis Dragon from the Surf Punks was my buddy at
the Junior High School…"JFITZ
The next day a driver delivered me from Santa Barbara to LAX, and as I climbed out of the car I couldn’t help but notice a very ‘attractive’ woman stepping from a limo. She seemed very distressed about something, and I asked, ‘Need some help?’ This was Robin Henderson, and she was a mud-wrestler at the Tropicana nightclub in Hollywood. I had just finished writing a feature magazine story about Santa Barbara’s body parts industry, and it turns out Robin was on her third set of breast implants.

We ended up sitting together on the airplane ride to Atlanta, GA. She was on her way to a Hustler Magazine shoot and I was her font of information about body parts for the entire flight. As we exited the plane I heard a voice say, “Oh, look, it’s Fitzpatrick! She’s with Fitzpatrick, how perfect is that?!? I should have known!” The voice belonged to Dennis Dragon (“Surf Punks”) who i had gone to junior high school with and hadn’t seen in 20 years. Dennis worked for Stacy on many Bones Brigade video productions as a video cameraman, and would occasionally also contribute music and post production work, too.

I introduced Dennis to Robin and we began walking to our connecting flight...Dennis introduced me to Peralta, to Craig Stecyk, and to Lance Mountain as they came off the flight—we’d all been sitting in different sections of the plane.

Thus began my stint with Powell Peralta as a writer and production assistant for what came to be known as “The Savannah Slamma,” produced by Thrasher Magazine.


Christian Hosoi in 2008. Twenty years ago, he was already on the
Savannah Slamma video (in 1988).  Pic Steve Potwin 2008
 isTia: What was your role when you get into the company?
Jim Fitzpatrick:
I was the writer. Originally I was supposed to be in charge of writing scripts for the Bones Brigade videos. My business card read: “Writing Unit.” I was the Writing Unit for about a year. I didn’t really have much responsibility, but I had a desk in the design department where I worked alongside “VCJ” (Cortland Johnson), and Nick DiNapoli.

Stacy Peralta and Craig Stecyk lived in Los Angeles, and usually once a week they would arrive, sometimes with Lance Mountain along, and sometimes to coordinate with rendezvous including Caballero or Tony Hawk. Cort kept at his work of deck design, awaiting approval from the skaters, and Nick worked on other design projects including industrial projects (moulds for wheels and deck production) but also trade show booths, and his assistant was responsible for maintaining the artwork deadlines for the magazines.

Into this world I stepped as a school teacher where I discovered, amongst other things, that no one could spell words correctly, and general communication was greatly challenging because all of the “artists” were artistic, and all of the business folks working on sales were not artistic and wanted only clear answers; “When was the new Hawk design going to be finished?” “When Tony approves it.” “When will that be?” “When he sees it,” etc.

One of my first projects was writing the script for the Savannah Slamma video production, which was actually really funny, in that there is no real script, other than the narration at the beginning of video. It ended up being about “half” of something as we had videotaped a variety of things that ended up being half of a whole.


The Savannah Slamma video from the Bones Brigade. Ad from Thrasher.
 The whole Savannah Slamma experience was an event in and of itself. Steve Rocco was one of the skaters entered in the contest. Christian Hosoi. Jesse Martinez. Mark Gonazlez. So, not only was the Bones Brigade team in full force, but most of the professional skateboarding world was there, too, and there was nothing there! The contest was scheduled for qualifying on Saturday afternoon and finals on Sunday, and when we pulled up at Martin King, Jr. Memorial Stadium on Wednesday afternoon there was nothing inside the arena. Not a thing, and I thought, ‘What the hell?”

Thursday morning a lumber yard truck arrived shortly after we arrived after having breakfast at the hotel with Tim Payne. Tim had drawings on paper napkin, as did Lance Mountain.

There I was, in Savannah, Georgia, a school teacher, who because of budget restraints built his own tables for his school, and for whom a single piece of hardwood plywood is a major investment, and the lumber yard truck arrives with an entire pallet of ½ inch plywood; ¼ plywood, masonite, cases of screws and nails, and an array of screw guns and other tools. The crew included Tim Payne and his guys, Lance, James Muir, Stecyk, myself, and a few others, and by Thursday afternoon there were actually a few quarter pipes, and launch ramps and a few other basic elements that had been roughed together. That’s when skaters began to arrive. It was the first time I was to see modern skateboarding, and I couldn’t believe it.

Lance had designed two 6’ high four-foot wide quarter pipes that I helped screw together, and before putting on any masonite he shoved them up against a wall at the far end of the arena. Christian Hosoi had arrived and was rolling around when he spotted the ramps against the wall. Suddenly he started pushing in their direction, and I thought, “OK, this will be interesting…I thought he’d roll up one and back down again, done.”

Not so. The ramps were about six feet apart from each other and Christian, traveling as fast as he could push himself, rolled up the first ramp, started carving a turn, and rode across the wall and down the other ramp! It took my breath away. I gaped. I couldn’t believe what I’d seen. He’d ridden the wall. I jerked my head around to share with everyone else’s amazement, and no one, not one single person seemed to have even noticed what Christian had done. Stecyk knew though, and said, “You’ve got some catching up to do.”

So, I caught up. Wide eyed my early days included the video projects and I took over writing and editing the “Bones Brigade Intelligence Report“, which would become a monthly zine sent out to about 35,000 kids around the USA, sometimes finding its way to Europe, too.

The amazing picture from Animal Chin, one of the most top rated skateboard video of all times... Left to Right:
Mike McGill, Steve Caballero, Lance Mountain, Tony Hawk. Chin Ramp, Oceanside, CA. 1986. Pic: Grant Brittain
 isTia: Were you present at the first video-Powell Peralta in 1984?
Jim Fitzpatrick:
Nope. At that time I was a dad, and a school teacher. Surfing as much as I could, and occasionally riding my daughter’s skateboard up and down the street.

isTia: You were with Craig Stecyk, during your tenure at Powell. How did he get involved in the Powel videos? Did he have the fame that he has now?
Jim Fitzpatrick:
Craig Stecyk was part of the Dogtown crew experience that included Jay Adams, Skipper Boy, Glen Friedman, Tony Alva...Craig was an essential ingredient in the art and culture of what became known as Dogtown. We later put together connections that he and I shared before we got to know each other at Powell Peralta.

The Zephyr Surfshop was home to Jeff Ho and Skipper Engblom, and it was the Dogtown team’s headquarters. 2001 Main Street in Santa Monica. Unimposing then, and much the same today, the building was more or less a capital letter U surrounding a parking area. There were ‘studios’ in the back, and Gary Weiss lived in one of the studio areas during the late 60s and into the late 70s.

Gary was an artist, photographer, volleyball player, surfer, not a skateboarder, and had great hair! He was a great friend of Frances and I, and he spent a great deal of time with us at our house at Topanga Beach. We also visited his studio, and since there was only one toilet for the entire building there were a number of interactions with Skipper and myself and Steyck, too. “Hey.” “Hey.” “How you doing?” “All right.” That was about it for the 70s and Stecyk and I, but there we were spending days and weeks together during our time at Powell Peralta.

isTia: What was his role?
Jim Fitzpatrick:
Ideas. Art director, certainly, but ideas may have been his greatest contribution. Great great concepts, and funnier than shit, too.
Cab
isTia: What do you think of The Dogtown Chronicles?
Jim Fitzpatrick:
Stacy used to say while we working, actually he’d yell out, “GENIUS!” He felt Craig’s genius-nous throughout much of their time together.

Stecyk is a fine artist, a conceptual artist, and equipped with a photographic memory and a fine sense of design and appreciation for all things creative he makes the world a better place by being part of it.

I think Craig was able to create chronicles, rather than reports or stories. He is capable of capturing events and the thinking of those before, during and after the events in specific ways that others are capable of. He and I have had a great friendship for the past 20+ years; it’s as if we began a conversation in Savannah during that experience, and wherever we go, whenever we see each other that conversation is continuing because everything we’re doing seems to relate to the bigger picture of what we’re all doing.

isTia: In the 80’s, When you came on tour with the Bones Brigade in Europe, what changes hit you the most since your first tour in 64?
Jim Fitzpatrick:
The popularity of skateboarding. Sure, the people responding to us and the people greeting us and awaiting our arrival at exhibitions were there for “us,” but the numbers of people! 25 years before I was the only skateboarder...in 88 and 89 there were thousands of skateboarders wherever we traveled. Thousands!

isTia: With who did you tour from the Bones Brigade?
Jim Fitzpatrick:
USA. Euorpe. Contests. Hawaii. There were lots of events. Tony. Cab. McGill. Guerrero. Rodney Mullen. Ray Underhill. Lance Mountain. Mike Vallely. Chet Thomas. Bucky Lasek. Frankie Hill. Jim Thiebaud. Sean Mortimer. Ray Barbee. Steve Saiz. Guy Mariano. Rudy Johnson. Gabriel Rodriquez. Paolo Diaz. There were lots of skaters I was involved with. Some more than others, but there were so many. Chris Senn. Danny Way. Salman Agah.

Cab, Fitz. Photo Grant Brittain.
isTia: Who was the most insane skater of the Bones Brigade?
Jim Fitzpatrick:
Frankie Hill may have been the most willing to attempt the gnarliest trick at least once. And if he came close to making it, he then became a bulldog. He paid the price, but he was filled with wonder...he loved the challenge, and fought really hard to succeed. There were combinations of skaters together...Mike Vallely and Frankie. They could have killed each other trying new tricks.

Lance Mountain and Ray Barbee. In the middle of the night in Pennsylvania. Lance asking Ray to show him to do Ray’s versions of the shove-it when he steps off the board, and his other tricks.

Lance may be the most dedicated skater I’ve ever seen. He is really amazing. He pulled the gnarliest 540, ever, in Las Vegas during the Hard Rock Contest in 93. He’d slammed during his two qualifying runs. It was 125 degrees, and he’d come out to the desert and he doesn’t gamble and he doesn’t drink and he’s at this contest and he has nothing to do, and in a moment of total frustration and disgust with himself, during a break between qualifying heats he dropped in at the very extreme edge of the 40 feet wide vert ramp and launches into his twist, and I thought he was going to miss the ramp when he came down. He was way outside the ramps boundary, but as he began to come out of the twist he must have seen where he was, and manage to get his feet toward the ramp. His whole body was tweaked toward the crowd, few who were paying any attention, as his board clapped down. He pulled it. He was everywhere attempting to get his center centered, and he did it. Rolled out back up to the roll off. Stepped off his board, tossed it to someone down below in the audience, climbed off the ramp and left Las Vegas.

Mike McGill
isTia: With who did you have most fun on tour?
Jim Fitzpatrick:
Sean Mortimer and Tony Hawk, with Ray Underhill part of the picture, too, provided a heady hysterically funny experience. Tony is a very intelligent guy, and Sean and Ray were able to provide biting perspectives and funny funny anectdotal references that just made for memorably silly experiences.

Jim Thiebaud, another genuinely intelligent and wonderfully caring funny funny guy. A great blend with Tommy Guerrero who as a stylist was unsurpassed and with his biting wit about anything...on that Euro trip when we stopped by the Marseille skatepark I noticed a sign pointing in the direction of the aquarium which I suggested we go visit. “Aquarium?” asked Tommy, “Fish? I hate fish. I hate everything about fish. I hate to eat them and I sure as fuck don’t want to spend any of my time looking at ‘em!”

Bucky Lasek Funny. Keep in mind, I was older than these guys. They were coming on, and I was there as a ‘control,’ but I enjoyed the role of being out of control, too. We had a good good time. Rodney Mullen and I would spend hours discussing sciences and human relationships. We often roomed together on the road because everyone else would be trying to score chicks or drink or party, and Rodney was more a head trip.

isTia: Was there a total asshole in the team?
Jim Fitzpatrick:
Not really. Demanding? Weird? Out of step? Not really. There was a pecking order, and everyone seemed to recognize their place. It was the pecking order that was the end of the team really, because who was going to replace Tony?

Also, I was filled, still am, with such admiration for what everyone has accomplished. There were lots of really good people involved, sure they were great skateboarders, but they’re great people. Ray Underhill is a great example. He was never going to be a champion and never a Number One skater, but he was a number one guy, a number one friend, number one husband and dad...a great person who was a really good skateboarder.

isTia: During the Powell Tour, Did you see that European skateboarding was different from the US?
Jim Fitzpatrick:
Weather and terrain has so much to do with skateboarding and attitudes. In southern California there is a 365 day a year season for skateboarding. In Europe there are 150 days each year when the weather says, “No, no.” There’s such an intensity to skateboarders who don’t have the same access, the same climate. It’s like, “I HAVE TO DO THIS RIGHT NOW!”

Afterword

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 Grant Brittain, Jim Goodrich, Steve Potwin, Ray Rae for the pictures and Heidi Lemon for the comments.
Visit http://www.rayraepix.com/ to see more pictures of the Venice Skatepark.
Feel free to read the same interview translated into French on Claude Queyrel’s site:
http://www.endlesslines.free.fr/ghost/ghostpages/ghostfitzpatrick1.htm

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

Labels: ,

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




0 Comments:




Skate Quote of the Day