viernes, 31 de marzo de 2017

Etta James - Something's got a hold on me (letra español/ingles)

SALT CIRCUS 2017

Barbara Lynn - What'd I Say

TYLER WARREN | AUTUMN VACATION

TYLER WARREN | AUTUMN VACATION from Billabong New Zealand on Vimeo.

Tommy Witt / Groove Sessions from HippyTree

Tommy Witt / Groove Sessions from HippyTree on Vimeo.

Eric Casco Longboarding Hawaii SONY 4K

Barbara Lynn - You'll Lose A Good Thing (The Beat, 1966)

martes, 21 de marzo de 2017

Miki Dora Was an Awesome Asshole

Miki Dora was, in many ways, the figurehead of a movement. But he wasn't always true to his own beliefs.
Miki Dora was, in many ways, the figurehead of a movement. But he wasn’t always true to his own beliefs.

The Inertia

Heroes are often not what they are made out to be. Their actions are trumped up; glorified for the story’s sake. And for the most part, it’s not the person in the story that is important–it’s what they represent. In surfing, Miki Dora is one of the most obvious representations of that phenomenon.
Since surfing laid its groundwork as the global phenomenon it is today, it has been thought of as a counter-culture activity. And while it seems that the professional surf industry is trying desperately to shed that image and rewrite how the masses view it, its history is unchangeable.
The stories of surf are interesting ones–from the Duke’s exploits in the Olympics and Da Bull’s infamous wave to the Endless Summer and Andy Irons’s tragic passing, surfers, and people in general, are drawn to stories of paradise and the interesting characters that play the defining roles.
But of all of them, Miki Dora’s story might be the most sugar-coated. Hailed as a hero of the industry hating, anarchist outlaw movement, Miki “Da Cat” Dora’s legacy is one of a man who surfed a perfect wave perfectly, lived with reckless abandon, and who hated, above all, surfing’s move into the mainstream. He was king of his era; in a time when surfing was all Beach Boys and Gidget, Dora was the dark haired, sullen face that most vocally scowled at the burgeoning industry’s foray into his world. But his actions didn’t always line up with his words.
Born in Budapest, Hungary, in 1934, Dora’s style was established as the style of longboarding. After his parents divorced when he was six-years-old, Dora’s mother married a man named Gard Chapin, who, at the time, was leading the California surf charge. But, like Dora, although Chapin’s surfing skills were nearly unparalleled, he wasn’t always a face you wanted to see in the water. His quick temper made him into one of the most disliked California surfers of the time.
In the first years of the 1950s, Dora found himself at Malibu, already made famous in the surf world by his predecessors. Although all the top surfers at the time congregated there, Dora was never one to socialize. “By 1956,” writes surf-history guru Matt Warshaw, “Dora, along with Dewey Weber, Mike Doyle, Mickey Muñoz, and young Lance Carson were setting new performance standards in the water, while Terry “Tubesteak” Tracy and Billy “Moondoggie” Bengston invented an easy-going but elitist surfer-nomad way of living. Dora interacted with the regulars at Malibu, Windansea, Santa Monica, and elsewhere, but the surf scene was never a big part of his social life. ‘Living at the beach isn’t the answer,’ he once said. ‘Guys who live at the beach get waterlogged. I’m there for the waves, nothing else.’ Through the decades he remained something of a loner.”
As the crowd at Malibu (and all of Southern California) increased, Dora developed into “the angry young man of surfing”, a moniker given to him by the media. But despite his protests against the influx of surfers–in the late ‘60s, he wrote a long, fuming piece for Surfer Magazine in which he condemned “kooks of all colors, fags, finks, ego heroes, Amen groupies and football-punchy Valley swingers”– he wasn’t always the industry-hating, attention-shunning anarchist he was made out to be. When the starry-eyed Hollywood scene began making surfing movies, Dora was a big part of the machine he claimed to despise. In Gidget, he doubled for James Darren, who played Moondoggie. After Gidget’s box-office success, a spate of surf-inspired movies hit the silver screen, and Dora landed roles in all of the major ones, including Ride the Wild Surf, Gidget Goes Hawaiian, Beach Party, Bikini Beach, and more. He posed for surf ads and had a signature line of surfboards made under Greg Noll’s line, all the while verbally crucifying the industry he was working for.
In one of his most famous exploits, Dora entered the 1967 Malibu Invitational–a contest that, given his previous convictions, should have been one that Dora would want no part of. In the semis, he mooned the judges and took off, leaving the beach and story that would cement his reputation as a contest-hater. “I ride for pleasure only,” he once said. “Professionalism will be completely destructive to any control an individual has over the sport at present. The organizers will call the shots, collect the profits, while the waverider does all the labor and receives little. Also, since surfing’s alliance with the decadent big-business interests is designed only as a temporary damper to complete fiscal collapse, the completion of such a partnership will serve only to accelerate the art’s demise. A surfer should think carefully before selling his being to these ‘people’, since he’s signing his own death warrant as a personal entity.”
Although they were full of noble intentions, Dora didn’t always subscribe to those words. Both before and after they were spoken, he earned a living from surfing, along with other, less legal ventures. In the early ‘80s, Dora was paid an astronomical (by surf publishing standards in the 1980s, at least) $10,000 for an essay called Million Days to Darkness.
As the ‘60s waned, Dora’s heyday began its final act. The evolution of shorter boards pushed Dora out of the limelight, and although he was still regarded by many as the king of Malibu, Dora began a slide into a dark, illegal hole. By 1973, Dora had a warrant out for his arrest for fraud. Although he earned only probation, more charges followed, and by 1975, Dora was on the lam. Dora stayed on the move, evading arrest until at last, in 1981, he was arrested in France. After spending three months incarcerated, he stood trial in California, and spent nearly a year in prison.
Although his life on the run added fuel to the fire of Dora’s contradictory lifestyle, it is merely a romanticized telling of what is, in reality, a very sad story: one of a lonely, angry man, who actively helped grow an industry he claimed to hate so vehemently. When he died in 2002 of pancreatic cancer, he was called a “West Coast archetype and antihero, the siren voice of a nonconformist surfing lifestyle.” A correct obituary, if taken on only those words, but when taken in the context of how he lived his life, things become a little more complicated.
Miki Dora is a hero of the surf world. What Da Cat so fiercely railed against became one of surfing’s most important foundations–and even if Dora didn’t back up his words with real action, he is responsible for shaping a big part of the world of surf that we know today. But it wasn’t just Dora that had a hand in shaping it–it was all of us, the ones who love a good story. And if anything, the story of Dora had all the elements: a dark, handsome figure fighting for what he believed was right with a fiery passion; a graceful anarchist battling against a world of conformists–but that’s all it was: a great story.

http://www.theinertia.com/surf/miki-dora-was-an-awesome-asshole/

Che Don't Surf

domingo, 19 de marzo de 2017

School Days (Ring, ring goes the bell) - Chuck Berry -Subtitulado/Lyrics-

Robin Kegel / Expression Session

Robin Kegel / Expression Session from BS Ukulele on Vimeo.

Crying Time , Buck Owens , 1964 Vinyl

ELVIS PRESLEY - Crying time ( con subtitulos en español ) BEST SOUND

MCTAVISH TRIM -FURTHEST UP THE BEACH 2017

MCTAVISH TRIM -FURTHEST UP THE BEACH 2017 from McTavish Surfboards on Vimeo.

he World Log Riding Exhibition 13

The World Log Riding Exhibition 13' from JUSTAYCOOLO on Vimeo.

lunes, 6 de marzo de 2017

Alex Knost Takes You Board Shopping SURFER MAGAZINE

image: http://www.surfer.com/wp-content/uploads/2015/04/alknost_1100.jpg

Alex Knost Takes You Board Shopping

Considering a mid-length? Be guided by Knost's experienced hand
So, you want to buy a mid-length? It’s OK, there’s no shame in that. You’ve seen the clips of the RVCA crew gliding into tropical tubes on 7-foot single-fins, and you’ve thought to yourself: “That could be me.” You know something? Indeed it could. And lucky you, there’s never been a better time to be open minded about surf equipment. But when you’ve ridden thrusters your whole life, adding alternative shapes into the mix can be confusing. With California’s summer and its softer waves on the horizon, I checked in with Alex Knost about what to look for if you want to spice up your quiver with the Swiss Army Knife of alternative shapes: the mid-length.
What does a surfer who rides a thruster 90 percent of the time need to look for when adding a mid-length to their collection?
The modern shortboard usually has deep concaves, and they’re not really trim-oriented surfboards. You’re using the fins a lot, and also the rocker, to generate speed; you’re not really trimming or gaining momentum out of bottom turns the same way you would on a flat-bottomed single-fin board or something. There are so many different schools of thought. Generally, if you’re coming from riding a thruster it’s going to be a difficult transition to go to a black-diamond type single fin, like a Greg Liddle hull or a board like that. You’d feel like you’re not even surfing, it’d feel like you’re doing something completely different on a wave. That’s cool if it’s what you’re looking for, but if you’re looking for something safe and easy, I’d think of it like buying an entry-level sports car. You’re just looking for something with similar attributes to what you’re used to. You’d want a similar rail to your shortboard, a soft, C-type down rail. And a single fin. Those boards can be kinda campy, but they’re pretty easy to ride.
I’d also just look at what the people whose surfing you identify with are riding. For example, Ellis Ericson or Tyler Warren both can ride shortboards. Ellis is a very fundamental surfer, you watch him and it’s top-to-bottom, staying in the pocket, doing cutbacks, no matter what kind board he’s on. A lot of his single fins have attributes that are basic design fundamentals. You don’t have to be at a place like Rincon or Malibu to surf them properly.
Is there a magic length?
If you have a hard rail you can go shorter, but then you’ll be generating speed the same way you would on a shortboard, by pumping. If you have soft rails, like really doughy rails, with no bite, and a single fin, you’re pretty much relying on the juice of the wave, so length will help with the glide.“It all really depends on why you’re getting a mid-length. Are you just feeling old? Do you want to paddle faster? Are you wanting to try new lines? Bored with a thruster? It can go wherever you want to take it.”
What about a mid-length for good waves?
’70s Hawaiian-type shapes got narrower and the wide-point moved forward so that Gerry Lopez and Rory Russell and guys like that could ride hollow, powerful surf. That’s why the down rail was invented. Really, just pay attention to the history of surfing [laughs]. So if you’re going to be in hollow, critical surf, you’d want hard down-rails, with the board’s wide-point forward so you can still get in the waves. You’d want some tail rocker so you’re not getting stuck at the top and going over the falls.
It all really depends on why you’re getting a mid-length. Are you just feeling old? Do you want to paddle faster? Are you wanting to try new lines? Bored with a thruster? It can go wherever you want to take it. You want to learn something completely new, hop on a Greg Liddle hull. And you’ll never be as humbled. You could put some of the Top 34 on a Liddle and have them paddle out at a beachbreak and watch them pearl for 45 minutes straight. But then again, you could put any of them on a bonzer, which will make them draw longer lines and find new places. I think the Campbell Brothers bonzers, especially in critical surf, are definitely not like a retro thing at all. They’re really high-fidelity.
What sorts of mid-length boards should the open-minded board shopper avoid?
I would avoid gimmicks. I think there’s a very big trend in alternative surf…or whatever you’d like to call it…of a lot of people making boards that are pieces of shit with trendy logos and color jobs on them. I’d pay attention to the people that have been making these sorts of boards for a good amount of years. And the people who ride boards like that. Get something from somebody who’s been around for a while, and you’ll probably have better results. I definitely recommend the Campbell Brothers, for sure.
Tips for learning the new ride?
Just pay more attention to the wave. On modern shortboards you’re almost riding the board more so than the wave. Modern shortboards are made to work in all kinds of different surf. You can deal with shitty situations really easily. But on a bigger board, you should just let the board work, let it do its thing. Just chill the fuck out.

Read more at http://www.surfer.com/features/alex-knost-takes-you-board-shopping/#VDbuH4kuPePupPw3.99
 

ALEX KNOST Yeah + BrownMicrowaveTelevision by Jack Coleman

Yeah + BrownMicrowaveTelevision by Jack Coleman from Thalia Surf Shop on Vimeo.

Troy Elmore Surfboards

Troy Elmore Surfboards from Mollusk Surf Shop on Vimeo.

Hombre Lobo Internacional - I´m sick And Tired

miércoles, 1 de marzo de 2017

The Valley Cometh & Miki Dora!!!

The Valley Cometh

Miki Dora, Malibu. Photo: Grant Rolhoff
Miki Dora brimmed over with dark charisma and hypnotic wave-riding talent. For those reasons alone it was hard to take your eyes off him. But surfers—West Coasters in particular—felt connected to Dora for another reason as well: their collective frustration over the decline and fall of Malibu. By the late 1950s, the original perfect wave was fast becoming the sport’s original lost utopia.
While society at large still regarded wave-riding as a borderline cult activity, the surfer population had in fact grown continuously since the end of the war, and Malibu, as accessible as it was well-known, was drawing overflow crowds. In 1950, Dora might arrive to find a dozen surfers in the lineup. Six or seven years later, on a hot summer afternoon with a decent south swell running, there might be 75 or more surfers on hand, rotating from Coast Highway to the beach to the lineup. Few people, on such days, got their fill of waves. There were collisions and pileups, and etiquette violations of every kind, and each surfer at one point or another had the same bitter Dora-like wish that everybody else would go the hell away.
Crowded lineups weren't unheard of in surfing, but the numbers at Malibu in the late-fifties were of a different magnitude compared to prewar scenes at Waikiki, or San Onofre, or Manly Beach. Furthermore, where surfers from past decades would gladly take off together and ride for shore in loose, comradely formation, that was no longer the case. Postwar surfboard design had changed everything. Now, to make room for fades, turns, and cutbacks, the surfer needed all the room he could get, and the unwritten rule became one surfer per wave, with right of way going to the guy first to his feet, closest to where the wave began to break. Any surfer who “dropped in” or “cut off” the original rider was either ignorant or playing dirty.
That was how it worked in theory, anyway. At Malibu in the late '50s—and every other thronged surf break around the world since then—wave distribution actually reflected a complicated, highly fluid, and at times arbitrary hierarchy. Where you stood had a lot to do with ability, but so did tenure, size and weight, toughness, and popularity. In his Malibu prime, Dora wasn’t much with his fists, but he topped out on all other measures, and could thus take any wave he wanted, drop in on anybody, and expect the crowd to mostly stay out of his way. Ray “The Enforcer” Kunze, on the other hand, wasn’t in Dora’s class as a surfer, but he was a certified ass-kicker with a short fuse, and built like a linebacker. Nobody got in his way, either. On the other end of the scale, beginners and young surfers—gremmmies—could be cut off with total impunity. Same with any unknown lesser-skilled visitor, all of whom were categorized by Malibu regulars as “Valleys” or “Valley kooks,” whether or not they actually drove in from nearby San Fernando Valley. Rank and station were never stated outright, but everybody pretty much knew where everybody stood, and order generally held.
But not always. A quick influx of bodies in the water, a slowdown in the number of incoming waves, a few rides taken out of turn by the higher-ups, and the whole thing became a free-for-all: six, eight, twelve people on a single wave; water splashing up like tiny white mortar rounds as surfers lost control and fell; plenty of banged-up shins; and after each set a small flotilla of riderless boards washing onto the rocks along the beach. A surfer would drop in on Dora. Two more would drop on that guy, not knowing who was back there. And suddenly Miki was three surfers in the hole, yelling profanities as he was forced to straighten out in the whitewater.
Dora later claimed that Malibu was over for him as early as 1956. He held a spot in the lineup for another dozen or so years, but only by turning the experience into a kind of running battle. He learned to weave his way through a crowd, using the surfers ahead of him like pylons, overtaking one from behind, then dropping down to pass the next guy with a bottom turn, and so on. Later he became more aggressive, knocking people into the water as he rode by, and occasionally, if his ride was completely ruined, kicking his board at the surfer in front of him. “These guys are thieves and they’re stealing my waves,” Dora explained. “We’re all pushing and shoving, jockeying for position, and if I get the wave first [and] someone takes off in front of me—well, he gets tapped.”
In his lighter moods, Dora was able to turn the whole thing into black comedy. He threatened to bring his lawyer to the beach. He came up with long sing-songy lists to describe the forces arrayed against him: the “senile surf freaks” and “Mussolini property owners,” the “Valley cowboys,” the “goose-stepping inland slave-mentality imbeciles,” and the “nurses from New Jersey going tandem with Encino proctologists.”
But humor, as a coping mechanism, had limits. Surfing was the best thing in Dora’s life, Malibu was the best thing in surfing, and from 1955 onward, as he watched newcomers dividing and multiplying like Fantasia broomsticks in the Malibu lineup, mostly what he felt was loss and anger. Years passed before he was able to quit fighting what was obviously an unwinnable fight and seek out other places, other breaks. Meanwhile, his legacy for sublime wave-riding was bound to a darker, more complicated legacy of ideas, including a rich contempt for other surfers, the unapologetic use of violence, and a belief in the inexorable decline of surfing in general. On one level, Dora was simply pointing out and reacting to problems as they existed. But he compounded those problems, too. He was the first surfer to make aggression, misanthropy, and abuse fashionable. “Localism”—the sport's homegrown form of turf-based vigilantism, introduced in late '60s—may not have been a direct result of Dora’s rants against overcrowding at Malibu. But without him it never would have had the same vogue and cachet.
The realization that any break could be overrun—with Malibu standing as the essential cautionary tale—had a chilling effect on the sport. From the late 1950s onward, surfers learned to view unfamiliar surfers with caution. The fewer people who knew about your home break, the better. This led to the “secret spot” becoming the hot and hoarded new thing, and pretty much every Southern California surfer had one—a Baja pointbreak, a tucked-away reef up the coast, even a rinky-dink overnight sandbar that wouldn’t last through the next big swell. Surfing didn’t become less social, exactly, but the community splintered. Trading waves with a few buddies would always be everyone’s favorite way to surf. Light-treading newcomers, under circumstances that changed from break to break and even day to day, could still find a slot in any given lineup. But after Malibu, the sport atomized. Groups of surfers began to detach themselves from their peers, just as surfing detached itself from the sporting world at large.
Something else changed, too. Given that Malibu was the conceptual starting point for the perfect wave, its decline and fall helped give birth to an impulse that proved nearly as important to the sport: the search for the perfect wave. Wave-riding thus became more interesting, more complicated. The level of commitment went up. Surfers looking for the next perfect wave set out by car, plane, or boat, and returned with a litany of road stories: hotel hijinks, strange meals, sexual conquest, engine repairs in the middle of nowhere, drunken afternoons on the esplanade. Adventure was dependable, even if the surf was not. Travel broadened surfers, just as it did anybody—but the journey itself usually wasn’t the point, at least not the way it was for other travelers. The surfer’s objective was clear and unchanging. They all wanted what Dora had in the mid-'50s. “Every surfer,” as filmmaker Bruce Brown said in his 1966 travel classic The Endless Summer, “dreams of finding a place as good as Malibu.”
As it turned out, there were hundreds of as-yet-unfound breaks around the world, from Sumatra to El Salvador, Durban to the Bay of Biscay, that were as good as Malibu or better. But none of them would occupy the sport’s vital center the way Malibu did for two decades after the war. Not even close.

http://historyofsurfing.net/section/the-valley-cometh/

Steve Walden's Magic Model Interview With Peter Townend

Want Noseriding Magic? Here’s what Steve Walden advises

Want Noseriding Magic?
Here’s what Steve Walden advises
The competition rankings tell a lot about Steve Walden. Since the mid-1960s, he has placed 1st , 2nd , or 3rd in most Southern California noseriding events, whether amateur or professional. In just the last 20 years he's probably surfed 150 contests. Go deeper and find that Walden has surfed, lived and made surfboards in both Hawaii and California since 1981--up and down the coast from San Diego to Ventura .
He learned to noseride at Doheny , which he says is still a good noseriding wave. Walden has shaped paddle boards, sail boards and surfboards and uses well the knowledge and experience gained. As one of the sport's truly consistent innovators, he makes one of the most complex longboards available today--with high performance rockers, multiple concaves and rail chines . He also produces, perhaps, the sport’s most innovative, high-performance noserider .
  …………………………………………
This is how Steve Walden explained secrets to superior noseriding, when noseriding.com found him recently at “ C Street ” his home break in Ventura , Calif. Secrets that some call magic.
What is most important in learning to noseride better?
"When you're talking about how to noseride best, to me, better equipment is the most important part. I've always been surfing against guys that are better, so equipment is key . Second is knowledge and practice. In noseriding boards there is a whole variety, from classics all the way through modern performance longboards and all in between. It is a misconception, however, that all longboards noseride . You can noseride them, but with a lot of them the design doesn't allow you to stand on the tip and just stay there. Some designs are so much more helpful than others. Stability, when first learning to noseride , is just as important as in first learning to surf. It's the same process of learning. Equipment, length, and width of the nose, equals the difference right there.”
 
What kind of wave works best?
“Trying to learn at the San Clemente Pier or at a Beach Break like Huntington Beach , or in the South Bay where the wave picks you up quick and you have to get up and moving quick makes it difficult to get long noserides . A beach break is the hardest. You have to get up and things are over so quick, there’s not much time to get the feel of a noseride . So the spot you pick is important.
 
“You really want a point break. Going front side is best. You are looking for a classic Malibu type wave that is long and lined up. Whether Malibu , Trestles, Churches, Doheny , Cardiff Reef, C-Street or Rincon. You want a nice wall that is not closing out, because you need some time to ride it a long ways. A beach break is not the best place to learn. At Malibu you can get going and get the feel of it all, rather than at a beach break where you get tense about not pearling, ahhhhhh !!!?, because things are going so fast.”
 
So, you’re stable and at the right break…
“The set-up, or positioning of the board, is 3/4 of the noseride ; riding the nose is only 1/4. Get the board trimming, not at the bottom, but in the top half of the wave. Start moving up to the nose. Aim for the sticker or the other side of the sticker. Not crashing and burning, but moving up there and getting use to that feeling. Spend time trimming, get your comfort level up. Trim a little farther up, then a little farther up, until you are at the nose. Have fun on the tip.”
 
What are some of the finer points involved?
“At the highest levels of Noseriding ability it has a lot to do with body English--with stretching or reaching, arching-in towards the wave to get lift. You weight or unweight that inside rail, climbing, dropping, stalling, steering. Too steep or hollow? Drop down so you won't slide out.
 
Why noseride ?
“Me? I always want to noseride ! It’s such a gas. I make noseriders for myself, is what I do. Friends ride them and say, ‘Wow!!’ So I make more of them!! Mine is one of the top three noseriding shapes.”
 
What are the other two?
“ Welllll …….
 
So--what makes a really good, helpful noseriding board?
“First is a wide nose, a minimum of 18 inches. Most people don't need to go over 20. I prefer 19 inches for all around noseriding . I consider that the standard. Here is how the various boards work.”
 
Traditional boards
“The approach in the wave is down the line, in the pocket. For these straight rocker boards, riding in the pocket is the best.”
 
Performance Longboards
“The approach is a little different. They ride a little higher up in the wave, pointing a little more toward the shore than down the line. You might say that performance longboards ride a little better in the flatter parts of waves, where the traditional longboards will only ride in the pocket.”
 
Traditional vs. Performance Longboards
“Classic single fin is better at Malibu , or C-Street, or Doheny . A modern longboard (tri-fin setup) is better for a beach break like Huntington Beach , where you have to get up and turn quickly. At Malibu you don't have to adjust much. Also, with a straight board, without the proper nose rocker, you have to backpedal, because you can't turn well from the nose. For that you need nose rocker, concave, bevels. These allow you to stay up there and maneuver from the nose. There are different styles of noseriding , and I'm not advocating one over the other. That's just the way it works.”
 
What about tail rocker?
“I don't think so. You're up on the tip and trying to turn, and tail rocker can't help you much then. The one that's easier to turn is the one that's wider in the tail (did you say this?), with a certain amount of nose rocker (because straight rocker speeds up). So a main factor in noseriding is a steer-able board.
 
“I also found that rocker was always a factor when the waves got a little choppy. Nose rocker makes it easier to handle the chop, to turn. Straighter nose rocker worked great in the morning, when everything was glassy. But it didn't work well in the afternoon in the finals.”
 
What about actual equipment selection?
“A narrow nose, without rocker and no concave is going to work against you. It will be extremely difficult to learn. Just getting the right equipment will help. Stability is very important. Think of it as learning to surf on a 6’2 or 6'10 or 10'0. Which would be quicker, easier? A lot of noseriding has to do with stability. Length is also really important.
 
“Design and length are also important relative to age and weight. For a guy at 175 lbs., who is 30-35 + years old, I would say a 9'6 would be the minimum length. 9'0 would be a challenge. But at 9'6 or 10'0 he's going to learn much faster. So if you think 7'8 vs. 9'8, the 9'8 is better. You can think of it as training wheels to learn faster. Or you can think of it as learning easier, quicker so you can have more fun. You want to learn? You want to learn fast? Equipment makes all the difference!!!”
 
“Then you practice, practice, practice. You can’t practice too much.”
 
………………………………….
 
 
The Walden Surfboards Web Site:

http://www.noseriding.com/pages/WaldenNoseridingMagic.htm