around in the static motion that he's come to love so well, his fast wheels
gripping the paved surface, leading to the apex of a lip crowned with the
concrete justice of a worthy parking block. A swift slash brings the metal
to a point where it is meant to do the most good. A shower of sparks,
an emotion, a bark of a death-rattling hound.
Like love is the most ecstatic, adventuresome, pleasurable, evil and painful
thing known, thus the human machine must continue to pursue static
dangers, which are just a little bit beyond the elements of control. On a
classically constructed brick terrain, angled for the purpose of vision rather
than practicality, Coco Santiago (left) ascends, manipulates, calculates,
undulates, perpetrates and triangulates the precarious mission based on
strict terms of excitement. Results: a maddening ollie kickflip in the environs
of a world gone insane.
Only the mind of a youth can fathom the obscurities and complexities
of the potential excitement of angles, inclines, edges, hips and hops. Witness
this simple demonstration of incredible manual dexterity by Ed Templeton
(sequence), a true circus act in this ollie impossible-to-railslide.
Transferring the mind into another
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