The work of legendary photographer Glen E. Friedman documents the twin spatial and cultural invasions of hardcore music and skateboarding in the late 1970’s and early 1980’s.
The hardcore scene was a gathering, a congregation that happened in the margins of commercial and industrial space. The skateboarders however acted directly on the features of the city and of suburbia, taking their assault with or without permission to the drained backyard pools and on leftover and forgotten pieces of urban infrastructure in Los Angeles.
They took tools for horizontal travel and made them, through force of will and “tricks” of physics, go vertical. They misused the tools at hand in direct action on pieces of the city that they wanted to make perform differently. An incredible account of how this phenomenon, this scene, this network sprung from the unique conditions of Venice, California can be found in the remarkable documentary Dogtown and Z-Boys.
Friedman is a master of the decisive moment, of capturing one image that can tell the whole story. This image is not of a invading the disused domestic space of a backyard swimming pool, rather the play with a purpose-built halfpipe, but Friedman captures both the boarder and his shadow, the disconnected silhouette highlighting the drama of THIS moment.
originally posted here.