![]() This is using my 1.41 unofficial release. Just for the record, I am playing NTSC roms on an NTSC PC with the monitor refresh set to 60fps, VSync enabled, fullscreen, timings set to "synchronize to screen refresh", and sound latency set to "1". If you don't provide enough information and we can't reproduce your problem, then there's nothing we can do to investigate it or fix it. It wouldn't surprise me if the other Nestopia users reporting this problem have the same faulty audio driver or hardware.Īnyway, for anyone reporting this issue (or any other issue) in the future, it's incredibly important that you provide detailed repro steps (including all your Nestopia settings, running fullscreen or not, what ROM(s) you are using, and your hardware configuration) so that developers like me can actually reproduce the problem. I haven't experienced any issues with choppy sound on any of my three Win7 圆4 machines using my unofficial 1.41 build.įireBrandX's issue sounds like either a bad audio driver or something wrong with his particular hardware. I'm a novice in C++ and not familiar at all with Nestopia's extremely complex-looking codebase. I've tried everything I know and I'm at my wits' end. Otherwise, that's a commonly known workaround for this kind of problem for both video playback and regular games. Setting both Windows and Nestopia to use the same sampling rate does not work and neither does setting them both to a lower value. It appears that audio and video go out of sync and Nestopia's timing thread snaps the audio thread back into place, producing clicking sounds every 2-3 seconds. Setting the latency to 1 in the sound options merely reduces it. Hardware differences don't seem to affect it and no setting fixes it completely. 60 Hz, though I've tried various refresh rates, even exact NTSC, and it doesn't work). Could it be connected to the higher latency of Vista's and 7's DirectSound implementation? Or might it be a problem of the timing thread having issues with refresh rate syncing? Vista and 7 are known to confuse some badly programmed games in VSync with its more exact monitor refresh rate determination (59 vs. That said, I wonder if you'd be so kind to perhaps look at another issue which is particularly galling for Win7 and Vista users: It's the choppy sound as reported both on the ZSNES board (scrolling way down to FireBrandX's post: ) and here, too ( ).īoth Nintendulator and FCEUX sound fine, which, aside from your work here, are the only recent still-developed NES emus, I believe. It even compiles fluidly now! The difference is remarkable. I just registered here to say thank you for fixing these issues and releasing your work. Added this releasenotes.txt file and bumped the version number to 1.41. Updated the Visual Studio solution/project to build successfully under Visual C++ 2008 Express Edition.ĥ. (As far as I can tell on my own hardware configuration, these three changes taken together have completely eliminated the lag problems that have been present in Nestopia for several releases. Removed some screwy input timing logic that was causing input polling to work only on certain clock intervals, rather than allowing it to work every time it was called. This was the key change that got rid of most of the lag.ģ. ![]() Removed some screwy input polling logic, and added some calls to input.Poll(), to ensure that the input devices are always polled immediately before the input state is utilized. This brings Nestopia much closer to real-time performance and responsiveness.Ģ. Instead, Nestopia now boosts its own process base priority AND its own main emulation thread priority whenever it is the active foreground window (and/or running in full-screen mode). Removed manual option to set priority of Nestopia's main emulation loop thread. ![]() The original Nestopia author (Martinįreij) appears to have abandoned the official Nestopia project on SourceForge and has not responded to any of my e-mails, so I am left with no choice but to provide this unofficial release as a public service to the emulation community.ġ. This lag was particularly bad when VSync was enabled. This is an unofficial maintenance release I created to fix an annoying joystick lag issue.
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![]() The process by which propaganda, much of it ephemeral, was absorbed and converted into broadly held stereotypes therefore remained unclear, and the usefulness of the Black Legend as a case history in the development of national consciousness went largely unexplored. With few exceptions, contributors to the debate failed to distinguish the Black Legend as a body of anti- Spanish literature from the Black Legend as a component of popular mentality. These disputes were clouded from the beginning by problems of definition. Though generally balanced in his approach, Gibson was more sympathetic to Hanke than to Keen. In a collection of documents published in 1971, Charles Gibson recognized this fact and provided examples of anti-Spanish writing from the sixteenth century to the twentieth that reflect a wide spectrum of political and intellectual hostility. Italy, Germany, England, and the Netherlands developed "Black Legends" of their own, in most cases as a reaction to the development of Spain as a world power in the sixteenth century. The work of Sverker Arnoldsson (1960), William Maltby (1971), and others showed that anti-Spanish attitudes predated the publication of Las Casas and had multiple roots. The Keen-Hanke debates narrowed the Black Legend to the single issue of the Conquest, but the broader accusations of Juderías had not been forgotten. Keen warned against the promulgation of a White Legend by those sympathetic to Spanish culture. Francisco López de Gómara, Girolamo Benzoni, and other chroniclers of the Conquest provided independent support for the accusations of Las Casas, and their works, too, had been widely circulated throughout Europe. The Black Legend, in other words, was not legend but fact. Opposition to Hanke's views came primarily from Benjamin Keen (1969), who noted that neither the bishop nor his reforms had done the Indians much good, and that the Spanish Conquest was as brutal and unprincipled as Las Casas had claimed. This position was hailed by Ramón Menéndez Pidal in his El Padre Las Casas, su doble personalidad (1963), a curious work that went on, somewhat inconsistently, to accuse Las Casas of paranoia. Though the works of Las Casas were misused by Spain's enemies, his career in itself was a partial refutation of the Black Legend. Only Spain had attempted to place its conquests on a moral footing. Hanke contended that the efforts of Las Casas and the legislation that resulted from them were unique in the history of colonizing powers. The publication of Lewis Hanke's The Spanish Struggle for Justice in the Conquest of America (1949) opened a North American debate over the Black Legend and placed Las Casas squarely at its center. Like Juderías, Carbia was primarily interested in defending the Spanish record. In Carbia's view, Las Casas had exaggerated the brutality of the Conquest in an effort to secure improved treatment for the Indians, and in so doing he had provided Spain's political and religious enemies with a rich source of propaganda. In 1944 the Argentine scholar Rómulo Carbia applied the concept to the historical treatment of the Spanish conquest of America and linked the Black Legend specifically to the work of Bartolomé de Las Casas, whose Brevísima Relación de la destrucción de las Indias had been widely circulated in translation since the sixteenth century. His book, which was extremely popular in Spain, is basically a defense of Spanish accomplishments. The author of revisionist works on a variety of topics, Juderías was convinced that Spain and its culture had been systematically vilified by foreign authors who were inspired by Protestantism or the Enlightenment. The term was apparently coined by Julián Juderías in his book La Leyenda negra y la verdad histórica (1914). The national stereotype derived from this literature portrays the Spanish as uniquely cruel, bigoted, lazy, and ignorant. The Black Legend, a body of traditional literature hostile to Spain, its people, and its culture. ![]() Newsbeuter is an open-source RSS/Atom feed reader for text terminals. If you are used to pidgin you’ll see similar menu, just open it up, and start typing! You can switch between chats (and the buddy list) using M – n/M – p to go to the next/previous window. You’ve probably you have already heard about his graphics counterpart, or maybe you are using it: Pidgin (previously called Gaim), finch it is the application ported to ncurses, using the same libraries of pidgin (libpurple). It is quite portable and runs on a variety of platforms.ĮLinks was forked from the original Links browser written by Mikulas Patocka.ĮLinks is an Open Source project covered by the GNU General Public License.Īlternative: Lynx, Links, or w3m Finch – Instant Messanger ELinks can render both frames and tables, is highly customizable and can be extended via Lua or Guile scripts. ![]() ![]() Touch-typists and those averse to the mouse do not have to move their fingers away from the home row, allowing them to manipulate the editor faster.ĮLinks is an advanced and well-established feature-rich text mode web (HTTP/FTP/.) browser. This allows, but does not require, one to perform all editing functions with no use of the mouse or menus and minimal use of meta keys. Vim, following vi, is unique in that the entire keyboard is switched into and out of these modes. Many editors are modal in the general sense of having to distinguish between insert-mode and command inputs, but most others implement that modality through very different methods: command menus (mouse or keyboard driven), meta keys (simultaneous use of multiple keys, usually involving control key (CTRL) or alt key (ALT)), and mouse input. or when I want to overdo i use Gvim.Īs a descendant of vi, Vim is modal-a design choice that tends to confuse new users not familiar with vi and unaware of insert-mode. ![]() I have always used vi on the server for editing configuration files, so I using Vim also comes naturally for me in my desktop environment. Mutt relies on external tools for composing and filtering messages. Support for fetching and sending email via various protocols such as POP3, IMAP and SMTP was added later. New to Mutt were message scoring and threading capabilities. According to the Mutt homepage “though written from scratch, Mutt’s initial interface was based largely on the ELM mail client”. Mutt was originally designed as a Mail User Agent (MUA) and relied on locally accessible mailbox and sendmail infrastructure. It also includes MIME support, notably full PGP/GPG and S/MIME integration. Mutt supports most mail formats (notably both mbox and Maildir) and protocols (POP3, IMAP, etc.). Midnight Commander is based on versatile text interfaces, such as Ncurses or S-Lang, which allows it to work on a regular console, inside an X Window terminal, over SSH connections and all kinds of remote shells.Ī very good mail program for the terminal, if not the best, I’ve used it for about 4 years and i don’t had any problems with mail, GPG signatures, attachment or other things. It’s a feature rich full-screen text mode application that allows you to copy, move and delete files and whole directory trees, search for files and run commands in the subshell. GNU Midnight Commander is a visual file manager, licensed under GNU General Public License and therefore qualifies as Free Software. Probably not, but on some occasions a program that runs from the terminal might help you … or for some of them they are simply better than even their graphics counterparts. Bacon and Apple Stuffed Pork Chops | Paleo Parents We made this a few nights ago and it kicked ass.If you want you can only use programs that run inside a terminal to make the most ordinary things you do every day.WordPress Plugin: Comment Reply Notification |Theme10 Works good for me.Salary Negotiation: Make More Money, Be More Valued | Kalzumeus Software a long but well written and informative posting on how to negotiate your salary when taking a new job. ![]() Results using the haversine formula may have an error of up to 0.5% because the Earth is not a perfect sphere, but an ellipsoid with a radius of 6,378 km (3,963 mi) at the equator and a radius of 6,357 km (3,950 mi) at a pole. The great-circle distance is the shortest distance between two points along the surface of a sphere. It is formed by the intersection of a plane and the sphere through the center point of the sphere. A great circle (also orthodrome) of a sphere is the largest circle that can be drawn on any given sphere. The haversine formula works by finding the great-circle distance between points of latitude and longitude on a sphere, which can be used to approximate distance on the Earth (since it is mostly spherical). In the haversine formula, d is the distance between two points along a great circle, r is the radius of the sphere, ϕ 1 and ϕ 2 are the latitudes of the two points, and λ 1 and λ 2 are the longitudes of the two points, all in radians. The haversine formula can be used to find the distance between two points on a sphere given their latitude and longitude: There are a number of ways to find the distance between two points along the Earth's surface. Given the two points (1, 3, 7) and (2, 4, 8), the distance between the points can be found as follows: d =ĭistance between two points on Earth's surface Like the 2D version of the formula, it does not matter which of two points is designated (x 1, y 1, z 1) or (x 2, y 2, z 2), as long as the corresponding points are used in the formula. Where (x 1, y 1, z 1) and (x 2, y 2, z 2) are the 3D coordinates of the two points involved. The distance between two points on a 3D coordinate plane can be found using the following distance formulaĭ = √ (x 2 - x 1) 2 + (y 2 - y 1) 2 + (z 2 - z 1) 2 For example, given the two points (1, 5) and (3, 2), either 3 or 1 could be designated as x 1 or x 2 as long as the corresponding y-values are used: The order of the points does not matter for the formula as long as the points chosen are consistent. Where (x 1, y 1) and (x 2, y 2) are the coordinates of the two points involved. ![]() The distance between two points on a 2D coordinate plane can be found using the following distance formula ![]() Knowin’ he died about some shit that we didn’t wait before rat. How I get a girl and girls still wanna holla still How Im so. I can’t cry to get no ho back, I can’t get my bro back. And my dick feel better when you drunk, right. Lyricist: Coco O. Lemon Pepper Freestyle Lyrics by Trio Mio - Happy new year Trio moi 2022 Hii ni mwaka yangu niko na many things to prove Nimeskia wanasema last year il. What’s up Cuz (To get you under my pressure) Let me pop my shit. How I get a girl and girls still wanna holla still How Im so. 1 Lemon Pepper Freestyle Lyrics Verse Life give me lemons and I squeezed now my juice is fresher I never let it get me beat, I get the beat and pepper When you're fresh on to the scene you start. Coco O., Boi-1da, Robin Hannibal, Rick Ross & Drake have written the lyrics of “Lemon Pepper Freestyle” song. And my dick feel better when you drunk, right. Tryin', tryin', tryin', tryin' I pray these niggas understand how passionate the tale is To get you under my pressure Richer I been tryin', tryin', tryin', tryin' To get you under my pressure Yes, uh Biggest, you feel me? ( M-M-M-Maybach Music) Godfather with a garden full of snakes Call Porsche, time to give away a Wraith Bricks boy, tryna turn 'em into bass Big boy, I been tryin' buy the Braves Courtroom soundin' like I'm in the opera Went and got it, now these niggas wanna knock us Bitches fallin' 'cause they need a couple dollars But it ain't a problem 'cause a nigga really got it Fat boy, rich nigga, with a appetite Count monеy all night under the candlelight Spinnin' vinyl, Tеddy P, or is it Lionel? Not a model, but I know I been your idol Big bank, sparkin' weed without a lighter On fire 'cause I'm just a different writer Practicin' social distance with all these snitch niggas Guess he jealous 'cause I had his favorite bitch with us Big bucks, steppin' outta big trucks Steppin' on my feet, it'll get you fucked up Got the squad with me and all they did was gimme love Foot Locker, twenty deep, a nigga spend a dub G-Wagen for my bitch, that girl go live it up Death row, that's for these niggas, I'ma hit 'em up Makaveli, it's All Eyez on Me Pinkie rings, it's still M.O.B.Lemon Pepper Freestyle lyrics by Drake and Rick Ross from the album titled Scary Hours 2. Bridge I been tryin', tryin', tryin', tryin' To get you under my pressure I been tryin', tryin', tryin', tryin' To get you under my pressure Verse 2 I don't do opps, I'm the opp if you ask me. ![]() The index parameter determines at which spring the splash should originate, and the speed parameter determines how large the waves will be. Height) Īny time you want to make waves, call Splash(). LeftDeltas = Spread * (springs.Height - springs. I'll show the code first, and then go over it: for (int i = 0 i 0) Of course, if the springs are all independent, the waves will never spread out like real waves do. As shown in the first diagram, we're modelling the water using a series of parallel, vertical springs. Now that we can make a spring, let's use them to model water. A high dampening factor will make the water look thick like molasses, while a low value will allow the waves to oscillate for a long time. The demo uses a dampening factor of 0.025. It should be fairly small if you want your waves to oscillate. Here, v is velocity and d is the dampening factor - another constant you can tweak to adjust the feel of the water. This requires a small adjustment to our spring formula: The idea is to apply a force in the opposite direction that our spring is moving in order to slow it down. To solve this we must apply some dampening. Once a spring starts oscillating, it will never stop. There is a problem with our spring model so far. Even worse, the Euler method of integration tends to gain energy as the simulation becomes less accurate, causing stiff springs to explode. A very stiff spring can even have an oscillation period that's shorter than your time step. This does not play well with numerical integration, which simulates the springs as a series of discrete jumps at regular time intervals. Very stiff springs apply very strong forces that change greatly in a very small amount of time. A high spring constant will make the water look more like jiggling Jello.Ī word of warning: do not set the spring constant too high. ![]() Forces will create small waves that oscillate quickly. Conversely, a high spring constant will increase the tension in the spring. This means a force will cause large waves that oscillate slowly. A low spring constant will make the springs loose. You can adjust this value to change the properties of the water. I mentioned earlier that the spring constant, k, controls the stiffness of the spring. For the demo, I set it to halfway down the screen, at 240 pixels. You should set this value to where you want the surface of the water to be. Here, TargetHeight is the natural position of the top of the spring when it's neither stretched nor compressed. Putting it all together, our water surface particles will do the following each frame: public float Position, Velocity Ĭonst float k = 0.025f // adjust this value to your liking It's not the most accurate type of numerical integration, but it's fast, simple and adequate for our purposes. We're going to use the simplest form of numerical integration - each frame we simply do the following: Position += Velocity To determine position from acceleration, we need to do numerical integration. We'll assume that all our particles will have the same mass, so we can combine k/m into a single constant. This gives us the acceleration for our particles. This means the stronger a force pushes on an object, and the lighter the object is, the more it accelerates.Ĭombining these two formulas and rearranging gives us: Here, F is force, m is mass and a is acceleration. To do this, we need a couple more formulas from physics. To simulate springs, we must figure out how to move particles around based on Hooke's Law. The spring constant, k, determines the stiffness of the spring. The negative sign indicates the force is in the opposite direction to which the spring is displaced if you push the spring down, it will push back up, and vice versa. The force provided by a spring is given by Hooke's Law:į is the force produced by the spring, k is the spring constant, and x is the spring's displacement from its natural length. Springs have a certain natural length if you stretch or compress a spring, it will try to return to that natural length. One great thing about springs is that they're easy to simulate. We will then make water particles pull on their neighbouring particles to allow the waves to spread. This will allow the waves to bob up and down. ![]() After opening a collection of images, I couldn’t help but make comparisons to Adobe Lightroom. Photoshop has had the benefit of decades to create the accepted icons for its editing tools, whereas Exposure X2 has to be straightforward with labels.įinding the file manager takes a second. On a large Mac with a 27 inch screen, this is less of an issue. On smaller screens it crowds out the image with oversized menus and file management strips. One of the downsides of Exposure X2 is the small editing window. A bit of hunting around and workflow begins to get the rhythm. A new photographer might find the interface perplexing. Apple Mac users need OS X Yosemite (10.Starting Exposure X2 from Launch Pad or from Photoshop, the interface is both familiar but still cluttered. Adjustable overall intensity slider to blend effects with original image.new History panel to retrace editing steps and see specific slider values.new Adjustable histogram with clipping overlays.Detail Panel – noise reduction and sharpening.Exposure, contrast, saturation, and other common adjustments.new Faded looks for a hazy, dreamy effect.Accurate film emulation, spanning the entire history of film photography.Send a photo to an external editor and then bring back the results Work on other things while copy happens in background.Cloud syncing to easily work from multiple computers or collaborate.Easy moving of images between computers or external storage.Launch Photoshop directly from Exposure.Add Exposure effects to Photoshop composites.Supports a variety of file types (RAW, TIFF, JPEG, DNG).NEW Lens distortion correction for a variety of popular lenses.Support for a variety of DSLR and mirrorless cameras new Ability to create and manage workflow presets (import, export, categorize, rename, and more).new Enhanced export options (file type, resizing, and renaming).new Enhanced selection and sorting options.new Full text search to find images by a variety of criteria.Metadata display in the thumbnails, preview, and panel. ![]() Drag an image or folder onto Exposure to visit that folder and create a bookmark.new Drag files to Apple Finder or Windows Explorer to copy or move them.Filtering and filter presets to see only the photos you are interested in.Flags/Stars/Colors for organizing and culling.File and folder operations (copy, move, rename, delete).What's New in Alien Skin Exposure X2 Bundle: Industry-leading image enlargement tools enable you to deliver large prints that are crystal clear. Exposure edits your RAW files nondestructively, and provides powerful organizing tools, a customizable UI, and speed. It also works great as a series of plug-ins for Lightroom or Photoshop. It has the tools you need in a professional, standalone photo editor. Work how you want - the Exposure X Bundle will adapt. It’s easy to switch between edits in Exposure and those using natural-media and image-enlargement tools. You won’t encounter complications like catalogs or imports. ![]() The Exposure X Bundle streamlines your workflow, so you spend your time making creative decisions, not learning complex software. Personalize these looks using robust editing tools and natural media effects like oil paint and watercolor.Įxperience a simpler, smarter way to work. ![]() Hundreds of carefully curated styles bring a human touch to your work. Transform your digital images into evocative works of art using the rich creative tools in the Exposure X Bundle. Two additional apps expand the creative possibilities: Blow Up 3 enlarges your photos into large prints with the sharpest resizing technology available, and Snap Art 4 transforms your photos into gorgeous, handcrafted paintings. The centerpiece of the bundle is Exposure X, the editing app that streamlines your workflow and provides a rich set of creative tools. The Exposure X Bundle is a photo editor and organizer that integrates all of Alien Skin’s award-winning photo editing apps into a single product. Underneath that, the various buses that utilize a given stop are listed.īe careful, however, as some route numbers might use multiple stops at a station, depending on which direction they’re going. London bus routes are highly organized, and each stop has a letter identifier. It’s right by the entrance to the Underground, and just a bit further than the Heathrow Express, so it’s not that far - maybe five minutes walking. If you’re using Terminals 2 or 3, they share a common and centralized bus station, so you have to walk a bit. Terminal 5, for example, uses the same covered area where you’d find a taxi: Terminals 4 and 5 have bus areas right outside their respective arrivals areas. Here’s a very rough drawing of the area included in this scheme (I’m not 100% confident of the exact roads the buses use on the East and West of the airport):Īnd here’s a stylized map that shows the buses and some of the key stops:ĭepending on which terminal you’re arriving at or departing from, the bus setup is slightly different. And you can use these to get to almost all of the Heathrow Airport hotels. The end result is a zone around and between the Heathrow terminals where the buses are completely free. Of course, as these are still normal public buses, they make stops along the way. Heathrow Freeflow Free Fare ZoneĪs Heathrow is so spread out, some of the regular Transport For London buses essentially serve as landside shuttles, running around the perimeter roads of Heathrow. ![]() I do appreciate that the lack of individual hotel shuttles helps with traffic, especially as there are so many hotels near Heathrow, but you don’t need to pay £9 for the round-trip when there is a FREE option that can actually be faster. The Hotel Hoppa is still charging ridiculous rates, however, with tickets priced £4.50 if you book in advance, or £5.00 if you pay the driver. The fares have been adjusted over the past few years, and now can be reasonable if you’re booking in advance and/or traveling off-peak. ![]() The Heathrow Express used to be the greatest ripoff at Heathrow, advertising 15 minute journeys to Central London (providing, of course, that you want to go to Paddington during the times of day the train runs frequently), but with outrageous pricing. Instead, there’s a common shuttle called the “ Hotel Hoppa” that has a few different routes to the local hotels. London’s Heathrow airport doesn’t allow the neighboring hotels to operate shuttles. This is the one and only weak spot on a Titan, as if you cut anything else off like arms or hands, they will eventually regenerate. Titans are who you want to kill, and you do that by using the ODM gear to swing your way behind the Titan and using some sweet swords to cut out the nape of their neck. ![]() Oh, and if you don't know what a Titan is, it's a massive giant that eats humans and causes a whole lot of mindless destruction. Which leads us on how to take these bad boys out.įor newcomers to Attack on Titan, you fill find yourself learning about ODM (Omni Directional Mobility) gear which is some grappling hooks on pulleys that launch you around by hooking into trees, or in a lot of cases, into Titans themselves. Not to mention the spot on sound effects of soldiers flying through the air taking out Titans along with their blood curdling roars when you give one of them fine cuts to their bodies. The musical score definitely helped tighten the Attack on Titan world, which shows the developers obviously took a great passion towards doing so. The talent is immediately noticed as the fears, joys, and rage that comes out of the characters at times is clearly heard. There were some glitchy moments where Titan's would fall over oddly and your character would get stuck in places, but once you got used to the controls those moments were not happening nearly as much when I was first learning the game.Īlthough I am not a huge fan of the choice in recreating scenes from the series, they either got the exact same voice actors or some really talented folks to re-create the cast, as they didn't miss a beat. This is where it worked for the game in the graphics department and I couldn't see it going any other way. Where this really shines was in the game play itself. Even though that design choice doesn't seem to fit the series, the graphics were definitely not horrible and were really well done. Although close to the original medium, it would have been ideal for them use direct footage from the series to create a more authentic feel to the game. This unfortunately made the characters in these cinematics look blocky and out of place. ![]() Instead of using the actual series footage and the beautifully animated material that they had access to, they re-created scenes from the series using their graphics engine. Immediately when hopping into the game I noticed that the developers obviously modeled the artistic style after the anime series but there is something about how they did it that seems to be a little bit off, which is especially noticeable in the cinematic portions of the game where the bulk of the story gets told. Suffice to say when I had the opportunity to take the video game version of this series on for review, it was definitely a no brainer. My sons aren't into anything with subtitles so it wasn't something I could convince them to enjoy as well. It probably would have been a whole lot quicker if I didn't have to be an adult and go to work and take care of the kiddos. When Attack on Titan came out on Netflix I binged and watched the whole season in one weekend. Straight edge for life, skate your face off ‘til you break your knees, and being an active participant in making the skate scene better is what he’s all about. He could have just as easily quit skating and gotten into cars, beer, and football like most skater buddies that I grew up with. Shitty weather, crusty ass spots, no industry, and no opportunities make that region of the States pretty unfriendly for us board-skaters. Skaters like Bro who grew up on the East Coast face an uphill battle for just about everything in skateboarding. Bro is from the East Coast, more specifically Cape Cod, and it doesn’t get much more “isolated with not much to skate” than that. Sounds pretty cool, huh? Well, that’s Chet’s life, and he is wearing down the tires on his Volvo with endless road trips and his odometer maxing out!ĭEDICATED TO THE CORE: BRO GUMPRIGHT words by CHARLIE WILKINS: Photo by Rob Collins. Just get out there on the road and discover. For someone with his ability to rip to gain license from his sponsors to pursue this freedom with no strings attached is a Utopian vision that few skaters get the opportunity to have – getting paid to do exactly what you want to do, when you wanna do it. Chet’s thirst for the unknown ultimately defines what a skateboarder’s quest for adventure is all about. His vision is pure exploration – searching out graffiti-laced, outlawed pools and obscure monoliths aside a brushed out ditch. For Chet, being a pro skater doesn’t mean training for contests – quite the opposite. The more random the better, and it’s that spirit of discovery that drives him. Growing up at the Ramp House in Carolina Beach, NC, at the end of the vert heydays in the ‘80s, his dedication during the lean times paid off with sponsors that encouraged his individuality and a worldwide road tripping addiction that has continued through the years on asphalt across the country. Gnarly skater and guerrilla artist, Chet Childress, is an East Coaster who has always stayed true to his roots. ![]() This photo is a moment in time from Arto’s pool that captures the essence of surf/skate style and pays tribute to generations of surfers and skaters around the world.ĬHET CHILDRESS interview by JIM MURPHY: Photos by Karim Ghonem and Coburn Huff. Scott Oster is, without question, one of the kings of style. In honor of the great, Shogo Kubo, who once said, “To me, style is everything…”Ībout the Juice Magazine cover photo: Arto Saari shot this photo of Scott Oster for the cover as a tribute to surf, skate style. In order to get to the core of this cross over and to try to define the origins and current state and status of surf skate style, we’ve interviewed some of the most innovative skateboarders, surfers, artists, documentarians, photographers, filmmakers and musicians on the planet. The influence of surfing on skateboarding has been discussed since the beginning of both, yet we have now entered a new era, where skateboarding has returned the favor with its own unique influence on the surfing world. SURF SKATE STYLE interviews by JEFF HO, DIBI FLETCHER, TERRI CRAFT & DAN LEVY ![]() Juice Magazine specializes in coverage of core skateboarders, surfers, musicians, skatepark builders, artists, photographers, rock n roll, metal, hardcore, pools, pipes & punk rock. ![]() Since 1993, Juice has been independently owned, and dedicated to the core. ![]() Shop local and subscribe to Venice’s Juice Magazine!Ībout: Based out of Venice, California, Juice is an interview magazine featuring skateboarding, surfing, art and music. Juice Magazine Issue #75 is out on the stands! Check it out! |
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