I had the distinct honor to join the conversation about science fiction and society on Dr. Neil deGrasse Tyson’s StarTalk Radio Show on May 30, 2019 (season 10, episode 22). The episode is about Creating Science Fiction, with Gale Anne Hurd, the producer of The Terminator and The Walking Dead. I shared some thoughts on Hugo Gernsback’s formula for “scientifiction,” H.G. Wells and Sir Ernest Swinton’s legal fight over the modern battle tank, the power of SF to engage social issues and debate, and my personal, lifelong relationship to SF. You can listen to the episode here or embedded below:
About the episode from the StarTalk website:
The Terminator, The Walking Dead, Aliens, and a lot more. Those are just some of the producing credits for this week’s main guest on StarTalk Radio. Neil deGrasse Tyson sits down with producer-extraordinaire Gale Anne Hurd to explore what it takes to bring great science fiction to life. Neil is joined by comic co-host Chuck Nice, science fiction expert Jason Ellis, PhD, and volcanologist Janine Krippner, PhD.
Because science fiction comes in many different forms and through many different avenues, there are many ways to get into it. You’ll learn how Gale’s childhood love of Marvel comic books and science fiction novels translated into a career “making what she likes to see.” She tells us how she served as a science fiction consultant to her local library to make sure their stock was up to date. Jason shares why not being able to see Star Wars in the theater sparked a rebellious love for science fiction.
You’ll hear about the history of science fiction and how it combines the STEM fields and the humanities. We debate if science fiction informs the future of every technological invention. You’ll find out about a lawsuit H.G Wells brought upon military figureheads because he claimed they stole his idea from one of his science fiction stories. Explore using science fiction as social commentary. Discover more about the famous kiss between Captain Kirk and Lt. Uhura, and how William Shatner and Nichelle Nichols purposely flubbed takes to make sure it stayed in the episode.
We take a deep dive into Dante’s Peak as volcanologist Janine Krippner stops by to share her take on the film. She explains why she thinks it’s still the best volcano movie even with its flaws. Gale gives us a behind-the-scenes look on how she fought for even more scientific realism to be in the film but encountered pushback from the studio. Neil also confronts Gale on the famous scientific inaccuracies of Armageddon. Chuck shares his love for The Expanse, we discuss Interstellar, and Neil tells us about his involvement in The Europa Report.
Lastly, you’ll also find out the differences between creating science fiction for television and film. According to Hugo Gernsback, the father of science fiction, sci-fi should be 75% romance and 25% science – is that still the goal? All that, plus, Jason caps it off with a story on how he was criticizing the film Sunshine right in front of director Danny Boyle’s family.
My Aunt Lettie Ann Cook passed away on May 17, 2019. I flew to my hometown to fulfill her request that I speak at her funeral and serve as a pallbearer. Her husband of 54 years, William Cook, who I knew as Uncle Doc, had preceded her in death in 2015.
They were both good people, who I and many others miss. I am reminded of fun-filled childhood pool parties at their house–one being particularly memorable during which I used a snorkel face mask for the first time and I played with my cousin Mark’s bad-ass Boba Fett action figure. That was probably around 1981. Or, learning from Aunt Lettie Ann how she made ceramic sculptures. Or, learning from Uncle Doc how to melt lead for my pinewood derby racer, use a scroll saw and drill press, and work with wood to make storage chests and other things. Or, enjoying cookouts featuring Aunt Lettie Ann’s great home cooking at their house after they moved from Brunswick to Hortense. And above all, reveling in their open door hospitality.
Uncle Doc died suddenly in 2015, and I was regrettably unable to return for his funeral. Before Aunt Lettie Ann died, she asked my dad to help me fly down and speak at her funeral as I had done for my Granny Ellis in 2012. The week before last, I said these words for her:
Remembering Aunt Lettie Ann
My dad tells me that my Aunt Lettie Ann had asked him while she was still lucid that I speak at her funeral. I’m saddened that it’s on this occasion that I am speaking with you today, but I consider it an honor to do this small thing for her.
I wanted to begin by sharing with you a seemingly mundane yet meaningful dream that I had three weeks ago, the night after I learned Aunt Lettie Ann was back in the hospital. To be honest with you, I don’t put much truck in dream visitations or other forms of clairvoyance, but this dream’s timing and content unnerved me.
The dream begins with me standing in the foyer of Aunt Lettie Ann’s fine house on Baker Hill Road. I see her descending the steep stairs slowly and carefully with her hands clutching the railing, but her face is beaming, and she says that she’s so glad to see me. After sharing a big hug, she tells me that I need to eat. Leaving me to sit at the extended dining room table with low sunlight entering the windows, she fusses in the kitchen to quickly prepare something for me. Then, while plying me with her delicious home cooking, she asks, how are you doing, how’s my sweet pea—that’s Yufang, my wife, what are you both up to? Answering her questions, I never got to ask how she was before I was suddenly awake.
That dream lingered in my mind throughout her ordeal. I hoped that it was more like a good memory than a kind of goodbye. I can say that it brought back many happy memories of Aunt Lettie Ann showing her unconditional love and care, such as birthdays and Christmases, visits to see her when I was at home from school or work, and times that she hosted me when Uncle Doc, who you might have known as Bill or Wilbur or grandpa or dad—helped me on Scouting projects. And, it reminded me how she demonstrated her love and care in other ways, such as wanting to know how you are and what you’re up to—listening equally about your triumphs and failures, your good health and bad, and even your daily trifles—before sharing her own, in which she emphasized the positive over the negative and made light of her own troubles; needing to take care of you and make sure that you’re comfortable and well fed; giving deeply personal gifts—in fact, thinking to get Christmas presents for our cats Miao Miao and Mose who she didn’t even have a chance to meet; and above all else striving to make you feel loved and special. However, Yufang told me that it is more than that—the feeling of being loved by Aunt Lettie Ann remains with you even after you say goodbye and you carry her love with you wherever you might go next. I think she’s absolutely right.
I share with you all a tremendous sadness that Aunt Lettie Ann is no longer here to love and care for us. I know we will all miss her great big hugs, her delicious cooking and get-togethers, and her looking out for us. However, I am deeply heartened to know that her love is still all around us, because we each carry it in our hearts and memories. I encourage you to cherish Aunt Lettie Ann’s love as a celebration of her life, an enduring remembrance of who she was, and a reminder of the kind of person who we should all strive to be.
Yesterday, I deleted my EA Origin account, because I was fed up with how things were “going according to plan.” EA’s and other forced online game portals plan seems to be two fold: 1) require players to login to a service to play a local-instance, single-player video game, and 2) waste as much time and bandwidth resources of players as possible in the function of updating the front end portal and the games accessed via the portal by denying users the choice to update if and when they choose to do so.
The straw that broke the camel’s back for me was the above message from EA–“it’s all going according to plan” and the unending “preparing” to download a very large, required update for Star Wars: Battlefront II.
Finding a few free minutes before bed, I wanted to fly the Millennium Falcon through the wreckage of blasted cruisers and obliterate as many TIE Fighters as possible. I play against computer-controlled adversaries. I don’t play against other players over the Internet. Everything regarding my game play experience takes place locally on my PC.
Nevertheless, EA requires me to login to Origin before playing Star Wars: Battlefront II. Before logging in, Origin required a software update. I did this. Since I hadn’t logged in for a few months, I had forgotten my password. I had to reset it. I logged in. Then, Origin required a large update to Star Wars: Battlefront II before I could play the game. I waited. I waited some more. I only wanted to play the game for about 10 minutes before bed time. Now, I had invested about 20 minutes on updating software and resetting passwords.
While it was “preparing to update” as seen above, I began researching how to delete my EA Origin account. I discovered that they make this as difficult as possible. You have to chat with a representative instead of clicking a link after logging into your account. I began doing this while still Origin was still “preparing.” The representative, who was nice enough, followed his script to try to dissuade me from deleting my account and instead deactivate it. I persisted with deletion and after another 10 minutes, I was told that it would take some additional time to delete my account but I didn’t need to stay on the chat while this was done.
Finally, the representative asked me if I would like to share why I wanted to leave EA Origin. I told him this:
I simply don’t like having to login to a service to play a game–especially when logging in might involve downloading gigabytes of installation updates. I understand why EA and other game publishers do this, but I don’t want to have to do this. I should be able to launch the game that I want to play and just play it. So, I wanted to delete my account and give up on EA Origin and Star Wars Battlefront II. I’ll seek out those games that let me play them on my terms.
I am vociferously against the shift to enforced online-only gaming for games that have a single-player mode. Games should be able to be enjoyed locally without hindrance if there is a single-player mode built into the game as there is with Star Wars: Battlefront II. Of course, I understand the need to login to a service when the game is enjoyed in multiplayer mode, but not all players opt for this kind of game play experience. Some of us enjoy playing the various single-player experiences within the game.
I purchased the game when it was on sale, so I will consider the money that I spent on it already invested in the times that I was able to fly the Millennium Falcon through the blasted wrecks of space battles.
However, I will never purchase another single-player option game from EA or any other video game publisher that doesn’t give me a modicum of respect to enjoy the game on my terms–no logging into online services (if I’m not playing against others online, I don’t need to login) and no required updates (I should be able to choose how and when I update the software on my computer).
I encourage others to avoid these games and seek out those made by publishers who respect players who value single-player game experiences.
My article on the public debate between H. G. Wells and Sir Ernest Dunlop Swinton about who originated the idea of a motorized, armored weapons platform or tank, which first appeared in The Wellsian: The Journal of the H. G. Wells Society (no. 33, 2010, pp. 42-57) is now available as a reprint in Short Story Criticism, Volume 264 (edited by Catherine C. DiMercurio, Prod. Layman Poupard. Gale, Cengage, 2018, pp. 256-265).
N.B.: Gale’s Short Story Criticism series is an excellent resource for scholars and students to easily and quickly learn the discourse on a particular author’s short story oeuvre. These volumes collate scholarship from a wide variety of academic journals on the works of a particular author. For example, Short Story Criticism, Volume 264 includes three sections of collected articles for these writers: Mary Caponegro, Mahasweta Devi, and H. G. Wells. I believe that the series is a good addition to libraries serving the needs of English departments and literature programs, because it provides a wide array of research on its selected authors for convenient access to scholarship.
I began this new LEGO MOC (my own creation) project while reading Michael Brooke’s The Concrete Wave: The History of Skateboarding (1999) and after assembling my Mike McGill re-issued skateboard.
Some ideas from skateboarding culture inspired this project. First, there’s the tension between Thrasher’s “Skate and Destroy” and Transworld Skateboarding’s “Skate and Create.” The former appearing in the December 1982 issue and the latter appearing in response in its first issue in May/June 1983. When I first skated, I didn’t know about this difference of ethos, but I can say that I was drawn to reading Transworld Skateboarding more so than Thrasher. Transworld’s ethos of making something from the act of skateboarding fits well with my own attitude of doing good in the world through teaching and making (as opposed to wrapping the act of destruction into an aggressive skating attitude–understanding, of course, there is a certain amount of hyperbole in this motto and more back story worth investigating–see the interview by Adam Creagan with Craig Stecyk in Thrasher March 2010, pp. 80-81, and Konstatin Butz’s Grinding California, pp. 73).
Second, many skaters talk about riding as an act of self-expression, creativity, and doing. While the act of skating is ephemeral, skaters build analogies between the sport and other creative endeavors such as writing, playing, painting, expression, and language. For example: Rodney Mullen writes, “[Skateboarding] has been the arena where I could stake my claim, the play where I would contribute my verse, and even the pen with which I write” (qtd. in Brookle 11). Chris Long writes, “‘How glad I am that I skateboard’ . . . finding my own lines and creating my own ways of playing” (qtd. in Brooke 173). Darrel Delgado writes, “Skateboarding in a pool is like being a painter, and every new pool is a blank canvas and you are the artist. Every artist has a different approach and every pool is different, which keeps the intrigue alive. You can go wherever your mind and the transitions will let you go” (qtd. in Brooke 135). Mike Valleley writes about finding skateboarding, “I got an identity and something productive. It was creative, physical activity and I used my entire being to do it” (qtd. in Brooke 137). Tony Alva writes, “Just do something that’s in tune with an individual type of expression. I think that’s what’s so important about skateboarding” (qtd. in Brooke 175). Dave Hackett writes, “Pure and simple, [skateboarding is] a healthy, radical art form. . . . Skateboarding utilizes the every-expanding environment of steel, concrete, plaster, or wood as its canvas. . . . The skater becomes one with his board, while the board in turn translates the language of the terrain” (qtd. in Brooke 176). On these points, I think skateboarding and LEGO building overlap–in both cases, skateboarding and making, the fulfilling goal is creative and imaginative expression through a given medium–the former being the assemblage of body, skateboard, and terrain, and the latter being the assemblage of builder and brick.
I wanted to combine different aspects of skateboarding into a single model. I grew up with street skating, because there weren’t any local skate parks (though, I have discovered in my research that there was a skate park in Brunswick in the late-1970s called Nova Skate Park–more on that in a future post). But, I always wanted to skate vert and pipes, so I thought about combining what I knew with what I wanted to learn.
I got the idea for the ramp’s vert and transition design from LEGO 60200 Capital City set, which has one component that is a combined skateboard ramp/wall climb/basketball court. It uses dark grey inverted arches for the transition, which I agreed was the best choice of brick–albeit in tan color to emulate the color of wood–for the ramp that I had in mind.
The next consideration was how large a model to make. I knew that I would have to purchase the inverted arch bricks for the ramp, so I looked for a seller with a good price and selection of elements that would help me realize the idea crystalizing in my mind. Alphabrix, a seller with great feedback had 20 tan, inverted arch bricks, which would let me build a 10-stud wide ramp. I figured that its length should be at least double its width, if not more. Ultimately, I settled on a 10-stud wide ramp with a 28 stud length including both tables. This allowed two studs on either side of the ramp for stairs if I went with an overall length of 32 studs for the model. Since I opted for a 32 stud length, I figured that a 16 stud width for the overall model would be enough to add a street skating scene in the model’s foreground.
After receiving the Bricklink parts and sorting out some necessary elements from my collection, I built the vert ramp first. Even though this would occupy the rear part of the model, it would dominate the model and be its focus. I wanted to get it right. I thought about how I would build a real one. I wanted a steel foundation that would be elevated off the ground. The ramp and tables would be made out of wood. As a new ramp, I wanted to give it a little bit of style with alternating color–light and dark tan tiles emulating different sheets of plywood. On the right side, I wanted a sloping launch that divided two drops on the front and back–this was a ramp design that I saw many years ago that gave the skaters a divided coping for new trick opportunities.
With the vert ramp complete, I turned my attention to the base and its foregrounded street skating area comprising 6 studs by 32 studs. The bottom of the base are dark grey plates supporting a circumference of Technic bricks and filled in with 2 x 4 bricks. I covered the surface mostly with tan 4 x 6 plates. I built up a curb with 1 x 4 and 1 x 6 bright yellow plates covered with the same colored tiles. Within that area, I filled in with a single layer of light grey tiles–some with single studs and the rest without to allow placement of obstacles like barrels and trash cans, which can be skated around or ollied over. Finally, I put concrete cones down to support the ramp behind the street skate area.
Finally, I combined the vert ramp with the base and its street skate area. I used yellow, dark blue, and orange tiles to skirt the Technic bricks around the base. The vert ramp’s coping permits posing of skaters doing hand plants. In the foreground, I added a stereo (probably playing an eclectic mix of They Might Be Giants, The Beastie Boys, and Technotronic) and snacks including pizza and cookies (shredding fuel).
Usually, it takes me several days to weeks to complete a build like this, which I have chronicled on other blog posts. However, I built this model in a single evening. I think my mind had been working on the project while I waited for the needed bricks to arrive in the mail. Even though I wasn’t haptically manipulating the bricks in my hands, I was daydreaming and imagining how to put the model together at odd times between placing the brick order and receiving them in the mail.
While imagining myself shredding on my completed LEGO skateboarding model and thinking about picking up my McGill deck to hit the streets with, I’m reminded of the Kevin J. Thatcher’s first editorial in the January 1981 issue of Thrasher: “The average individual was never properly exposed to the unlimited possibilities of a platform with four wheels under it–a simple basic mechanical device which serves as an energy-efficient mode of transportation, a basis for a valid sporting activity, and as a vehicle for aggressive expression. . . . Thrashing is finding something and taking it to the ultimate limit–not dwelling on it, but using it to the fullest and moving on. Skateboarding has not yet reached its maximum potential, and who can say what the limits are? To find out–Grab that board!” (6). Grab that board, grab that LEGO brick, grab that camera, grab whatever it is that you can express yourself with, because that is the thing with which you can leave your mark on the world.
Brooke, Michael. The Concrete Wave: The History of Skateboarding. Warrick Publishing, 1999.
Butz, Konstatin. Grinding California: Culture and Corporeality in American Skate Punk. Transcript Verlag, 2012.
Creagan, Adam. “Skate and Destroy: The Stecyk Scrawl Lives On.” Thrasher, March 2010, pp. 80-81.
Lowboy. “Skate and Destroy, or Multiple Choices (Something to Offend Everyone).” Thrasher, December 1982, pp. 24-29.
Thatcher, Kevin J. “Talking Ed.” Thrasher, January 1981, pp. 6.
Tracker Peggy (Peggy Cozens). “Skate and Create.” Transworld Skateboarding, May/June 1983, pp. 13-15.
Our little cat Miao Miao passed away on December 26, 2018 after a battle with cancer. She was 13 years and 8 months old. Y rescued Miao after her mother had abandoned her when she was only a few weeks old in 2005. She was sick and small, but Y nursed her back to health and adopted her as part of her family. I came to know Miao beginning in 2008, after I met Y at Kent State. Soon, I became a part of the family, too. Miao was strong willed but also very loving. When we had guests over, she was an enthusiastic host. She brightened our days, which now seem diminished without her around. Even though Miao never really took to our younger cat Mose, we can tell that he grieves in his own way for her, too. She will be dearly missed.
This is a long read that combines autobiography, nostalgia, memory, and instructions. Visitors here might find it interesting and informative. My students might use it as a model for some of their own multimodal writing about memory, processes, instructions, and reflection.
While it has been over 25 years since I last rode a skateboard with my hometown friends, I recently felt drawn to the 7-ply deck once again and decided to assemble a board similar to my second skateboard–a 1990 Powell-Peralta Mike McGill pro board with VCJ’s Skull & Snake graphics, fish shape, nose and tail kicks, natural wood grain with Gullwing Pro III trucks (red), and Powell-Peralta Rat Bones wheels (neon green).
Before I got my original McGill deck, I learned to skateboard on a Teenage Mutant Ninja Turtles complete skateboard that my grandparents–Wilma and Papa Gerald–bought for me from the Wal-Mart on Altama Avenue in Brunswick, Georgia (since replaced by a Supercenter about a mile away, and then the original site re-built as a Neighborhood Market a few years ago).
With the TMNT skateboard, I learned how to balance, turn, and ride on my grandparent’s back car port. At first, I held on to a broom handle to steady myself until I felt confident enough to ride without this support. I don’t think I had a helmet, but I did have pads and wrist guards–the former store bought neon green plastic over black, and the latter used, red, gifted or traded for–I can’t remember.
I rode and shared the TMNT skateboard with my friends who I paled around with when I stayed at my grandparents. However, I wanted to learn how to ollie and do tricks, but I found this to be next to impossible on the heavy, tank-like TMNT board. This is what began my search for a better board, relying heavily on the photo stories and advertising in magazines such as Transworld Skateboarding and Thrasher, and eventually led to me mail ordering the McGill deck and new hardware (was this a Christmas gift from my grandparents or my folks–again, my memory falters).
With the new McGill, I continued skating through the beginning of high school, but I drifted away from the sport when I got more interested in books (physics first, science fiction second), computers (Amiga, IBM-compatible PCs, and eventually, Macintosh), and cars (my first being a 1965 Ford Mustang, but always having a soft spot for the small Toyota pickup trucks that I used to deliver auto parts from my family’s business).
I don’t remember what became of my McGill. I suspect that I gave it to a friend before going to college where I really got into Rollerblading, but my memory fails completely on this point. I hope that I can remember what happened to my old McGill skateboard, not because I want it back, but instead simply to recall that moment in my life’s narrative. Related to this is the fact that I don’t seem to have any photos of me with my skateboard (though I do have a photo of me holding my Rat Bones wheels on Christmas Day). It’s an odd omission in the photographic record of my life of something I considered important to me at that early time in my life.
My re-interest in skateboarding began when I was watching the film Hackers (1995) in HD. I don’t think it registered with me when I first saw it when it was originally released that the film’s villain, The Plague (Fisher Stevens), rides into his company’s NOC (network operations center) on a McGill skateboard (see above).
Then, I caught up with my oldest best friend Bert over the phone. He lives in Seattle now, but back in the day, we used to skateboard in his neighborhood. Bert was a much better skater than me. Our conversation drifted back to skateboarding, including the time that he and I were stopped by a cop on our way back from a Hampton Inn construction site. The obese, good ol’ boy police officer asked us questions about what we had been doing and he stopped when he pointed his flashlight on our boards. Bert skated Vision, and I skated Powell-Peralta. The cop took a breath through his teeth and said, “now boys, I’ve done heard things about that POW-ell Per-AL-ta. They’s devil worshipers!” Bert and I smiled and nodded until he let us go on our way back to his house, but it’s a strange encounter that’s stuck with me.
Our phone conversation encouraged me to begin searching the web for information about my old skateboard. This led me to the Bones Brigade video The Search for Animal Chin (1987), which I shared with Bert via text message. By this point, I was thinking and spending more free time learning more about skating history and its evolution after I had left the sport.
While I was already burdened by a big research project on computers in science fiction from 1975-1995, which I’m continuing to work on, and the Third Annual City Tech Science Fiction Symposium, which I was organizing, I wanted to give myself something on the horizon to look forward to as a reward for this work. I decided to get the parts to build a new, complete skateboard similar to one that I had to before without breaking the bank, so I turned to eBay after striking out with the major skateboard online retailers and local shops, such as Uncle Funky’s Boards.
While I couldn’t find my original McGill with a natural finish, I did find this brand new, black dipped, Series #5 re-issue on offer by a seller in Puerto Rico. We negotiated a best offer price, and I received it before anything else.
I picked up a Gullwing Pro III trucks, wheels, bearings, risers, hardware combo from Raptorunner in Riverside, CA, and I ordered a Powell Peralta Tailbone and Jessup grip tape (and a helmet and pads) from TGM Skateboards in Mount Clemens, MI.
My original Gullwing Pro III trucks were cherry red and stood out well against the natural grain of the board. I liked these new 9″, 155mm neon green ones, because they stand out against the black background on the new, black McGill deck. Also, my re-issued McGill deck uses the old truck bolt pattern, so I chose between these (note that the base plate has six bolt holes instead of four–to accommodate both old and new bolt patterns) and Independent Stage 11 169mm trucks. Ultimately, I opted for the Gullwings since I skated with them before.
Raptorunner had several different truck, wheel, and hardware bundles. I chose this one, because it had these Sector Nine Nineballs wheels. They aren’t too big (I would have preferred 56mm) and they are real soft (78a), which will be good for the street crusing that I intend to use the skateboard for.
To begin my skateboard’s assembly, I began with the Tailbone before applying the grip tape. I clamped the tail guard to the bottom of the deck’s tail and measured to ensure it was centered.
Then, I used a small drill bit to lightly mark where I should drill the larger holes for the wood screws that will go through the top of the board into the Tailbone.
I used the grip tape shipping tube to support the deck while I was drilling.
Powell-Peralta’s instructions for the Tailbone call for a 7/32″ drill bit. Unfortunately, I didn’t have one in this size. I didn’t want to go with a larger hole (1/4″), so I tried the 3/16″ bit. Luckily, this was more than enough room for the wood screws to pass through the board without biting and then go into the Tailbone.
Using my earlier marks, I drilled three holes through the deck’s tail. These will be used later for mounting the Tailbone.
Before mounting the Tailbone, I applied the Jessup grip tape. I bought 10″ wide grip tape, which is just barely wide enough to give some room for error with the front of the deck. If I had to do over again, I would have opted for the 11″ wide grip tape.
I wanted the Bones Brigade logo to appear on the top of the deck, so I needed to apply two sections of grip tape–one above it towards the nose and one below it towards the tail. I measured these lengths twice and cut the length of grip tape into two sections allowing some room for error in terms of length. I used the pre-cut edges as the beginning of application above or below the Bones Brigade logo. I slowly lowered and pressed the grip tape to the deck so as to avoid any air bubbles under the tape.
With the tape applied, I used the barrel’s edge of a screw driver to draw a scoring line around the edge of the skateboard deck.
Then, I used a razor blade held from underneath the board to follow the edge of the board and cut the excess grip tape off along the scoring line.
Next, I pressed the grip tape down around the edges of the deck.
I ran a rolled up piece of excess grip tape around the edge of the deck to give the grip tape a clean edge all away around.
With the grip tape applied, I used a screw driver to punch through all of the holes in the deck for the trucks and Tailbone.
Next, I installed the tailbone by pushing through wood screws and matching them to the holes in the Tailbone.
While I had a cordless drill on-hand, I preferred to install these screws by hand. I was afraid of over torquing the screws and losing grip in the Tailbone’s plastic. Installing the screws by hand allows me to feel them dig into the plastic and maintain a secure hold on the Tailbone through the deck without stripping out plastic.
The final stage of the assembly involves the trucks, wheels, bearings, and 1/4″ risers. I laid all of these parts out to make the assembly quicker. For some of the assembly, I used the cordless drill with a Philips head driver, and I had my 1/4″ drive tall sockets in 3/8″ (for the truck mounting bolts) and 1/2″ (for the truck’s axle bolts).
The first task was to install bearings and spacers in each wheel. I placed an Owlsome Precision ABEC 7 bearing assembly into the back of a wheel.
Then, I used one of the trucks to help me press the bearing completely into the wheel so that it is flush with the wheel.
Turning the wheel over, I dropped a spacer on top of the inserted bearing.
Then, I placed another bearing into the front of the front of the wheel over the spacer, and again, used the trucks to help me press the bearing assembly completely into the wheel.
Then, I pulled the wheel off, placed a washer on the axle, followed by the wheel with the front facing outward, another washer, and then the axle nut. I tightened the axle nut by hand with the 1/2″ socket. I left a very slight bit of play for the wheel on the axle.
With all of the wheels assembled with bearings and spacers and these installed on the trucks, I was ready to complete assembly of the skateboard by mounting the risers and trucks to the skateboard deck.
First, I pushed the 1 1/4″ truck mounting bolts through the skateboard deck.
Then, I mounted the 1/4″ riser through the bolts on the underside of the skateboard deck.
Next, I turned the skateboard on its side and mounted the trucks.
I hand threaded the four hardware nuts on each mounting bolt for each truck.
After confirming each nut was threaded correctly, I used the cordless drill to snug each bolt down to the nut and then hand tightened each bolt in an X-pattern until I was confident in each truck’s mounting to the skateboard deck.
With the trucks mounted, I have a complete skateboard ready to take out and hit the streets with. The soft, larger wheels should be great for riding in my neighborhood. However, I have been looking at Powell-Peralta’s G-Slides, which I might get later.
I opted to cover the “Bones Brigade” name beneath the logo, because I wanted a little more grip on the tail section of the deck.
My original McGill had a nose kick while this late-80s re-issue does not. Nevertheless, I think this will be a fun skateboard to ride. Y asked me to wait until she returned from her trip to see her parents before I rode it in case I hurt myself. She’s back, but the weather isn’t superb, so I might content myself with daydreaming about riding my new skateboard until we can take it out together.
In all honesty, I have to remind myself that I can’t necessarily do the things I did when I was younger, or put another way, I can try to do the things that I used to do, but there will likely be more serious consequences. C’est la vie!