** the below content is the property of Loren Anderson and SkateToIt is not responsible for the text that is contained within**

Hello skating fans!

In this first column, I’ll simply introduce myself and my ideas for the Quad Corner. For those who haven’t met me or don’t know me from previous articles of the Laterskater news, I’ve been a skater for about 17 or 18 years. I never even tried skating as a youngster, but I’m still going strong after taking up the hobby as an adult. I currently skate two to four times a week (both at rinks and outdoors) depending upon the season of the year. Greenlake is still my outdoor venue of choice. My main interest is in rhythm and R&B dance type skating.

As my column progresses, I welcome questions, comments, and feedback from the readers. If desired, I will include your comments along with my response within the column. With luck, the Quad Corner will be more of a discussion forum rather than simply an electronic soapbox for me.  As promised, I’ll wrap it up for this entry. Please feel free to email me at the address shown below with feedback. Until next time!

Loren Anderson

LMAnderson@ci.bellevue.wa.us

Hello skaters! In the Quad Corner this week, I’ve responded to a Laterskater reader question. The question was used with permission (with minor edits for clarity).

Hey Loren,

I was wondering if there is a way to put together more 'class' oriented dance instruction, maybe something like Trish does at Skate King but about skate dancing.

Around last fall, I bought a dance video at www.rollerdance.com. I think it's really good. It teaches some basic and later more advanced dance steps. The guy (Richard Humphrey) now has three videos out. I have just the first video, but I was wondering if there would be enough interest from a group of people to do a class like this. We could all buy the video, watch it, and get together once a week to practice the moves. That way everybody could progress the same way, using the same steps. Maybe it could be coordinated with Trish, so we could squeeze into a rink for the classes.

Just a thought...

Les

I am familiar with the Rollerdance tapes and I have the first two. I've not studied them at length or tried to formally learn those specific moves and routines. As a matter of fact, I've met Richard Humphrey on a number of occasions and he's a very nice guy - and quite talented. His tapes are a good training device and he was a smart entrepreneur to jump on that idea. He's certainly one of the leaders in skate dancing in the Bay Area and he has a number of followers.

As a person becomes more involved with R&B dance skating, different rhythm skate dance styles become apparent. To the trained eye, the Richard Humphrey style is somewhat different from the methods used by the "Skate This" club in San Diego or even or own Seattle style. In spite of the wide availability of Richard's training tapes, his specific routines have never really caught on in our area. Seattle rhythm skaters have developed a style that is a combination of other styles. I've personally tried to copy some moves provided for us by Richard Stagg, currently our best Seattle area rhythm skater (although I certainly won’t imply my ability or talent is even in the same galaxy as his). If you’ve been to the TLC rink in Kent on Wednesday nights, you may have seen him skate since he is an off-and-on patron there. Richard was the skater who won the men's solo event last summer at the Red Bull Great Skate on Alki Beach. He was also half of the winning pairs team (ie, the Wild, Wild West cowboys on skates). The "Skate This" club in San Diego also works on formal skating routines and our local rhythm skaters have tried to copy and modify many of their moves. Joe Eng has been instrumental in bringing home and developing these steps to allow the rest of us a chance to learn them.

I admire Richard Humphrey, but learning primarily from his tapes can be a questionable investment of time and practice if other skaters around our area aren't that interested in participating in those routines. I've observed skaters who have tried that method in the past and they often find themselves practicing alone on the floor while other rhythm dance skaters work together as a group on the routines with our "Seattle flavor".

On the subject of me holding formal dance classes, I'd say that's a possibility - but not in my immediate future. People may or may not be aware of this, but local skating instructor Howard Jenkins has made more than one attempt in the past to hold formal rhythm skating and dance instructional classes. It would be quite interesting to hear Howard’s feedback on this issue. For any hope of success, the instructor must first have a core group of students who have a sincere interest and also a commitment to class attendance as well as practice outside of class. For a variety of reasons, those things can be a real problem for people.

A compelling demand for my teaching services would have to be shown before I'd consider trying for a formal class arrangement. In the meantime, I'm always willing to help individuals of any ability level during regular rink sessions I attend.

On a personal note, it's important to me to keep my skating hobby in an appropriate perspective. As much as I love skating, it must be balanced with the needs of my work, family, home responsibilities, and other interests. My wife has been very patient and understanding of my involvement with skating during our entire marriage, but I need to be careful not to commit so much time to skating that it becomes a problem in our relationship.

Les, I hope my response has been of some use to you. Until a time when formal classes may be put together, I'd be happy to help you individually whenever we cross paths.

Hello skaters! This week in the Quad Corner, I’m going to tackle a frequently asked question.

Is it possible to do rhythm dance skating using inline skates?

The simple answer is "yes and no". Seriously, here are some thoughts to consider when pondering the answer to that question.

When I first started rhythm skating in the 1980’s, one of our local legends of the sport was Mo Sanders. When we first met, he skated mainly at a rink in south Tacoma using traditional artistic quad style skates. Anyway, Mo was (and still is) a skater with stunning athletic skill. In my opinion, he has the kind of talent and natural ability that makes him a "Michael Jordan" of the rhythm skating world (at least to me). Mo might appreciate that comparison since he is a huge fan of that remarkable basketball player.

After inlines came on the market, Mo decided to move with the cutting edge of the skating world and made the transition to inline skates. Some diehard quad skaters had grave doubts whether he would be able to skate with the same mastery he’d achieved with his quad skates. As time passed, Mo proved that each skating move he did on his quads could be done on inlines – including every rhythm dance step plus jumps, spins, and virtually everything else. He went on to be sponsored by K2 and traveled throughout the U.S. and other countries doing promotions and demonstration programs. He also developed a certain type of inline wheel that was marketed under his name. Currently, Mo has moved on to being a skater on the cable TV show called "Rollerjam" based in Orlando, Florida. Regardless of your opinion of the Rollerjam show, a person must admit there are some excellent skaters on those teams.

What does that story have to do with the question? Simply stated, rhythm dance skating CAN be done on inline skates! Some local rhythm skaters who’ve used both quads and inlines have confirmed this conclusion for me. If you still have doubts, you may want to observe Joe Eng or Roy "Woody" Wood sometime as they dance on their inlines! However, for skaters who have ability levels more along the lines of "mere mortal", rhythm dance steps seem to be easier on quads. I’ll say right up front that I have extremely limited experience with use of inlines. I tried a pair many years ago for a couple of short sessions. The difference from quad skates was so unnerving in comparison, I went straight back to my quads. As a result, I have a whole new respect for skaters who can use both types effectively.

You may ask, "What’s the big deal? Why is it so different for skate dancing?" There may be a number of reasons, but in my mind there are two main factors. These are skate length and balance points.

First is overall skate length. In a quad skate, the longest part of the skate is the distance from the boot toe to the boot heel (plus a tiny bit more if toe stops are used). On a typical inline, the longest length is measured from the leading edge of the front wheel to the trailing edge of the rear wheel. Depending on wheel spacing, wheel size, and overall wheelbase (including 5-wheel types), this measurement can be LONG in comparison to a quad skate of the same shoe size. When trying to do dance movements that require "stepping over" or quick footwork, this added length becomes extremely apparent – and consequently much more difficult to maneuver effectively.

The second major factor is the point of balance (or vertical pivot) along the skate itself. When observing a variety of rhythm dance movements, one readily sees how much footwork is done while rolling on only the front wheels, only the back wheels, or a quick transition between the two. Think about where the skate balance point occurs in a quad skate versus an inline skate. In a quad skate, the pivot or balance points are almost directly under the heel and ball of the foot. To me, this seems like a very "intuitively correct" place for these balance points. Now picture what happens when an inline skate is rolled forward onto the toe. In many cases, the forward balance point is substantially beyond the end of the toes! Along with that difficulty is the added factor of lateral forward balance. The quad skate has two widely spaced wheels, even when rolled forward onto the toe. The inline skate has no forward lateral stability when rolled onto the toe other than the support provided by the boot. The precarious forward balance point is achievable on inlines, but it is much more difficult.

Simply stated, the vast majority of serious rhythm dance skaters use quad skates. This is due not only to tradition, but because quads make dancing easier. What can dedicated inline skaters do as an alternative to switching? The main factors seem to be frame length and wheel size. The set-up that has proved successful is the shortest possible 4-wheel frame (or even 3-wheel in some cases) along with small diameter wheels. The short frame moves the front and rear wheels inward as far as practical, thus moving the balance points inward toward a more natural position for vertical pivots. Use of very small wheels in conjunction with the short frames helps toward the same end.

In-line skaters who have just one pair of skates may have difficulty with a decision to have their skates set up in a manner dedicated to rhythm dance skating. The same frames and wheels that help you dance well may also prove to be twitchy and unstable at moderate or high speeds. In the case of an owner with just one pair of skates, a compromise on the set-up must be made or else have the skates dedicated for a single purpose.

Once again, the answer to the original question above is "yes and no". Rhythm skate dancing on inlines can done with dramatic effectiveness with just the right combination of talent and skate set-up. For those of us with more modest athletic skill, quad skates certainly make the steps and skills more obtainable.

Hey Loren,

Excellent article about the dancing!

One thing I'd like to mention is about the small wheel size for inline dancing. I am nowhere in inline dancing, so as a result I cannot provide any expert feedback. However, I started out with 64mm wheels and I switched my ABEC 7 bearings to ABEC 3s. After practicing different steps for about 4 or so months, I decided to switch to bigger wheels. This time they were 78mm on the front and 80mm on the two rear ones. I found that balancing on the toe is much much easier if you have bigger wheels as opposed to small ones.

Yes, for overall inline dance, the smaller wheels are more helpful - no doubt about it. But if you wanna do a toe spin or any type of dance step which would require you to stay on the toes, then bigger wheels somehow give you much more stability.

At least this is what my humble experience was. No argument of course.

Also, there is a young guy who sometimes shows up at Trish's class on Saturday afternoons (...I just call him the Showman...cuz he dances on inlines all the time).

One time he had inlines on, but he had extremely wide wheels. Not the wheel diameter, but its width was huge. Just like the quad wheels, but in an inline form. Never seen anything like that. So he claimed that it's specially formulated for inline dancing.

The Orlando Rollerjam show sounds interesting. Is it still on? Would be nice to get a hold of a tape of that show. Too bad I dunno anyone in Orlando...darn….

Les

Dear Les,

Thanks for writing with your feedback! It’s great to know you’re enjoying the Quad Corner.

Without a doubt, you’ve had much more experience than I've had trying different sized wheels on inlines! It’s interesting you found the bigger diameter wheels easier to balance. Perhaps someone with a real knowledge of the principles of physics could explain why, but it’s over my head! Another Quad Corner reader also wrote to remind me about the influence of wheel rockering with inlines. Rockered wheels make the skates more maneuverable for dancing, but also reduce stability at higher speeds. In an upcoming segment of the Quad Corner, I’ll spout off my opinions about wheel selection for quads. That’s an area where I have at least some experience.

Regarding the young man known to you as The Showman, I’m sure it must be Roy "Woody" Wood. He is a wonderfully gifted quad skater as well. I just marvel at the way he makes his moves look so simple using inlines. I’ve seen the strange type of inline skates you describe. At the rhythm sessions, Joe Eng uses them occasionally too. They are called "rollerball" skates. If I remember correctly, the wheels are actually spheres with a hole drilled through the center for the axle. I've not used them nor read the advertising literature, so I’m not sure of the advantages and disadvantages compared to conventional inlines. If any readers know about them and want to write in, I’ll share your knowledge with the other readers.

The show called WSL Rollerjam is on cable. It’s currently on TNN (The Nashville Network) on Tuesday and Friday evenings. I’m not going to make much editorial comment about the show itself. You have it see it to believe it. It’s like an updated version of Roller Derby. Since Mo Sanders is a friend of mine and I’m glad he’s making some money from his skating skill, I have nothing negative to say about the program. Let’s put it this way. If you like the theatrics of televised professional wrestling, you’ll like Rollerjam. Mo is on a team called the Illinois Riot. I’ll sometimes watch it for a few minutes if Mo’s team is on that week.

Lastly, you can stay tuned for a future Quad Corner column entitled "My Skating Heroes". In that piece, I’ll have more to say about Woody Wood, Mo Sanders, and some others.

Loren

I have experimented with a variety of skate boot styles over the years with mixed success. After skating on low cut speed boots for many years, I was looking into the possibility of making a change to the artistic type boot used by most expert rhythm skaters. I surveyed skating friends and colleagues for their input and also wrote to the manufacturer of Riedell skating boots. What follows is a story I wrote last February about that boot shopping adventure.

After getting loads of information and advice from my wonderful skating friends and associates, I was ready to move on the next phase of skate shopping and had narrowed my boot choices to the Riedell 220 or 297. My next step was to go for a fitting consultation with a person recommended by the Riedell factory (as well as a skater of ours from Portland). His name was Rick Stephens from the Highland Ice Area and evidently he is well known and highly regarded in this area for his expertise and knowledge about skate boot fitting.

I'd made a 2:00 pm appointment for a Saturday afternoon. Upon arriving early at the skating rink, I made my way to the pro shop. A woman had walked in just before me and asked for Rick Stephens. Rick came out and began assisting her. I found out later she had a fitting appointment as well, but she was an hour late! Rather than make a fuss, I decided to just hang around and watch the process of her being measured and fitted for her boots. Little did I know the entertainment value of this would be well worth any inconvenience.

This woman was in her forties and told us she had just given up downhill skiing because it was so expensive. She decided to try ice skating, had gone a couple of times, and now she loved it. Even as Rick was just starting to take the first measurement of her foot, she began telling him she'd heard Harlicks were the best boots available so that's what she wanted.

Rick tried to explain the principles of how and why skating boots are made certain ways for different ability levels and different types of skating. He was trying to guide her toward a high quality Riedell suitable for her ability, but she would have none of it. He said expert ice skaters have different needs in their skates and he was positive she would be very unhappy if she got Harlicks. His gentle persuasion techniques failed and she keep insisting she wanted the Harlick brand used by the pros. Rick finally said the only way she might have a chance of being (eventually) satisfied with Harlicks would be to have a complete custom pair constructed with special leather selection, etc. -- which started at about $650 for the boots without blades (non-refundable, of course). Without batting an eye, she wrote out a deposit check for $200 and made another appointment for her specialized custom fitting. Maybe Rick listens to people like this everyday, but I thought he deserved a medal for dealing with that customer. After finally getting that woman out the door, I inquired whether he still had any stamina or patience left to deal with me. He said he did and apologized for keeping me waiting.

Before I went to this boot fitting appointment, I thought I was reasonably well informed about skating boots. Boy, was I wrong. Even after studying books and catalogs, talking to skaters, and searching the Web, there is just no substitute for dealing with a professional. I took a seat and removed my sneakers. Rick looked down at my feet and couldn't help from lifting his eyebrows with that "uh oh" look on his face. The first obvious thing was my foot size (I wear size 14). From that fact alone, he knew he had no boots on hand for me to try on. I guess my ego wanted him to know he wasn't dealing with a rookie, so I told him I'd skated for almost twenty years, had studied up on skating boots, and was familiar with the models of the Riedell line. He accepted my false bravado in stride and listened carefully as I told him how I planned to lace them only partway up like the real rhythm roller skaters do it. He found that entire concept rather odd, but was willing to go with it.

The next step was taking the length measurement of my feet with a special chart from Riedell. To my amazement, he said I needed a 12 1/2 or 13 size artistic boot. I questioned him thoroughly on that point. I reiterated I had owned a series of Riedell speed boots and they all fit well in size 14. He assured me that arts boots are sized differently.

At that point, he just sat there gazing downward at my feet. It was like I could see the gears turning in his head as he thought. After a long pause he said, "This is a very odd situation." I was starting to get concerned because I sensed his statement about "odd" didn't mean "odd in a good way". He went on to say I have broad feet in the ball section, a medium width heel, and toes (especially the big toes) that go tend to go straight instead of curving inward to a point. He was too diplomatic to actually say it, but I think he was trying to say,  "You have feet like a duck - a really BIG duck."

The next matter was to say the only realistic option (if I wanted to try it) was the Riedell 220. He knew the 297 couldn't be made to my foot type. It would have to be a special order of the 220 with modifications costing about $150 additional above the initial cost of about $210. He'd be willing to order the boots from Riedell for me, but warned me a person has to be somewhat of a gambler at heart to do this. Once the factory builds them, they are yours. There are no refunds on custom orders. The only other possible option would be to get a full custom pair starting at six or seven hundred dollars - and still no assurance they would work either.

In the context of this discussion, I brought up the point that I wore custom orthotics in my speed boots to help with some other foot problems. He asked to see my speed boots that I had fortunately brought along. After glancing inside, he shook his head, got another uneasy smile and said we had another big problem.

What followed was his rather technical but very interesting explanation about why artistic boots were very different than speed boots. To simplify the principle, speed boots are usually built on a flat shoe bed and artistic boots are all built with a big arch/inside counter. My current custom orthotics could not be used at all with artistic boots. I could either go without (seemingly not a very good option) or go get another pair of custom orthotics - for a few hundred dollars, of course.

After seeing the troubled expression on my face, Rick did a very wise thing. He said, "Why don't you just think about this for awhile and see what you really want to do. If you've been successfully skating in those soft and comfortable low cut boots for all these years, I'd think twice about changing styles at all. Your feet just don't lend themselves to using artistic boots. With the shape of your feet, I think you'd really hate them."

I thanked him for the time he'd spent with me. I offered to pay him for his professional consultation since I didn't buy anything, but he declined. He was sorry he couldn't help me, but thought I'd be better off hearing the truth. Since he is in the business of selling boots, I've got to admire the guy for that, no question.

Well sports fans, you'll be seeing me in the familiar low cut skate boots for now. I'm just glad I got some professional advice before spending a ton of money on some boots I couldn't successfully use. Still, all the learning I've done will allow me to help the next guy.

In conclusion, being a "big & tall" guy in this world has many, many advantages. I wouldn't want to trade that at all. However, being an unusual guy in an "off the rack" world does present its challenges - especially in footwear! Unless things change, just look for the tall, middle-aged white guy in speed skates! Happy rolling...

R&B Skating Sessions: What Makes Them Tick (Part 1)

Among the readers of this web page, there are skaters who have attended a typical rhythm-and-blues adult skating session and those who have not. For the uninitiated, this column will attempt to explain the basics of the environment at a typical session like Wednesday evenings at TLC skating rink in Kent.

First of all, most R&B sessions tend to be limited to adult skaters. This might be a drawback for those who like to skate with young family members, but it’s a definite plus for skaters who want to skate seriously and not have to watch out for "danger at knee level" (ie, young kids). Around the country, R&B/rhythm sessions often set "lowest age" limits for each individual session to limit the crowd size and also be able to cater to specific musical tastes of that general age group. Especially in Midwest and East Coast rinks, there are sessions of age 25 and over, 21 and over, 18 and over, etc. The lowest age cutoff in Kent seems to vary over time, but right now I believe it is 16 and over. While this may seem young for an "adult session", the younger crowd has generally been very well behaved. Among the high school age skaters, there are plenty of young people who possess admirable levels of rhythm skating skill. In my opinion, these younger skaters are a welcome addition to the adult sessions as long as horseplay and inconsiderate skating habits don’t become a problem.

The main factor that truly sets these sessions apart from others is simply the music format. The music played is a variety of soul, hip hop, rap, R&B, Old School and dance. The TLC session stays pretty focused on a format commonly called "urban contemporary". Our regular DJ named Stan does a great job of trying to accommodate the musical preferences of a wide variety of demanding skaters. It’s well known that rhythm skaters as a group can be extremely critical of the music – even to the point where they will refuse to come back because the music doesn’t meet their expectations. This has been a problem with our local rhythm skating crowd for as long as I’ve been skating. The simple truth is that you can’t please everyone.

As a fair warning, the music volume is very loud. Most skaters at our sessions prefer it that way, so the sound level gets cranked up pretty high. Rather than complain about uncomfortable or damaging sound levels, I’ve taken an alternate route of self-protection. I use foam ear plugs much of the time and they work great. Another point of contention that comes up from time to time is the lyrics in some of the songs. Due to the nature of urban contemporary music, there is a chance one might hear a word or phrase they could find offensive. It all just goes with the territory. By having session patrons of adult age, there is a bit more latitude in the musical choices for the DJ. However, you won’t hear many songs the majority would find obscene or objectionable.

The environment could be described as vaguely familiar to a big city dance club or nightclub. The ambient light level is fairly dim, but you can easily see when your eyes adjust. There are also some colored and moving lights that add to the overall experience for the senses. With the blaring music and enthusiastic movement on the floor, there are some similarities to a dance club – especially on a skating night with good session attendance.

On the other hand, if you’ve been to a dance club lately which caters to the 20-something crowd, you’ll find the music and general behavior at our skating sessions to be extremely tame in comparison. (I’m sure all you nightclub fans know what I mean, huh?).

Although there are some parallels between a rhythm skating session and the trappings of a nightclub, there are a few wonderful (and maybe obvious) differences worthy of note. First, there is no smoking inside the building.

Non-smoking skaters who go to a dance club notice this difference immediately. Next, there is no alcohol consumption allowed or tolerated inside the rink. This fact alone really helps people to "stay in their right minds" as far as skating behavior and interacting with others. Last but certainly not least is the ability to just get out on the floor to roll, dance, or have fun without the challenge of having to ask someone to dance or wait to be asked. Because of the music format and nature of rhythm skating, you can expect to be among of variety of skaters of different races, cultures, and socioeconomic groups. For those who don’t often venture beyond their own comfortable norm, this is a great chance for a cross cultural experience.

To conclude, most people usually skate for fun and exercise. Skating at an R&B session is yet another avenue to get your roll on, learn some funky dance steps if you want, and experience a different and wonderful skating environment.

In Part 2 of this topic, I’ll explain some various basic skating styles you’ll witness at an R&B session along with the session etiquette every beginning rhythm skater should know.

R&B Skating Sessions: What Makes Them Tick (Part 2)

In the last Quad Corner installment, I described the environment at a typical R&B skating session. This time we’ll look at some forms of rhythm skating along with etiquette and "rules of the road" for safe and courteous skating at these or any other public sessions.

If a person closely watches activity on the skating floor during a rhythm session, different forms of skating become noticeable. Everyone is skating to the same music, but individuals take this opportunity to express his or her own form of skating.

First, there is the skating done at a moderately fast speed around the "rail". The rail is a name for the area closest to the wall or bulkhead areas surrounding the floor. Skaters going at higher speeds find this route to be the most desirable. People may skate individually or in small (or very large!) groups along the rail, usually in a line with one skater closely following another. The goal is to do the striding and crossovers in perfect sync with the music. If you watch closely, you can see a type of "stutter step and crossover" done two or three times during the turn at each end of the rink. Although there are many elaborate variations, this is the default step used as the common denominator everyone can follow.

Next is the skating done in the center portion of the rink. It has various names, but it’s commonly known at spot skating – that is, skating in a smaller spot instead of using the entire rink floor. This can also be done individually or in groups. Spot skating incorporates different steps and dance movements. It tends to be the crowd pleaser at a session and is especially impressive when large groups of skate dancers move together in synchronized routines. Lacking a better verbal description for the layperson, group rhythm skate dancing has some similarity to country line dancing mixed with synchronized group dance movements somewhat like an MTV music video (if you really use your imagination). I believe participants and spectators alike enjoy spot skating because it builds and demonstrates skating skills that are not commonly seen outside of rhythm skating sessions.

The next form is the type of skating done in a circular fashion around an imaginary inner circle surrounding the center portion of the rink. It can be either in a rolling or stepping fashion. These skating practices are a bit harder to describe. The rolling method has been honed to a fine art by our local skaters named Ben and Rich. They can be seen rolling slowly around the center part of the rink while doing synchronized and incredibly funky upper body movements. Ben and Rich also brought us a collection of stepping routines around the inner perimeter that are really fun when lots of people join in to participate.

The last major type is the skating done when the slow songs are played. Almost all advanced skaters use this opportunity to skate backward, either alone or with a partner. Often a male partner will skate backward as the "lead" and guide a female partner facing the same direction as they sway comfortably back and forth in time to the music. Done with skill, this is a wonderful and relaxing element of skating during the slow songs.

Other partners with higher levels of dance skill can be seen gliding and twirling around the floor as well. I haven’t covered all types of rhythm skating by any means. These are just the general forms done at our local rinks. There are other major categories like "rexing". It is a type of backward skating in a figure 8 pattern with many variations. Howard Jenkins is our local guru of that specialty, but rexing just isn’t that popular in our region at this time.

Now a few words about R&B skate session etiquette and safety for beginners, especially those with little general skating skill. Novices have a natural desire to want support by holding onto something. When stepping onto the floor, their inclination is to use the rail or wall for support. At a rhythm session, this is a disaster. As previously stated, the fastest skaters will be zipping along the wall and can only do their best to avoid colliding as they pass. The appropriate method for beginners is to enter the floor and get toward the center of the rink. As confidence is gained, they can move into the general flow of traffic. Just remember to leave at least 5 or 6 feet along the wall where the fast skaters will be going by.

Once on the skating surface, you must keep moving on the floor. There is no stopping along the rail to rest or talk to friends. The exception to this rule is at the center of the rink. You can stop in the center, but you still have to have great awareness of other skaters and activity around you.

There is no floor guard at the TLC adult sessions. Common sense and courtesy are expected from everyone.

In the event of a fall where no injury is involved, don’t linger on the floor. You should immediately pull in your arms and legs, get to your knees, and turn to face oncoming traffic. With luck, an advanced skater will quickly  stop in front of you for your protection and warn oncoming skaters as you regain your feet.

Newcomers to rhythm sessions are often intimidated and dismayed at what they perceive to be reckless skating by others on the floor. In most cases, this is more perception than reality. Advanced rhythm skaters have years of experience in moving through traffic on very crowded rink floors. For the most part, those experts also have outstanding body control and can gauge openings between skaters with uncanny accuracy. If you ever have a chance, try watching Richard Stagg move through traffic during a session. Like a magician,

Richard’s ability to duck and dodge almost defies the senses. One might get the sensation that others are flying in front of them with only inches to spare – and it’s frequently true! This isn’t as dangerous as it may seem at first. Advanced skaters can easily get around you, but only with your passive assistance. You don’t have to "get out of their way."

The single thing you can do to provide the greatest degree of safety and courtesy is simply skate in a predictable fashion. The best way to create collisions and hard feelings is to stop or turn suddenly or do an unpredictable jump or spin as if you’re the only one on the floor. That behavior is not only rude and inconsiderate, but also a danger to other skaters who deserve a safe environment on the floor. Even as a rank beginner, there is no need to fear. Just skate in a straight line (not too close to the wall) and others will gladly go around you.

In summary, rhythm skating sessions are just plain fun on many levels. If you've never tried one, take a chance and expose yourself to this wonderful aspect of the roller skating world.

The Quad Corner will be in two parts this week. First is a feedback letter from a Quad Corner reader. I promised the writer I’d include his letter in this column and I’m happy to do so. The second part is my piece for this week entitled "The Greenlake Path as a Personality Test." Here’s part one….

"First things first. After reading your article on me and the rest of the gang, I feel ten feet tall! I thank you for the ego boosting review and I’m sure there are four more "thank ya much" to come. However, for all you Quad Corner readers, I would like to inform you about Loren. He is a very modest man…sometimes too modest.  If it wasn’t for Loren, my team at the Red Bull Great Skate wouldn’t have ever been. The one hero Loren left out was himself. You may or may not know him, but he is at Lynnwood every Monday and Kent every Wednesday like clockwork. If you know Loren, you know him as a whole-hearted gentleman who spends close to all his skating time teaching and has the patience to teach even the most obnoxious sixteen-year-old loud mouth (or should I just say Woody). One last thing before I go. I can’t accept such an amazing review without giving a shout out to the people who made me who I am. Thanks Loren, Joe, Brooks, Vi, and Rich for teaching me my skating abilities. Also thanks to my mom, Jim, and Nancy (managers of my home rink, Bellevue Skate King) for raising me how they did. Last but not least, thanks to Lenny and Mo for giving me that goal to shoot for."

Roy "Woody" Wood

The Greenlake Path as a Personality Test

A few weeks ago, I had a wonderful Sunday afternoon of skating around the path at Greenlake. That day happened to be the first Sunday in April. It was a day of cloudless skies from morning until evening, and also the first day of daylight savings time for this year. I was there with hundreds (or maybe thousands) of others who were getting a taste of spring fever.

Because of the intensely crowded conditions on the path that afternoon, I was inclined to make a few observations about human behavior. The issue of path usage has been debated endlessly among trail users and also in the editorial pages of the local newspaper. I won’t recap the entire discussion. Suffice to say there are many and varied opinions on the subject.

My skating on the path at Greenlake is done almost exclusively on weekends. Sunday seems to be my day of choice, but mostly confined to those days of sunny and pleasant weather during the milder months. I often sit on the brick bulkhead over near the boat rentals to take my breaks. A constant theme of conversation I hear among other skaters is the daily recitation of the near accidents that day. Invariably it includes the condemnation of the "idiots and morons" who have violated a rule or other expected code of conduct.

The Greenlake path is a wide, asphalt strip that has a painted stripe dividing it in half. The inside lane (closest to the water) is designated for pedestrians traveling in both directions. The outside lane is for folks on wheels (bicycles and skates) traveling in a counterclockwise direction only. Although some would argue its clarity, pavement markings and signs adjacent to the path designate the lane usage.

My main purpose in skating at the lake is to have a great time and enjoy myself. Anyone using the path on a sunny weekend knows the lane rules are violated all the time. My question is, "What should I personally do about that?" This is where it can get really complicated.

The transgressions can be varied, but some of the most common infractions are pedestrians in the wheeled lane, people walking behind baby strollers in the wheeled lane, unleashed dogs or dogs on a very long leash veering into the bike lane, and unsupervised or uncontrolled young children darting into the bike lane.

My belief is that these problem folks fall into two general categories. There are those who genuinely aren’t aware of the rules at all and those who know the rules but ignore them. In some cases, some gentle and friendly education is all that’s needed to put people back on the proper side. This can be especially true with groups who are obviously tourists from another country. A simple request is all it takes.

At the other end of the spectrum are those ill-tempered people who just seem to be waiting for a conflict. On that particular Sunday afternoon, there was a group of three older teenage males walking three abreast in the bike lane. They were dressed in a fashion that suggested "gang types" and the middle guy had a huge Rottweiler on a leash. They all had facial expressions that said, "Just say something to me, I dare you." I had no desire at all to make any friendly attempts at education there, believe me.

How does all of this relate to my title of this article? I think Greenlake on a crowded day is like a test tube for human behavior. All sorts of behaviors are exhibited, both good and bad, intentional and unintentional.

People are going to act in certain ways whether skaters want to face it or not. The true test comes in the reaction to the other person’s behavior.

My belief is that these problem folks fall into two general categories. There are those who genuinely aren’t aware of the rules at all and those who know the rules but ignore them. In some cases, some gentle and friendly education is all that’s needed to put people back on the proper side. This can be especially true with groups who are obviously tourists from another country. A simple request is all it takes.

At the other end of the spectrum are those ill-tempered people who just seem to be waiting for a conflict. On that particular Sunday afternoon, there was a group of three older teenage males walking three abreast in the bike lane. They were dressed in a fashion that suggested "gang types" and the middle guy had a huge Rottweiler on a leash. They all had facial expressions that said, "Just say something to me, I dare you." I had no desire at all to make any friendly attempts at education there, believe me.

How does all of this relate to my title of this article? I think Greenlake on a crowded day is like a test tube for human behavior. All sorts of behaviors are exhibited, both good and bad, intentional and unintentional. People are going to act in certain ways whether skaters want to face it or not. The true test comes in the reaction to the other person’s behavior.

If one is a patient and friendly person, it’s not all that bad. For people who tend to be controller and enforcer personality types, crowded Sundays are a nightmare. For the latter, a potentially wonderful day of skating can degenerate into the constant conflict of berating others and trying to get them to comply with the rules.

Flying insults and heated exchanges can be common. The possibly of physical violence always lurks just under the surface. This is dangerous territory for skaters with a hot temper and short fuse. It can be the scenario for a form of road rage without cars.

A psychology instructor once taught me there are few things in life more difficult to control than the behavior of another adult. Each situation demands individual evaluation before speaking or acting. These are "words to the wise" for skaters and others at the lake. I’d suggest educating others when the situation seems right and avoiding a nasty confrontation if it ultimately will do no good anyway.

Also, being "right" or "skating within your rights" will not protect you from injury. You may feel you have a right to blast down the bike lane on a crowded day, but your right to do so will not keep an ignorant or thoughtless person from colliding with you. Maybe you could sue that person or have them cited, but is that a good tradeoff for spending the summer in a cast or worse?

I have chosen my own course of behavior on crowded days at Greenlake. I’m not necessarily suggesting everyone should follow my example, but I’ve found it to be successful. I try to blend with the environment and go very slowly and carefully around the path. At times it can be like skating through a street fair. Instead of grumbling, steaming, and wishing others would get out of my way, I pretend I’m gently flowing downstream in a river of humanity.

Greenlake is an incredible place to spend a sunny weekend afternoon, but maybe not for impatient, high speed skaters. If it is speed and lack of pedestrians you’re seeking, there are many places around the region much better suited. If you want to see and be part of the Greenlake parade on a crowded day, "just chill, baby".

You’ll have more fun and it will be safer for everyone involved.

Please feel free to email me at the address shown below with feedback. Until next time!

Loren Anderson

LMAnderson@ci.bellevue.wa.us

The Learning Curve

Learning new things in skating is not easy for me. It’s been a very enjoyable, but long and hard road to get to my current level of skating skill. Although there is no formal rating system for recreational skating skills, I’d rate myself as a "high intermediate." Any time I start to feel even a little cocky about what I can do, I only have to spend a moment watching one of my skating heroes profiled two weeks ago in this column. That humbling experience quickly brings me back to reality!

Years ago when trying to learn new skating skills, I had little help or advice. The customary way for most recreational and rhythm skaters to learn was to observe the skilled skaters and try to copy what they were doing. I had no videos to study and only saw these expert skaters when attending sessions with them. Those hours, months and years of observation and attempts at imitation led to gradual progress along with frequent frustration.

While my learning curve as a skater was slow compared to many of my peers, I did learn some valuable lessons along the way. My difficulty in learning provided me with a unique perspective to help other beginning skaters.

While not any great athlete, I am analytical by nature. In order to accomplish a new skating move, I have to understand the individual movements and nuances that make it work. This takes time and effort, but in the end I’m able to understand what’s happening rather than just going by feel and intuition as some skaters can.

I’ve known a number of superb skaters who really aren’t very effective teachers. As they do movements that come easily, it can be very hard for them to explain what’s happening in understandable terms. You’ll often hear these skaters say, "I really don’t know how I do it, I just do it!" They are fortunate to be so gifted, but that doesn’t help those who are trying to learn from them.

As I’ve done my informal skating instruction over the years, I’ve witnessed a huge range of aptitudes and levels of interest. I’ve taught some individuals who have learned in five minutes what took me months to learn on my own. It must be nice to learn things so quickly and easily. Other students will try a basic foot movement for half an hour and get little measurable progress. I salute them for their determination.

Some skaters watch rhythm dance skaters demonstrate their skills and then come up to say, "Show me how to do that." To my mind, that’s like being a spectator who watches a concert musician and then expects to be able to do the same thing without having to go through any skill building or learning curve. My response to those who ask me is to first offer some instruction in a simple and fundamental step. I find many skaters want to get right to the complicated dance routines without ever learning the fundamentals. Trying to do it that way is usually doomed to failure.

What about those who have a sincere interest in learning? I believe these folks fall into two general categories – those willing to listen and those who won’t (or can’t) listen. I can help skaters get off to a good start in learning a new move if they’re willing to listen to some explanation and instruction. It’s easy and satisfying to work with these people. Others have little or no ability to listen, for whatever reason. They’ll keep repeating things like, "Just show me, just show me." I’ll demonstrate the move and then watch as they try to follow. I can easily identify the problems that keep them from succeeding, but they don’t want to listen to coaching. These are the people who often get frustrated very quickly and decide they are not that interested after all.

A bit more obscure factor in the learning curve is the willingness to risk injury. Many moves take a big weight shift or other commitment of balance to successfully execute. The skill can be learned quicker if a student is willing to take some falls in the process. Young and flexible skaters often learn things much quicker simply because they are willing to take some falls along the way. In the spectrum of learning between "gifted" and "slow learner", most skaters can eventually reach their goals as long as those goals are realistic. It just takes some folks longer to get there. I’m living proof that persistence pays!

Please feel to write to the email address below with comments or feedback. Until next time!

Loren Anderson

to correspond directly with Loren, just try this: LMAnderson@ci.bellevue.wa.us

Do You Want to Be an Expert Skater?

I am not an expert skater, but I’ve often wondered what it would be like to be one. I’ve had plenty of experience watching expert skaters from various disciplines of recreational, rhythm, and freestyle skating. Along with attendance at international skating conventions in Southern California, my most recent exposure to top flight skating was at the Red Bull Great Skate Finals in Venice Beach, CA. Winners of regional events from all over the country came to Venice Beach to complete in the grand finale. Some of those displays of skating skill and artistic creativity were almost beyond description. I was very impressed.

Watching that group of skaters perform was both inspiring and intimidating. The inspiration was showing what fabulous things could be done on skates. The intimidation came in comparing one’s own skating skills against what was being displayed on stage. I returned from that Red Bull competition at Venice Beach with a whole new perspective on what I could or could not accomplish in skating – and how much effort I was going to put into trying.

There was a time in my life when I wanted to be "the best" at something. It started in my high school days when I was obsessed with motorcycles and motorcycle competition. Although I was able to get good grades in high school, I lived, breathed, ate and slept in the world of motorcycles. I got interested in a form of dirt bike competition called "observed trials" or "English trials". On weekends and after school I would practice the necessary skills of the sport. I even got a part time job in a motorcycle shop.

When I got into actual competitions, I had a significant degree of success. That path led to many wins and a shelf full of trophies as I progressed through the categories of novice and amateur. The motorcycle sport of observed trials was in its infancy in those days in the Northwest, so I relished being one of the "big fish in a small pond."

The difficulty came when I reached the expert class of riders. Although I had done very well as a novice and amateur, I couldn’t seem to move up from the bottom of the list in the expert class. At that point, I learned a very hard life lesson. Although I practiced hundreds of hours in preparation for various competitive events, there were riders who hardly touched their bikes between events and still beat me by a very wide margin.

That’s when I learned practice, desire, and determination won’t always get you to the top. To reach the very highest levels of any sport, an athlete usually has to be "gifted".

As this realization finally dawned on me, I got very disillusioned and discouraged. My fantasy was to be "the best" and I knew it was beyond my grasp. While dreaming of wins, I got only frustration. I wasn’t having any fun and I eventually gave up the sport completely.

I next tried the hobby of bicycling. For about ten years, I became immersed in that sport. I educated myself on different aspects of bicycling and trained religiously. As I rode with other riders and racers, I again discovered there were those who were always faster and stronger than me, no matter what I did. In my fantasy to be a recognized expert rider, I again faced discouragement and plenty of overuse injuries along the way. I also retired from that sport and haven’t ridden since.

When I took up skating as an activity, I was determined to take a different approach. I wanted to skate for just for enjoyment and not be focussed on becoming one of the best skaters around. I’ve skated for many years now, and I continually remind myself to keep my emphasis on fun as opposed to seeking recognition from others or trying to become "an expert."

In roller skating, there are limiting factors that can prevent any individual from going to the top echelons of the sport. These can include things such as age, lack of flexibility and strength, average motor skills and coordination, pre-existing injuries, and unwillingness to risk further injury. However, none of those things prevent anyone from enjoying the wonderful world of skating and all it has to offer. With opportunities to stay physically fit, learn new skills, and have great social interaction with friends, becoming an expert skater need not even be on the list of desires.

Rather than make roller skating my only hobby interest these days, I’ve made a conscious effort to expand my horizons. Skating is very important to me, but I don’t want it to become yet another consuming obsession. I’ve cultivated my interest in golf (only at the driving range!) and recently in trap shooting which is recreational shooting at clay targets with a shotgun. I’m not particularly skilled at either and I’m fine with that. I want to enjoy them for the sheer satisfaction of participation and not give any thought to being better at them than someone else.

Every individual needs to find his or her way in this matter. While the "quest to be the best" is what creates Olympic champions, I believe the simple joy of participation without pressure to be #1 is the right path for me.

I hope you find pleasure and satisfaction from your skating no matter which path you choose for yourself. If you have any comments or feedback, please feel free to contact me at the email address shown below.

Loren Anderson

to correspond directly with Loren, just try this: LMAnderson@ci.bellevue.wa.us

Heads Up!

If a skater has ever been one of my informal students, sooner or later he or she will learn about one of my personal fixations in skating technique. That is the position of the head in relation to the rest of the body. I believe proper head position creates a dramatic effect on both balance and appearance.

Most people would agree the sense of balance comes from the inner ear and brain. When the head is constantly held in a certain position during skating, the balance sensation will eventually adjust to compensate for that position. That general head position will begin to feel "normal" and correct.

Have you ever had the experience of watching or being a beginning skater – or specifically a beginning rhythm spot skater? One thing they universally have in common is the reflex to watch the feet. This only seems natural at first because the brain is asking the feet to do things they really aren’t comfortable doing! As skills are gradually learned and muscle memory starts taking place, the feet then start moving correctly on their own without so much conscious effort.

By that time, other muscle groups have also gained "muscle memory." Two of those groups are the neck and shoulder muscles that support your head. If one has learned from the start by looking down at the feet and then makes no conscious effort to change, it seems perfectly natural and comfortable. The balance sensation has adjusted to the eyes peering down at the skates.

The human head is actually very heavy. When it is held forward and down, the rest of the body must compensate for a head that is off the proper vertical axis. If you have doubts about its weight, have a friend lie on the floor and completely relax. Then use your fingers to lift his or her head and make sure they don’t "help you." Surprising, huh? Yes, it’s pretty heavy indeed. Any amount of body weight that is off the proper balance point requires significant adjustment from opposite parts of the body to restore balance.

I have a favorite drill for my students once they start to feel pretty smug about learning a new move. I instruct them to do exactly the same thing with their feet, but lift their chin and eyes up and look outward. Often to their astonishment, the skating move they just learned feels completely different – and difficult again!

I cannot argue that it’s possible to do very effective spot skating footwork while looking down at the skates.

Since rhythm skating often becomes a form of performance art at some level, I truly believe the way it looks to the observer is very important. Have you ever seen a dance group in a music video, on stage, or on TV looking down at their feet while they dance? I doubt it. The same principle applies here. A natural learning transition should also apply in skating between "learning" the move and "performing" the move. Often the poor head position will remain as a bad habit unless a conscious effort is made to correct it.

I’m not yet a master of my own teachings. I often struggle to keep from watching my own feet from time to time. However, if you hang around me long enough you’re sure to hear me say, "Keep your chin up and smile at your adoring fans!" Your skating will display more of an expert performance quality if you do.

Feel free to write with feedback or comments to the email address below.

Loren Anderson

Size DOES Matter!

Men are self-conscious and sometimes defensive about the size of theirs. Most women say it really doesn’t matter all that much to them. Yes, the subject this week is skate wheels. What did you THINK I was talking about?

Among serious skaters, few skating topics generate as much opinionated debate as the matter of wheel selection. Although I’m not entirely familiar with the vast selection for inline skates, I do have a bit of personal experience and a few observations to make about wheels for quad skates.

If you do much web surfing or browsing through skate equipment catalogs, you soon realize there are many possible choices in skate wheels – a "wheelie" difficult decision, if you will. Novice skaters are so busy trying to balance, they notice little difference at all among various sizes, profiles, and hardness of different wheels they use. As the skill level increases, an appreciation for differences in wheels starts to surface.

May 19, 2000

Size DOES Matter!

Men are self-conscious and sometimes defensive about the size of theirs. Most women say it really doesn’t matter all that much to them. Yes, the subject this week is skate wheels. What did you THINK I was talking about?

Among serious skaters, few skating topics generate as much opinionated debate as the matter of wheel selection. Although I’m not entirely familiar with the vast selection for inline skates, I do have a bit of personal experience and a few observations to make about wheels for quad skates.

If you do much web surfing or browsing through skate equipment catalogs, you soon realize there are many possible choices in skate wheels – a "wheelie" difficult decision, if you will. Novice skaters are so busy trying to balance, they notice little difference at all among various sizes, profiles, and hardness of different wheels they use. As the skill level increases, an appreciation for differences in wheels starts to surface.

I’ll not recount the entire history of skate wheels. Plenty of web authors have already tackled that task. Instead, I’ll try to concisely summarize some basic guidelines for choosing the right wheel for the job.

The very first decision is determining where this set of wheels will be used – rink surface only, outdoors only, or both. More than any single factor, this will guide you to the next level of decision making.

Unlike inline wheels, outdoor wheels for quads have become fairly standardized (except for the very cheapest toy-like wheels and top end competition wheels). Hardness is 78A which is a comparatively soft compound allowing a smooth roll and absorption of irregularities in the pavement. This same desirable softness can cause them to wear out fairly quickly depending on weight of the skater and his or her skating style. Wheel height is usually 62 or 65mm, but may go to 70mm in some cases. Width is usually 38 to 40mm. Hyper and Kryptonics are brands preferred by our best local outdoor skaters.

If wheels will be used strictly indoors on a rink surface, there is a vast and complicated array of choices. Hardness starts about 95A and goes up to about 103A. Beyond that, hardness is measured on the "D" scale. If you test a "D" rated wheel, it feels as hard as a rock. Two indoor wheel heights are most common, 57 and 62mm. Width differences are vast – from 30mm on wheels used for figure skating on artistic style boots to 42mm and beyond for those used on speed skates. Prices for 8 wheels can vary from $25 to perhaps $150 per set.

Although not necessarily the "best" or most exotic wheels, the commonly preferred brands for most skaters in our area are Powell Bones (artistic) and Hyper (speed).

If you want a single set of wheels that "does it all" for both indoor and outdoor skating, common skating wisdom advises the use of soft outdoor wheels. They are slower and take more energy to roll them indoors, but they’ll work great outside. Conversely, hard indoor wheels are uncomfortable and even dangerously slippery on most pavement (except super smooth concrete). Some manufacturers have tried to sell wheels with "in between" hardness, but I recommend against them. They don’t work well for either use. Before discounting the idea of using outdoor wheels for rink use, consider that three of my five rhythm skating heroes profiled in the Quad Corner a few weeks ago choose to use outdoor wheels for all their indoor and outdoor skating. It certainly works for them!

Once a skater becomes very experienced and intimately familiar with the handling characteristics of his or her skates, wheel selection becomes very important to confident and comfortable skating. It can be hard for many people to believe, but minor changes in hardness or just a few millimeters in size can make a tremendous change in the handling and feel of the skates.

One thing quad wheels have in common with inline wheels is that tall wheels roll faster. The amount of roll experienced for any given leg thrust can be considerable between a short wheel and tall wheel. Tall wheels can also have good turning maneuverability if they are narrow. The downside is that tall, thin wheels tend to be tippy and less stable (not a good thing on quad skates).

Unlike inlines, quad wheels come in many different widths. The very wide wheels are used on speed skates to allow traction on the floor during the lateral inertia of high-speed turns. These wheels are not tippy at all – but they don’t turn very precisely either.

Choice of hardness for indoor wheels is largely a matter of personal preference. Some skaters want their wheels to stick like glue while others have the need for them to break loose and slide sideways right when desired. In artistic figure skating, many one-foot turns are executed with a quick "flick" of the skate. These are much easier to do if the wheels break loose and slide for an instant right on cue.

Instead of trying to use one type of wheel for every purpose, my current method is to switch sets of wheels for indoor and outdoor use on my quad skates. I’ve recently done considerable experimentation with different types of indoor wheel sizes and hardness. I’ve currently settled on a very small and thin size wheel of 57mm and 96A hardness. Although it is very "slow" for me when traveling around the rink, the small size enhances quick turning ability that is so critical to good rhythm spot skating. They are a very inexpensive set of used wheels I bought at a skate shop just as an experiment, but they’re working beautifully for me at the moment.

The final thing I’ll mention is the matter of wheel weight. Big, heavy wheels contribute to a heavier skate (which is not desirable to any skater I know). The difference in weight between my tiny indoor wheels and a set of medium width speed wheels could be measured in mere ounces. However, once mounted on the skates and taken for a spin, I was very surprised and happy at the substantial perceived weight difference. My skates suddenly felt like featherweights! Wheel weight is a secondary but still important factor in any wheel choice.

Quad skate wheels are held in place by a nylon inserted jam nut (a.k.a., nylock nut). These nuts lose their locking effectiveness after many repeated wheel changes. As a rule of thumb, if you can screw the nut all the way onto the axle by hand without using a tool, it’s time to replace the nuts. Don’t put off changing them to save a few cents! They are the only things keeping your wheels in place. Having a wheel fly off while rolling is not only an embarrassment but can also cause serious injury.

With so many quad wheel choices, selection can be viewed as confusing and overwhelming or alternately as a grand opportunity to experiment, pick, and choose to your heart’s content. For skaters in search of "the perfect wheel", depth of one’s pocketbook is the only limiting factor.

Feel free to write with comments or feedback to the email address below.

Loren Anderson

LMAnderson@ci.bellevue.wa.us

One Successful Decision

If you skate long and hard enough, it’s almost a sure bet you’ll be injured in one way or another. Big injury or small, those bumps, bruises, and breaks just seem to go with the territory.

Every serious skater can tell some pretty impressive war stories about injuries. I feel I’ve been relatively fortunate compared to some, but I’ve had a couple of fractures of my own from skating. The story of my latest injury is perhaps worth retelling – not from a "can you top this" recitation of gore, but rather from the insights gained from it. After Trish’s recent knee injury, I know she has similar thoughts to offer.

This story begins in July of 1999. During a rink session at TLC, I was in the middle of the rink and another skater was doing a spin behind me. Our skates collided and mine locked together in an awkward fashion causing

me to fall forward onto my palms. Both hands hurt, but I knew the left one had taken the worst of it. (I was not wearing wrist guards that time). When the pain lasted more than a moment, I got off the floor and held ice on my palms for more than half an hour. I erroneously thought I received only minor sprains in each hand since I still had good movement and strength.

When a twinge of pain persisted in the left hand for a many weeks, I finally went to the doctor and got an x-ray that showed a fracture of the scaphoid bone of the left wrist. I was referred to an orthopedic surgeon who took a look at my films and ordered me into a "short arm, thumb spica" cast for a minimum of eleven weeks.

Evidently this is one of the slowest bones to heal in the entire human body because of poor blood circulation to the area.

A very real dilemma developed the first day I got the cast on my arm. Should I continue skating or should I sit out for three months or more? I take some pride in being a level- headed thinker in most areas of my life, but those sensibilities were really put to the test on this issue. I don’t know if you readers remember the fall of 1999 in Seattle, but the weather was almost unbelievably great. There was sunshine nearly every Sunday in September, October, and the first part of November. I wanted to spend those sunny days skating at Greenlake. I also didn’t want to give up my beloved Wednesday night sessions at TLC.

Fortunately, I didn’t miss even a single hour of work at my office job while in the cast. I developed a very impressive typing speed by using a good right hand and holding a pencil in the left to tap the left side keys.

Other than wrapping the cast in plastic while bathing, I was able to continue with a pretty normal life. The arm cast obviously didn’t directly affect my ability to skate. My latent fear was about falling again with the cast on my arm. Although I may not have caused further injury to the fractured wrist, my fingers on that hand were extremely vulnerable. If I came down on my hands again, those fingers would be broken or dislocated for sure. I wanted to continue skating more than anything, but I was trying to let sound judgment guide my decision. It made me very uneasy to imagine myself returning to the doctor and admitting further injury caused again from skating while wearing a cast.

In trying to make my decision, I sought input from friends, family, and other skaters. With a couple notable exceptions, the feedback was generally along gender lines. The men said, "Hell, just go for it and be glad the cast isn’t on your leg!" The ladies tended to say things like, "It doesn’t seem very smart to be skating with a cast." I knew I’d have to be responsible for my own decision and live with the consequences.

Not wanting to face the prospect of months without skating, a decision came to me almost in the form of an epiphany. Out of nowhere, a thought sprang into my consciousness. The phrase was "carpe diem" (Latin for "seize the day"). I have a habit of playing things safe in almost every area of my life, so this was a difficult notion to embrace. In retrospect, it seems the cast was not only healing my arm, but also trying to teach me a spiritual lesson in growth. Would I be willing to take a real risk on something in life for which I had an abundant passion?

After some soul searching, I decided to continue skating. I promised myself I would use extreme caution – maybe not even skate backward or do spot skating. I still had some anxious imaginings of what it would be like to face the doctor or my co-workers if I fell on skates while wearing the cast. I’d already gotten some snide comments about "being too old for that sort of thing." I plunged ahead.

After fighting some nerves during my first few minutes on wheels, I surprised myself in feeling right back at home with my usual skills and confidence. That fear of falling was in the back of my mind, but I worked on putting it to rest.

The key to my successful skating in the months that followed was the power of positive thinking. With my personal skating style, I routinely go many months without a fall. Instead of entertaining fearful and negative thoughts while skating, I concentrated and fully believed I would not fall. That positive thinking gave me such self-assurance that I skated just as if I was wearing no cast at all.

In the end, I wore that cast (and later a plastic splint) for many months without a fall. I skated indoors and at Greenlake – backward, forward, and every other way. I not only escaped falling, but also had no slips or close calls. As much as I disliked that cast, it taught me a very valuable lesson about believing in myself and the power of positive thinking. Had I decided to "play in safe" in my customary fashion, I would have missed all those wonderful sunny days at Greenlake plus skating with my friends and students at the rink. I’m glad I had the courage to take a risk and see it pay off. Even though I took that risk and won, I haven’t gone overboard.

Ever since getting that cast off my arm, I’ve used wrist guards EVERY TIME I’m on skates! A big part of gaining wisdom is also learning the lesson from one’s mistakes.

If you have comments or feedback, feel free to write to me at the email address shown below.

LMAnderson@ci.bellevue.wa.us

Loren Anderson

Protective Gear – Why or Why Not?

On the heels of last week’s Quad Corner article about skating with a cast, I’d like to make some observations and invite feedback about general skating with or without the use of protective gear. It has been a source of mystery and internal conflict for me over my career in skating.

My first exposure to skating was at a roller rink. My former brother-in-law was an artistic skating instructor and participant. He initially got me interested in skating. During the sessions I attended back then, I don’t recall a single person even wearing wrist guards, let alone any other type of protection indoors. I simply followed suit and did what was customary.

When I started skating outdoors, I sensed a greater risk of falling because of uneven surfaces and hills. I used a full complement of skating pads including a full coverage Protec helmet. Oddly enough, that equipment stayed in pristine condition because I rarely seemed to fall. (That is not bragging about any expert ability as a beginner, but rather an overly developed sense of caution and a great deal of luck).

I was always quite conscious of who used pads/helmets and who did not. I still continue making those observations and try to draw some conclusions. Let’s analyze this subject from a few different angles.

The first thing to consider is individual risk tolerance. Let’s face it – most skaters don’t really expect to fall any more than they expect to crash after sliding behind the wheel of their car. Knowing that crashing is a possibility is what makes us buckle our seat belts or buy a more collision resistant vehicle. Beyond that, it’s up to the individual to determine perceptions of real or imagined risk. Like playing the stock market, a sensible gamble to one is a foolhardy risk to another. In the matter of injury risk from skating, logic and statistics tend to have little impact on decision making. People ultimately do what "feels right" for them.

In terms of measurable risk of injury, I think indoor skating is less risky than outdoor skating because of the smooth, level skating surface. There are simply fewer irregularities to throw you off balance at an unexpected moment. On the other hand, there are often many more skaters in close proximity to trip you up or fall in front of you when skating at a rink.

Because of hills, curbs, lurking pebbles, and pavement cracks, many factors can upset balance or bring wheels to a sudden and unexpected stop while skating outdoors. Pavement is also very abrasive and can take off lots of skin in a hurry compared to floor burns from a rink floor.

If protective gear helps prevent injury, why doesn’t everyone wear it all the time? The reasons and excuses are numerous and I’ve used plenty of them myself. More than anything, I believe skaters conform to peer pressure.

For example, if friends say protective gear is for pussies and cowards, the pads and helmets are left behind.

Others say (accurately) that the pads are restrictive and hot. Also on the list is vanity. Skaters don’t want to "look like a beginner" or get suntan lines on their limbs.

While performing as a contestant at the Red Bull Great Skate last summer, I had the unusual distinction of being the only performer using protective gear of any kind during my performances on stage. This was in spite of the admittedly slippery conditions on the stage surface. I swallowed my pride and wore the gear, even though skating performers are rarely if ever seen wearing protection. Ever seen an artistic ice skater performing on television while wearing pads or a helmet?

Instead of taking an "all or nothing" approach, many skaters will use just the gear to cover areas perceived to be their own greatest points of liability. Some wear helmets only, wrist guards only, elbow pads only, etc. – or some combination. No logical or sensible argument can be made for deleting any specific area of protection.

Trish deserves our support for being a leader in this area and bucking the tide of peer pressure. As a local instructor and skating leader in this region, she is a role model in wearing her protective gear from head to toe, indoors and out.

What about a helmet? That’s a tough one for me. Statistics and anecdotes will tell the stories of many serious head injuries from inline skating and bicycling. Again, no sensible argument can be made against them. Why don’t I wear one? I perceive the risk in a matter of degrees. Racing car drivers always wear helmets because their risks are very high. Although serious head injuries during a collision are a very definite possibility for any casual driver, why don’t we all drive down the road wearing helmets inside our passenger cars on the way to work? It’s because we perceive the risk to be acceptable for the activity. I don’t currently wear a helmet because I skate slowly and carefully and don’t perceive the same risks as a racer, fast skater, or beginner.

That is simply my personal decision for the moment. I’m not recommending you follow my example.  After my wrist fracture, I now wear wrist guards for all skating. I add heavy kneepads for outdoor skating, but they remain unscratched because they’ve never touched the ground (yet) from a fall. That degree of protection suits my perception of the risks, but one just can’t argue with Trish’s philosophy and practices. She is one who proves that you can be an expert skater and still be willing to wear the heavy protection.

If you have any comments, please write to me at the address shown below.

LMAnderson@ci.bellevue.wa.us

Loren Anderson

Why Do They Do That?

Rhythm quad skaters sometimes do things that could be considered strange behavior by other skaters. I’ll answer a few frequently asked questions about rhythm skaters and their gear.

Toe Stops: Use of large style toe stops is a matter that frequently varies among serious rhythm skaters according to their geographical region of origin. Many expert rhythm skaters do use the large toe stops, but their style is unlike the type seen around Seattle. When I’ve attended national skating conventions, it was always interesting to note that a considerable number of Midwest and East Coast skaters used the big stops.

Many of the elements of their routines included jumps of various types and stationary stepping moves done while balanced on the front wheels and toe stops.

The style of rhythm skating most often done around Seattle requires the ability to roll up on the front wheels at a fairly severe forward angle, both while spot skating and rolling at higher speed. Having the toe stop installed prevents skates from tipping forward very far. Those who try often drag the stopper inadvertently and find it throws them off balance. The solution is to remove the toe stop and replace it with a miniature version called a "dance plug". It goes into the same threaded hole, but its job is simply to keep the metal skate plate from scraping the floor or pavement.

Some aspiring rhythm skaters find the idea of removing toe stops very hard to accept because they count on the stoppers for their braking power. However, there are very effective ways to stop both forward and backward motion by using other techniques – just as with inline skates. These include T-stop, backward T-stop, and swirling 360 turn (not counting falls and running into something, of course!).

If you have dreams of learning the really cool R&B dance moves, removing those toe stops is a necessity.

Boot Lacing: It pretty hard to miss the way most rhythm skaters lace up their high top artistic style boots.

Even though the top of the boot may go high up on the ankle, the customary way is to stop lacing at about the knob of the ankle. When the tongue of the boot is left unsupported, in time it will flop to the front and cover the lower laces. This "floppy boot tongue" look creates the rhythm skater’s visual trademark more than any other single factor.

Why do it that way? Why not lace it to the top for the best ankle support as the boot was designed? Although rhythm skaters usually covet the balance provided by high heel artistic type boots (as opposed to a low cut speed boots), they are not using the boot in the activity for which it was designed. True "artistic" skating refers to figure skating, formal dance, and freestyle. These types of skating require an erect upper body posture and will often include high and demanding jumps. In those cases, a high degree of ankle support is both desirable and necessary.

In rhythm skating, the desirable posture is intentionally "close to the ground" with knees bent deeply, bent at the waist, and a sort of forward hunch to the shoulders – in other words, the worst nightmare of an artistic style coach! Rhythm skating demands many moves that require huge degrees of free ankle movement including deep knee bends and those with legs splayed far out to the sides. There is even an eye-popping move of tipping the skates down onto their sides and then jumping back up so the skates are back to their upright positions.

Skates get laced up only partway out of necessity. If one wants to be able to do certain moves, ankle support (and the attendant safety factor) must be sacrificed to gain the necessary freedom of movement. The "floppy tongue" appearance is only a side effect. Why do it that way? Why not lace it to the top for the best ankle support as the boot was designed? Although rhythm skaters usually covet the balance provided by high heel artistic type boots (as opposed to a low cut speed boots), they are not using the boot in the activity for which it was designed. True "artistic" skating refers to figure skating, formal dance, and freestyle. These types of skating require an erect upper body posture and will often include high and demanding jumps. In those cases, a high degree of ankle support is both desirable and necessary.

Decorated skates? What’s up with that? Almost by definition, rhythm skate dancing is an activity that draws attention. It’s not only fun to do, but also a type of performance art for interested spectators. Whether you really want it or not, getting attention simply goes with the territory. Some skaters take this a step further and decorate their skates in a showy fashion to entertain themselves, other skaters, and the spectators. The most dramatic pieces of skate decoration are those extremely high leather tops on the rear of the boots that are affectionately known as "mud flaps". They can either be detachable using snaps or built as part of the boot. Since these boots are only laced up partway anyway, the extra height in back serves no purpose other than showmanship. Members of the Skate This club in San Diego own some of the most gorgeous and outlandish skates ever seen. Along with mud flaps, those skates may have silver studs or other decorative metalwork, stickers, tassels, battery-powered colored lights or boot tongues lined with fur. These add-ons have no practical purpose. It’s simply show biz, baby.

Towels: Another common trademark of the serious rhythm dance skater is the constant possession of a hand towel or colored bandana while skating. This may seem strange at first, but there is a very good reason for this one. Spot skating/dancing requires a high output of energy and will soon start perspiration flowing – even in the fittest of skaters. Unlike fast skating, there is no constant stream of air flowing past for cooling effect or evaporation. It’s easy to start sweating buckets, thus the towel for mopping the forehead and appendages.

Also, savvy skaters often choose their shirt colors carefully, selecting colors that don’t show the sweat stains as easily. Take my advice on this one – don’t wear light gray cotton

If you have any feedback or questions, please feel free to email me at the address shown below.

LMAnderson@ci.bellevue.wa.us

Loren Anderson

In past Quad Corner columns, I’ve given commentary on both skate boots and wheel selection. This week I’m going to discuss the hardware that holds the two together and makes the skate operate. On inline skates that piece is called the frame, but on quad skates it’s called the "plate".

The historical reason for the name is probably because many skate plates have their foundations made from a flat piece of aluminum (that is, a plate of aluminum). Even today, some of the highest quality plates begin with a flat piece of forged aluminum and the rest of the parts are attached with rivets.

As with any type of sporting gear, the quality of skate plates ranges from the poor quality, "toy type" plates to those made of highest quality aluminum, steel alloys or special fiberglass resins. Each has its own purpose and function.

Plates are one item of skating gear where low price plus rugged strength and durability can co-exist. For my entire skating career, I have used a type of cast aluminum plate called "Sure-Grip Super X." They are very modestly priced, but have great ruggedness – especially for outdoor skating. I’ve never experienced any breakage or failure with these plates. Because of their resistance to abuse, they are the types of plates found on most rental quad skates at roller rinks.

When looking for something more exotic and high-priced, skaters have traditionally chosen models based on the intended purpose. Top end artistic skating plates cost hundreds of dollars, but the strength is unmatched.

They start with a very heavy piece of forged aluminum, but that weight is the price to be paid for ultimate strength. These plates have to be ready for anything, including forces slammed against the toe stops while executing very high "ice skating" style jumps. They also have reinforcing bars between the wheel hangers to keep anything from bending. You can also imagine the extra weight placed on the skates during artistic pairs skating as one skater carries another overhead.

At the other end of the exotic spectrum are specialty speed skate plates. These can be made from aluminum, magnesium, or synthetic plastic type material. As with most things related to racing, minimal weight is the goal. There still has to be enough material in the construction to provide necessary strength and stiffness. How light and strong can they get? It all depends on what you’re willing to spend.

Plates are one item of skating gear where low price plus rugged strength and durability can co-exist. For my entire skating career, I have used a type of cast aluminum plate called "Sure-Grip Super X." They are very modestly priced, but have great ruggedness – especially for outdoor skating. I’ve never experienced any breakage or failure with these plates. Because of their resistance to abuse, they are the types of plates found on most rental quad skates at roller rinks.

Plates come in a large variety of sizes. Choosing a size is specifically related to a few factors, but the main one is the size of the boot. With each change of size in the plate, there is a corresponding change in the wheelbase length between the axles. Manufacturers publish charts showing very specific plates sizes for individual sizes of boots. I’ve done lots of experimentation with this over the years and have found those charts to be only guidelines. One big factor in choosing a plate of the best length is the location of the ball of the foot compared to the overall length of the foot.

Since I have feet with high arches, I like to use plates that bring the front axle farther back under the balls of the feet. Likewise, I prefer having the rear axles slightly further under my heels than the average skater. Consequently, I use a plate size that is two sizes smaller than the size recommended by the charts. The difference in wheelbase is less than an inch, but the differences in handling are monumental. The shorter wheelbase turns much quicker because weight placement over the axles is more precise. After changing my set-up to these short plates and small wheels, I’m skating better now than I ever have. I’m only relating my personal success story and not recommending anyone go against manufacturer recommendations!

In the next article, I’ll go into some of the other parts that make up the plate assembly plus my opinions about proper adjustment.

If you have comments or feedback, please write to me at the email address shown below.

LMAnderson@ci.bellevue.wa.us

Loren Anderson

This Quad Corner article marks the end of my series for now. I’ll probably write some more articles, but I’m going to take a break. If you have any questions or topic suggestions, please feel free to write to me at the email address shown below.

Also, I’d welcome articles for the Quad Corner from guest authors. After submission, content will need to be approved by Trish Alexander (the website host) before posting.

A Cushy Job (The Rest of the Story)

The column this week continues on the theme of quad skate plates and related components. The plate is the part that actually bolts to the sole of the skating boot.

Attached to the plates are parts called "trucks". These are the pieces that contain the axles and provide the turning action of the skate wheels. Trucks pivot on a kingpin bolt and their other mounting point is on a rubber insert or adjustable pivot pin assembly. Trucks can have differences in their designs with kingpin angles offset from 10 to 45 degrees from perpendicular to the plate. These angles provide different sensations in the turning action for a given amount of turning force from the foot. Secondarily, those with a greater angle (like many speed skates) tend to limit the amount of turning action thus providing greater stability at high speed and allowing use of larger wheels.

There are two available axle sizes. The most expensive ones (and cheapest ones plus those found on older skates) are 9/32 inch (7 mm) in diameter. The difference is that the expensive ones are heat-treated steel alloys that allow great strength without added weight. The cheap ones are mild steel and are easily bent by heavy skaters or outdoor skating. The most common skate axle size is 5/16 inch (8 mm). This slightly larger diameter allows the use of cheaper mild steel without sacrificing strength. An added bonus is that inline skates also use 8 mm bearings. That gives quad skaters a wide variety of aftermarket bearing choices from inexpensive to exotic. One unusual thing that can be done with 7 mm quad axles is use of a type of "quick release" wheel retention mechanism. This allows skaters to instantly change wheels between races or even during a race! Tried that on your inlines lately?

Cushions are parts of the skate that are widely misunderstood. They are the rubber or urethane parts that separate the trucks from the plate itself and provide the turning action of the truck mechanism. By pressing on the inside or outside edge of the foot (while in the skating boot), the cushions are compressed thus allowing both sets of wheels to turn left or right.

These cushions are made from either natural rubber or urethane. The highest quality cushions are made of rubber. Rubber has a wonderful feel with predictable compression characteristics. However, they do wear out more quickly and eventually lose their springy return or "memory". To expert artistic skaters, urethane cushions don’t have the pure precision offered by rubber. On the plus side, urethane is many times more durable and has excellent rebound memory for the long haul.

Beyond the two types of construction material in the cushions, different hardness characteristics can be selected. The three general grades are soft, medium, and hard. As a rule of thumb, skaters with heavier body weight choose harder cushions to give appropriate turning action.

Fine-tuning preferences can also be accommodated with different cushion hardness. If a skater wants the skates to turn very quickly with little effort (like power steering in a sports car), softer cushions are used.

Conversely, harder cushions can be used to provide greater stability at high speeds.

Last is the subject of proper truck adjustment against the cushions. Very often when quad skaters want quicker turning action, they "loosen up the trucks" on their skates. While this can have the desired effect, the turning action can get very imprecise and leads to excessive wear-and-tear on the parts. To get quicker turning action, the skater should probably get softer cushions, not just loosen the trucks! Properly adjusted trucks should be quite snug but not overly tight. To change the turning action of the skates, change to a harder or softer cushion. While there is a certain amount of adjustment latitude from tightening or loosening the cushions against the kingpin, changing cushions is the only proper way to make big changes in the action of the trucks.

Loren Anderson

Please feel free to give feedback or comments to this email address: LMAnderson@ci.bellevue.wa.us

SkateToIt would like to thank Loren, for allowing us to use his articles.