(Musik) (Skateboardslyde) (Musik) (Bifald)
(Music) (Music) (Music ends) (Applause)
Det er hvad jeg har lavet i mit liv. (Latter)
So, that's what I've done with my life.
(Bifald) Mange tak.
(Laughter) (Applause) Thank you.
(Applause)
Som barn voksede jeg op på en gård i Florida, og jeg gjorde hvad de fleste børn gjorde. Jeg spillede lidt baseball, og et par andre ting som det, men jeg følte mig altid lidt som en outsider, og det var ikke før jeg så billeder i magasiner af nogle gutter som skatede, at jeg tænkte, "Wow, det er lige mig." For der var ingen træner, som overvågede en, og de gutter var bare dem selv. Der var ingen modstander overfor dem. Og jeg elskede den følelse, så jeg begyndte at skate da jeg var omkring 10 år gammel, i 1977, og da jeg gjorde det, kom det ret nemt til mig. Faktisk så er der her nogle billeder fra 1984. Det var ikke før '79, at jeg vandt min første amatørkonkurrence, og i '81, hvor jeg var 14, vandt jeg mit første verdensmesterskab, hvilket jeg synes var fantastisk, og i virkeligheden var det min første ægte sejr.
As a kid, I grew up on a farm in Florida, and I did what most little kids do. I played a little baseball, did a few other things like that, but I always had the sense of being an outsider, and it wasn't until I saw pictures in the magazines that a couple other guys skate, I thought, "Wow, that's for me," you know? Because there was no coach standing directly over you, and these guys, they were just being themselves. There was no opponent directly across from you. And I loved that sense, so I started skating when I was about 10 years old, in 1977, and when I did, I picked it up pretty quickly. In fact, here's some footage from about 1984. It wasn't until 79 I won my first amateur championship, and then, by 81, I was 14, and I won my first world championship, which was amazing to me, and in a very real sense, that was the first real victory I had.
Se det her. Det her er et casper slide, hvor brættet er omvendt. Mental notits til den. (Latter) Og denne her? En ollie.
Oh, watch this. This is a Casper slide, where the board's upside down. Mental note on that one. (Laughter)
Som hun nævnte, så er det helt klart overvurderet, men derfor kaldte de mig 'the godfather' af moderne street skating. Her er nogle billeder af det.
And this one here? An ollie. So, as she mentioned, that is overstated for sure, but that's why they called me the godfather of modern street skating. Here's some images of that.
Jeg vil sige, jeg var omkring halvvejs i min professionelle karriere, jeg vil mene, det var midt i '80erne. Vi udviklede selv alle disse flat ground tricks som du så, men der udviklede sig en ny form for skateboarding, hvor nogle tog det til gaderne, og brugte ollies, som jeg viste jer? De brugte den til at komme op på ting, som bænke og gælendere, og over trapper og alle mulige seje ting. Så det udviklede sig opad. Når nogen i dag siger, at de skater, så mener de stort som en street skater, fordi freestyle døde efter 5 år, og på det stadie havde jeg været en "mester" mester i 11 år. Og pludselig var det hele ovre for mig. Det var dét. Det var væk. De tog min professionelle model af hylden, hvilket helt essentielt erklærer dig officielt færdig. Sådan tjener du penge. Du har dine egne signatur-skateboards, og hjul, og sko og tøj. Jeg havde det hele, og nu er det væk.
Now, I was about halfway through my pro career in, I would say, the mid-'80s. Freestyle itself -- we developed all these flat ground tricks, as you saw, but there was evolving a new kind of skateboarding, where guys were taking it to the streets, and they were using that ollie, like I showed you. They were using it to get up onto stuff like bleachers and handrails and over stairwells and all kinds of cool stuff. So it was evolving upwards. In fact, when someone tells you they're a skater today, they pretty much mean a street skater, because freestyle, it took about five years for it to die, and at that stage, I'd been a "champion" champion for 11 years, which -- Phew! And suddenly, it was over for me, that's it -- it was gone. They took my pro model off the shelf, which was essentially pronouncing you dead, publicly. That's how you make your money, you know? You have a signature board and wheels and shoes and clothes. I had all that stuff, and it's gone.
Det vildeste var, at der var en virkelig befriende følelse ved det, fordi jeg ikke længere skulle beskytte min titel som mester. "Mester," igen. Mester lyder så fjollet, men det var hvad det var, ikke? Hvad der fik mig til at skate, friheden, var nu genskabt, her kunne jeg skabe ting, for det var her det sjove var for mig, jeg skabte nye ting. Den anden ting jeg havde, var en dyb brønd af tricks at trække af, som var forankret i flat ground tricks. Ting som de normale fyre lavede var meget anderledes.
The crazy thing was, there was a really liberating sense about it, because I no longer had to protect my record as a champion. "Champion," again. Champion sounds so goofy, but it's what it was, right? What drew me to skateboarding, the freedom, was now restored, where I could just create things, because that's where the joy was for me, always, was creating new stuff. The other thing that I had was a deep well of tricks to draw from that were rooted in these flat ground tricks. Stuff the normal guys were doing was very much different.
Det var ydmygende og råddent, og tro mig, det var råddent. Når jeg tog til skate spots, og jeg var allerede en "kendt fyr". Og alle troede jeg var god. Men i dette nye terræn, var jeg elendig. Så folk ville sige. "Åh, han er - Åh, hvad skete der med Mullen?" (Latter)
So, as humbling and rotten as it was — And believe me, it was rotten. I would go to skate spots, and I was already "famous guy," right? And everyone thought I was good, but in this new terrain, I was horrible. So people would go, "Oh, what happened to Mullen?"
(Laughter)
Hvor ydmygende det end var, så begyndte jeg igen. Her er nogle af de tricks som jeg begyndte med at tage med ind i det nye terræn. (Skateboard-lyde) Og igen, så er der det omsurrede lag med indflydelse fra freestyle, som gjorde mig - Åh, det der? Det er umiddelbart det sværeste jeg nogensinde har lavet. Okay, se det der. Det er et darkslide. Se hvordan jeg glider på bagsiden? De er supersjove. Og faktisk er de ikke så svære. Ved I hvad, roden heraf kommer af caspers, læg mærke til hvordan du kaster det? Såre simpelt, ikke? Inget problem. (Latter) Og din forreste fod, måden som den griber på det på, er -- jeg havde set nogle glide på bagsiden sådan der, og tænkte "Hvordan får jeg det over?" Fordi det endnu ikke var gjort endnu. Og så kom det til mig, og her er det. Jeg havde en infrastruktur. Jeg havde det dybe lag, hvor det var som -- det er bare din fod. Det er bare måden du kaster brættet over. Bare lad kanten klarer det, og det er nemt, det næste du opdager er 20 tricks baseret på variationer heraf.
So, humbling as it was, I began again. Here are some tricks that I started to bring to that new terrain. And again, there's this undergirding layer of influence of freestyle -- Oh, that one? That's, like, the hardest thing I've ever done. OK, look at that, it's a Darkslide. See how it's sliding on the backside? Those are super fun, and, actually, not that hard. You know, at the very root of that, see, Caspers, see how you throw it? Simple as that, right? No biggie. And your front foot, the way it grabs it -- I'd seen someone slide on the back of the board like that, and I was like, "How can I get it over?" Because that had not yet been done. And then it dawned on me, and here's part of what I'm saying. I had an infrastructure. I had this deep layer, where it was like, oh my gosh, it's just your foot. It's just the way you throw your board over. Just let the ledge do that, and it's easy, and the next thing you know, there's 20 more tricks based out of the variations.
Så det er den ting, her, se det her, her er en anden måde, jeg vil ikke overdrive. En smule overbærende, det forstår jeg. Der er noget som hedder primo slide. (Skateboard lyde) Det er det mest morsomme trick nogensinde. (Skateboard lyde) Det er som at skimboarde.
So that's the kind of thing -- here, check this out, here's another way, and I won't overdo this. A little indulgent, I understand. There's something called a Primo slide. It is the funnest trick ever to do. It's like skimboarding.
Og den her, se hvordan den glider sidelæns begge veje? Okay, når du skater, og du falder, brættet ryger den vej eller den vej. Det er ret forudsigeligt. Her? Kan det ryge hvilken som helst vej. Det er som i tegnefilm, og det er hvad jeg elsker mest ved det. Det er så sjovt. Faktisk, så da jeg startede med at lave dem, kan jeg huske, fordi det gjorde ondt. Jeg skulle opereres, ikke? Så der var et par dage, faktisk et par uger, hvor jeg ikke kunne skate. Knæet gav op. Og jeg så på de andre, jeg tog ud til en lagerbygning, hvor de skatede, mine venner, og jeg tænkte: "Jeg må finde på og lave noget nyt. Jeg vil starte forfra. Helt forfra." Så natten før min operation, kiggede jeg, og tænkte "Hvordan gør jeg det?" Så jeg løb hen og hoppede op på brættet, og jeg cavemanned og flippede det ned, og jeg kan huske at jeg tænkte, jeg landede da helt let, hvis mine knæ giver op, har de bare det mere at lave i morgen. (Ler) (Latter)
And this one, look how it slides sideways, every which way? OK, so when you're skating, and you take a fall, the board slips that way or that way; it's kind of predictable. This? It goes every which way -- it's like a cartoon, the falls, and that's what I love the most about it. It's so much fun to do. In fact, when I started doing them, I remember, because I got hurt. I had to get a knee surgery, right? So there were a couple of weeks where I couldn't skate at all. It would give out on me, and I would watch the guys, I'd go to this warehouse where a lot of the guys were skating, my friends, and I was like, "I've got to do something new, I want to do something new. I want to start fresh." And so the night before my surgery, I'd watched, and I was like, "How am I going to do this?" So I ran up, and I jumped on my board, and I Cavemanned, and I flipped it down, and I remember thinking, I landed so light-footed, thinking, if my knee gives, they'll just have more work to do in the morning.
Det var helt skørt.
(Laughter)
Jeg ved ikke hvor mange her, er blevet opereret, men -(Latter)- man er så hjælpeløs, ikke? Du er på sengen og ser loftet kører forbi, sådan er det hver gang, og lige når de sætter masken op for ansigtet, sover man, det eneste jeg tænkte var: "Når jeg vågner har jeg det meget bedre, det første jeg vil, er at filme det trick." (Latter) Og det gjorde jeg. Det var den allerførste film hvilket var helt fantastisk.
And so, when it was the crazy thing. I don't know how many of you guys have had surgery, but -- (Laughter) you are so helpless, right? You're on this gurney and you're watching the ceiling go by, every time, it's always that, and right when they're putting the mask on you before you go to sleep, all I was thinking is, "Man, when I wake up and I get better, the first thing I'm going to do is film that trick." And indeed I did, it was the very first thing I filmed, which was awesome.
Lad mig nu - jeg fortalte lidt om udviklingen og tricks. Overvej det indhold, på en måde. Det vi gør som street skatere er, at du har disse tricks. Jeg kunne arbejde på darkslide eller primo, udtryk som I nu kender til. (Latter) (Ler) Det man gør er at køre rundt på de samme gader man har set hundrede gange, men pludselig, fordi du allerede har det der passer til dette område, så tænker man, hvad vil matche det trick? Hvordan kan jeg udvide, hvordan kan indholdet, hvordan kan miiljøet ændre på det jeg gør? Så du kører og kører og kører, og faktisk, så må jeg indrømme, men det er besværligt for mig fordi jeg er her, men jeg siger det bare, jeg kan ikke sige jer, ikke kun at være her foran jer, men hvor privilligeret det er for mig at være her på USC campus, fordi jeg er blevet eskorteret væk så mange gange. (Latter) (Bifald)
I told you a little bit about the evolution of the tricks. Consider that content, in a sense. What we do as street skaters is, you have these tricks -- Say I'm working on Darkslides, or a Primo, that you guys know this stuff now. (Laughter) What you do is, you cruise around the same streets that you've seen a hundred times, but suddenly, because you already have something in this fixed domain of this target, it's like, what will match this trick? How can I expand, how can the context, how can the environment change the very nature of what I do? So you drive and drive and drive, and, actually I've got to admit, just because I was struggling with this because I'm here, but I'll just say it, is, I cannot tell you, not only to be here in front of you, but what a privilege it is to be at US campus, because I have been escorted off of this campus so many times. (Laughter)
(Applause)
Lad mig give jer et andet eksempel af hvordan kontekst skaber indhold. Det er et sted ikke langt herfra. Det er et råddent nabolag. Din første tanke er: "Bliver jeg banket her? " Du går ud - Se på denne væg? Den er ret mild, og kalder bare på et bank trick, ikke? Men der er et andet aspekt i det til at lave manuels, se efter. Her et nogle få tricks, igen, hvordan miljøet ændrer det oprindelige trick. Freestyle orienteret, manuel ned. Se den her? Åh jeg elsker den. Det er som at surfe, den måde man fanger brættet på. Den her er lidt usikkert, da man kører baglæns, og se den bagerste fod, se den bagerste. Oop. (Latter) Igen en reminder der. Igen, det vender vi tilbage til.
So let me give you another example of how context shapes content. This is a place not that far from here, It's a rotten neighborhood. Your first consideration is, am I going to get beat up? You go out and -- See this wall? It's fairly mellow, and it's beckoning to do bank tricks, right? But there's this other aspect of it for wheelies, so check this out. There's a few tricks, again, how environment changes the nature of your tricks. Freestyle oriented, manual down -- wheelie down. Watch, this one? Oh, I love this, it's like surfing, this one, the way you catch it. This one, a little sketchy going backwards, and watch the back foot. Oops --
(Laughter)
Mental note right there. Again, we'll get back to that.
Her. Bagerste fod, Bagerste fod. Okay, op? Det kaldes et 360 flip. Bemærk hvordan brættet vender og snurre samme vej, begge akser.
(Laughter) Here, back foot, back foot. OK, up there? That was called a 360 flip. Notice how the board flipped and spun this way, both axes.
Et andet eksempel af hvordan kontekst ændrer, og den kreative proces for mig og de fleste andre skatere, er, du tager afsted, står ud af bilen, ser efter vagter, du leder efter ting. (Latter) Det er skægt, I kender deres rytme, de drenge som kører rundt, og skateboarding er så ydmygede en ting.
And another example of how the context changed, and the creative process for me and for most skaters, is, you go, you get out of the car, you check for security, you check for stuff. (Laughter) It's funny, you get to know their rhythms, you know, the guys that cruise around --
Uanset hvor god du er, skal du stadig håndtere det -- Du rammer væggen, og da jeg ramte den, det første man gør er at falde forover, og jeg tænker, okay, okay. Mens du tilpasser så retter du dig mere op, og når jeg gør det, så drejer det min skulder denne vej, hvilket, mens jeg var i det, fik mig til at tænke: "Åh wow, det tigger efter et 360 flip," for det er sådan man gør sig klar til et 360 flip.
(Laughter) Skateboarding is such a humbling thing, man. No matter how good you are, you've still got to deal with -- So you hit this wall, and when I hit it, the first thing you do is you fall forward, and I'm like, all right, all right. As you adjust ... you punch it up, and then when I would do that, it was throwing my shoulder this way ... which as I was doing it, I was like, "Oh wow, that's begging for a 360 flip," because that's how you load up for a 360 flip.
Så det jeg ønsker at understrege, er, som I nok kan forestille jer, alle disse tricks er lavet ud fra sub- bevægelser, udøvende motoriske funktioner, mere detaljeret til den grad jeg ikke kan forklare, men noget jeg ved er, hvert trick er lavet ved at kombinere to eller tre eller fire eller fem bevægelser. Og så, mens jeg kører op flyder disse ting rundt, og du skal på en måde lade den kognitive hjerne, slappe af, træk stikket ud lidt og lad din intuition kører mens de føler disse ting. Og de sub-bevægelser flyder rundt og når man rammer væggen, forbinder de hinanden til et omfang, og her det kognitive, siger, "360 flip, jeg klarer det." Det er sådan det fungerer på mig, den kreative del, processen af selve street skating.
And so this is what I want to emphasize that, as you can imagine, all of these tricks are made of submovements, executive motor functions, more granular to the degree to which I can't quite tell you, but one thing I do know is, every trick is made of combining two or three or four or five movements. And so, as I'm going up, these things are floating around, and you have to sort of let the cognitive mind rest back, pull it back a little bit, and let your intuition go as you feel these things. And these submovements are kind of floating around, and as the wall hits you, they connect themselves to an extent, and that's when the cognitive mind: "Oh, 360 flip, I'm going to make that." So that's how that works to me, the creative process, the process itself, of street skating.
Næste - ????? (Latter) De er samfundet.
So, next -- Oh, mind you ...
De er nogle af de bedste skatere i verden. De er mine venner. Og hold op, de er sådan nogle gode mennesker. Og det smukke ved skateboarding er, at ingen er den bedste. Faktisk, jeg ved det er råddent at sige, de er mine venner, men nogle af dem ser faktisk ikke så komfortable ud på deres bræt. Det der gør dem gode er til den grad de bruger skateboarding til at individualisere dem selv. Hver eneste af disse drenge, når du ser dem, bare du kan se en silhouet af dem, kan du genkende dem, "Åh, det er ham, det er Haslam, det er Koston, der er disse fyre, det er de fyre.
(Laughter) Those are the community. These are some of the best skaters in the world. These are my friends -- oh my gosh, they're such good people. And the beauty of skateboarding is that, no one guy is the best. In fact, I know this is rotten to say, they're my friends, but a couple of them actually don't look that comfortable on their board. What makes them great is the degree to which they use their skateboarding to individuate themselves. Every single one of these guys, you look at them, you can see a silhouette of them, and you realize, "Oh, that's him, that's Haslam, that's Koston, there's these guys, these are the guys."
Og skatere, jeg tror de har en tedens til at være outsidere som søger en følelse af at høre til, men kun på deres egne premisser, og ægte respekt bliver vist ud fra hvor meget vi ser de andre fyre lave, de grundlæggende tricks, 360 flips, vi tager dem, og laver dem vores egne, og på den måde giver man selv noget igen til samfundet, indefra, der opbygger fællesskabet selv. Jo større bidrag, jo mere udtrykker og former vi vores individualitet, hvilket er meget vigtigt for mange af os som føler sig afvist fra starten af. Tilsammen giver det os noget vi aldrig kunne opnå individuelt. Jeg siger det. Der en slags smuk symmetri at i den grad som du kobler dig til et samfund er proportioner af vores individualitet, som vi udtrykker ud fra det vi gør.
And skaters, I think they tend to be outsiders who seek a sense of belonging, but belonging on their own terms. And real respect is given by how much we take what other guys do, these basic tricks, 360 flips, we take that, we make it our own, and then we contribute back to the community the inner way that edifies the community itself. The greater the contribution, the more we express and form our individuality, which is so important to a lot of us who feel like rejects to begin with. The summation of that gives us something we could never achieve as an individual. I should say this. There's some sort of beautiful symmetry that the degree to which we connect to a community is in proportion to our individuality, which we are expressing by what we do.
Næste. Disse gutter. Meget lignende samfund som er ekstremt befordrende for innovation. Læg mærke til nogle af disse billeder fra politiet.
Next, these guys, very similar community that's extremely conducive to innovation. (Laughter)
Men det er ret ens. Hvordan hacker man? Det er ved at kende teknologien så godt, at du kan manipulere den og styre den til at gøre ting som det aldrig ville have gjort, ikke? Og de er ikke alle onde. Du kan være en Linux kerne hacker, for at gøre det mere stabilt, ikke? Mere sikkerhed, mere sikkert. Du kan være en iOS hacker, der får din iPhone til at gøre ting den normalt ikke skulle. Ikke godkendt, men ikke ulovlig. Og så har vi nogle af disse gutter? Det de gør er meget lig med vores kreative process. De forbinder uensartede informationer og bringer dem sammen på en måde som en sikkerhedsanalytiker ikke regner med. Ikke? Det gør dem ikke til gode mennesker, men det er i hjertet af ingeniørvidenskab, i hjertet af et kreativt samfund, et innovativt samfund og et open source samfund, det basale etos af det er, gør hvad andre folk gør, og gør det bedre, giv det tilbage, så vi alle kan hæve os yderligere. Meget ens samfund, meget ens.
Notice a couple of these shots from the police department. But it is quite similar, I mean, what is it to hack, right? It's knowing a technology so well that you can manipulate it and steer it to do things it was never intended to do, right? And they're not all bad. You can be a Linux kernel hacker, make it more stable, right? More safe, more secure. You can be an iOS hacker, make your iPhone do stuff it wasn't supposed to. Not authorized, but not illegal. And then, you've got some of these guys, right? What they do is very similar to our creative process. They connect disparate information, and they bring it together in a way that a security analyst doesn't expect. It doesn't make them good people, but it's at the heart of engineering, at the heart of a creative community, an innovative community, and the open source community, the basic ethos of it is, take what other people do, make it better, give it back so we all rise further. Very similar communities, very similar.
Vi har også vores kantede sider. Det er sjovt, min far havde ret.
We have our edgier sides, too.
(Laughter)
Det er mine kammerater. Men jeg respekterer hvad de gør, de respekterer mig fordi de kan gøre ting. Det er forbløffende hvad de kan. Faktisk var en af dem kåret af Ernst & Youngs årets entreprenør i San Diego regionen, du ved aldrig hvem beskæftiger dig med.
It's funny, my dad was right. These are my peers. But I respect what they do, and they respect what I do, because they can do things, it's amazing what they can do. In fact, one of them, he was Ernst & Young's Entrepreneur of the Year for San Diego County, so they're not -- you never know who you're dealing with.
Vi har alle haft nogen grad af berømmelse. Jeg har faktisk haft så meget succes, at jeg altid følte mig uværdig til. Jeg havde et patent, det var sejt, og startede et firma, og det voksede, og det blev det største og så gik det ned og blev det største igen, hvilket er sværere end den første gang og så solgte vi det, og så solgte vi det igen. Jeg har haft noget succes. Og til slut når du har haft alle de ting, hvad er det så der fortsat driver dig? Som jeg nævnte, det med knæet og de ting, hvad er det som skubber dig? For det er ikke kun dit sind. Hvad er det som skubber dig og får dig til at lave noget og tage det til et andet niveau, og når du har haft det hele, nogle gange, gutter, så dør de med alt det talent og en af de ting vi alle har haft, alle sammen, er berømmelse, den bedste form, for du kan tage den af. Jeg har været hele verden rundt, og der var tusinde af børn, som skrev dit navn og det er en mærkelig oplevelse. Det er en smule desorienteret. Du går ind i en bil og kører væk, og efter 10 minutters kørsel, stiger du ud og der er ikke en eneste som interessere sig for dig. (Latter)
We've all had some degree of fame. In fact, I've had so much success that I strangely always feel unworthy of. I've had a patent, and that was cool, and we started a company, and it grew, and it became the biggest, and then it went down, and then it became the biggest again, which is harder than the first time, and then we sold it, and then we sold it again. So I've had some success. And in the end, when you've had all of these things, what is it that continues to drive you? As I mentioned, the knee stuff and these things, what is it that will punch you? Because it's not just the mind. What is it that will punch you and make you do something and bring it to another level, and when you've had it all, sometimes, guys, they die on the vine with all of that talent, and one of the things we've had, all of us, is fame -- I think the best kind of fame, because you can take it off. I've been all around the world, and there will be a thousand kids crying out your name, and it's such a weird, visceral experience. It's like, it's disorienting. And you get in a car, and you drive away, and 10-minute drive, and you get out, and no one gives a rat's who you are.
Det giver dig den klarhed i perspektivet af, mand, jeg er bare mig og popularitet, hvad betyder det egentlig? Ikke meget. Det der driver os, er respekten blandt venner. Det er det som får os til at gøre det. Jeg har brækket mange knogler. De gutter, den her fyr, har haft otte, ti hjernerystelser, til det punkt hvor det er sjovt, ikke? Det er faktisk sjovt. De driller ham.
(Laughter) And it gives you that clarity of perspective of, man, I'm just me, and popularity, what does that really mean again? Not much. It's peer respect that drives us. That's the one thing that makes us do what we do. I've had over a dozen bones, this guy, over, eight, 10 concussions, to the point where it's comedy, right? It is actually comedy, they mess with him.
(Laughter)
Næste. Det er noget som er dybere, og der er her jeg - jeg tror jeg var på turne, da jeg læste en af Feynman biografierne. Jeg tror det var den røde eller blå. Han kom med denne udtalelse, som var så dyb for mig. Det var, at Nobel prisen var en gravsten for alt fremragende værk og det gav genlyd, for jeg havde vundet 35 ud af 36 konkurrencer som jeg deltog i, i løbet af 11 år, og det gjorde mig skør. Vundet er ikke det rigtige ord. Jeg vandt én gang. Resten af tiden forsvarede hvor du går ind i en slags skildpaddeskjold, forstår I? Hvor du ikke gør. Det tog glæden ud af det jeg elskede at gøre, for nu gjorde jeg det ikke for at skabe ting og have sjov, og da det døde under mig, det var en af de meste befriende ting for så kunne jeg skabe ting igen.
Next, and this is something deeper. I think I was on tour when I was reading one of the Feynman biographies. It was the red one or the blue one. And he made this statement that was so profound to me. It was that the Nobel Prize was the tombstone on all great work, and it resonated because I had won 35 out of 36 contests that I'd entered over 11 years, and it made me bananas. In fact, winning isn't the word, I won it once. The rest of the time, you're just defending, and you get into this, turtle posture, you know? Where you're not doing -- it usurped the joy of what I loved to do because I was no longer doing it to create and have fun, and when it died out from under me, that was one of the most liberating things,
Se, jeg forstår godt, at jeg er på kanten af prædiken. Det er ikke derfor jeg er her. Det er fordi jeg er foran et priviligeret publikum. Hvis I ikke allerede er ledere i jeres samfund, så bliver i det sikkert, og hvis der er noget jeg kan give jer som transcendere det jeg har fået af skateboarding, de eneste ting af betydning, tror jeg, og permanens. er ikke berømmelse, det er ikke alle de ting. Hvad det er, at der er en værdi i at skabe noget for grunden til at skabe det, og bedre end det, fordi, mand, jeg er 46 år eller bliver 46, og hvor patetisk er det at jeg stadig skater, men der er- (Latter)- der er den skønhed, ved at falde ind i et samfund du selv har skabt og se det sprede sig og se yngre, mere talentfulde, anderledes talenter, tage det til højder du aldrig drømte om for det lever videre. Så tak for jeres tid.
because I could create. And look, I understand that I am on the very edge of preachy, here. I'm not here to do that. It's just that I'm in front of a very privileged audience. If you guys aren't already leaders in your community, you probably will be, and if there's anything I can give you that will transcend what I've gotten from skateboarding, the only things of meaning, I think, and of permanence, it's not fame, it's not all these things. What it is, is that there's an intrinsic value in creating something for the sake of creating it, and better than that, because I'm 46 years old, or I'll be 46, and how pathetic is that I'm still skateboarding, but there is -- there is this beauty in dropping it into a community of your own making, and seeing it dispersed, and seeing younger, more talented, just different talent, take it to levels you can never imagine, because that lives on. So thank you for your time.
(Bifald)
(Applause)
Krisztina Holly: Jeg har et spørgsmål til dig. Du genskabte virkelig dig selv fra freestyle til street og for fire år siden gik du officielt på pension. Er det rigtigt? Hvad nu?
Kristina Holly: I have a question for you. (Applause) So you've really reinvented yourself in the past, from freestyle to street, and, I think it was about four years ago you officially retired. Is that it? What's next?
Rodney Mullen: Det er et godt spørgsmål.
Rodney Mullen: That's a good question. KG: Something tells me it's not the end.
KH: Noget siger mig det ikke er slut.
RM: Ja. Hver gang du tror, at du har fulgt noget til dørs det sjovt, uanset hvor god du er, og jeg kender sådanne folk, det er som om man polerer en bæ. Kender I det? (Latter) Og jeg troede, den eneste måde som jeg kunne udvide det var ved at ændre det infrastukturelle og det er hvad jeg vil gøre, igennem en lang historie, en af desperation, så hvis jeg gør det i stedet for at tale om det, hvis jeg gør, vil du være den første der ved det. KH: Vi stiller ikke flere spørgsmål. RM: Du modtager en sms. KH: (Ler) Okay. Tak. Godt arbejde. (Bifald) RM: Tak. Mange tak. (Bifald)
RM: Yeah. Every time you think you've chased something down, it's funny, no matter how good you are, and I know guys like this, it feels like you're polishing a turd, you know? (Laughter) And I thought, the only way I can extend this is to change something infrastructural. And so that's what I proceeded to do, through a long story, one of desperation, so if I do it, rather than talk about it, if I do it, you'll be the first to know. KG: All right, we won't ask you any more. RM: You'll get a text. KG: Right, thank you, good job. RM: Thank you. Thank you.