Racquel Ward, was invited to have a baby shower in LA and invited me and several other family members to enjoy the occasion. She booked us a fabulous place on AirBnb located at 336 Main Street in Venice. We checked in with Racquel’s partner Ryan and his son Roman who was planning to visit USC and UCLA, colleges he’s interested in attending after high school. The four of us got settled and took a walk down to the Venice Beach Skate Park where skateboarders were practicing their tricks while a magnificent sunset unfolded in deep red tones due to the fires recently in Malibu. It was a breathtaking moment for what would be a joyous few days in celebrating my daughter’s pregnancy. The shower took place in Baldwin Hills, at a lovely home hosted by Racquel’s friend, mentor and colleague .
This would be the first time I visited Los Angeles since 2018. I had mixed feelings about visiting in that this would be the first time I landed in Los Angeles since my friend and assistant Ed Simmons passed away. Every time over the past decade or so that I visited the West coast, Ed would be the first person I’d call. He was my eyes and ears on the ground in planning shoots, finding models and taking me to places I hadn’t visited in the past. The last time we spent quality time together in 2018 was when we took the train to Pasadena to see the Chambers Brother’s perform. We had a blast. Unfortunately, I didn’t get a chance to drive by his old address in West Hollywood to pay my respects, but I did visit the Pacific Ocean where his ashes were dispersed along Venice Beach, just two blocks from where we were staying for a few days leading up to the day of the celebration on December 14, 2024.
The shower took place on a beautiful day in Baldwin Hills, at a lovely home hosted by a friend and colleague . Racquel started a tutoring business when she lived in LA and specializes in educational therapies for children who are neurodivergent. To learn more about Racquel Ward’s business and services, link here: https://thelearningspecialist.org/the-learning-specialists
Latex, once confined to niche subcultures and avant-garde fashion, has emerged as a material of choice for contemporary designers and luxury brands. Its distinctive sheen, sculptural properties, and undeniable sensual appeal have propelled it from fetish wear to the forefront of mainstream fashion. This evolution has significantly impacted fashion markets, carving out a unique space for latex in the broader industry.
In recent years, fashion icons and celebrities, such as Beyoncé, Kim Kardashian, and Lady Gaga, have embraced latex garments on red carpets and in music videos. High-end designers like Atsuko Kudo, known for her intricate latex couture, and Richard Quinn, who incorporates latex into his experimental designs, have further legitimized the material. Their work demonstrates latex’s versatility, from body-hugging dresses to bold outerwear.
Latex’s appeal lies in its ability to combine structure with fluidity, offering a second-skin aesthetic that emphasizes the human form. Unlike traditional textiles, it provides a glossy, futuristic look that aligns with contemporary tastes for bold and innovative fashion statements. Designers often pair latex with contrasting materials, such as silk or leather, to create dynamic visual effects.
As latex gains prominence, the market has expanded to accommodate a broader audience. Traditionally associated with custom designs, latex clothing is now more accessible through ready-to-wear collections. Fast fashion brands have begun experimenting with latex-inspired fabrics, providing a more affordable alternative for consumers who want the look without the hefty price tag.
The material’s popularity has also spurred advancements in production techniques, making latex garments more comfortable and durable. Innovations like chlorination—a chemical process that smooths the surface—have addressed issues of stickiness and difficulty in wearing. These developments have made latex more appealing to a wider demographic, from trend-conscious millennials to eco-aware Gen Z shoppers.
Despite its allure, latex poses challenges for designers and brands. Its production is labor-intensive, and natural latex, derived from rubber trees, raises concerns about sustainability and ethical sourcing. However, many brands are responding by adopting eco-friendly practices, such as using FSC-certified rubber and minimizing waste during production.
Latex’s association with body positivity and inclusivity has also contributed to its cultural relevance. By celebrating diverse body types and emphasizing the beauty of the human form, latex fashion resonates with contemporary values.
As fashion continues to evolve, latex is likely to remain a symbol of boundary-pushing creativity. Its impact extends beyond aesthetics, influencing market trends, consumer expectations, and even material science. With designers continually reimagining its potential, latex stands as a testament to fashion’s ability to transform the unconventional into the iconic.
In the modern era, where individuality and innovation are prized, latex serves as both a material and a metaphor for contemporary fashion’s bold, experimental spirit. Its rise from underground culture to mainstream acclaim underscores the dynamic interplay between design, technology, and cultural shifts, shaping the future of style.
Skate Park, Venice Beach. Photo: Tony Ward, Copyright 2024
From Sidewalks to Skate Parks
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The History of Skateboarding and Its Evolution in Venice Beach
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Skateboarding, a sport born from surfing’s spirit of rebellion and freedom, has traveled a remarkable journey from its humble beginnings in the 1950s to the cultural phenomenon we know today. Few places are as central to this journey as Venice Beach, California—a mecca for skateboarding culture and innovation. The story of skateboarding, and its evolution in Venice Beach, is a tale of creativity, persistence, and community.
Skateboarding began in California during the 1950s when surfers, looking for a way to replicate the sensation of riding waves on land, attached roller-skate wheels to wooden planks. Dubbed “sidewalk surfing,” the activity quickly gained traction, particularly in Southern California, where the laid-back surf culture thrived.
By the 1970s, advancements like urethane wheels and specialized boards transformed skateboarding into a legitimate sport. This era saw the rise of legendary figures such as the Zephyr Skate Team, or the “Z-Boys,” who hailed from the Venice Beach and Santa Monica area. Using the empty swimming pools of the drought-stricken region, they pioneered vert skating and pushed the limits of what was possible on a skateboard.
Venice Beach Skate Park at Dusk. Photo: Tony Ward, Copyright 2024
Venice Beach, with its bohemian vibe and gritty streets, became the epicenter of skateboarding culture in the 1970s. The Z-Boys, led by icons like Tony Alva and Stacy Peralta, used the neighborhood’s urban landscape as their canvas, redefining skateboarding as not just a sport but an art form. Their influence helped popularize skateboarding globally, and Venice Beach became a pilgrimage site for skaters worldwide.
However, as skateboarding grew in popularity, challenges emerged. Public spaces once used for skating, like parking lots and empty pools, became harder to access due to legal restrictions and gentrification. By the late 1980s, skaters in Venice Beach were advocating for dedicated spaces where they could practice their craft without interference.
The journey to establish the Venice Beach Skate Park was a community-driven effort. Local skaters, activists, and community members united to demand a safe, legal space for skateboarding. Politicians, initially skeptical, eventually recognized the cultural and economic value of skateboarding in Venice Beach.
After years of lobbying and planning, the Venice Beach Skate Park was completed in 2009. Located steps from the Pacific Ocean, the 16,000-square-foot park features bowls, ramps, and rails that pay homage to the area’s skateboarding legacy. It was designed to echo the curves of the waves and the pools where the Z-Boys first made history.
Today, the Venice Beach Skate Park stands as a testament to the enduring spirit of skateboarding. It is a symbol of the sport’s evolution from counterculture activity to global phenomenon and a reminder of the power of community collaboration.
Skateboarding has come a long way from its origins, but Venice Beach remains its beating heart—a place where the art of motion, rebellion, and creativity continues to inspire future generations.
Yes, I admit it, I watch the History Channel’s ‘Ancient Aliens’ programs. Why? Because, even though they are about 60% horse hockey, they do slip in some interesting accurate facts.
But I strongly disagree with their basic premise, which is our ancient ancestors were too stupid to do this stuff, so either: A. They had the help of aliens; or B. The aliens did it. Our ancient ancestors were as intelligent as we are. They just understood things we don’t. They had a lost technology for moving very heavy things with little effort. What was this technology? We simply don’t know.
In Florida there is something called the Coral Castle. It is made of very large pieces of coral rock, pieces weighing tons. One stone, a revolving doorway weighing tons, is balanced so precisely that a child can turn it. I’ve been there and found it astonishing. All of the stones were moved and positioned by one man, working alone at night, with only a wooden tripod. There was a rectangular box mounted atop the tripod. We have no idea what was in it. The man who accomplished this amazing feat claimed he had rediscovered the technology the Egyptians used to build the pyramids. Whatever that secret was, he took it to the grave with him. He certainly did not claim alien assistance. All attempts to duplicate his feat have failed. I’m sure you can find photos and more info by Googling ‘Coral Castle.’ Around the world there are ancient megalithic structures. Megalith means ‘big stone,’ and the stone are big. Some are larger than city buses and weigh hundreds of tons. We’d be hard pressed to move them today with our most advanced machinery. I’m sure the ancient builders used big stones because it was easier for them than using lots of little stones, as later cultures had to do. But I don’t think aliens had anything to do with it.
Ancient humans, and by human I mean Homo sapiens, had brains just as large and developed as ours. Their culture and cultural references were just different. As was their technology. At a time when they supposedly only had tools made of stone or soft copper they created gigantic, polygonal stones, and fitted them together like three-dimensional jigsaw puzzles as though they weighed nothing. Since we find the same building style worldwide, I believe there was once a worldwide civilization that vanished at the end of the last Ice Age, about 12,500 years ago. There is considerable evidence that this Ice Age ended suddenly, causing worldwide flooding that is the root of flood myths in nearly all cultures. Graham Hancock has discussed this idea in his books.
Archeologists say the Giza pyramids and Great Sphinx are only about 3,000 to 5,000 years old. But geologists, who know more about rock weathering say they’re far older, dating to that same 12,500 years ago. I trust the geologists a lot more. This means that the ancient Egyptian civilization we know about did not build them. They were already there when that civilization arose. There is clear evidence that the face of the Great Sphinx was originally different, not the face of a pharaoh. That was changed later during dynastic times. Probably the original face wasn’t human at all, more likely a lion’s face.
Many of the programs in the ‘Ancient Aliens’ series are old, but they keep running them. Stan Friedman, my late friend, has been dead for years, but he still pops up there.
Because many of the programs are old, they don’t reflect the latest discoveries. For example, we now know that those famous cave paintings in France and Spain were painted by Neanderthals. They used their own saliva to mix with the pigments, and left their DNA behind. It’s Neanderthal DNA. The Neanderthals weren’t apelike subhumans. They had red hair and blue eyes. Dress one in a business suit and he wouldn’t attract any attention on Park Avenue. The slouching, bowlegged reconstruction that we saw for years came from a single old man discovered early who suffered severe osteoarthritis and other ailments.
Neanderthals had larger brains than modern humans and considerably larger eyes, so they may have been primarily nocturnal or crepuscular. Because there is no DNA in the megaliths, it is quite possible that Neanderthals were the builders. And Neanderthals are alive today in most of us. Unless your heritage is 100% sub-Saharan African, you carry Neanderthal genes. Apparently they never migrated south of the Sahara, which, to my mind, casts doubt on the ‘out of Africa’ theory of human evolution.
In the 1920s, when the great Roy Chapman Andrews led the American Museum of Natural History’s Central Asiatic Expeditions, the dominant theory was that humans originated in central Asia. Those expeditions were looking for ancient humans. Unfortunately, Andrews found that the rocks of the right age to contain fossils of early humans had weathered away, and he became famous for finding dinosaurs instead. I believe that the reason most early human fossils have been found in Africa is that the rock strata containing the fossils have weathered away everywhere else or are under dense tropical jungles and inaccessible. Fully modern humans lived worldwide millions of years ago, in my opinion.
I do not believe that the various Australopithecines found in Africa are human ancestors, just products of convergent evolution. Unfortunately, they’re far too old to extract DNA and set the record straight. Like gorillas and other apes, they are our distant cousins, not our ancestors. Fully modern human skulls have been found that are older than our supposed ancestors. See ‘Forbidden Archeology’ by Michael Cremo for details. More on this topic later.
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About The Author: Bob Shell is a professional photographer, author, former editor in chief of Shutterbug Magazine and veteran contributor to this blog. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. He is serving the 17th year of his sentence at Pocahontas State Correctional Facility, Virginia.
On September 16, 2024 Shell’s release date got moved up six years due to new “mixed charges” law to February 2, 2030. It was 2036.
Roberto Rashid is a Philadelphia based scarf designer who commissioned me recently to photograph his winter scarf collection. We first met in 1974 when we lived in the same dorm at what was then Millersville State College, now Millersville University in Lancaster, Pennsylvania.. We got to know each other during our college days because we were on the same floor in Burroughs Hall and our dorm rooms were just a few yards away from each other. Jenx (nickname) as he was affectionately called was and still is a dapper character with exquisite taste. He was always well dressed even in college and for some that didn’t know him way back when he was one of the colleges DJ’s. Hearing Roberto’s distinctive and soothing voice on the school radio station and in the hallways at our dorm was reminiscent of the same kind of sounds I heard on the Philadelphia radio stations like WDAS fm in college. I thought he was destined to become a radio personality but fate would have it he turned to fashion, influenced by his mother working in the textile industry when he was a young man.
I didn’t have further contact with Roberto after college until a little over a year ago. We bumped into each other on June 12, 2023 at a Jeff Bradshaw album release party hosted by none other than Patty Jackson from WDASfm at a venue in Germantown. After the event we started following each other on social media. Roberto had become keenly aware of the collaborative work I’ve been producing with KVaughn, creative director and legendary scarf designer from Philly. When he called to engage me about photographing his winter scarf collection he made it clear he wanted still lives of the product only, no models. That was a distinction with a difference as I started to plan the shoot and construct a set that would make the shoot with Roberto unique.
In general, people mainly associate my work these days with portraiture as it relates to fashion and erotica, not so much product photography per se, so this was a welcome departure for sure. Roberto put his trust in me, and a pleasure to work with on set. Knowing his musical background, we listened to a variety of tracks to stimulate our collaboration including Mario Lanza, Miles Davis and some R&B mixed in as well played on vinyl.
