Quick find code 328678bt Foam Pro level 2 footbed Foam Pro is the next step up from our Foam Lite insoles and are built around our pro's needs to provide added cushioning and support while skating. These PU foam based insoles also provide great comfort. Thinly padded tongue and collar. 400NBS gum rubber outsole. Classic herringbone tread. Altamont collaboration. Custom Altamont logo tab to collar and lining.
Altamont Decades Starter Snapback Black White Designed by Andrew Reynolds. solid rolled beanie with A logo fold label. 95% acrylic Altamont was born of new wave skate culture and influenced by music and art. With team riders Andrew Reynolds, Brian Henson and Garrett Hill creating some of the companies top designs. Cut from a different cloth Altamont is 100% Un Boring and the new range consists of high quality Beanies, Hoodies, Tees and Vests
To cite Gimme Shelter as the greatest rock documentary ever filmed is to damn it with faint praise. This 1970 release benefits from a horrifying serendipity in the timing of the shoot, which brought filmmakers Albert and David Maysles and Charlotte Zwerin aboard as the Rolling Stones' tumultuous 1969 American tour neared its end. By following the band to the Altamont Speedway near San Francisco for a fatally mismanaged free concert, the Maysles and Zwerin wound up shooting what's been accurately dubbed rock's equivalent to the Zapruder film. The cameras caught the ominous undercurrents of violence palpable even before the first chords were strummed, and were still rolling when a concertgoer was stabbed to death by the Hell's Angels that served as the festival's pool cue-wielding security force. By the time Gimme Shelter reached theater screens, Altamont was a fixed symbol for the death of the 1960s' spirit of optimism. The Maysles and Zwerin used that knowledge to shape their film: their chronicle begins in the editing room as they cut footage of the Stones' Madison Square Garden performance of "Jumpin' Jack Flash," and from there moves toward Altamont with a kind of dreadful grace. The songs become prophecies and laments for broken faith ("Wild Horses"), misplaced devotion ("Love in Vain"), and social collapse ("Street Fighting Man" and, of course, "Sympathy for the Devil"). Along the way, we glimpse the folly of the machinations behind the festival, the insularity of life on the concert trail, and the superstars' own shell-shocked loss of innocence. Gimme Shelter looks into an abyss, partly self-created, from which the Rolling Stones would retreat--but unlike its subject, the filmmakers don't blink. --Sam Sutherland