Playlist 09: Papa Nui
As part of our collaboration with Papa Nui, we're excited to share the latest addition to our playlist series, curated by skater, surfer, and creative director John Tesoriero. This playlist features a handpicked selection of John's favourite tunes that inspire him daily.
What is your earliest memory of a Surfa Sam skateboard
Surfa Sam was my gateway to teenage rebellion. I believe it was the summer of 1971. Before that, I had only been messing around with pieces of wood with roller skates attached to the bottom. My cousin had one of the first red Surfa Sam's, and I used to borrow it from him. It was such an experience, and the vehicle that truly launched me into skateboarding, which is why I look back on it so fondly.
How did that first interaction influence you
I think the most amazing thing when I reflect on the Surfa Sam, is how such an inanimate piece of wood can manifest such creativity. It was an attitude, a lifestyle, and a whole outlook on life. Once you catch the skateboarding bug, it influences everything in your life, often arriving at a time when you don’t quite know yourself. Your self-confidence really hasn’t been developed, and it becomes a vehicle for your personality and energies. It becomes part of who you are and fosters a strength of character. For me, skateboarding ultimately defined everything I was as a teenager. You are no longer just that kid in the playground; you’re the kid who rides the skateboard or hangs out with a group of guys who are always up to no good. This brings you a lot of attention and opportunities that you might never have had, which contributes to building your self-confidence. At the root of all of that was my first contact with a Surfa Sam.
Credit: David Hill
At what age did you recognise that your skateboarding extended beyond just pushing down the street
I really started coming into my own around 15. I think that was a watershed year for me, because it was sort of that first introduction into vertical skating. Up until that, it was always streets and bank riding, which I was pretty proficient at, but those last years when I was in high school, that's when I really sort of kicked into gear. Pools became available, the first skate parks started to open up in the tail end of the 70s, and being 16, 17, 18 was just a fantastic age to be involved in all of that.
How did your relationship with Stacy Peralta develop in the late 1970s
I was very fortunate that my eldest brother was a promoter and organiser at the time, and he was the guy that put together the first of the Australian skateboarding competitions that brought the Americans out here, which meant that I had the privilege of spending time with, Russ Howell, Torger Johnson and Stacy Peralta. That morphed itself into endless nights talking, and skating with them, and learning some of the finesse of what they were doing. It's one thing to actually learn something from a photo, but to actually talk through the process and understand something as simple as a Bertlemann turn, you would never know from a still photograph.
When Stacy went back home to Santa Monica, he sent me one of the first original Zephyr boards from Jeff Ho and Skip Engblom which I rode religiously. I wish I still had that board because it was signed to John from the Z-Boys, and from then on, I was always referred to as the Aussie Z-Boy by Stacey.
Photo: Stacey Peralta, age 17, Australia. Credit: Jeff Neil
How did the Australian skateboarding scene differ from what was happening in the U.S. at that time
I think a lot of the Australian guys were on par with what was happening in California. Australia is a backwater. Always has been, always will be. So for us to keep a breast of the Americans was crazy. You had to put so much energy into something, and I think that's why you had to have those guys around you that were constantly pushing and egging you on. I remember when we first started riding pools, every single day was like this huge learning curve. We pushed each other higher, faster, and to do more radical stuff, and because we didn't really have that American marketing machine behind us, like most things in Australia, you had to basically invent it yourself.
Do you think being on an island in the middle of nowhere contributed to that
That sense of isolation really plays a role in why Australians are so unique and individual in the world. I think it manifested through both skateboarding and surfing during that time on the international circuit, which had a distinct flavour because the styles were developed in relative isolation.
Credit: Chris Tesoriero & John Fox
Today, with access to social media and the internet, everything has become homogenised. Take the WSL circuit in surfing for example, there isn’t a single standout surfer. They all surf exceptionally well, but stylistically, it doesn’t compare to watching legends like Mark Richards, Shaun Thompson, or Larry Bertlemann back in the day. Each of those surfers grew up in their own environments and developed their own unique styles, making them fabulous to watch on the international stage. You could recognise someone just by their arm position or how they positioned themselves on the board. That individuality is something we sorely miss today.
How did your time with the touring Americans influence your skating and style
Russ Howell was here with Torger Johnson from Logan Earth Ski, but the most influential of them all was Stacy Peralta, who was still riding with the Zephyr team. I think it was Stacy's energy and attitude, along with his ability to blend surfing and skateboarding, that became the crux of what I wanted to emulate. Of course, Jay Adams and Tony Alva also had a huge impact with their unique approaches to style, especially as I got into vertical riding and riding pools. After that, it all comes down to your own interpretation.
What was the story behind your "Who's Hot!" feature in Skateboarder magazine
I connected with David Hill Design, a promoter and skateboard manufacturer who had ties in the United States. We did a couple of photo sessions, and he submitted those to Skateboarder magazine. I was selected for the "Who's Hot" feature in the November 1978 issue, which was an incredible achievement for an Aussie at that time.
Around that same period, Stacy Peralta invited me to stay with him in the U.S. I asked my parents, but they just laughed at me. There was no way anyone back then would let their kid go off to America to skateboard. It’s interesting to think about how times have changed, but it’s also hard not to wonder what could have happened if I had gone to the States when I was in my prime. However, you can’t dwell on those things, you just have to keep moving forward.
Credit: David Hill
How did your career in fashion begin
I moved to London in 1982 and rented an apartment on Kings Road. At that time, Kings Road was one of the most vibrant and creative places in the world. I found my way into retail and discovered my passion for vintage clothing. The knowledge I gained in London laid the foundation for my career, ultimately landing me a job in Tokyo as the head of the men's wear design team for Levi Strauss Asia Pacific. Having collected Levi's since the early '80s, I had a strong grasp of vintage styles, which served me well in that role.
It's funny, I still reflect on those times, and I realise that much of it stemmed from the attitude I developed through skateboarding. It was so anti-authoritarian and unconventional. Being a skateboarder back then felt like an outlaw activity. That mindset, along with the free thinking and creativity cultivated by skateboarding, helped me see the potential in inanimate objects, whether it was a piece of concrete or an empty swimming pool, and to imagine what I could do with them. This approach shaped my entire outlook on life, leading me to think outside the box. In the traditional world, such ideas can be quite unique, and people are willing to pay for that perspective. I believe this way of thinking, initiated by skateboarding, has been one of my greatest advantages throughout my career and my life.
When was the moment you decided to start your own brand Papa Nui
I had so much military collectibles and there were companies in Japan that were doing replica products and I was buying that and I was thinking, you know, this could be so much better if they only did XYZ, so I thought I could just do it myself. I'm sitting on the beach and it's the middle of summer. I've got this ball cap on and I'm getting fried by the sun, and I thought, you know, I could just make this cap so much better, and at that moment, Papa Nui was born.
What is behind the name Papa Nui
Papa Nui is my brand, it's a state of mind, and it's actually a physical place. So, you know, in searching for a name for the brand, I was reading Hawaiian Surf Riders which is a very old book from the 1930s, and Duke Kahanamoku is talking about the outermost reef break off Waikiki that only the royals used to ride and it only activated at 25 foot plus, and you needed a very big board to catch the swells as they are travelling at such incredible speeds. And the literal translation for the big board in Hawaiian is Papa Nui, and I thought it was such a fabulous link between my love of surfing, and living down here in Australia in the tropics on the edge of the South Pacific sea.
Johns dad, Lae, 1943
Where do you draw your inspiration from with Papa Nui
Growing up as the son of a World War II veteran, it's hard not to be influenced by my father's stories. I've found that as I get older, I draw more inspiration from them because they are so deeply ingrained in my personality. I use those stories as my primary design resource, which gives my products a very individual slant. The design process often involves reflecting on my father's war stories, combined with my own collection of World War II artefacts. There’s always a rich design element to pull from, and it embodies everything I do.
What does this collaboration mean to you
For me, the collaboration between Surfa Sam skateboards and Papa Nui completes the circle from where I started. Everything that's important to me is embodied in this one little piece of wood. We're creating contemporary products based on something historical, with a rich tapestry and a love for the past. I believe these elements blend beautifully, allowing us to bring the essence of each brand together into a collection that appeals to both audiences.
