Though he typically stays grounded, Eduardo Campos isn't afraid of taking liftoff every now and again.
He may be the newest addition to the Paris Truck Co. lineup but Eduardo Campos’ aero flipping and crossfoot landing abilities suggest that he’s deserved a spot on the squad for too long now. Quickly making a name for himself by landing some of freestyle’s most cutting edge tricks with robotic consistency, Campos has been bouncing between Europe and his native country of Brazil, throwing down effortless lines along the way.
We got the chance to chat with Campos, fresh off the release of his latest video part to talk about the frustration of landing double flips, his gear of choice and the worldwide longboard dancing community.
Getting your name on a board is one of the greatest honors out there. Deservedly, Campos makes sure he puts his sled to good use.
Stoked Ride Shop: Why name your newest video for Paris “Software Update”?
Eduardo Campos: Achel [Machin] and I were talking about the video's name and it was supposed to be a Welcome to the Team video but our TM said that, because as I’m a Brazilian rider, I should do it in Brazil. Then we started to figure a name for this video. Achel always told me that I was like a robot when I’m riding because of my consistency with the hard tricks and how I improved my skills on this trip to Europe so that’s where the name "Software Update” comes from.
SRS: What was more frustrating: the double flip off that ledge or your ender on that bank?
EC: The double flip was more frustrating. The original plan was to land a triple flip as you could see in the teaser and the double flip was no big deal. But I was afraid to hurt myself before the So You Can Longboard Dance Contest so it was better to keep with the double flip.
Where most only see an empty parking lot, Campos sees the opportunity for some shuvs and no comply's.
SRS: What was it like filming with Achel to get all of that awesome B-Roll footy?
EC: It was insane, I went through a moment in my life before that which almost made me stop longboarding and Achel was one of my inspirations that make me continue. With his skill improvement and style of seeing longboarding in his life, I’m really lucky to have had the honor to work with him.
SRS: How do you feel about the Paris Savants you rock?
EC: I love Savants. I always had problems with the baseplates before I use Savants but the resistance of Savants is from another world. They don’t break for anything.
SRS: What about the the Orangatang Fat Frees?
EC: I really like how Orangatang makes a type of wheel so good for freestyle tricks and at the same time great for sliding. You can do aeroflips and then boom: slide bigspin with no problem!
Campos' signature red pants may be a distraction, but they sure don't take away from his skating abilities.
SRS: Everyone talks about the Brazilian street scene evolving like crazy these days but what does the Brazilian longboard scene look like where you live?
EC: It’s a really hard question because the scene looks like it has increased but we have a big problem with the consistency. Riders are only looking for sponsors and not to have fun. The competition here is so much greater just for the podiums, the prizes and the best sponsors. It isn’t like it was in 2016 when was done only for the love.
Any time you can match your socks to your shirt this well - good things happen.
SRS: How do you feel about the dancing community (especially outside of the US) blowing up?
EC: I still thinking the same thing since i started riding ‘seriously’: we have Europe with the dancers, Brazil with the freestylers and Asia with the mix of both. The level of the riding keeps upgrading and thats motivates me to keep training! I still think that in some years we are going to reach new levels of tricks and dancing steps that will surprise everyone.
To see what Eduardo pulls out of his bag of tricks next, give him a follow over on Instagram or stay tuned to the Stoked Ride Shop Journal for upcoming interviews with some of the top up-and-coming longboarders in the world today.
All photos shot by Glauber Sampio and Rubens V. F. Silva and authorized to use by Eduardo Campos
