Is Brad Staba’s jaded/sarcastic persona an elaborate mask for a decade’s worth of bottled-up embarrassment and discomfort after perpetrating several high-profile backside salad grinds in the late 1990s and early 2000s? The answer undoubtedly is yes, though allowances must be made within a time period of hotly fermenting excess when Tum Yeto rode high upon the skate hog, selling decks emblazoned with nothing but Tod Swank’s juvenile and colourful scrawls and later embarking upon a plan to build a skateboard so large it would be an affront to God himself. ‘Nervous Breakdown’ was another chapter in Foundation’s by then established strategy of reinventing itself roughly every 18 months or so, introducing Daniel Shimizu and Omar Salazar and copping Ethan Fowler from atop various European contest-circuit podiums. Yet it was floppy-haired vintage tee shopper Brad Staba who closed the video, shuffling down monstrous handrails and cruising through dirt and occasionally flashing a grin that would later launch a thousand Skate Mental graphics of questionable moral standing. Brad Staba possessed one of the skating world’s best nollie frontside 180s around this time as well as a command of the kickflip backside 360, then a rare bird. The line at 1:07 bumps up the bar from the opening run in his Duty Now for the Future debut, where Brad Staba opened for future Latin American real-estate speculator Daniel Haney and horror movie budgeteer Jon West.
This video part showcases the freewheeling lackadaisically achievable solely through sporting xtra-large t-shirts and pants long of flapping denim leg. It’s a little bit of a challenge to buy into Transworld’s positioning of Biebel and Wenning as a summer buddy-pro duo, given that they skate none of the same spots here and indeed do not even seem to be on screen together, but there is enough common technical ground beneath those frayed cuffs to argue favorably for this part somewhere in the lower levels of the high temple of shared video parts, somewhere beneath your Hsu/Barletta, Carroll/Howard, Kirchart/Klein and Way/McKay. The Pier 7 blocks generally are some of the best backdrops for Brandon Biebel’s manualing prowess and he is known to have puffed out his big t-shirt at least eight dozen times over the course of recording these tricks. At this point in time Wenning still hovered near the height of his powers, his last line here worthy of bringing up in any conversation about the best lines within the Transworld video catalogue and notable too for featuring among the last colors of the original Lynx, which beyond all expectation or reason has since proven impossible for DC to revive without screwing up some major detail.
Some time back a series of summerish video parts was posted up onto this space while the world bided its time until the new Rick Ross CD arrived. To come are several more in a series curated so as to give appropriate glory to Rick Ross, his Wing Stop franchise poultry restaurants and summertime in general.
As far as second-wave Plan B riders go Pat Channita’s not talked about as much as Jeremy Wray or Rick McCrank or even Ronnie Bertino, but around the time he came out the crispiness of his flip tricks was regarded in certain circles as on a par with fellow World employees Daewon Song and Lavar McBride. Between the capacity for ambidextrous pushing, significant pop beneath the inward heelflips and that one backside heelflip over the bench Pat Channita represents a legitimate before-his-time contender, as well as the fact that he looks to have been 15 or 16 around the time he filmed all this, raising questions as to how or why he otherwise seems to have fallen through the cracks of message-board debates and where-are-they-now retrospecticuses — an obvious question to ponder is whether the fretful black slime from those Genetic shoe ads may have poisoned Pat Channita into a plotting supervillain bent on general chaos as well as ruining Peter Parker’s personal relationships. Irregardless, all the curbs, khaki shorts and Barack Obama presidential campaign tune make this an enjoyably breezy summer video part.
CARLSBAD, CALIFORNIA–(Marketwired – May 30, 2014) – Pacific Vector Holdings Inc. (TSX VENTURE:PVH) (the “Company”) is providing this corporate update and the bi-weekly Default Status Report in accordance with National Policy 12-203 – Cease Trade Orders for Continuous Defaults (“NP 12-203″). On May 1, 2014 the Company disclosed in the default notice (the “Default Notice”) that, for reasons disclosed in the Default Notice, there would be a delay in the filing of its annual financial statements, accompanying Management Discussion and Analysis and related CEO and CFO certifications of annual filings for the financial year ended January 7, 2014 (collectively, the “Required Filings”).
As a result of this delay in filing the Required Filings, a management cease trade order was granted to the Company. The MCTO restricts all trading on the securities of the Company, whether direct or indirect, by the Chief Executive Officer and the Chief Financial Officer of the Company until such time as the Required Filings have been filed by the Company. The MCTO does not affect the ability of all other shareholders who are insiders of the Corporation to trade their securities.
Below is the update on the status of the financing and a corporate update.
As announced on May 23, 2014, the Company was unable to obtain an immediate bridge of three hundred thousand dollars which would have allowed for the payment of current obligations. As a result, a first secured lender whose one million dollar loan was due April 17, 2014, has filed a notice of default. In addition, another secured lender, owed four hundred thousand dollars which matured on April 21, 2014 and an unsecured lender, owed one million dollars which matured on October 31, 2013 have filed notices of default. The Company is diligently working to cure the defaults.
As a result of the Company’s financial circumstances, its stock price has reacted negatively and its ability to complete the conversion of US$6,959,987 in debt to equity and its ability to raise additional equity or debt has been greatly inhibited.
The Company has continued to advance the sale of the assets of Reno Wilson Inc. (Gatorz Eyewear) to a third party for gross proceeds of approximately $1.2M which is subject to fluctuations based on the value of the inventory and accounts receivable. The purchaser has completed the first draft of the legal agreements but the documents and structure will need to change as a result of the notice of default from the secured lender.
On May 28(th) , the Company’s wholly owned subsidiary PVH DNA Inc. entered into a rescission agreement (the “Agreement”) with DNA LLC, which is the company that owns the Alien Workshop, Habitat and Reflex skateboard brands.
The Agreement rescinds PVH DNA’s 51% interest in DNA LLC and cancels the license that PVH DNA had to sell those brands.
Under the Agreement, the Company has 6 months to sell its current inventory of Alien Workshop, Habitat and Reflex skateboard branded products. In exchange Dyrdek Enterprises, the second largest shareholder which owned 46.5% of DNA LLC, has agreed to take over stewardship of DNA LLC and pay the final payroll for the PVH DNA employees.
The Company also closed its only retail location in New Mexico bringing the total number of retail locations closed since March to 19. The Company continues to have 15 retail locations in operation.
About Pacific Vector
Pacific Vector is a premier action sports retail and consumer brands company.
“Everyone is just totally winging it, all the time,” the Guardian smirkingly intoned this week, from Barack Obama on down, dudes are doing what they can in the moment to get by and talk the talk, if not necessarily walk the walk. “This realisation is alarming at first, but it’s ultimately deeply reassuring,” blogmeister Oliver Burkeman commentates as he posits the power-brokers of the world staggering from crisis to crisis and trying not to let us see them sweat.
Approaching a 20-stair handrail — never mind the gaggle of screaming girls marauding downtown Los Angeles* — Rob Dyrdek can’t buy himself a few seconds with which to make second guesses, by snugging down his beanie or flipping open his cellular telephone. He trusts his gut, charges it and rolls on to the next obstacle. In the skateboarding business Rob Dyrdek has gained renown as a master tactician and virile negotiator. To wit, eight months ago:
“The DNA Brands are in great hands,” said Rob Dyrdek who will continue as minority owner and team rider of DNA LLC. “Chad Foreman and Pacific Vector, together with the three founders, Chris Carter, Mike Hill and Joe Castrucci, have created the perfect partnership to grow and develop the DNA brands. With their combined expertise, talent, and drive, the possibilities are limitless.”
Limitless by design, even. Yet, there are financial tiger traps and jackal-like lenders lurking within this Jungle Book where Rob Dyrdek, who we imagine here in a loincloth as the fictional young boy character of Rowgli, passes his days skipping from deal to deal, handshake to endorsement. But there are cold nights in which them shadows transform that throng of hormonal tweens into a pack of bloodthirsty bondholders, nipping at the heels of precocious and carefree business ventures.
23 May 2014 20:50 EDT Press Release: Pacific Vector Holdings Inc. Provides Corporate Update
CARLSBAD, CALIFORNIA–(Marketwired – May 23, 2014) – Pacific Vector Holdings Inc. (TSX VENTURE:PVH) (the “Company”) is providing this corporate update.
As announced on May 15, 2014, the Company required an immediate bridge of three hundred thousand dollars which would have allowed for the payment of current obligations. The Company was unable to obtain the required bridge and as a result, a first secured lender whose one million dollar loan was due April 17, 2014, has filed a notice of default. In addition, another secured lender, owed four hundred thousand dollars which matured on April 21, 2014 and an unsecured lender, owed one million dollars which matured on October 31, 2013 have filed notices of default. The Company is diligently working to cure the defaults in the next five days.
About Pacific Vector
Pacific Vector is an action sports retail and consumer brands company.**
Earlier this year, in a candid bro-to-bro moment that involved defining a douchebag and ruminating on the import of being checked for prostate cancer so as to flourish and enjoy the various triumphs of Gulf War military commander Norman Schwartzkopf, Rob Dyrdek revealed what it is like to slam on the 20-stair M&A handrail.
“I grew up, the skateboard company I turned pro for, was from Dayton, Ohio. And 20 years after they started they sold to Burton Snowboards… and they were having a lot of trouble, and I went out and bought that thing. Because I was like the kid from Ohio, 20 years later, comes around and buys the company. And I got slapped across the face in reality of emotionally purchasing a company and being faced with a hornet’s nest on the inside of trying to turn it around and involve people that have been doing something for 20 years. It’s a brutal lesson I have learned this year that I will never face again.” (19:30)
Josh Kalis, who rode for AWS 12 years and seems to care about those dudes as deeply as anybody even after quitting a couple years ago, told Jenkem this year that he believed Dyrdek did the right thing selling DNA to Pacific Vector, despite doing so under some duress:
“Well to tell you the honest truth, Rob really seriously tried to keep that shit the way it needed to be. He gave the power to those pros, and was like, let’s make this right. Dyrdek was going broke keeping Alien Workshop afloat, that’s what people don’t know. As far as the impression I have, he was paying for every single thing out of his own pocket, to where, he was spending more money on Alien then he was bringing in from everything else and it was breaking him. He had to do something. That dude lost millions of dollars trying to keep it going. And he did that for the dudes, for the original owners, he did it for the current pros, he did it for all of us. It was just too much. Now, half of it is owned by this new company, which is being head up by Chad who helped build Blackbox with Jamie Thomas. So I look at it as it’s in good hands.”
Among the difficult things to understand about the apparent collapse of AWS is how a top-tier company with a globally recognized name and graphics and lore, years of consistent promotion by a certified TV star, regular video output, potentate pros, and decades-long ties to retailers and wholesalers and suppliers, can’t make it work. At a time when relatively small companies like Palace and Polar (spiritually indebted to the Sovereign Sect) are balling for position on shop racks, when Jereme Rogers and Brian Wenning and James Kelch and Alex Olson and seemingly anybody else with a couple dimes to rub together can up and start glossy or gritty board concerns that don’t immediately evaporate, when companies as far removed from their respective heydays as Santa Cruz, World Industries and Blind can persist, why not a company as storied and comparatively still-vital as Alien Workshop?
“It was just getting harder,” DNA’s self-identifying “business guy” Chris Carter remarked upon an IASC panel three years ago when outlining his reasons behind selling to snowgoods maker Burton in 2008. The global economic slowdown had something to do with it, he said; Europe was “tough” and DNA had missed its window to sink American dollars into a European distribution of its own back in the early ’00s when the company was flush. “The deck company used to be the marquee brand,” Carter said, name-checking to seven-ply titans of years gone by such as Vision, Sims and Powell. Some time ago shoes assumed that spot and “deck brands are getting pushed further and further down.”
Chris Carter mentions several times decks’ commoditization, as AWS and Habitat competed for wall space and parental plastic against an expanding range of shop boards, blank boards and smaller rivals with slimmer payrolls and less overhead. Josh Kalis in the Jenkem interview figured monthly board sales of his own models fell from 6,000 decks per month in the Year 2000 to 1,000 by 2004. Archival records indicate that during this period Josh Kalis was not imprisoned for crimes against humanity, did not vie for the title of “world’s worst person” and clubbed no baby seals.
By this point DNA, already bicoastal, considered itself a global deck merchant, as per Chris Carter. Kalis and Dyrdek’s Seek imprint, which seemed directionless early on and destined to rank alongside PJ’s Undapendent records and “Street Dreams” in the slam section of Rob Dyrdek’s business career, nevertheless reflected DNA’s ambitions to build an international team in the early 00’s. Lengthy European stays became de rigueur for top-shelf video parts and retaining occasionally destructive travelers such as Danny Renaud further padded expenses. In Dayton DNA supported a loyal employee base, one-third of which Chris Carter in his talk estimated had been there for a decade or longer by 2008, who deserved things like benefits and retirement plans.
“You can call it selling out, I call it selling in,” Chris Carter said of the Burton deal, which in three years would teach him more about running a company than he’d learned on his own over the prior ten, he said. Burton’s financial posse were a disciplined lot and transfixed by profit margins, forecasting, lending rates and tinkering with distribution networks; under Burlington’s watch, DNA grew for three years straight, according to Chris Carter. Yet even they were unable to tame fallout from the 2008 worldwide credit crunch, and in response to consumers’ diminished thirst for snowboards and coats, Burton trimmed its portfolio in 2012, pulled out of the skate shoe biz and offloaded the DNA unit to millionaire teamrider Rob Dyrdek, who reportedly gushed before the deal was even complete that he intended to own Alien Workshop forever.
Are Dyrdek Enterprise’s accounting darklords as sophisticated as Jake Burton’s? It is difficult for a person to know, but soon Dyrdek, Carter and Hill would venture onto a corporate path far afield from the frugal one Chris Carter charted in 1990, as described to the IASC audience: “We just saved our money. We actually financed it all ourselves …we started the company with $26,000. That was the startup capital. We were equal partners in the business. It was basically self-funded. We didn’t borrow any money. In fact, in the history of the company we never borrowed any money. We never took a bank loan. We never used a line of credit, not one time. We borrowed to buy a building and that was it. It was all self-funded. …We reinvested all the money back into the company.”
Amid the dark nights of soul Rob Dyrdek would later confide to Larry King, he determined to parlay DNA into a larger and more-diverse extreme sporting venture. About 18 months after cementing his DNA purchase, Rob Dyrdek in October 2013 sold it to Pacific Vector Holdings, for most of its lifetime a sunglasses company that in recent years had absorbed several extreme retail stores. Rob Dyrdek’s deal seemed to involve selling DNA for a stake in the enlarged company, for which he appeared to have a broader plan, since earlier that year the company licensed rights to develop “Street League” stores in return for royalty payments.
Pacific Vector aimed to expand given the sunglasses business appears not to have been a profitable one for the better part of a decade. It’s difficult to get the full picture from the financial statements filed by Pacific Vector via Canada’s SEDAR filing system, but they do show net annual losses each year going back from 2012 to 2005, ranging between $199,000 and $1.7 million, while annual sales were between $1.4 million and $2 million***. The jury remains out as far as 2013 results — at the beginning of May Pacific Vector notified investors that these couldn’t be filed on time because the company was still working on getting financing and couldn’t pay auditors to look over the numbers.****
Two weeks later the “Alien = done” topic materialized on the SLAP board; employees and team members were rumored to have been laid off, AWS mothballed, poignant malt-liquor photos posted to instagram accounts. The messageboards have Habitat architect Joe Castrucci retaining some intellectual property associated with the company and potentially replanting company and team beneath a different distributor, while posters rumor that Rob Dyrdek is considering a court battle for control of Alien, or the company potentially sold at auction.
For those with fond memories of skating the boards, rewinding the multicoloured videotapes, squinting for hidden messages in adverts and appreciating the gradual mind-warping at work, the options are not great ones. Alien could go away, perhaps not on its own terms, but with its legacy secure and on a respectable note as far as output, pro-personnel and stature; to some this is the preferred option. A Blueprint-like resuscitation seems a real and depressing possibility, given the nine lives that some shoe and clothing companies seem to have been imbued with in recent years. The moon-shot would be for Rob Dyrdek to again ride to the rescue and restore AWS in what would almost assuredly be some stripped-down fashion. Zen-stated wallride beltholder Jake Johnson for one has stated his intent to chill for a while and see whether AWS can work it out.
Could an Alien Workshop with a smaller team, scaled-back selection of t-shirts and hats and whatnot, and a sensible travel/video schedule be able to pay its HQ staff a living wage, cover Carter/Hill’s mortgages and not drain further dollars from Rob Dyrdek’s coffers? Does Rob Dyrdek have any more tricks yet up the sleeve of that DC Shoes varsity jacket? Have Carter and Hill dug out their basement-buried gold ingots yet? Will the retired Heath Kirchart return the favor and continue to consider a defunct Alien Workshop his board sponsor?
Alien Workshop’s passage into shadow, permanent or not, is worth pondering. It would seem the biggest board company to go out since Plan B, and casts a singular and long cultural shadow. For a lot of people it is deeply personal. Like Girl/Chocolate, Toy Machine, Zero, Black Label, Powell Peralta, Baker and maybe a few others Alien Workshop not only resided among the top tier of a fickle and trend-driven industry for many years, it changed and directed the conversation with graphics and videos that couldn’t have come from anywhere else and inspired various acolytes and copycats. This blogging web page from time to time has taken a critical way with Alien Workshop and Habitat, and that is because the people running them have produced work worth holding to very high standards. Among the several possible outcomes mentioned earlier Boil the ocean Weblog very much is pulling for #3. While we wait, wander through the Black Hole.
*They call Los Angeles the “City of Angels” according to the US movie “The Big Lebowski”
**Versus earlier press releases in which Pacific Vector billed itself as a “premier” action sports retail and consumer brands company yall.
***For perspective, DNA at the time Pacific Vector bought it had sold $7.5 million worth of boards and clothes and whatnot over the prior 12 months.
****Earlier in the year, Street League and Pacific Vector dropped their plan to build Street League stores.
“Recession over!” arose the jubilant cry across American streets and by-ways these past days, as consumers cheered on trucks, trains and cargo ships plumped with exportable goods, steady gains in housing values and now, the most recent leading indicator: yung Trevor Colden, wearer of the beanie and holder of the 2011 Tampa Am belt, discussed emptying his savings account, to the tune of $15,000, for the pleasure of leaving Mystery ASAP for the presumably greener* pastures of Brad Staba’s Skate Mental imprint.
Trevor Colden offered his account of the career-minded balling in a Thrasher website interview shortly after a similarly themed Instagram posting set off questions about his spendthrift approach to contract management.
The graphic that people are probably talking about the most was the one with the check. What was that all about?
That check is the check I had to pay to buy my way out of my contract with Mystery.
So you had a contract and wanted to get out early to switch to Skate Mental?
Yeah, I tried to call Jamie a couple of times and he didn’t answer. I talked to Bobier and he knew the situation and they were going to find a way to solve it. Long story short, there was no way he was going to let me out of the contract, no matter what. He was asking people for a lot of money and they weren’t going to give it to him so I went ahead and said, “Fuck, he’s not going to let me out of my contract, I’ve got $15,000 in the bank.” He was asking for double that. So I called him and told him, “Hey, I know you’re really mad at me right now. I just really want to make some changes. I can offer you $15,000. That’s all I have. I’ll come down there tomorrow and give you a check.” He said, “Yes, I graciously accept your offer. I’ll have Bobier meet up with you.” Then I started thinking, “Fuck, that’s a lot of money! Taxes are right around the corner! Shit!” So I called him back and offered him $10,000. That was still more money than he owed me in my contract. I was hoping he’d go for it. But nope, he wasn’t down. So I went down there the next day and gave Bobier the check.
Computer bash files worldwide can testify to the numerous keystrokes and characters deployed on either side of this heated matter in the days since, though Jamie Thomas’ side remains untold. Was Trevor Colden, into whom Black Box/Mystery presumably had invested valuable U.S. dollars, time and transport fuel over the course of his amateur rise, now looking to play fast and loose with legal terms to which he had agreed in the not so distant past? Did Jamie Thomas, who recently touched on the hardgood industry’s struggles in his own Thrasher interview, play needless corporate hardball with a youngster who apparently really really didn’t want to represent Mystery any longer? Is Skate Mental, which one might reasonably assume would pick up part of the tab for this kind of personnel wheeling and/or dealing, grinning through Doritos-yellowed teeth at all this? Absent details on guarantees, prepaid incentives and otherwise, does the math described above make sense?
Such questions invariably amount to little more than smoke and mirrors obstructing the real debate here, which as ever must harken back to that one other time period when America was emerging from a recession and war in the Middle East, Nas was preparing to release an album called “Illmatic” and a person with the last name of Hawk was performing pressure flips: the early 1990s. In the matter of Trevor Colden and his $15,000 check, is the true question not “who was more Rocco?”
Steve Rocco’s daring feats of team-raiding, fueled in turns by rampant money-throwing and sheer gusto, remain the stuff of slurred legend and at times serious documentary filmmaking. Gazing out upon the Pacific from his opulent trailer home, the gold fronts of Steve Rocco’s inner Bryan “Baby” Williams no doubt would have cracked a smile at the thought of a kid nonchalantly cutting a check to take his destiny into his own hands, and then plastering it across the bottom of one of his debut pro models (even if Trevor Colden’s dealmaking remains decidedly amateur-level). Or, Ipad in hand, might Steve Rocco have half-smiled and nodded in the general vicinity of San Diego, recognizing the real in a company holding a itchy-footed teamrider to terms that both had agreed, while sending a signal regarding expectations to other riders future and present, and providing a roadmap to other company owners contemplating their own next moves when top-drawer talent, if Trevor Colden should so be called, abruptly announces its intention to fly the company coop?
How much, if any, of the previously-quoted dollar figure represented Trevor Colden’s footage for his Skate Mental debut part? Are the excellent frontside noseslide, backside smith grind backside 180 and switch backside tailslide line offset entirely by an ill-conceived choice involving skinny camos and colourful socks? Would pro-level negotiator Rob Dyrdek have counseled Trevor Colden to instead ride out his contract til the end, to avoid burning bridges and potentially to help stoke a broader bidding war for his frontside k-grinds? Relatedly, is Alien Workshop thousands of dollars richer in hamburgers and hair grease now that John Fitzgerald and Donovon Piscopo are off the team, as suggested by the AWS website?
*Correct, a weed leaf joke
Fifty or so years from now, when rapturous books and articles are written about skateboarding’s free-wheeling early decades, televised contest series mounted by deep-pocketed energy drink merchants likely will be fingered among the culprits pushing for ever-greater institutionalization. But hopefully there will be footnotes and appendixes nodding to the occasionally unhinged goings-on at contests such as notorious “runs” performed by Neil Blender and Sean Sheffey, the Tampa moat, and the legend of Tom Penny supposedly blowing the whole of a contest purse in one night whilst celebrating on the European club circuit.
It’s no secret that people rage out at contests, has that ever affected anyone’s “performance” judging?
The very first year we did the AmsterDamnAM contest, someone had the bright idea to use Adam Dyet as a judge. I think Dyet really wanted to judge and thought he was up for it. My other judges were P-Stone and Berard (when he was really piled out). The Skatepark of Amsterdam has beer at the concession stand. And they continue to bring beer after beer to everyone running the event all day long. About one heat into a full six heat day of qualifying, Dyet looked at me and said, “I’m not gonna make it bro” because he was jet lagged, smoked silly and drunk off his ass. He looked like he was on heroin.
So he just passed out asleep. We put sunglasses on him, propped his clipboard up on his leg and put a pen in his hand full Weekend at Bernie’s style. It was awesome. Berard and P-Stone weren’t much help either, as P-Stone was beet red from being 400 beers deep and Berard couldn’t talk. I pretty much judged that one solo.
In a testament to the reliable if rickety supply chain logistics tenuously connecting video-makers with skateshops, “Cherry” hardcopies now are safely installed upon brick and mortar shelves and therefore the real sport concerning Supreme’s not-quite-so-long-awaited inaugural offering can begin: guessing and tabulating what will ultimately become the video’s most-copped moves. Bucket hats, wrist casts and tucked-in beaters all are obvious contenders, as these must be. But of head-to-toe zoom-pans, Baker2G/Screw-mo interludes and the amorphous front-to-back montage-collage edit, a tantalizing prospect for aging pros who may wring more mileage from 38 seconds of footage by sprinkling it intermittently throughout a lengthier production, and potentially pulling another five seconds of screen time by tacking on a bailed flatground trick to the end of a line?
It is a dense movie. Toward the end of the video there is a clip that encapsulates the whole deal pretty well, wherein Tyshawn Jones and Nakel Smith, two amongst the new vanguard offered here by Supreme, chitchat briefly before Tyshawn Jones slides down his pants and bends over a Citi bike in pursuit of a clandestine whiz, while Nakel Smith runs, jumps on his board and gaps out to a beefy feeble grind, thereafter cheered from nearby benches by among others a pigtailed Alex Olson, apparently mid-cell phone call. Elsewhere the vid meanders through apartmentsful of idle kids, a fistfight, adolescent come-ons, an irate vagrant shouting and slapping himself repeatedly in the face and again Alex Olson, heated and manhandling an oldster who ignores a plea to scoot himself off a prized spot.
Alex Olson, who maintains one of industry’s more transparent pro regimes, recently broke down the episode and expressed some remorse, in what’s probably a reasonable manner for a subculture that is currently fumbling its way toward a place that has room for gay and transgender participants and even former rollerbladers. In some ways Olson’s Tumblr mea culpa was a far cry from the comparatively more sterilized walking-back statement that Nyjah Huston disseminated after his remarks that girls shouldn’t skate courted a certain amount of PC backlash. One could argue that for Alex Olson, who maintains his own sponsorship ties to international corporate concerns, the stakes were similar to whatever Nyjah Huston may have believed he faced, given that Alex Olson’s former Nike coworker Peter Hewitt was reportedly booted from his position for recounting a graphic and similarly un-PC poop scenario in an interview.
Dylan Rieder, who shares billing with Alex Olson to open the third act of ‘Cherry,’ ponders the conventional-wisdom concern with regard to ‘big’ companies’ intentions in skateboarding in an interview in this month’s TSM, namely, that said big companies may be fairweather profiteers that duck out the back door at the first sign of an early-90s style collapse:
”I appreciate everything Adidas and Nike do for skateboarding, and they pay some of these dudes really good money where they’ll be retiring off it, but how long is that going to last? They’re going to be in skateboarding until skateboarding is not cool anymore and then what is it?”
Alex Olson and “Cherry” impresario Bill Strobeck can speak from some experience here, given how Quiksilver’s abrupt exit from the skateboard-threads program freed both up to work on Supreme’s vid. The track record though suggests that the recent economic typhoon engulfing the industry has sunk more skateboarder-run ships, ranging from DVS’ bankruptcy, Es shoes’ apparent hibernation, the diminished status of players such as Adio, Ipath, Elwood, Vox, Circa, etc. (It can be debated elsewhere whether Gravis, whose skateboard footwear effort also is defunct, counts as an “independent” shoe outfit.)
Dylan Rieder’s shoe boss Keith Hufnagel, in a separate recent interview, ponders a more interesting question: Rather than exiting when times get tight, what if the big ones instead remain and consolidate their position, strengthening their hands for when economic sunrays again deign to shine on the biz and expanding their status as content/cultural gatekeepers?
“Yes, there are some pros these days that are able to make a great living off skateboarding, which is amazing, but it’s a sad day for skateboarding when skateboard footwear and the industry in general is becoming more and more controlled by these big corporate companies. The more accepted these big corporations become in skateboarding, the harder it is for the smaller, independent brands to compete and maintain a voice, which unfortunately results in the corporations having a large influence on the direction and shape of skateboarding.
…When skateboarders get kicked off teams for smoking weed, getting too drunk or just doing one stupid thing, then things have changed. With skateboarding becoming so commercialized, there are sacrifices to be made on both ends. The big companies have to realize what subculture they have gotten involved with and deal with everything that comes along with it. But skateboarding has also changed as it has become more mainstream. For better or for worse it’s just not what it was before. This discussion is for the older crew and maybe some of the young guys, but I don’t think most people care anymore or even understand.”
One could ponder whether Supreme, wielding its renowned reputation as a vibe-heavy tastemaker, played a meaningful part in Nike’s third and successful attempt to develop a “skate footprint,” paving the way for various of its multinational rivals to follow suit and wage blistering combat for shoe-wall real eatate and market shares? It’s debatable, similar in fashion to the true origin of time itself, but it’s interesting to look at the unvarnished street scenes afoot in “Cherry” from this perspective, especially since it isn’t like Supreme had to do a video, much less what will for sure be one of the great ones of the year that lingers over the raw and illegal, same as “Sabotage3,” the House video and so on.
Will “Cherry” inspire a shop-video dynasty in the pattern of the hallowed FTC vids? Has Bill Strobeck achieved the to-date pinnacle of HD skate videomaking? What cards may Anthony Pappalardo have yet up his sleeve? Who will be the first to lampoon the inset image with something like a grinning Fred Gall in place of Camille Row? Is Fucking Awesome off the hook as far as videos go for a minimum of four or five years?
The 1990s Doomsday Clock moved one minute closer to the much-feared ‘midnight’ mark Thursday following an announcement that Ronnie Creager had departed Blind.
The surprise move marked the exit from his company of the last remaining featuree of the 1996 World Industries production ‘Trilogy,’ ballyhooed by several messageboard commentators as one of the two seminal documents of 1990s` schoolyard skating, next to ‘Mouse.’
“We cant thank Ronnie enough for all his contributions,memories and fun times over the years,” Blind officials wrote in a press statement shortchanged of apostrophes. “We wish Ronnie nothing but the best and look forward to seeing more amazing skating from him in the future.”
Ronnie Creager was not immediately available to post to his Instagram account. The move caught some observers off guard, abruptly capping a 20-year tenure on a company originally founded by Mark Gonzales under the World umbrella, where Ronnie Creager was the longest-serving team-member several times over.
Overseers of the 1990s Doomsday Clock, including an international assortment of blogmasters and aging skateshop employees, in response moved the clock’s minute hand one increment closer to ‘midnight,’ which would signal the effective end of the 1990s’ influence over kids and industry players alike. The setting currently stands at 11:51, following the Ronnie Creager announcement.
Clock officials previously had moved the minute hand closer to midnight at various times over the past 14 years, including after Steve Rocco divested Dwindle Distribution, when Joey Suriel and Richard Mulder became licensed to sell real estate and when Rick Howard did not contribute footage to ‘Pretty Sweet.’ The minute hand was moved farther away from midnight in 2006 when Daewon Song earned Thrasher’s ‘Skater of the Year’ award, in 2011 when Patrick O’Dell released the Menace ‘Epicly Later’d’ and also following DGK’s disclosure of the lost Fabian Alomar video part.
Guy Mariano’s comeback for the Lakai video set the clock back by a full ten minutes, the largest increment on record, igniting controversy among some pundits who claimed the trick selection in fact merited moving the minute hand closer to midnight and others who argued for setting it back by as much as an hour on general principal.
The clock has proven a magnet for criticism over the years, with some arguing that the 1990s are destined to live on forever in the hearts of those who truly believe, and others who maintain that the 1990s ended at the stroke of midnight on Jan. 1, 2000, an event knowed to some as ‘Y2K.’
Clint Walker’s flubbed nollie heelflip and subsequent board tumble in the Ambiguous vid ranked as the most vertigo-inducing video clip of 2013. Fellow Birdhauser Ben Raybourn in his new Nike shoes video part further challenges vestibular systems at around 2:00 with his mindbending run through the big old waterslide. Glad to see the horse pool again.