James Brockman, Elissa Steamer, Chris Cole/Tom Asta, Tommy Sandoval and Sheldon Meleshinski on the set of Zero’s “Strange World.” Not pictured: Young Jeezy, Richard Nixon and the interns from “Mythbusters”
Bringing it all the way around, we shall now contemplate whether the Snowman-powered Chris Cole/Tom Asta section is meant to characterize Zero’s “Strange World” in the same way that Ally McBeal’s torrid affair with Jon Bon Jovi came to characterize the final years of FOX’s “Single Female Lawyer.” There is the combination of old and new in Cole and Asta themselfs, Young Jeezy on a Soulja Boy instrumental indicating the continued dominance of the South and Atlanta in particular, and this time around, nobody gets smacked in the face when Chris Cole does his cab frontside blunt on the handrail. It is a section of contrasts that also features a manly nollie heelflip backside lipslide from young Asta, who has morphed from a rail-centered pipsqueak in his OIAM days to a pipsqueak who has time to kickflip into and out of the same backside tailslide if the desire so moves him.
There are other pipsqueaks at work here, suggesting that Jamie Thomas may actually have been bummed that Zero already burned through the “New Blood” title a ways back: Donovan Piscopo brings kind of an Austyn Gillette update to the Bobier part in “Misled Youth” and stocky Canadian Jamie Tancowny* runs roughshod over a good deal of different terrains in the curtain-bringer-downer, karate kicking his varial heelflips and f/s reverting out of a stock k-grind which is a more interesting take than I’ve seen for a while on a handrail. The awesome clipper backside flip is there, with perhaps a brief view of the disappearing sequence-ruiner, as well as a giant switch backside 180 and frontside heelflip, and the Thrasher bigspin cover that came out super good. At 20 or whatever he is who knows whether he’ll get any taller, but aside from shit like the kickflip noseslide Tancowny’s generally safe from the trappings of lil-kid style.
Elsewise the likes of Garrett Hill and James Brockman come off better in this video than in some past appearances, with Hill looking kinda more polished and Brockman executing some pretty major moves that are hard to cast aside, though we have not been huge fans in the past. It would’ve been cool to see more footage of Rattray, whose street stuff seemed more invigorated than in recent years, and the same with Ben Gilley’s southern caveman act, which has somehow become more entertaining and bracing as years go by. It’s like he’s got more to lose by throwing what looks like a sizable frame onto those railings, maybe. One-eyed Sheldon Meleshinski has one of the best tricks in the whole video with a bigspin backside tailslide that’s spun straight into the camera and looks all ridiculous. This posting would also be remiss if it didn’t mention Dane Berman’s ollie into the channel bank as one of the scarier-looking feats in recent memory.
This video was actually more anticipated around the BTO play-yard than the past few Zero vids in part because of the hallucinatory stylistic change-up. It kind of reminded me of the mid-90s, when Nine Inch Nails kept heading further down the spiral and you wondered eventually whether he’d have to just off himself to keep things headed to their natural thematic conclusion. Zero had taken the skulls/death motif to a pretty minimal end in “New Blood” so the fresh bad-trip approach was welcome, but it’s interesting too how closely some of the editing and whatnot stayed to the “Thrill of it All”/”Misled Youth” era – thinking here of Gilley’s 50-50 attempts/accomplishment, Garrett Hill’s fumbling 50-50 transfer at the beginning of his section, the overall pretty enjoyable soundtrack and the tight 30-minute runtime. Zero makes these videos cheap nowadays and both this and the Slave one are worthwhile.
*whose “Lil Fucky” nickname is I think one of the best ones out in a while