Arriving three quarters of the way through “Pretty Sweet,” Marc Johnson’s clean and fast opening lines sail through like a cleansing breeze after about an hour of heavy-handed editing and over-caffeinated cuts between three or four angles of the same trick. This part for me right now is far more enjoyable to put on than his “Fully Flared” opus, partly because it is a third of the runtime, and partly because Marc Johnson seems like he’s having more fun, though it sounds like some encroaching-deadline madness inevitably crept in. This dude has been steadily recording great video parts for almost 20 years and you respect his efforts to think up something new to bring each time out, but Marc Johnson is as watchable backside flipping benches and switch frontside flipping into banks as he is nollie backside heelflipping out of a frontside noseslide down a rail, or rolling away from that manual b/s 180 fakie manual, perhaps the best-conceived and for sure best-executed wheelie trick of the year. This dude can make a troublesome trick like the backside noseblunt backside 360 look fluid, the brick QP casper turned a lot of those endless flip- out iterations on their ear, and that fakie 5-0 on the guard-rail cruised like an expensive hovercraft.
Posts Tagged ‘tank tops’
Stevie Williams to me never really exuded rap-star decadence, but maybe I’m looking at it all wrong — here he is, tapping spots across three continents for a relatively slim three-minute part, stopping through the old Philadelphia stomping grounds because he knows how a far a couple tossed-off tricks will carry. It seems like Stevie Williams isn’t regularly mentioned among the all-time style slayers, even though his old Chocolate commercial inevitably bubbles up in any meaningful discussion of the best lines ever done, but his first run through the Barcelona blocks here reminds of a gap when he’s not out skating. The fakie hardflip, white tees, waist-high switch frontside noseslides and switch heelflips remain in effect but he still seems to be making an effort when it comes to clips like the switch front blunt and the switch varial flip nosegrind revert (a new spin on one of the all-time Lockwood classics). He keeps his ledge combos Satva and Lucas tasteful and finds a couple angles on the MACBA ledges that I haven’t seen before. Between the show-closer status, heavy Jay-Z tune and his first full part in years Stevie Williams sorta has this section tracking towards a ‘moment’ but does himself a favor by not overextending it toward the five-minute/two-song zone, whether by judicious editing or lack of actual tricks filmed.