Summer of Good Vibes

August 21, 2017

The heady daytimes of midsummer were made for growing green things, construction projects and loving refurbishments, laying supplies and fortifications for the long winter nights ahead. What with its rolling papers and noon wakeups, skateboarding leans toward the lazily fiddling, devil-may-care grasshopper in the tale of old, or perhaps a chaotic Fraggle. But the bold ant, in its levelheaded industriousness and generous way, can provide an alternate insect avatar, and skating must never overlook the rebuildatory tendencies of the lowly Doozer. Half-submerged in a midsummer night’s dream of positive vibes, Bowl The Ocean site examines three visions of a world that is not yet the future, but could be.

Clint and Reef, Ollie Men: Since time’s beginning, skateboarders of all stripes have celebrated that singular and uniting thrill, the big jump. Even so, one of the biggest ollies of recent years has sown division. After dueling ollies down the Wilshire 15 and over the yellow poles (implanted for pure gnarlieness enhancement) appeared last year on the Instagram pages of Birdhouse bad boy Clint Walker and FA-affiliated ATLien Reef Johnson, Jenkem magazine probed the backstory — whereas Clint Walker had tamed the massive gap and sat on the photo in hopes of bagging Thrasher’s cover, comer-upper Shareef Grady unknowingly did the same ollie and, over Clint Walker’s career-minded protestations, they both wound up pushing their tricks to the socializing internet masses to get what shine they could. The scenario was a debacle made possible by a unique fender-bender involving old and new media, and though few hard feelings were aired publicly, nobody seemed satisfied with the outcome, which also had the effect of clouding a legitimately heavy trick.

This year, Jason Hernandez is videotaping Clint Walker and the rest of Tony Hawk’s brood for what’s being billed as ‘The End’ for a new generation. Clint Walker, who has nollie heelflipped atop bone-crushing canyons and conquered fear itself, will have an assuredly crazy part. But what about that one ollie, now loaded with so much baggage? An old caveman saying from the planet’s spryer years holds that ‘the crazy thing about baggage is that it’s lighter when a friend helps carry the load,’ and the statement never was truer than when applied to the Birdhouse video in progress. Imagine a break in the middle of Clint Walker’s section where he rolls up to the Wilshire 15 and Poles, then it cuts to him jumping it, but the camera keeps rolling and then Yung Reef comes right behind him and jumps it too, riding out into a torrent of bro hugs and high fives. The vibes would runneth over.

Lakai Collabo Matchup: Even upon opening a new chapter with a winning full-length built around mostly new faces, storied shoe group Lakai faces turbulence, over the past month reportedly having to send back and reprint all physical DVD copies on some music rights shit and Fort Miley burler Jon Sciano leaving, apparently to skate for Vans. Amid Lakai’s various high-profile team defections over the last few years, Blackpooler Danny Brady has held tight, getting a shoe design recently for his efforts.

Lakai’s collaborative shoe projects have run an extremely varied gamut of partners, from culture warrior Lena Dunham to certain Wild Things to further investments in pastel paneling via several sneakers colored by Illegal Civilization person Nico Hiraga. But the Danny Brady link provides a lane for Mike Carroll and Rick Howard to potentially something together with Palace, which has made deluxely curated bathrobes and swishy shirts with any number of mega sports gear manufacturers such as Adidas and Umbro and Reebok. Palace’s teaming with Bronze helped elevate the New York bolt factory to a sought-after street fashion sensation. A similar project could further invigorate Lakai and keep Danny Brady shod on his current productive path.

Brian Wenning For Hire: For those fumbling toward some nightlight amid dark hours of the soul this summer, Brian Wenning’s recent podcast unburdenings have left DNA Distribution devotees of a certain vintage aglow. By all accounts, Brian Wenning reached the bottom of his own self-fulfilling prophecy and a humble halfway-house rebuild seemingly has done wonders for his self-regard, career reassessment and, importantly, his switch backside nosegrinds. Slimmed down and again in DCs, Brian Wenning is starting to look like he never went anywhere, venturing back onto the road and appearing to deeply enjoy himself.

His could be a feel-good summertime story, especially as Habitat prepares to reissue one of his OG graphics in what looks like a tribute to clamoring back onto life’s board. But Al Davis, another former Habitater asked and answered what must be the ultimate question in the matter: ‘PUT HIM BACK ON!!!!’

Was Nyjah’s Rave the Most 1990s Thing So Far This Summer?

August 5, 2017

Who killed not only Tupac, but Biggie, Big L and nearly shot Harlem crooner Keith Sweat over a girl? What did Tupac tell Nas after dissing him on camera in Bryant Park, what made Beanie Siegel blast a cop in Philadelphia, who did Madonna secretly set up to the feds, and what did Big Punisher look like when he was skinny? It’s all revealed in an engrossing Twitter ramble archived here detailing the most celebrated rap goons of the 1990s, who they beefed with, who they bankrolled and their deepest desires. This series of anonymous Twitter tweets rapidly has become required reading not just for rap music CD owners ‘of a certain age,’ but also many starry-eyed wonderers and would-be corporate climbers unafraid of plush jumpsuits and going upside a rival’s head with a bottle of champagne in the club. It was a decade of power and song, when Bill Clinton ruled from sea to sea, riches poured from freshly manufactured Internet computers, and bus-sized crocodiles wallowed in their own filth before stalking platinum-selling country music artists across the Great American West.

Truly, the 1990s is in again full swing. Last week Aesthetics and Elwood impresario Sal Barbier delivered a lengthy dissertation on shoe designerism and dreams of speed metal guitar wizardry amid Plan B’s mystical formation and Sole Tech’s triple cell division. DC affiliates John Shanahan and Josh Kalis have been hyping with Stevie Williams a Droors revival and around box-canyon campfires, whispers of an OG Lynx reissue. Living tributes to the decade’s virility now run the gamut, from the Flexfitted cut-and-sew of the latter years to the flapping cotton of the goofy boy era.

The title of 1990s grand master can ultimately be decided solely by a gory, wig-ripping battle royale set atop a mountain peak. But all of these recent activities overlook the most powerful recent entry that is an actual rave hosted by repeated contest winner Nyjah Houston, dripping with sports cars, autotuned lyrics, complaining neighbors, and Life Extention apparel. Webster’s dictionary defines a rave as an event containing techno music, DJs, dancing, garish outfits, sunglasses and positive vibes, and so it is obvious that Nyjah’s daytime soiree meets the classical definition of a Rave.

Raves were an important square in the cultural crazy quilt that was the 1990s. Ravers were lovingly tweaked via Fuct clothing while providing future inspiration for future lines of meticulously designed T-shirts. For many, these ‘techno campouts’ represented the future promise of endless possibilities and potential — much like Nyjah’s rave video:

“I remember reading a quote from Steve Albini in which he said that a thousand people standing in a field listening to electronic music and high on Ecstasy aren’t going to change the world,” Orrall says. “And I disagreed with him.”

Can a well-attended patio party, unmolested by cops, change the world or at least crown the summertime king of ’90s shit? After exhausting early 1990s fashion tropes is the next logical move to unearth Christian Hosoi’s spandex dabblings, or did the girl jeans period already effectively achieve this? Has a common love of raving united Ty Evans with Nyjah Houston to reclaim the glory of the ‘Feedback’/’Modus’ TWS vids? Do you think Nyjah will get a face tattoo?

‘People can get a cheeseburger anywhere, okay? They come to Lakai Limited Footwear for the atmosphere and the attitude. Okay? That’s what ‘The Flare’ is about. It’s about fun.’

July 30, 2017

What if you’d been told, on the occasion of ‘Fully Flared’s premiere nigh ten years ago, that Anthony Pappalardo’s part would provide a primary guiding light for the shoe supplier’s next full-length video — would you have believed it? Similarly could any 80’s baby have guessed that it would be Crailtap’s joint tour vids with Anti-Hero that would set the Girl and Choco camp’s course for much of the ’10s? What would you say if some time-mastering pixie had whispered ten years ago that Lakai would require the vision of a Mattel toy company exec to navigate the wiles of a marketplace commanded by Nike and Adidas? Could a mere humanoid imagination conjure a world in which Jake Phelps is a recognized television personality, Dr. Dre works for Apple and apologizes for his gangsta past, a new Star Wars movie comes out every year, Gucci Mane lives a life of domestic sobriety, and former reality TV game show host Donald Trump leads the free world?

It’s true, all of it. Now comes “The Flare,” Lakai’s first formal video project since Barack Obama’s inauguration, perceived by some as a comeback, executed more like a reboot. Any lingering pathos or hard feeling from recent years’ departures and drama is shoved to one side by a grinning Italian who opens the vid with the type of low-fi inventiveness that once drew wiggly yellow lines across California streets and breathed life into a fuschia-hued setup. Following any initial disorientation and upset stomachs, Federico Vitetta dispenses with much of the high-tech effects and in-your-face emoting that at times distracted and dragged on the Ty Evans-helmed productions, instead plunking in moustachioed passersby on horseback, operatic music drops and occasional WWFing of trash cans, lightening the load carried by Altamont Capital’s newest flarees.

Whether the intro’s orbish viewfinder is emblematic of some proverbial rolling stone, casting loose all moss and withered tendrils of the past as it rolls beneath that flatbed trailer, is a question best left up to individual viewers and low-scoring undergraduate term papers. Lakai’s slate is not wiped fully clean — Simon Bannerot, a curly-haired hucker with a lovely fakie frontside kickflip, is tagged in by ‘Fully Flared’ curtain-hoister Mike Mo Capaldi to fulfill similar duties here, gliding long frontside noseslides, nose manualing down steps and launching what’s got to be one of the more daring wallies this side of Lizard King’s parking ramp blast. Sebo Walker goes in with Cory Kennedy fits and a princely De La Soul tune for his gnarliest part to date, Jon Sciano tosses an M-80 of a 360 flip over a garbage bin, Raven Tershy goes the distance on the Andy Roy bar and twirls a magnificent Cab disaster, Yonnie Cruz cracks a switch ollie into one of multiple hairy hills. Jesus Fernandez’s ledge tech remains in ascent — he gets onto the Dylan Rieder block switch — while Vincent Alvarez strings together a marathon line at the LA High School banks, and Stevie Perez jumps a rickety bar to a backside smith grind and traces some fairly tech lines through various European blocks. Riley Hawk chisels further his own legacy via speed-metal fueled 360 flip noseblunts and screeching kickflip 360 wallride.

Mike Carroll and Rick Howard pop in here and there, Mike Carroll taking a version of his downtown Los Angeles line from ‘Fully Flared’ to a narrow ledge, and Rick Howard shove-iting onto well-worn New York concrete, but the most direct references to Lakai’s prior tentpole come from Tyler Pacheco, a young box-wallriding blazer who seems to have memorized that vid’s lines and lore on his way toward meeting and skating with his childhood heroes. For all its storied catalogue, though, the Crailtap camp never has seemed particularly stuck on legacy-burnishing when it comes to their videos, and the passage of time, trends and team members merits a different context in which ‘The Flare’ ought to be considered.

Probably it is true that this video will not alter skating’s course the way ‘Fully Flared’ did, and may not attain ‘Yeah Right’s’ level of envelop-pushing handrail pyrotechnics, or capture an era like ‘Mouse.’ Does it have to? It’s worth considering that before Lakai offered up MJ’s 13-minute opus, brought Guy Mariano’s career back from the dead, and helped establish Lucas Puig’s international sensationdom, it was Mike Carroll and Rick Howard’s chosen roster of style luminaries and promising youngsters who collectively weren’t setting out to craft some vision of skating to come, or on any mission to refurbish any beloved brand name. Toward the end, what’s arguably ‘The Flare’s’ biggest twist doesn’t involve a bunch of fire or green screens but rather a clever spin on skating with the bros.

Was this type of team reset the best thing to happen to Lakai? Do any full-length vids have the capacity these to change the conversation and hit as hard as ‘Fully Flared’ did 10 years ago? Will Tyler Pacheco set off a multiyear trend of table-bonking flip tricks capped off with the ‘Carroll Thumb’? Is Jesus Fernandez an odds-on favorite to win, place or show in the race for the year’s best hardflip?

PJ Ladd, Bearing the Weight of History’s Expectations Amid a Multiyear Video-Part Drought, and Also Some Discussion of Mystical Bears and Their Rumored Powers

July 23, 2017

In Richard Adams’ ‘Shardik’ a primitive people discover a long-prophecized god-bear, departed many generations earlier. The plus-sized mammal is worshipped by some and denounced as a property-wrecking menace by others, ultimately sowing divisions and touching off armed conflict before going on to collect royalty payments and licensing fees for use of his likeness by various professional sports teams and honey vendors. It is a lesson for our times and enshrined in our country’s tightest document, the USS Constitution.

Raised among Boston’s bruins, PJ Ladd is among the skating tribe’s most prodigal sons, gifted immense talent which he may not necessarily have squandered in the post-‘Really Sorry’ years — but certainly has been hidden beneath a bushel, to trangress into the deadly sin of proverb-mixing. It is inaccurate to claim he’s had no parts since — there was Es shoes’ last full-length gasp, a noteworthy DC intro, scattered park footage and assorted detritus — but the Plan B vid no-show sounded an ominous tone, and Colin McKay’s subsequent ‘Black Swan’ invocation eroded hope for the autumn of this wonderful, horrible skate career.

Does US sports apparel manufacturer New Balance and its ‘Tricolor’ executive production team deserve credit and reciprocal shoe-purchasing decisions for coaxing forth the most complete PJ Ladd video section since the Iraq war’s onset? Credit may lie with trusted filming hands, team manager life-coaching hammers and related Vince Lombardisms, promises of forbidden treasure hoards or (most likely) some potent mixture of these. The question itself is moot, the proof lies within digital video footage files spread across three minutes like $240 worth of creamsome pudding.

There is a line here, when the jittering percussion fades to a soothing drone and any remaining eyebrows lifted by PJ Ladd’s marmalade scruff relax to Cro-Magnon levels — it kicks off with a switch 360 and meanders with enough spark in the flips and power in the push to briefly resurrect those Coliseum ghosts. And much is forgiven. PJ Ladd, who once changed skating’s trajectory via an out-of-nowhere skate shop video mainly on word of mouth, owes the world in 2017 probably not much, enjoys a secure legacy. But you can still hope for more, and even if it doesn’t hit with the same impact, one can wallow in a fistful of PJ Ladd lines and ledge moves from Boston’s famed Eggs spot and be satisfied.

Some cosmic block now lifted, will PJ Ladd’s recent bout of filming develop into a full-blown fever in which he, like the recently revived Aphex Twin, unloads a succession of new footage and unburdens various archives unto a gobsmacked and blissed-out public? Does the fact that PJ Ladd is filming more while the ‘Tricolor’ vid’s release is delayed heighten your hopes? Has PJ Ladd, by growing a Grizzly Adams beard, communed with mystical bears of old to attain still-greater powers such as tearing the doors off cars and swatting salmon from rushing river rapids? If you are a bear is eating a whale an ender-ender?

The Power of the Deck-Buying Dollar, and the Promise of the $30 T-Shirt

July 16, 2017

The internet’s cultural side-loader washing machine swirls. What once was, is again, sometimes faded and sometimes pinked by rogue red garments. In the civilian world, tragedy plus time equals comedy; in skateboarding, fashion and hardware trends plus a period of years divided by the internet’s recyclatory properties (which are a constant), factoring the quotient by the strength of the counter-prevailing fads of the day, equals attractive brand-building opportunities that can help to finance electric cars with an auto-pilot option.

Santa Cruz, whose venerable skate dynasty doesn’t preclude opportunistic chintz-grabs, this month has revived its early 1990s technology breakthrough, the Everslick, presumably upgraded to avoid the sogginess that turned so many back toward conventional decks by the turn of the half-decade. As skaters nationwide discovered low-cost ledge lubricants to be had in the supermarket’s canning section, Alien Workshop, World and others abandoned slicks, relegating the technology to the same hardware-fad dustbin as Bridgebolts, Rip Grip, copers and Gullwing’s incredibly heavy plastic-coated hangers. But with deck shapes then already well on their way toward a homogenized popsicle shape, shelving the slick also marked a fateful step away from one of the few deck innovations that briefly commanded a premium price from penny-pinching skateboard consumers — and provided a fleeting glimpse into a future where peddling decks could be something other than a low-margin, efficiency-maximizing commodity business.

In this year of our lord 2017, the deck buyer’s dollar has never been more powerful. Through the 20/20-enabling hindsight view afforded via the internet’s continually expanding archives, skateboard purchasers can gloatingly look 25 years into the past to see mailorder clearinghouses hawking decks for $45 apiece. Adjusted for inflation, those same objects ought to change hands for about $76 at current rates, but U.S. shops, internet portals and even the lowly mall asks only around $55 as the industry has failed to provide a justification for lifting prices incrementally skyward over the years. The world has not stood idly by; wages, logistics and other costs grew while the skateboard business repeatedly cast their votes for Ulysses Grant as their preferred candidate for boards. This has lead deck makers and distributors to move manufacturing overseas to cut costs, whilst chipping away at shop margins, and diversifying into shoes and clothes to subsidize deck enterprises in the grand quest for profitability or its less attractive sibling, break-evenness.

It did not have to be this way. The wooden baseball bat —- derived from hardwood trees and among the sporting world’s closest kin to the seven-ply deck —- has not been subject to the same price-point stagnation. Despite occasional mutations in shape and diversification away from ash into maple and birch, the wooden bat has changed relatively little over the past 30 years, if not the past 130. A basic wood bat retailed for around $20-$35 in 1992; similar models today fetch $30 to $160, scaling upwards based upon pro endorsements, premium wood selections and high-tech processing techniques to command enlarged dollar piles from wood-shopping baseballers.

The same embrace of that unbottleable qualitative that produced Natas Kaupas’ hydrant spin, the Fucked Up Blind Kids, and Gou Miyagi is at play here: The visceral pleasure to be milked from sliding silkscreened Canadian hard-rock maple across concrete or stone cannot be replicated through aluminum or synthetic hybrids, probably to the detriment of performance enhancements that might put more balls into end zones or players on base in other, more regimented pastimes. And the same frugal Ludditism that has fueled the past decade’s revival in low-profile vulcanized shoewear translates to a collective “meh” towards innovations such as Almost’s “Impact” decks, corrugated bottom plies and unique wood mixes.

Should board makers dreaming of fatter profits look to the cotton T-shirt, where token shifts in construction and fit allow those with the strongest graphics and market position to nowadays ask $30 or more for an otherwise commoditized garment? Has the remarkably visionary Jason Dill already been applying this concept to boards? Was the riser pad the air bubble of hardware? Do Paul Schmitt and Rodney Mullen possess a secret storehouse of advanced board technologies long-shelved due to fears the seven-ply maple-worshipping would never accept them?

Summertime Mixtape Vol. 5 – Darrell Stanton ‘Roll Forever’

June 22, 2017

Before Plan B and the $35,000 question, Darrell Stanton came up on Real and ripped Bay Area spots with an uncommonly loose-limbed style that nobody else really had then or since. Setting aside debates over the moniker and worth of the ‘forward flip’ — he could do them in lines — there is something about nearly every clip in this part from Real’s ‘Roll Forever,’ a full-length offered up for free in the days when that was achieved by packaging rainbow-reflecting DVD discs with paper magazines sent through the U.S. Postal Service to subscribers’ homes. Man-for-all-seasons Darrell Stanton spins his switch 180s late, sits on his window-ledge backside tailslides for a good long while, switch bigspins double sets and wow, that arm on the nollie frontside noseslide. For however many years he’s been out of the limelight now Darrell Stanton, who crushes three tricks down the SF Clipper hubba here, could still make a credible claim to the title for that spot, what with his Transworld part two years earlier.

Summertime Mixtape Vol. 5 – Alex ‘Trainwreck’ Gall 411VM Wheels of Fortune

June 21, 2017

Alex Gall careened into the frame at a time when a dude could get a wheel ad and a board in a magazine along with a 411 part and immediately become a factor. Jamie Thomas hitched a VX1000 to this dude’s blazing backside 5-0s and barely hanging-on squat landings to get out this ‘Wheels of Fortune,’ which came in a couple flavors, before the misanthrope knowed as Trainwreck hopped to J Strickland’s Bootleg venture and then for the board-company blip Young Guns before his pro arc fizzled. But while he was hot, he was hot. The 411 part is Zero edited to the Mountain Dewiest cut-at-the-snap levels, with Alex Gall screeching backside tailslides down hubbas, fakie ollieing onto the Arco rail six ways to Sunday and 5-0ing long handrails, real visceral skating that sort of personifies the triple-stud spike belt that’s ripped across the sidewalk at the beginning of the park. Let the record reflect that Alex Gall’s brief time at the top of the industry heap also produced what remains one of the best non-trick magazine covers.

Summertime Mixtape Vol. 5 – Dustin Dollin and Lewis Marnell ‘Chichagof’

June 20, 2017

Beyond your typical personal chemistry and blood oaths, one key to great skate duos of any era is a certain peanut butter-meets-chocolate stylistic matchup. It was true for Jason Dill and AVE, for Louie Barletta and Jerry Hsu, for Mike Carroll and Rick Howard, and it was true for Dustin Dollin as he introduced his preternaturally gifted ‘filmer’ in Volcom’s 2004 pronunciation challenge to tongue-tied shop employees worldwide. Dustin Dollin by this point had established himself as one of the highest-functioning soaks among the Baker squad, solidified via Transworld’s ‘Sight Unseen’ and ‘Baker2G’. By this point his rapid flick, penchant for hairy crooked grinds, and frontside heelflip were known across the hills and dales, but Dustin Dollin’s tricks had a little different flavor when sandwiched around those of relative newcomer Lewis Marnell, who was toward the beginning of his too-short run. The Dunks still were fresh and the hair had yet to dread but other pivotal pieces in the Lewis Marnell repertoire — the heelflip, 360 flips both ways, the switch varial heelflip — already were fully formed.

Summertime Mixtape Vol. 5 – Danny Garcia ‘Inhabitants’

June 19, 2017

Danny Garcia’s curtains-drawing part in ‘Mosaic’ somewhat was the Guy Mariano ‘Mouse’ part to Stefan Janoski’s preceding Eric Koston position, but by the time Habitat came with ‘Inhabitants’ four years later Danny Garcia was transitioning from hubba-gracing gentle giant to brooding, button-up troubadour. His flick though remained among the best on the market, regular, switch, toe or heel, and his early embrace of colourful socks and surf-loose trucks extends this part’s shelf life such that someone could release it today and generally remain in step with where things stand, similar to former Lakai compadre Anthony Pappalardo’s ‘Fully Flared’ section. Few dudes then or now can hand a switch heelflip with such grace, and dudes still aren’t that much doing frontside shove-it backside nosegrind reverts both regular and switch in the same parts. Even as he turned up the lilting psychadelia and the cruising, and dialed back on the thunder gaps, you can now and then glimpse Danny Garcia’s All City roots, like in that loading dock line with the switch shove-it nosegrind revert.

Summertime Mixtape Vol. 5 – Ryan Nix ‘The Good Life’

June 18, 2017

From the dungeons of the dearly-missed Joe Perrin’s body of work comes this snapshot in time of Ryan Nix, after his seven-minute Bootleg 3000 opener but before he went full Spring Breakers, where his skating was peaking. This ender part in Westside’s seminal ‘Good Life’ vid cribs some musical supervision from the Blind section in ‘Trilogy’ for the deeply Floridian Ryan Nix to push some heavy frontside noseslides, ride out a window-rattling switch 360 flip, and step to celebrated spots across Philadelphia and other eastern seaboard locales; did anybody else hit that Boston gap to rail besides PJ Ladd? Whereas much is made of the current ‘anything goes’ era in terms of tricks and approach, in the five-panel heyday of 2006, Ryan Nix put out there a part with both a switch varial flip and a street switch stalefish.