Who’s Got It For Cheap

In the latest sign that we collectively have abandoned our humbler roots in favor of active sporting trophy cups and lucrative endorsement deals, one of the cardinal learnings of the 1990s seems to have faded from memory. Like so much L.A. confetti pushed before the broom of a blind disco custodian, skateboarders* seemingly have discarded their collective ambition to be like rap singers.

Perversely, more than a decade and a half since the grand fragmentation of street-skating into various splintered genres and jeans fittings, it is the black-denimed and tattooed long-hairs who seem closest to maintaining a form of business mind-meld with the likes of Gorilla Zoe and Charles Hamilton. As the internet buccaneers set sail and pillaged the profitability of compact discs and DVDs alike, urban musicians, many confident in their ability to subsidize any lost musical revenue with the street kind, largely abandoned the blockbuster commercial release ritual in favor of flooding the zone with a steady stream of sometimes tossed-off but generally more interesting and immediate free releases, oriented around building and maintaining a support base rather than trying to squeeze a shrinking number of dollars from an antiquated medium, which requires cutting in any number of increasingly irrelevant corporate interests to boot.

One-off web-centric video parts aside you maybe could draw a thin and blurry line between the decades-old concerns that still insist on a multi-year production process with the requisite release-date pushbacks, monthly ad campaigns and internal deadline turmoil that seem attendant upon such projects, versus the Magentas, Palaces and perhaps Adidases whose trip clips and internet parts skew more toward the mixtape format, without the gravity of a once-per-decade project pervading everything.

Jamie Thomas a few years ago, when Zero was like 20 dudes/dudettes deep, described a certain plan to release annually a video that would tot up whatever footage had amassed over that time period and bestow it upon the salivating masses. It sounded logical, but “Cold War” seems to have wound up following the established build-and-release pattern, maybe due to Zero’s famous adherence to rigid standards. Now comes Emerica with the first in their “Made” series, this one featuring about one-third of their team, in what’s alleged to be a succession of smaller videos that would appear to harken back to the medium’s optimal runtime of 20-30 minutes, as laid down under interplanetary law by wizened walruses able to communicate telepathically and also with crude grunting sounds.**

Must this be the way of the future for all as TV-stand real estate is ceded to Roku boxes and streaming services? Has Skate.ly already become the unofficial DatPiff.com to the industry, and Quartersnacks its Traps N Trunks? If Mark Suciu has laid claim to the Gucci Mane analog, who is our Lil B? Which company, if any, has the courage to release the skate-video equivalent of the long-feared “all-skits rap album”?

*Or maybe just those that don’t run companies
**Nike purported to be doing something similar, but with 50 dudes on their team and several years between each video, it seems like sort of a half-measure.

Tags: ATM Click, Cold War, confetti, Emerica, G-Unit Radio, GuWop, Jereme Rogers, Made, Nike SB, Official Release No DJ, run-on sentences, Saturday Night Workout, trap game, Trap Lord, WWIII, Zero