Singular as it was to see the Dill/AVE ‘Dear John’ letter pop up on AWS’s site last spring, it is wild to look upon the ‘Team’ page in recent weeks and count just four working professionals and two amateurs, half the year-ago number, and relegating 30-years-young 2006 Sect inductee Omar Salazar to de-facto elder statesman status. Setting aside Heath Kirchart’s retired jersey and the mercurial standing of Rob Dyrdek the absentee landlord, if you were to trim now-departed ridership from the ‘Cinematographer’ section (and keep the between-clip clips) you’d get about a three-minute vignette; just three parts from ‘Mind Field’ would survive.
The narrative seems to go like this: aging bones and the lack of any equity stake in the company that employed them for some 15 years, Van Engelen and Dill dipped after seeing the title to DNA’s corporate UFO change hands multiple times in recent years, in the most recent case supposedly finding out only after the fact that Dyrdek had abruptly flipped the company to sunglass investor and Street League licensor Pacific Vector Holdings. (‘Despicable Me’ teaches us that a vector possesses direction and magnitude, while Pacific refers to the ocean that abuts California.) Sans these sometime-roomies and industry spirit-guides, Ohio-rooted bean-planter Kevin Terpening quietly exited, followed by the long-anticipated departure of Mikey Taylor, Grant Taylor’s seemingly preordained leap to Anti-Hero and most recently that of onetime franchise fakie 360-flipper and recent DKNY booster Dylan Rieder*.
The slow ebb of branded professional talent from the AWS roster over the past three quarters probably does not rise to the level of the World Industries ship-jumping of the mid-1990s or the nearly absolute Toy Machine team abscondiment that left Ed Templeton and Austin Stephens to rebuild by themselves the house of the Transmissionator. The steady grabbing of coats leaves open the question though as to whether the exodus has yet run its course. The curb-carving hair-greaser known to fans as Donovon Piscopo is seen to remain close with the DAVE contingent; hardly a fortnight can pass without wallride impresario Jake Johnson being instagrammed in close proximity to Polar hardgoods and he has really started to do a lot of no-complies these past 18 months.
Are the quartet of Jake Johnson, Omar Salazar, a recently reinvigorated and spectacleless Tyler Bledsoe, and Gilbert Crockett — who for one has voiced on the record his commitment to remaining aboard the grand Alien trip — strong enough to sustain and refresh this hallowed and murky well of Midwestern weirdness? Did recent “collaborations” with the estates of Warhol and Haring* signal a grasping at creative straws for a company with one of the strongest track records of art still going? To what extent are DNA’s new owners vexed by the exits, versus what their financial models may have divined prior to agreeing the purchase? Will the excellently disjointed TOUROHIO clip from late last year come to be seen as bridge or a bookend? Are the personnel moves to be interpreted as some right-sizing of DNA’s pro-level staffing, given Josh Kalis’ recent comments to the effect that even the MTV-moneyed boardroom chessboxer Dyrdek struggled to keep the company financially viable?
*Noting the Dill and Ave note, as the industry becomes increasingly press-release driven it seems more and more strange when companies keep silent on the departure of marquee names, especially those of years-long riders, instead quietly deleting them from their websites and re-screening their boards.
**does the world need a Radiohead album of Beatles covers?
Tags: Alien Workshop, AVE, Bonded by Blood, conglomerations, Dylan Rieder, equity private, Exit Music (For a Film), Fabulous Disaster, Fucking Awesome, Grant Taylor, Jason Dill, Kevin Terpening, Mikey Taylor, not complying, Oh Hi Hello, Pacific Vector, Polar, Rob Dyrdek, six candles