Teenage angst is the eternally renewable fuel source upon which the skateboard industry may be said to rise and fall. As a power to be harnessed it can be as tender and benevolent as a caressing summer breeze, or as tormentous and destructive as the most esoterically named tropical swirly. Deck designers for decades have sought to sate teens’ hunger for scary skulls, subversive violence, conspiracy oddments and more recently easily recognizable Plan B logos; while Wet Willy and Flameboy once earned lucrative dollar bills from soccer-mom purses, such gateway graphics hooked several generations’ worth of minimum-wage paycheck earners who later would seek out socks emblazoned with weed leafs and several varieties of T-shirts that explain the veritable black holes of society from which the wearer, now more affluent and bejeweled, once had emerged.
With the notable exceptions of Rocco-sanctioned Wu-Tang album cover riffs, one-off series bowing to the continued influence of professional firepole navigators or the fleshy urethane peddled by the double entendring Hubba Wheels, lust is perhaps among the least-celebrated cardinal sin when set up against the various drill fights, junk-food odes, thirst for bling, militant anti-jealousy campaigns, and strategic piling-out plans, yet there may be plausible arguments that it or one of its derivatives underlies every ledge crooked and nearly all 360s flipped.
Does it reflect lingering prepubescent discomfits or fear of some phantom parent peering over our collective shoulder that Hook-Ups couldn’t make the post-millennial transition, that Stance magazine’s Maxim-aping spreads went unsubscribed to, that Big Brother bizarrely became more family-friendly under the watchful eye of Larry Flint? Are there alternative explanations for the general collar-tugging and furrowed brows prompted by the adult situations featured within Dylan Rieder’s wingtip commercial for Huf this month, which left some viewers breathless and others vaguely panicked, like being caught late at night surveying the more risque precincts of their parents’ vinyl collections?
Dylan Rieder makes a certain subset of his potential customer base self-conscious and frustrated, and rightly so. He has the luxury of turning in Street League runs that come off more like a half-demo, half-commentary on the point-stacking repertoires of Chaz Ortiz and Nyjah Huston; as transcribed within this spring’s immediate classic “Cherry,” his 360 flips, switch kickflips and backside smith grinds are worthy for consideration as works of art. Perhaps seeking inspiration within dog-eared months of Supreme’s early aughts calendars, Dylan Rieder with his shoe commercial seems to have redirected the rhetorical query to his railside admirer in “Cherry” toward the viewing populace at large, with one of the era’s great switch backside kickflips floated in place of a question mark.
Others unearth darker tones to these primal urges. Bronze Hardware Company already demonstrated globally that it owns computers capable of making the best video clips. Yet in Bronze’s latest offering, affectionately titled “Enrons,” Joseph Delgado’s latest Flushing ledge ticklers, an alternate take on the subway gap ollie and an obvious contender for video part of the year from hardflip lifter Jordan Trahan come spiced with smouldering gazes from hair-tossing and moistened vixens, simulated and/or animated mature acts as well as high definition video camera footage. It is obviously an exclusive video, yet Bronze also pays tribute to the wages of death and dismemberment explored in onetime movies made by clothing maker XYZ several decades ago.
Is the latest Bronze video file truly actually an elaborate metaphor the exhibitionism rampant in today’s extreme sporting industry, and the self-inflicted gunshot clip near the end a Ouija-like premonition of Pacific Vector Holdings’ game-over bankruptcy filing that was then yet to come? Is it solely a matter of days and/or weeks before Alex Olson ups the fleshy ante with clips of unclothed, poorly lit men festooning Bianca Chandon web promos? Would this be biting Pontus Alv’s post-Cliche time in the wilderness? Was Nelly right? Will the inevitable skate video parental rating system top out with 56K, and will Ian Reid ultimately mount a legal challenge that rises to the Supreme Court?
Tags: Brendan Carroll, Bronze, cartoon earners, Cherry, Dylan Rieder, fleshy, Hubba Wheel Co USA, Huf, Hurricane Slurricane, Ian Reid, Jordan Trahan, Mannie Fresh solo CDs, Menace reference, Nelly again, Stance Magazine, the Supreme Court, tropical swirlies, Wet Willy, Wing Stop, wing tip, XYZ clothings