Posts Tagged ‘Bill Strobeck’

1. Tyshawn Jones — ‘Blessed’

December 31, 2018

Bill Strobeck earlier this decade helped to save skate video by rejecting the prevailing model of yearslong filming campaigns, budget bloat and too-long productions prone to crumplling beneath impossibly hyped expectations. Instead he went straight to YouTube, dug up archival clips and let the VX roll liberally on lurkers for three-minute snapshots that got more burn than some clothing and shoe money-backed full lengths. A few years down the line and steering his own big video, Bill Strobeck’s ‘Blessed’ got caught up in a lot of the same excesses, from ponderous slow-mo to a near-90 minute runtime that its creator requests be consumed in full. He’s still among the best since Baker at fusing the traditional video part with the recent ‘raw files’ fixation, panning around a few seconds before and after to let atmospherics elevate the trick — an approach that in ‘Blessed’ functioned best for Tyshawn Jones, situating him taking his lumps in the gutters while ascending to the tip-toppiest of pro skating’s tiers, with perfect, incredible hard tricks at the gnarliest New York spots in pricey, limited-edition pants. Like a gold brick smashing an abandoned storefront window, Tyshawn Jones’s skating feels imperial and commanding, brazen and loud — he’s cracking tricks thigh-high in traffic, hopping handrails with a backpack on, skipping pushes between tables in California, looking for ways to make the fearsome NY courthouse drop harder to skate. There is the street gap fakie flip, the switch backside lipslide over top of the Columbus Park rail, the silky nollie backside flip over the black hubba in Garrett Hill pants, the shifty incorporation. But the switch backside heelflip interlude encapsulates the dude’s late-2018 moment, chopping a lock, tangling with security and stacking multiple times on the way to an immaculate catch and euphoric push-away, packing into the van for the escape, everybody screaming their heads off.

A New Gilded Age For Skate Videos

December 2, 2018

There is more hugging in the new Supreme vid than you might think. A heartfelt Tyshawn Jones embrace features in promotional posters tucked into Thrasher and plastered across New York City in the run-up to the billion-dollar streetwear barony’s new full-length, emphasis on the full. Bloby pickup Kevin Rodrigues collects three after one clip, Sean Pablo rolls straight into a businesslike squeeze after successfully stepping to a backside lipslide on the Jake Johnson rail, and Sage Elsesser appears to willingly accept the outstretched arms of Andy Roy. Dudes sitting and watching tricks hug. ‘Blessed,’ which surpasses President Trump’s most-recent State of the Union address in length, freely ladles out the love: These young men bound by the red box-logo are older, better and seemingly tighter than ever, drawn close by their good fortune, high-value boxes, and a tinge of tragedy. Each heavy clip, many slathered in slow-mo, culminates in relief in the trick conquered, exaltation in the accomplishment, and joy in bro-dom. Bill Strobeck’s title, obligatory quotation marks included, says it all.*

This universe is a far cry from headbutts dealt to uppity sneakerheads, but going strictly off the skating, ‘Blessed’ justifies its celebratory vibes. Ben Kadow, he of the thousand-yard stare and latent disgruntlement, hurls himself onto rails and electrical boxes out the gate, but even he eventually succumbs to a satisfied grin by the time he chews through a couple boards on a jagged crescent-shaped lipslide. Rowan Zorilla, who still looks odd decked out in Supreme gear, delivers off-kilter jaw-slackeners including a China Banks nollie flip, another wallie noseblunt for the 2018 tally, and a how-the-fuck nose manual wallride. Sage Elsesser steps to Pulaski’s dishes from another, lower level; Kevin Bradley presses pause on his piling-out campaign to throw a beautiful over-bin heelflip and huck at the Brooklyn Banks. Splindly Blue Steel-worker Sean Pablo flicks a rather mean backside flip to fakie 5-0 at the bank-to-hubba spot while a new generation of tween onlookers man the fence, and elsewhere gets unexpectedly gnarly, backside lipsliding the Jake Johnson rail and taking a picture-perfect line down a three stack under security duress. For goodness’ sake, Na’kel Smith makes slamming look fun.

It is Tyshawn Jones, however, whose curtain-dropper asserts a measure of severity and awe, turning in what must be the heaviest east coast video part since Jake Johnson tore down walls in ‘Mindfield.’ It’s just a handful of clips here that wouldn’t stand as enders for other, lesser pros, and some whose like hasn’t much been seen before — the switch backside 360 over the can, say, or the enormously lofted fakie float over the bar. Bill Strobeck’s lingering and oft-zoomy lens soaks in the pain, struggle and eventual euphoria permeating the last few tricks, and it’s hard to turn ‘Blessed’ off without the feeling that Tyshawn Jones has changed the conversation at some level. (And then there’s the nollie flip.)

The onetime Fat Bill evolved out of the primordial VX-toting ooze to become one of the relatively few videomaking iconoclasts out there, with a fairly set group of muses, a much-derided/much-copied style, and legit classics to his resume. Surely ‘Blessed’ applies to its editor/director as much as any of his leading dudes, and he is savoring their shared moment — but at 84 minutes, he overextends himself, and there are points where ‘Blessed’ drags despite its adherence to a more classical part-part-part structure. Despite all its montages and occasional interludes, ‘Cherry’ kept things moving for a fairly brisk 40 minutes. Here, you’re watching screwed footage of Ben Kadow on a light-up wheeled cruiser for 40 seconds, or waiting as la smoke curls for the duration of Jason Dill’s ‘Trilogy’ part. There’s a lengthy EMB session capturing the crew’s chemistry, but it gets you wondering whether Bill Strobeck’s real aim is to memorialize and immortalize two years of these Supreme kids collectively ‘in the window,’ traveling the world, wearing expensive clothing pieces, and living their best lifes before the vagaries of adulthood encroach — versus constructing a more functional, digestable skate video. His filming, reliably aped here and there by Johnny Wilson, in some cases only obscures any perspective of the trick or spot at hand. There are Madinna and Motley Crue singles, incongruously.

Wave aside for a moment though what ‘Blessed’ is, or is not, and instead slow-mo pan across what it says — at a time when Instagram, Youtube and other FAANG-funded suspects are meant to have brutalized attention spans and left the full-length skate video for dead, we arrive at the end of 2018 with a bushelful of projects, some ranking among the decade’s most vital. Quasi, Polar, Bronze, GX1000, Element, Foundation, Primitive, Alltimers, Cons, Vans, Girl and Transworld all put out meaty and worthwhile video releases this year; even Etnies saw fit to offer its first in 23 years. The bloat of ‘Blessed’ itself can be celebrated, in that its frenetically collabing, billion-dollar benefactors believe in not just the concept of an hour-plus vid but will support the dude with the vision. Years after ‘Pretty Sweet,’ ‘Stay Gold,’ ‘Fully Flared’ and other big-ticket productions were declared in sotto vice to variously be ‘tha last video ever,’ a bumper crop of great videos, worth revisiting as a whole or in parts — the opening Portland tear in ‘We Blew It,’ Jake Johnson’s uphill roof flip for Converse, Buggy Talls’ switch 180 manual impossible out on the big block in ‘Its Time,’ Jeff Carlyle’s vein-pumping arms-down descents in ‘Roll Up,’ etc — suggest a new gilded age of skate videos at hand.

With internet users reportedly cutting back on Facebook pokes and youngsters formulating fewer Tweets, is it too early to declare the World Wide Web ‘totally over’ and with it, mouldering and half-sensical blogging outlets? Would there have been more hugging in the GX video if dudes weren’t moving so fast? Does Sean Pablo’s extended middle finger segment suggest he’s embraced Richard D. James as his next stylistic touchstone? Will Bill Strobeck’s use of ‘Birthday Boy’ boost Ween sufficiently in the skate video music supervision power rankings such that kids next year will soundtrack IG clips to ‘Touch My Tooter’ and ‘Poop Ship Destroyer’?

*Also, weed

Point/Counterpoint: Should We Make Republique Great Again By Remembering The Lessons of The Most-Famed 1990s Drill Fight?

March 13, 2016

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The discoloured and rapidly bubbling kettle that is the 2016 presidential election season offers a warped prism through which nearly every event, from the ho-hum to the oh-damn, can and must be viewed. Skateboarders long have spurted and spouted political pontifications, from Jason Lee’s stance against military force in the advancement of hard rock interests to Fred Gall’s tale of heavy-handed police force during one drunken and star-crossed Ozzfest and others bluntly going “fuck Donald Trump” in print and online media formats, as well as Lenny Kirk’s sober warning that the US government is plotting an ‘internal war’ to ratchet up control on computer-savvy citizens and various other sheeple.

‘Pussy Gangster,’ Bill Strobeck’s latest outing for Supreme and so far his longest dwelling upon the FA kids beyond US borders, from the jump throws a dripping and still-wet beefsteak to the ravenous hounds of political punditry whose bellies remain some seven months away from filling. In an ominous and threatening setup to Sean Pablo’s 50-to-50, Sage Elsesser’s channeling of Jereme Roger’s ‘Harsh Euro Barge’ hubba achievement, Kevin Bradley’s incredible flip-and-turn-and-catch and K-Rod’s fakie early grab to wallride, a butcher knife brandishing hobo pokes and swipes at our surrounding heroes, rasping and growling before Paris’ finest execute a textbook and grammatically accurate bum’s rush to extinguish the situation.

For crooked-grinding observers on both ends of the political spectrum, the much-buzzed sequence evoked immediate comparisons to ‘Virtual Reality’s’ famous drill fight, wherein Colin McKay and co pitted boards against bit in defense of Vancouver’s New Spot. The passage of two decades, and marked disparity in physical violence doled out, prompts diverging views on what this confrontation with an earbud-challenged threatener says about skating in this year of our Lordz Wheels, 2016:

Point (liberal): The clip is important because it shows the progress skating has made in the eyes of society’s most basic institutions. Here, government is functioning on our behalf, following years of foot chases, biting canines, verbal dressings-down, tickets and arrests — policemen in this instance act, forcefully, to protect a long put-upon class. This is the system functioning the way it’s meant — rather than handcuff Tyshawn Jones for hitching a bus ride after his tall-can backside lipslide, the powers that be neutralize a real and present danger skaters didn’t invite. By taking him into custody there is some chance the bebearded slashmaker will receive any help or counseling he may need, versus a beat-down via truck and deck that leaves him to nurse his fractures and ruptures with inexpensively priced French wine.

Counterpoint (conservative): Oh please. This clip, larded with more indulgent and excessive zoom, is only the latest and saddest sign that skateboarders have lost their collective edge, cowed into domestication by the steel barriers and security-guard shepherds of Street League, and loathe to rumple limited-run t-shirts and sweaters that could fetch lofty bids on Ebay. In the era that birthed citizen militias such as the Red Dragons and inaugurated James Kelch as EMB mayor, when Ricky Oyola and the Sub Zero locals took it upon themselves to regulate and enforce upon Love Park riff raff, skaters had far less to lose and weren’t hung up on concepts like even numbers or, perish the thought, help from the police or more esoteric taxpayer-funded agencies of Big Government. And before our friends on the other side of the aisle attempt to dismiss and diminish it all as American headstrongisms, let the record show that the drill fight was a Canadian affair.

4. Dylan Rieder – ‘Cherry’

December 28, 2014


Is this the year Dylan Rieder decided to stop worrying and enjoy being Dylan Rieder? Probably not, but it’s sort of entertaining to theorize the how and why as to this paring-back of his skating in recent years — this is not such a one with 10 tricks to his name, and whereas it would be nice to see those switch backside bigspin flips and backside bigspin outs taken out for a walk now and then, Dylan Rieder appears content to zero in on a few tricks — 360 flips, kickflips switch and regular and frontside, the impossible still — lovingly handcrafted and polished for max oomph and richness in the instant document that was Bill Strobeck’s ‘Cherry.’ Whether a natural sequence of progressions from the course charted within the Gravis section or an outcropping of the fuck-you money he gets from DKNY and whoever else, it’s heartening all by itself to see a dude who would be an alternate-universe candidate for the reality show/energy drink/corporate contest axis not just migrate away from multinational sponsor lordshippery, but continue to hone his tricks in the bargain.

Jason Dill And His Shirt Raise Important Concerns About Submitting To The Man, Dudes

April 25, 2011

swallow(if you can) from william strobeck on Vimeo.

Iconoclast boardsportsman and outspoken tastemaker Jason Dill is back at it again, this week controversially dropping video footage that prominently features a tucked-in t-shirt. The web clip, posted above, proved instantly divisive on the ‘Net and has raised fresh questions around the “institutionalization” of skateboarding as corporate interests exert ever greater control over team dress codes and branding.

The issue has festered since the early ’00s when Baker/Bootleg teamriders sparked outrage and tingled curiosities by donning fitted sportcoats. The latest escapade by Dill, known for provocative fashion choices such as Diesel jeans and nudity, alarmed industry observers already concerned about the growing influence of “the man.”

Jason Dill first signaled an embrace of the tuck last summer when he, along with noted dressers Alex Olson and Eli Reed, were spotted tucking in tank-tops at the Maloof Money Factory contest. Dill recently reprised that look at Brandon Biebel’s skatepark where he demonstrated that a more-constricted waistline need not interfere with basketballing feats. But expanding the initiative to include t-shirts opens a new front in the steadily growing furor and presents aging boarders with another dilemma around the already murky standards of conduct in the elder statesman role.

A little over a decade ago Dill spoke of chafing under the norms of mid-90s California skate-code, which required a certain bagginess of pant and support for Wu-Tang Clan singles. Could his venture into tucking shirts reveal similar discomfort with fashion standards that have in the past 10 years more closely aligned with Jason Dill’s personal tastebuds re: tightness and expense? Is this really a big marketing ploy for a new line of Fucking-Awesome belt buckles? And will Jason Dill laugh all the way to the bank as five years from now we all vigorously are tucking and he sharply moves to un-tuck in a scenario that is like Dr. Seuss’ cautionary tale about the Sneetches?

This Is Our Land/We Got A Right

March 5, 2009

Oh you better believe this is required viewing around these parts. I wonder what else he’s got.