Posts Tagged ‘Bobby DeKeyzer’

The Best Night of Sleep Sanger Rainsford Ever Had

May 13, 2018

In Richard Connell’s 1924 classic ‘The Most Dangerous Game,’ a big-city trophy hunter washes up on a remote island, soon revealed to be inhabited by a philosophizing fellow hunter. Over a stately dinner, the host identifies himself to be a prize hunter too, as well as something of a freethinking homicidal. Stalking elephants and leopards had grown tiresome, he explained — hence the island equipped with treacherous waters, occasionally delivering via shipwreck to its proprietor the only remaining worthwhile quarry: Men. Soon, a new hunt is on.

Among the improbably growing ranks of skateboard filmers, the thrill of the hunt tends to scale alongside duration. Instagram-ready clips are single-digit ‘Duck Hunt’ level potshots; the one-off/solo part barely Bambi. There is a worthy challenge in nailing and transcending the attention-span sweet spot that is the 15 to 20-minute promo, with a couple full parts and a couple montages, or the footage-dumping ‘mixtape’ project of similar length. But in this woolly realm, the most dangerous game is the full-length video —- its gaping maw of hubris, its difficult-to-wrangle girth, its often unbearable weight, threatening to trample less-seasoned filmers under viewers’ colossal expectations.

Having conquered skateboard professionals, shops and the upper-shredding masses, what prey remains for those moneyed alphas of the industry, the industrial shoe merchants? Mastering the full-length video, that great unquantifiable, that tantalizing money pit, that great ‘Branding Statement,’ continues to beckon and tempt international sporting goods manufacturers like some VX1000-mic’d siren song. For Nike Inc., this has been a slow process. The Oregonian sportswear conglomerate dipped in its toe-piece with 2004’s ‘On Tap,’ flexing some plotting and production and a little bit of those Rodriguez acting chops, but never fully committing. Nike saved that for 2007’s bloated misfire ‘Nuttin’ But the Truth,’ which saddled some truly great skating, a still-corralable team and perhaps the all-time greatest Danny Supa part with an insistent storyline that, while intriguingly bizarre, asked far too much of a skate video viewer base freshly armed with DVD ‘skip’ buttons. Jason Hernandez’s excellent ‘Debacle’ project from 2009 hit all the marks for length, range and focus, but led into the increasingly rote ‘Chronicles’ series, which by the third installment had devolved into a transactional, paint-by-numbers affair.

Adidas, which for a while mastered the five-to-six minute road trip video with rotating picks from its more diverse roster, also veered into a predictable pattern to where it eventually seemed obligatory to attempt something bigger — and they wound up with 2016’s ‘Away Days,’ overlong and too top-heavy with too many good parts that wound up buried. The Juice crew seemed to struggle to construct a project greater than the sum of its parts, linked by something more than Gonz vignettes and blurred shots of streetlights and moving cars.

Now comes Cons, Nike’s subsidiary for the thrift-shop set, which moves without the weight of the world’s biggest sporting goods franchise stuffed into its canvas and rubber. For this reason Cons maybe squares a bit easier with skateboarding’s historic resume of scruffiness, artsiness and a general low-fi bearing, and ‘Purple’ headmaster Ben Chadbourne plays up this angle from the opening frames, typing out an introductory monologue on mid-century equipment (though not without some mobile-phone shorthand).

‘Purple’ justifies a good chunk of its 45-minute runtime in a way that, say, a Primitive full-length might struggle with, that is, diversity in style and approach. Straightaway Bobby De Keyzer pops out of all the backside noseblunts, sets his wide-bottoms whipping with a switch backside 360 in a line, and displays a mean halfway half-cab flip — but then you veer into Sage Elsesser, languid over tall bars, and what seems like whole-body lipslides. Kevin Rodriguez brings his abrasive wallrides and grabs in a Neubauten shirt, though Pontus Alv’s more-frenetic framing maybe was a better look for him, while Aaron Herrington stays on his ‘Welcome to Hell’ shit and there’s a weirdly endearing amount of Corey Duffel clips throughout. Underground style soldier Eli Reed swerves switch over a China Bank long bench, Frank Gerwer briefly reprises his star-making Transworld turn and Brian Delatorre somewhere in the middle dishes out maybe his best part ever, a half-switch scorcher that incorporates some brawny Al Davis moves and a wild new branch line from Black Rock. There’s some curated roll-ups courtesy of Sean Pablo, a mind-numbing Sean Greene ollie and then Louie Lopez, offering another few minutes of heaters with the occasional curveball — the rarely seen fakie frontside shove-it, a night line at Third and Army.

But it is Ben Chadbourne’s choice to close not with the obvious enders from a SOTY coulda/shoulda-been, but rather a comparatively skimpy contribution from the mercurial Jake Johnson, that argues strongest for Cons pulling off the full-length better than its larger-revenued predecessors. It’s easy to make the ‘quality over quantity’ argument justifying Jake Johnson’s solemn two minute wind-down to ‘Purple,’ even if it’s also a little disappointing, given prodigious recent output elsewhere. This though is the same logic that placed Guy Mariano’s ledge-heavy part last in ‘Mouse,’ not Eric Koston’s handrail-heavier section with its NBDs; or when Birdhouse’s blockbuster ‘The End’ stuck by its winking sketch to close on a shorter Bucky Lasek section rather than the stadium-touring Tony Hawk; or how Bill Strobeck’s ‘Cherry,’ among the strongest full-lengths of this aging decade, came with hardly any conventional ‘parts’ at all.

Does humankind’s hope for deeper Jake Johnson satisfaction now hinge upon the coming Quasi video? How many angles did Sean Greene’s ollie need for real? Was Adidas putting Dennis Busenitz last in ‘Away Days’ a left turn or playing it safe? Were people allowed to smoke in prior big shoe company videos? How come there were no Game Genie codes that let you shoot the dog in Duck Hunt?

Events on the Horizontal Horizon of the Eventful Event Horizon

February 20, 2017

“Blessed be the ties that bind,” the good book says, referring to the festive ties donned by Medieval lords on the occasions of their weddings to matrons true of virtue and plump of size, who in turn wore flowery gowns and pointed hats in keeping with the custom of the time. The old saying however also could equally apply to the metaphorical plastic zip-ties that once bound the international skateboard community as tightly as the wrists of a newly gagged hostage, but now have been stretched, frayed and slicked with blood after a 20-year ride in a darkened trunk, bumping through energy drink-sponsored contest spectacles, international footwear investment and reality television seasons.

In this brave and bawdy 2017, year of the Rooster, what can draw together late-90s puffy-tongued plaza revivalists with mega-ramping park prodigies and their pastel-draped, body-varialing brethren? Time was, a big video could command the culture’s attention through months of ‘coming soon’ magazine adverts, a few carefully blown deadlines and a riot-inducing premiere. But ‘event’ vids increasingly have become the domain of the major shoe company, and that cupboard looks increasingly barren as Nike, Adidas, Emerica and Vans all have shot their respective full-length wads over the last two years, with mixed results; nearly all now seem to have sworn off the sort of hourlong teamrider-wrangling that takes years and increasingly seldomly stands up under colossal expectations erected with promotional hashtags, tossed-off teaser clips, and internet punditry.

Foundation last week premiered the latest entry into one of history’s stalwart video legacies, ranging from ‘Supercollider Superconductor’ to ‘Rolling Thunder’ to ‘Art Bars’ and ‘That’s Life’ – a heavy underdog narrative was built into the roll-out, including teamriders funding their own trips and pay whittled down to board royalties, making one wonder whether ‘Oddity’ should get you psyched on this latest iteration of the magic F or just hope these legitimately gnarly dudes find themselves a better deal. Ahead lies Transworld’s ‘Riddles in Mathematics,’ extending another beloved video dynasty with a knockout lineup and a GZA-cribbing title, helmed by Chris Theissen, whose Bordeaux-sipping extreme close-up techniques in last year’s ‘Substance’ bypassed perspective and boosted Dramamine sales. The majorest upcoming video may be Lakai’s ‘Flare,’ though with only four names remaining from the decade-ago (!) ‘Fully Flared’ lineup after former pro-model flarees succumbed to the gravitational pull of Nike, Adidas and old age, and much riding on emergent hot shoes such as Tyler Pacheco, Simon Banerot and Cody Chapman, it seems as much a reboot as anything — though the droney zooms and slick panning activity characterizing recently departed flare pilot Daniel Espinoza’s Royal Trucks part, assumed repurposed from his Lakai footage, looks very much prettier/sweeter versus any type of filmographic departures in the Federico Vitetta era.

After witnessing the coming-togetherness spurred by Brian Anderson’s coming out, Dylan Rieder’s death and earlier, John Cardiel’s ‘Epicly Laterd,’ are skating’s shared cultural events leaning less on videos and contests and more on personal narratives like SOTY? Can ‘Sabotage5’ transcend the tragedy of Love Park’s demise or only leave lingering questions as to what the fuck Philadelphia was thinking, and how did the resurrecting Alien Workshop not get behind a group of dudes so heavily infatuated with one of the Sovereign Sect’s most enduring heydays? Will Palace ever get around to doing a ‘proper’ video or are their mixtape-style releases like last year’s ‘V Nice’ so good they needn’t bother? Is Birdhouse gonna take another run at video history with Jason Hernandez behind the lens? Will Danny Way’s now 2-year-overdue video part ever drop or will Bob Burnquist come with another project that pushes it back again? Hasn’t it kind of been a long time since Krooked made a video?