Posts Tagged ‘Dick Rizzo’

Revenge Of The Credits Section

April 11, 2021

Long before the Snapchat-aping IG story, long before the raw files and rough cuts, even further back before the DVD ‘bonus’ menu selection, there was the after-credits section. In those analog days of yore, meat was hunted on the hoof, and pioneers of the range raised sumptuous crops from sheer rock surfaces. At the time, what little skating could be filmed between chores and fighting for survival was mostly siloed: intro, parts, demo section, friends section, slam section, credits. The chaotic and pulsating smorgasbord that often followed — alternate angles, lenses getting smoked, assorted ‘hinjinx’ — were, beyond print mag interviews, among the few unscripted windows into the wild and wooly world inhabited by top-ranked pros and ams of the time, manna to the chattering class then reliant on telegraph beeps and bloops to rumour-monger and psychoanalyze industry players.

But the credits section’s eulogy was written years ago. Any self-respecting death-clock keeper had already been marking time, one eye on the sunset for physical media in this streamy phone dimension, another observing visual media consumers’ shriveling attention spans, and a third on the growing thrum of daily content churn. And by the mid-2010s the credits section sat overripe, and ready to burst.

Like any self-respecting skate trend, it had taken root, been heavily adopted and lustily beaten into the ground for years afterward. H-Street and Plan B impresario Mike Ternasky, a prime architect of the modern video format, set the trajectory three decades ago, placing a generous 8-minute credits/et cetera section at the end of the the 58-minute ‘Questionable’, expanding to a 14-minute, four-song runtime for the credits and everything after in the 52-minute ‘Virtual Reality’ a year later. The comparatively slimmer ‘Second Hand Smoke’ still exhibited a 9-minute credit section, taking up more than a quarter of the total runtime.

Hence it became known: Big videos merited big credits. The Transworld videos under Ty Evans’ steerage knew it, dedicating 10 minutes of the 48-minute ‘Feedback’ to road trip detritus and assorted potpourri. ‘The Reason’ went further with an 18-minute credit section padding out a 65-minute tape, and even as TWS’ video rosters narrowed to a half-dozen dudes or so, the footage spooled out as the credits rolled: 11 minutes in the 36-minute ‘Sight Unseen’, 13 minutes in the 46-minute ‘Free Yr Mind’, most tellingly 15 minutes in the 44-minute legacy burnisher ‘Anthology’. Other era setpieces ‘Menikmati’ and ‘Sorry’ both boasted credits sections running 10 minutes or longer. Ty Evans would ply his generosity to other Crailtap productions, including 14 minutes’ worth in the hour-and-a-halfer ‘Fully Flared’, a generous 10 minutes for Super Champion Fun Zone (plus 32 minutes of DVD bonus material), and in perhaps the most ultimate credit-section flex of all, 10 minutes’ worth in the 26-minute Harsh Euro Barge. Another peak came in 2001, when 19 minutes of credits and mumbo-jumbo followed the 17-minute PJ Ladd’s Wonderful, Horrible Life’, though part of that was another video part’s worth of PJ Ladd footage.

In an era in which filmers but not skaters are namechecked in 10-minute web edits and lineups are relegated to Youtube descriptions, the credits section seems not only buried, but buried beneath the foundation of a building that collapses and afterwards is covered over by an avalanche or lava flow, depending on the biome and/or time of year. Now comes Quasi, the most consistent scroungers of Rust Belt decay this side of the ‘Grains’ franchise, eyes-dilated dredgers of analog-era counterculture, this week uploading to the people the 10K ‘Grand Prairie.’ Oriented around Dane Barker’s distortion-pedal flick and Justin Henry’s professional-grade grace and thundering form — witness the nollie nosegrind — the vid stews post-‘Alright’ Gilbert Crockett manuals and too-rare Jake Johnson tricks with Bobby De Keyzer’s skyscraper block circuits and a solid slug of Dick Rizzo channelling Puleo and Gall among Jersey’s least obtuse brick angles.

Over and done with in 20 minutes, the credits briefly roll and immediately spill into a half-hour drift through alternate angles, pulsating autograph sessions, an ongoing cat-and-mouse game involving Tum Yetoans on tour, a slice of Taco Bell drive-thru life, casting stones at glass bottles, several interludes involving pickup truck beds, slams, lurkers, gas stations, fire, rural pathos, frisbee sessions, blunt passing, doodling and various others. Years now removed from regular and heavy doses of post-credits antics and outtakes, the effect upon the viewer is one of shock and disorientation. Is this the real video? What is a video? Must Quasi, deploying its 30-minute credit section, be recognized as the medium’s new and perhaps final master?

Is the credit section ‘back’ or is this the last, massive nail of tribute to seal its casket forevermore? Did those dudes go with the lesser of the two angles for some of these tricks on purpose, like how putting Guy Mariano’s switch frontside shove-it k-grind in the ‘Mouse’ credits helped seal the ‘official’ part’s classic status? How come Alien never made a video with alternate-colored magnetic tape? Could Quasi, probably better right now than any other production house as far as surfacing unrinsed music supervisory choices, run a respectable consulting business for video makers cursed with basic song instincts?

Davos Man And The Risk-To-Reward Ratio Of The Frontside 180

January 20, 2020

He is knowed as the Oracle of Thousand Oaks. From an ergonomically conscious, low-emissions chair, Mikey Taylor gazes from full-bleed windows upon an empire to hold — sands and wave, manicured desert fauna, native wood, electricalized vehicles, a rain garden. It is a world of opportunity, progression, mindful hustle and passion, with no single-use plastics, preserving natural spaces and personal wealths for future generations. On the weekends, good wine, and good friends.

The game is real estate development. The stakes: Working capital, and maybe, your life. First in are the sharp-nosed swift simmers that take the choicest, juiciest morsels and move along when the throbbing, silvery schools press in. For these must settle for smaller, faster, needier bites, budging and shoving and taking what they can. Always hurried, for you know what comes next: The massive, ironclad submersibles, their snaky sucking hoses pulling in everything not fast enough to flee, their bowels a-churn with knives and rotors chopping all into low-cost slurry for the industrial meat farms that pulsate privately above.

This is the world, and its strife. Mikey Taylor unscrews his hydroflask and regards the waves. As Commune Capital’s president and managing principle, his fiduciary duty is to be the early swimmer, not a slurry-bound slowpoke. There are buildings to be gut rehabbed, multi-unit leasables to be securitized, tracts to be acquired at auction for a song. And yet, it is all the same sea. What if there were another?

Bronze 56K became the first company to drop a skate video in the ’20s, earning several experience points and perhaps a cash award. (As a privately held company Bronze 56K is not obligated to publicize its financial performance.) ‘Hardware For The Masses’ revealed itself to be another timeless entry in Bronze 56K’s discography, now arguably among the most consistent of any company currently in operation. Bronze 56K always has been a spendthrift entity, repurposing defunct software logos, beer commercials and Wolfenstein 3D editions to conjure among the most powerful branded shirt conglomerates east of St. Louis.

Can tricks too be exhumed, gently brushed and refurbished in a retrofied way to again command a market premium? Bronze’s cultural dumpster divers work these seams too. Consider the humble frontside 180. The board goes up, it turns, you turn, and ride away clean. For decades far too basic for lines, and after thorough early-00s hucking by the likes of Andrew Reynolds, Dustin Dollin, Kerry Getz and Jamie Thomas, it summarily was cast aside as a stair or gap rattler in favor of variations involving flips, shove-its and/or switch-stance. For years the frontside 180 rotted as though entombed beneath an aromatic, regenerative compost heap. Then arrived muckraking New Jerusalemer Dick Rizzo, coiled and unshaven. In Quasi’s seminal ‘Mother’ Dick Rizzo boosts back-to-back frontside 180s down the Bronx’s Jerome Ave banks, turns a switch one over a gold rail under security pressure and goes regular off a miniscule bump to standard-sized bar; in Bust Crew’s deep-tissue tingling ‘Nightmare Van’ last year, he jumps another frontside 180 into a kinked bank ride-out. Italian Bronzester Jacopo Carozzi likes them, and in ‘Hardware for the Masses’ Adrian Vega turns one over the Pulaski wall in a line, while GangCorp youngster Dougie pops one off a bump to stair, and on IG frontside 180s over a studily built wooden bench.

As the World Economic Forum convenes this week to ponder the monetary conundrums of our time, could Mikey Taylor’s financial technicians, uninspired by rental returns and flexy property valuations, direct their intellectual horsepower and florid body heat toward overlooked tricks such as the frontside 180 that exhibit solid returns and honest thrills even if they may not feature in a Primitive vid? Does the frontside 180’s market valuation increase, and the potential return on investment decrease, with each such clip collected in a Bronze 56K vid? Does former SOTY Kyle Walker’s frontside 180 in ‘Be Free’ stand as an early indicator that the trick is ripe for a ’20s resurgence?

2. Dick Rizzo — ‘Mother’

December 30, 2018

Add to the list, under skipping over the top step and triple-tapping walls — self-consciously counting eye blinks, after Dick Rizzo’s hard-wrestled and finally successful backside nosegrind backside 180 into the Grant’s Tomb chute, captured in minute detail for Quasi’s compulsively rewatchable full-length debut last summer. The thumping, dusty East Coast that Dick Rizzo rips top to bottom and day to night in ‘Mother’ threatens with drill-bit flatbars, blood red cellar door clangers and irate, self-appointed Arguses of the Mason-Dixon region who foolishly try and hate on Dick Rizzo and his switch 180s. Whether or not he compulsively blinks twice before his other tricks, like the look-out-below nollie wallride, or while switch powersliding between his back-to-back handrail 180s, remains a matter between Dick Rizzo and his priest. However, some type of uncommon grace infuses this dude straight through his tiptoe ride-aways, like on the ollie out to 5-0 or the bluntslide cab out in ‘Mother’s intro. All dieties are hereby urged to direct healing properties toward Dick Rizzo’s ankle following Bam Margera’s recent blow-out, and deliver unto him an overdue professional board for 2019.

Boxcar Sled Dogs In The Mood

July 22, 2018

With Oedipal vibes, Quasi’s inaugural full-length at long last arrived last week, spiced with temptation. As ever, messageboard banditos probed and hunted for stray links ahead of the official online release. Shortly after it finally hit, an electronic threat from former Throbbing Gristle frontperson Genesis P’Orridge of all people torpedoed the original Youtube link. This forced resourceful computer-rippers to seek out alternate hosting capacity via sites specializing in sophisticated adult entertainment of a different stripe, and left the rest of the world pondering what air cover their web caches and private-browser settings might provide in their pursuit of ‘Mother.’

For those ponderous unfortunates cursed to read between life’s lines and leave no Magic Eye poster unstared upon, it has been tougher still. DNA analysis obligates any video historian to place Quasi’s first full-length within the same creative lineage as ‘Photosynthesis’ and ‘Mosaic,’ citing teamrider and darkman resumes, Ohio geospatial data and the winking juiciness of the Pappalardo hamburger.* It is easy, upon the seventh or eighth watch of this excellently put-together video, to speculate idly as to any nods or winks involved with soundtracking an intro to ‘Band on the Run,’ hailing the heady freedom and risk of escape and liberation — this from the company that announced its emergence from the Alien Workshop/Pacific Vector meltdown with the declarative “no more corporate blues,” and wind up this vid with some oldster stating that he’s “looking just to get away.” The rorshach-test qualities of many Quasi graphics invite similar ponderings: Do all the race cars, motorcycles and fast-running dogs similarly speak to themes of speed and escape? What about the Dale Earnhardt tributes and those drippy sculptures? How much of this is designed mainly to befuddle deck consumers who may feel on sturdier ground with pizza-themed art or endless iterations of a stylized letter B?

Whatever cipher is to be found in Quasi’s graphics, on maple or judiciously sprinkled amongst the footage in ‘Mother,’ probably serves best as a vehicle or backdrop to the team and its skills – all of which ‘go,’ in the parlance of our times. What really merits those mysterious VHS tapes’ positioning alongside the earlier yellow, gray, orange and white cassette ancestors is the video’s careful crafting and exquisite tricks. Forestalling much of the talented flow squad gets ‘Mother’ under the critical 30-minute bar, even with timeless-feeling intro and credits sections. There’s a parallel universe somewhere with full Jake Johnson and Al Davis sections, sure, but their material here is presented in the most resourceful fashion possible, and the efforts of the other bros and ams — especially the ams – more than get the video over besides.

Justin Henry, latest of the Ohio torchbearers, delivers on years’ worth of early promise, gliding and jamming his way over spots on both coasts, fusing otherwise disparate moves into weirdly smooth alloys like the bigspin backside lipslide to firecracker out, or the wallie leap to noseblunt slide. The Grant’s Tomb backside noseblunt is there. Beltholder for greatest hair in the industry, Josh Wilson, blasts multisyllabic flip tricks over various bars and dangerously dings some other ones, along with an intense ollie out of a tall wallride. There is Tyler Bledsoe’s most recent addition to the backside tailslide canon, an almost painfully good Jake Johnson flowerpot backside kickflip, Al Davis thundering switchstance down a cascade of mountain peaks.

Gilbert Crockett, who seems yet to let up from a string of heavy parts following 2015’s ‘Propeller,’ constructs a throbbingly manual-heavy closer that includes an unhinged fakie flip switch manual to switch frontside shove-it out and the rather intense kickflip nosemanual over the guardrail and down the embankment, plus other crazy shit like a scary fence jump and a switch backside nosegrind at the JFK bank to ledge. But it is Dick Rizzo with the most pumping, vital section, cracking over bars and banging down on fire-engine red cellar doors with a weirdly fluid grace, or jumping catlike over the boulevard after half-spinning switch into some griping grayhairs’ beloved banister. There are lovely dips on the backside smith grind and switch backside 5-0, the sounds of the under-bridge wall blast deeply satisfy, and the backside nosegrind revert to GT rollercoaster makes good on the pain and leaf-diving required to reel it in.

Does Quasi have the bench-depth and belly fire to come back in six months’ time with another vid showcasing Drake Johnson, Justin Drysen, Dane Barker and all those Justin Henry tricks that didn’t make it into this one? Is Bobbito back to reclaim his spot after being displaced by Shadoe Haze? Will this year reunite the Dayton diaspora in video releases if Fat Bill completes the new Supreme/FuckingAwesome one and the now three-years revived AWS brings the Joe Castrucci-helmed release described by now deservedly-pro Frankie Spears?

*Note: Boil a Ocean Weblog briefly considered registering @PappalardoBurger on Instagram, and using this to make several humorous posts relating to various video parts in the voice of the burger itself, but ultimately chose instead to leave it to parties who could do more justice to such a concept, rather than linking back to a meandering and partially thought out internet screed

Baud Boy Club

March 13, 2015

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Published on Mar 8, 2015

All comments (290)

Mega Mannn 2 days ago
Ay i NEED some of these old AOL/Prodigy/CompuServ discs You got em I got Paypal let’s deal Trying to step up my sponsor me tape game Trying to come up! Need some of them clips so Hit me up!

Mega Mannnn 1 day ago
Ay I’m so sincere w it HMU with those old internet clips Gonna use Um!

John W Sidgmore Lives 1 day ago
shup up

King dave 2 days ago
search “hella thots” by king dave , if u wanna turn up to a thot anthem 

Big Una 2 days ago
Yea

BWeatherby 2 days ago
Jordan Trahan tho. DICK RIZZO THO

Rap Game Grandpa 2 days ago
As a rap game grandpa, i have different concerns. like how a generation of young children are growing up without any adults in the household to teach them that Drake is soft

Unemployed Grimace 2 days ago
calling it…Suge Knight vehicular homicide footage in the next one

GLUPPITY GLUP 2 days ago
do u even believe that shit on those two bubbles i mean damm

Green mind 2 days ago
Rizzo on his Wes Kremer shit

GLUPPITY GLUP 1 day ago
on his Jason Dill

Jordan Trahan also 360 flipped my shed 1 day ago
stop it

Tom from Myspace 1 day ago
anybody skated the hardware how it sk8???? real replies only please

Huf shoes need to st 1 day ago
Huf shoes need to start a shorts team

Michael 4000 Watts The Boy 1 day ago
Yall using the funny voice and makin joke like somebody ain’t just lose they life.SmH

Every Day We 1 day ago
Wept when Joseph Delgado came thru with Killa

Ronnie 1 day ago
Is the chick with the camcorder and the other chick the same chick ? Serous replies only plz
Also need more empire drops
like several

King dave 1 day ago
search “hella thots” by king dave , if u wanna turn up to a thot anthem 

Quon King 1 day ago
nobody had my baxk wen i was loxk down !!! on mehhh

MNMFTB fan 187
Billy McFeely I trust u

Tone Def 1 day ago
dope as fuuuuccckkk

Freaknik Wozniak 1 day ago
kinda think they predicted the gold macbook TBH

Dennis.DeYoung 1 day ago
ti tie my shoes n double knots jus 2 run witcha

King dave 1 day ago
search “hella thots” by king dave , if u wanna turn up to a thot anthem 

Prince doug 1 day ago
OK dave