Posts Tagged ‘Fugazi’

20 Years of Ty Evans’ Musical Supervision Genius, Which Also Has Included MuskaBeatz

December 17, 2017

Ty Evans has a sprawling new skate Film and this week sat for a similarly sprawling interview with the Nine Club, which helicoptered among his many career high points as well as satellite dish fetishization vehicle ‘Transmission 7.’ In it, Ty Evans discussed at some length his enduring and roundly criticized love for ‘electro’ and ‘drum-and-bass’ music, an unfortunate fondness that brought him closer to the Muska yet banished permanently some otherwise sterling video parts to the mute button or remix treatment.

Across a towering catalog spanning more than two decades, many of Ty Evans’ musical missteps are immediately apparent: the teeth-aching tweeness of ‘Yoshimi Battles the Pink Robots,’ for instance, or an out-of-tune indie rock band jangling their way through a Schoolboy Q number. Also, Moby. But these barrel-swimmers obscure rarer and more precious fish, such as the mysterious coelacanth, which are Ty Evans’ sporadic yet undeniable feats of music-supervision genius, deserving recognition as we gird for another techno-slathered opus.

‘Genesis’ – Stereolab, ‘Three-Dee Melodie’ (Richard Angelides)
After learning the ropes of basic video construction making Planet Earth’s ‘Silver,’ Ty Evans stepped out on Rhythm’s excellent ‘Genesis,’ turning up to the Chemical Brothers’ block-rockin’ beats and introducing an MTV-esque hyperactive editing style. But he also indulged a partiality toward atmopheric indie rock that played well off Richard Angelides’ spindly tech, for a sort of soothing/reassuring stoke that stands up two decades on.

‘The Reason’ – Fugazi, ‘Smallpox Champion’ (Matt Mumford)
Fugazi stands alongside Dinosaur Jr, the Rolling Stones, Public Enemy and Gang Starr as a skate video staple, and 1999’s TWS entry exposed a rapidly growing skate video audience to ‘Smallpox Champion’ for Matt Mumford’s El Toro-taming curtains-closer. At a time when Ty Evans’ deepening technophilia already was testing the patience of VCR owners worlwide, he was not prepared to abandon a standby that had earlier soundtracked Arto Saari’s ‘Feedback’ part and several in ‘Silver.’

‘Modus Operandi’ – MuskaBeatz, ‘Master B’ (Brian Anderson)
Ty Evans’ resume shows an affinity for nurturing and promoting young up-and-comers through his Films, a generosity of spirit that also extended to electrical techno music. In addition to Atiba’s credits-scoring bleepers of the early aughts, Ty Evans also prominently featured several MuskaBeatz productions, a bold move that helped to document a singular and surely weird era in skating that, despite revivalists’ best efforts, never will be replicated.

‘Yeah Right’ – David Bowie, ‘Fame’ (Chocolate montage)
With Ty Evans behind the lenses and handrails much in front of them, Girl’s ‘Yeah Right’ may as well have come from a different planet than the soulful schoolyard lines of ‘Mouse’ and ‘Paco,’ but David Bowie’s lightly psychadelic funk stroller would’ve slotted in seamlessly alongside Herbie Hancock, Cymande and Bob James.

‘Hot Chocolate’ – Andre Nickatina, ‘Ayo for Yayo’ (Mike York)
As Alien Workshop has produced Dinosaur Jr pro models, and Zorlac Metallica ones prior to the Gulf War, so should Crailtap have bestowed a pro model on the onetime Dre Dog. Here, Ty Evans nods to both Mike York’s Bay heritage as well as Andre Nickatina’s prior inclusion in a Chocolate vid, while further setting the stage for some other inspiring audio songs about selling cocaine in future videos.

‘Fully Flared’ – Mannie Fresh, ‘Real Big’ (French Connection)
Lakai’s landmark 2007 full-length is generally and correctly regarded as the peak of the Crailtap/Ty Evans partnership, and song-for-song is probably the strongest in terms of musical accompaniments earning his blessing. This urgent, shouty Mannie Fresh anthem, a sort of primal materialistic scream from within a sumptuously appointed mansion, stands as the best song in any Ty Evans-helmed Film to date; paired off Lucas Puig’s luxury-brand tech, it makes a strong argument for the greatest song in any video ever. Hearing it gives one the sense something important is happening, and the repeated, blaring synthesizer line at the end is one instance where Ty Evans’ careerlong overindulgence in slow-motion makes perfect sense.

‘Fully Flared’ – Tear Da Club Up Thugs, ‘Triple 6 Clubhouse’ (Mike Carroll)
On this week’s ‘The Bunt,’ Alex Olson recalled — with some disappointment as a fellow techno devotee — Ty Evans’ rap fixation during this period, including a taste for Three 6 Mafia’s classic flip on the chipmunk soul era, ‘Stay Fly.’ Mike Carroll’s Lakai section, which remains a career top three, wisely avoids such an on-the-nose pick and breaks for the more menacing ‘Triple 6 Clubhouse.’ Built around an erudite theme about killing people, the song includes enough cinematic transition to appeal to Ty Evans’ dramatic leanings, and the hardheadedness required to get viewers through the mewly Band of Horses sounds to come.

‘Pretty Sweet’ – Beastie Boys, ‘Looking Down the Barrel of a Gun’ (Alex Olson/Mike Carroll/Brian Anderson)
This combo Girl/Chocolate Film was pitched partly as a transitional feature focused on Crailtap’s newer generation, such as the Trunk Boyz, with many veterans relegated to shared parts. Orienting one of those around Alex Olson was sensible, since he comes off as sort of an old soul, making it worthwhile to throw back via the Beastie Boys, who soundtracked a seminal MC part in ‘Questionable’ and got money with Spike Jonez on several nonconsecutive occasions throughout the 1990s.

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Mall Justice No Match For Mike Vallely

January 20, 2009


“Somewhat integral”

Mike v is a man of contrasts. There are those who would call him a hypocrite. I view him as a beardly figure brimming with nuance and harsh truths about the human condition. Also, bonelesses. Truly he is a man of our times, but as it ever was, the measure of a man is made not in X-Games or even the wrestling ring, but rather in that penultimate court of American accomplishment, the box office.

Last weekend, you see, Mike V met and introduced himself to the U.S. public, or at least those unlucky few who haven’t seen his Fuel TV series or his numerous biographical documentaries or his poems. As one of the chief villains in the new retail-themed thriller “Mall Cop,” our Vallely is garnering passing mentions, if not rave reviews, in the national press. To wit:

Finally there’s champion skateboarder and musician (in the band Revolution Mother) Mike Vallely, who plays the criminal ringleader, Rudolph.

“They had to find the most bad-ass skateboarders on the planet,” says Vallely, a voracious reader and father of two who wears his blond hair long and scraggly. “I was at the top of that list.”

Vallely has the biggest action sequence of the bunch, battling James throughout the mall. In what he describes as an undoubtedly riveting climax, Rudolph will leap from floor to floor as he chases Paul Blart. Then, in a never-before-done skating move, he’ll jump on – and break into – a moving elevator.

“It’s a whole new challenge,” Vallely says. “I’m not just skateboarding. I play a character that is somewhat integral. This is the first time I feel, as athletes, we’ve really been taken in.”

Somebody’s been taken in for sure, as the Blart-star vehicle hoisted an estimated $40 million over the three-day weekend, putting it in the number one box-office spot.

But the tidings of Vallely’s Hollywood success is of course no news to those of us in the skateboarding sphere, who gladly cheer the multifaceted Mike V as he flexes his pecs in the squared circle, gets his nose cracked open on the hockey rink, recites verses at the poetry slam, snarls through his beard at the Warp Tour, or pushes over and over and over in that Black Label video. Cuz it’s not the destinaton. It’s the journey.

“I just had water, anger and a destination. It’s just how I am,” Vallely says.

Equally transfixing are Vallely’s intellectual travels, transitioning through vegetarianism, straight-edgeism, and non-violence over the years. (Yes, non-violence.) He hews closely to the punk purism of local scenes and staying true to skating’s roots, whatever those may be, while fervently embracing mega-corporate sponsors. He remains fiercely loyal to his sponsors of the moment and wastes no time in spewing poison upon those who dare to cross him.

To this end there’s actually a really good interview in the new Transworld (2-09) where Mackenzie Eisenhour kind of gets Mike V to admit he wants to have his beating-people-up cake and eat it too.

TWS: You repudiated violence after the “Greatest Hits” DVD. (re: fighting “Creature Lee” at Van’s Downtown Showdown last year)
MV: In a broader sense, I have spoken out of both sides of my mouth…. “Greatest Hits” was definitely the capitalist pig in me [laughs]. After the craze of “CKY” and “Jackass”, I saw an opportunity in the marketplace to package that stuff and that’s something I can understand someone disagreeing with.

There’s a lot more, it’s a pretty good interview in terms of putting the harder questions to Vallely as far as his perceived jock nature, whether he ever considers learning new tricks, how he’d be a great cop and that hoary old cliche “skateboarding saved my life.” Also there are two photos of bonelesses.