Posts Tagged ‘Fully Flared’

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.

One Flare to Rule Them All

September 23, 2008


Mushroom cloud laying motherfucker, motherfucker

So: having forever changed the skateboard video as we know it (well sort of), Lakai, possibly drunk on Mariano footage and its own hubris, will try its hand at redefining the limited edition cash-in DVD with the Final Flare box set, for which they have prepared a new podcast trailer thing. And let me tell you, as much as I’m looking forward to Marc Johnson’s musings on the existential trials of filming a 12-minute video part, I most likely will indeed shuffle off to the skateboard store with a heavy sigh and a twinge of guilt and plonk down my $59 or whatever.

Let’s be serious, I don’t have that kind of folding money in the best of times, and bear in mind we’re dealing with a bona fide recession now, according to at least one USDA official. What I’m saying is, this means something.

Allegedly the box set will include three discs, a photo booklet, photo gallery (!), blah blah. More to the point: alternate edits (read: less ramped slow-mo and “lifestyle” clips between each line), the making-of documentary (which will be interesting in an On Video sort of way [read: watch once]), and the goddamn bonus footage that everybody’s been waiting on since the premiere. Because I had this sneaking suspicion that some of the bazillion tricks that didn’t make it into the video were in fact landed. (Jesus’s trick in the preview is ba-fucking-nanas.)

All cheap-shot snarks aside, I think Lakai played this pretty smart actually. They kept a lot of the tricks that were already in magazines out of the official video, so it had some surprises, but they knew people would want to see that shit eventually. I do feel where the pros are coming from, talking about the whole anticipation/hype around the video (although MJ sounded a little melodramatic), so the making-of ought to be at least kind of interesting. And a Blu-Ray DVD will be cool when I get around to buying a hot PS3 off a greasy, mustachioed guy at the flea market. Some day…

Also I’m assuming they’re going to hold on to all the original music. If Mannie Fresh gets pulled, I’m demanding my $59 back.

Of course the ultimate reason why it’s tough to hold the limited edition cash-in against Lakai is that videos don’t sell for shit nowadays*, so how are you gonna blame them for trying to recoup on all that airfare to China. Those four-hour “massages” ain’t free you know, especially with the dollar as weak as it is. Not to mention the fact that the vast majority of skateboarders now live an unthinkable distance from major urban areas where one can even buy skateboard videos, at least according to the “Ride the Sky” topic on Slap. Hey, they’d buy it if they could. It’s tough all over, people.

*with the exception of “Fully Flared”

Torey Pudwill: on some shit

May 13, 2008


seriously what the fuck

We’re at the beginning of an era where a lot of people will try and reproduce the Fully Flared brand of late-aughts tech skating (brace yourself for the next Ronson Lambert part), but Torey Pudwill of all people steps right up and gets it pitch-perfect in the new DVS promo. The magazines over the last few months have been showcasing his ever-taller pop and he held it down at that Lord of the Lines contest, but to me his new DVS part shows he puts some thought into the tricks he does, which is what generally separates your Jason Dills and your Rob Welshes from Mr. kickflip-two-more-stairs.

There’s a ton of great stuff in this part, and the obvious Fully Flared influence is there with the b/s tail pop-up to manual or the b/s smith 360 flip (ridiculous). But I could rewind that nollie heelflip over the hydrant three times whenever I watch this. And it’s amazing to me when somebody has the control to nollie flip up a block as their set-up trick. Kickflip b/s smith grind on that bridge bench in NYC is pretty mind-boggling, and I like the way he really stabs those b/s smiths. The bigspin b/s tail to regular was smooth as shit, on par with the one Kalis had on DC-TV a few weeks back.

Pudwill’s still got some kinks to work out, like the occasional spazz-oid arms and wonky waist, and his switch b/s bigspin flip doesn’t have the suave-ness of Dylan Rieder’s or Russ Milligan’s. But compared to the wounded bird that shared a part with Daniel Castillo in Skate More he’s come about a million miles. And while everybody else tries to step to the Fully Flared level over the next few years it’ll be interesting to see Pudwill try and top his own shit.

Bless this mess

May 1, 2008


street hassle

Nieratko:After you see a video like Fully Flared, how does it change the way you approach the way you film or make videos?
Andrew Reynolds: It doesn’t change my approach at all. I stick to what I know. …I watch [Fully Flared] all the time, but my personal editing technique is to make it look like a piece of trash and then put it out.

It kind of impressed me when Reynolds said that, not because I expected him to suddenly enlist in the Ty Evans school of overproduction when it comes to Baker videos, but because he sounded totally confident in his “throw everything against the wall and see what sticks and what leaves greasy smears” approach to putting a video together. I don’t know if it’s because the ramped slow-mo and incessant profiling cutaways of Fully Flared are really starting to grate after five months of re-watching (more like after a week), or if it’s because Reynolds has nailed the Baker-Bootleg formula, but the Baker Deathwish promo* so far is the most fun and rewatchable video to come out of the Baker Boys camp since they stumbled onto the scene almost 10 years ago, and for me anyway it’s the best representation yet of the company and the dudes.

Reynolds should also get credit for not letting his personal issues fuck up the whole Baker vibe. When he and Greco cleaned up a few years ago it was up in the air what kind of impact that would have on the company’s beer/buds/blow deal, but the ads stayed wild and Baker 3 was the usual cocktail of transients, pissed security and stumbling drunks who also drop the requisite hammers and so on. Except instead of Reynolds tipping back a bottle of distilled spirits he’s rolling up with a handful of Starbucks. Shoutout to Barney Gumble.

If anything, the only issue with Baker 3 was that it was maybe too focused, with its intro-part-part-friends section-part-part-kids section-part part, etc. Baker Deathwish returns to the hazy, meandering pace of the original Baker Bootleg, except with a little tighter editing and way less slow-mo. And the way the video staggers from clowning in an apartment to Ellington running somebody’s board over to heckling Koston to Antwuan Dixon singing about his fucking shrimp, it does a way better job of showing a day in the life of the Baker squad than a million Ty Evans slow-motion dolly shots of the Lakai team kicking it at the ledge spot, or Guy Mariano pushing open garage doors while Band of Horses coos in the background. Baker Deathwish has Dixon in a taco hat. Think outside the bun, people…

*Can an hour and five minute-long video really be called a promo? Excess is one of Baker’s founding values.