Lines are some dudes’ friends and a natural enemy to others, meaning that during the space between tricks you get to see the subject navigate the board, push, potentially tug at his trousers or swivel his shoes to get set up for the coming gap, ledge, rail or come what may. Vincent Alvarez is one of those dudes where a healthy chunk of the appeal is absent without the swerve of his trucks, like in the run here that starts with the switch bluntslide, or the switchstance slalom between the cars. Vincent Alvarez skates fast and loose and sometimes like he’s flailing to hang on, and some of these tricks here like the switch frontside bigspin wallride and the hasty follow after the nollie flip into the bank are presented with all their rough edges intact, backed by a meandering jazz tune. A lot of this footage reportedly is drawn from the years around when he got onto Chocolate and filming with buddies afterwards, and to me what elevates this part is how you can see that this is a dude running his own roster of tricks, zooming around some well-traveled labyrinth of alleyways and ditches, facing down traffic and big hills. It is one of the shortest eight-minute parts ever.
Posts Tagged ‘Los Angeles’
Whatever happened with the DGK video and the fortunes to be gained and lost peddling this generation’s version of the FUCT t-shirt line to rap singers and their suburban admirers, Stevie Williams cemented his position as a skate mogul by using his clout to help put out a video part that a certain segment of the populace had been waiting on for 15 years — a feat that apparently had eluded Kareem Campbell, Steve Rocco, Patrick O’Dell and possibly others. The continued fetishization of mid-90s attitudes and filming equipments can’t recreate the fit of the jeans or the sound of a k-grind across the Venice pit ledges, and Fabian Alomar’s nollie backside flip over the sand gap, the line at the white planters and the tricks off the bump at the end could have run in any of the greatest videos of that era. Tough luck that it took a personal tragedy for this footage to see the light of day, but it would be testing fate to overlook a gift pony internet sites such as this one have been requesting from Santa Claus for so long. DGK’s “Free Fabes” website is here.
Incendiary click-bait topic title aside, not a great deal to see here other than a much fantastic photo of Stevie Williams in this ad for his Supra signature model footwear. Enjoy that this photo doesn’t clonk you over the head with a big fisheye angle showing how high the bench is, kinda like Stevie Williams’ strictly basics attire here, the whole idea seems to be take it or leave it. A dude cracking an awesome trick as he goes down the sidewalk, on his way to wherever. The Hollywood squares sidewalk kind of threw me at first but this is a worthwhile entry in this internet site’s long-running love affair with the switch frontside noseslide and from a veteran practitioner. There are plenty pro-types whose off-board months and years carry the whiff of wasted time but Stevie Williams always has seemed to be genuinely operating in the background, to whatever end, and really looking forward to his section in this long-discussed DGK video.
Quartersnacks the other day posted up this deep dive into Sect adherent Jake Johnson who sounds like he’s spent the better part of the last year pondering ponderous thoughts on a skate-oriented pilgrimage to Pittsburgh as part of a broader effort to reconnect with his inner dirtball. The idea wins kudos at this blog webpage, where such concepts are prized above sponsorship by big-box retail chains. One of Jake Johnson’s ponders involves the “message” that underlies skateboarding, a potent smoothie of rebellion, aggression, creativity, pain and escapism, some of which might be lost on a generation coming up with parks aplenty and tweet-ready reality idols straddling the primetime viewing hour. There’s a separate message though for which Jake Johnson feels more personal responsibility, transmogrifying his board into a ball-point pen and the streets to an 8.5×11″ piece of white printer paper:
“My sponsors give me a lot of freedom. For the most part, they understand that me developing a concept, message, and my style of skating is the most important thing for their company. They’re willing to do whatever it takes for me to skate my best, and they trust me that I know how to do that. A lot of companies don’t.”
Thinking back on “Mind Field” Jake Johnson from what I recall worked hard to root the footage in his working frame of reference which was mostly New York at the time, setting up kind of a contrast to Josh Kalis’ various beefs about Greg Hunt not incorporating enough of his Barcelona tricks, but whatever. The comment (and whole interview really) signal that Jake Johnson found an early grasp on what somebody can do with the career opportunity he was handed and seems to be thinking hard about what he wants to do with it.
Who else thinks in terms of this “message” thing? I think Leo Valls and the “Night Prowler” guys definitely have an aesthetic that they’re looking to promote with their skating, built on what Ricky Oyola and Bob Puleo developed, a sorta homesteading purity for the streets. When Jamie Thomas cued up that clip of himself skating over that bridge in Chicago at the beginning of his “Welcome To Hell” section I think he had an idea he wanted to get across, same with Jim Greco and Stevie Williams a couple years later. Jason Dill is a dude who you can imagine looks at his message as a malleable and mutating thing. Mike Vallely’s career arc cast him into a spot now where you could say that “message” is nearly all he puts out, versus skate tricks.
There’s some comments made in the (too) long-gestating “Epicly Later’d” on Menace along the lines that Pupecki, Valdes, Suriel et al were at the time some assortment of castoffs and misfits corralled by Kareem Campbell to fill out his allotted corner of the Rocco empire. Maybe that’s partly true, but you gotta think that the mastermind behind our still-beloved “mNc” star logo had his own type of message in mind, having to do with communicating through vaguely scary hand-signals and 360 flipping through sidewalk cafes. If all he wanted was some square pegs he could’ve got Adam McNatt and Ryan Fabry.
For whatever reason this week we’re seeing a lot of themes around the glory of bro-ness popping up here and there, so I’m going to avoid retreading tha Plat’s recent odes to the season in favor of more other shit that warms the darkened cockles of aging skateboard hearts*. Such as this time warp Guy/Rudy pic, featured in the new and generally entertaining Wallride catalog. (Check for the Skate Mental dolphin deck and Carroll’s up-rail innovation.) We can sweat the Crailtap crew’s growing pains as they try and chart their course with the ’90s steadily shrinking in the rear-view mirror, but then they’ll parcel out photos like this, or empty the footage vaults for the box set, and future generations of face-tattooed Christian fundamentalist rappers can be forgiven. Too bad they’re not driving a Civic.
Tenuously related is this Lakai commercial for the nold Rick Howards, which I’ve unfortunately yet to sample, in which our pal gets some help from a couple IATSE Local 33 friends. But not Mike Carroll. If 411s were still coming out and I was still watching them I would for sure be waiting on new Lakai spots.
*inevitably bumming out the anti-bro-feeling Carbonite