Posts Tagged ‘Louie Lopez’

SCOTUS, FAWWEnt, And The Supreme Trials of Jason Dill

May 5, 2019

Jason Dill is in the news again, preparing to open a new, Hollywood-located retail outlet location for physically vending Fucking Awesome and Hockey gear to queue-friendly currencyholders, in an arid desert climate. Elsewhere, the FA squad girds for possible Olympic podium representation via Louie Lopez’s at-last confirmed jump from a Flip team that’s suddenly looking weirdly middle-aged, in skate years. And Jason Dill hisself, celebrated and dissected in a recent glossy magazine profile that presents a relatively domesticated chapter in a tumultuous and well-worn life, provided he’s not sweating beneath the galactically-sized expectations laid upon him by GQ:

He is a titan of influence in skateboarding. Every trick he’s done, every outfit he’s worn, and all of the crazy stories that make up the Jason Dill mythology are crucial entries in the skate canon. That influence began when he was just a kid in Huntington Beach, California, and extends soundly, unwaveringly into 2019. Dill’s style—his tricks, his attitude, his clothes, hell, his visage—is foundational to what skateboarding is today.

Were it an ‘Epicly Later’d’ or ‘Nine Club,’ the tension might be cut here with a wet belch or other affectation emanated bodily by Jason Dill. But this is a world of legal sawmills and customized financial derivatives, where each strategic step is more precarious than the last and could end in a volcano’s fiery maw. The pressure is tangible because it’s real: 3,000 miles to the east, the fate of Jason Dill’s holdings may rest inside the rich mahogany chambers of the highest court in tha land.

You see, it turns out that Fuct, the alternative t-shirt supplier known for spreading silkscreened exhortations such as ‘RAVERS SUCK’ during a certain portion of the early 1990s, for years has been lowkey locked in a legal tussle with Uncle Sam, who so far has refused to extend his sturdy cobblestone walls of federal intellectual property protections around the barony of Fuct. This has created any number of problems for the Fuct group managers and equityholders, specifically in the form of 100% cotton-wielding pirates focused on knocking off Fuct merchandise for their own illicit profits and pleasures. While carefully dancing around audibly pronunciating the company’s name, lettered lawmen for both Fuct and the US last month sparred over whether federal trademark protections shall be applied to a brand name that Justice Dept lawyers have determined to be scandalous and unworthy of protective legal shields afforded to more buttoned-down clothiers such as Ocean Pacific and Bugle Boy and Big Johnson. The government argues that, while having extended trademark protection to PG-13 brandings including ‘FUBAR’ and various ‘crap’ iterations, the f-bomb is a bridge too far; Fuct’s lawyers counter that they’re not trying to put up Fuct billboards and hardly anybody considers ‘fuck’ truly offensive these days anyways.

While Supreme Justices ponder these arguments, it is this shifty patch of regulatory sand upon which Jason Dill has staked Fucking Awesome’s fortunes. Though American IP defenders may strike a more confident pose around the more prime-time network friendly FA Worldwide Ent varietal, it is the Hulked-out, admittedly ‘dumbest,’ glaringly profane moniker to which Jason Dill and AVE hitched their uncertain sojourn from Dayton, OH what already seems like so many years ago, and which continues to sell $40 t-shirts and graphically decorated premium sweatpants. For Jason Dill, reared in the World camps of the 1990s, Fuct’s travails in the USA legal system is a path he ought to know well: Trademark missteps forced Kareem Campbell to abandon Menace and MNC before briefly stopping off at All City prior to City Stars. Bitch skateboards’ earlier, briefer run and vanishment may or may not have had much to do with trademark challenges, but these probably ensure that Sal Rocco Jr isn’t getting paid off the remarkably resilient Japanese knock-offs. And widespread bootlegging may help to explain why Girl was never able to fully capitalize off its VHS stereo-ready ‘SHT Sound’ innovations.

Is Jason Dill’s high-stakes devotion to a difficult-to-trademark brand name a keep-it-skate act of defiance, a subconscious act of self-sabotage, or some rich and creamy mixture of both? Might fat boxes of reseller-ready Supreme judicial robes help sway a critical SCOTUS majority in FA’s favor? Could an FA/Hockey/Supreme teamrider, well-trained by Fat Bill’s lens in steely stare-downs, make a wordless, slightly intimidating and ultimately victorious argument in defense of the FA intellectual property portfolio to skeptical justices?

More 2017 Video Part Life

January 1, 2018

Griffin Gass, ’35th North’ – Future ‘Say My Name, Say My Name’ T-Eddy candidate again raises the question, as the Girl camp dips deeper into the Pacific Northwest for its new pickups, are they indulging in continued Anti Hero fandom or returning to the company’s partial Vancouverian roots? Also, the Pupecki grind on the Seattle rail

Magnus Bordewick, ‘Tigerstaden’ – This dude makes flip tricks look like explosions, with a jacket game to rival SP

Lucien Clarke, ‘Palasonic’ – From the Landscape intro to the Boss seven minutes later, Lucien Clark goes in

Kyle Nicholson, ‘Olympic Demo Reel’ – If there ever was a dude who belonged on ScumCo it’s the perennially overlooked Kyle Nicholson, bouncing back here after the City of Philadelphia robbed him of a Love gap switch 360 flip

Josh Drysen, ‘sml. Wheels’ – Solidly weird tech

Yonnie Cruz, ‘The Flare’ – It’s up for debate whether Lakai lensmen Federico Vitetta and Daniel Wheatly can capture Yonnie Cruz’ skating with the same combination of reckless abandon and high stakes that Ryan Garshell managed, but this part ripped, and James Capps tricks helped too

Yaje Popson, ‘Riddles in Mathematics’ – Whatever headaches were saved thanks to having the least-claustrophobic camera work in Chris Theissen’s latest paean to the uncomfortable close-up were offset by some of the most garish camo going. But Yaje Popson’s skating surpasses all

Kevin Taylor, ’42’ – A deep indulgence from one of the discipline’s true masters

Jimmy Lannon, ‘Shaqueefa Mixtape Vol 3’ – If you’re among those that can watch Jimmy Lannon do bump-to-bars for several minutes straight, you can do so via one of the year’s best-soundtracked videos

Niels Bennett, ‘Awake’ – The catch on the frontside 5-0 shove-it in this is nearly enough to tide people over until this dude’s next clip, which would benefit all involved if it announced Niels Bennett as the next curly-haired wallrider for Girl

Louie Lopez, ‘West End’ – people will debate whether he should’ve gotten Skater of the Year, but he gets points for prioritizing shove-its over kickflips when it comes to bump and gaps. And who’s whipping caballerials out of wallrides?

Tore Bevivino, ‘Sabotage 5’ – Strapping on the face mask for some of the gulliest levels lines ever done at Love Park

Was Jamie Foy’s Yellow-Shirted SOTY Surprise an Implicit Rebuke Of Overt Trophy Hunting or Gasoline for More?

December 11, 2017

In an age where fortunes are made and dashed again with the fateful tapping of a touchscreen or a practiced turn before the correct lens, does anything remain inevitable? The SOTY campaign, one of Thrasher’s sturdiest tentpoles in a domination of new media forms that other, older publications could learn from, is proving increasingly tough to pin down as potentate pros’ lust for the Rusty statue tilts video releases toward a year-end glut and dudes go all in with bones and ligaments as autumn shrivels the leaves to warmful tones.

Throughout much of 2017, a heavy whiff of inevitability trailed yung Louie Lopez, once derided among Flip 3.0’s crop of hard-to-watch tween pickups, now a fully formed ATV testing the limits of his considerable powers in all the correct venues. Even before his Spitfire part hit, rumblings could be sensed that this was Louie Lopez’s year (or major sponsors believed so), a concept that seemed more and more certain as he ripped the SPoT to pieces en route to first place, joined Jake Phelps and co. in a cobranded Thrasher and Spitfire trip, and bounded up and across massive walls and onto the mag’s cover*. Hash tags endorsing his candidacy piled up and in recent weeks, following his searing ‘West End’ part, he was positioned as an Arto Saari heir apparent, while an interviewer wondered about a post-SOTY life for Louie Lopez.

What happened? With a meaty thud, much is swept aside by a buzzer-beating trip down a double-digit sized stair set, same as the multi-kink hulk that Kyle Walker conquered to gazump Evan Smith last year. Fate opened a lane for Fred Gall-shaped Floridian Jamie Foy this year, dispening tickets to Thrasher’s KOTR and Am Scramble trips, and Jamie Foy pushed the pedal all the way down. It is difficult to remember or indeed, imagine a faster rise — getting on a board company at the start of the year, a pro board a few months later, and then Ty Evans’ ‘Flat Earth’ film, providing a ham-going fourth-quarter opportunity that Jamie Foy took once again, carving two notches into the famed El Toro set. If Skater of the Year campaigns are evolving into meticulously planned, months-long efforts to strategically release footage, get your guy onto the right trips and pump up the IG volume, is there a certain allure in getting behind the bowling ball barreling toward all the carefully set pins?

Is the speed of Jamie Foy’s ascent, from amateur to pro and SOTY the same year, a reflection of or reason behind the breakneck pace driving skate media these days? Will a starring turn on Thrasher’s Viceland series become a prime propulsion toward future SOTY titles, as Vice veers frighteningly close to MTV territory in terms of thirstily mining skating for TV fodder? Could the nod to Jamie Foy also serve as a quiet acknowledgement that it shoulda been Fred Gall one of those years? Do we, the slack-jawed viewer, remain the ultimate winners even as Skater of the Year campaigns grow more overt and assertive? Do all the stair counts and smoothly executed pop shove-it reverts fall by the wayside when considering the way another perennial contender, Tiago Lemos, forces the world to reimagine what is even possible?

*With The Skateboard Mag gone away, does Thrasher revert to the shorthand “the mag” again?