In Polar’s kinetic, nervous and occasionally poignant ‘I Like It Here Inside My Mind’ – the best-crafted, most cohesive ‘company’ video this year and maybe for the last few – Hjalte Halberg brings probably the most straightforward street-purist approach, helping ground some of the body-varialing and handrail-bonking flights of fancy from Dane Brady and the Blobys, and (along with Aaron Herrington and Pontus Alv) injecting some of the diversity often lacking amongst an industry where the easier path sometimes comes off like targeted appeals to specific niches. Hjalte Halberg in this vid rains down force and precision on his Copenhagen blocks, blasting backside flips from bumps and rifling off some of the fastest heelflips committed to digital video. He seems immune to friction and there are moments, like when he’s backside 180ing out of a manual, where he seems maybe not fully in control, but these are rare and pass quickly. Between his video with Bobby Worrest and various other footage Hjalte Halberg could’ve made his own whole video of this shit over the past year.
Posts Tagged ‘Polar’
The key to unlocking value in any low-margin business is to maximize efficiency. This is the core truth of commerce and business underpinning a meritocracy in which the fastest copy machine is showered with honorariums and shiny treasure, where specialized mining equipment sniffs and scrapes out rare earth minerals and makes rich men of those who once swung picks, where clean factories churn out safe, packaged meal pills to cheaply feed a growing world labor base and quell any angry strife that could negatively impact production schedules.
Fragmentation and heightened competition from both nimble upstarts and well-heeled corporate gargantuates has similarly trampled profit margins in the skate biz with a trampling motion similar to that of an interplanetary trampling elephant. All around, there is a great diminishing, or distilling, depending where you sit: magazines skimpier, as photos, interviews and footage stream daily off mobile-optimized cloud platforms; years-in-the-making videos winnowed down to one-off web parts and Instagram snippets that ebb and flow on tidal transfer speeds; pro model shoes reserved for an anointed few, while the rest pick out seasonal color schemes.
In a fractured age is the team roster next for culling? The sprawling headcounts still collected by the Baker Boys, Crailtap and FuckingAwesome/Hockey contingents argue otherwise. But increasingly difficult-to-capture attention spans have sent up signals that tag teams, rather than baseball diamond or football field-ready lineups, are better suited for plattering more-meaty video offerings relative to the drip-drop of individual internet parts. Bear witness, would you, to the Bobby Worrest/Hjalte Halberg “Looks OK to Me” double feature that sort of awesomely and ominously asserts itself as the stoke-per-second leader in video releases this year at a svelte 9:46 minutes.
These brothers in Swooshdom maybe aren’t an immediately intuitive matchup, per se. But rattle through enough immactulate back-to-back ledge/flatground combos that, when drizzled out over enough countries’ spots, consistently hollering and clapping for one another, and associated homeboys collected along the way (Reese Forbes – fantastic), and it clicks in the spirit of Keenan Milton and Gino Iannucci, Jason Dill and Anthony Van Engelen, Brian Wenning and Anthony Pappalardo, Mike Carroll and Rick Howard. Hjalte Halberg’s pop shove it frontside crooked grind line and Bobby Worrest’s line at New York’s three-up/three-down are among tons of highlights, along with the grate tricks and the entire Pulaski park section.
As two-dude videos come back into vogue, could a two-man team that is cheap to send on the road, less prone to complex beefing factions and capable of filming one another become the ultimate in independent contractor efficiency? Has the cozy relationship between Vladimir Putin and Bashar al-Assad made the time right for Nikolai Volkoff and the Iron Sheik to rekindle their partnership? Is Bobby Worrest’s fakie flip and switch shove-it landing in time with the snare hit a quiet nod to Rob Pluhowski’s often overlooked and downbeat-friendly Element part and/or a sign that videos could revive the days when wheel impacts comfortably coexisted with metronomes?
Is skateboarding as we know it courting wholesale disaster and destruction? The resounding answer ultimately must be a form of ‘idk but..’ as a steadily swirling swirl of lifestyle choices, fashion accessories and increasingly, tricks themselves increasingly bear the mark of the paterfamilias, to increasingly risky and questionable ends.
The current ‘dad’ fad is little shock when you consider how skating, once a rebellious youthful subculture prior to its modern format as a joint venture of several global footwear manufacturers, previously offered a haven for broken-homed kids that in many cases was preferable to careers in substance abuse or strong-armed robbery. Generations later the youngsters now look up to second-generation pros such as Alex Olson and Riley Hawk, who skate with their dads, swap pro models and career advice as they forge dynasties that can rule over taxpayer-funded bowls and prefabricated plaza spots for eons to come, battling rival clans across the cosmos for wealth and prestige and lucrative mineral deposits.
Dadness already had been stoked to a near-inferno by the widespread re-adoption of loose-fit, faded denim jeans, sometimes with a sensible cuff-roll well suited to low-impact cycling or safely depressing the pedals of a used minivan. Soon after, hat designers including Huf and Bronze56K elevated the dad cap from musty closet shelves and lost-and-found bins to a lofty $36 pricepoint item that comes in fetching pastels, equally at home flipping an 8.5″ popsicle or being flipped via Ebay for healthy multiples of its retail price.
Yet whereas any geek off the proverbial street can outfit himself in dad garb, cultivate convincing flab in pursuit of a lusted-for dad bod and feign a tiresome lifestyle of early bedtimes and a mind-eroding 9-to-5, dadness also has revealed itself gradually through long-passe streetstyle maneuvers. The varial flip, which only style dieties bearing names such as Brian Anderson, Mike Carroll and Jordan Trahan can lift to the level of the tolerable, once was not the sort of move performed in mixed company, but no more; body varial, same deal.
The noseslide shove-it, which elbowed aside no-complies, shove-its and wallrides as well as threatening light balls to capture precious screen time in Polar’s energizing ‘I Like It Here Inside My Mind,’ again resurfaced in this week’s Bronze promo ‘Plug,’, marking a new apex in ‘dad’ tricks that may be difficult to surpass. Fifteen years since Rob Welsh nearly single-handedly rescued the noseslide from that doomed scrap pile of tricks too basic for blocks and too ‘Muska’ for handrails, a new era beckons in which legs weary from four presidential terms’ worth of pop-outs are offered respite via a mellow 90-degree shove in the direction the board already is headed, a ‘tech’ trick in the same spirit as the ‘extra mild’ salsas hawked by the jug in Midwestern box stores.
How uncomfortably deep is skating willing to take its dad fixations? Does the unfortunate prophecy of the star-crossed Theban king Oedipus, who slew his father and married his mother, suggest that skating will thrust some metaphorical harpoon through surfing before turning an altogether different and still more troubling metaphorical harpoon toward roller-skating? Is there a convoluted version of the Sphinx’s riddle that could include a basic noseslide in the ‘morning,’ the late-90s favorite with the 270 shove it the hard way for the ‘afternoon,’ and then the current/dad version in the ‘night?’ Will ruin and chaos soon follow, or could the frontside tailslide shove-it be next?
From disused plastic piping, zip ties and empty two-litres, Dutch sculptor Theo Jansen has over recent decades bestowed life upon a new and fearsome form of creature he has dubbed ‘Strandbeests,’ nomadic and dinosauric automatons that draw their power from wind and moisture to restlessly roam frozen Scandinavian shores and, through unwitting human enamourment, sprinkle their genetics globally via our computerized internet. Theirs is a lonesome lot on barren stripes of the earth, but their ramshackle ploddings are not without a certain joy and wonder.
A few Lego bricks and Ikea couches away, by accepted U.S. cowpoke measuring standards, Pontus Alv tinkers among his DIY embankments and bowls and at long last takes his third full-length off simmer, a Nordic dream smearing several decades’ worth of lovingly recollected skate touchstones that uncork themselves as the most ‘now’ vid since Supreme’s ‘Cherry’ and 2016’s pulsating frontrunner so far. Buffeted by larger forces both natural and otherwise, the non-complying bros and their half-seen stand-ins populating ‘I Like It Here Inside My Mind, Please Don’t Wake Me This Time’ place faith in leaps both figurative and actual that send them soaring atop buildings, crunching through shrubs, high diving off delivery trucks and rolling away from frontside noseslides to fakie with arm dropped just so. Beyond the Alien Workshop and Blueprint camps of yore, there’s not a lot who handle their imagery and mix their media as well as is done here.
Dane Brady’s bucolic opener presents most of the elements, simply — here’s his dog, his curbs, his parking garages, his deceptively intense control, skidding from parking bumper to parking bumper or manualing through the grass or jumping a damn swing. Michael Juras and Jerome Campbell wind their way through bricked out European back streets, speed hopping bump-to-bumps and backside tailsliding way out on rugged ledges, seldom any one dude holding the frame too long without somebody else on the team hopping onto the same spot, maybe the opposite way. Hjalte Halberg crushes big blocks in possibly the vid’s best played-straight part, Pontus Alv is in there with his backward hat and his arcing wallrides, luring his followers into snaking doubles lines at Swedish DIYs and Oskar Rosenberg-Hallberg, seemingly growing up before the fisheye here, buoyed beyond the switch pole jam and ride-on smith grind by the best little-kid stylings since Yaje Popson or maybe Kevin Bradley. Aaron Herrington cashes in what look like a couple years’ worth of chips like the double wallie and later on Kevin Rodrigues, who comes with tricks that have no names.
Pontus Alv has talked about a kind of wonderful weirdess and isolation that go with doing his particular take on skating from one of the unlikeliest spots on the map, while also wearily eyeing the constraints and pressures that come with developing a beloved and increasingly successful company.
It’s always the same. It starts like, “Hey, there’s this cool new brand. It’s small. It’s underground. It’s run by these cool guys and we love it because we can’t get a hold of it.” Like when World (Industries) first started it was exactly like that. And then all of a sudden there’s all this demand and then that brings hype and then slowly the companies get their shit together. They get their business model together, the production, the distribution, and everything. And then, of course, when a companies growing, the company’s costs are also growing so it’s like, “Oh shit, now we have to widen our distribution channels to make enough money to supply the riders, team, video production, ads, and all of those things that you have to do. And then all of a sudden people look at it and are like, “Well, it’s kind of big now. I don’t know. It’s not cool anymore.” And then all of the sudden they lose some of that support and all of a sudden it’s like, “Well, we don’t have the core support anymore but we have this massive company with all these bills.” So you widen the channels more and more and more.
Henry Sanchez, who also came up in the Bay area only to part ways with the CA-based industry, questions the cultural cost of broader-based success in an interview discussing his latest return to skating: I see a bigger corporate presence in skating, and it has a stronger foothold in the market. To me, those are indications that skating is a lot bigger now. It seems like they’ve spent enough money campaigning for your heart. We had a stronger defense with a much smaller army.
It is maybe too easy to see the rising and receding industry tides gently lifting the wallriding Mary Poppins of ‘Don’t Wake Me’ across grassy hilltops, blowing him into spiky trees, or at other points holding the magical umbrella just out of reach in various times of need. But with ever-larger commercial interests alternately supporting Polar’s trans-Atlantic bonelessing and bank-building, while harbouring threats of spiky contractual strictures and molding future generations from Olympic bully pulpits, how much longer does Pontus Alv’s idyllic Polar dream go on? Could a ‘Really Sorry’ type quick follow up serve as a sort of cosmic snooze button? Was the vid’s lengthy gestation period at all related to scheduling difficulties in securing the Rover cameo? What was going through Kevin Rodrigues’ head when he seen that rail? Are all the H-Street references actually subliminal signals from Pontus Alv to the Polar team that they should abscond together for some upstart board company in a few years, thus easing the crushing pressure on Pontus Alv to follow up this video and allowing him to pursue an Evol-like reboot at far lower stakes for all involved?
While making Jake Johnson the marquee no-complier, wallrider and shove-it man on Polar may have been a concept terminal in its redundancy, it is enduringly awesome to see the dude apply his raw and wiry talent to the genre, birthed as much by Josh Stewart’s ‘Static’ series as anything else, and stretch it to gobsmacking distances. Jake Johnson’s line down the black bank etched itself into Alien Workshop’s apparent eulogy and in profile recalls those dudes surfing Portugal’s freak waves, while the now-famed frontside slappy down Clipper pops up with as little warning as the idea that anybody would try such a thing at that spot in the first place. The squalling guitars here are a serviceable Dinosaur Jr approximation and if there’s any knock at all on this footage it might be that there’s plenty more room for Jake Johnson to unbottle some of deep-web technical ability, like the fakie ollie to front blunt, but it is fabulous to watch him in this zone.
Ten more parts
-Austyn Gillette – “Unlimited”
Something about Austyn Gillette’s riding will probably always be not my thing, but I’ll always check for his footage. Switch backside flip at the end had the craziest catch.
-Keelan Dadd – “Parental Advisory”
-Russ Milligan – “Business As Usual”
I think Russ Milligan at this point may be destined to go down as criminally overlooked, but it’s good he’s found a niche in SF.
-Forrest Edwards – “Wild Power”
-Nate Broussard – “Secondhand Stoke”
Somebody could make a case on how this dude’s languid style and focus on simple tricks might’ve helped refocus Dylan Rieder in his evolution toward the Gravis part.
-Ross Norman – “Civilized”
Ross Norman slayed in “Last of the Mohicans” a few years ago and he’s apparently been putting in time at his own personal Love Park. The heather-gray crew-neck sweatshirt is overdue for a comeback.
-Gilbert Crockett – “Cellout”
-Conor Champion – “3Hunna”
Attention video makers, the farther “Carter 2” fades in the rear-view mirror, so does the bar grow higher for any use of Dwayne Carter music in parts. Ponder this as we take in Conor Champion’s huge switch backside tailslide.
-Brian Peacock – “DC China”
-Adrian Vega – “Outdated”
No super-secret recipe here, just clean tricks at good spots and a brassy song.
What is the over-under on how many months will pass before Mark Suciu is rated pro?
Just curious, the stance here is obvious. There was this one too.
Ten shared parts/promos
-Alien Workshop – “Cinematographer”
If they would’ve sold this part alone via Itunes for $4.99 I think they might have been able to keep AVE in Dapper Dan for decades. Companies should think about devoting their resources toward pumping out well-produced smaller projects like this every year or so, versus these five-year global slogs that wind up relegating half the dudes’ footage to a bonus reel most people will watch twice. Jake Johnson’s nollie wallride here is the real deal.
-Adidas – “New York City”
Adidas and Dan Wolfe have been making the best tour clips out for some time now and this ranks at the top of the stack, up there with the Greece one. Pete Eldridge’s loosey bought him a ticket to years’ worth of message-board dissertations on style.
-Politic – “Introducing”
These vids that offer peaks into weird crannies of the world are super worthwhile.
-Polar – “No Complies & Wallrides+shuvits”
-Palace – “N***** WIT ALTITUDE”
Love these guys, and the cameos are amazing, but white dudes throwing around the n-bomb is better suited to suburban tweens.
-Tim & Eric – “Secondhand Stoke”
Helping hand on the front flip warms the heart
-Dennis Busenitz/Real team – “Cinematographer”
-Bobby Worrest, Daniel Kim & Tim McDermott – “Stop Fakin 2”
Worrest, lines at Pulaski
-Lucas Puig & Co. – “Adidas roadtrip”
The red hat and those cement boobs got a lotta mileage this year. Between Cliche and Adidas and those blue shorts, is Lucas Puig officially the most Euro pro out?
-Magenta – “Hill Street Blues 2”
The rise of Riley Hawk
It has been interesting to track Riley Hawk’s come-up these past few years and his moves. Flying the Birdhouse coop and farming his hair and scumstache under the Baker banner was one thing but all the footage done recently is another, he’s got an interesting take on the heelflip and he’s moved onto a bigger canvas from the ledge combos that got him on the radar a few years ago. This one is my favorite among the several sections he made this year.
A re-rise of Tom Penny
Tom Penny footage these days is a crap shoot, but this brand-new clip from the DC “Embassy” park is the best in quite a while. There is still some magic in those feet, between the switch nosegrind, switch frontside flip and ollie impossible.