Got That Work

In Upton Sinclair’s 1906 action adventure epic “Welcome 2 Tha Jungle,” protagonist Jurgis Rudkus immigrates from Lithuania to Chicago, a realm of industrial opportunity ripe for fortune making and dream chasing. Despite his oxen-like strength and physical endurance, Jurgis’ entry into the working world offers mainly wages of humiliation, injury, poverty and misery, ultimately destroying his family life and setting him on a path to hoboism. Eventually, Yung Jurgis moves into violent and organized crime, at which point the reader is like “finally.”

More than a century later, like subgrade urethane capitulating to a screechsome blunt-slide, time remains a flat circle. Chocolate, the Torrance, Calif.-based deck concern whose video output has often dealt with themes of desperation, justice and living at the boundaries of the law, returned last month with the Crailtap camp’s most vibrant full-length vid in nearly 15 years, the fantastic, Keenan Milton-quoting ‘Bunny Hop.’ The stakes aren’t nothing — there hasn’t been a formal Choco production since the first W. Bush term, and most of the dudes with parts haven’t been on the team more than a couple years — but it starts off poking fun at the uncomfortable truth that’s become apparent for board companies yea this past decade, which is that most of them don’t got much money. “You wanna do a full-length video in 2021?” the incredulous Crailtap accountant scoffs at the ‘Chocolate Tour II’ trailer’s opening, rejecting a proposed rooftop spine ramp and underwater sequence. “You gotta find the money yourself. We don’t have it.”

So begins the young Chocolate team’s plunge into the bowels of working-world hell. As an apprentice real estate agent, Erik Herrera is ignored in his futile task to sell a falling-apart bungalow; Stevie Perez becomes a paid guinea pig for experimental brown-coloured beverages, and later has foodstuffs and screamed insults heaped upon him at a pizzeria. The team furrows their brows as they are led down a digital primrose path into what appears to be a bewildering crypto scam, and Carl Aikens endures verbal abuse and word salad dished out by Chuck of Chuck’s Skate Barn fame, now living a Howard Hughes-esque lifestyle centered around persona fitness and online charts. Like Yung Jurgis before them, before long the hopelessness and debasement overwhelms the young Chocolate team, soon turning them toward robbery, break-ins and fiery auto-insurance fraud.

On its face, the ‘Chocolate Tour II’ trailer clip (followed by Sam Cooke’s ode to forced labour, “Chain Gang,” soundtracking the conventional intro section) can be read on its face as another entry in the skateboard sphere’s long-running aversion to the proverbial ‘office job’ and various other career paths more square than kickflip backside tailsliding ledges in overseas locales, a trope that’s likely helped keep low-cost talent accessible to the skate industry. It’s easy, too, to be reminded of the Girl/Choco camp’s own business-world sagas over the past decade, the Crailtap assets bought and sold and merged by barons of private equity, longtime family members decamping for corporate sportswear gigs or to launch rival hard-goods operations.

But as the video gets underway — in between James Capps’ crackling wall gap 360 flip, Erik Herrera’s run-it-back-five-times backside noseblunt, Jordan Trahan’s garbage bin leap into the top five all-time kickflips, Stevie Perez’s window-rattling wall banger, Vincent Alvarez’s switch backside noseblunt pop-out and Carl Aiken’s hazy magic — the secular world shows how much has shifted since the first Choco movie portrayed skaters as literal outlaws.

As the 2021 calendar petered out, a law firm literally opens its doors to let James Capps, Stevie Perez and Erik Herrera hit the rail out front — and edits release forms for them to sign on the spot. Vincent Alvarez gets spot tips from a car wash attendant and is lightly mothered by a phone-filming cop; a tie-wearing oldster gives Carl Aikens his personal thumbs up, judging the trick an “excellent job;” in midtown, an aging suit confides to James Capps that “I love what you guys do” and deems skating the best sport in the world; passersby poach photos and a cop car stands by while the Choco bros take a few more tries; a big rig operator declares Jordan Trahan a “bad motherfucker,” accurately. And whereas the ‘Chocolate Tour II’ clip leaves the current team in a state of lawless desperation, the walk-ons from legacy pros portray hope for success beyond the skate industry, with Stevie Williams overseeing an industrial cannabis operation, Richard Mulder a smooth-operating real estate agent, Federico Vitetta a detail-oriented (if volcanic) restaurateur, and Daniel Castillo successful enough at some digital economy shit to afford enhanced reality goggles.

Does ‘Bunny Hop’ simply detail the dark side of the contented 9-to-5erness showcased in the intro to Girl’s ‘Doll’ a few years ago, which featured Griffin Gass as a focused shelf-stocker, Mike Carroll as a relaxed postman, and Niels Bennett as an intrepid vintage clothing merchant? Could Thrasher’s recent ‘Skaters With Jobs’ feature encourage aspirations beyond barbacking and car-based gig economizing, or will it choke off critical future talent flows? Will “Chocolate Tour II” result in a federal examination of sanitary and worker safety practices in the burgeoning ‘Chocolate Pow’ industry? What’s up with no Hosea Peeters?

‘People can get a cheeseburger anywhere, okay? They come to Lakai Limited Footwear for the atmosphere and the attitude. Okay? That’s what ‘The Flare’ is about. It’s about fun.’

What if you’d been told, on the occasion of ‘Fully Flared’s premiere nigh ten years ago, that Anthony Pappalardo’s part would provide a primary guiding light for the shoe supplier’s next full-length video — would you have believed it? Similarly could any 80’s baby have guessed that it would be Crailtap’s joint tour vids with Anti-Hero that would set the Girl and Choco camp’s course for much of the ’10s? What would you say if some time-mastering pixie had whispered ten years ago that Lakai would require the vision of a Mattel toy company exec to navigate the wiles of a marketplace commanded by Nike and Adidas? Could a mere humanoid imagination conjure a world in which Jake Phelps is a recognized television personality, Dr. Dre works for Apple Computers, a new Star Wars movie comes out every year, and Gucci Mane lives a life of domestic sobriety?

It’s true, all of it. Now comes “The Flare,” Lakai’s first formal video project since Barack Obama’s inauguration, perceived by some as a comeback, executed more like a reboot. Any lingering pathos or hard feeling from recent years’ departures and drama is shoved to one side by a grinning Italian who opens the vid with the type of low-fi inventiveness that once drew wiggly yellow lines across California streets and breathed life into a fuschia-hued setup. Following any initial disorientation and upset stomachs, Federico Vitetta dispenses with much of the high-tech effects and in-your-face emoting that at times distracted and dragged on the Ty Evans-helmed productions, instead plunking in moustachioed passersby on horseback, operatic music drops and occasional WWFing of trash cans, lightening the load carried by Altamont Capital’s newest flarees.

Whether the intro’s orbish viewfinder is emblematic of some proverbial rolling stone, casting loose all moss and withered tendrils of the past as it rolls beneath that flatbed trailer, is a question best left up to individual viewers and low-scoring undergraduate term papers. Lakai’s slate is not wiped fully clean — Simon Bannerot, a curly-haired hucker with a lovely fakie frontside kickflip, is tagged in by ‘Fully Flared’ curtain-hoister Mike Mo Capaldi to fulfill similar duties here, gliding long frontside noseslides, nose manualing down steps and launching what’s got to be one of the more daring wallies this side of Lizard King’s parking ramp blast. Sebo Walker goes in with Cory Kennedy fits and a princely De La Soul tune for his gnarliest part to date, Jon Sciano tosses an M-80 of a 360 flip over a garbage bin, Raven Tershy goes the distance on the Andy Roy bar and twirls a magnificent Cab disaster, Yonnie Cruz cracks a switch ollie into one of multiple hairy hills. Jesus Fernandez’s ledge tech remains in ascent — he gets onto the Dylan Rieder block switch — while Vincent Alvarez strings together a marathon line at the LA High School banks, and Stevie Perez jumps a rickety bar to a backside smith grind and traces some fairly tech lines through various European blocks. Riley Hawk chisels further his own legacy via speed-metal fueled 360 flip noseblunts and screeching kickflip 360 wallride.

Mike Carroll and Rick Howard pop in here and there, Mike Carroll taking a version of his downtown Los Angeles line from ‘Fully Flared’ to a narrow ledge, and Rick Howard shove-iting onto well-worn New York concrete, but the most direct references to Lakai’s prior tentpole come from Tyler Pacheco, a young box-wallriding blazer who seems to have memorized that vid’s lines and lore on his way toward meeting and skating with his childhood heroes. For all its storied catalogue, though, the Crailtap camp never has seemed particularly stuck on legacy-burnishing when it comes to their videos, and the passage of time, trends and team members merits a different context in which ‘The Flare’ ought to be considered.

Probably it is true that this video will not alter skating’s course the way ‘Fully Flared’ did, and may not attain ‘Yeah Right’s’ level of envelop-pushing handrail pyrotechnics, or capture an era like ‘Mouse.’ Does it have to? It’s worth considering that before Lakai offered up MJ’s 13-minute opus, brought Guy Mariano’s career back from the dead, and helped establish Lucas Puig’s international sensationdom, it was Mike Carroll and Rick Howard’s chosen roster of style luminaries and promising youngsters who collectively weren’t setting out to craft some vision of skating to come, or on any mission to refurbish any beloved brand name. Toward the end, what’s arguably ‘The Flare’s’ biggest twist doesn’t involve a bunch of fire or green screens but rather a clever spin on skating with the bros.

Was this type of team reset the best thing to happen to Lakai? Do any full-length vids have the capacity these days to change the conversation and hit as hard as ‘Fully Flared’ did 10 years ago? Will Tyler Pacheco set off a multiyear trend of table-bonking flip tricks capped off with the ‘Carroll Thumb’? Is Jesus Fernandez an odds-on favorite to win, place or show in the race for the year’s best hardflip?

2. Vincent Alvarez – “Hard Times But Good Times”

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.

Ty Evans’ Love Letter To Excess, In Which Even A Guy Mariano Part Sparkles With Frosting

Thrasher Magazine’s Michael Burnett, who is one of the best writers in the space over the last decade, a couple years back wrote a simultaneously biting and loving intro to a Billy Marks interview in which he positioned the dude’s spendthrift and oftentimes fleeting love affair with “gadgets” and his generally relaxed attitude toward personal responsibility as fundamentally American personality traits, and some type of moustachioed, roast beef-grabbing mirror into which we all could gaze as the nation was tossed upon the horns of a fearsome economic decline.

There is a similar sensibility careening through Girl/Chocolate’s “Pretty Sweet,” or maybe more like a jittery animal instinct, allegedly governing a cultural attention span fragmented across mobile phones, social networks, flatscreen TVs and 3D IMAX movie theaters — beginning with an extended-take intro that dissolves into day-glo pyrotechnics and thumping electronic music with robot vocals, rarely lingering on one shot for more than a few seconds and deploying fireworks, special effects, time-lapse video and of course the super slow-mo. Ty Evans is eager to fish out all his tools as soon as the first part gets underway, chopping Vincent Alvarez’s more-Chocolatey-than-others tricks into a multi-course dog’s dinner determined to move as quickly between tricks and filler shots as fast as Alvarez pushes, with an aural nod to a previous Chocolate production before upshifting again to a third act, which naturally is soundtracked a custom-made song performed by a pro skater and a member of Metallica. Vincent Alvarez spins a 540 out of a curb cut and you blink and are dazed and wonder what has been happening.

And so it goes, as Hollywood celebrities again supply off-color commentary on session sidelines, dudes carve nearly up to the rooftops of buildings and Ty Evans reaches deep inside his bag of digital hocus pocus for other occasional curveballs. Many of these are not new ideas, as the invisible ramps and obstacles from “Yeah Right” make a reappearance, along with the souped-up slams from “Fully Flared” and some synchronized skating and crowd control that provided whimsy in “Hot Chocolate.” The slow-mo super cam is deployed heavily throughout, though in shorter bursts that add Hype Williams alongside Michael Bay and George Lucas as apparent inspirational touchstones for the directors here. There are some fun surreal moments, like the liquifying ledge and the suddenly multiplying boards, that signal some hope for a collaboration if Spike Jonez really were to exercise his “Malkovich” muscle.

The editing and production that are loudly at the center of “Pretty Sweet” takes their cue partly from the skating, which is as diverse a roster as Girl and Chocolate have ever recruited. Bowls, ledges, handrails, gaps, waterslides, ditches and the beloved mini picnic tables all are schralped upon by dudes whose ages must now span about two decades, including both dudes who have beards and other dudes who don’t. The Anti-Hero fandom from those summertime tours is in play, mostly by certain of the “Trunk Boyz” contingent, while a lot of the aging stalwarts tally new and lower-impact ways to spin and shove-it and flip out of tricks.

Some cosmic pendulum is aswing here. “Goldfish” arrived as the early 1990s’ obsession with slow-moving pressure flippery and brightly colored giant pants gave way to smoother and simpler tricks carried out from inside loose-fit blue jeans, and somebody out there would probably argue the case for Guy Mariano’s “Mouse” section setting some high-water mark for difficult tricks made to look easy with a minimum of fuss. There’s no goofy boy outfits strapped on in “Pretty Sweet” but a smith grind laser flip comes off like sprinting in the opposite direction, skating-wise. The younguns too embrace the spirit of excess, as they toast foamy beers and are tracked by camera-toting helicopters and dolly rigs that advance the filmer slowly through a grove of trees to capture a lipslide in the wild. Cory Kennedy, whose mid-backside tailslide kickflip attains the rare status of super-technical tricks that look as good on film as they did in a sequence, casually precedes one handrail NBD with a four-trick run. Such is the embarrassment of riches in Torrance that Eric Koston (Eric Koston) is relegated to a cameo in someone else’s section.

There is a sunny and light-hearted something bouncing through “Pretty Sweet” that, combined with the production values and skits reminded me sometimes more of a mid-period Bones Brigade movie rather than any of the Girl/Choco catalog in particular. This one doesn’t feel so much like it’s got the chip on its shoulder that “Fully Flared” did — Guy Mariano’s comeback is sealed, Marc Johnson seems to have exorcised some of the demons that drove him to record a 15-minute part and abruptly retreat to a mountain compound, Eric Koston no longer carries the weight of the team on his back by way of benchmark tricks, Mike Carroll and Rick Howard seem content in a shift toward full-time mogul status. Chico Brenes shows up and does his nollie heelflips and Jeron Wilson is still putting in work. Also it seems weird to think of someone like Brandon Biebel as a veteran pro, but at this point he definitely is one.

Like with “Stay Gold” some loose talk has gone around to the effect that “Pretty Sweet” will be “the last big video” which, well, you can just imagine how that must hurt the feelings of the poor DGK team members who are getting ready to release their first full-length in about two weeks’ time. You do wonder though what the next Girl video may look like, as there will for sure have to be one unless Ty Evans is conscripted to tote camera machinery through some Eastern European forest in service of the next crop of Disney-owned “Star Wars” movies. Can a lineup underpinned by Mike Mo, Cory Kennedy, Alex Olson and Sean Malto in four or five years’ time command the same gravitas and hoopla as something like “Pretty Sweet” or “Fully Flared” without the decades-deep vets on board? With the VHS-fetishizing movement alive and well, will Crailtap be forced to double down on high-definition recording devices and co-located editing engines? Could there one day be an entire section of after-black editing hammers?

Who Will Win The Great 2012 SOTY Race, Potentially The Final SOTY Determination For All Eternity, If The Ancient Mayans Are To Be Believed?

Fall officially is upon us and the crispening air is thick with rumor and innuendo as professional bros vie to acquire SOTY status in what could be humankind’s final trip around our sun, depending on whether or not you subscribe to certain apocalyptic theories. This site, which previously floated a bunk theory regarding Freddy Gall potentially being awarded a small golden figurine wearing a backward golden hat and short pants, is not so cocksure as to entirely rule out a galactic realignment racking our beloved magnetic poles on Dec. 21, upending convention and fermenting a cataclysm alongside several shortages of encased meats. There are some who say the recent projections of a 2013 bacon shortage may represent an early warning sign.

In keeping with this internet page’s longstanding tradition of a stiffened upper lip we nevertheless brush off certain galactic problems and consider probable front-runners for this year’s SOTY.

Justin Figueroa, alleged front-runner, has all of the stringy hair, yellowy teeth and poor hygiene choices that represent hallowed wishstones of the Thrasher lifestyle, and he has given generously of his volatile handrail riding unto Jake Phelps & co this year and those past — his 50-50 to ollie out over the steps in that Lizard King roadtrip series was some straight video game nonsense and expectations for his section in the (Thrasher exclusive, natch) upcoming Baker Boys production are riding high, particularly after he clear-cut much of the stockpile from his recent ad photo archive for the Shake Junt vid late last year.

Nyjah Huston has on offer a largish contest win in his Street League championship and a reality TV show-worthy redemption song narrative to sell, if Thrasher is buying, though you may prefer to believe their executives in the market for more unrated fare such as the XYZ video or the Menace “Epicly Later’d.” Cutting the dreads and ties to his dad-manager may have helped and Nyjah Huston no doubt pushes the big tricks, but his major video part moment was late 2011, and does Thrasher care about big-money contests as opposed to their own small-stakes, spot-specific ventures?

Vincent Alvarez seems in certain ways like he should be a readymade Thrasher success story, multidisciplined, not too beholden to fussy technical skating and traditionally clad in work pants. “Pretty Sweet” and the Skate Sauce vid represent a tall-pour rail drink elixir that ought to put him at least in the conversation. He’s not flown too far beneath the Thrasher radar, running the year’s first cover for Lakai’s KOTR win. One downside, he may not have enough tattoos.

David Gonzales is a young aggressor with boss moves, a Thrasher cover photo and the near-requisite web-exclusive video part complete with Judas Priest, copious black denim and various throw-up-the-horns poses. There’s no point denying the high-test handrails he gets on, even if he does some of the time wind up basically steering backside onto a previously frontsided obstacle with not a lot of other imagination at work. If I had a vote I’d have a hard time casting it for him, though his video part last month is real good and for sure the best thing yet he’s documented, but then again, I don’t.

Mark Suciu can be the sleeper submission, spending the past year-plus roving the countryside, oozing tricks and video footage as he ascends the sponsorship ranks. For those counting High Speed Productions-specific scoring he put his landmark Atlas shop section on Thrasher’s website, put his “Cityscape” part on Slap and as a Bay Area representative has toiled away not just at SF spots but also in and around lesser-seen urban San Jose. Since he’s legally still an amateur he may not have the needed gravitas to command the hot SOTY spotlight, but if this dude does not have a pro board in the works by year’s end something is wrong and you can reasonably assume the galactic realignment is affecting the workflow on earth.

Ryan Decenzo comes off a little like a knuckle-dragging rail fighter in the Nyjah mode but with generally more thoughtful trick offerings, and this year has made some nominal Thrasher waves via his KOTR MVP turn and some choice photos here and there. Maybe not enough to win the big nod, but Jake Phelps has a well-publicized soft spot for Canadian burlies, and regardless it’s interesting to someone somewhere how the one on Darkstar at this point seems to have eclipsed the one on Plan B.

Cory Kennedy is our dark-horse pick, harboring a formidable head of steam in the way of sequences and the odd clip here and there over the last couple years, plus time logged in a King of the Road van and a prime year-end stage for deploying all his egregious footage bombs in the Girl/Choco video next month. The b/s tail kickflip b/s tail still haunts the mind. At this juncture Cory Kennedy’s a young pro with little but mind-boggling output on his resume, placing him in around the same chronological marker as Andrew Reynolds, Grant Taylor, Silas Baxter Neal or Brian Anderson when they won it, so he’s not too green.

Live At The BBQ (f. Vincent Alvarez)

Nuff respect to solstices and the relative positioning of the star Sol from the North and South poles, but the true starting gun for summer can be benchmarked to Memorial Day weekend in the US, an occasion dripping with waterskis and barbecued pork that gives way to a solid three months of potential sessions, slams and progression (and if you live in the south or midwest, heatstroke). Some while back this web space dumped on the fall season as a harbinger of cold temps and muscle amnesia, so in the interest of fair play we’ll take the next several days to offer up some odes to summer via the original form of poetry, the skate video part.

This fantastic Vincent Alvarez section was being buzzed up a few months back but so far as i can tell just hit the WWW in the last week or so. It’s well timed with a late-August schoolyard kinda haze that could’ve been transposed from “Video Days” or maybe applied with that washed-out filter they used for the Slave video. Across the various switch frontside pop-shove its, jazzy horns, bluntslides, bank to bench, baggy chinos and what appears to be Guy Mariano’s old traffic guardrail, the point has been made elsewhere that this section is likely to be more classically chocolatey than Vincent Alvarez’ probably slower-mo’d turn in the upcoming Crailtap feature production. Most of this thing seems to have been recorded in and around LA County and these lesser-loved little chunks of town, where VA jumps driveways and zips through ditches, give off whiffs of heated asphalt and diesel fuel. Still not a fan of switch boardslides to 270 out on ledges but this dude is coming up real nicely and that backside 180 up to abrupt fakie frontside flip down should get some kind of award that would ideally be presented by Daewon Song.

Ty Evans Captures The Delicate Majesty Of Skateboarding On A Log (In 3D)

Big Brother Magazine famously compared skateboarding first to shit, then to a number two, and finally to crap before adult literature magnate Larry Flynt deemed the topic below his standards and unpublishable. Now the time is 2011 and videographer Ty Evans has recast the log in a new and dignified light, bathing it in expensive three dimensional effects and slow motion to unveil the inner glory of the act.

Ty Evans produced the Girl skateboards short feature “Unbeleafable” with the help and bankroll of pants maker Levis. The clip depicts honest and earnest friends just having fun, skating on some logs and playfully throwing leaves at one another and giggling. The ‘board brand uses the wild purity of the forest to showcase some of Girl’s most youthful riders in a lighthearted romp. “Come on!” amateur Raven Tershy seems to invite with a twinkling eye. “Let’s see what lies just around the next bend.”

Other videos such as “Mouse,” “The Storm” and “Chicagof” have tried and failed to capture the solitude and thrumming power potential to be discovered within yourself, when shredding a treebranch with your own bros. Ty Evans succeeds using a combination of technical effects, powerful filming hardware and pulsating French techno music, the result both breathtaking and inspiring and tearful all at once. Ty Evans’ artistic creation challenges the viewer to behold the beauty and grandeur of slow motion and true three dimensions like how they did it in “Avatar,” which special effects also made into the greatest film achievement of all time, and leaves you to ponder these things for another four minutes as the credits roll.

The combination of gently fluttering leaves, flipping boards and slow motion methods rank as a prime milestone in the halls of film, and the brazen originality and sly humor of the short film stand easily among past Crailtap camp productions.

“Unbeleafable” is unrated. It features many leaves, some of them dead, and a few slams.

Boy From The Block

As Vincent Alvarez’s facial hair deepens, so too do his gangster-ish ways upon the board. Alongside some impressive bank-to-barring in this recent Lakai amateur video are three of the bossier switch tricks of this month or so offered up by VA, including but not limited to: the bank-to-ledge switch backside tail, the rail switch lipslide and the switch thunder-gap bomb over the rail, each one a crusher. This dude is getting more exciting/powerful and has left behind the more questionable ledge combos from the earlier days – worth revisiting is last month’s Lakai ad that has a crazy lipslide and invites the viewer to consider a world in which Federico Vitetta takes the cinematic reigns at the Crailtap camp.

Vincent Alvarez has potential

Ain’t shit to do but cook

The long-awaited (well at least a month or two) debut video part for young Vincent Alvarez hit today and mostly it’s pretty good, mostly because little VA isn’t the same type of super am the Crailtap posse has been signing in this, the Malto Age or whatever. He’s got a kind of weird selection of tricks, and they’re definitely not all pretty, but it’s refreshing to watch a kid who chooses to huck a switch smith grind up onto a tall flatbar instead of scootching b/s tail reverts on a three-foot-high bank or nollie inward heelflipping 16 stairs.

It’s also refreshing to see that Ty Bruckheimer has trimmed his Fully Flannel lumberjack beard and locks. Next let’s work on trimming the clips of dudes sitting on curbs and suddenly standing up, or the always inspiring run-and-throw-down-the-board shot.

With tricks like his first line and that switch 180 to 5-0 on the yellow rail, combined with the Diamond Head, brought to mind POL-era Henry Sanchez. Some tricks were pretty gross-looking, like the cab b/s lip on the ledge and the fakie lipslide tricks up the loading dock, and the switch tailslide 270 shove-it body varial (?) I’m kind of half-and-half on, but like Torey Pudwill, Alvarez seems like he’s putting some thought into his skating which I’m always a fan of. It was even cool to me how he landed horizontal on the bank with the fakie flip and half-cab flip.

So yeah. I wished there was more of his celebrated switch transition skating, but a few of those tricks (b/s lipslide to bluntslide, fakie bigspin bluntslide) were gold and the waterslide guitar hero moment was pretty inspired. Mike Mo and Malto are good and all, and I’m a fan of their skating, but it’s cool to me that an institution like Girl/Choco is still down to put on a kid like this who doesn’t land every trick the same exact way and has a little upper-body spaz. You know? Paco had Chico and Mulder next to Paulo and Gabe.